Valjean, too, is aware of Marius. Unlike Cosette, he views him as a threat and lays traps for him. He changes benches, drops his handkerchief, comes alone to the park. When Marius' reactions betray his interest in Cosette, Valjean grows hateful and ferocious and watches him like "a hound looking at a thief." When Marius makes the mistake of questioning the doorman, Valjean moves to the Rue Plumet without leaving a trace. Cosette accepts her fate without complaint; indeed, she has no vocabulary to express any of the feelings she now experiences. But she falls into a profound despondency that becomes deeper as the separation from Marius lengthens. Valjean notices her sadness and is heartbroken, but he does not know how to cure it. Tragically, Cosette and her foster father come to hurt each other deeply in spite of their mutual love.
One morning, a somber incident deepens their gloom. As is their wont, they are taking a walk to enjoy the glory of sunrise. For a moment they are consoled by the serenity of the hour. Then a harsh noise disturbs their peace: it is the forerunner of a dreary spectacle, a long convoy of prisoners. A mass of convicts, sinister and dehumanized, are being transported to the galleys on seven tumbrils escorted by rows of equally sinister guards. The scene is one of degradation, brutality, misery, and filth. Valjean is petrified by this vision from his past, and the sensitive Cosette is equally frightened.
