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Francuski romantizam

  Romantizam se u francuskoj književnosti javlja nešto kasnije nego u rugim

književnostima; 

  Preteče romantizma u Fr više su se vezali za stari režim nego što su se ouševljavali

idejama Francuske revolucije;

  Prva velika ličnost bio je pjesnik François-René de Chateaubriand 

  Prvi veliki pisac bio je François-René de Chateaubriand, maloljetni aristokrata, koji je

ostao rojalista za vrijeme Revolucije, zbog čega je morao bježati u Englesku, pa se

vratiti za vrijeme Napoleona;

  Sva djela su napisana u prozi, poput poznate novele René (1802.) u kojoj piše o

Byronu; ili autobiografija Memoari iz groba /  Mémoires d'Outre-Tombe; 

The "battle of  Hernani " was fought nightly at the theatre in 1830

  Poslije Bourbonske restauracije francuski romantizam se proteže na pariški teatar,

koji izvodi Shakespearea, Schillera, te radi adaptacije i izvedbe Scotta i Byrona,

zajedno sa francuskim autorima;

  Period Bourbonske restauracije (od 1814. do 1830.) je period pada Napoleona i

povratka dinastije Borubon na presto; uspostavljena je ustavna monarhija koja se

zalaže za ograničenje sloboe štampe i jačanje uticaja katoličke crkve; 

  Victor Hugo piše svoj poznati roman Zvonar Bogorodičine crkve (1831.);

  Kao pregovor za koma „Cromwell“ piše važan manifest francuskog romantizma,

ističudi a „ne postoje pravila niti moeli“; 

 Prosper Mérimée najpoznatiji je kao začetnik priče o Carmen u istoimenoj noveli;

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  Pjesnici francuskog romantizma: Alfred de Musset, Gérard de Nerval, Alphonse de

Lamartine i Théophile Gautier; George Sand postaje voeda spisateljica i centralna

figura pariške literarne scene zbog njenih romana ali i afera sa Chopinom i rugima; 

  Victor-Marie Hugo (1802.  – 1885.) francuski romanopisac, pjesnik, esejist, dramaturg

i aktivist za ljudska prava, moža najutjecajnija ličnost francuskog romantizma. 

  Iako je u Francuskoj najpoznatiji po svojim pjesmama i dramama, u ostalom svijetu

znamo ga po romanima  Jadnici  (Les Misérables) i  Zvonar crkve Notre-Dame (Notre-

Dame de Paris).

  Među njegovim mnogim pjesničkim zbirkama, Les Contemplations

(Kontemplacije) i La Légende des Siècles (Legenda stoljeća) su iznimno cijenjene kod

kritičara, a Hugo se neka ientificira kao najvedi francuski pjesnik; 

  Iako je bio ekstremno konzervativan dok je bio mlad, kasnije se priružio ljevici;

postao je strastveni republikanac i njegova jela oiruju političke i socijalne

probleme i umjetničke trendove tog vremena;

Mladi Victor Hugo

  Victor-Marie Hugo rođen je 26. februara 1802. u mjestu Besançon kao tredi sin

Josepha Léopolda Sigisberta Hugoa (1773. –1828.) i njegove supruge Sophie

Trébuchet (1772.-1821.);

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  Vedinu svog života proveo je u ronoj Francuskoj; bio je izgnan za vrijeme Napoleona

III; 1851; 

  1852. dobio je generalno pomilovanje i od tada njegov egzil bio je po izboru;

  Hugovo rano djetinjstvo bilo je ispunjeno velikim ogađajima; 

  U Francuskoj revoluciji dogodio se kraj Dinastije Bourbon, a sam Hugo je svjeočio

usponu i padu Prve Republike i nastanku Prvog Carstva pod vodstvom Napoleona

Bonapartea; 

  Napoleon se proglasio carem kada je Hugo imao samo 2 godine, a Dinastija

Bourbon se vratila na prijestolje pri je Hugova osamnaestog rođenana; 

  Majka Sophie se 1803. privremeno rastala od Léopolda i nastanila u Parizu; od tada je

dominirala Hugovim obrazovanjem i razvojem;

  Rezultat toga bio je iskazan u njegovim ranim pjesmama i fikciji čije su glavne teme

bile kralj i vjera; 

  Tek je kasnije, promatrajudi ogađaje koji su uzrokovale revolucije 1848., Hugo

obacio katolički rojalizam i postao je pobornik republikanizma i sloboe mišljenja; 

Hugo sa svojim starijim sinom Françoisom-Victorom.

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Hugova kdi Léopoldine. 

  Hugov uzor bio je François-René de Chateaubriand, otac romantizma i jedna od

najistaknutijih književnih ličnosti u Francuskoj za vrijeme 1800-ih; 

  U svojoj mladosti, Hugo je razvio tezu "Chateaubrian ili ništa"; kao i Chateaubriand,

Hugo je poticao i uznapredovao razvoj romantizma, postao je povezan s politikom

kao heroj republikanizma i bio je izgnan iz domovine zbog svojih političkih mišljenja; 

  Njegova prva pjesnička zbirka (Nouvelles Odes et Poésies Diverses/Razne nove ode i

 pjesme) izdana je 1824. kada je Hugo imao samo 23 godine, i donijela mu je

kraljevsku pladu o Luja XVIII; 

  Iako su se pjesmama ivili zbog njihovog spontanog zanosa i tečnosti, tek je iuda

zbirka koja je izdana 1826. (Ode i balade) otkrila Hugoa kao velikog i oličnog

pjesnika, majstora lirike i kreativne pjesme;

  Protiv majčinih želja, mlai Hugo se zaljubio i tajno zaručio sa prijateljicom iz

djetinjstva Adèle Foucher (1803.-1868.); uzeli su se tek nakon njezine smrti 1821.;

  Hugo je svoj prvi roman, Han Islanđanin / Han d'Islande izdao 1823., a svoj drugi

romanBug- Žargal /  Bug-Jargal   je izdao tri godine kasnije, 1826.;

  U periou između 1829. i 1840. Hugo je izao još 5 pjesničkih zbirki: Orijent (Les

Orientales 1829.), Jesenje lišće (Les Feuilles d'automne, 1831.), Akšamski stihovi (Les

Chants du crépuscule, 1835.), Unutarnji glas (Les Voix intérieures, 1837.) i Zrake i

sjene (Les Rayons et les ombres, 1840.) i tako utvrdio svoju reputaciju kao jedan od

najvedih i najboljih lirskih pjesnika svih vremena;

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Ra u pozorištu 

"Bitka za Hernani " (1830.)

  Hugo nije tako brzo postigao uspjeh sa svojim pozorišnim jelima; 

  1827. izdao je nikad izvedenu dramu Cromwell , koja je poznatija po autorovom

predgovoru nego po samoj radnji djela (glomazna duljina drame smatrala se

"nepriklanom za izvođenje"); 

  U uvodu, Hugo savjetuje francuske pisce da se oslobode od klasičnog stila teatra itako pokrenuo bitku između francuskog klasicizma i romantizma koja de nakon tog

ogađaja trajati još goinama; 

  Nakon Cromwella, 1928. je uslijedila drama  Amy Robsart , jedna eksperimentalna

drama iz Hugova djetinjstva koja je inspirisana Kenilworthom Waltera Scotta; 

  Prva Hugova drama koja je producirana pod njegovim osobnim imenom bila

 je Marion Delorme; 

  Iuda rama koju je Hugo napisao i izveo - Hernani  - se pokazala kao jedan od

najuspješnijih i najpotresnijih ogađaja 19. stoljeda na francuskoj pozorišnoj sceni i to

ved prve nodi kaa je postala poznata kao "Bitka za Hernani";

  Danas je djelo relativno nepoznato i ne pamti se osim kao podloga

za Verdijevu istoimenu operu; 

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  U ono vrijeme, međutim, izveba prestave skoro bi se pretvorila u rat između taa

ključnih suparnika u francuskoj kulturi i ruštvu: klasicisti protiv romantičara, liberali

protiv konformista i na kraju republikanci protiv rojalista;

  Drama je osuđivana od strane novina, no izvodila se pre punim kazalištem nod za

nod; 

  Također je signalizirala a se Hugov koncept romantizma iznimno ispolitizirao: Hugo

 je vjerovao a de liberalizam osloboditi narod od patnje pod monarhijom i

diktaturom, a romantizam osloboditi umjetnost od klasicizma; 

Glumica Juliette Drouet, Hugova ljubavnica

  Hugo je 1832., inspiriran uspjehom Hernania, izao još jenu ramu Kralj uživa; 

Drama je zabranjena odmah nakon prve večeri i to zbog ismijavanja francuskogplemstva, no postala je izuzetno popularna u štampanom obliku; 

  Motiviran zabranom, Hugo je svoju iudu ramu Lucrèce Borgia napisao za samo 14

dana; drama je izvedena tek 1833. i oživjela je znatan uspjeh;

  Maemoiselle George (prijašnja Napoleonova ljubavnica) igrala je glavnu ulogu, a

glumica Juliette Drouet igrala je jednu od sporednih uloga;

  Drouet je kasnije zaigrala jako veliku ulogu u Hugovu privatnom životu postavši

njegova oživotna ljubavnica i muza; 

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  Iako je Hugo imao mnogo ljubavnih avantura, Hugova supruga je priznala kako

Drouet ima jako veliku povezanost sa Victorom i ona se smatrala dijelom obitelji;

  Hugov  Angelo imao je uspješnu premijeru 1835.;

  Ubrzo grof od Orleansa (brat kralja Luja-Filipa i veliki obožavatelj Hugovih jela)

osnovao je novo pozori šte a porži izvođenje novih rama;

  Théâtre de la Renaissance otvoreno je ustudenom 1838. i prva predstava koja se u

njemu izvodila je Ruy Blas; 

  Iako se ta drama danas smatra jednim od Hugovih najboljih, u ono vrijeme nije bila

baš obro prihvadena; 

  Les Burgraves, posljednja drama, igrala je samo 33 večeri;

  Iako je kasnije, 1862., napisao jednu kratku dramu Torquemada, ona nije izdana sve

do nekoliko godina pred smrt (1882.) i nije bila namijenjena za izvođenje na

pozornici;

  Hugov interest za kazalište nije opao i 1864. je objavio dobro

prihvadeni esej oWilliamu Shakespeareu, čiji je stil pokušao imitirati u svojim vlastitim

dramama;

Djela za odrasle

Ilustracija Alfreda Barboua iz prvog izdanja  Zvonara crkve Notre-Dame (1831.)

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  Hugovo prvo djelo za odrasle pojavilo se 1829., a reflektiralo je oštru socijalnu savjest

koja de uvelike utjecati na jeno o njegovih kasnijih djela;

  Posljednji dani čovjeka koji je osuđen na smrt   je djelo koje je imalo dubok uticaj

na Albera Camusa, Charlesa Dickensa i Fjodora Mihajloviča Dostojevskog; 

  Claude Gueux , kratka okumentarna priča o ubici iz stvarnog života koji je pogubljen

pojavila se 1834., i kako je sam Hugo tvrio, ona je bila preteča njegova najpoznatijeg

djela  Jadnici ; 

  No prvi Hugov pravi ugi roman bio je enormno uspješni  Zvonar crkve Notre-Dame, 

koji je izdan 1831. i odmah je preveden na skoro sve evropske jezike;

  Jedan od efekata romana bila je popularizacija katedrale Notre-Dame, koja je

privlačila hiljade turista koji su pročitali roman;

  Knjiga je također inspirirala ljubav prema prerenesansnim građevinama, koje se od

tada aktivno čuvaju; 

Portret "Cosette" koji je napravio Emile Bayard, slika je iz prvog izdanja  Jadnika (1862.)

  Hugo je počeo planove za svoj novi veliki roman o socijalnoj patnji i nepravdi za

vrijeme 1830-ih, no bilo je potrebno punih 17 godina kako bi njegovo najpoznatije i

najugovječnije jelo,  Jadnici , izašalo 1862; 

  Prvobitno je objavljen samo prvi dio djela ("Fantine" ) koji je istodobno izdavan u svim

vedim graovima; 

  Dijelovi knjige brzo su se rasprodali i imali su veliki uticaj;

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  reakcije su se kretale od entuzijazma do intenzivnih osuda, no problemi koji su

istaknuti u Jadnicima ubrzo su se našli na nevnom reu francuske Narodne

skupštine; Taj roman je i an anas još uvijek popularan u cijelom svijetu, aaptiran

 je za film, TV i muzičkiu scenu i napisano je još par knjiga koje se na neki način

smatraju nastavcima romana;

  Hugo se od socijalno-političkih problema ualjio u svom iudem romanu, Radnici

mora (Les Travailleurs de la Mer ) koji je izdan 1866; 

  Unatoč tome, knjiga je obro primljena, moža zbog prijašnjeg uspjeha  Jadnika;

  U romanu posvedenom kanalskom otoku Guernsey, na kojem je Hugo proveo 15

godina izgnanstva, opisana je čovjekova bitka sa morem i strašnim stvorenjima koja

žive ispo površine;

  Roman utiče na pojavu novog trenda u Parizu  – lignje; o jela pa o šešira i zabava u

čast lignje, Parižani su postali fascinirani tom životinjom, koju su mnogi tada smatrali

mističnom; 

Karikatura Honoréa Daumiera, na vrhuncu Hugova političkog života: "Hugo je najmračniji od

svih velikih ozbiljnih ljudi."  (1849.)

  Političko-socijalnim problemima vratio se u svom iudem jelu, Čovjek koji se

smije iz 1869. u kojemu je dao kritični prikaz aristokracije;

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  Svjestan je gubitka slave i olaska novih pisaca kao što su Gustave Flaubert i Émile

Zola; 

  Njegov posljednji roman Devedeset i tri  iz 1874. bavio se problemom koji je Hugo

prije izbjegavao: vladavina terora za vrijeme Francuske revolucije; 

  Iako je njegova popularnost opadala kada je roman objavljen mnogi Devedeset i

tri  smatraju jako vrijednim ostvarenjem, koje može a stoji rame uz rame sa Hugovim

prijašnjim djelima;

Politički život i izgnanstvo 

Među stijenama u Jerseyu (1853.-55.)

  Nakon tri neuspješna pokušaja, Hugo je 1841. prvi put izabran u Académie Francaise i

tako je potvrio svoju važnu ulogu u francuskoj književnosti;

  Nakon toga se uvelike uključio u politički život i postao je veliki pobornik Republike; 

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  Kada je Louis Napoleon (Napoleon III.) preuzeo potpunu vlast 1851. i kada je donio

anti-parlamentarnu konstituciju Hugo ga je otvoreno proglasio izdajicom vlastite

domovine;

  U strahu za život Hugo bježi u Bruxelles, pa na Jersey, a sa obitelji se konačno

smjestio na jedan od kanalskih otoka, Guernsey, točnije u Hauteville Houseu gje je

živio u izgnanstvu o 1870.;

  Dok je bio u egzilu, Hugo je napisao svoje poznate pamflete protiv Louisa

Bonapartea, Napoléon mali  i Istorija zločina / Histoire d'un crime;

  Iako je Napoleon III izao pomilovanje svim političkim izgnanicima 1859., Hugo se

odbio vratiti, jer je to značilo a treba povudi svoje kritike i mišljenja o vladi i kralju;

  Tek kada je Napoleon III pao i nastala je Treda Republika, Hugo se vratio u rodnu

zemlju 1870., u kojoj je jako brzo izabran u Naronu Skupštinu i Senat; 

Victor Hugo 1884.

Hugo za vrijeme svog "spiritističkog" perioa na Guernseyu (1855.)

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  Hugo nikad nije izgubio svoju antipatiju prema rimokatoličkoj crkvi, zbog njezine

ravnoušnosti za neade ranika koji su bili tlačeni o  monarhije i zbog činjenice da

su se njegova djela nalazila na papinoj listi"zabranjenih knjiga"; 

  Nakon njegovih sinova Charlesa i Françoisa-Victora, Hugo je zahtijevao da se

pokopaju bez krsta i bez svedenika, a isto je želio a se napravi i na njegovom

pogrebu;

  O vjeri je Hugo rekao: „Vjera prolazi, no Bog ostaje― 

Victor Hugo, autor: Alphonse Legros 

Tijelo mrtvog Victora Hugoa na njegovom krevetu, sliku je napravio Félix Nadar. 

  Kada se Hugo 1870. vratio u Pariz, narod ga je slavio kao nacionalnog heroja.

  U jako kratkom periou nakon neuspjelih izbora Hugo je obio lakši možani uar, 

oživio je Opsadu Pariza, njegova kdi je završila u umobolnici, a oživio je i smrt svojih

dvaju sinova;

  U februaru 1881. Hugo je proslavio svoj 79. rođenan;

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  U čast njegova ulaska u osmo esetljede života, oržana je jena o najvedih proslava

koja je oržana nekom živudem piscu;

  27. februara u njegova čast je oržana jena o najvedih parada u francuskoj

povijesti; naro je marširao o Avenue 'Eylau, pa o Champs-Elysees i na kraju do

samog centra Pariza; 

  Naro je marširao 6 sati kako bi prošao kraj Hugova stana u kojem ih je on gleao sa

prozora. Svaki pedalj parade napravljen je i isplaniran samo za Hugoa;

  Victor Hugo preminuo je 22. maja 1885. u 83. goini života, i njegova smrt je bila

popradena masovnim javnim žaljenjem; 

  U svijetu ga ne cijenimo samo kao izvrsnog književnika nego kao i ržavnika koji se

borio za očuvanje cjelovitosti Trede Republike i demokracije u Francuskoj; 

  Više o 2 milijuna ljui priružilo se njegovoj pogrebnoj povorci koja je krenula

od Slavoluka pobjede pa do Panthéona gdje je Hugo i pokopan;

 Zalazeće sunce (1853.-1855.)

Hobotnica sa inicijalima V.H. (1866.)

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  Jako malo ljudi zna da je Hugo bio jednako produktivan u likovnoj umjetnosti kao i u

književnosti, stvorivši preko 4,000 crteža u svom životu; 

  Njegovi sačuvani crteži su iznenađujude uspješni i poprilično "moerni"; danas se

njegove slike smatraju jenim o preteča nadrealizma i apstraktnog ekspresionizma; 

Najava predstave  Jadnici  na Broadwayu (Imperial Theater, New York, februar 2003.);

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Bogorodičina crkva u Parizu 

  Priča nas odvodi u Pariz iz 1482. godine, kada mladi Grengoar (Gringoire) izvodi

svoju misteriju u Velikoj dvorani. Nakon potpunog neuspjeha te misterije, on se

upoznaje sa zanosnom Cigankom Esmeraldom (La Esmeralda), prema kojoj arhiĎakon

Klod Frolo (Claude Frollo) gaji ogromnu strast;

  Frolo nareĎuje svom zvonaru, Kvazimodu (Quasimodo), grbavom čudovištu, da mu je

dovede na silu;

  Ali kapetan Febus, u koga se ona kasnije zaljubljuje, je spašava, a Kvazimoda hapse i

osuĎuju;

  Esmeralda sažaljeva jadno biće i daje mu vode dok je bio na sramnom stubu što je u

njegovom srcu probudilo ljubav prema njoj;

  Zbog neuspjelog plana, zlobni arhiĎakon ubada kapetana Febusa nožem i Esmeralda

 biva optužena za ubistvo i vještičarenje;

  Kvazimodo je spašava i odvodi u Bogorodičinu crkvu koja je bila azil;

   N jeni prijatelji, ne znajući šta se dešava, napadaju crkvu, a nju odvode Grengoar i

arhiĎakon; 

  Esmeralda pronalazi svoju majku, od koje su je oteli nakon roĎenja, ali ipak ne

uspijeva da pobjegne svojim dželatima; uhvatili su je a potom i objesili;

  Kvazimodo, shvativši da je sve ovo arhiĎakonovo delo, baca ga sa crkve i odlazi na

mjesto gde je ostavljeno Esmeraldino tijelo da tu umre;

  Roman je napisan po romantičarskom receptu: priča o strastima obojena lokalnom

 bojom, sa istorijskim epizodama, za koje Igo ponosno ističe da su nastale dugim

 proučavanjem srednjeg vijeka; 

  Ovaj roman se može posmatrati sa dva aspekta: sa jedne strane imamo jednu ljubavnu

 priču sa nesrećnim završetkom, a sa druge imamo kritiku Srednjeg vijek a;

  Ljubavna priča se vrti oko Esmeralde u koju su zaljubljeni Klod Frolo i Kvazimodo,

dok je ona sama zaljubljena u kapetana Febusa;

  Igo nijednom svom junaku nije dao srećan završetak pa čak ni Esmeraldi, koja je u

ovom romanu oličenje svake vrline;

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  Iak o je osvojila sva muška srca širom Pariza, jedno, ono za nju najvrijednije, nije

uspjela;

  Jedino ona i Kvazimodo vole čistom, nevinom ljubavlju, dok drugima u srcu vlada

strast, koju teško obuzdavaju i koja je Kloda Froloa uspjela potpuno uništiti;

  Strast:

„—Čuješ li? ja te volim! —  uzviknu on još jedanput. 

 —  Kakva ljubav! —  reče nesrećna devojka i strese se. 

On dodade:

 —   Ljubav prokletoga.― 

„—  Entends-tu? je t’aime! —  cria-t-il encore

 —  Quel amour! —  dit la malheureuse en frémissant

 Il reprit:

 —   L’amour d’un damné.― 

  Klod Frolo svoju ljubav naziva prokletstvom; svjestan je koliko ga je obuzela i koliko

više ne može da vlada samim sobom;

   Njegovo očajanje, koje apsolutno vlada njegovim bićem, odvlači ga toliko duboko u

 ponor iz koga on ne vidi nikakvog izlaza; za njega su spas ili njena predaja ili njena

smrt;

  Sudbina upravlja juancima u prvom dijelu romana;

  U svom predgovoru pisac nam govori da je baš ova riječ, urezana u zidu Bogorodičine

crkve, povod ovom romanu;

  Tu riječ ćemo naći ponovo kasnije u romanu, u sobi Kloda Froloa, a Igo će nam

indirektno, kroz primjer muve i pauka, objasniti na šta se tačno ova riječ odnosi;

  U sobi su bili kraljev prokurator i Frolo kada se jedna muva uhvatila u paukovu

mrežu. Pauk je odmah krenuo na nju i kada je prokurator, iz sažaljenja, pokušao da joj

 pomogne, na putu mu se ispriječio Frolo govoreći: „Ostavite sudbinu da čini svoje!“

(„laissez faire la fatalité“ );

  Ova tema, tema determinizma, dominira najvećim dijelom priče vezane za Esmeraldu; 

  Mnogi likovi ovog romana ne vjeruju u slobodnu volju; na primjer kada Pjer Grengoar

 prati Esmeraldu, on se odriče slobodne volje i prihvata bilo koji put koji ona odabere;

  Esmeralda isto tako pada na koljena pred Febusom, prepuštajući njemu svoju sudbinu;

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  Frolo vjeruje da je sve što se dešava unaprijed predodreĎeno i da ništa ne može da ga

zaustavi u hvatanju Esmeralde; baš kao što je muva upala u paukovu mrežu, tako će i

ona pasti u jednu od njegovih zamki;

  „Sudbina“ mu služi kao opravdanje za njegova djela jer niko i ništa ne može da

 pr omijeni ono što mora da se desi; 

  Dok Frolo svog sagovornika upozorava da se ne miješa u sudbinu, Igo priznaje da ona

ima velikog udjela u ovom romanu, ali nagovještava da je slobodna volja ipak moguća

i da ovakav Froloov stav i razmišljanje o slobodnoj volji jeste ono što ga je načinilo

groznim čovjekom;

  Drugi dio ovog romana je fokusiran na Katedralu i na pariško društvo srednjeg vijeka

(XV stoljeće); 

  Društvo Igo slika krajnje subjektivno, bez mnogo saosjećajnosti; slabe i siromašne

štiti, dok bogate uopšte ne štedi u svojim kritikama;

  To se vrlo dobro vidi u poglavlju pod nazivom „ Nepristrasan pogled na nekadašnje

 pravosuĎe“ („Coup d’oeil impartial sur l’ancienne magistrature“);

  Imamo komičnu scenu u kojoj sudija, pokušavajući da sakrije činjenicu da je gluv,

ispituje Kvazimoda koji ne čuje njegova pitanja, pa samim tim i sve vrijeme ćuti, dok

sudija vjerujući da je Kvazimodo odgovorio, nastavlja sa pitanjima i izaziva smijeh

svih koji to gledaju i slušaju;

  Igo se tu dobro narugao tadašnjem sudstvu posebno uzevši u obzir da u naslovu stoji

„nepristrasan pogled“;

   Na dosta mjesta ovde Igoov ton podsjeća na Rableov (François Rabelais) u njegovom

djelu „Gargantua i Pantagruel“ (Gargantua et Pantagruel): 

„ Pošto je, dakle, dobro promozgao o Kvazimodovoj krivici, on zabaci glavu i zatvori

oči upola, da bi izgledao što dostojanstveniji i što nepristrasniji, tako da je u tom

trenutku bio u isti mah i gluv i slep, bez čega nema savršenog sudije. U ovom

dostojanstvenom stavu otpoče on saslušanje.“ 

„ Ayant donc bien ruminé l’affaire de Quasimodo, il renversa sa tête en arrière et ferma les

 yeux à demi, pour plus majesté et d’impartialité, si bien qu’il était tout à la fois en ce moment

 sourd et aveugle. Double condition sans laquelle il n’est pas de juge parfait. C’est dans cette

magitrale attitude qu’il commença l’interrogatoire.“ 

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  Za Igoa, Bogorodičina crkva je nešto posebno; u zbirci „Četiri vetra duha“ (Quatre

Vents d’esprit) Igo je napisao „Volim katedralu a ne Srednji vijek“ („J’aime la

cathédrale et non le Moyen Âge“);

   Njemu je ona simbol srednjevjekovne umjetnosti i nju je učinio središtem svog

romana; ona je znak neprolazne umjetnosti, dok je prolazno sve što je zemaljsko i

ljudsko;

  U katedrali i oko nje se dešavaju skoro sve glavne radnje ovog romana;

  Kao i za sve ostale likove ovog romana, Igo je i za Bogorodičinu crkvu izdvojio jedno

 poglavlje koja nosi njeno ime kako bi se samo njoj posvetio;

  Pisac kreće od opisa fasada pa malo po malo otkriva sve njene kutke, prati svaki njen

 pojas, objašnjavajući raznovrsnost stilova u umjetnosti koji su korišteni za vrijeme

njene izgradnje;

  Objašnjava nam sve promjene koje je ona pretrpjela tokom vijekova i ljut je, ljut na

ljude i ljut na vrijeme što ne poštuju tu veličanstvenu graĎevinu; 

„Morate uzdahnuti, zgroziti se, kad pogledate bezbrojne povrede i oštete koje su ovom

 svetom spomeniku nanijeli u isti mah i vrijeme i ljudi, bez ikakva poštovanja― 

„Il est difficile de ne pas soupirer, de ne pas s’indigner devant les dégradations, les

mutilations sans nombre que simultanément le temps et les hommes ont fait subir au

vénérable monument, sans respect...― 

 Nisu njoj „povrede― nani jeli samo revolucije i vandali, već i umjetnici želeći da je poprave,

uljepšaju, skladno sa tadašnjim ukusima. 

„Mode su nanijele više štete nego prevrati. One su zas jekle u živac, okomile se na kostur

umjetnosti, one su sjekle, parale, razorile, ubile graĎevinu i u obliku i u značenju, i u skladu i

u ljepoti.― 

„Les modes ont fait plus de mal que les révolutions. Elles ont tranché dans le vif, elles ont

attaqué la charpente osseuse de l’art, elles ont coupé, taillé, désorganisé, tué l’édifice, dans

la forme comme dans le symbole, dans sa logique comme dans sa beauté.― 

  Igo je srednjevjekovnim spomenicima posvetio pažnju u još jednom poglavlju pod

nazivom „Ovo će ubiti ono“ („Ceci tuera cela“);

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  Pristup nije isti kao u prethodnom, ali nosi istu poruku : očuvanje srednjevjekovnih

graĎevina, umjetnina, spomenika; 

  Ovde su katedrala kao i ostali spomenici predstavljeni kao knjige od kamena. Knjige

ispisane simbolima. Ali Gutembergovim otkrićem na scenu stupa druga vrsta knjiga;

  Budući da pisac svoje misli projektuje preko Kloda Froloa, koji je arhiĎakon, ne

možemo a da ne pomislimo da ovde nije u pitanju samo strah od prevage jedne knjige

nad drugom, već prevaga slobode ljudske misli nad stegom vjere;

„Svaka civilizacija počinje teokratijom a završava demokratijom― 

„Toute civilisation commence par la théocratie et finit par la démocratie― 

  Igo ovo izjavljuje kao postulat; to je njegovo viĎenje toka istorije;

  Ide toliko daleko da čak Gutenberga naziva pretečom Lutera, jer je njegova štamparija

omogućila širenje jeresi;

  Knjige se brze pišu nego što se katedrale prave, manje koštaju i mogu da se nose

svuda;

  Tako se ljudska misao brže prenosi i ne može se zaustaviti;

   Svi likovi osim Pjera Grengoara i Luja XI (Louis XI) su plod piščeve bogate fantazije.

  Psihologija likova nije produbljena, iako Igo daje veoma detaljne psihološke analize;

likovi su predstavljeni preko vanjskih osobina; oni su više simboli i tipovi –  nosioci

odreĎenih osobina;

„ Još vam kažem, gospodine, da osim poezije, bogatstva misli i drame, postoji nešto što

me je zaista iznenadilo. Da, Kvazimoda koji posjeduje da tako kažem ljepotu duše i

 požrtvovanja –   Froloa koji posjeduje znanje, nauku, i intelektualnu moć- i Šatopera

koji posjeduje fizičku ljepotu, svojom divnom zamisli stavite ova tri tipa (...) licem u

lice sa naivnom mladom djevojkom, skoro divljom usred civilizacije, i date joj da

i zabere a njen izbor da bude tako ženske prirode.“ 

„ Je vous dirai encore, Monsieur, qu’à part toute la poésie, toute la richesse de ponsée et de

drame, il y a une chose qui m’a bien vivement frappé. C’est que, Qausimodo résumant pour

ainsi dire la beauté d’ âme et de dévouement –   Frollo l’érudition, la science, la puissance

intellectuelle –  et Châteaupers la beauté phisique, vous ayez eu l’admirable pensée de mettre

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ces trois types (...), face à face avec une jeune fille naïve, presque sauvage au millieu de la

civilisation, pour lui donner le choix, et de faire ce choix si profondïément féminin.“ 

Esmeralda

Pravo ime joj je Agnes. Još dok je bila sasvim mala, oteta je od svoje majke i otada živi meĎu

ciganima.

„ Esmeralda beše (...) stvorenje bezazleno i krasno; lepa, osim kad načini onu svoju grimasu;

devojka naivna i puna strasti, koja ništa ne zna i koju sve oduševljava; koja još ne zna razliku

izmeĎu žene i muškarca, čak ni u snu; eto takva; koja naročito i strasno voli igru, larmu,

 skitanje; to vam je kao neka žena pčela koja na nogama ima nevidljiva krila i živi u vrtlogu.“ 

„ La Esmeralda était (...) une créature inoffensive et charmante, jolie, à cela près d’une moue

qui lui était particulière; une fille naïve et passionée, ignorante de tout, et enthousiaste de

tout; ne sachant pas encore la différence d’une femme à un homme, même en rêve; faite

comme cela; folle surtout de danse, de bruit, de grand air; une espèce de femme abeille, ayant

des ailes invisibles aux pieds, et vivant dans un tourbillon.“ 

Lijepa onoliko koliko je bila i dobra. Tako dobra da je već unaprijed bila predodreĎena za

 propast. Svi su je mnogo voljeli i rado gledali njene nastupe na Grevskom trgu, osim jedne

ispo-snice koja ju je hulila kad god bi je vidjela, a za koju se kasnije ispostavilo da joj je

majka.

Dobila je ime po smaragdu koji je nosila oko vrata zajedno sa svojom dječijom cipelicom

koju joj je njena majka isplela. Uvjek ju je nosila u nadi da će pronaći nekad svoje roditelje, a

radi toga se zaklela i da će ostati čedna. MeĎutim, sve njene zakletve i nadanja padaju u vodu

kada se zaljubi u kapetana Febusa Šatopera. Zbog njega bi se odrekla svega, iako ga nikada

nije zapravo upoznala. U njenoj glavi njegovo srce je bilo isto toliko lijepo koliko i njegova

spoljašnjost, meĎutim to ni blizu nije bilo tako. To je bila njena propast. Ona nije doživjela da

sazna kakav je on bio u stvari.

Kvazimodo

Kvazimodo je štićenik Kloda Froloa. On ga je našao ostavljenog u crkvi, uzeo ga, usvojio i

odgajio. Igo ga opisuje ovako:

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„Velika glava obrasla riĎom kosom; izmeĎu ramena ogromna grba, zbog koje su i grudi bile

ispupčene; noge, sastavljene tako neobično da su se mogle dodirivati samo kolenima, kad se

 pogledaju spreda izgledale su kao dva polumeseca, dva srpa čije su drške sastavljene; stopal a

velika, ruke nezgrapne...― 

„Une grosse tête hérissée de cheveaux roux; entre les deux épaules une bosse énorme dont le

contre-coup se faisait sentir par devant; une système de cuisses et de jambes si étrangement

 fourvoyées qu’elles ne pouvaient se toucher que par les genoux, et, vues de face,

ressemblaient à deux croissants de faucilles qui se rejoignent par la poignée; de larges pieds,

des mains monstrueuses...― 

Kvazimodo je žrtva društva u kome živi. Ili mu se smiju, ili mu se rugaju ili ga se plaše. On jedobrotu upoznao samo kod Froloa, pa nije ni čudno to što izvršava svaku njegovu naredbu i

što ga prati kao kuče gdje god da ovaj krene. Zamrzio je ljude jer su ga odbacili, i živi za

svoja zvona kojima je dao i imena. Kvazimodo je najsrećniji u crkvi, tamo ga svi vole. Često

vrijeme provodi pričajući sa kamenim statuama jer mu se čini da ga one jedino razumiju. Iako

 pisac pokušava na početku da ga prikaže kao zlog, mi ne možemo tako da ga doživimo. Tek

kad se zaljubljuje u Esmeraldu pisac dopušta da vidimo tu njegovu dobru stranu. Zna on da je

ljubav izmeĎu njih nemoguća, ali on želi da je služi, da ona bude srećna, pa čak i po cijenu

izdaje svog bivšeg gospodara koga će i da ubije na kraju. 

Klod Frolo

„Činilo se kao da taj čovek (...) nije imao više od  trideset pet godina; meĎutom, bio je sasvim

ćelav; jedva je sa strane imao nekoliko pramenova retke i već sede kose; na njegovom

 širokom i visokom čelu behu se počele pojavljivati bore, ali u njegovim upalim očimaogledala se neobična mladost, bujan život, duboka strast.― 

„Cet homme (...) ne paraissait pas avoir plus de trente-cinq ans; cependant il était chauve; à

 peine avait-il aux temps quelques touffes de cheveux rares et déjà gris; son front large et haut

commençait à se creuser de rides; mais dans ses yeux enfoncés éclatait une jeunesse

extraordinaire, une vie ardente, une passion profonde.― 

Tako nam Igo na početku predstavlja ovaj svoj lik, da bi nam tek kasnije dao čitavu njegovu

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istoriju. Roditelji su ga predodredili da postane sveštenik i pohaĎao je mnoge škole, izučio sve

što je stigao, čak je i pored teologije učio i medicinu i nauku, vrlo čudno za jednog sveštenika,

 posebno u srednjem vijeku. Prelom u njegovom životu predstavlja smrt njegovih roditelja u

njegovoj devetnaestoj godini; bio je pr imoran da se izvuče iz svijeta knjiga i posveti se

stvarnom životu kao i brizi o svom malom bratu. 

„Ovaj mlaĎi brat bez oca i bez majke (...) sasvim ga preobrazi. On uvide da na ovome svetu

nisu sve i sva teološka razmišljanja i Homerovi stihovi, da je čoveku potrebna naklonost, da je

 život bez nežnosti i ljubavi što i nepodmazani točkovi što škripe.― 

„Ce jeune frère sans père ni mère (...) fit de lui un homme nouveau. Il s’aperçut qu’il y avait

autre chose dans le monde que les spéculations de la Sorbone et les vers d’Homerus, que

l’homme avait besoin d’affections, que la vie sans tandresse et sans amour n’était qu’unrouage, sec, criard et déchirant.― 

U ovom dijelu vidimo jednog sažaljivog Kolda, punog ljubavi i zaštitnički postavljen prema

 bratu u kome vidi nešto što je krhko i nesposobno da se samo bori kroz život. Ovaj mladi

čovjek je bio toliko pun sažaljenja prema djeci da je uzeo pod svoje ono „malo čudovište“,

Kvazimoda, koga su se grozili čak i dok je bio beba. I uzeo ga je ne nadajući se ničemu, osim

nagradi od Boga, ali opet ne za sebe, već za njegovog malog brata, da bi se iskupio unaprijedza njegove moguće buduće greške. I to je ogromna suprotnost od onog Kloda o kome smo

slušali ranije. 

 Njegova ljubav prema Esmeraldi mijenja sve. Ovog Kloda zamijenjuje proćelavi, očajni

starac koji ne može da se bori protiv osjećanja koje je u njemu probudila mlada Ciganka.

Upravo time Igo želi da iskaže jednu svoju misao koja se prožimala i u nekim drugim

njegovim romanima: zlo spolja ulazi u čovjeka, a čovjek se ne raĎa sa njim. Igo nam

dozvoljava da s vremena na vrijeme zaĎemo unutar njegove glave i čujemo njegove misli kojesu u haosu. Čas se smije, čas je očajan. Igo je to njegovo stanje nazvao Groznicom (Fièvre). 

„I kad je ispitujući ovako svoju dušu, video koliko je mesta ostavila priroda u njoj za strasti,

on se stade smejati sa još više gorčine. On prevrnu u dnu svoga srca svu svoju pakost, i sa

hladnim pogledom lekara koji gleda bolesnika primeti da ta mržnja i ta pakost nisu ništa

drugo do izopačena ljubav; da se ljubav, to vrelo svake vrline u čoveku, pretvara u nešto

užasno u srcu sveštenika, i da čovek njegove prirode, postavši sveštenik, postaje demonom.― 

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„Et en creusant ainsi son âme, quand il vit quelle large place la nature y avait préparée aux 

 passions, il ricana plus amèrement encore. Il remua au fond de son coeur toute sa haine,

toute sa méchanceté, et il reconnut, avec le froid coup d’oeil d’un médecin qui examine un

malade, que cette haine, que cette méchanceté n’étaient que de l’amour vicié; que l’amour,

cette source de toute vertu chez l’homme, tournait en choses horribles dans un coeur de

 prêtre, et qu’un homme constitué comme lui, en se faisant prêtre, se faisait démon.― 

Igo je možda i najviše pažnje posvetio baš Frolou, jer u knjizi nema mnogo preispitivanja

duše osim kada je on u pitanju. Njegova strast ga je na kraju ubila. 

Grengoar

Pjer Grengoar je siromašni pisac kome od uspijeha drame zavisi opstanak. I on je jedan od

nesrećnika koje je opila ljepota Esmeralde, ali on se brzo od toga oporavio. Ipak, on joj je bio

 bliži nego ostali, on joj je bio muž. Muž koga je Esmeralda brakom spasila vješala. Ali brak

nikada nije ovjekovečen svadbenom noći, za čim Grengoar nije ni mario, bilo mu je dovoljno

to što ima krevet i hranu. 

„On nije bio viteškog i musketarskog soja što na juriš osvaja mlade devojke. U ljubavi, kao i

u svemu drugome, on je bio oklevalo i umerenjak; i jedna dobra večera, u prijatnom društvu,

činila mu se, naročito kad je bio gladan, divan odmor izmeĎu prologa i svršetka kakvog

ljubavnog dogaĎaja― 

„Il n’était pas de cette espèce chevalière et mousquetaire qui prend les jeunes filles d’assaut.

 En matière d’amour, comme en toute autre affaire, il était volontiers pour les temporisations

et les moyens termes; et un bon souper, et tête à tête aimable, lui paraissait, surtout quand il

avait faim, un entr’acte excellent entre le prologue et le dénoûment d’une avoentured’amour.― 

Volio je Cigankinu kozu. Čak kada su optuživali Esmeraldu za Febusovu smrt, on se više

 bojao šta će učiniti kozi, nego Esmeraldi. Zbog nje, on odlučuje da pomogne Frolou da izvede

Esmeraldu iz Katedrale koja ju je čuvala od dželata, a onda odlazi sa kozom, a Esmeraldu

ostavlja na mislost i nemolost pokvarenog arhiĎakona. 

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Kapetan Febus od Šatopera je mladi zavodnik, nemirnog duha. Iako treba da oženi svoju

roĎaku, on se ne smiruje. Esmeralda mu je zapala za oko zbog svoje ljepote. Fizički ga

 privlači i ništa više. Ništa mu ne znači žrtva koju je ona bila spremna da podnese za njega,

 bitno mu je samo fizičko zadovoljstvo. Ne možemo za njega reći da je zao, samo je

ravnodušan prema dobrim dušama i zato čak ni ne pokušava da spasi Esmeraldu vješala na

koja je šalju zbog njega. On je samo osvajač, lovac. Kada mu se plijen preda on gubi interes i

ide dalje. On „svrši takoĎe tragično: oženi se“ („aussi fit une fin tragique, il se maria“ ). 

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Zvonar Bogorodičine crkve u Parizu 

The story begins on Epiphany (6 January), 1482, the day of the Feast of Fools in Paris,France. Quasimodo, a deformed hunchback who is the bell-ringer of  Notre Dame, isintroduced by his crowning as the Pope of Fools.

Esmeralda, a beautiful Gypsy street dancer with a kind and generous heart, captures thehearts of many men, including those of Captain Phoebus and Pierre Gringoire, a poor streetpoet, but especially those of  Quasimodo and his adoptive father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his obsessive lust and the rules of thechurch. He orders Quasimodo to kidnap her, but the hunchback is captured by Phoebus andhis guards, who save Esmeralda. Gringoire, witnessing all this, accidentally trespasses intothe Court of Miracles, home of the Truands (criminals of Paris). He was about to be hangedunder the orders of  Clopin Trouillefou, the King of Truands, until Esmeralda saved his life bymarrying him.

The following day, Quasimodo is sentenced to be flogged and turned on the pillory for onehour, followed by another hour's public exposure. He calls for water. Esmeralda, seeing histhirst, offers him a drink. It saves him, and she captures his heart.

Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo actuallyattempted to kill in jealousy after seeing him trying to seduce Esmeralda, and is tortured andsentenced to death by hanging. As she is being led to the gallows, Quasimodo swings downby the bell rope of Notre Dame and carries her off to the cathedral under the law ofsanctuary. 

Frollo later informs Gringoire that the Court of Parliament has voted to remove Esmeralda's

right to sanctuary so she can no longer seek shelter in the church and will be taken from thechurch and killed. Clopin hears the news from Gringoire and rallies the Truands (criminals ofParis) to charge the cathedral and rescue Esmeralda.

When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so hedrives them off. Likewise, he thinks the King's men want to rescue her, and tries to helpthem find her. She is rescued by Frollo and her phony husband Gringoire. But after yetanother failed attempt to win her love, Frollo betrays Esmeralda by handing her to thetroops and watches while she is being hanged.

When Frollo laughs during Esmeralda's hanging, Quasimodo pushes him from the heights ofNotre Dame to his death. Quasimodo then goes to the vaults under the huge Gibbet ofMontfaucon, and lies next to Esmeralda's corpse, where it had been unceremoniouslythrown after the execution. He stays at Montfaucon, and eventually dies of starvation.About eighteen months later, the tomb is opened, and the skeletons are found. As someonetries to separate them, Quasimodo's bones turn to dust.

Characters[edit] 

  Quasimodo, the novel's protagonist, is the bell-ringer of Notre Dame and a barely verbalhunchback. Ringing the church bells has made him deaf. Abandoned as a baby, he wasadopted by Claude Frollo. Quasimodo's life within the confines of the cathedral and his

only two outlets — ringing the bells and his love and devotion for Frollo — are described.He ventures outside the Cathedral rarely, since people despise and shun him for his

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appearance. The notable occasions when he does leave are his taking part in the Festivalof Fools — during which he is elected the Pope of Fools due to his perfect hideousness— and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from thegallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of thecathedral at the end of the novel. It is revealed in the story that the baby Quasimodo

was left by the Gypsies in place of Esmeralda, whom they abducted.  Esmeralda (born Agnes) is a beautiful young gypsy street dancer who is naturally

compassionate and kind. She is the center of the human drama within the story. Apopular focus of the citizens' attentions, she experiences their changeable attitudes,being first adored as an entertainer, then hated as a witch, before being lauded again forher dramatic rescue by Quasimodo. When the King finally decides to put her to death, hedoes so in the belief that the Parisian mob wants her dead. She is loved by bothQuasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsomesoldier who she believes will rightly protect her but who simply wants to seduce her. Sheis the only character to show the hunchback a moment of human kindness: as he is being

whipped for punishment and jeered by a horrid rabble, she approaches the public stocksand gives him a drink of water. Because of this, he falls fiercely in love with her, eventhough she is too disgusted by his ugliness even to let him kiss her hand.

  Claude Frollo, the novel's main antagonist, is the Archdeacon of Notre Dame. His dourattitude and his alchemical experiments have alienated him from the Parisians, whobelieve him a sorcerer. His parents having died of plague when he was a young man, heis without family save for Quasimodo, for whom he cares, and his spoiled brother Jehan,whom he attempts to reform towards a better life. In the 1923 movie Jehan is the villaindespite Frollo's numerous sins of lechery, failed alchemy and other listed vices. His madattraction to Esmeralda sets off a chain of events, including her attempted abduction

and Frollo almost murdering Phoebus in a jealous rage, leading to Esmeralda's execution.Frollo is killed when Quasimodo pushes him off the cathedral.

  Jehan Frollo is Claude Frollo's over-indulged younger brother. He is a troublemaker anda student at the university. He is dependent on his brother for money, which he thenproceeds to squander on alcohol. Quasimodo kills him during the attack on thecathedral. He briefly enters the cathedral by ascending one of the towers with aborrowed ladder, but Quasimodo sees him and throws him down to his death.

  Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeraldafrom abduction, she becomes infatuated with him, and he is intrigued by her. Alreadybetrothed to the beautiful but spiteful Fleur-de-Lys, he wants to lie with Esmeralda

nonetheless but is prevented when Frollo stabs him. Phoebus survives but Esmeralda istaken to be the attempted assassin by all, including Phoebus himself.

  Fleur-de-Lys de Gondelaurier is a beautiful and wealthy socialite engaged to Phoebus.Phoebus's attentions to Esmeralda make her insecure and jealous, and she and herfriends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys laterneglects to inform Phoebus that Esmeralda has not been executed, which serves todeprive the pair of any further contact—though as Phoebus no longer loves Esmeraldaby this time, this does not matter. The novel ends with their wedding.

  Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court ofMiracles", the domain of the Truands. In order to preserve the secrecy, Gringoire must

either be killed by hanging, or marry a Gypsy. Although Esmeralda does not love him,and in fact believes him a coward rather than a true man — unlike Phoebus, he failed in

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his attempt to rescue her from Quasimodo — she takes pity on his plight and marrieshim. But, because she is already in love with Phoebus, much to his disappointment, shewill not let him touch her.

  Sister Gudule, formerly named Paquette la Chantefleurie, is an anchoress, who lives inseclusion in an exposed cell in central Paris. She is tormented by the loss of her daughter

Agnes, whom she believes to have been cannibalised by Gypsies as a baby, and devotesher life to mourning her. Her long-lost daughter turns out to be Esmeralda.

  Louis XI is the King of France. Appears briefly when he is brought the news of the riotingat Notre Dame. He orders his guard to kill the rioters, and also the "witch" Esmeralda.

  Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to captureEsmeralda.

  Henriet Cousin is the city executioner, who hangs Esmeralda.

  Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is alsodeaf.

  Jacques Charmolue is Frollo's friend in charge of torturing prisoners. He gets Esmeraldato falsely confess to killing Phoebus. He then has her imprisoned.

  Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescueEsmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventuallykilled during the attack by the King's soldiers.

  Pierrat Torterue is the torturer who tortures Esmeralda after her interrogation. He hurtsEsmeralda so badly she falsely confesses, sealing her own fate. He was also the officialwho administered the savage flogging awarded to Quasimodo by Barbedienne.

Major themes[edit] 

The novel's original French title, Notre-Dame de Paris (the formal title of the Cathedral)

indicates that the Cathedral itself is the most significant aspect of the novel, both the mainsetting and the focus of the story's themes. With the notable exception of Phoebus andEsmeralda's meeting, almost every major event in the novel takes place within, atop, andaround the outside of the cathedral, and also can be witnessed by a character standingwithin, atop, and around the outside of the cathedral. The Cathedral had fallen into disrepairat the time of writing, which Hugo wanted to point out. The book portrays the Gothic era asone of the extremes of architecture, passion, and religion. The theme of determinism (fateand destiny) is explored as well as revolution and social strife.[1] 

The severe distinction of the social classes is shown by the relationships of Quasimodo andEsmeralda with higher-caste people in the book. Readers can also see a variety of modernthemes emanating from the work including nuanced views on gender dynamics.[citation

needed ] For example, Phoebus objectifies Esmeralda as a sexual object. And, while Esmeralda isfrequently cited as a paragon of purity — this is certainly how Quasimodo sees her — she isnonetheless seen to create her own objectification of the archer captain, Phoebus, that is atodds with readers' informed view of the man.

In the novel, Hugo introduces one of several themes in the preface and the first story ofbook one, title “The Gran Hall.” This theme is the exploration of cultural evolution an

how mankind has been able to almost seamlessly transmit its ideas from one era to anotherthrough literature, architecture, and art. Hugo explores the cultural evolution not only

between medieval and modern France but also the ancient worlds of Greece and Rome, andhe continues to elaborate on this theme throughout the entirety of the first book.

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Another important theme in the novel is that a person cannot be judged by their looks orappearance. Since Frollo is a priest, a person would normally assume him to be a kind andrighteous man. In truth, he is despicably cruel, manipulative, and evil. In contrast, mostpeople judged Quasimodo to be the devil because of his disfigured outward appearance.Inside, however, he is filled with love and kindness. Esmeralda is also misjudged; because

she is a gypsy, the people of Paris believe she is evil; but like Quasimodo, she is filled withlove and kindness. Phoebus is good looking and handsome, but he is vain, selfish, villainous,and untrustworthy.

Before his story begins, Hugo establishes the theme of cultural evolution in the preface ofthe novel. Hugo writes that he had found the word "ANANKH" chiseled into the stone, butthat it was later whitewashed over or scraped away. He continues, "These Greek capitals,black with age, and quite deeply graven in the stone, with I know not what signs peculiar toGothic calligraphy imprinted upon their forms and upon their attitudes, as though with thepurpose of revealing that it had been a hand of the Middle Ages which had inscribed themthere, and especially the fatal and melancholy meaning contained in them, struck the authordeeply." In chapter IV it is revealed that the word means "Fate."

In the preface, it is obvious that Hugo is already recognizing the cultural similarities betweenancient and modern times. Hugo states that the ideas represented in the epochs andlegends of ancient Greece are so similar to the ideas of the medieval world that it almostseems as if the ancient scribes were actually written by a medieval man himself. Hugoimplies that the reason the two eras’ ieas are so similar is their transmission from one era

to another through literature and the written word. In ancient Greece, epochs and legendswere often inscribed on stone tablets. Since these ancient scribes have been passed downfrom generation to generation, they have become a very strong influence in the medieval

world, a time in which ancient European works were celebrated and cherished. Also, theidea of printing literature on a medium for one to read was transmitted through both eras.However, instead of being inscribed on stone tablets, literature was printed of paper andparchment starting in the medieval era.

In this example, Hugo describes the importance of architecture and how it is an indication ofa society’s values an ieals. The ornate an illustrious architecture that lies in ruins in Paris

inicates the society’s ying passion for enrichment, art, an beauty. This passion is

regenerated during the Renaissance, in which ancient art and lifestyles were revered. Again,Hugo gives credit to the more ancient societies for this inherent passion. Hugo states thatalthough the original structures and buildings of ancient France may be decrepit or in ruins,

it is their architectural beauty that inspired the gothic style of the medieval era. Hugoacknowleges this inspiration when he states: “The wor Gothic, in the sense in which it is

generally employed, is wholly unsuitable, but wholly consecrated. Hence we accept it andwe adopt it, like all the rest of the world, to characterize the architecture of the second halfof the Middle Ages, where the ogive is the principle which succeeds the architecture of thefirst period, of which the semi-circle is the father.” 

The theme of Book One of The Hunchback of Notre Dame was cultural evolution. Hugowants to show how people of the world can show their ideals and those from earlier erasthrough literature and technology. Hugo continues to strengthen the idea of culturalevolution between eras of time. Hugo argues that there is another way in which ideas are

passed on between different cultures and eras, and it is through architecture or literature. InChapter One of Book One, Hugo continues to strengthen the idea of cultural evolution

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between eras of time. Hugo argues that there is another way in which ideas are transmittedbetween different cultures and eras, and it is through architecture. Setting and architectureare very prominent in The Hunchback of Notre Dame, and Hugo often goes into great detaildescribing the buildings and monuments of medieval Paris. Hugo relates these structuresand their architectures back to their gothic roots, which date back to ancient times. In one

lengthy escription, Hugo states: “...very little remains of that first dwelling of the kings ofFrance...What has time, what have men done with these marvels? What have they given usin return for all this Gallic history, for all this Gothic art? The heavy flattened arches of M. deBrosse, that awkward architect of the Saint-Gervais portal. So much for art; and, as forhistory, we have the gossiping reminiscences of the great pillar, still ringing with the tattle ofthe Patru.” Throughout the entirety of the Book One, Hugo puts great emphasis on the

transmission of ideas from one era to another through literature, architecture, and art. Hugohad a passion for the Gothic architecture of medieval France and therefore he establishes anemotionally nostalgic tone toward Gothic art that is apparent throughout the novel.

In Book Two of The Hunchback of Notre Dame, Hugo spotlights many forms of loyalty.Quasimoo isplays increible evotion to the priest in Chapter Three; he “remain*s+ on his

knees, with hea bent an hans claspe” in front of the priest. In Chapter Four, the policesquad represents allegiance to the king when its members make their rounds in the streetsof Paris. During these patrols, they surround Quasimodo and rescue the gypsy who hadbecome his prey. The gypsy’s goat is also a symbol of loyalty. It continues to follow hersteadfastly, even when Quasimodo has her captive and when the gypsy flees from thesqua. The three knaves take Gringoire to their ‘king,’ a beggar to whom they remain

unbelievably subservient. Esmeralda shows commitment to mankind when she marriesGringoire for the sole purpose of saving his life; even though she does not love him, shewants him to survive. Gringoire is so dedicated to poetry and philosophy that the verymention of “perhaps” or a mysterious notion is enough to give him a surge of courage orcuriosity, respectively. Pierre Gringoire the poet gives Dom Claude Frollo credit for all of hisintelligence and success and stays loyal to Frollo by making verbal tribute to him when hesays, “It is to him that I to-day owe it that I am a veritable man of letters.” Loyalty is a crucial

topic in Hugo’s secon book within The Hunchback of Notre Dame and its existence andimportance are represented in a variety of ways.

In Book Three, Chapter One has the theme of change from time. Book Three focuses on theCathedral Church of Paris, and its appearance as time has worn it. The narrator describes thecathedral as a place once of beauty, now crumbling as time has passed. Stained-glasswinows have been replace with “col, white panes” and it becomes clear that the narratorlooks on the changes of the church sourly (Hugo). Improvements and modifications of thegreat cathedral have in a sense lessened its internal value. Staircases have been buriedunder the soil of the bustling city, and statues have been removed. The passing time broughtimmense change to the church, often in negative ways. Eras have scarred this church in waysthat cannot be heale. The narrator escribes, “Fashions have wrought more harm than

revolutions,” (Hugo). The modifications and alterations to the cathedral are an unfortunatemark of change in time; the main theme of Book Three.

A theme that occurs in the Book Four of The Hunchback of Notre Dame is love. Love can existin many forms. Love between mother and child, love between one and his hobby, and love

between one and an object are relationships that are all present in the Hunchback of NotreDame. Claude Frollo is the priest of Notre Dame. Growing up, he was a very intelligent boy.

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He was fascinated by science and medicine. He had a love of learning; it was his passion.Later in the story he even turns to science and studying when he feels his life is goingownhill. Learning was Frollo’s love until the ay his parents ie, an he aopte his baby

brother, Jehan. Then he realize “that a little brother to love suffice to fill an entire

existence.” Frollo put all of his focus into caring for Jehan, an he love him unconitionally.

He also aopte another chil later name Quasimoo, for the very reason that “if he  wereto die, his dear little Jehan might also be flung miserably on the plank for foundlings,--all thishad gone to his heart simultaneously; a great pity had moved in him, and he had carried offthe chil.” Although the chil was hieous an no one else wanted him, Frollo promised tocare for him an love him always, as he i with his brother. Quasimoo’s ugliness only

strengthene Frollo’s love for him. When the founling grew up, he was given the position of

bell ringer by his master, Frollo. “He love them [the bells], fondled them, talked to them,unerstoo them.” Quasimoo love his bells; his most belove bell was name Marie (the

largest one). Quasimoo also love his father, Frollo. After all, he “ha taken him in, ha

adopted him, had nourished him, ha reare him…ha finally mae him the bellringer.” Even

when Frollo was unkind to Quasimodo, he still loved him very much. In Book 4, a lovebetween father an son is seen. Frollo love both of his aopte “babies” very much, an

everyone had objects and hobbies that they loved dearly too; Frollo loved to learn, andQuasimodo loved his cathedral bells.

The theme of Chapters One and Two of Book Five is that the new technologies being createdduring this time period were going to destroy the knowledge of the past, and hide it foreverfrom the generations to come. France, at the time Hugo was writing this piece, was in a timeof rebuilding after the French Revolution. The people began to split into two different parts;one was for the republic of France and the other was against. Many changes were occurringduring this time, and people were unsure of where to fall. "The book will kill the edifice," is a

quote Hugo bases much of this chapter on. "The press will kill the church." The quote in fullmeans that the printing press, a new invention, will overpower the church. In Hugo's writinghe says, "In the first place, it was a priestly thought. It was the affright of the priest in thepresence of a new agent, the printing press. It was the terror and dazzled amazement of themen of the sanctuary, in the presence of the luminous press of Gutenberg." The church wasafraid that once the printing press was in full swing the people of France would no longercome and listen to the priests, but rely on the paper. The citizens of France begin to changetheir views and opinions about what they had been taught from previous decades. Theprinting press was a new advancement for the common people, and having a machine thatcould print hundreds of copies of the same written work was an amazement. The printing

press was going to overthrow the church and its influence in the people's lives. "Printing willkill architecture," was another point that Hugo wrote about. Architecture was a way thatpeople communicated. Hugo says, "...the first and most simple one, no doubt, there was inour opinion another, newer one, a corollary of the first, less easy to perceive and more easyto contest, a view as philosophical and belonging no longer to the priest alone but to thesavant and the artist. It was a presentiment that human thought, in changing its form, wasabout to change its mode of expression; that the dominant idea of each generation wouldno longer be written with the same matter, and in the same manner;..." Because the priestswere high, and mostly in charge of French society, they controlled much of the architectureas well. The priests were able to communicate through the buildings, because many of the

edifices in France were religious monuments. The printing press was going to be a new wayof communication which would erase the past from present thoughts. The printing press

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would take over society and the citizens would no longer admire what was once thought ofas magnificent art, but disregard it as just another structure in the place where they lived.The major theme that is present in Book Five is that "The printing press destroysarchitecture". Hugo says that "Architecture is the great book of humanity." Before theprinting press ideas were transmitted through architecture since books could not be easily

mass-produced and large important buildings are well known. Hugo also states that"Architecture is the hand writing of the human race". So it would be easy to spread an ideaby integrating it into the architecture of a building. The invention of the printing presschanged that since now books could be easily mass-produced. It is easier to spread ideasthrough printed text rather than integrating it into the architecture of a building. It is by thisprinciple that Hugo means that the printing press will destroy architecture, sincearchitecture will no longer have the meaning as a major way of construing ideas.Architecture will then only be a form of art and not the sole method of transferring an ideafrom place to place.

One theme that is present throughout literature is that love can have very negative effectson those who are a part of it. This theme is very evident in Book Eleven because all of love'sdestructive characteristics come to fruition. The unrelenting love that Esmeralda has forPhoebus leads to her death when she can not help but call out to him while she is in hidingfrom the King’s soliers, who capture her an take her to the gallows. The maness an

moral decline of Frollo brought about by his obsessive love for Esmeralda leads to his deathwhen Quasimodo throws him off of the bell tower when he laughs at the death ofEsmeralda. "And with a hurried step - making her hurry too, for he never let go of her arm -he went straight up to the gibbet, and pointing to it, “Choose between us,” he sai coolly.

She tore herself from his grasp, fell at the foot of the gibbet, and clasped that dismalsupporter; then she half turned her beautiful head, and looked at the priest over her

shoulder. She had the air of a Madonna at the foot of the cross. The priest had remainedquite still, his finger still raised to the gibbet, and his gesture unchanged, like a statue. Atlength the gypsy girl said to him, 'It is less horrible to me than you are'." This excerpt fromthe novel exemplifies the desperation that Frollo has in his love for Esmeralda and thepassionate feelings for Phoebus that Esmeralda has, because she would rather die than bewith someone else. Another example of love being detrimental to those involved is in thelove that Quasimoo has for Esmerala. This can be seen when he says, “Oh - all that I’ve

ever love!” after seeing the boy of Frollo on the groun below the tower an the boy of

Esmeralda hanging in the distance. This quote helps to show that all of the love in his life hasbeen taken from him. This deadly potential that love can have then catches up with him

when his pure yet obsessive love for Esmeralda leads him to take his own life by joining herin her grave and starving himself to death rather than continuing to live without his love.

Architecture[edit] 

Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied inthe cathedral itself, but as representing throughout Paris and the rest of Europe an artisticgenre which, Hugo argued, was about to disappear with the arrival of the printing press.Claue Frollo's portentous phrase, ‘Ceci tuera cela’ ("This will kill that", as he looks from a

printed book to the cathedral building), sums up this thesis, which is expounded on in BookV, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever was

born a poet became an architect"), arguing that while the written word was heavily censored

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and difficult to reproduce, architecture was extremely prominent and enjoyed considerablefreedom.

Il existe à cette époque, pour la pensée écrite en pierre, un privilège tout-à-fait comparable à

notre liberté actuelle de la presse. C'est la liberté de l'architecture.

There exists in this era, for thoughts written in stone, a privilege absolutely comparable to

our current freedom of the press. It is the freedom of architecture. 

—Book V, Chapter 2 

With the recent introduction of the printing press, it became possible to reproduce one'sideas much more easily on paper, and Hugo considered this period to represent the lastflowering of architecture as a great artistic form. As with many of his books, Hugo wasinterested in a time which seemed to him to be on the cusp between two types of society.[2] 

The major theme of the third book is that over time the cathedral has been repaired, but the

repairs and additions have made the cathedral worse: "And who put the cold, white panes inthe place of those windows" and "...who substituted for the ancient Gothic altar, splendidlyencumbered with shrines and reliquaries, that heavy marble sarcophagus, with angels' headsand clouds" are a few examples of this. This chapter also discusses how, after repairs to thecathedral after the French Revolution, there was not a significant style in what was added. Itseems as if the new architecture is actually now uglier and worse than it was before therepairing.

Literary significance and reception[edit] 

Hugo introduced with this work the concept of the novel as Epic Theatre. A giant epic about

the history of a whole people, incarnated in the figure of the great cathedral as witness andsilent protagonist of that history. The whole idea of time and life as an ongoing, organicpanorama centered on dozens of characters caught in the middle of that history. It is thefirst novel to have beggars as protagonists.

Notre Dame de Paris was the first work of fiction to encompass the whole of life, from theKing of France to Paris sewer rats, in a manner later co-opted by Honoré de Balzac,GustaveFlaubert and many others, including Charles Dickens. The enormous popularity of the bookin France spurred the nascent historical preservation movement in that country and stronglyencouraged Gothic revival architecture. Ultimately it led to major renovations at Notre-Dame in the 19th century led by Eugène Viollet-le-Duc. Much of the cathedral's present

appearance is a result of this renovation.