The Hunchback of Notre-Dame

The Hunchback of Notre-Dame
1831 illustration from the first edition of Hunchback
Author	Victor Hugo
Original title	Notre-Dame de Paris
Illustrator	Alfred Barbou (original)
Country	France
Language	French
Genre(s)	Romanticism
Publisher	Gosselin
Publication date	January 14, 1831

The Hunchback of Notre-Dame (French: Notre-Dame de Paris, "Our Lady of Paris") is a novel by Victor Hugo published in 1831. The French title refers to the Notre Dame Cathedral in Paris, around which the story is centered.^[1]

Background

Hugo began to write The Hunchback of Notre Dame in 1829. The agreement with his original publisher, Gosselin, was that the book would be finished that same year. However, Hugo was constantly delayed due to the demands of other projects. By the summer of 1830, Gosselin demanded the book to be completed by February 1831. And so beginning in September 1830, Hugo worked non-stop on the project; he bought a new bottle of ink, a woollen cloak, and cloistered himself in his room refusing to leave his house (except for nightly visits to the cathedral). The book was finished six months later.

Synopsis

The story dates back to January 6, 1482 in Paris, France, the day of the 'Festival of Fools' in Paris. Quasimodo, the deformed bell-ringer of Notre Dame, is introduced by his crowning as Pope of Fools.

Esmeralda, a beautiful Gypsy with a kind and generous heart, captures the hearts of many men, including that of a Captain Phoebus, but especially those of Quasimodo and his adopted father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his lust and the rules of the church. He orders Quasimodo to kidnap her, but the hunchback is suddenly captured by Phoebus and his guards who save Esmeralda. Quasimodo is sentenced to be whipped and ordered to be tied down by the heat. Esmeralda, seeing his thirst, offers him water. It saves her, for she captures his heart.

Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary. Clopin rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda. The King, seeing the chaos, vetoes the law of sanctuary and commands his troops to take Esmeralda out and kill her. When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Frollo betrays Esmeralda by handing her to the troops and watches while she is hanged. Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to a mass grave, lies next to her corpse, crawls off to Esmeralda's tomb with his arms around her body and eventually dies of starvation. Two years later, excavationists find the skeletons of Esmeralda with a broken neck and Quasimodo locked in an embrace.

Characters

• Quasimodo, the titular protagonist. He is the bell-ringer of Notre Dame, and a barely verbal hunchback . Ringing the church bells has made him deaf. When he was a hideous and abandoned baby, he was adopted 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 appearance. The notable occasions when he does leave are his taking part in the Festival of Fools—during which he is elected Fools'-Pope due to his perfect hideousness—and his subsequent attempt to kidnap Esmeralda, his rescue of Esmeralda from the gallows, his attempt to bring Phoebus to Esmeralda, and his final abandonment of the cathedral 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, the protagonist of the story. She is a beautiful young barefoot Gypsy dancer, innocent, close to nature, and naturally compassionate and kind. She is the center of the human drama within the story. A popular 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 for her dramatic rescue by Quasimodo; when the King finally decides to put her to death, he does so in the belief that the Parisian mob want her dead. She is loved by both Quasimodo and Claude Frollo, but falls deeply in love with Captain Phoebus, a handsome military man who only has a passing infatuation with her and whom she believes will protect her. She is 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 stock and gives him a drink of water. Because of this, he falls fiercely in love with her, even though she is too disgusted by his ugliness even to let him kiss her hand.
• Djali (pronounced like "Jolly") is Esmeralda's pet goat. She performs tricks such as writing the word "Phoebus" in moveable letter-blocks, and tapping the number of beats to indicate the month and hour of the day. These tricks delight the citizens at first, but later horrify them, causing them to believe Esmeralda is a witch.
• Pierre Gringoire is a struggling poet. He mistakenly finds his way into the "Court of Miracles", the secret lair of the Gypsies. 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 (he, unlike Phoebus, failed in his attempt to rescue her from Quasimodo), she takes pity on his plight and marries him—although, much to his disappointment, she refuses to let him touch her.
• Claude Frollo is the Archdeacon of Notre Dame. Despite his celibacy vows as a priest, he finds himself madly in love with Esmeralda. He nearly murders Phoebus in a jealous rage from seeing Phoebus on top of Esmeralda. He is killed when Quasimodo pushes him off the cathedral. His dour attitude and his alchemical experiments scared and alienated him from the Parisians, who believed him a sorcerer, and so he lived without family, save for Quasimodo and his spoiled brother Jehan. He serves as the novel's main antagonist.
• Jehan Frollo is Claude Frollo's over-indulged, scallywag younger brother. He is a troublemaker and a student at the university. He is dependent on his brother for money, which he then proceeds to squander on alcohol. Quasimodo kills him during the attack on the cathedral.
• Phoebus de Chateaupers is the Captain of the King's Archers. After he saves Esmeralda from abduction, she becomes infatuated with him, and he is intrigued by her. He is already betrothed, but just wants to lie with her. As he continues talking to and kissing her, Frollo comes from behind and stabs him. Esmeralda faints and upon waking up, finds that she has been framed with killing him. After the events of the novel, he suffers the 'tragedy' of marriage to the beautiful but spiteful Fleur-de-Lys de Gondelaurier.
• 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 her friends respond by treating Esmeralda with contempt and spite. Fleur-de-Lys later neglects to inform Phoebus that Esmeralda has not been executed, which serves to deprive the pair of any further contact. Phoebus and Fleur-de-Lys marry at the end of the novel.
• Sister Gudule, formerly named Paquette la Chantefleurie, is an anchoress, who lives in seclusion 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 devotes her 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 rioting at Notre Dame.
• Tristan l'Hermite is a friend of King Louis XI. He leads the band that goes to capture Esmeralda.
• Henriet Cousin is the city executioner.
• Florian Barbedienne is the judge who sentences Quasimodo to be tortured. He is also deaf.
• Jacques Charmolue gets Esmeralda to falsely confess to killing Phoebus. He then has her executed.
• Clopin Trouillefou is the King of Truands. He rallies the Court of Miracles to rescue Esmeralda from Notre Dame after the idea is suggested by Gringoire. He is eventually killed during the attack by the King's soldiers.

Major themes

The 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 main setting and the focus of the story's themes. Nearly every event in the novel takes place in the cathedral, atop the cathedral or can be witnessed by a character standing within or atop the cathedral. The Cathedral had fallen into disrepair at the time of writing, which Hugo wanted to point out. The book portrays the Gothic era as one of extremes of architecture, passion, and religion. The theme of determinism (fate and destiny) is explored as well as revolution and social strife. The severe distinction of the social classes is shown by the relationships of Quasimodo and Esmeralda with higher-caste people in the book. Hugo is also very concerned with justice, and description of religious fanaticism.^[2]

Architecture

Architecture is a major concern of Hugo's in Notre-Dame de Paris, not just as embodied in the cathedral itself, but as representing throughout Paris and the rest of Europe an artistic genre which, Hugo argued, was about to disappear with the arrival of the printing press. Claude 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 Book V, chapter 2. Hugo writes that ‘quiconque naissait poète se faisait architecte’ ("whoever is born a poet becomes an architect"), arguing that while the written word was heavily censored and difficult to reproduce, architecture was extremely prominent and enjoyed considerable freedom.

Il existe à cette époque, pour la pensée écrite en pierre, un privilége 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's ideas much more easily on paper, and Hugo considered this period to represent the last flowering of architecture as a great artistic form. As with many of his books, Hugo was interested in a time which seemed to him to be on the cusp between two types of society.^[3]

Literary significance and reception

The enormous popularity of the book in France spurred the nascent historical preservation movement in that country and strongly encouraged 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.

Allusions and references

Allusions to actual history, geography and current science

In The Hunchback of Notre Dame, Victor Hugo makes frequent reference to the architecture of the Cathedral of Notre Dame in Paris. He also mentions the invention of the printing press, when the bookmaker near the beginning of the work speaks of "the German pest."

In 2010, British archivist Adrian Glew discovered references to a real-life hunchback who was a foreman of a government sculpting studio in Paris in the 1820s that worked on post-Revolution restorations to the Cathedral.^[4]

Allusions in other works

The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior." ^[5]

Film, TV, or theatrical adaptations

To date, all of the film and TV adaptations have strayed somewhat from the original plot, some going as far as to give it a happy ending. The 1956 film is one of the only ones to end exactly like the novel, although it changes other parts of the story. Unlike most adaptations, the Disney version has the ending that's inspired by an opera created by Hugo himself.

Film

• Esmeralda (1905 film)
• The Hunchback of Notre Dame (1911 film)
• The Darling of Paris (1917 film)
• Esmeralda (1922 film)
• The Hunchback of Notre Dame (1923 film)
• The Hunchback of Notre Dame (1939 film)
• The Hunchback of Notre Dame (1956 film)
• The Hunchback of Notre Dame (1996 film)
• The Hunchback (1997 film)
• Quasimodo d'El Paris (1999 film)
• Saeed Khan Rangeela a Pakistani comedian turned director made a movie named Kubra Aashiq in 1973 inspired from The Hunchback of Notre-Dame, with himself in the lead role of Quasimodo. However it did not fulfill the expectations of the audience and literary circles also did not appreciate it.^[6]

Television

• The Hunchback of Notre Dame (1966 film)
• The Hunchback of Notre Dame (1977 film)
• The Hunchback of Notre Dame (1982 film)
• The Hunchback of Notre Dame (1986 film)

Theatre

• In 1977, an adaptation by Ken Hill was commissioned and staged by the National Theatre in London.
• In 2010, an adaptation by Pip Utton was staged at The Pleasance as part of the Edinburgh Fringe Festival.

Music

• The Hunchback of Notre Dame by Alec R. Costandinos and the Syncophonic Orchestra from 1977, a lush orchestral disco 28 minute epic re-telling the tale of Quasimodo and Esmeralda.

Musical theatre

• Opera "La Esmeralda", by Louise Bertin (1836), libretto by Victor Hugo.
• Opera "Esmeralda", by Arthur Goring Thomas (1883) based on the Victor Hugo novel.
• Opera "Esmeralda", by Dargomyzhsky (1847), also based on the same Victor Hugo novel.
• "Notre Dame", romantic Opera in two acts, text after Victor Hugo by Franz Schmidt and Leopold Wilk; composed: 1902-4, 1st perf.: Vienna 1914
• The Hunchback of Notre Dame (1993), an Off Broadway musical with music by Byron Janis, lyrics by Hal Hackady and book by Anthony Scully ^[7]
• The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace.^[8] After a production at the Mermaid Theatre in London it was published by Samuel French Ltd in 1997 and has received several UK productions as well as productions in New Zealand and Australia. In 2010 it was re-written as a conventional musical, with the new title Notre Dame.^[9]
• In 1999, "Notre Dame de Paris (musical)" opened in Paris and became an instant success. It is considered the most successful adaptation of any novel except for "The Phantom of the Opera" and "Les Misérables." It was also adapted for the stage by Nicholas DeBaubien.^[10]
• From 1999 to 2002, the Disney film was adapted into a darker, more Gothic musical production called Der Glöckner von Notre Dame (translated in English as The Bellringer of Notre Dame), re-written and directed by James Lapine and produced by the Disney theatrical branch, in Berlin, Germany. A cast recording was also recorded in German.^[11] There has been discussion of an American revival of the musical.
• A rock musical version was released in Seattle, Washington in 1998 titled "Hunchback" with music and script by C. Rainey Lewis.^[12]
• A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008 ^[13]

Ballet

• Notre-Dame de Paris – A ballet choreographed by Roland Petit. First performed in 1965 at the Paris Opera.
• The Hunchback of Notre Dame (1998) – choreography and direction by Michael Pink and original music score by Philip Feeney. Currently in the repertoire of Milwaukee Ballet, Boston Ballet, Royal New Zealand Ballet, Atlanta Ballet and Colorado Ballet.
• Ringaren i Notre Dame (Swedish for The Bellringer of Notre Dame; 2009) – choreography by Pär Isberg and original music score by Stefan Nilsson. Its first performance was on 3 April 2009, by the Royal Swedish Ballet at the Royal Swedish Opera, Stockholm.

Radio

The book was twice adapted and broadcast by BBC Radio 4 as its Classic Serial:

• in 5 parts from 6 January to 3 February 1989, with Jack Klaff as Quasimodo
• in 2 parts on 30 November and 7 December 2008, with deaf actor David Bower playing Quasimodo.

Translation history

The Hunchback of Notre-Dame has been translated into English many times. Translations are often reprinted by various publisher imprints. Some translations have been revised over time.

• 1833. Translated by Frederic Shoberl as The Hunchback of Notre Dame. Later revisions.
• 1833. Translated by William Hazlitt as Notre Dame: A Tale of the Ancien Regime. Later revisions.
• 1888. Translated by Isabel F. Hapgood as Notre-Dame de Paris.
• 1895. Translated by M.W. Artois et al., part of the 28-vol The Novels of Victor Hugo, re-printed in the 20th century under other titles.
• 1964. Translated by Walter J. Cobb. In multiple editions, see for example Signet Classics ISBN 0451527887, Pub date 10 April 2001, paperback.
• 1978. Translated by John Sturrock. In multiple editions, see for example Penguin Classics ISBN 0140443533, Pub date 26 October 1978, paperback.
• 1993. Translated by Alban J. Krailsheimer as Notre-Dame de Paris. See Oxford World's Classics ISBN 978-0199555802
• 2002. Revised translation by Catherine Liu of an anonymous 19th century translation. See Modern Library Classics ISBN 0679642579, Pub date 8 October 2002.

Quotations

• A description of Quasimodo upon his election as the fool's pope: "We shall not attempt to give the reader an idea of that tetrahedron nose- that horse-shoe mouth- that small left eye over-shadowed by a red bushy brow, while the right eye disappeared entirely under an enormous wart- of those straggling teeth with breaches here and there like the battlements of a fortress- of that horny lip, over which one of those teeth projected like the tusk of an elephant- of that forked chin- and, above all, of the expression spread over all this-that expression of mingled malice, amazement and sadness." (p. 62)
• On the connection between architecture and culture: "When a man understands the art of seeing, he can trace the spirit of an age and the features of a king even in the knocker on a door." (p. 184)
• Quasimodo's reaction to Esmeralda's gift of a drink of water while he is being heckled on the pillory: "Then from that eye, hitherto so dry and burning, was seen to roll a big tear, which fell slowly down that deformed visage so long contracted by despair. Perhaps it was the first that the unfortunate creature had ever shed." (p. 322)
• Quasimodo, explaining why he won't enter Esmeralda's cell: "The owl goes not into the nest of the lark." (p. 502)
• After Esmeralda's execution: "Quasimodo then lifted his eye to look upon the Gypsy girl, whose body, suspended from the gibbet, he beheld quivering afar, under its white robes, in the last struggles of death; then again he dropped it upon the archdeacon, stretched a shapeless mass at the foot of the tower, and he said with a sob that heaved his deep breast to the bottom, 'Oh-all that I've ever loved!'"

References

Notes

Bibliography

• The Hunchback of Notre Dame, 1831 from the Victor Hugo Website
• Hugo, Victor. The Hunchback of Notre Dame (1996 ed.). Barnes & Noble Books. ISBN 0-7607-0168-7. 
• Rebello, Stephen. The Art of The Hunchback of Notre Dame (1996 ed.). Hyperion. ISBN 0-7868-6208-4. 
• Pascal Tonazzi, Florilège de Notre-Dame de Paris (anthologie), Editions Arléa, Paris, 2007, ISBN 2869597959.

External links

• The Hunchback of Notre Dame at Internet Archive and Google Books, multiple English translations (scanned books original editions color illustrated)
• Notre-Dame De Paris at Project Gutenberg, 1888 English translation by Isabel Florence Hapgood (plain text and HTML)
• The Hunchback of Notre Dame at LibriVox, 1888 English translation by Isabel Florence Hapgood (audiobook)
• Notre Dame de Paris Harvard Classics
• (French) Notre-Dame de Paris at Wikisource (HTML)

The Hunchback of Notre-Dame by Victor Hugo Characters Esmeralda • Claude Frollo • Quasimodo • Captain Phoebus • Clopin Trouillefou • Pierre Gringoire Films Esmeralda (1905) • The Hunchback of Notre Dame (1911) • The Darling of Paris (1917) • Esmeralda (1922) • The Hunchback of Notre Dame (1923) • The Hunchback of Notre Dame (1939) • Notre Dame de Paris (1956) • The Hunchback of Notre Dame (1966) • The Hunchback of Notre Dame (1977) • The Hunchback of Notre Dame (1982) • The Hunchback of Notre Dame (1986) • The Hunchback of Notre Dame (1996) • The Hunchback (1997) • The Hunchback of Notre Dame II (2002) Other adaptations La Esmeralda (1844 ballet) • Notre-Dame de Paris (1998 musical) • Der Glöckner von Notre Dame (1999 musical)