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Several weeks pass. Aloïse de Gondelaurier is a widow, and her daughter, Fleur-de-Lys, is training to work as a companion to the Flemish princess. Aloïse sits beside Phoebus, captain of the royal guards; he ignores a crowd of watching women. Phoebus is engaged to Fleur-de-Lys but has little interest in her. He chats with her to satisfy Aloïse, though Fleur-de-Lys sees his boredom. When someone calls out that Esmeralda is dancing in the square outside, the ladies rush to the balcony. Phoebus hangs back, preferring the company of his fellow soldiers to that of ladies, but recognizes Esmeralda as the woman he saved. The women spot a figure in the towers of Notre-Dame; it is Frollo, who is staring at Esmeralda in a predatory fashion. Fleur-de-Lys remarks that Frollo is known for his hatred of Romany people. She encourages Phoebus to invite Esmeralda into the house. Esmeralda, recognizing the handsome Phoebus, accepts the invitation. Her beauty dazzles the women as she speaks with Phoebus about her foiled kidnapping.
His interest in Esmeralda rankles the women. Jealous, they hurl insults at Esmeralda, who meekly accepts their words. Phoebus, however, praises her. Djali rushes in and disrupts the scene, leading to suggestions that Esmeralda is a witch who has taught magic to her goat. She refuses to divulge the contents of a leather bag tied to a strap around the goat’s neck. As she prepares to leave, Phoebus calls out to her. While she is distracted, Fleur-de-Lys opens the leather bag and finds wooden letters. Djali sees the letters and, as he is trained to do, spells out the name Phoebus. The ladies are delighted, but Esmeralda is deeply embarrassed. Fleur-de-Lys cries, while Phoebus flashes Esmeralda a knowing smile. Before Esmeralda can say anything, Fleur-de-Lys accuses her of being a witch, and the women chase her out of the house. Faced with the choice of following the fleeing Esmeralda or checking on the fainting Fleur-de-Lys, Phoebus follows Esmeralda.
Frollo was watching Esmeralda from the small office in Notre-Dame where he works on his secret projects. He fiercely studies Esmeralda and notices her strangely dressed companion. Knowing that only Djali normally accompanies her, Frollo goes to investigate, passing Quasimodo in the cathedral hallways. Frollo pauses briefly, noticing that Quasimodo is behaving differently, but resumes his descent. When he reaches the square, Esmeralda is gone, but her companion remains. Frollo recognizes Pierre Gringoire, who has given up writing to become a street performer. Frollo interrupts the performance and tells the shocked Gringoire to follow him into Notre-Dame. In the dark hall, Gringoire explains how he became a street performer almost by chance and says that he must perform to make money.
Upon learning that Esmeralda is married to Gringoire, Frollo is angry. Gringoire, however, quickly assures him that Esmeralda remains a virgin. She has taken a vow of chastity, he says, so that her precious amulet might lead her to her unknown parents. She must also carry a dagger, Gringoire notes, to defend herself against men. Gringoire shares everything he knows about Esmeralda. She is young, loves to dance, and has traveled across Europe. She is beloved by many people, except for the woman who lived in the rathole and one particular priest. Gringoire insists that Esmeralda is not a witch. He helps Esmeralda with her street performances, and he reveals to Frollo the way that she trained Djali to seem like he knows magic. Gringoire says that Esmeralda repeats the name Phoebus to herself, but he does not know the name’s significance. After his flurry of anger, Frollo gets ahold of himself. He warns Gringoire against having sex with Esmeralda for the sake of his soul. Gringoire mentions that he once peeped through a hole in the wall and saw Esmeralda preparing for bed. This angers Frollo again, and the priest storms back into the cathedral’s depths.
Parisians notice that lately the Notre-Dame bells do not ring as musically or as frequently. Quasimodo has changed, whether because of his public humiliation or his interaction with Esmeralda. On the day of Annunciation, he wakes up and prepares to ring the bells. He leaps about among his beloved bells and then looks down to the street and sees Esmeralda. He immediately forgets his duty, confusing the people of Paris: The bells of Notre-Dame have stopped.
Some days later, Jehan wakes and realizes that he is broke. He seeks out his brother, hoping that Frollo will give him some money (and steeling himself for a lecture about morals). At Notre-Dame, Frollo is working in his private office. Jehan climbs the stairs and peeks through the gap in the door. He sees his brother in a Faustian setting, sitting pensively and silently in his chair. Alchemy instruments surround him, and the walls are covered in obscure inscriptions. Frollo does not notice his brother. Instead, he reads to himself from a manuscript, muttering about fire and creation, about light and gold, and about the purity of the name Esmeralda. He then sits back in the chair, frustrated that he cannot turn his mind away from this thought. His experiments always end in failure, he moans, as he is taunted by a single matter that stands between himself and his work. He carves a Greek word into the wall and then sinks into his chair with his head in his hands. Jehan, mesmerized by Frollo’s behavior, pretends to have just arrived, surprising Frollo with a knock at the door. Frollo is irritated to see Jehan rather than the person he was expecting: the court official, Jacques Charmolue. When Jehan explains the reason for his visit, Frollo immediately launches into the inevitable lecture. Bemoaning his brother’s lack of education, he challenges Jehan to read the Greek word carved into the wall. Jehan cannot. The word means fatality, Frollo reveals, followed by the word uncleanliness. Frollo interrogates his brother’s need for money and is horrified at Jehan’s admission that he plans to visit a sex worker. Jehan tries a range of insincere tactics to get money from his brother. When they hear a visitor outside the door, Frollo agrees to lend Jehan money if he agrees to hide under a table. Jacques Charmolue enters.
Charmolue greets Frollo. From beneath the table, Jehan recognizes the visitor, who admits to Frollo that his attempts at alchemy have failed. Jehan surmises that Charmolue is Frollo’s student. Frollo changes the subject, asking about a prisoner who has been accused of witchcraft. Charmolue admits that the man has refused to confess to anything. When Charmolue shows Frollo a parchment from the man’s house, he announces that the parchment is covered in Latin incantations. As the men talk about alchemy, Charmolue asks Frollo whether he should bring Esmeralda in for interrogation. Frollo, his face whitening, says that Charmolue should delay. Charmolue continues to talk, but Frollo is no longer listening, instead watching a fly caught in a spider’s web. He stops Charmolue from freeing the fly, advising him to “let fate do its work” (299). Frollo compares Esmeralda to the fly and himself to the spider. At the same time, however, he is also like the fly, as he has been caught in the web of fatality. He squeezes Charmolue’s arm painfully tight as he talks about his philosophical journey. Frollo and Charmolue prepare to leave the room together. When Charmolue hears Jehan chewing a piece of cheese, Frollo claims that the sound is simply his cat. Charmolue suggests, wryly, that this cat is Frollo’s familiar. They leave the room.
Jehan emerges from under the table and looks around his brother’s office. Taking money from Frollo’s wallet, he hurries out. In the square, he hears someone swear. He recognizes Phoebus and invites the guard for a drink, offering to pay with Frollo’s money. They head to a tavern. Frollo follows and watches them, listening to their loud conversation as they boast about their sexual activity. When Esmeralda’s name is mentioned, Phoebus whispers lecherously in Jehan’s ear. He is confident that she will meet him. Frollo is disgusted that they would speak this way about Esmeralda. He watches the men enter a tavern.
The Pomme d’Eve tavern has a reputation for debauchery and drunkenness. Frollo waits anxiously outside in a newly purchased cloak to hide his priestly attire. When the two men emerge, Jehan is very drunk. Phoebus, a more experienced drinker, announces that he must go to meet Esmeralda. When Jehan has no more money to lend him, Phoebus pushes him away. Pausing to study his brother for a moment, Frollo chases after Phoebus. The captain of the guard pauses to urinate on a statue depicting a famous Cardinal and, when he turns around, sees Frollo, who is staring at him with burning hatred. Not recognizing Frollo, Phoebus continues onward, dismissing Frollo as some kind of ghost. Frollo grabs him, demanding to know the name of the woman Phoebus plans to meet and then calling Phoebus a liar when he gives Esmeralda’s name. Phoebus draws his sword but then says that he will duel Frollo another time. When Phoebus realizes that he has no money, Frollo offers to pay for his room if Phoebus allows him to watch the meeting with Esmeralda. Phoebus accepts the deal, and in the room he tells Frollo to hide himself in a cupboard. Phoebus shuts the priest inside.
Cramped inside the cupboard, Frollo feels a terrible sense of mounting fatality. His head throbs, and his face burns. He watches the room through a crack in the cupboard door. Esmeralda enters, and Frollo faints. By the time he wakes, he can see Phoebus sitting beside her on a pallet. She is explaining to Phoebus that she has taken a vow of chastity, and she asks him not to hate her for it. Phoebus begins a rehearsed speech in which he declares his love for Esmeralda, pleasing her. In the cupboard, the furious Frollo grips a dagger tightly. Phoebus begins to undress Esmeralda. At first she is willing, but then she calls out that she wishes they were married before having sex. Phoebus dismisses the idea of marriage. Frollo is increasingly angry. When Phoebus removes Esmeralda’s dress, she is shocked. The amulet hangs atop her breasts and she tries to explain its purpose. When Phoebus taunts her, she relents, agreeing to forsake her vow and accept that she will never find her parents in exchange for being his mistress. Phoebus maneuvers Esmeralda onto the bed, and she lies down. Behind Phoebus, she sees Frollo’s face appear. He stabs Phoebus with his dagger, causing Esmeralda to faint. When she comes to, the injured Phoebus has been taken away. In his place is the landlady, accusing Esmeralda of the attack. Frollo has vanished.
Jehan is an important character in The Hunchback of Notre-Dame. He represents secular society, removed from the rigors of religious life in Notre-Dame. He is not bound to the cathedral, as Quasimodo and Frollo feel they are. He is not bound to anything, seeking a life of immediate pleasure without plans for the future. Jehan drinks heavily, has sex with whomever he pleases, and acts in a way that social and religious norms would generally deem “sinful.” Moreover, Jehan’s behavior is a repudiation of his brother’s status in the Church. Frollo has worked hard to raise his younger brother to be successful but has demonstrably failed. Jehan is highly intelligent but refuses to commit to anything. Instead, he siphons money from his concerned brother and spends it in taverns and on sex workers. While not explicitly criminal, Jehan illustrates the double standard in Medieval French society. Throughout the novel, women work hard to preserve their honor and virtue. Those who do not are ostracized by society. Jehan, in contrast, willingly flouts such restrictions. As a man, he is not bound by the rules that govern the lives of women. Jehan shows the innate prejudices of contemporary society, carrying the unbound spirit of the Festival of Fool’s into everyday life.
In contrast to Jehan, Frollo is an insular and obsessive man. He forsakes every pleasure in the pursuit of intellectual achievement, which is why he is so shocked and appalled with himself for lusting after Esmeralda, hinting at the novel’s thematic concern regarding Obsession and Fate, which becomes central in later chapters. Simply by existing, she tempts him away from the real passions in his life. Many of these passions are not necessarily condoned by the Church. Jehan visits Frollo’s private office, and the lurid scene suggests that, as the rumors circulating around Paris indicate, Frollo has gone beyond the moral boundaries governing magic and witchcraft. Like Jehan, his willingness to dabble in these matters—the same witchcraft that later leads to Esmeralda’s false conviction—illustrates society’s double standards. He knows he will never be punished for performing exactly the kind of magic that he accuses others of performing. An important caveat to Frollo’s dalliance in the magical arts is that (throughout the novel) none of his spells actually work. He may claim to be obsessed with alchemy and the philosopher’s stone, but he does not succeed in proving that either is real. None of Frollo’s “sorcery” results in anything. Esmeralda’s sleight-of-hand tricks and the training of her goat, Djali, further demonstrate the secular world suggested by Frollo’s failure: This is not a world in which magic exists. Despite all the surreal and demonic qualities of Frollo’s office, these decorations are vapid gestures toward a form of witchcraft that demonstrably is not real.
The climax of Book 7 is Frollo’s attack on Phoebus. This incident is a terrible turning point in Esmeralda’s life because she is later convicted of killing Phoebus (despite the fact that he survives). In addition, the novel reveals the extent of her delusion, highlighting the theme of Love as a Destructive Force. In the preceding chapters, Esmeralda convinced herself that the captain of the guards loved her just as much as she loved him. She is still so sure of Phoebus’s love that she agrees to meet with him and then raises the prospect of marriage. As she slowly succumbs to his attempts to seduce her, the text reveals that Phoebus has little romantic interest in Esmeralda. His attraction is physical and fleeting; he is not the good man that she presumes he is. Nevertheless, she allows herself to be deluded. Her delusion is as damaging as that of any other character. The way that she loves is as destructive as the way that Frollo or Quasimodo does. Esmeralda’s delusion reveals her naivete, a reminder that—at 16 years old—she is a child and does not fully understand the world. As Frollo rises up behind Phoebus, ready to stab him, Esmeralda experiences the last few moments of her freedom and her childhood.
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