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The novel describes the “sublime and majestic” (119) Notre-Dame cathedral, comparing it to great works of art. It embodies the creativity of the Medieval era in which it was built. The cathedral has undergone many changes over the years, and humans have “done more harm” (122) to it than time has. The cathedral and the art inside have been changed, defaced, removed, altered, and aligned with changing aesthetic desires. French churches, the text notes, are particularly prone to change due to the prevalence of revolutions and changing fashions, and many Gothic structures have been irrecoverably changed. Notre-Dame is a mix of Gothic aesthetics and the Romanesque foundations that underpin it. In its design, one can read the course of history. In addition to aesthetic changes, innovations in technology and construction are evident. Architecture is a collective rather than individual endeavor, the text explains. The novel describes the history of Christian Europe through the cathedral’s design as it evolved throughout the Romanesque, Gothic, and Renaissance eras. Although the outside of Notre-Dame has changed significantly, the interior remains very similar. The text compares the cathedral’s interior to a tree’s trunk and its exterior to a tree’s foliage.
The novel notes that Notre-Dame provides a spectacular view of Paris. Even in the Medieval era, Paris was a large city, and its breadth could be seen from the cathedral’s towers. The text details how the city constantly grew, almost like an organism. Now, in the Medieval period, Paris is split into three districts: the City, the Town, and the University. Each district plays an important part in running the city. The novel describes its bridges, gates, and “weirdly tangled streets” (132), as well as the landmarks that might stand out in Medieval Paris. These sights include courts, universities, churches, and the washerwomen lined up along the Seine. Many of the sights, the novel laments, have been destroyed for purposes of modernization, influenced by the pervasive style at the time and the king who was ruling. The text suggests a preference for the older Parisian styles over the more modern “disfigurement” and recommends climbing the tower of Notre-Dame and listening to the “tumult of bells and chimes” (152) as they echo across the city.
The beginning of Easter is known as Quasimodo Sunday, and 16 years before the beginning of the story, old women gathered outside Notre-Dame. As was customary, a child was left on a nearby bench for adoption by kindly strangers. On this occasion, the old women noted how a certain abandoned baby was particularly ugly. They discussed whether the baby was a miracle or “a real monster” (154). Rich and wise people passed over the chance to adopt the child, until a young priest named Claude Frollo appeared and took the baby into his care. The women shared rumors about Frollo supposedly being “a sorcerer.”
Frollo descended from a wealthy family. Highly educated, he was always a somewhat solitary figure. He worked hard in school and yearned for knowledge, taking in science and medicine as well as religion. He studied ancient languages and art, dedicating his life to the pursuit of knowledge. At age 19, he became an orphan when both his parents died of the plague, and he began caring for his brother, Jehan. Through Jehan, he learned to care about than just studying. He devoted himself to raising young Jehan, learning about the importance of love, and he took his vows as a priest to fund his brother’s education. Entering Notre-Dame as a chaplain, he became popular. During this formative period, he adopted the disfigured baby, naming him Quasimodo in honor of the day they met.
In 1482, Quasimodo is 20, and Frollo has become archdeacon of Notre-Dame. Quasimodo is the appointed bell-ringer. He considers the cathedral his home and has “an indefinable close bond” (163) with Note-Dame, to the point that he is almost a part of the cathedral. He rings the bells like a language of his own and clambers up and down Notre-Dame’s familiar walls with ease, staying hidden lest his appearance terrify outsiders. Isolated from the world, he speaks only to Frollo and, even then, only through a kind of sign language, since the ringing of the bells has made Quasimodo deaf. He is depressed, and people mock his attempts to communicate. Inside the cathedral, he is so alone that he is almost like a prisoner and begins to lose his mind, unable to comprehend the world beyond the walls of Notre-Dame. He avoids people, talking instead to the statues and gargoyles inside the cathedral. To Quasimodo, Notre-Dame may as well be the entire world. Marie, the cathedral’s biggest bell, excites him when it rings. He can feel and even hear the massive Marie ringing. From outside, people see Quasimodo clambering through the rafters. His presence adds credence to the association between the cathedral, Frollo, and witchcraft. Some even speculate that Quasimodo is a demon, but he is more akin to Notre-Dame’s soul. The novel notes that without him, Notre-Dame would feel almost abandoned, like a “skeleton” without flesh.
Quasimodo loves Notre-Dame, and he loves Frollo, who adopted and raised him. He is thankful that Frollo found him the job as bell-ringer and taught him a “mysterious sign language” (171). Therefore, he does anything Frollo asks. He happily puts himself in harm’s way for Frollo and protects him at all costs; their relationship is something like that between a master and a dog.
When Quasimodo is 20, Frollo is 36. Serious and domineering, Frollo remains determined to help Jehan, despite his younger brother’s wayward lifestyle. Frollo enrolls Jehan in the same university that he attended but is horrified by Jehan’s reputation as a prankster who gets into drunken fights throughout Paris. This leads Frollo to further immerse himself in his own studies as a distraction from his brother’s behavior. Since Frollo is not permitted to marry, his only real relationships are with Jehan and Quasimodo. He becomes zealous in his beliefs, resolving to push the boundaries of “permissible” human knowledge. People gossip that this desire has pushed him toward more unnatural practices. Frollo, the great student, lingers around the Holy Innocents cemetery, where his parents (and alchemist Nicholas Flamel) are buried. People believe that he has become obsessed with Flamel, who is said to have discovered the philosopher’s stone. Frollo is one of the few who can decipher the strange symbols carved into Notre-Dame’s facade, which—stories suggest—point to the location of Flamel’s treasure. Frollo and Quasimodo are bound by their mutual love for Notre-Dame. Frollo has a private office there, to which only he has the key. Many suspect Frollo of witchcraft, but he is forthright in pursuing witches and devil worship, trying anyone accused of such practices to distract from the rumors that surround him. People gossip that Quasimodo is a demon sent to drag Frollo down to Hell. Frollo grows old and bitter, torn apart by hidden inner conflict. He becomes less forgiving, particularly toward women (especially Romany women).
Consequently, people fear both Quasimodo and Frollo, the former for his strength and the latter for his severity. Although people mock them from afar, no one dares to get too close. Regardless, the two men are often too lost in thought to notice.
Book 3 is the first instance in which the novel specifically puts the story on hold to provide insight and context to the world of The Hunchback of Notre-Dame. Across two chapters, the text describes the cathedral’s importance as the epitome of Gothic architecture. The cathedral, with its ribbed vaults and pointed arches, represents an aesthetic style that fell out of fashion shortly after the period in which the novel is set. Consequently, the novel presents Notre-Dame as significant for its position with regard to that aesthetic era, depicting the cathedral as a central, significant part of an era that the characters do not know will soon end. In addition, the novel’s descriptions of Medieval Paris echo Notre-Dame’s significance, describing the city in relation to the cathedral and depicting everything exactly how it would appear from the elevated position of Notre-Dame. This depiction not only conveys how Quasimodo literally sees the world but also places Notre-Dame at the center of this world. The cathedral is the ideological center of Medieval Paris, the physical embodiment of a particular moment in history that will soon be lost. In fact, by the time The Hunchback of Notre-Dame was published, the cathedral had fallen into disrepair. The novel’s portrayal of the cathedral’s glorious past, before people and the passage of time ruined it, is a nostalgic longing for a past era.
While Books 1 and 2 of the novel cast Quasimodo as a supporting character, in Book 4 he becomes a key figure. In the early chapters, as portrayed from Gringoire’s perspective, Quasimodo was a terrible spectacle, someone whose election as the Fool’s Pope offered competing, base entertainment to rival the high art (in Gringoire’s mind) of the play. That section of the novel presented Quasimodo as not just physically ugly but representative of the Parisian crowd’s affection for ugly entertainment in juxtaposition to the supposedly refined play. Book 4, however, portrays Quasimodo as a more sympathetic figure. His physical appearance has conditioned his entire life. For Gringoire, Quasimodo’s ugliness lasted a single day; for Quasimodo, it defines his existence. While Gringoire can lose himself in the Court of Miracles and seek to forget about the ugly incident, Quasimodo must endure ridicule every day. His treatment by a hostile society has driven him into isolation. Living in the cathedral, he forms a special bond with Notre-Dame. The stone statues do not mock him; the hideous gargoyles alone offer him a sympathetic ear. In the bells, he finds a way to express his love of beauty to the world. He rings the bells to communicate the few positive emotions in his life. The ringing of the bells celebrates a world apart from his aesthetics. Although Quasimodo is deaf, he can feel the vibration of the bells (and even hear Marie, the biggest one), and they are an essential part of his life. Through them, he can make something beautiful in a world that considers only his ugliness. This joyful expression of beauty juxtaposes the public’s small-minded fear and revulsion at his appearance and counters the novel’s thematic concerns regarding Love as a Destructive Force and The Spectacle of Public Punishment.
In addition, Book 4 presents a nuanced and positive portrait of the character who becomes the novel’s primary antagonist, Claude Frollo, by establishing that Frollo is not at his core evil. He does not dedicate his life to causing pain and suffering. After his parents died, he dedicated his life to raising his younger brother, Jehan. As a result, Jehan’s love of debauchery is an existential injury that Frollo struggles to tolerate. Furthermore, he adopted Quasimodo and found him the job as bell-ringer. Not only is he one of the few people who treats Quasimodo as a person, but he is responsible for gifting Quasimodo the capacity to communicate with the world. In addition to communicating through the bells, Quasimodo speaks with Frollo via a rudimentary sign language that Frollo invented to allow Quasimodo to express himself. These are kind, moral acts by a character who functions as the novel’s chief antagonist. Later in the novel, Frollo commits terrible deeds. He becomes consumed by lust and jealousy, and his character arc illustrates the novel’s theme of Obsession and Fate. As Book 4 shows, however, he was not condemned to this fate or to his later preoccupation with fate to justify his deviation. The good man inside Frollo has been corrupted; he was not born evil.
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