Works Cited

Works Cited

"Classic - Definition and More from the Free Merriam-Webster Dictionary." Dictionary and Thesaurus - Merriam-Webster Online. N.p., n.d. Web. 2 May 2011. <http://www.merriam-webster.com/dictionary/classic>.

Hugo, Victor. The Hunchback of Notre Dame . New York: TOR, 1996. Print.

"NovelGuide: The Hunchback of Notre-Dame: Theme Analysis." Novelguide: Free Study Guides, Free Book Summaries, Free Book Notes, & More. N.p., n.d. Web. 20 Apr. 2011. <http://www.novelguide.com/TheHunchbackofNotre-Dame/themeanalysis.html>.

"Victor Hugo Biography - life, family, childhood, children, name, story, death, wife, school." Encyclopedia of World Biography. N.p., n.d. Web. 20 Apr. 2011. <http://www.notablebiographies.com/Ho-Jo/Hugo-Victor.html>.


(NOTE: Hi, Ms. Raleigh. The format on the blog is a little sketchy, and won't let me indent or put links on the blog in plain text in citations.. So, my Works Cited doesn't have indentations, and my links in each citation had to be posted as just that- an actual link. Sorry!)

Personal Reflection

Beth Luttenberger
Ms. Raleigh
ENG 3UE
11 May 2011

Personal Reflection – The Hunchback of Notre Dame

Overall, I found Hugo’s The Hunchback of Notre Dame, though very tragic and unfortunate, to be inspiring. This novel, I felt, inspired me to love and appreciate what is in front of me more than anything else I’ve ever experienced. It made me realize just how good I have it in life, and how I should just embrace all the good things I have. This novel really made me think actually about one of the themes in the novel- human initiative vs. fate. It really made me consider how much of the story – and how much of our lives in general – are determined by our actions and how much of what is left is truly inevitable. In addition, I often found myself feeling a great amount of pity for not only Quasimodo and Esmeralda (as I’m sure was Hugo’s intention) because they could not be with whom they wanted, but also I found myself feeling pity for Frollo, because he was just truly in a terrible situation and nothing could have really been helped much.

One quotation that resounded in me for minutes after reading it is when Quasimodo, after all of his futile attempts to save La Esmeralda , finds her hanging, dead,

"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!" (Hugo 455).

I felt this quotation truly exemplified the tragedy of this story, because it demonstrated how good of a heart Quasimodo had, all he wanted to do is care for the people he loved. He tried to serve his master Frollo, but also to protect Esmeralda, and once the two conflicted with one another, he was literally helpless. The passage fully exemplifies the sorrow that I can imagine would have filled Quasimodo at that moment, because he tried to protect both of the people he loved and in the end both were sacrificed and he lost both of them.

I am truly grateful that I had the opportunity to read The Hunchback of Notre Dame, it was wonderful yet sad, but I found it still had great meaning. It has inspired me now to pursue Les Miserables, Hugo’s other major work of literature, as well as to look into some of his poetry, which I’ve heard is quite beautiful.

Apologia

Luttenberger 1

Beth Luttenberger
Ms. Raleigh
ENG 3UE
11 May 2011

Apologia – The Hunchback of Notre Dame

The definition of a classic over the years has become ambiguous and muddled, though one clear meaning still lies within the word – a classic is something that stands through time, judged to be the highest quality and calibre of its kind (Merriam-Webster). The Hunchback of Notre Dame was a novel written by French romanticist poet Victor-Marie Hugo in 1831, and has been translated several times over. This novel can be considered of the classic archetype not only because of the definition it achieves, but also because of the architecture used in the book to set an atmosphere for the novel, eternal themes used within the novel, and lastly for the lasting impact and influence its story has had on not only literature but also for culture today. Therefore, The Hunchback of Notre Dame can be considered a classic novel.

To begin, architecture used within the novel The Hunchback of Notre Dame is vastly crucial to the novel’s qualification as a classic. This appears to be because the architecture sets an atmosphere of tragic flaw for the story, forebodes what is to come, and also deeply represents the time frame used for the novel. An example of this tragic flaw in humanity can be seen when Hugo describes the vast changes made to the French cathedral in the text, “Tempus edox, homo edacior, which I would translate: Time is blind, but man is stupid.” (Hugo 91). Hugo states in the text that,
“Notre-Dame, however, as an architectural monument, is not one of those
which can be called complete, finished, belonging to a definite class. It
is not a Romanesque church, nor is it a Gothic church. It is not typical
of any individual style. Notre-Dame has not, like the abbey of Tournus,
the massive solemn squareness, the round broad vault, the icy bareness,
the majestic simplicity of the edifices which have been based upon the
circular arch” (Hugo 96).
This excerpt, particularly in ‘it is not typical of any individual style’ embodifies and almost symbolizes the idea of Quasimodo’s existence as a whole, with

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conclusions surrounding the idea that Quasimodo, despite ghastly appearance and primitive nature, is still human, and is still capable of thoughts and feelings. Furthermore, a deep sense of foreboding can be seen in Hugo’s passage, “However, when the sun of the Middle Ages has completely set, when the light of the Gothic genius has gone out forever over the horizon of art, architecture, too, becomes more and more pale, colorless, and lifeless” (Hugo 169). This can be seen as an allusion and forewarning to the character of Dom Claude Frollo, exemplifying his transition and ultimate descent into darkness, that at first he is viewed as a holy man with deep roots both in the church and within law and justice, but as time goes on and his lust for La Esmeralda wears him out, he becomes just that; pale, colorless, and lifeless in his being. In addition, exemplification of architecture embodying the time period can be seen in Hugo’s writing,
“If we summarize what we have here very sketchily pointed out, disregarding a thousand detailed proofs and objections, we are led to conclude: that up to the fifteenth century, architecture was the chief recorder for the human race… every thought, no matter how complicated, was embodied in some structure; every idea that rose from the people, every religious law, had its counterpart in monuments; finally, every important thought of the human race was recorded in stone” (Hugo 166).

Lastly, a similarity can be drawn from contrasting images of the untainted cathedral to Quasimodo’s love for La Esmeralda, and the cathedral after hundreds of years of reconstruction and thus deterioration of original structure to Frollo’s sense of morality and purity after his tormenting thoughts and lusting after La Esmeralda. Thus, through the use of symbolic architecture, The Hunchback of Notre Dame proves to be a classic novel.

The Hunchback of Notre Dame can be considered a classic in the respect that there are eternal themes of literature prevalent in the novel. A theme abundantly evident within the novel is that of Human Initiative vs. Fate (Notre-Dame: Theme Analysis). This theme can easily be explored in the destiny sought out by Dom Claude Frollo, in the way that Frollo was ultimately destined for temptation at least once in his life, but it was his way of reacting and coping with his lust that in the end brought his downfall. An example of initiave vs. fate within the character Frollo can be seen in Hugo’s text,

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“He stirred up from the bottom of his heart all his hatred, all his wickedness; and he discovered, with the cool eye of a physician examining a patient, that this hatred, this wickedness, were but vitiated love-that love, the source of every virtue in man, turned to things horrible in the heart of a priest-and that a man constituted as he was, by making himself a priest made himself a demon" (Hugo 386).
Another eternal theme prevalent within the text is that of unresolvable and inevitable conflict. This connection can be drawn between Quasimodo’s unrequited pure love for Esmeralda and wish to protect her. This is further developed with Esmeralda’s contrasting infatuation with Phoebus, whilst he has no use of her but for sexual desires, then Frollo’s comparing lust for Esmeralda when he is faced with the decision to either give up his religion and morality in order to satisfy human needs, or to abstain from succumbing to his desires and instead remain tormented by his thoughts. This theme is even more so evident at the end of the novel, when Quasimodo sees Esmeralda dead, in the passage,
“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!” (Hugo 455).
This text demonstrates unresolvable conflict because it shows how no matter what Quasimodo may attempt to do, there were conflicting forces within society, and Esmeralda’s death was practically inevitable. Therefore, eternal themes used within Victor Hugo’s The Hunchback of Notre Dame enable it to qualify as a classic novel.

Lastly, Hugo’s The Hunchback of Notre Dame qualifies as a classic novel because of its concept of the protagonist outcast that has thus been used in literary culture since. The outcast yet pure-of-soul protagonist has been seen in important novels since The Hunchback of Notre Dame such as Dostoevsky’s Crime and Punishment and Notes From Underground, Camus’ The Stranger, Salinger’s Catcher in the Rye and Dumas’ The Count of Monte Cristo. Though the outcast motif certainly did not originate strictly from Notre Dame, the novel did succeed in weaving a timeless concept into its presentation. The outcast-protagonist in novels tends to

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always have good intentions and feelings, and almost always shows deep morality and empathy – putting others often before themselves. Hugo’s biography states that, “due to Hugo's loneliness from his wife's rejection, he fell in love with the young actress and prostitute” (Victor Hugo Biography). This need and want for companionship can be connected to Quasimodo’s loneliness due to isolation from society, and thus his development of romantic feelings for La Esmeralda. This allusion proves the outcast archetype critical because it connects real physical situations in life with the fictitious text created by Hugo. In summary, The Hunchback of Notre Dame can be considered a classic novel because it uses lasting concepts still used in important texts today.

In conclusion, Hugo’s The Hunchback of Notre Dame proves to exist as a classic novel not only because it qualifies as the definition of a classic novel, but because it contains architectural references that reflect the time frame and symbolize the story, eternal themes such as human initiative vs. fate and unresolvable conflict, and contains lasting concepts such as the concept of the protagonist outcast that are still used today. Therefore, Victor Hugo’s The Hunchback of Notre Dame does completely qualify as a piece of classic literature.

Reading Response # 4

Reading Response #4
Conflict
Lastly, Hugo enforces conflict in the last significant point of the novel; when Esmeralda is faced with Frollo's ultimatum, discovers her mother in the recluse Gudule, and Quasimodo kills Frollo and then sees Esmeralda's hanging body and disappears; not to be seen again until many years later when a gravedigger discovers the skeleton of a hunchback curled up to the skeleton of La Esmeralda. This final confrontation between the three main characters puts two at a crossroads; Frollo must give in to Esmeralda and abandon all religion or sustain his religion and allow Esmeralda to die, Esmeralda must be with someone she does not love or choose death and thus freedom; Quasimodo, however, has no such say. He is only subjected to observation of the tragic events that occur and after killing Frollo due to emotional turmoil, is forced with no choice but to die alongside Esmeralda in order to achieve peace. This can be represented in the passage where Quasimodo sees Esmeralda's body hanging,
"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!" (pg. 455)
The quotation explains the conflict in the novel. Quasimodo is conflicted with himself because he wishes so much for Esmeralda to return his love, and goes out of his way to save her and care for her, but Esmeralda is smitten with the handsome but immoral Phoebus, and even she cannot reach past human's superficial tendencies to love the malformed being. Quasimodo was taunted with the possibility of love, and with the possibility of this love before him, has also killed his master who he has exhibited nothing but humble devotion and trust to in his whole life. This quote exemplifies the theme of tragedy and conflict in the novel because it demonstrates how Quasimodo has lost, as he said, 'all he's ever loved', and now must live with the encroaching guilt. This is why Quasimodo chooses to die with Esmeralda; because he can not bear the physical conflict that has just happened, but also the emotional conflict that will surely manifest in him soon after. Frollo experienced the conflict of giving in to lust and all that he loathes, or remaining with his clergy and continuing to take care of the ones he loves: Jehan and Quasimodo. Esmeralda faced great inner conflict during this pivotal moment because he came to the final realisation that Phoebus will not come rescue her, so she must choose between an imprisoned life with Frollo, who only lusts and obsesses for her, or choose death. She soon chooses death, stating,
"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 said coolly. She tore herself from his grasp, fell at the foot of the gibbett, and clasped that dismal supporter; 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 remained quite still, his finger still raised to the gibbet, and his gesture unchanged, like a statue. At length the gipsy girl said to him, 'It is less horrible to me than you are" (pg. 424).
Hugo overall, does a phenomenal job of presenting both inner and outer conflict in the final and most crucial part of the novel. He shows both the beauty and the tragedy of unrequited love and effectively and eloquently points out critical flaws in society and the way in which it thinks and consequently behaves.

Reading Response # 3

Response # 3
Theme
The third pivotal moment within the novel is when Quasimodo saves Esmeralda herself from being hanged, and rushes her to the cathedral, claiming "Sanctuary!" and thus saving Esmeralda. It is shown in the quotation from the novel,
"A minute afterwards he appeared upon the upper platform, still bearing the gypsy in his arms, still running wildly along, still shouting 'Sanctuary!' and the crowd still applauding. At last he made a third appearance on the summit of the tower of the great bell. From thence he seemed to show exultingly to the whole city the fair creature he had saved; and his thundering voice, that voice which was heard so seldom, and which he never heard at all, thrice repeated with frantic vehemence, even in the very clouds, 'Sanctuary! Sanctuary! Sanctuary!'" (pg. 477-478)
A similarity can be cast from the untainted cathedral to Quasimodo's love and there fore actions and behaviour in order to save La Esmeralda. The theme of unresolvable conflict is established in the way that Quasimodo wishes so to save and please Esmeralda and have her fall in love with him; but she is in love with Phoebus, who has no sentimental interest whatsoever. It's further developed with the inner turmoil of Dom Claude Frollo, in the way that he must either give up his religion, one of the things he values most, and fall to his lust and unrequited love for Esmeralda and be free, or refuse to succumb to his obsessive urges and remain tormented inside for the rest of his existence. Furthermore, the theme of unresolvable conflict is seen in Esmeralda's "sanctuary" -- she must either remained trapped in the cathedral forever and never do as she pleases and life a free life, or she must travel outside the stone walls and face her peril and ultimate death. Hugo introduces this theme frequently through the progression of the novel, such as when Esmeralda takes Gringoire as her "husband" and save him, or not take him and be faced with the guilt that she let him die. Also, this is exhibited with Esmeralda when she takes pity on Quasimodo and feeds him water; though there is a moment of peace and unity between the two and they stand together in the chaotic world, it is felt by the reader that this peace will not last long, and that feeling is implemented by the recurring theme. Therefore, Hugo establishes a recurring theme of neverending and unresolvable conflict in his novel through situation and dialogue.

Reading Response # 2

Response #2
Tone
La Esmeralda first shows her empathy for others and genuine morality when she takes Pierre Gringoire for her "husband" for four years not because she wants to do so, but only because she wishes to save him. Style is demonstrated here by the literary depiction in the passage,
"Its inmates of both sexes respectfully drew back for her to pass, and at the sight of their brutal faces drew a softer expression. With light step she approached the suffer. Her pretty Djali followed at her heels. Gringoire was more dead than alive. She eyed him for a moment in silence. 'Are you going to hang this man?' said she, gravely, to Clopin." (pg. 80)
It establishes the tone of the humanity despite judgement from so many others. This, though, is not the most crucial point in which this tone is demonstrated. When Quasimodo is set to hang at the gallows, and he begs for water from all the onlookers, all they see is a deformed hunchback who is deserving of death. They see this because he is not like them physically, and so consequently the theory is established that if something isn't just as you are, then it is clearly not worthy of living the life that it has so graciously been granted. Though, La Esmeralda appears before him an gives him a sip of water. This is a pivotal moment in the book because it depicts the tone of tragedy; of two outcasts finding one another in a world thus forth filled with chaos and hate and destruction. This can be seen in the passage,
"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" (pg. 322).
Though, it also establishes the knowledge that even if the two do have each other, nothing will be all right, ever. Even as this happens, Dom Claude Frollo is severely conflicted because he himself has found a love for La Esmeralda that not even he himself is able to control, though is blinded by his prejudice of gypsies. Absurdly enough, whilst Esmeralda and Quasimodo are each persecuted the most within the novel, they appear to be very moral, and have the most sympathy for others, even for those who have hurt them. Hugo establishes his tragic tone in this way by juxtaposing the dissimilar; the cruelty of those seemingly "normal" citizens, to the kindness of those tortured for no unsuperficial reason, alluding to the fact that there will at some point be a climactic clash between the two opposing forces.

Reading Response # 1

Response # 1
Character
In my opinion, the first critical point of the novel is the first introduction at the Festival of Fools. This is a crucial moment in the novel because Hugo allows us to view the main characters objectively, through the eyes of others. The reader is allowed an introduction to the quintessential characters used in the tragic historical novel; Quasimodo, La Esmeralda, and . through the eyes of the audience at the Festival, without the influence of the subjective opinions implemented by the author throughout the subsequent chapters. We are first fully introduced to Quasimodo with,
"His prodigious head was covered with red bristles; between his shoulders rose an enormous hump, which was counterbalanced by a protuberance in front; his thighs and legs were so strangely put together, that they touched at no one point but the knees, and, seen in front, resembled to sickles joined at the handles; his feet were immense, his hands monstrous; but with all this deformity, there was a formidable air of strength, agility, and courage, constituting a singular exception to the eternal rule, which ordains that force, as well as beauty, shall result from harmony." (pg. 39)
This paints a beautiful portrait of the misconceived appearance of the character Quasimodo, because it shows how truly all his deformities simple make him stronger and more humane, and foreshadows the extreme level of morality and human emotion the hunchback will exhibit later in the novel, despite his cruel mistreatment. Hugo weaves together the acceleration of the plot and the depiction of the characters eloquently, and proceeds to describe La Esmeralda with such eloquence, stating "She danced, whirled, turned 'round, on an old Persian carpet, carelessly spread on the pavement; and every time her radiant face passe before you as she turned, her large black eyes flashed lightning" (pg. 50). This depicts the issue of sexual allure in conflict to values later presented in the book such as the confliction of Frollo's lust with his faith to religion. Later, depsite a predominant description of Frollo being presented during the Festival of Fools, Hugo more elegantly describes him as Quasimodo's feelings and devotion towards with the passage occurring when Frollo discovers Quasimodo crowned as the Pope of Fools and leads him back to the cathedral,
"With one bound he was before the priest; he looked at him, and dropped upon his knees. The priest pulled off his tiara, broke his crosier, and tore his cope of tinsel. Quasimodo remained kneeling, bowed his head, and clasped his hands. Then ensued between them a strange dialogue of signs and gestures, for neither of them spoke; the priest, erect, irritated, threatened, imperious -- Quasimodo at his feet, humble, submissive, suppliant. And yet, it is certain that Quasimodo could have crushed the priest with his thumb" (page 58).
Hugo uses this moment to symbolize the strong emotional bond and mental connection that has been established between the hunchback and the archdeacon. The dialogue "it is certain that Quasimodo could have crushed the priest with his thumb" used by Hugo foreshadows what is soon to come; the destruction of the relationship and bond of loyalty, and ultimately, the downfall of Frollo by Quasimodo as a result of strong emotional turmoil. Overall, Hugo establishes character with great effectiveness, and uses this depiction of character, intermixed with dialogue in order to allude to the vast development and decay of both the characters and their relationships with one another to come later in the novel.

LINKS & WELCOME

Welcome to my Classic Novel Study! The classic novel I am studying is The Hunchback of Notre-Dame. It was first published in 1831 by Romantic novelist Victor Hugo, who has also written the classic novel Les Miserables. The story first begins on January 6th, 1942. The novel has been adapted in many various texts, such as films and television films, theatre, musical theatre, music, ballet, and even radio adaptations have been read on the air. The novel, originally written in French, has been translated into English nine different times, dates ranging from 1833 to 2006. The intent of this blog is to thoroughly and critically analyze the piece selected and to take the reader through the general story. By doing so, I will be able to establish that The Hunchback of Notre-Dame is an authentic piece of classic literature.
Book Reviews:
http://literarycornercafe.blogspot.com/2009/02/book-review-hunchback-of-notre-dame-by.html
http://parkablogs.com/content/book-review-art-of-hunchback-of-notre-dame

Biography:
http://www.online-literature.com/victor_hugo/

http://www.notablebiographies.com/Ho-Jo/Hugo-Victor.html

Historical Context: http://www.sparknotes.com/lit/hunchback/context.html http://www.bookrags.com/studyguide-hunch/hist.html Cultural Context: (excerpt of critical essay)

http://www.bookrags.com/studyguide-hunch/essay1.html

Geographical Context: http://en.wikipedia.org/wiki/The_Hunchback_of_Notre-Dame#Allusions_to_actual_history.2C_geography_and_current_science

Introduction to Other Works:

http://www.online-literature.com/victor_hugo/les_miserables/