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The Hunchback of Notre Dame by Victor Hugo
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The Hunchback of Notre Dame (1831)

by Victor Hugo

Other authors: See the other authors section.

MembersReviewsPopularityAverage ratingMentions
10,927136421 (3.93)357
A retelling of the tale, set in medieval Paris, of Quasimodo, the hunchbacked bellringer of Notre Dame Cathedral, and his struggles to save the beautiful gypsy dancer Esmaralda from being unjustly executed.
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» See also 357 mentions

English (121)  French (5)  Italian (3)  Spanish (3)  Dutch (3)  All languages (135)
Showing 1-5 of 121 (next | show all)
Hugo will never be one of my favorite authors because, while I can tolerate his lengthy digressions, I don't really like them. I found myself surprisingly angry by the end of the book; I guess my tolerance for men obessessed with a woman and making it all her fault has substantially diminished.

It is an excellent book and the characters are all well portrayed - I think it is because Claude Frollo was so believable that he made me so mad! ( )
  leslie.98 | May 10, 2020 |
The Hunchback of Notre Dame by Victor Hugo is a historical fiction novel that was originally published in France during 1831. The story is set in Paris during the 15th century and is centred around Quasimodo, a deformed bell ringer and his unrequited love for the beautiful dancer Esmeralda, who believes herself to be a gypsy. These two originally meet at the Feast of Fools where Quasimodo is elected “Pope of the Fools” and then beaten by an angry mob. Esmeralda takes pity on him and offers him a drink of water. Quasimodo immediately falls in love with the girl and decides to devote his life to protecting her.

Esmeralda has other admirers, the evil Archdeacon Dom Claude Frollo and her choice, Captain Phoebus de Chateaupers. Due to Frollo, Esmeralda becomes a suspect in the attempted murder of her love and is arrested, put on trial and sentenced to death after she is forced to falsely confesses to both the murder and to witchcraft. Quasimodo attempts to shelter her in the cathedral but Frollo interferes and Esmeralda is released to the ranting crowd leaving Quasimodo to take his vengeance upon Frollo.

This famous tragedy plays out in one of the enduring symbols of Paris, the Notre Dame Cathedral. Hugo paints a vivid story that also shines a light on life in the 15th century. While the author explores what it meant to be labelled a “monster”, the real star of the book is the historic Gothic architecture that Hugo wanted to see preserved. Although this story has been adapted many times, very few adaptations tell the actual story, most revise the ending to give the audience a happy conclusion.

I have been reading this book on and off since last November by installments and as happy as I am to be able to say that I have completed this read, I can’t say that I really felt involved in the story. I think I brought too many preconceptions with me, and the disjointed reading also played a part in my disconnection from the story. ( )
  DeltaQueen50 | Apr 25, 2020 |
This book was mentioned on Episode 2 of Checking Out. Listen here!
  rachelreading | Apr 20, 2020 |
5 stars, because this books gets a free pass for everything:
* Entire chapters that should have been cut out, like the first two at least,
* comically ludicrous coincidences
* everyone loves the beautiful girl
* the church is unremitting evil, the beautiful gypsy is unremitting good
* every single thing is laid on with a ~~trowel~~ wheelbarrow.
* the mild, only, presence of a plot
* the overwhelming attempt to make everything into a symbol.
* Ok, ok, Notre-Dame had a mystical past. We get it.

It's just so much fun (eventually, when every 10-pages or so something happens) AND it invented the romantic novel at the same time.

So 5 well-deserved stars. ( )
  GirlMeetsTractor | Mar 22, 2020 |
Showing 1-5 of 121 (next | show all)
Au point de sembler plus vraie que la vraie. Bref, un roman-cathédrale.
added by Ariane65 | editLire (Mar 1, 2002)
 
In Notre-Dame de Paris Hugo’s dreams are magnified in outline, microscopic in detail. They are true but are made magical by the enlargement of pictorial close-up, not by grandiloquent fading. Compare the treatment of the theme of the love that survives death in this book, with the not dissimilar theme in Wuthering Heights. Catherine and Heathcliff are eternal as the wretched wind that whines at the northern casement. They are impalpable and bound in their eternal pursuit. A more terrible and more precise fate is given by Hugo to Quasimodo after death. The hunchback’s skeleton is found clasping the skeleton of the gypsy girl in the charnel house. We see it with our eyes. And his skeleton falls into dust when it is touched, in that marvellous last line of the novel. Where love is lost, it is lost even beyond the grave...

The black and white view is relieved by the courage of the priest’s feckless brother and the scepticism of Gringoire, the whole is made workable by poetic and pictorial instinct. It has often been pointed out that Hugo had the eye that sees for itself. Where Balzac described things out of descriptive gluttony, so that parts of his novels are an undiscriminating buyer’s catalogue; where Scott describes out of antiquarian zeal, Hugo brings things to life by implicating them with persons in the action in rapid ‘takes’. In this sense, Notre-Dame de Paris was the perfect film script. Every stone plays its part.
added by SnootyBaronet | editObserver, V.S. Pritchett
 

» Add other authors (483 possible)

Author nameRoleType of authorWork?Status
Hugo, Victorprimary authorall editionsconfirmed
Aken, Jan vanAfterwordsecondary authorsome editionsconfirmed
Alger, Abby LangdonTranslatorsecondary authorsome editionsconfirmed
Antal, LászlóTranslatorsecondary authorsome editionsconfirmed
Bair, LowellTranslatorsecondary authorsome editionsconfirmed
Beckwith, James CarrollTranslatorsecondary authorsome editionsconfirmed
Boor, GerdiTranslatorsecondary authorsome editionsconfirmed
BrugueraEditorsecondary authorsome editionsconfirmed
Cobb, Walter J.Translatorsecondary authorsome editionsconfirmed
Dixon, Arthur A.Illustratorsecondary authorsome editionsconfirmed
Hill, JamesCover artistsecondary authorsome editionsconfirmed
Keiler, WalterTranslatorsecondary authorsome editionsconfirmed
Kool, Halbo C.Translatorsecondary authorsome editionsconfirmed
Krailsheimer, AlbanTranslatorsecondary authorsome editionsconfirmed
La Farge, PhyllisTranslatorsecondary authorsome editionsconfirmed
Laverdel, MarcelIllustratorsecondary authorsome editionsconfirmed
Liu, CatherineTranslatorsecondary authorsome editionsconfirmed
Lusignoli, ClaraTranslatorsecondary authorsome editionsconfirmed
Maurois, AndréAfterwordsecondary authorsome editionsconfirmed
Oorthuizen, WillemTranslatorsecondary authorsome editionsconfirmed
Rhys, ErnestEveryman's Library Editorsecondary authorsome editionsconfirmed
Seebacher, JacquesEditorsecondary authorsome editionsconfirmed
Spitzers, AttieTranslatorsecondary authorsome editionsconfirmed
Stedum, Gerda vanTranslatorsecondary authorsome editionsconfirmed
Sturrock, JohnTranslatorsecondary authorsome editionsconfirmed
Swinburne, A. C.Appreciationsecondary authorsome editionsconfirmed
Terpstra, BasTranslatorsecondary authorsome editionsconfirmed
Verhagen, InekeIllustratorsecondary authorsome editionsconfirmed
וולק, ארזTranslatorsecondary authorsome editionsconfirmed
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Exactly three hundred and forty-eight years, six months and nineteen days have passed away since the Parisians were awakened by the noise of all the bells within the triple walls of the city, the university, and the town, ringing a full peal.
Quotations
Endlich neigte sich der geschworene Buchhändler der Universität, Meister Andry Musnier, zum Ohre des Kürschners der Kleider des Königs mit den Worten:

"Ich sage euch, Herr, das Ende der Welt ist nahe. Man sah nie solche Ausgelassenheit der Studenten. Die verfluchten Erfindungen des Jahrhunderts richten alles zugrunde, die Kanonen, Serpentinen, Bombarden und vor allem die Buchdruckerkunst, diese andere Pest aus Deutschland. Keine Manuskripte! Keine Bücher! Der Druck tötet den Buchhandel! Das Ende der Welt ist nah."
Stets dachte ich, werde es von mir abhängen, den Prozeß zu verfolgen oder fallen zu lassen. Doch jeder böse Gedanke ist unerbittlich und bestrebt, zur Tatsache zu werden; und da, wo ich mich allmächtig glaube, ist das Verhängnis mächtiger als ich. Ach, ach, das Verhängnis ergriff dich, überlieferte dich den furchtbaren Rädern der Maschine, die ich im Dunkel baute. Jetzt bin ich dem Ende nahe. (Claude Frollo)
Die Liebe gleicht einem Baum; sie sproßt von selbst hervor, treibt tiefe Wurzeln in unser Sein und grünt oft noch auf einem gebrochenen Herzen.
Dom Claude begann aufs neue: "Ihr seid also glücklich?" - Gringoire erwiderte mit Feuer: "Auf Ehre, ja! Zuerst liebte ich Frauen, dann Tiere; jetzt liebe ich Steine. Sie sind ebenso unterhaltend wie Tiere und Frauen, aber nicht so treulos."
Der Priester legte die Hand auf die Stirn. Es war seine gewöhnliche Bewegung; dann sprach er: "Wahrhaftig, Ihr habt recht!"
Peter Gringoire war so glücklich, die Ziege zu retten, und erlangte auch einigen Beifall im Tragödien-Dichten. Nachdem er, wie es scheint, alle Torheiten gekostet hatte, die Astrologie, Alchimie, Philosophie und Architektur, kehrte er zur albernsten Torheit, der Tragödie zurück; das nannte er: Ein tragisches Ende nehmen.

Auch Phoebus von Chateaupers nahm ein tragisches Ende: Er verheiratete sich.
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This is the major work for The Hunchback of Notre Dame by Victor Hugo. Please do not combine with abridgements, adaptations, etc.
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Penguin Australia

2 editions of this book were published by Penguin Australia.

Editions: 0140443533, 0451531515

Tantor Media

2 editions of this book were published by Tantor Media.

Editions: 1400102111, 1400109035

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