外国经典 》 巴黎聖母院 The Hunchback of Notre-Dame 》
原序 PREFACE.
維剋多·雨果 Victor Hugo
PREFACE.
作傢因不朽的作品而不朽，作品因永生的人物而永生。雨果和《巴黎聖母院》就是這樣。
雄偉壯麗的巴黎聖母院,這座世界上最莊嚴、最完美、最富麗堂皇的哥特式建築，雖然已經歷了八百餘年的風雨滄桑，但其非凡的氣勢和精美的雕飾仍舊豐韻猶存，令人嘆為觀止。
整個巴黎聖母院的建築雖然錯落參差，但卻莊嚴、和諧，倔傲與靈秀巧妙搭配，渾然一體，在宏大和巍峨的主體造型中透出一種莊嚴的神聖感和神秘的奇幻性。整個建築分為3層，從正面看，最下一層是一座尖形拱門，中間一層是3扇碩大的窗子，第三層是一簇排列有序的美麗的欄桿，欄桿上面是兩座尖頂的鐘樓，各高達69米。南鐘樓懸一巨鐘，重達13噸；北鐘樓則匠心獨運地特設了一個187級的樓梯。在兩座鐘樓的中間偏後位置上，半崢嶸半畏葸地露出一個高達90米的尖塔。這鐘樓和尖塔與分置於底層拱門旁的諸多聖經人物雕像、中層窗子旁的亞當、夏娃的雕塑像，以及那扇由37塊玻璃組成的圓形巨窗前面所雕刻的“聖處女像”配合在一起，顯得高深迷離，神秘莫測。
巴黎聖母院不僅建築時間早，而且建築時間長，從1163年動工，到1250年完成，並在14世紀和17世紀分別進行過兩次重大修復。它的建設，幾乎牽動了全巴黎、全法國人的心。據說，南塔樓上那13噸重的巨鐘，在鑄料中所加入的大量金、銀成分，就是用當時巴黎的婦女們慷慨而虔誠地捐獻出來的金銀首飾熔成的。另外，巴黎聖母院所在的位置為巴黎的核心，巴黎的先民高盧———羅馬人，最早就是在這裏建立了巴黎的城市雛形，所以至今計算巴黎到法國全國各地的里程都是以巴黎聖母院為起點的。
儘管巴黎聖母院以其建築宏偉、歷史悠久、雕塑精美、地理位置重要而贏得了永久的光輝和不衰的聲譽，但真正為這座建築物增色敷彩、投光註煌的，還當首推維剋多·雨果的長篇小說《巴黎聖母院》。由於這部長篇小說所涵負的積極的思想意義、深刻的社會內容和對理想與正義的不懈追求與憧憬，而使巴黎聖母院遠遠超越了它作為“建築”和“教堂”的意義，而賦有了全新的社會價值和思想內涵，成為人們心目中革新與保守、拓進與妥協、正義與邪惡、美奐與醜窳進行抗爭並戰而勝之的試金石與分水嶺，成為嚮上精神的聖地和先進思想的熔爐，成為一種對生活和未來的美好的象徵和積極的嚮往。
的確，雨果和他的《巴黎聖母院》為這座聲名遠播的建築平添了無限的活力與魅力，舉凡來到這裏的人，無不懷着對作傢人格形象與精神旗幟的景仰與尊崇。《巴黎聖母院》之所以能夠為巴黎聖母院構築筋骨、鑄造靈魂，使其成為道義與良知的象徵，成為純潔與善良的所在，成為信仰與追求的寄托，成為對“惡”的鞭撻和對“美”的謳歌的形象化的見證，就因為雨果是一個非凡的作傢。他的非凡，主要表現在積極、熱情、頑強、堅韌，對國傢、民族和人民充滿了責任心，一往無前地投入社會變革，用無限的真誠和坦率，明辨是非和支持正義，不顧一切地追求真理。儘管《巴黎聖母院》是雨果青年時期的作品，創作這部長篇小說的時候，雨果還沒有經過在根西島上被流放18年的“煉獄”，他的思想的深刻性還遠不如寫作《悲慘世界》、《九三年》等作品時那樣爐火純青。但即使這樣，《巴黎聖母院》仍舊是現實主義文學創作的一次巨大和極富創新意義的突破。外貌醜陋但內心善良的敲鐘人卡西莫多和美麗的吉卜賽女郎艾絲米拉達已成為不朽的文學形象，而它所代表的社會意義和思想意義，則使巴黎聖母院成為一部永遠耐人尋味和含義無窮的書。
原序
幾年以前，當本書作者去參觀，或者不如說去探索聖母院的時候，在那兩座鐘塔之一的暗角裏，發現墻上有這樣一個手刻的單詞：
’ANA ΓKH
這幾個由於年深日久而發黑並且相當深地嵌進石頭裏的大寫希臘字母，它們那種哥特字體的奇怪式樣和筆法不知標志着什麽，仿佛是叫人明白那是一個中世紀的人的手跡。這些字母所藴含的悲慘的、宿命的意味，深深地打動了作者。
他多方尋思，盡力猜測那痛苦的靈魂是誰，他為什麽一定要把這個罪惡的或悲慘的印記留在古老教堂的額角上之後纔肯離開人世。
在那以後，人們又粉刷過或者打磨過這堵墻，已經弄不清究竟是哪一種原因，字跡就不見了。因為近兩百年來，人們就是如此這般地處置這些卓絶的中世紀教堂的。它們通體都遭受過摧殘，內部的殘破程度和外表上差不多。
神甫粉刷它們，建築師打磨它們，隨後是民衆來把它們拆毀。
因此，關於刻在聖母院幽暗的鐘塔角落上的神秘的單詞，連同本書作者悲傷地敘述的那個一嚮無人知曉的不走運的人物，除了作者在這裏提供的一點脆弱的回憶之外，再沒有留下什麽痕跡了。幾個世紀以前在墻上寫下這個單詞的人已經不在了，永遠不在了。也該輪到這個單詞從教堂的額角上消失了。這座教堂本身或許也會很快從大地上消失吧。
正是由於這個單詞，作者寫下了這部著作。
一八三一年三月。
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.
Hugo began to write Hunchback 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, [citation needed] 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 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 and then abandons him when he is caught and whipped and ordered to be tied down in the heat. Esmeralda, seeing his thirst, offers the hunchback water. It saves her, for she captures the heart of Quasimodo.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo attempted to kill in jealousy, and is sentenced to death by hanging. Crazy with frustrated lust, Frollo has her condemned to death when she refuses to be his. 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
Major
* Quasimodo, the titular protagonist of the story. He is a barely verbal hunchback bell-ringer of Notre Dame. 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.
* 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.
* 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.
* 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.
* 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.
Minor
* 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.
* 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.
* 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.
* Sister Gudule, formerly named Paquette la Chantefleurie, is an anchorite, 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.
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.
The main theme as said in the Disney's adpatation is "Who is the Monster and who is the Man?????"
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.
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."
Victor Hugo lived a few homes away from Victor of Aveyron, the first well-documented feral child, although the inspiration for Quasimodo's character is not directly linked to him.
Allusions in other works
The name Quasimodo has become synonymous with "a courageous heart beneath a grotesque exterior."
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.
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.
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
* The Hunchback of Notre Dame (1993), a dramatic sung-through musical with book and lyrics by Gary Sullivan and music by John Trent Wallace. 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.
* 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.
* 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. 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.
* A musical version, scored by Dennis DeYoung, will open in Chicago at the Bailiwick Reperatory in the summer of 2008
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. Krailsheim 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.
This list is incomplete; you can help by expanding it.
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!'"
PREFACE.
Notre-Dame de Paris
Also known as:
The Hunchback of Notre Dame
by Victor Hugo
A few years ago, while visiting or, rather, rummaging about Notre-Dame, the author of this book found, in an obscure nook of one of the towers, the following word, engraved by hand upon the wall:--
~ANArKH~.
These Greek capitals, black with age, and quite deeply graven in the stone, with I know not what signs peculiar to Gothic caligraphy imprinted upon their forms and upon their attitudes, as though with the purpose of revealing that it had been a hand of the Middle Ages which had inscribed them there, and especially the fatal and melancholy meaning contained in them, struck the author deeply.
He questioned himself; he sought to divine who could have been that soul in torment which had not been willing to quit this world without leaving this stigma of crime or unhappiness upon the brow of the ancient church.
Afterwards, the wall was whitewashed or scraped down, I know not which, and the inscription disappeared. For it is thus that people have been in the habit of proceeding with the marvellous churches of the Middle Ages for the last two hundred years. Mutilations come to them from every quarter, from within as well as from without. The priest whitewashes them, the archdeacon scrapes them down; then the populace arrives and demolishes them.
Thus, with the exception of the fragile memory which the author of this book here consecrates to it, there remains to-day nothing whatever of the mysterious word engraved within the gloomy tower of Notre-Dame,--nothing of the destiny which it so sadly summed up. The man who wrote that word upon the wall disappeared from the midst of the generations of man many centuries ago; the word, in its turn, has been effaced from the wall of the church; the church will, perhaps, itself soon disappear from the face of the earth.
It is upon this word that this book is founded.
March, 1831.
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