shǒuyè>> wénxué>> 外国经典>> 维克多·雨果 Victor Hugo   法国 France   十九世纪的法国   (1802年2月26日1885年5月22日)
shèng yuàn The Hunchback of Notre-Dame
  zuò jiā yīn xiǔ de zuò pǐn 'ér xiǔzuò pǐn yīn yǒng shēng de rén 'ér yǒng shēng guǒ shèng yuànjiù shì zhè yàng
   xióng wěi zhuàng de shèng yuàn , zhè zuò shì jiè shàng zuì zhuāng yánzuì wán měizuì táng huáng de shì jiàn zhùsuī rán jīng liǎo bǎi nián de fēng cāng sāngdàn fēi fán de shì jīng měi de diāo shì réng jiù fēng yùn yóu cúnlìng rén tàn wéi guān zhǐ
  
   zhěng shèng yuàn de jiàn zhù suī rán cuò luò cēncīdàn què zhuāng yán xiéjué 'ào líng xiù qiǎo miào pèihún rán zài hóng wēi 'é de zhù zào xíng zhōng tòu chū zhǒng zhuāng yán de shén shèng gǎn shén de huàn xìngzhěng jiàn zhù fēn wéi 3 céngcóng zhèng miàn kànzuì xià céng shì zuò jiān xíng gǒng ménzhōng jiān céng shì 3 shàn shuò de chuāng sān céng shì pái liè yòu de měi de lán gānlán gān shàng miàn shì liǎng zuò jiān dǐng de zhōng lóu gāo 69 nán zhōng lóu xuán zhōngzhòng 13 dūnběi zhōng lóu jiàng xīn yùn shè liǎo 187 de lóu zài liǎng zuò zhōng lóu de zhōng jiān piān hòu wèi zhì shàngbàn zhēng róng bàn wèi chū gāo 90 de jiān zhè zhōng lóu jiān fēn zhì céng gǒng mén bàng de zhū duō shèng jīng rén diāo xiàngzhōng céng chuāng bàng de dāngxià de diāo xiàng shàn yóu 37 kuài chéng de yuán xíng chuāng qián miàn suǒ diāo de shèng chǔnǚ xiàng pèi zài xiǎn gāo shēn shén
  
   shèng yuàn jǐn jiàn zhù shí jiān zǎoér qiě jiàn zhù shí jiān chángcóng 1163 nián dòng gōngdào 1250 nián wán chéngbìng zài 14 shì 17 shì fēn bié jìn xíng guò liǎng zhòng xiū de jiàn shèjīhū qiān dòng liǎo quán quán guó rén de xīn shuōnán lóu shàng 13 dūn zhòng de zhōngzài zhù liào zhōng suǒ jiā de liàng jīnyín chéngfènjiù shì yòng dāng shí de men kāng kǎi 'ér qián chéng juān xiàn chū lái de jīn yín shǒu shì róng chéng delìng wài shèng yuàn suǒ zài de wèi zhì wéi de xīn de xiān mín gāo héng héng héng luó rénzuì zǎo jiù shì zài zhè jiàn liǎo de chéng shì chú xíngsuǒ zhì jīn suàn dào guó quán guó de chéng dōushì shèng yuàn wéi diǎn de
  
   jìn guǎn shèng yuàn jiàn zhù hóng wěi shǐ yōu jiǔdiāo jīng měi wèi zhì zhòng yào 'ér yíng liǎo yǒng jiǔ de guāng huī shuāi de shēng dàn zhēn zhèng wéi zhè zuò jiàn zhù zēng cǎitóu guāng zhù huáng dehái dāng shǒu tuī wéi duō · guǒ de cháng piān xiǎo shuō shèng yuàn》。 yóu zhè cháng piān xiǎo shuō suǒ hán de de xiǎng shēn de shè huì nèi róng duì xiǎng zhèng de xiè zhuī qiú chōng jǐngér shǐ shèng yuàn yuǎn yuǎn chāo yuè liǎo zuò wéijiàn zhùjiào tángde ér yòu liǎo quán xīn de shè huì jià zhí xiǎng nèi hánchéng wéi rén men xīn zhōng xīn bǎo shǒutuò jìn tuǒ xiézhèng xié 'èměi huàn chǒu jìn xíng kàng zhēng bìng zhàn 'ér shèng zhī de shì jīn shí fēn shuǐ lǐngchéng wéi xiàng shàng jīng shén de shèng xiān jìn xiǎng de róng chéng wéi zhǒng duì shēng huó wèi lái de měi hǎo de xiàng zhēng de xiàng wǎng
  
   díquè guǒ de shèng yuànwéi zhè zuò shēng míng yuǎn de jiàn zhù píng tiān liǎo xiàn de huó mèi fán lái dào zhè de rén huái zhe duì zuò jiā rén xíng xiàng jīng shén zhì de jǐng yǎng zūn chóng。《 shèng yuànzhī suǒ néng gòu wéi shèng yuàn gòu zhù jīn zhù zào líng húnshǐ chéng wéi dào liáng zhī de xiàng zhēngchéng wéi chún jié shàn liáng de suǒ zàichéng wéi xìn yǎng zhuī qiú de tuōchéng wéi duìède biān duìměide 'ōu de xíng xiàng huà de jiàn zhèngjiù yīn wéi guǒ shì fēi fán de zuò jiā de fēi fánzhù yào biǎo xiàn zài qíngwán qiángjiān rènduì guó jiāmín rén mín chōng mǎn liǎo rèn xīn wǎng qián tóu shè huì biàn yòng xiàn de zhēn chéng tǎn shuàimíng biàn shì fēi zhī chí zhèng qiē zhuī qiú zhēn jìn guǎn shèng yuànshì guǒ qīng nián shí de zuò pǐnchuàng zuò zhè cháng piān xiǎo shuō de shí hòu guǒ hái méi yòu jīng guò zài gēn dǎo shàng bèi liú fàng 18 nián deliàn ”, de xiǎng de shēn xìng hái yuǎn xiě zuòbēi cǎn shì jiè》、《 jiǔ sān niánděng zuò pǐn shí yàng huǒ chún qīngdàn shǐ zhè yàng,《 shèng yuànréng jiù shì xiàn shí zhù wén xué chuàng zuò de chuàng xīn de wài mào chǒu lòu dàn nèi xīn shàn liáng de qiāo zhōng rén duō měi de sài láng 'ài chéng wéi xiǔ de wén xué xíng xiàngér suǒ dài biǎo de shè huì xiǎng shǐ shèng yuàn chéng wéi yǒng yuǎn nài rén xún wèi hán qióng de shū


  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!'"
yuán
   nián qiándāng běn shū zuò zhě cān guānhuò zhě shuō tàn suǒ shèng yuàn de shí hòuzài liǎng zuò zhōng zhī de 'àn jiǎo xiàn qiáng shàng yòu zhè yàng shǒu de dān
   ANAΓKH
   zhè yóu nián shēn jiǔ 'ér hēi bìng qiě xiāng dāng shēn qiàn jìn shí tóu de xiě men zhǒng de guài shì yàng zhī biāo zhì zhe shénmefǎng shì jiào rén míng bái shì zhōng shì de rén de shǒu zhè xiē suǒ yùn hán de bēi cǎn de mìng de wèishēn shēn dòng liǎo zuò zhě
   duō fāng xún jìn cāi tòng de líng hún shì shuí wèishénme dìng yào zhè zuì 'è de huò bēi cǎn de yìn liú zài lǎo jiào táng de 'é jiǎo shàng zhī hòu cái kěn kāi rén shì
   zài hòurén men yòu fěn shuà guò huò zhě guò zhè qiáng jīng nòng qīng jiū jìng shì zhǒng yuán yīn jiù jiàn liǎoyīn wéi jìn liǎng bǎi nián láirén men jiù shì zhè bān chù zhì zhè xiē zhuó jué de zhōng shì jiào táng de men tōng zāo shòu guò cuī cánnèi de cán chéng wài biǎo shàng chàbù duō
   shén fěn shuà menjiàn zhù shī mensuí hòu shì mín zhòng lái men chāi huǐ
   yīn guān zài shèng yuàn yōu 'àn de zhōng jiǎo luò shàng de shén de dān lián tóng běn shū zuò zhě bēi shāng shù de xiàng rén zhī xiǎo de zǒu yùn de rén chú liǎo zuò zhě zài zhè gōng de diǎn cuì ruò de huí zhī wàizài méi yòu liú xià shénme hén liǎo shì qián zài qiáng shàng xiě xià zhè dān de rén jīng zài liǎoyǒng yuǎn zài liǎo gāi lún dào zhè dān cóng jiào táng de 'é jiǎo shàng xiāo shī liǎozhè zuò jiào táng běn shēn huò huì hěn kuài cóng shàng xiāo shī
   zhèng shì yóu zhè dān zuò zhě xiě xià liǎo zhè zhù zuò
   sān nián sān yuè


  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.
dìng kān běn sān 'èr nián
  rén men xuān gào běn shū zhè bǎn jiā jìn liǎo zhāngxīnde nèi róngzhè nòng cuò liǎoyīnggāi shuō shìwèi yìn gǎo”。 rén jiā tīng dàoxīndejiù wéi shìxīn xiě de”, ér fàng jìn zhè bǎn de zhāng què bìng shìxīnde men shì zhè zuò pǐn fēn tóng shí xiě chéng dezhuóshǒu tóng shí lái yuán tóng zhǒng gòu men zhí jiù shì shèng yuànyuán gǎo de chéng fēnzài zuò zhě néng jiě zhè zhǒng lèi xíng de zuò pǐn zài wán chéng zhī hòu hái néng yòu shénme xīn de zhǎnzhè shì néng rèn zhǎn dezhào zuò zhě kàn lái xiǎo shuō suǒ yòu zhāng yìng chǎn shēng chū suǒ yòu chǎng yìng xiě jiùzhè shì xiāng dāng yào de yào wéi gòu chéng men chēng zhī wéi xiǎo shuō huò de zhěng shén xiǎo tiān de fēn suí xiě chéngjiē zhī hàn jiē zhǐ huì sǔn hài zhè lèi xíng de zuò pǐn men yīnggāi shì chéng deshēng jiù de
   zuò pǐn dàn chū bǎn de xìng zhì lùn shì fǒu xióng wěizhǐ yào jīng kěn dìngrèn shí xuān jiù tóng yīng 'ér chū liǎo de shēng hǎn guǎn shì nán shì jiù shì yàng liǎo zài néng wéi liǎo jīn hòu shǔ kōng yáng guāng huó zhǐ hǎo tīng zhī rèn zhī de zuò pǐn shì shī bài de suí yào gěi shī bài de zuò pǐn zēng jiā piān zhāng wán zhěng yīnggāi zài chuàng zuò shí jiù shǐ wán zhěng de shù wān qiú jié néng shǐ zài tǐng zhí liǎo de xiǎo shuō yòu bìng de xiǎo shuìnán chéng huó cóng suǒ quē de shēng mìng zài de shēng lái jiù shì duàn tuǐ de fèng quàn yào gěi zhuāng shàng tuǐ
   zhě huì kàn chū jiā jìn de zhè zhāng bìng fēi wéi zhè bǎn 'ér xiě dezhè xiǎng zuò zhě shí fēn zhòng shìběn shū de qián bǎn zhī suǒ méi yòu yìn chū zhè zhāngnǎi shì yóu xiāng dāng jiǎn dān de yuán yīndāng shèng yuànchū bǎn yìn xíng de shí hòubāo kuò zhè sān zhāng yuán gǎo zài nèi de xiē wén jiàn diū shī liǎoyào me shì men chóngxīn xiě chū láiyào me jiù suí zuò zhě kǎo dào zhōng yòu liǎng zhāng duì zhī shí de guǎng fāng miàn 'ér yán zhòng yào xìngdōushì guān shù shǐ dedàn méi yòu zhè liǎng zhāng sǔn xiǎo shuō huò de nèi róng zhě shì kàn chū men de tuō lòu dewéi yòu zuò zhě běn réncái shēn zhī zhè tuō lòu de shì cǎi liǎo rèn tuō lòu de bàn zài jiǎ ruò quán jiǎng qīng chǔ de huà shì de duò xìng shǐ zài zhòng xiě diū shī de sān zhāng zhè rèn miàn qián tuì suō liǎo xiǎng hái gān cuì xiě lìng xiǎo shuō
   xiàn zàidiū shī de zhè sān zhāng chóngxīn zhǎo dào liǎo jiù chéng men fàng hái yuán wèi
   me zhè jiù shì de zuò pǐn de quán mào liǎo yuán xiān xiǎng xiàng de jiù shì zhè yàng yuán xiān xiě chéng de jiù shì zhè yàng guǎn shì hǎo shì huàishì jīng shí jiān kǎo yàn hái zhǐ shì tán huā xiànfǎn zhèng zhè jiù shì zuò zhě suǒ wàng de yàng
   duì xiē jìn guǎn yòu zhe xiāng dāng pàn duàn dàn zài shèng yuàn zhǐ xún qiú qíng jié bēi xìng zāo de zhě lái shuōháo wèn huì rèn wéi chóngxīn zhǎo dào de zhè zhāng bìng méi yòu shénme tài jià zhídàn huò huì yòu lìng wài xiē zhě men bìng rèn wéi duì běn shū yǐn hán de měi xué zhé xué fāng miàn de xiǎng jiā yán jiū shì yòng de shì men zài yuè shèng yuànde tóng shí biàn rèn chuán shì de fēi shì fēnrán hòu bèi rén dàngzuò kuáng wàng tōng guò shī rén de zhè yàng zuò pǐn tàn suǒ shǐ jiā de shù jiā de biāo
   yóu rèn shí dào shèng yuànzhí chéng wéi wán zhěng zuò pǐn bié shì wèile shàng miàn dào guò de xiē zhějiā jìn běn bǎn de zhè zhāngjiāng huì shǐ shèng yuànwán zhěng lái
   zài zhōng de zhāng zuò zhě biǎo bìng qiě zhǎn shì chū zhǒng xìng zài tóu nǎo jiǔ jīng kǎo bìng gēn shēn deguān dāng dài jiàn zhù shù de mòluò guān zhè shù zhī wáng wáng de jiàn jiě héng héng zhào kàn lái zhè wáng jīn shì cóng miǎn de liǎo gǎn dào yòu yào zài zhè shuō míng xià rèqiè wàng jiāng lái néng zhèng míng shì cuò liǎo zhī dào qiē xíng shì de shù duì hái chù zài méng zhuàng tài de yòu cái huá de xīn de dài tuō zhe qiē wàng men zhèng zài men de gōng zuò shì yǒng xiàn chū láizhǒng jìn liǎo lǒng gōufēng shōu kěn dìng zài wàng zhǐ shì dān xīn zhě huì zài běn bǎn 'èr kàn chū shì shénme yuán yīnjiàn zhù shù de lǎo huì shī shēng zhè piàn hǎo shì lái zhí shì zhè shù zuì hǎo de yuán
   rán 'ér dāng jīn de qīng nián shù jiā mendōu yòu bǎo mǎn de shēng mìng jīng bìng qiě shuō shì qián chéng xiàn zhì xiàn jīn jiàn zhù shù xué xiào de jiào shī men suī yànquè jǐn shì zài zhī jué ér qiě shì yóu zhù zào jiù zhe yōu xiù de xué shēngzhè tóng dào de wèi táo gōng zhèng hǎo xiāng fǎn wèi táo gōng zhǐ xiǎng zhì zào shuāng 'ěr wèngquè zuò chéng liǎo guō lún zhuǎn dòng jiù zuò chéng liǎo guō
   shì guǎn zěn yàng guǎn jiàn zhù shù de jiāng lái guǎn men de qīng nián shù jiā men jiāng huì zěn yàng jiě jué men de shù wèn zài men dài zhe xīn de niàn xìng jiàn zhù de shí hòuhái shì lǎo de niàn xìng jiàn zhù bǎo cún xià lái jiǎ ruò néngjiù ràng men duì mín jiàn zhù shù de qíng guàn shū gěi men de mín zuò zhě xuān gàozhè jiù shì de zhè zuò pǐn de zhù yào biāo zhī zhè jiù shì shēng zhuī qiú de zhù yào biāo zhī
  《 shèng yuànhuò zhǎn xiàn liǎo yòu guān zhōng shì shù de mǒu xiē zhēn shí jǐng xiàngzhè zhuó jué shù yòu xiē rén zhì jīn suǒ zhīér gèng zāo de shì lìng xiē rén zhì jīn hái xiè dàn zuò zhě bìng rèn wéi jīng wán chéng liǎo yuàn dān rèn de gōng zuò jīng zài sān wèiwǒ men dài jiàn zhù zuò biàn jīng gāo shēng zhǐ guò duō zhǒng diàn huǐ sǔn xiè dòu de xíng wéi huì jiān chí xiè de jué xīn yào jīng cháng zhè hòu hái yào de hái yào juàn wèi xiē bèi zhǒng shù liú pài xué yuàn pài de shèng xiàng huǐ huài zhě men jié gōng de shǐ xìng jiàn zhùyǎn kàn zhe zhōng shì de jiàn zhù shù luò dào liǎo shénme yàng de rén de shǒu zhōngér qiě ràng xiàn jīn de shuǐ jiàng men bào chǔzhì zhè wěi shù de zhēn shì lìng rén shāng xīnduì men zhè xiē rénduì men zhè xiē yòu xué wèn de rénzhè xiē kàn dào liǎo men de suǒ zuò suǒ wéi què zhǐ xiàng men yāo shēng jiù gǎn dào mǎn de rénzhè jiǎn zhí jiù shì zhǒng chǐ men zhè suǒ shuō de jǐn shì zhǐ xiē shēng zài wài shěng de shì jiànér qiě hái zhǐ xiē shēng zài de shì jiàn xiē shēng zài men de mén kǒuzài men de chuāng xiàzài zhè zuò chéng shì zhè zuò yòu xué wèn deyòu bào zhǐyòu yán lùnyòu xiǎng de chéng shì de shì jiàn
   zhè zhǒng huài wén de xíng wéi shì měi tiān dōuzài men de yǎn xiàzài 'àihào shù de qún zhòng de yǎn xiàdāng zhe bèi zhè lèi zuò fēiwèi gǎo láng bèi kān de píng jiègōng rán bèi cèhuàtǎo lùnzhuóshǒu bìng bèi cháng píng jìng dǎo yǎn chū lái dezài men jié shù zhè piān yán de shí hòu men rěn zhù yào chū zhōng de zhuāng lái shuō shuō men gāng gāng chāi huǐ liǎo zhù jiào de chéng bǎo zuò shì yàng hánchen de jiàn zhù dǎo hái wéi hài shì men jìng hái lián dài chāi huǐ liǎo zhù jiào de què shì hǎn jiàn de shí shì de chāi huǐ de rén jìng méi yòu tóng de jiàn zhù bié kāi lái
   men dào yāng bài cǎo diàofǎn zhèng yàng bài men yáng yán yào fán sài gōng de měi miào xiǎo jiào táng wéi píng zài xiū zhù shí tóu de shénme gōng shìlián duō méi 'ěr huì yào yàng de gōng shì mín zhòng hào fèi zhòng jiàn bàng gōng zhè fèi què tīng rèn shèng xiǎo jiào táng háo huá de huā chuāng bèi fēng guā diàozài shèng · · · xiè jiào táng de zhōng shàngjìn tiān lái liǎo yīng jià zài zuì jìn tiān zài mǒu zǎo chén jiù yào kāi gǎo chāi chú zhè zuò zhōng liǎo shuǐ jiàng gěi rén zhǎo láizhǔn bèi zài gōng de zhuāng yán de lóu zhī jiān gài jiān xiǎo bái
   lìng gěi zhǎo lái chāi huǐ shèng 'ěr màn · dài · léizhè shì zuò yòu sān zuò zhōng de zhōng shì de yuàndāng rán hái huì yòu lìng bèi zhǎo lái chāi huǐ shèng 'ěr màn · é huá jiào táng de xiē chēng wéi jiàn zhù shī de shuǐ jiàng dōushì yóu shěng zhèng huò zhě guān 'ér men gěi qiánér qiě dōuyòu men jiǎ mào fēng fán shì duì zhēn fēng yòu hài de qiē huài shì men suǒ bùwèidāng men xiě dào zhè shíshuō lái tàn men dāng zhōng de zhèng zài chǔzhì gōnglìng zhèng zài cóng zhèng zhōng yāng kǎn shāng fěi bèi 'ěr · luò de qián qiángkàn zhe jiā huǒ gāng gāng yòng bèn zhuō de jiàn zhù shù hòu yán chǐ lái záo tōng zhè zuò wén xīng shí dài zuì jīng zhì de zhèng qiáng shídāng rán louzhè jiù shì men zhè shí dài zhuāng tōng de chǒu shì liǎo
   sān 'èr nián shí yuè 'èr shí
shǒuyè>> wénxué>> 外国经典>> 维克多·雨果 Victor Hugo   法国 France   十九世纪的法国   (1802年2月26日1885年5月22日)