Customer Reviews

The Hunchback of Notre-Dame

5 star:		(62)
4 star:		(22)
3 star:		(4)
2 star:		(3)
1 star:		(1)

 

 

Contrary to popular opinion the novel Le Notre Dame de Paris by Victor Hugo is not primarily about the deformed bell-ringer Quasimodo. Quasimodo's role is actually surprisingly small in the story, which makes you wonder why the English translater's chose "The Hunchback of Notre Dame" as the translation for the title. Actually, as the original French title would indicate, it is the cathedral itself that is the focus of the book. This is why in the unabridged editions of this book you will find numerous chapters that seemingly have nothing to do with the plot of the story. This is the books weakest point, and it may turn many people away from the book. Once you get into the plot, however, it is iimpossible to put the book down. The characters are intriguing: composer Pierre Gringoire, archdeacon Dom Claude Frollo, once a paragon of virtue now tormented by his corrupt love for a gipsy girl, L'Esmerelda, the naive gipsy dancer, Phoebus, the selfish, egotistical captain of the guards, and of course Qausimodo, a deaf, deformed bellringer. The relationships between these characters are complex and dark but they make an unforgettable story. The story is never, from front to back, a happy one, so if you are looking for a book that makes you "feel good" this is not the one for you. If, on the other hand, you are looking for a good book to read, that is unafraid to deal with the darker side of reality, I highly recommend "The Hunchback of Notre Dame."

Victor Hugo never wrote a book titled THE HUNCHBACK OF NOTRE DAME. Some early translator gave it that name. What Hugo wrote was a book called NOTRE DAME OF PARIS (in French: NOTRE DAME de PARIS). This is not a book that is primarily about a hunchback named Quasimodo or a beautiful Gypsy girl named Esmerelda. It is a book narrowly focused on the Cathedral of Notre Dame situated on the Ile de la Cite in the center of Paris and, more broadly, on the 15th century city of Paris. This was a Paris where public executions or any form of punishment involving public humiliation were the highest forms of entertainment and drew the kinds of crowds that we would see at a major sports event today. If this book is not read with this in mind, the reader might well be disappointed because he came to it with a different sort of book in mind. I would like to congratulate the one previous reviewer who reviewed the book on the basis of its actual scope and intent.

Now to the human aspects of the novel, the plot so to speak: There are no perfect angels in this book. After all, Esmerelda was a part of a band of thieves who came to public gatherings for the express purpose of seeing what they could "gather" for themselves. Quasimodo was not a misshapen humanitarian. He had been known to carry out a dirty deed or two himself. As for the rest of the characters, there's not a role model in the bunch. To Hugo's credit, we really care about Quasimodo and Esmerelda, "warts and all." This is one indication of good writing.

The basic plot, devoid of any embellishments, is rather simple. Esmerelda, out of humanitarian instincts, comes to Quasimodo's aid in a small but meaningful way when he really needs a friend. Quasimodo, as best as he is able, falls in love with Esmerelda. When the arch villain, Archdeacon Dom Frollo, who is also in love with Esmerelda but has been rejected by her, tries to have her hanged, Quasimodo saves her, but only for a while. Eventually she is executed under circumstances where Quasimodo can't came to her rescue. Quasimodo throws our villain, Dom Frollo, to his death from the heights of the cathedral.

In a way, its a shame that when an author creates a memorable character, or an opera composer writes an unforgettable aria, these creations take on such lives of their own that they overshadow the novel or opera from which they come. That has certainly been one of the fates of this book. Too many readers have come to it searching for the cute little Disney Quasimodo, or even Charles Laughton's unforgettable Quasimodo from the 1939 movie. When it turned out that the scope of this book was so much more comprehensive, they were disappointed for all the wrong reasons.

A note about reading Hugo, or any other author worth reading. One should read for enjoyment, and, where it is available, for information that will increase one's understanding of this world. I have noticed that several reviewers, some of whom didn't like this book, talked of its length, or of Hugo's use of "similes and metaphors." Anyone who is busy trying to analyze a book for styles or techniques doesn't have the right inclination to enjoy the book, to enjoy the atmospheres the author has created, or to get the emotional impact that was the author's intent.

I would recommend THE HUNCHBACK OF NOTRE DAME as a book that is well worth reading if read for the right reasons. Don't read it, or any book, looking for "techniques" or for "neo-modernism," or "anything-else-isms." I guarantee you that's not what the author had in mind when he wrote his novel. He meant it to be read, not analyzed.

Walter J. Cobb's complete and unabridged edition of Victor Hugo's classic, the "Hunchback of Notre-Dame," is without a doubt the best to be found. His translation retains the original romanticism and tragedy so characteristic of the great novelist's works. One would search in vain to find a better edition than Cobb's full-throated rendition of this great masterpiece of French Literature.

Having seen at least two Hollywood versions of this story (we won't even mention the Disney monstrosity!), I eagerly looked forward to reading Victor Hugo's original. As his superior writing unfolded the story, I soon realised that the four movie versions that have been made were conceived by people with very limited scope and understanding!

The story of 15th century life around the edifice of Notre Dame cathedral is brought to life through Hugo's descriptions that allow you to hear the noise of the hustle and bustle of the people and smell the scents that waft about the place. You feel the torturous loneliness of the deformed bellringer, Quasimodo; the pain of the forbidden lust that Claude Frollo has for the beautiful gypsy, Esmeralda; and the despair and terror of Esmeralda as she is accused and sentenced to death for the murder of her lover, Captain Phoebus!

It's a great book...I'll never be able to watch the movies ever again!

Victor Hugo, the French poet and writer, who wished to change how novels were written and read, wrote The Hunchback of Notra-Dame in the beginning of his career. In contrast to Les Miserables, which is his more celebrated work, and was written several decades after the Notra-dame novel, the present piece is not only laced with more humor and romance but also stands out as a piece where the young poet in Hugo pours out a ravishing range of similes. Just for the pure magic of his metaphors and similes that make all his descriptions so poetic, so powerful Notra-Dame is worth reading.

The story itself reads like a fanciful movie, an ugly hunchback, Quasimodo is brought up by a Priest Frollo, the archdeacon of Notradame. The hunchback is hence attached like a dog to his master to him. The English title of Hunchback of Notra-dame is a misnomer, for the original is called Notra-dame de Paris, and English title lets us assume that it is the story of Hunchback as hero, while the original title asserts it is story set in Notradame and has charaters who reside in it, or live in its shadows. The Priest Calude Frollo, leaving his pursuit of science and philosophy meanders to a path of unrelenting lust for the gypsy dancer, Esmeralda. A writer, Pierre Grigorne, gets into a set of bizarre circumstances, where a token marriage attaches him to the gypsy. Phoebus, captain of King's Archers is the object of the affection of Esmeralda herself.

Besides these characters, there is a madwoman who lives in confinement, pining for her lost child, who was carried off by gypsies, and hates Esmeralda. There is the goat Djali, who performs tricks with Esmeralda, Jehan who is Claude Frollo's irreligious brother, King Louis IV - who interacts with Claude on issues of science, and the most important character, who lurks like an existence all though, is the Notra-Dame itself. The romances criss cross through a series of interesting episodes and drama, and that forms the crux of the story that I won't divulge here. Readers will benefit by discovering surprises and mystery for themselves, in process getting enchanted by a story that has been a popular read for centuries now.

What makes this novel a masterpiece, besides the poetic descriptions, is

Hugo's description of the cathedral of Notra-dame and the city of Paris, and his discussion of how the arrival of printing press signaled an end to the importance as architecture as the expressive art of intellectuals. The views of the author expressed in these pages and pages of delightful reading provide the reader not only with historical and architectural prespective on the buildings in Paris, but also gives us a word image of buildings, roofs, rooms, carvings, modernism, and more. In his commentaries and comparisons between writing and printing as form of expression in contrast to architecture, Hugo unmasks a wide array of issues that arrival of every new media (TV, Cinema, Internet, Digital Photography) bring. How existing precepts and concepts are revised, how adaptations occur, how each age has its own expression through any of these means- and all Hugo says so passionately about architecture or literature allows us to feel the essence of why we make monuments of stones or words in the first place.

Victor Hugo had great skill in developing characters, and describing their lives over an extended period of time, capturing how situations and people led to certain choices, behavioral changes and thought process of each. His ability of doing this, in a very detached manner, where narrative is like a camera floating into a room, and staying long enough for a distant observer to watch and identify traits of every person present there, makes him a great novelist. The novel, like all classic reads, looks formidable in size, but can be read at a formidable pace, especially after the first half of the novel is over.

Besides the merits of the novelist, and the beauty of his wordplay, the story itself is a charming one, and has been brought to screen versions many times. Reading Hugo's two major works allows one to get the same keen insight into French society of the respective times, as does Thackeray and Dickens novels for England and Tolstoy in Russia. Reading any of these masters takes time, but trust me, it is worth the patience and the effort. Recommended highly.

I don't know why this is, but classic books are often bound into heavy, dark tomes and printed in the tiniest print with almost no space between the lines. Perhaps the publisher imagines these books will not actually be read anymore, but instead are supposed to serve as fillers for the large shelves in aristocratic libraries and behind lawyers' desks.

Well, for those of us who still like to dust off the classics and read them, TOR's edition of the Hunchback of Notre Dame serves nicely. It's bound in a modern style--small, with an intriguing cover, with easy-on-the-eyes print. And, it's complete and unabridged (accept no substitutions on this point, otherwise you're depriving yourself of the grand vision of the artist). Also, TOR's 458-page mass market paperback is only [$]--when was the last time you got so many hours of entertainment for so little?

The Hunchback of Notre Dame is a dark, desperate novel, filled with mist and moonlight and echoes in the lonely streets of 15th century Paris past midnight. In the main, it tells the intersecting stories of three lonely characters, each aching in their own way. There's Claude Frollo, archdeacon of Josas, who's spent his whole life cloistered in the tight garb of Catholicism. There's La Esmeralda, an enchantingly beautiful gypsy who's searching for her long lost mother. And, of course, there's Quasimodo, the malformed, hunchbacked figure haunting the shadows of the Cathedral of Notre Dame.

Hugo knows how to tell a story--there is plenty of irony, a few good surprises, and some excellent characterization. He paints the dark places of humanity: people struggling to survive, to find hope in the midst of horror, each clinging in some way to a dream that can never be realized.

One drawback of the book is its pacing, which, at times, slows to a crawl. For example, there is a long chapter on the layout of Paris in the 15th Century, which, if you're not a city planner or fastidious historian, can get pretty long and boring. Even Hugo seems to know it becomes boring, because he recaps so often. Also, Hugo often breaks the fourth wall and directly addresses the reader, which can be distracting and anti-dramatic at times. Thirdly, I would have liked to spend some more time with that loveable wretch, Quasimodo. He has a big part in the end, but not much more. But don't let these minor annoyances stop you from reading a great story.

If you have patience, The Hunchback of Notre Dame will rebuild the gothic Notre Dame of stone in words; if you have imagination, it will acquaint you with the adventures of some extraordinary characters; and if you have a heart, you will shed a tear for Claude Frollo, La Esmeralda, and Quasimodo.

"The Three Musketeers", "Frankenstein", "Around the world in 80 days", all those samples of nineteenth century literature have become true icons of popular culture in our time. Acknowledging that, I decided to read the literary works that originated some of those cultural concepts, in order to better understand their true meaning. That's how I decide to read "The Hunchback of Notre Dame". This little review is based on my impressions on this great piece from Victor Hugo. Since the high quality of "Hunchback" is universally accepted, a text intended to prove that Hugo's work is a good book would be truly pointless. Rather. this review is meant to comment on why it would be interesting for readers going beyond the popular imagery generally surrounding this important piece of literature and actually reading it.

Though I've read an English version of the book, I know the original French title reads just "Notre Dame". That's probably because the focus of the story is not really Quasimodo, the deaf and deformed hunchback in charge of ringing the bells of Notre Dame. The true main character in the book is the cathedral itself. In the story, this edifice is in the center of a series of plots that help to portray medieval Paris.

In fact, one could approach "Hunchback" as a true history treaty, due to extensive descriptions of the medieval city and explanations on medieval culture that the scholar Victor Hugo included on his work.

However, in Hugo's romanticized portrait of a Paris of times gone by, it's possible to list some characters that stand out as true key figures in the drama. Those most outstanding in the book's plot are the aforementioned Quasimodo; Dom Claude Frolo, the taciturn Archdeacon of notre Dame and Quasimodo's foster parent; La Esmeralda, the gypsy girl, who seems to enchant all around her with her charm; Gringoire a foolish and impoverished poet and Captain Phoebus, a selfish and feeble spirited nobleman who holds a position of military officer.

Another misleading notion about "Hunchback" is the belief that it's some sort of gothic version of "Beauty and the Beast", staring the bestial Quasimodo and beautiful La Esmeralda. Quasimodo indeed falls deeply and thoroughly in love with the pretty gypsy, yet, the only feelings her beloved can offer in return are pity, gratitude and tenderness. Despite that, the lady never quite overcomes a deep feeling of disgust towards the bell ringer's hideous figure. Contrary to what many might think, this book is not some mild hearted fable about love and kindness overcoming exterior appearance. In addition to being a historical study about medieval Paris, this piece of literature is an amazing essay on human wickedness. The book is a powerful portrait of several manifestations of evil in the hearts of people. Because of some twists and turns in the story, all those samples of human cruelty portrayed end up being channeled against poor la Esmeralda, causing the complete undoing of she who is the only truly good hearted character in the whole book. Among the examples of how evil can manifest in human's hearts present in the piece's pages, there is the case of Dom Claude who, torn between celibacy and lustful feelings for the gypsy girl, nourishes a love for La Esmertalda stained by mortal hate towards her. There are the towns people who, while charmed at the little gypsy who make dancing performances on the streets to collect some spare change, also despise her for being a vagabond and supposedly a sorceress. There are the officials of law who ruthlessly and mercilessly ensue penalties of torture and deaf under the most improbable accusations. We also see Phoebus, a petty and vulgar man used to taking advantage of women for the sake of his own sexual satisfaction, who, although does not perform any evil toward others, is responsible for the most tragic events just for omitting himself in face of the distress of others. This huge gallery of malefice conspires to bring La Esmeralda her doom, and the only one who comes forth to protect her against such a dark state of affairs is the crippled hunchback Quasimodo. This book conveys a rich yet dark portrait o human psique. Therefore it is truly not advisable to draw from its story a script for some light hearted animated movie for children.

As a final remark, it's important to reinforce that though one might think that is well acquainted with the concept of the popular icon "The Hunchback of Notre Dame", the piece of literature that has given rise to it can prove to be much richer than any preconceived notions we might have about it. The purpose of this tiny review is to provide a very brief idea of what one can expect to find by actually reading this great book.

Early in my reading life, I read the Three Musketeer trilogy by Alexandre Dumas and absolutely loved it. I have always wanted to get back to more French historical fiction, but was always put off by the size of the novels by Hugo. If that bothers you, do not let it! Hugo can write as well as any author I have ever read. This particular translation brings the wording into a contemporary style without losing the medieval atmosphere.

Hugo broke all of the existing rules in writing novels at that time by bringing the ugly side of humanity into the mainstream of the plot. Politically stunning, The Hunchback of Notre Dame caused a tremendous stir amongst the elite in France and he and his young family were actually exiled to the Island of Guernsey. However, Hugo became an icon to the younger and more liberal crowd, later crowned a National Hero upon his return. "Hunchback" brings back words and medieval history that the French politicos wanted the population to forget.

Originally titled Notre-Dame de Paris, Hugo takes a church and centralizes the story around it and its history. He uses Quasimodo, the one-eyed cyclops as a sympathetic protagonist with other characters that you learn to adore: the gypsy, Esmeralda, the poet, Gringoire, and the humorous scholar, Jehan Frollo. Then there are the evil antagonists, led by Dom Claude Frollo, the archdeacon, King Louis XI, Phoebus, the handsome and frivolous Captain of the Guard, and others. Hugo gives us a premonition of Les Miserables with the advent of the sewer people, the Truands.

The writing is stellar. With a sentence, Hugo can penetrate your subconscious and make you as uncomfortable with torture as anything in the news today. The reader can feel the pain. But there is plenty of humor and I'm sure that I missed much more as I am not a student of medieval France at which much of it was directed. This is not the Disney version and very much punctures the silly adaptations of modern storytellers. The tragedy of romance and life itself is in full display.

Hugo paints a painful picture of the justice system in the 15th Century and casts aspersions on the Church and government at all levels. He leaves no stone unturned. Additionally, Hugo added three chapters in the second edition of this book, one of which is very telling. He paints the picture of architecture used the collective effort of mankind to tell its history before the printed word was available. Hugo selects 1482 as the time period for this novel for that reason and shares his fears that without the massive stone structures to leave the historical version to later generations, paper books will be just too easy to destroy and thereby alter the historic content. Hugo selects the Cathedral of Notre Dame to be that structure of his story.

This is a terrific story of romance and mystery; stories within stories and people within people. The writing is beyond what I thought it was going to be so either Hugo was a genius or Walter Cobb (the translator) was. In either case, we are treated to a superb storyteller and story that has endured for 180 years.

In 2005 Signet Classics released five books with a companion DVD featuring a vintage film version of the novel. The book/movie combo is a nice idea and the books are quite attractive, standard softcover book size with a photo cover from the film version. The bad news is the film versions, like the novels themselves, are now all public domain so the quality of the prints may not be great. Worse, some of the film versions were stinkeroos; THE SCARLET LETTER features the ill-conceived Colleen Moore low-budget talking version from 1934 and OLIVER TWIST features the notoriously bad "B" movie adaption from 1933 starring Dickie Moore.

Perhaps the happiest merger of book and novel in the series is THE HUNCHBACK OF NOTRE DAME which features the legendary silent version of the film starring Lon Chaney and Patsy Ruth Miller. The print quality of the silent is quite good, not perfect of course but then again this is a film that is now almost 85 years old and very few films from the period survive at all and those that do survive are seldom in flawless shape.

I have one MAJOR complaint with this DVD, it includes a brief discussion of the book, film, and author Victor Hugo by one Susannah Gora and when Ms. Gora informs us the film differs from the book in it's ending SHE THEN TELLS US THE ENDINGS TO EACH WORK!!! As someone who had never read the book I am FURIOUS and I cannot believe the powers at Signet allowed this, it's like giving away the ending on the cover blurb or back-cover description. So whatever you do, DON'T watch the commentary introduction before reading the book AND watching the movie. (PS - To locate the other entries in the series type Signet Classics DVD under "Books").

Quasimodo, Esmerelda, Claude Frollo, the "Sack Woman", Gringoire, Captain Phoebus, Djali. What signifies these characters to linger in the reader's concscience long after they have read Victor Hugo's Notre Dame de Paris (or Hunchback of Notre Dame)are their humanitarian qualities that reflects so much raw passion, life, and such exquisite Gothic images within their characteristic interior. Quasimodo, Esmerelda, and Claude Frollo are the most familiar names in this book, as well as in literary culture. And Djali is in fact one of the most famous animal characters in literature. The Notre Dame catherdral, the streets, the people, and the sounds of Medieval Paris also signifies Victor Hugo's genius and utmost respect for describing the Paris of the past to compliment the Paris of today (or at least at his time). How Victor Hugo has carefully and so perfectly arranged so many plots filled with humor, depth, emotion, darkness, redemption, obsession, lost, hate, regret, and love in each character, as well as so magnificently described Paris so fluently with as much detail as possible, is just undeniably spectacular. Like Les Miserables (which to me personally is one of the most definitive epics of human life that i have ever read), Victor Hugo brings out these common, lost, neglected, misunderstood, and strange characters from the dark and expresses their human qualities of love, hate, fate, revenge, and devotion in the light. When i think of the Disney movie version of this classic novel, the more i feel that Disney obviously didn't read or follow the concept of this novel. For kids, sure it makes sense that a theme out of this is that evil falls, and that people will love you no matter how deformed your face looks. But i believe if they really read this book, they would realize that a story like this isn't for children. The story is not nice at the end (it's the most haunting and tragic part of the whole novel). The story isn't about the love of Quasimodo and Esmerelda. The story isn't even about Quasimodo. It's about a mixture of important and random characters that creates a chain of plots and emotions that intertwines with one another to create a whole story where everybody in the novel has had some influence or some importance to the whole story. And that's the problem with a majority of movies based on classic novels like Hunchback, Jane Eyre, etc. Movies take away the poetry and aesthetic quality of the story, while taking away so many minor characters, and plots. And through my observation, it seems to always soften up the original tale instead of bearing the true dark images that the original novels portray (such as A Farewell To Arms,where there was actually more dialogue in the movie than the book itself, and so much more emotion at the end which didn't even happen in the book. If you want to check that out, read the book first, i recommend that as well). To me it's a waste of such a wonderful classic that deserves to be read rather than seen through celluloid. If you saw the laughable and extremely make believe and rewritten version of Disney's Hunchback of Notre Dame, or saw any other movie version, then you definitely must read the book. I believe it will be more worthwhile and more understanding, it will definitely make you laugh, cry, smile, and think, very much.