Quasimodo and Notre-Dame de Paris: Symbolism and Marginalization

Extract

[...] Our goal was to trace the evolution of the main characters in Notre-Dame de Paris, with a particular reference to some often neglected elements of the author's writings and manuscript developments. Fortunately, the remainder of this novel is exceptionally abundant, including two general scenarios, provisionally dated 1828 and 1830; several brief glimpses that were apparently intended to serve as special scenarios for scenes or chapters; and approximately a hundred pages of fragments. It thus appears at first glance that Notre-Dame de Paris, (like the Misérables) were the product of a long preparation. [...]

[...] We therefore explore Hugo's representation of the novel and the cathedral as domains of contrast rather than integration, in order to make a productive return to the dilemmas we may face. The absolute love so coveted ultimately ends in this eternal embrace represented in the epilogue of Notre-Dame de Paris. It is mentioned that Quasimodo's body turned to dust when it was separated from Esmeralda's, testifying to a bond that was never consummated, which transcends the limits of life and death. The entrance to the cathedral is defended by Quasimodo, but it is ultimately Frollo who removes the gypsy from the church, leading to her arrest and execution. [...]

[...] How can we wake up from "ideological dream states" and engage in an undetermined reality without postulating from the outset the unity of an integrated whole? We assume that Victor Hugo's Notre-Dame de Paris offers a compelling perspective on this dilemma. Victor Hugo never denies the appeal of myths in his novel, simply their possibility, recognizing that they remain as irresistible as they are unbelievable. He energizes the opposition between artifice and reality, suggesting that man can only oscillate between the ideal and the real, even if he fails to overcome their incompatibility. This dynamic is observed on Notre-Dame itself. [...]

[...] They considered themselves within their right to transgress the immunity of a religious building to satisfy their desire for vengeance against Esmeralda. They hesitated for a time before deciding to remove her from the building. Moreover, this cathedral has an ambiguous role. On the one hand, one could say that its contribution is not satisfactory because the Church does not act. The cathedral simply harbors the central drama of the novel. Moreover, one could insinuate or believe that Claude Frollo is the hero of Notre-Dame de Paris. [...]

[...] But what is the meaning of the epilogue of Notre-Dame de Paris 1482? It is simply the story of a femme fatale (but virtuous), Esmeralda, a gypsy who loves adventures and is always accompanied by her goat Djali. This young woman, tall, strong, hides in reality a greater sensitivity, which does not fail to disorient all the men who come within her reach. She settles at the beginning of the novel at the Court of Miracles, where she is feared, respected and very appreciated. [...]