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اثر ویکتور هوگو از انتشارات جاودان خرد - مترجم: جواد محیی-داستان تاریخی

One of the first great novels of the Romantic era, Victor Hugo’s The Hunchback of Notre Dame has thrilled generations of readers with its powerfully melodramatic story of Quasimodo, the deformed hunchback who lives in the bell tower of medieval Paris’s most famous cathedral. Feared and hated by all, Quasimodo is looked after by Dom Claude Frollo, a stern, cold priest who ignores the poor hunchback in the face of his frequent public torture. But someone steps forward to help—the beautiful gypsy Esmeralda, whose single act of kindness fills Quasimodo with love. Can the hunchback save the lovely gypsy from Frollo’s evil plan, or will they all perish in the shadows of Notre Dame?


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@Nôtre-Dame de [email protected] este un roman estetic care are să fie înțeles numai de către spiritele clasice. în el este descris cu minuțiozitate Parisul secolului al XV-lea, din timpul domniei lui Ludovic al XI-lea. 100 de pagini sunt strict dedicate arhitecturii clasice, iar autorul vede în Renaștere un fel de decădere a artei. El compară Parisul cu @o uriașă tablă de șah făcută din piatră@.
De asemenea, titlul romanului nu este @Cocoșatul de la Nô[email protected] (deși e drept că Quasimodo, cocasatul, e unul din personajele cărții), ci @Nôtre-Dame de [email protected], așa cum a intitulat-o autorul, căci el are drept de a-și numi lucrarea, nu critica literară.
Povestea este tipică vremii în care a fost scrisă (prima jumătate a secolului al XIXlea). Legături de sânge, membrii ai familiei pierduți și regăsiți, lacrimi, iubire pasionala, iubire din interes... Un fel de fundal dostoievskian (Hugo a avut o influență majoră asupra lui Dostoievski)...

@Această o va ucide pe [email protected] spune arhidiaconul Claude Frollo, un erudit, arătând prin @această@ o carte și prin @[email protected] o biserică.

مشاهده لینک اصلی
Disney lied to us.



Let me specify.

You probably guessed that Victor Hugo’s novel does not have dancing gargoyles or Wizard of Oz references, but it goes much deeper than that. In fact, we can trace its primary misdirection back to whoever first decided on the English translation of the title of the book: The Hunchback of Notre-Dame. This implies that the main character of the story is Quasimodo, the misformed outcast with a heart of gold who longs to spend oooone daaay ooouuut theeeeere. However, Hugo’s original French title is much more accurate: Notre-Dame de Paris. This focus of the novel is on its setting rather than its protagonists – we follow a cast of characters, but in the end, all roads lead to the cathedral.

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مشاهده لینک اصلی
Petica, iako mi je lik Esmeralde bio toliko iritantan da sam ja htela da se obesim. Ipak, veličanstveno delo, zaista.

مشاهده لینک اصلی
What happened to the beginning of this unabridged story!? For 300 pages, The Hunchback of Notre-Dame was scribed like a meandering storyline over a checkerboard, each square representing a chapter of the book. The few squares scribed directly by the line told fleeting, but essential parts of the story (about Quasimodo, Esmeralda, and Frollo). The more numerous squares adjacent to the scribed storyline told even less essential bits of the story. And, the majority of squares, several dozen chapters, were far removed from the storyline, and had almost nothing to do with the concluding thrust of action in the book. Its not that the story dawdled; its just that most chapters were simply irrevelant to the main characters for the greater part of 300 pages.

Im not declaring that the writing was no good. On the contrary, as youll see below, the writing was detailed and powerful, and I record several favorite examples. This is my first encounter with Victor Hugos literature, and the sweep of his writing clearly indicates that he is a master polyhistor. However, even after concluding the book, I felt that several dozen chapters--most at the beginning, but even some near the end--were completely unnecessary. Thats a cocky, absurd statement from someone who cant write like Victor Hugo, but in this case it leads me to understand why there are several hundred versions of The Hunchback of Notre-Dame, and why most of those versions are abridged. In fact many versions are childrens picture books, which capture the essential story, and excise chapters of the checkerboard that dont relate to the main three protagonists.

I understand that Hugo had to provide deep background for the story. It was essential to describe Notre-Dame and important for the reader to understand the life and times of late-medeival Paris. Its important to envision the environment and atmosphere in which the action takes place. Its critical to see the characters early actions to translate and understand the profundity of their actions later. Yes, this all makes sense. In fulfilling this background, however, Hugo spent the greater part of 300 pages following a minor character, Gringiore. Gringiore did not serve as a foil, or a fulcrum, or a window into the main characters. No, hes a bit character whose importance actually declines toward the end. We have tantalizingly few descriptions about, and even less spoken words from, the key players.

I do enjoy classics--the timing it takes to develop; the word choice, the authors methodology; the subtlety, metaphor, and symbology that requires numerous re-readings to truly appreciate; the transcendence of the authors message or lesson. The last third of this book is the real classic. Oh, how I wish Hugo had focused early on Quasimodo, Frollo, and La Esmeralda, and never let go. These characters are fertile, anomolous, and peculiar enough for all the chapters of The Hunchback of Notre-Dame.

There are some incredibly turbocharged chapters, some of which were written akin to tragic Romantic soliloquies. Particularly:

- Book V, Ch II when Hugo rants about about how the written word has usurped architecture

- Book VIII, Ch IV when Frollo declares his love

- Book X, Ch I when Esmeralda meets her mother, and the mob attacks Notre-Dame

There are other problems I had with the book, though. The translator provided 20 pages of footnotes. Footnotes usually provide key information for understanding deep background. These footnotes, however, often called attention to Hugos repeated misuse of Spanish and Italian. They also provided reference or explanation for things that were obscure, not exceptionally pertinent, and that didnt help backstage the story (for example, telling the real name of a building that doesnt actually exist anymore, legal cannon from the twelfth century, and what isolated Parisian neighborhoods used to be called before they disappeared to history). The notes, overwhelmingly, are simple translations of Latin, without explanation of why or to what purpose Hugo was using a particular Latin phrase. This is wholly my own prejudice, I know, but I fear that over time, Hugos footnotes will become more and more obscure without better translation. Similar to how I feel about John Updikes writing. Several hundred years from now, readers will miss the awesome amount of reference that Updike makes to current cultural idiosycrasies and Americana, and will eventually require several hundred footnotes per book.

I also had a small problem with Hugo refering to us as the reader. At one point he actually refers to this book that hes writing. It just seemed to make the discourse between author and reader a bit too chatty. And, just too much Latin. I would have preferred the translator insert English into the body of the text, while providing footnotes that displayed and explained the authors original Latin. I read every footnote, and felt that it was too much.

New words: escutcheon, breviary, pudendum, orpiment, woad

Quotes:

- @Oh how hollow science sounds when you dash against it in despair a head filled with [email protected] (p. 329)

- @Grief like this never grows old. For a mother who has lost her child, it is always the first day. This pain never ages. It is useless that the colors of mourning fade. The heart remains black as [email protected] (p.338)

- @Nobody had noticed in the gallery of the royal statues, immediately above the pointed arches of the entrance, a strange-looking spectator, who had till then been watching everything impassively, head so outstretched, visage so deformed that, except for his apparel, half red and half purple, he might have been taken for one of those stone monsters out or whose mouths the long gutters of the cathedral have for these six hundred years disgorged [email protected] (p. 354)

- @He ran through the fields until nightfall. This flight from nature, from life, from himself, from man, from God, from everything, lasted till evening. Sometimes he threw himself on his face on the earth and tore up the young corn with his fingers; at other moments he paused in some lone village street, and his thoughts were so unbearable that he grasped his head with both hands and tried to wrench it from his shoulders in order to dash it against the [email protected] (p. 360)

- @The night was cold. The sky was covered with clouds, the large white masses of which, overlapping each other at the edges and being compressed at the corners, resembled the ice of a river that has broken up in winter. The crescent moon, embedded in those clouds, looked like a celestial ship surrounded by aerial sheets of [email protected] (p. 367)

- @The round room was very spacious, but the tables were crammed so close together, and the customers so numerous, that all the contents of the tavern, men and women, benches and beer jugs, those who were drinking, those who were sleeping, those who were gambling, the able-bodied and the cripple, seemed to be tumbled together chaotically, with just as much order and harmony as a pile of oyster [email protected] (p. 407)



مشاهده لینک اصلی
I don’t know about you, but I think about obsessional crimes and stalking as modern phenomena, exacerbated by life in huge cities. The Hunchback of Notre-Dame demonstrates that there is truly nothing new under the sun. Victor Hugo wrote this tale of obsession in the 1800s. The gypsy girl, La Esmeralda, has the misfortune of attracting the obsessional gaze of two men, the archdeacon Claude Frollo and his protégé, the deformed bell-ringer of the cathedral, Quasimodo. She, in her turn, is fixated on handsome Captain Phoebus, who couldn’t care less about her although he is willing to take advantage of her when an opportunity presents itself.

None of these people actually know one another—they have only observed from afar and projected their own fantasies onto other people. Quasimodo has the most reason for his adoration of La Esmeralda—she brought him water while he was incapacitated at the pillory during an undeserved punishment. Earlier, we see La Esmeralda save Pierre Gringoire, the unsuccessful playwright, from hanging by accepting him as a temporary husband. Pierre is somewhat disappointed when he discovers that she intends a platonic relationship, but is sensible enough to appreciate that her kindness has spared his life.

La Esmeralda is presented as a kind, good person. But like many women, she finds herself the focus of unwanted male attention. We often think of stalking in relation to celebrity, but in reality many ordinary citizens find themselves the object of obsession of other “regular” people. A waitress may, by serving a cup of coffee, unwittingly launch an obsessive on a mission to “own” her. Having had a small brush with such behaviour myself, I have realized how startlingly easy it is to become involved in such situations. There are so many lonely people living in our cities, who are used to being ignored while resenting it. If your job requires you to be polite and helpful, these folks may misinterpret your intentions. The crumbs of attention that they receive from you may trigger that hunger for more, beginning something that you never meant to start and which you feel powerless to stop.

At the same time, La Esmeralda is guilty of a similar behaviour—she knows nothing about Phoebus except that he is handsome and wears a beautiful uniform. She is very young and it is like a young woman today becoming enamoured of a celebrity. Unlike many, La Esmeralda has the opportunity to meet her crush and is only prevented from consummating her desires by her stalker, Archdeacon Frollo.

None of this can end well. Modern instances of stalking are liable to end in death, either of the pursuer or the pursued. The HoND deals with these apparently timeless topics—I’m reminded of Shakespeare’s tragedies, especially Othello. Victor Hugo’s tale definitely deserves its reputation as classic literature.


مشاهده لینک اصلی
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