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I cannot understand a world that would have Quasimodo and Esmeralda fall in love and abscond from Paris living happily in the gypsy. It is this frame of mind which leads to his objectifying of La Esmeralda, the .. qu'il y plongeait plus avant, il sentait éclater en lui-même un rire de Satan” (). . By not sexualizing his relationship with La Esmeralda, Quasimodo is able to. Spongebob and Disney crossover meme! Hunchback of Notre MemesDisney Fails. Quasimodo, Esmeralda and Phoebus - The Hunchback of Notre Dame.
Dr Bradley Stephens 1. Isabelle Roche, in her book Character and Meaning in the Novels of Victor Hugo, has detailed her thesis that those characters in Hugo's works who are outside the norms of society, but cannot resolve their internal conflicts, must die — fulfilling the fatalism that pervades his novels.
For to exit the realm of society is to encounter death. It is religious dogma which fosters Frollo's misogyny and which allows his obsession to ferment. From this central narrative the rest of the plot follows, like flies caught in the spider's web: V This study will seek to outline the sexual nature of Notre-Dame de Paris, because how the characters view themselves as sexual or asexual beings is related to how they are positioned in the scheme of medieval society.
I will expand upon Roche's idea of the homo duplex, that is to say the character whose internal opposition can only be resolved in death, and whose trajectory through the novel we follow, by focusing on the sexual aspects of this internal conflict.
His characterization will therefore be the primary focus of this study. I will investigate the psychological reasons for his duality, and ask whether his upbringing has moulded him into the disturbed and obsessive creature we know. I will conclude, 1 K. All quotations from the novel will follow this edition, and subsequent page references will appear in the text.
His conceptualization of the world does not allow for other subjects, and so he bends his will to establishing him as master, first of Quasimodo and later, by the power of alchemy, of the world. It is this frame of mind which leads to his objectifying of La Esmeralda, the antithesis to Hugo's own idea of love, which, we will discover, is egalitarian in its treatment of everyone as a subject. Other than Frollo, I will consider the major characters Quasimodo and La Esmeralda; the former an asexual being who, despite achieving humanity over the course of the novel or rather, subjecthooddoes not develop into a sexual creature, which poses a challenge to the idea that one can only be human if one is sexual.
The latter is a young girl whose sexuality is both apparent and underplayed in Notre-Dame de Paris — apparent in that it is clear to everyone who sees her save Quasimodo that she is a very attractive woman; underplayed because she is unswervingly chaste throughout the novel.
La Esmeralda presents us with a case of someone who dies not because she herself poses a direct challenge to the sexual dogma of the time, but because she causes others to. It is this transformative aspect that makes her worthy of study. These two characters do not pose a threat to the dogmas of their society; they are thus without internal conflict, a character trait that Hugo presents as worthy of scorn.
For simply to conform to the values of one's day is thoroughly un-Romantic; in Notre-Dame de Paris, Hugo shows us a world undergoing a change in value-systems, a change that he wanted us to comprehend. This needs some justification. Some cast the cathedral itself in that role, and indeed much criticism has focused on the novel's architectural elements. However, it is Frollo whom the reader comes to know most fully, into whose mind we probe most deeply, and whose actions are of the greatest consequence to the plot.
Though Frollo is to an extent the villain of Notre-Dame de Paris, he in fact exhibits many of the traits peculiar to the heroes of Romantic literature. He is endowed with a fierce thirst for knowledge, which parallels the creative power of the author. He is placed between two worlds: Should Frollo therefore be seen as a Romantic hero?
As a seeker, he is usually in search of one of three things; new and exotic sensations or emotions; new values; and finally what he calls un bien inconnu, a spiritual dimension or ground of being that underlies—or lies beyond—the quotidian.
However, the way he uses his Romantic power is contrary to the idealism that Hugo outlines in, for instance, William Shakespeare. Frollo cannot be said to embody the Romantic ideal as expressed by Hugo because he seeks to use his power to increase his own fortunes, and not to contribute to society. Lewis's The Monk, which will prove a useful reading tool, tells the story of the monk Ambrosio, literally tempted by the devil to capture, rape and kill the young Antonia.
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Besides the obvious parallels of plot, there are other common themes. Ambrosio is first moved to carnal desire when he sees that a girl, Matilda, resembles a painting he has of the Virgin Mary.
Hugo, Preface to Odes et Ballades, 11 M. Richards, Sex, dissidence and damnation: Rather than seeing Frollo's search for alchemical answers to life's mysteries and his desire for La Esmeralda as two separate issues, then, it makes sense to view them as two manifestations of the verb savoir; a verb whose possibilities intrigued Hugo's contemporaries, not least Balzac. Such forbidden nefas or elusive knowledge is, I believe, a pale ersatz for what Frollo truly desires — sex.
Ambrosio is known to forbid any women from entering the monastery, so proud is he of his chastity.
kirk wise – The Hunchblog of Notre Dame
He sees the resistance of temptation as a greater feat than its avoidance. We see this in Frollo also: He has always been, then, a sexual being; but a being unable to explore his sexual nature. In characterizing Frollo as a sexual being, I find myself in disagreement with Wildgen, who believes that his angular features and baldness are indicative of sterility. The conflicts in his nature, most recently centred around his love for La Esmeralda, have transformed his appearance: He is directed into the priesthood by his parents, a quasi-castration not of his choosing.
By stifling his sexuality, this imposed celibacy allows other aspects of his personality to develop: Frollo's desire is thus forced down other avenues 14 H. And so when Frollo does become obsessed with La Esmeralda, all the traits which he has thusfar applied to science he applies to the conquest of the gypsy.
Frollo pushes his brother into studies, and he grieves when Jehan disappoints him by becoming his own subject. Quasimodo too begins the novel in a subservient role, fulfilling Frollo's wishes. He is adopted as a sacrifice made for Jehan's sake, and later serves Frollo in all his designs, including an attempt to kidnap Esmeralda.
Again, while there appears to be sincere compassion in Frollo's adoption of Quasimodo, their subsequent relationship is definitely more master-servant than father-son. In short, Frollo is damned because, upon assuming his sexuality, he finds that he cannot love people as equals. He cannot even love himself. Frollo exhibits masochistic behaviour throughout the novel. He tells Esmeralda that while she is being tortured, he pushed a knife against his chest so that he too would feel the punishment This could be read as misplaced compassion — literally so, as he is seeking to experience suffering pati, I suffer with com the gypsy — an attempt to form relations with the Other in a characteristically perverted way.
Alternatively, it could be read as self-flagellation for the sin of having condemned an innocent woman. At his suggestion, she offers a heartfelt prayer to God to help her and her people.
It is unknown if she saw him again after that. Claude Frollo is Esmeralda's archenemy and was a serious threat to her life. Despite his power and authority, she was not afraid of him.
Not only was she even brave enough to publicly humiliate and insult him at the Festival of Fools also intriguing him a bit as wellshe even had the courage to spit in his face before her attempted execution. Of note, when Esmeralda and Frollo first meet, she playfully brings his face close to hers and kisses the tip of his nose before pulling his hat down.
This, however, leads to Frollo becoming unhealthily obsessed with her, becoming the first link in the chain that leads to Frollo's demise.
Brutish and Oafish Guard They were two of Esmeralda's worst enemies. She first encountered them when they attempted to rob her and possibly arrest her as well, only to be foiled by Phoebuswho rescued her. After the fight, he is very happy to see Esmeralda, Quasimodo and Phoebus safe.
Riku Esmeralda and Riku's friendship can be first noticed when he stands up for her, as she was being chased by Frollo and Phoebus. Riku tells the captain he didn't see any gypsy girl around. Not knowing what gypsies are, Esmeralda tells him their and hers story and about Frollo's darkness, which picks Riku's curiosity. When the boy asked her to tell him more about the villain's evil nature, she suggests him to take a look in the church, as it is said to be a place for answers.
Later, when Paris is being burned by Frollo and after Quasimodo saves Esmeralda from her execution, the young Keyblade wielder asks him if she's going to be all right. When she barely assures him she will, Riku smiles.
After Frollo's death, Esmeralda gives Riku some advices upon how to deal with something you don't know exactly what it is or how it works Riku's darkness. Claude Frollo is Esmeralda's archenemy and was a serious threat to her life. Despite his power and authority, she was not afraid of him. Not only was she even brave enough to publicly humiliate and insult him at the Festival of Fools also intriguing him a bit as wellshe even had the courage to spit in his face before her attempted execution.
Of note, when Esmeralda and Frollo first meet, she playfully brings his face close to hers and kisses the tip of his nose before pulling his hat down. This, however, leads to Frollo becoming unhealthily obsessed with her, becoming the first link in the chain that leads to Frollo's demise.