cover NOTRE-DAME DE PARIS Also known as: _THE HUNCHBACK OF NOTRE DAME_ By Victor Hugo Translated by Isabel F. Hapgood PREFACE. 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:— ἈΝÁΓΚΗ. 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. CONTENTS PREFACE. VOLUME I. BOOK FIRST. CHAPTER I. THE GRAND HALL. CHAPTER II. PIERRE GRINGOIRE. CHAPTER III. MONSIEUR THE CARDINAL. CHAPTER IV. MASTER JACQUES COPPENOLE. CHAPTER V. QUASIMODO. CHAPTER VI. ESMERALDA. BOOK SECOND. CHAPTER I. FROM CHARYBDIS TO SCYLLA. CHAPTER II. THE PLACE DE GRÈVE. CHAPTER III. KISSES FOR BLOWS. CHAPTER IV. THE INCONVENIENCES OF FOLLOWING A PRETTY WOMAN THROUGH THE STREETS IN THE EVENING. CHAPTER V. RESULT OF THE DANGERS. CHAPTER VI. THE BROKEN JUG. CHAPTER VII. A BRIDAL NIGHT. BOOK THIRD. CHAPTER I. NOTRE-DAME. CHAPTER II. A BIRD’S-EYE VIEW OF PARIS. BOOK FOURTH. CHAPTER I. GOOD SOULS. CHAPTER II. CLAUDE FROLLO. CHAPTER III. _IMMANIS PECORIS CUSTOS, IMMANIOR IPSE_. CHAPTER IV. THE DOG AND HIS MASTER. CHAPTER V. MORE ABOUT CLAUDE FROLLO. CHAPTER VI. UNPOPULARITY. BOOK FIFTH. CHAPTER I. _ABBAS BEATI MARTINI_. CHAPTER II. THIS WILL KILL THAT. BOOK SIXTH. CHAPTER I. AN IMPARTIAL GLANCE AT THE ANCIENT MAGISTRACY. CHAPTER II. THE RAT-HOLE. CHAPTER III. HISTORY OF A LEAVENED CAKE OF MAIZE. CHAPTER IV. A TEAR FOR A DROP OF WATER. CHAPTER V. END OF THE STORY OF THE CAKE. VOLUME II. BOOK SEVENTH. CHAPTER I. THE DANGER OF CONFIDING ONE’S SECRET TO A GOAT. CHAPTER II. A PRIEST AND A PHILOSOPHER ARE TWO DIFFERENT THINGS. CHAPTER III. THE BELLS. CHAPTER IV. ἈΝÁΓΚΗ. CHAPTER V. THE TWO MEN CLOTHED IN BLACK. CHAPTER VI. THE EFFECT WHICH SEVEN OATHS IN THE OPEN AIR CAN PRODUCE. CHAPTER VII. THE MYSTERIOUS MONK. CHAPTER VIII. THE UTILITY OF WINDOWS WHICH OPEN ON THE RIVER. BOOK EIGHTH. CHAPTER I. THE CROWN CHANGED INTO A DRY LEAF. CHAPTER II. CONTINUATION OF THE CROWN WHICH WAS CHANGED INTO A DRY LEAF. CHAPTER III. END OF THE CROWN WHICH WAS TURNED INTO A DRY LEAF. CHAPTER IV. _LASCIATE OGNI SPERANZA_—LEAVE ALL HOPE BEHIND, YE WHO ENTER HERE. CHAPTER V. THE MOTHER. CHAPTER VI. THREE HUMAN HEARTS DIFFERENTLY CONSTRUCTED. BOOK NINTH. CHAPTER I. DELIRIUM. CHAPTER II. HUNCHBACKED, ONE EYED, LAME. CHAPTER III. DEAF. CHAPTER IV. EARTHENWARE AND CRYSTAL. CHAPTER V. THE KEY TO THE RED DOOR. CHAPTER VI. CONTINUATION OF THE KEY TO THE RED DOOR. BOOK TENTH. CHAPTER I. GRINGOIRE HAS MANY GOOD IDEAS IN SUCCESSION.—RUE DES BERNARDINS. CHAPTER II. TURN VAGABOND. CHAPTER III. LONG LIVE MIRTH. CHAPTER IV. AN AWKWARD FRIEND. CHAPTER V. THE RETREAT IN WHICH MONSIEUR LOUIS OF FRANCE SAYS HIS PRAYERS. CHAPTER VI. LITTLE SWORD IN POCKET. CHAPTER VII. CHATEAUPERS TO THE RESCUE. BOOK ELEVENTH. CHAPTER I. THE LITTLE SHOE. CHAPTER II. THE BEAUTIFUL CREATURE CLAD IN WHITE. (Dante.) CHAPTER III. THE MARRIAGE OF PHOEBUS. CHAPTER IV. THE MARRIAGE OF QUASIMODO. NOTE. FOOTNOTES. VOLUME I. BOOK FIRST. CHAPTER I. THE GRAND HALL. Three hundred and forty-eight years, six months, and nineteen days ago to-day, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal. The sixth of January, 1482, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the _bourgeois_ of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of “our much dread lord, monsieur the king,” nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the fifteenth century, of some plumed and bedizened embassy. It was barely two days since the last cavalcade of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance of M. le Cardinal de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable mien towards this whole rustic rabble of Flemish burgomasters, and to regale them at his Hôtel de Bourbon, with a very “pretty morality, allegorical satire, and farce,” while a driving rain drenched the magnificent tapestries at his door. What put the “whole population of Paris in commotion,” as Jehan de Troyes expresses it, on the sixth of January, was the double solemnity, united from time immemorial, of the Epiphany and the Feast of Fools. On that day, there was to be a bonfire on the Place de Grève, a maypole at the Chapelle de Braque, and a mystery at the Palais de Justice. It had been cried, to the sound of the trumpet, the preceding evening at all the cross roads, by the provost’s men, clad in handsome, short, sleeveless coats of violet camelot, with large white crosses upon their breasts. So the crowd of citizens, male and female, having closed their houses and shops, thronged from every direction, at early morn, towards some one of the three spots designated. Each had made his choice; one, the bonfire; another, the maypole; another, the mystery play. It must be stated, in honor of the good sense of the loungers of Paris, that the greater part of this crowd directed their steps towards the bonfire, which was quite in season, or towards the mystery play, which was to be presented in the grand hall of the Palais de Justice (the courts of law), which was well roofed and walled; and that the curious left the poor, scantily flowered maypole to shiver all alone beneath the sky of January, in the cemetery of the Chapel of Braque. The populace thronged the avenues of the law courts in particular, because they knew that the Flemish ambassadors, who had arrived two days previously, intended to be present at the representation of the mystery, and at the election of the Pope of the Fools, which was also to take place in the grand hall. It was no easy matter on that day, to force one’s way into that grand hall, although it was then reputed to be the largest covered enclosure in the world (it is true that Sauval had not yet measured the grand hall of the Château of Montargis). The palace place, encumbered with people, offered to the curious gazers at the windows the aspect of a sea; into which five or six streets, like so many mouths of rivers, discharged every moment fresh floods of heads. The waves of this crowd, augmented incessantly, dashed against the angles of the houses which projected here and there, like so many promontories, into the irregular basin of the place. In the centre of the lofty Gothic[1] façade of the palace, the grand staircase, incessantly ascended and descended by a double current, which, after parting on the intermediate landing-place, flowed in broad waves along its lateral slopes,—the grand staircase, I say, trickled incessantly into the place, like a cascade into a lake. The cries, the laughter, the trampling of those thousands of feet, produced a great noise and a great clamor. From time to time, this noise and clamor redoubled; the current which drove the crowd towards the grand staircase flowed backwards, became troubled, formed whirlpools. This was produced by the buffet of an archer, or the horse of one of the provost’s sergeants, which kicked to restore order; an admirable tradition which the provostship has bequeathed to the constablery, the constablery to the _maréchaussée_, the _maréchaussée_ to our _gendarmeri_ of Paris. Thousands of good, calm, _bourgeois_ faces thronged the windows, the doors, the dormer windows, the roofs, gazing at the palace, gazing at the populace, and asking nothing more; for many Parisians content themselves with the spectacle of the spectators, and a wall behind which something is going on becomes at once, for us, a very curious thing indeed. If it could be granted to us, the men of 1830, to mingle in thought with those Parisians of the fifteenth century, and to enter with them, jostled, elbowed, pulled about, into that immense hall of the palace, which was so cramped on that sixth of January, 1482, the spectacle would not be devoid of either interest or charm, and we should have about us only things that were so old that they would seem new. With the reader’s consent, we will endeavor to retrace in thought, the impression which he would have experienced in company with us on crossing the threshold of that grand hall, in the midst of that tumultuous crowd in surcoats, short, sleeveless jackets, and doublets. And, first of all, there is a buzzing in the ears, a dazzlement in the eyes. Above our heads is a double ogive vault, panelled with wood carving, painted azure, and sown with golden fleurs-de-lis; beneath our feet a pavement of black and white marble, alternating. A few paces distant, an enormous pillar, then another, then another; seven pillars in all, down the length of the hall, sustaining the spring of the arches of the double vault, in the centre of its width. Around four of the pillars, stalls of merchants, all sparkling with glass and tinsel; around the last three, benches of oak, worn and polished by the trunk hose of the litigants, and the robes of the attorneys. Around the hall, along the lofty wall, between the doors, between the windows, between the pillars, the interminable row of all the kings of France, from Pharamond down: the lazy kings, with pendent arms and downcast eyes; the valiant and combative kings, with heads and arms raised boldly heavenward. Then in the long, pointed windows, glass of a thousand hues; at the wide entrances to the hall, rich doors, finely sculptured; and all, the vaults, pillars, walls, jambs, panelling, doors, statues, covered from top to bottom with a splendid blue and gold illumination, which, a trifle tarnished at the epoch when we behold it, had almost entirely disappeared beneath dust and spiders in the year of grace, 1549, when du Breul still admired it from tradition.