Roman Cathedral of the Parisian Our Lady as a romantic work. Victor Hugo "Cathedral of Parisian Mother": description, heroes, analysis of work

The story of Boris Vasilyeva "Tomorrow was the war" is devoted to the last prevailing year in Russia. More precisely, the last prevailing school is 1940, since the main characters of the story are schoolchildren, the pupils of the ninth grade in a small town.

Sixteen year old in 1940.

The year is the most generation that was born immediately after the revolution and civil war. All their fathers and mothers somehow participated in these events.

Consequently, these children rose with a dual feeling: on the one hand, they are a pity that civil ended to them that they did not have time to take part in it, and on the other - they sincerely believe that they were entrusted with an equally important mission, they should Save the socialist system, must make something worthy.

This is a generation living with a dream of a personal feat that should benefit homeland. All boys of this class wanted to become the commanders of the Red Army,

To keep up with their fathers.

The main character of the story, Komsomolka-activist Spark Polyakova, fiercely denies personal life and personal happiness for himself, dreaming about the pride spirit of the word "commissioner".

Other class girls do not share her active position, although they also believe in communism. But they have the dreams of others: and the funny laughter Zinechka Kovalenko, and judiciary Lena Bokova, and the dreamy Vika Lyubertsy - for all of them more important than their own happiness, it is more important to love and be loved.

However, none of these dreams can be fully implemented in the 1940 Soviet Union, where the repression and control of the society are rampant, where the war will soon begin.

The culmination of this story is the moment of the arrest of Father's wiki Lyubertsy, a major aircraft designer. The Vica then declare the "daughter of the enemy of the people", the girl begins at the school. Not wanting to betray your father and renounce him, as required by the Komsomol organization, Vika cums the life of suicide.

It's not one seeks to protect justice. After the news of the arrest of Father's wiki, her classmates, contrary to the prohibitions of the school, are sent to support the girl, since it is believed that she is definitely not to blame for anything.

Artem Schefer holds on the "duly" with a tenth-grader who broke this news in school. After the death of Vika, the director of the school Nikolai Grigorievich specifically sends her classmates for the funeral, where there is no one else.

It is especially interesting in that story the character of the main character, Spark Polyakova. If at first she was a classic Komsomol activist, holy batch believing in the right case, then after the events related to Vika, it gradually changes its position: it begins to believe that the party, and the school, and the Komsomol can sometimes be right.

In the epilogue, the story is shown that all the guys really managed to realize their youthful dream of a feat. They embodied it at the fronts of the Great Patriotic War, and tragically - almost all students of the former 9 "b" died. The narrative in the entry and epilogue is conducted on behalf of their classmate alone - Boris Vasilyeva himself.

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Romantic principles in the novel V. Hugo

"Cathedral of the Parisian Our Lady"

Introduction

A true model of the first period of the development of romanticism, the novel of Viktor Hugo "Cathedral of the Parisian Our Lady" remains a tritomatic example of its example.

In his work, Viktor Hugo created unique romantic images: Esmeralda - the embodiment of the humanity and beauty of spiritual, quasimodo, in the ugly body of which it turns out a responsive heart.

Unlike the heroes of the literature of the XVII - XVIII centuries, Holo Heroes combine contradictory qualities. Widely using the romantic reception of a contrast image is sometimes consciously exaggerating, turning to Grotesque, the writer creates complex ambiguous characters. His gigantic passions, heroic actions attract. It extols the power of his character of the hero, the rebellion, rebellious spirit, the ability to deal with circumstances. In characters, conflicts, Fabul, the scenery of the "Cathedral of the Paris Mother of God" tried the romantic principle of reflection of life - exceptional characters in emergency circumstances. The world of unrestrained passions, romantic characters, surprises and randomness, the image of a bold, not an interested person to any hazards, that is what the Hugo is hesing in these works.

Hugo argues that the world constantly fights between good and evil. The novel is even more bright than in Hugo's poetry, they marked the search for new moral values, which the writer finds, as a rule, not in the camp of the rich and power of the property, but in the village of disadvantaged and despised poor people. All the best feelings are kindness, sincerely dedication - they are given to the prinhibition of Quasimodo and Gypsy Esmeralde, who are genuine heroes of the novel, while the antipodes standing in the fodder of secular or spiritual power, like the King Louis XI or the same Frollo archigital, differ Cruelty, faith, indifference to the suffering of people.

It is significant that it is this moral-idea of \u200b\u200bthe first novel Hugo highly appreciated F. M. Dostoevsky. Offering the "Cathedral of the Paris's Mother of God" for translation into Russian, he wrote in the preface, printed in 1862 in the journal "Time" that the thought of this work is "the restoration of a deceased person, crushed by the unfair blowing circumstances ... This thought is the justification of humiliated and All loose soldiers of society. " "Who will not come to mind," wrote Dostoevsky further, "that quasimodo is the personification of the oppressed and despised medieval people ... in which finally love and thirst for justice wake up, and together with them the consciousness of their truth and still badly infinite forces of their own."

Chapter 1.

Romanticism as a literary direction

1.1 The cause of the occurrence

Romanticism as ideological and artistic direction in culture appeared at the endXVIII century. Then french wordromantique meant "strange", "fantastic", "picturesque".

INXIX century The word "romanticism" becomes the term to designate a new literary direction opposite to classicism.

In a modern sense, the term "romanticism" gives another, expanded meaning. They indicate the type of artistic creativity, opposing the realism in which the perception of reality plays a decisive role, and its re-creation, the embodiment of the ideal of the artist. For this type of creativity, the demonstrative conditionality of the form, fantasticity, grotesque images, symbolism is characteristic.

The event that was the impetus for the realization of the insolvency of the XVIII century ideas and to change the worldview of people as a whole was the Great French Bourgeois Revolution of 1789. She brought instead of the expected result - "freedom, equality and fraternity" - only hunger and ruin, and together with them and disappointment in the ideas of enlighteners. Disappointment in the revolution as a method of changing social being caused a sharp reorientation of the most public psychology, turning interest from the external life of a person and its activities in society to the problems of the spiritual, emotional life of the person.

In this atmosphere of doubt, changes of views, assessments, judgments, surprises at the turn of the XVIII - XIX centuries, a new phenomenon of spiritual life arose - romanticism.

The romantic art is characteristic of: aversion to bourgeois reality, a decisive refusal to the rationalistic principles of bourgeois education and classicism, distrust of the cult of reason, which was characteristic of enlighteners and writers of new classicism.

The moral and aesthetic pathos of romanticism is primarily connected with the statement of the dignity of the human personality, the intrinsicness of her spiritual and creative life. This found an expression in the images of the heroes of romantic art, which is characterized by an image of uncommon characters and strong passions, aspiration to limitless freedom. The revolution proclaimed the freedom of personality, but the same revolution gave rise to the spirit of compassion and egoism. These two sides of the person (Paphos of Freedom and Individualism) were very difficult to manifested themselves in the romantic concept of peace and man.

1.2. Main distinctive features

Disappointment in the strength of the mind and in society gradually went up to "cosmic pessimism", it was accompanied by moods of hopelessness, despair, "world grief". The inner theme of the "terrible world", with its blind power of tangible relations, longing the eternal monotony of everyday reality, passed through the entire history of romantic literature.

Romantics were confident that "here and now" Ideal, i.e. more informative, saturated, full life is impossible, but they have not doubted his existence - this is the so-called romantic dwellemirie. It is the search for the ideal, the desire for him, the thirst for updates and perfection, filled their life meaning.

Romantics resolutely rejected - a new public order. They put forward their "Romantic hero" -an exceptional, spiritually rich personality, which felt a lonely and disadvantaged in the emerging bourgeois world, a mercantile and hostile man. Romantic heroes were turned away from reality in despair, they rebuilt against her, painfully feeling the gap between the ideal and reality, powerless to change the surrounding life, but preferring to die than to reconcile with it. The life of the bourgeois society seemed to be romantic so vulgar and prosaic that they sometimes refused to depict her and cleaned the world of their fantasy. Often, romantics portrayed their heroes in hostile relations with the surrounding reality, unsatisfied with the real and most directed world in their dreams.

Romance denied the need and the possibility of objective reflection of reality. Therefore, they proclaimed the basis of the art. Subjective arbitrariness of creative imagination. Scenes for romantic works were elected exceptional events and an extraordinary environment in which heroes acted.

Romantics attracted everything unusual (ideal maybe there): fantasy, mystical world of otherworldly, the future, distant exotic countries, the peculiarity of the inhabitants of their peoples, past historical epochs. The requirement of faithful reconstitution of the place and time is one of the most important conquests of the Romantic Epoch. It was at that time that the genre of the historical novel was created.

But the characters themselves themselves were exclusive. They were interested in all-consuming passions, strong feelings, secret movements of the soul, they talked about the depth and inner infinity of the person and about the tragic loneliness of a real man in the surrounding world.

Romantics were indeed lonely among people who do not want to notice vulgarity, prosperity and confusion of their lives. The rebels and seekers they despised these people. They preferred to be not accepted and incomprehensible than like most surrounding to marry in the mediocrity, the serm and the events of a colorless and prosaic world. Loneliness- Another feature of the romantic hero.

Along with reinforced attention to the personality of a characteristic feature of romanticism was feeling of the movement of history and involvement in her man. The feeling of instability-variability of the world, the complexity and controversy of the human soul determined the dramatic, sometimes and the tragic perception of life with romantics.

In the field of form, romanticism contrasted the classical "imitation of nature" creative freedom The artist who creates its special world is more beautiful, and therefore more real than surrounding reality.

Chapter 2.

Victor Hugo and his creativity

2.1 Romantic principles of Viktor Hugo

Victor Hugo (1802-1885) entered the history of literature as the head and theorist of French democratic romanticism. In the preface to the Drama "Cromwell", he gave a vivid statement of the principles of romanticism as a new literary flow, thereby declaring the war of classicism, which still had a strong influence from all French literature. This preface was called "Manifest" romantics.

Hugo requires absolute freedom for drama and poetry as a whole. "Down with all sorts of rules and samples! "- he exclaims in the" Manifesto ". The advisers of the poet, he says, should be nature, truth and their own inspiration; In addition to them, the only laws required for the poet are those that in each work flow from its plot.

In "Preface to the" Cromwell "GUGo determines the main theme of all modern literature - an image of social conflicts of society, the image of the intense struggle of various public forces that rebels against each other

The main principle of its romantic poetics - the image of life in its contrasts-Gago tried to justify before the "preface" in his article about the novel V. Scott "Quentin Dorvard". "It's not if he, he, - Life is a fancy drama, in which a good and evil, beautiful and ugly, high and low-law acting in all creation are mixed?".

The principle of contrasting opposition in the GUGo poetics was founded on its metaphysical ideas about the life of a modern society, in which the determining factor of development is as if the struggle of opposing moral principles - good and evil - existing worn.

A significant place in the "Preface" of the GUGO assigns the definition of aesthetic concept grotesque, considering his distinctive element Medieval poetry and modern romantic. What does he mean by this concept? "Grotesque, as the opposite of elevated, as a means of contrast, is, in our opinion, the richest source that nature opens the art."

Grotesque images of their works of the GUGO opposed the conditionally beautiful images of epigonian classicism, believing that without the introduction of phenomena as elevated, "so and low-lying, both beautiful and ugly, and ugly to pass the completeness and truth of life. With all the metaphysical understanding of the category" Grotesque " The rationale for this element of art at the Hugo was nevertheless a step forward on the way of approaching art to vitality.

The vertex of the poetry of the new Time Hugo considered the work of Shakespeare, because in the work of Shakespeare, in his opinion, a harmonious combination of elements of tragedy and comedy, horror and laughter, elements and grotesque, -a alloy of these elements and is a drama that "is a creature typical for The third epoch of poetry, for modern literature. "

Hugo-Romantic proclaimed free, no limited fantasy in poetic creativity. He considered the playwright to be relying to legend, and the NA on genuine historical facts, neglect historical accuracy. According to him, "do not look for clean stories in drama, even if it is" historical. " It sets out legends, not facts. This is a chronicle, not chronology. "

In "Preface to" Cromrevel ", the principle of truthful and multilateral display of life is persistently emphasized. Hugo speaks about the "truthfulness" ("Le Vrai") as the main features of romantic poetry. Hugo claims that the drama should be not an ordinary mirror, giving a plane image, and a concentrating mirror that "not only does not weaken the color rays, but, on the contrary, collects and condenses them, turning flickering into the light, and light-in flame." This metaphorical definition hides the author's desire to actively choose the most characteristic bright phenomena of life, and not just copy everything seen. The principle of romantic typing, which commenced by the desire to choose from life the most catchy, unique in their own features, images, phenomena, allowed the possibility of romantic writers to effectively approach the reflection of life, which favorably distinguished their poetics from the dogmatic poetics of classicism.

The features of realistic comprehension of reality are contained in the argument of Hugo about "Local flavor"under which he understands the reproduction of the true setting of action, historical and household peculiarities of the era chosen by the author. He condemns the propagatrated fashion to put the smears of "local color" on the finished work. Drama, in his opinion, should be impregnated from the inside the colors of the era, it must come to the surface, "like a juice that rises from the root of the tree into the most recent sheet." You can achieve this only by careful and hard to study the depicted era.

Hugo advises poets of the new, romantic school to portray man in the inextricable connection of his external life and the inner world, requires a combination in one picture "Drama of life with drama consciousness."

Romantic feeling of historicism And the contradiction between the ideal and reality was peculiarly elected in the world and the work of the Hugo. Life is seen to him complete conflicts and dissonants, because there is a constant struggle of two eternal moral start-up and evil. And transmit this struggle shouting "Antithesis" (contrasts) -Adnut artistic principle of the writer, proclaimed in the "preface to the" Cromwell "- in which the images of beautiful and ugly are opposed, draws. He is pictures of nature, the soul of man or the life of mankind. In history, the elements of evil, "Grotesque", through all the creativity of the Hugo are the images of the crash of civilizations, the struggle of the peoples against bloody despots, paintings of suffering, disasters and injustice. And yet, over the years, Hugo has become more and more strengthened in understanding the story as a strict movement from evil to good, from darkness to light, from slavery and violence to justice and freedom. This historical optimism, unlike most Romantics, Hugo inherited from the 19th century enlighteners.

Having collapsed on the poetics of the classic tragedy, the GYGO rejects the principle of unity of the place and time incompatible with the artistic truth. Scholasticism and dogmatism of these "rules", asserts the Hugo, impede the development of art. However, he retains unity of action, that is, the unity of the plot, as consonant with the "laws of nature" and helps to give the development of the plot the necessary dynamics.

Protesting against the chemicals and stripping style of the epigalles of classicism, Hugo tasty for simplicity, expressiveness, sincerity of poetic speech, for the enrichment of her vocabulary by including popular rivers and successful neologisms, for "language does not stop in its development. The human mind is always moving forward, or, if you want, it changes, and with it changes and language. " Developing a position on the language as a means of expressing thought, Hugo notes that if each era brings something new in the tongue, "each era should have words expressing these concepts."

For the style of Hugo, the detailed descriptions are characterized; In his novels are often frequent retreat. Sometimes they do not have a direct relation to the storyline of the novel, but almost always differ in poetic or cognitive value. Dialogue Hugo - alive, dynamic, colorful. Its language is replete with comparisons and metaphors, terms relating to the profession of heroes and the environment in which they live.

The historical meaning of "prefaces to" Cromwell "is that the GUGO has inflicted his literary manifesto a crushing school of the school followers of classicism, from which she was no longer able to recover. Hugo demanded an image of life in its contradictions, contrasts, in a collision of the opposing forces and thus brought art, essentially to the realistic show of reality.

Chapter 3.

Roman-drama "Cathedral of the Parisian Our Lady"

The July 1830 revolution, which overthrow the Bourbon monarchy, found a hot supporter in the Hugo. There is no doubt that in the first significant novel by the Hugo "Cathedral of the Paris Mother of God", started in July 1830 and finished in February 1831, also reflected the atmosphere of public lifting caused by the revolution. Even more than in the Drams of the Hugo, in the "Cathedral of the Parisian Mother" found an embodiment of the principles of advanced literature, formulated in the preface to "Cromwell". The aesthetic principles outlined by the author is not just a manifesto theorist, but deeply thought out and felt the Writer of creativity.

Roman was conceived in the late 1820s. It is possible that the pushing to the plan was Roman Walter Scott "Quentin Dorvard", where the action takes place in France in the same era as in the future "Cathedral". However, the young author approached his task otherwise than his famous contemporary. Back in Article 1823, Hugo wrote that "after the picturesque, but the prose novel Walter Scott will have to create another other novel who will at the same time drama and epic, picturesque, but also poetic, filled with reality, but at the same time ideal, truthful. " That is what was trying to implement the author of the "Cathedral of the Paris Mother of God".

As in the dramas, Hugo addresses in the "Cathedral of the Parisian Our Lady" to the story; This time, his attention was attracted later by French Middle Ages, Paris of the late XV century. The interest of romantics to the middle ages has largely arose as a reaction to classic focus on antiquity. The desire to overcome the dismissive attitude towards the Middle Ages, spreading thanks to the writers-enlightectors of the XVIII century, was played here, for whom this time was the kingdom of darkness and ignorance, useless in the history of the progressive development of humanity. And finally, hardly mainly, the Middle Ages attracted romantics with their unusualness, as the opposite of the prose of bourgeois life, dim in everyday existence. Here it was possible to meet, romantics believed, with whole, large characters, strong passions, exploits and martyrdom in the name of beliefs. All this was perceived in the haloe of some mysteriousness associated with an insufficient study of the Middle Ages, which was replenished by contacting people's legends and legends that had special importance for romanticist writers. Subsequently, in the preface to the meeting of its historical poems "Legend of Centuries", the Hugo paradoxically declares that the legend must be equalized with the History: "The human race can be considered from two points of view: with historical and legendary. The second is no less truth than the first. The first is no less fortuneful than the second. " Middle Ages and appears in the GUGO Roman in the form of a legend history on the background of the workshop of the recreated historical color.

The basis, the core of this legend is generally unchanged for the entire creative path of the mature Hugo view on the historical process as the eternal confrontation of the two world principles - good and evil, mercy and cruelty, compassion and intolerance, feelings and reason. The field of this battle and different epochs and attracts the attention of the Hugo in an immeasurably greater extent than the analysis of a particular historical situation. Hence the famous nadustorism, the symbolism of the Hugo Hooes, the timeless nature of his psychologism. Hugo and himself frankly recognized that the story as such was not interested in him in the novel: "The book has no claims to history, except for a description with a known knowledge and known care, but only survey and urabs, the state of morals, beliefs, laws Arts, finally, civilization in the fifteenth century. However, this is not the main thing. If she has one dignity, then it is that it is a work created by imagination, fad and fantasy. "

It is known that for the descriptions of the Cathedral and Paris in the XV century, the images of the Morals of the Hugo era studied a considerable historical material and allowed himself to shine his knowledge, as it did in his other novels. The Middle Ages researchers caught the "documentation" of the Hugo and could not find any serious errors in it, despite the fact that the writer did not always scream his information from the primary sources.

Nevertheless, the main thing in the book, if we use the GUG's terminology, this is the "fad and fantasy", that is, the fact that the whole was created by his imagination and very much can be associated with history. The widest popularity of the novel ensures the eternal ethical problems and the fictional characters of the first plan, which have long been incurred (primarily quasimodo) in the discharge of literary types.

3.1. Organization of plot

Roman built on a dramatic principle: Three men achieve love of one woman; Gypsy Esmeralda love the archidacon of the Cathedral of the Paris Mother of God Claude Frollo, the cathedral of the cathedral of Gorbun Quasimodo and Poet Pierre Grenguar, although the main rivalry arises between Frollo and Quasimodo. At the same time, the Gypsy gives his feeling a beautiful, but empty nobility of the febe de Shatoper.

Roman-drama Gugo can be divided into five acts. In the first act of Quasimodo and Esmeralda, not yet seeing each other, appear on the same scene. This scene is the Grevskaya Square. Here, Esmerald dances and sings, here the procession is undergoing, with a comic solemnity carrying a quasimodo dads on the stretchers. Universal fun confused by a gloomy threat to a bald man: "Blasphemia! Blasphemy! " Esmeralda's charming voice is interrupted by the scary screaming of the Roland Tower Holder: "You will remove you from here, Egyptian locusts?" The antithesis game closes on Esmeralde, all plot threads are tightened to it. And it's not by chance that the festive fire, illuminating her beautiful face, illuminates at the same time and gallows. It's not just a spectacular opposition - this tie tragedy. The action of the tragedy, which began with the dance of Esmeralda on the Grevskaya Square, here will end here - its execution.

Each word spoken on this scene is executed tragic irony. The threats of a bald man, the architeacon of the Cathedral of the Paris's Mother of God Claude Frollo, are dictated by non-hate, but love, but such love is even worse than hate. Passion turns a dry scribe to the villain, ready for everything to take possession of his victim. In the scream: "Witchcraft!" - The foresight of the future troubles of Esmeralda: rejected by her, Claude Frollo will be relentlessly to pursue it, betray the trial of the Inquisition, the doom of death.

Surprisingly, but the curses of the closer are also inspired by great love. She became a voluntary prisoner, grieving in a single daughter, many years ago stolen gypsies. Calling on the karas of heaven and earthly on the head of Esmeralda, the unfortunate mother does not suspect that a beautiful gypsy and there is a murdered daughter. Curses will come true. At the decisive moment, the chain thumbs of the closer will not give Esmeralde to hide, detain it from the revenge of the whole Gypsy tribe, having deprived the mother of the hot-beloved daughter. To strengthen the tragic heat, the author will make the recovery to know his child in Esmeralda - on memorable signs. But also recognition Will not save the girl: the guard is already close, tragic junction inevitable.

In the second act, the one who was still "triumph" - dad jigs, becomes "convicted" (again the contrast). After quasi-modo has punished with a score and left the shameful post on the crowd of the crowd, two people appear on the scene of the Grevskaya Square, whose fate is inextricably linked with the fate of Hornbow. First, Claude Frollo is suitable for a shameful post. It was he who once picked up an ugly child, climbed into the temple, brought up him and made the Cathedral of the Cathedral of the Parisian Mother of God. Since childhood, Quasimodo is used to reverent in front of his Savior and is now waiting for that he will come to the rescue. But no, Claude Frollo passes by, treacherously singing his eyes. And then the shameful pillar appears Esmeralda. Between the fate of the hunchback and beauty there is an original connection. After all, it is his, rational, Roma posted in those nurseries, from where it was stolen, charming baby. And now she rises the stairs to the suffering quasimodo and, the only one of the crowd, spraul him, gives him water. From this point in the chest of Quasimodo, love wakes up, filled with poetry and heroic self-sacrifice.

If voices in the first act are of particular importance, and in the second - gestures, then in the third - views. The point of intersection of views becomes dancing Esmeralda. Grenguar's poet, located next to her on the square, looks at the girl with a sympathy: she recently saved his life. The captain of the royal shooter FEB de Shatoper, in which Esmeralda fell in love with the first meeting, looks at it from the balcony of the Gothic home - this is a look of Sostroma. At the same time, on top, from the North Tower of the Cathedral, looks at Gypsy Claude Frollo - this is a look of a gloomy, despotic passion. And even higher, on the bell tower of the cathedral, frozen quasimodo, looking at the girl with great love.

In the fourth act, dizzying swings antithesis are swinging to the limit: Quasimodo and Esmeralda should now be swapped. Again the crowd gathered on the Grevskaya Square - and again all the views are directed to the gypsy. But now her accused of attempted murder and witchcraft, waiting for the gallows. The girl was declared the killer of Feba de Shatopher, who she loves more than life. And she confesses her one who actually hung around the captain - the true criminal Claude Frollo. For completeness of the effect, the author causes the fub himself after the injury, to see the gypsy bound and running on the execution. "Phoebus! My FEB! " - Screaming Esmeralda to him "in the rustling of love and delight." She is waiting that the captain of the shooters, in accordance with his name (FEB - "Sun", "the beautiful shooter, which was God"), will become its savior, but that cowardly turns away from her. Esmerald will save not a wonderful warrior, but an ugly, all rejected rhodes. Gorbun goes down on the sheer wall, grabbing gypsy from the hands of the executioner and ascend her upwards - to the bell tower of the Cathedral of the Paris's Mother of God. So, before you climb, Esmeralda, a girl with a winged soul, will gain a temporary refuge in heaven - among singing birds and bells.

In the fifth act, the time of tragic junction is suitable - the decisive battle and execution on the Grevskaya Square. Thieves and crooks, the inhabitants of the Parisian yard of miracles, besieged the Cathedral of the Paris's Mother of God, and one quasimodo heroically defends him. The tragic irony of the episode lies in the fact that both sides beat with each other for the salvation of Esmeralda: Quasimodo does not know that the thieves military appeared to free the girl, the deposits do not know that Horbun, defending the cathedral, protects the Gypsy.

"Ananka" - Rock - from this word, read on the wall of one of the towers of the cathedral, the novel begins. At the order of Rock, Esmeralda will give himself, shouting out the name of his beloved: "FEB! To me, my FEB! " - And the fact will destroy himself. Claude Frollo inevitably and himself will fall into that "fatal knot", which he "pulled the gypsy". Rock will force the pupil to kill his benefactor: Quasimodo will reset Claude Frollo from the Balustra of the Cathedral of the Parisian Mother of God. Only those whose characters are too small for the tragedy will avoid tragic rock. About the Poet of Grenguare and Officer FEBE DE Shatopper The author from the irony will say: they "finished tragically" - the first one will return to the drama, the second - marries. The novel ends with an antithesis of small and tragic. The usual marriage of the fub is opposed to the marriage of fatal, marriage in death. Many years later in the crypt will find a dilapidated remains - a skeleton of a quasimodo, hugging the skeleton of Esmeralda. When they want to separate them from each other, the skeleton of quasimodo will become a rush.

Romantic Paphos appeared at the Hugo already in the register of the plot. The story of the Gypsy Esmeralda, the Archidacon of the Cathedral of the Paris's Mother of God Claude Frollo, Kvasimodo's Claud, Captain of the Royal Feba De Shatoper and other characters associated with them, are saturated with mystery, unexpected turns of action, fatal coincidences and chance. The fate of the heroes bizarrely crosses. Quasimodo tries to steal Esmeralda by order of Claude Frollo, but the girl accidentally saves the guard led by Fets. For the attempt on Esmerald, Quasimodo is punished. But it is she who gives an unfortunate hunchback a sip of water when he stands at a shameful pillar, and his kind act transforms him.

There is no clean romantic, instant character breaking: Quasimodo from a coarse animal turns into a person and, having loved Esmerald, objectively turns out to be confronted with Frollo, playing a fatal role in the life of a girl.

Fate Quasimodo and Esmeralda turn out to be closely intertwined in the distant past. Esmeralda was stolen as a child in childhood and in their environment received its exotic name (Esmeralda translated from Spanish - "Emerald"), and they were left in Paris a ugly baby, who then took on the rapid of Claude Frollo, calling him the Latin (Quasimodo Translated as "unfinished"), but also in France Quasimodo - the name of the holiday is a red hill, in which Frollo and picked up the baby.

3.2. Character Images System in Roman

The action in the novel "Cathedral of the Paris Mother of God" occurs at the end of the XV century. The novel opens a picture of a noisy national holiday in Paris. Here and the motley crowd of citizens and townskens; and Flemish merchants and artisans who arrived as ambassadors to France; And Cardinal Burbonsky, also Scholas from the university, beggars, royal arrows, street dancer Esmeralda and fantastically ugly cathedral of the Cathedral of Quasimodo. Such is a wide range of images that appear in front of the reader.

As in other works of Hugo, the characters are sharply divided into two camps. The democratic looks of the writer also confirms that high moral qualities he finds only in the Nizakhs of a medieval society - in the street dancer Esmerald and Kvasimodo. Whereas the frivolous aristocrat FEB de Shatoper, Religious Fanatic Claude Frollo, a noble judge, the Royal Prosecutor and the King himself embody Amoralism and the cruelty of dominating classes.

"The Cathedral of the Parisian Our Lady" The product is romantic in style and by the method. In it, it is possible to detect everything that was characteristic of the Hugo drama. It has exaggeration and game contrasts, and the Potition of Grotesque, and the abundance of exceptional provisions in the plot. The entity of the image is revealed by the Hugo not so much on the basis of the development of character, but in opposition to another image.

The image system in the novel relies on the developed Hugo grotesque theory and contrast principle. Characters are built into clearly indicated contrasting couples: the freak of Quasimodo and the beauty of Esmeralda, also quasimodo and externally irresistible FEB; ignorant rhodes - a monk scientist who knew all medieval sciences; Claude Frollo is also opposed to Phoebe: one - ascetic, the other is immersed in pursuit of entertainment and enjoyment. Gypsy Esmeralda is opposed to blonde Fleur de Lis - the bride of a fub, a girl rich, educated and belonging to the highest light. The contrast is also based on the relationship between Esmeralda and Pebom: the depth of love, tenderness and subtlety of the feeling of Esmeralda - and insignificance, vulgarity of the fatewaten noble fad.

The internal logic of romantic art Hugo leads to the fact that the relationship between sharply contrasting heroes acquire an exceptional, exaggerated character.

Quasimodo, Frollo and Fake all three love Esmeralda, but in their love everyone appears by an antagonist of another. FEBU needs a love intrigue for a while, Frollo burns from passion, hating for this Esmeralda as a subject of its lusts. Quasimodo loves the girl selflessly and disinterestedly; He confronts the Phoebe and Frollo as a person deprived of her feeling and droplets of egoism and, thus, towers over them. Enlobing to the whole world, a liberal liberty quasimodo love transforms, awakening in him a kind, human beginning. In Claude, Frollo love, on the contrary, wakes the beast. The opposition of these two characters and defines the ideological sound of the novel. According to the plan of the Hugo, they embody two basic human types.

So there is a new contrast plan: the appearance and the internal content of the character: Phoeb is beautiful, but internally dim, soulful is poor; Quasimodo ugly outwardly, but beautiful soul.

In this way, roman is built as a system of polar opposition. These contrasts are not just artistic reception for the author, but the reflection of his ideological positions, the concept of life. The confusion of polar began to be the romance of Hugo eternal in life, but at the same time, as already mentioned, he wants to show the movement of history. According to the researcher of French literature Boris Audivov, Hugo considers the change of epochs - the transition from the early Middle Ages to the late, that is, by the period of revival, - as a gradual accumulation of good, spirituality, a new relationship to peace and to themselves.

In the center of the novel, the writer put the image of Esmeralda and made it the embodiment of spiritual beauty and humanity. Creation romantic Image Probably promote the vivid characteristics that the author gives the appearance of its characters already when they are first appeared. Being a romantic, he uses bright paints, contrast tones, emotionally saturated epithets, unexpected exaggerations. Here is the portrait of Esmeralda: "She was low in growth, but it seemed to be high - her thin camp was so built. She was dark, but it was not difficult to guess that her skin was cast in the afternoon, the wonderful golden tint, which is inherent in Andaluscs and Romans. The girl danced, flushed, spinning ... And whenever her shining face flashed, her eyes of her black eyes blinded you, like zipper ... Thin, fragile, with naked shoulders and occasionally flashing from under skirts with slender legs, black-haired, fast, like wasp , in a golden, tightly tagged with a talio of the corsight, in the Pinster-inflated dress, shining eyes, she was truly seemed to be an unearthly. "

Gypsy, singing and dancing on the squares, is an excellent degree of beauty. However, this adorable girl is filled contradictions. It can be confused with an angel or fairy, and she lives among scammers, thieves and murderers. The radiance on her face is replaced by the "Grima", elevated singing - comic focus with the goat. When the girl sings, she "seems insane, then queen."

According to the Hugo, the formula of the drama and literature of the new time - "All in antithesis". No wonder the author of the "Cathedral" exalts Shakespeare for the fact that "he extends from one pole to another", for the fact that he has a comedy to be broken down by tears, laughter is born out of sobs. The principles of the Hugo-Romanist are the same - contrast mixture of styles, the compound "The image of the grotesque and the image of an exalted", "terrible and shitovsky, tragedy and comedy”.

The freedom and democratism of Viktor Hugo, are expressed in the image of the quasimodo beer - the lowest on the estate, feudal hierarchy, which is rejected, and ugly, ugly. And again, this "lower" creature turns out to be a way to assess the entire hierarchy of society, all "higher", for the power of love and self-sacrifice converts a quasimodo, makes him a man, hero. As a carrier of genuine morality, quasimodo rises primarily over the official representative of the Church, the Archdiacon Claude Frollo, the soul of which is worn by religious fanaticism. The ugly appearance of the quasimodo - the usual for the romance of the Hugo reception of grotesque, spectacular, catchy expression of the beliefer's belief in the fact that no appearance paints man, and his soul. The paradoxical combination of an excellent soul and ugly appearance turns a quasimodo in the romantic hero is an exceptional hero.

The appearance of a quasi-modo, the cathedral of the Cathedral of the Parisian Our Lady, it would seem that there is embodied grotesque - No wonder him unanimously elect dad jestes. "The Die Devil! - Says one of Scholyarov about him. - You will see it - Gorbun. Gone - you see that chrome. Look at you - a curve. Speak with him - deaf. " However, this grotesque is not just an excellent degree of external disgrace. The expression of the face and the figure of the hunchback is not only scared, but also surprises with its inconsistency. "... It is even harder to describe the mixture of malice, amazement and sadness, which was reflected on the face of this person." Sadness - this is what contradicts a terrible appearance; In this sadness - the mystery of great mental capabilities. And in the Figure Quasimodo, contrary to the repellent traits - hump on the back and chest, dislocated thighs - there is something sublime and heroic: "... some kind of formidable expression, agility and courage."

Even in this frightening look figure there is some attractiveness. If Esmeralda is the embodiment of light and grace, then quasimodo - the embodiment of monumentality, causing respect for power: "There was some kind of formidable expression of force, agility and courage in his entire figure - an extraordinary exception to the general rule that requires power, like beauty , flowed out of harmony ... It seemed that it was broken and unsuccessfully food giant. " But in the ugly body it turns out a responsive heart. This simple, the poor man is opposed to both Phoebee, and Frollo Claude.

Claude's priest, ascetic and an alchemist personifies the cold rationalistic mind, triumphant over all human feelings, joys, affection. This mind, torn above the heart, inaccessible pity and compassion, is for Hugo evil power. The focus of the best legacy of her good start in the novel is the need for love in the heart of Quasimodo. And quasimodo, and showing it the compassion of Esmeralda is the full antipodes of Claude Frollo, because in their actions are guided by the call of hearts, unconscious desire for love and good. Even this spontaneous impulse makes them immeasurably believed his mind all the temptations of the medieval scholarship of Claude Frollo. If in Claude, the attraction towards Esmeralda awakens only the sensual beginning, leads it to the crime and death perceived as a retribution for the evil committed by him, then Love Quasimodo becomes decisive for his spiritual awakening and development; The death of Quasimodo in the Roman Finals, unlike the death of Claude, is perceived as a kind of apotheosis: it is overcoming the deformity of the body and the celebration of the beauty of the Spirit.

In the characters, conflicts, Fabul, the scenery of the "Cathedral of the Parisian Our Lady" tried the romantic principle of the reflection of life exceptional characters in emergency circumstances.Circumstances are so extremes that they acquire the visibility of an inmountable rock. So, Esmeralda dies as a result of actions of many persons who wish her only goodness: the whole army of the boards, the attackers of the Cathedral, Quasimodo, the Cathedral of the defending, Pierre Grenguar, who displays Esmeraldo outside the cathedral, and even her mother delaying the daughter before the appearance of soldiers. But for the capricious game of rock, the regularity of the typical circumstances of the era seemed to see it, which came across the death of every manifestation of freightness, any attempt to defend his right. Quasimodo remained not just a visual expression of romantic aesthetics Grotesque - a hero, who energizes Esmeralda from the predatory paws "Justice", raising his hand to the representative of the Church, became a symbol of the insurgency, the harbinger of revolution.

3.3. The image of the Cathedral of the Paris Our Lady

and his inextricable connection with the images of the main heroes of the novel

The novel is a "character", which unites all the actors around him and saves almost all the basic scene lines of the novel into one tangle. The name of this character was submitted in the title of the work of the Hugo Cathedral of the Parisian Mother of God.

In the third book of the novel, fully dedicated to the cathedral, the author literally sings the anthem to this wonderful creation of human genius. For the Hugo, the cathedral is "as if a huge stone symphony, the colossal creation of a person and the people ... A wonderful result of the connection of all the forces of the era, where from every stone sprinkles the host of hundreds of forms of the fantasy of the worker, disciplined by the genius of the artist ... This is the creation of human hands, mighty and abundant, like creation God, from whom it seemed to borrow a dual character: a variety and eternity ... "

The cathedral became the main place of action, the fate of the archivicon of Claude is connected with it is Frollo, Quasimodo, Esmeralda. Stone sculptures of the Cathedral are witnessing human suffering, nobility and betrayal, fair retribution. Talking the history of the cathedral, allowing us to imagine how they looked in a distant 15th century, the author seeks a special effect. The reality of stone structures that can be observed in Paris and today, confirms in the eyes of the reader and the reality of the actors, their destinies, the reality of human tragedies.

The fate of all the main heroes of the novel is inextricably linked with the cathedral of both an external event cana and the threads of internal thoughts and motivations. In particular, this is true in relation to the inhabitants of the temple: Archishacon Claude Frollo and a call of Quasimodo. In the fifth chapter of the book of the fourth read: "... A strange fate fell in those days to the share of the Cathedral of Our Lady - the fate to be beloved so reverently, but completely differently two such unresponsive creatures as Claude and Quasimodo. One of them - a similarity gained, wild, conquering only instinct, loved the cathedral for the beauty, for harmony, for harmony, which is erupted this magnificent integer. Another, gifted by fervent, enriched with knowledge, loved his inner meaning in him, the meaning hidden in him, loved the legend, his symbolism, melting behind the sculptural decorations of the facade, - in a word, loved that mystery, what time impact of the century remains for the human mind Cathedral of the Parisian Our Lady. "

For the Archidacon Claude Frollo Cathedral is the habitat, service and semi-human and semi-mounted surveys, the service for all its passions, defects, repentance, throwing, and, in the end - death. Claude Frollo's clergyman, ascetic and the alchemist personifies the cold rationalistic mind, triumphant over all kind human feelings, joys, affection. This mind, torn above the heart, inaccessible pity and compassion, is for Hugo evil power. Lowest passions that broke out in the cold soul of Frollo not only lead to the death of himself, but are the cause of the death of all people who mean something in his life: dies from the hands of Quasimodo, the younger brother of Archidacon Ceanoan, dies on the gallows, clean and beautiful Esmeralda, The death of a quasimodo priest voluntarily betrayed himself to the Claude authorities voluntarily defends himself, and then tamed, and then, in fact, devotee. The cathedral, as it were, as it were, the part of the life of Claude Frollo, and here acts as a full participant in the action of the novel: with his galleries, the archchyacone observes the Esmerald, dancing on the square; In the cell of the cathedral, equipped with them to class by alchemy, he spends hours and days in classes and scientific research, here he pray to Esmeralda to complicate and give it with love. The cathedral, in the end, becomes the place of his terrible death, described by the Hugo with a stunning force and psychological reliability.

In that scene, the cathedral also seems almost an animated creature: only two lines are dedicated to how Quasi-modo confronts his mentor with balustrades, the following two pages describe the "confrontation" of Claude Frollo with the Cathedral: "The rhodes retreated a few steps behind the back of the archchikon and suddenly, in Righting rage rushing at him, pushed him into the abyss, above which Claude bent ... The priest fell down ... the drain pipe, over which he stood, detained his fall. In desperation, he clung over her with both hands ... Under it, the jius of the abyss ... In this terrible position, the archigiacon did not express a word, did not publish a single moan. He only wriggled, making inhuman efforts to climb the groove to the balustrade. But his hands slid along the granite, his legs, scratching the blackened wall, sought supports in vain ... The archchiakon was insane. At his bald forehead, sweat was rolling, from under the nails on the stones, blood oozed, knees were in abrasions. He heard at every effort that he did, his Sutan, clinging to the groove, crackled and rushed. To top off the misfortune of the gutter ended the lead pipe that bent in the severity of his body ... the soil gradually left him from under him, the fingers slid along the groove, her hands weakened, the body became harder ... He looked at the impassive sculpture of the tower, as he and he , Above the abyss, but without fear for myself, without regret. Everything was stone around: right in front of him - the oral monsters were opened, under it - in the depths of the square - the pavement, over his head - weeping quasimodo. "

A man with a cold soul and a stone heart in the last minutes of life was alone with a cold stone - and did not wait for him or pity, no compassion, nor mercy, because he himself did not give any compassion, nor pity, nor mercy.

Communication with the Cathedral of the Quasimodo - this ugly hunchback with a soul of an embittered child - even more mysterious and incomprehensible. This is what the Hugo writes about this: "Over time, strong bonds tied the sound with the cathedral. Forevulged from the world with a double misfortune with a darker origin and physical deformity, closed from childhood in this double insurmountable circle, the poor thing was accustomed to not notice anything that he lay on the other side of the sacred walls, she clicked him under her sena. While he grew and developed, the Cathedral of Our Lady served for him with the egg, then the nest, then home, then, then, finally, the universe.

Between this being and the building, undoubtedly there was some mysterious predefined harmony. When, at all, a little crumb, a quasimodo with painful efforts, the vicochochka made his way under gloomy crops, he, with his little man head and the animal torso, seemed to be reptiles, naturally arise among the raw and dusk plates ...

So, developing under the Seni of the Cathedral, living and spending the night in him, almost never leaving him and continuously experiencing his mysterious impact, quasimodo in the end began to look like him; He seemed to be in the building, turned into one of its components ... You can almost without exaggeration to say that he took the shape of the cathedral, just as the snails take the shape of the shell. It was his dwelling, his lair, his shell. Between him and ancient temple there were deep instinctive attachment, physical affinity ... "

Reading the novel, we see that for Quasimodo, the cathedral was all - asylum, housing, friend, he defended him from the cold, from human malice and cruelty, he satisfied the need for people with people in communicating: "Only with extreme reluctance he turned his eyes to of people. He was quite enough to the cathedral inhabited by marble statues of kings, saints, bishops, who at least not laughed in his face and looked at him a calm and benevolent eyes. The statues of monsters and demons were also not feeding hate to him - he was too similar to them ... The saints were his friends and protected him; The monsters were also his friends and protected him. He poured his soul for a long time. Sitting squatting in front of some statue, he talked with her clock. If at this time someone entered the temple, Quasimodo flew out like a lover, caught in the serenade. "

Only a new, stronger, unfamiliar feeling, could shake this inseparable, incredible connection between man and the building. It happened when the miracle was entered into the life of a rejected, embodied in the image of innocent and beautiful. The name of the miracle is Esmeralda. The Hugo gives this heroine with all the best features inherent in the representatives of the people: beauty, tenderness, kindness, mercy, sophistication and naivety, integrity and loyalty. Alas, in cruel time, among the brutal people, all these qualities were rather disadvantages than the advantages: kindness, naivety and simpleness do not help survive in the world of malice and pegs. Esmeralda died, offhanging her loving - Claude, devoted to her loved by her - Fet, who was not saved by adopted and committed it - quasimodo.

Quasimodo, who managed to turn the cathedral into the "killer" of the archchyakon, earlier with the help of the entire Cathedral - his integral part of the "part" - trying to save the gypsy, staging it from the scene and using the Cathedral Cathedral as a refuge, i.e. places Where the criminals persecuted by law and the authorities were not available for their persecutors, the sentences were invited to the sacred walls of refuge. However, the evil will of people turned out to be stronger, and the stones of the Cathedral of Our Lady did not save the life of Esmeralda.

3.4. Romantic historicism

In the French romantic literature "Cathedral of the Parisian Mother" was an outstanding work of the historical genre. The strength of the creative imagination of the Hugo sought to recreate the truth of history, which would be an instructive instruction for modernity.

Victor Hugo managed not only to give a flavor of the era, but also to expose social contradictions of that time. A huge mass of the diverse people is opposed to the novel of the dominant bunch of nobility, clergy and royal officials. A scene in which Louis Xi is changing the expenditures on the construction of a prison cell, not paying attention to the prayer of the prisoner in it, is not paying.

The image of the cathedral is no wonder takes a central place in the novel. The Christian Church played the last role in the system of serfs. One of the main characters is the archchyacon Cathedral Claude Frollo - embodies the gloomy ideology of the clerks. Stern fanatic, he dedicated himself to studying science, but medieval sciences were closely related to mysticism and superstition. The man of an extraordinary mind, Frollo soon felt the impotence of this wisdom. But religious prejudices did not allow him to go beyond her limits. He experienced "horror and amazement of the minister of the altar" before typography, as before any other innovation. He artificially suppressed human desires, but could not resist the temptation that the Gypsy girl had caused him. The fanatic monk became furious, cynical and rude in his passion, discovering its low-cost and cruel-fine.

The novel was penetrated by a new anti-choered trend for the Hugo. The gloomy image of the cathedral acts in the novel as a symbol of Catholicism, the centuries of the overwhelming person. Cathedral-symbol of the enslavement of the people, the symbol of the feudal oppression, dark superstitions and prejudices, which are held in captivity of people's souls. No wonder in the darkness of the cathedral, under his arches, merging with bizarre marble chimers, stunned gulles of bells, alone lives quasimodo, "Soul of the Cathedral", whose grotesque image personifies the Middle Ages. In contrast to him, the adorable image of Esmeralda embodies the joy and beauty of earthly life, harmony of the body and soul, that is, the ideals of the Renaissance, which was a change in the Middle Ages. The era passes through fate, through the hearts of heroes in the "Cathedral".

It is no coincidence that Esmeralda is compared with the Mother of God throughout the novel. From her, the light comes to her the features "the ideal tenderness, which was subsequently caught Raphael in the mystical merger of virginity, motherhood and divinity." So the author metaphorically suggests: the deity of the new time - freedom, in the form of Esmeralda - the promise of future freedom.

The image of the awakening people is embodied in a quasimodo. The scene in which Esmeralda gives a drink that suffers from a shameful pillar of a quasimodo, a secret value is executed: this is a mative people in slavery gets a lifeful sip of freedom. If a meeting with Esmeralda Gorbun was as if one of the stone mandes of the cathedral, not quite a person (in accordance with the Latin name, he was given, - Quasimodo, "Almost", "as if"), then having loved her, he becomes Almost no superman. The fate of the Quasimodo is the key to the fact that the people have to become the Creator of History, the people with a capital letter.

What is ruined by Esmerald and Quasimodo? Their rock is Middle Ages. An aging, sprinkling era, feeling the approach of his end, the more violent a new life. The Middle Ages Avenge Esmeralde for the fact that it is free, and quasimodo for having freed from the power of the stone. Laws, prejudices, the habits of the Middle Ages kill them.

In the understanding of the author of the novel, the people are not just a dark ignorant mass, the passive sacrifice of oppressors: he is full of creative forces and will to fight, he owns the future. Although he did not create a wide painting of the people's movement in France of the XV century, he saw in the simple people of the unmarried power, which in continuous uprisings showed indomitable energy, achieving the desired victory.

While he has not yet woke up, it is still crushed by the feudal blink, "his hour has not yet broken." But the assault of the Cathedral of the Paris people, so brightly depicted in the novel, is only a prelude to the Bastille storm in 1789 (it's not by chance that the King of Louis XI lives in this castle), to a revolution that crushes feudalism. This "Popular Hour" unequivocally predicts the king of Poslanda of free Flanders, "Favorite People a Gent Coppenol":

"When the sounds of the Nabathy come from this tower, when the guns will get out when the tower collapses with the hell's crash, when the soldiers and the townspeople rush to each other in a mortal fight, then it will break this hour."

With all the motley and paintings of the People's Life Pictures in the "Cathedral of the Parisian Our Lady", the Hugo did not idealize the Middle Ages, as many romanticism writers did, he truthfully showed the dark aspects of the feudal past. At the same time, his book is deeply poetic, full of hot patriotic love for France, to her story, her art, in which, on the conviction of the writer, lives the freedom-loving spirit of the French people.

3.5. Conflict and problematic novel

In any historical era, through all its diverse contradictions of the Hugo distinguishes the struggle of two main moral struggles. His heroes and in the "Cathedral of the Paris's Mother of God" and even more in late novels, it is not only bright, living characters, socially and historically painted; Their images will grow into romantic symbols, become carriers of social categories, distracted concepts, ultimately the ideas of good and evil.

In the "Cathedral of the Paris's Mother of God", completely built, on spectacular "antithesis", reflecting the conflicts of the transition era, the main antitiza is the world of good and the world of evil. "Evil" in the novel is specified - this is feudal order and Catholicism. The world of oppressed and the world of oppressors: On the one hand, the Royal Castle of Bastille-Necking the Blood and Cunning Tirana, the nobility house of the "elegant and inhuman" ladder and cavaliers, with the other-Paris Square and Slums "Dvor Miracles"; Where they live disadvantaged. The dramatic conflict is not built on the struggle of royal power and feudalists, but on the relationship between folk heroes and their oppressors.

The royal power and her support, the Catholic Church, are shown in the novel as hostile to the people. This defines the image of the calculating-cruel king of Louis Xi and the image of the gloomy frolic archudeacon of Claude Frollo.

Externally brilliant, and in fact, empty and heartlessial noble society is embodied in the image of Captain Feba de Shatoper, an insignificant veil and a coarse soldier, who only the in love of Esmeralda may seem to the knight and hero; Like the archgiacon, Phoebo is not capable of disinterested and selfless feeling.

The fate of quasimodo is exclusive for the journey of terrible and cruel, but it (terrible and cruel) is due to the era and the provision of quasi-modo. Claude Frollo is the embodiment of the Middle Ages with his gloomyracy and asceticism, but its atrocities are generated by those distortion of human nature, for which the religious obscurantism of medieval Catholicism is responsible. Esmeralda - Opoeted "Soul of the People", its image is almost symbolic, but the personal tragic fate of street dance is possible in these conditions the fate of any real girl from the people.

The mental and high humanity are inherent in only rejected people from the bottom of society, they are the genuine heroes of the novel. Esmeralda's street dance symbolizes the moral beauty of the people, the deaf and ugly ringing of the Quasimodo-urgentness of the social destiny.

Criticism has repeatedly noted that both characters and Esmeralda, and quasimodo are in the novel pursued by the victims of an unfair court, cruel laws: Esmeralda is tortured, sentenced to death, quasimodo with eases are sent to a shameful post. In society he is rejected, expensive. But barely defending the motive of social assessment of reality (as, by the way, in the image of the king and the people), Romantic Hugo focuses on the other. He is interested in the collision of the moral principles, eternal polar forces: good and evil, dedication and selfishness, beautiful and ugly.

Expressing sympathy for "suffering and disadvantaged", Hugo was full of deep faith in the progress of mankind, in the final victory of good over evil, in the celebration of a humanistic principle, which will overcome world evil and will approve consent and justice in the world.

The death of heroes is the moral court over the evil in the novel "Cathedral of the Paris Mother of God" (1831). Evil in the "Cathedral" is the "Old Stroy", with whom the Hugo fought during the creation of the novel, in the era of the revolution of 1830, the Old Stroy and its foundations, namely (according to the writer) King, Justice and Church. The action in the novel is deployed in Paris in 1482 the writer often speaks about the "epoch" as an item of his image. And in fact Hugo performs all the knowledge. Romantic historicism is clearly demonstrated by the abundance of descriptions and reasoning, etudes about the era of the epoch, "color".

In accordance with the tradition of the romantic historical novel, the Hugo creates a canvas epic, even a grand, preferring image of large, open spaces, and not interior, mass scenes, colorful spectacles. The novel is perceived as a theater representation as a drama in the spirit of Shakespeare, when on the stage, breaking all sorts of "rules", the life itself, mighty and multicolored. The scene is the entire Paris, written with a striking clarity, with the striking knowledge of the city, his story, his architecture, like a painter cloth, like the creation of architect. Human Roman Hugo is as it were from gigantic blocks, from powerful construction details - as the Cathedral of the Paris Mother of God was built. Hugo's novels are generally like a cathedral - they are greatest, cargo, harmonious more in spirit than in shape. The writer does not develop so much by Stabul, how many stone puts the stone, chapter for the head.

Cathedral— the main character Romana, which corresponds to the descriptions and paintings of romanticism, the nature of the writer manner of the Hugo-architect, - through the style of the seeming feature of the era. The cathedral is the symbol of the Middle Ages, the irreversive beauty of its monuments and the deformity of religion. The main heroes of the novel - the rhodere quasimodo and the archiviakon Claude Frollo are not only the inhabitants, but the creation of the cathedral. If in Quasimodo, the cathedral is completing his ugly appearance, then in Claude he forms sincere deformity.

Quasimodo- Another embodiment of the democratic and humanistic idea of \u200b\u200bHugo. In the "old strict", with whom the Hugo fought, everything was determined by appearance, a classroom, a suit - a soul quasi-modo appears in the shell of an ugly ringing, loose, outcast. This is the lowest link in the public hierarchy, crowned by the king. But the highest is in the hierarchy of the moral values \u200b\u200bestablished by the writer. Disinterested, selfless love Quasimodo transforms his essence and turns into a way of assessing all other heroes of the novel - Claude, whose feelings are interested in religion, Crawl of Esmeralda, the magnificent magnificent uniform of the officer, the most of the officer, insignificant faith in beautiful shape.

In characters, conflicts, the Fabul Romana established that it became a sign of romanticism, the exceptional characters in emergency circumstances. Each of the main characters is the fruit of romantic symbolization, the extreme embodiment of a particular quality. In the novel relatively little action not only by virtue of the heavy description of its characteristics, but also due to the romantic nature of the heroes: there are emotional connections between them, instantly, with one touch, at one view of the quasimodo, Claude, Esmeralda arise currents of unusual power, and they are ahead of action . Aesthetics hyperball and contrast enhances emotional tension, bringing it to the limit. The Hugo puts the heroes into the most unusual, in exceptional situations that are generated as the logic of exceptional romantic characters and the power of the case. So, Esmeralda dies as a result of actions of many people who love her or those who want her good, - the whole army of the boots, attacking the Cathedral, Quasimodo, defending the Cathedral, Pierre Grenguar, withdrawn by Esmeralda from the cathedral, her own mother who was detained the daughter before the appearance of soldiers.

These are romantic emergency circumstances. Hugo calls them "rock". Rock- Not the result of the writer's time manual, he, in turn, draws up romantic symbolization as a way of peculiar knowledge of reality. For the capricious random of the destroyed heroes of rock, the pattern of the typical circumstances of the era, which came across the death of every manifestation of freedomiff, any attempt to defend their right. Unnatural chain of accidents killing the heroes, but unnatural "Old Stroy", the king, justice, religion, all the ways of suppressing the human person, who announced the war Viktor Hugo. The revolutionary pathos of the Roman concretized the romantic conflict of high and low. Low appeared in the specific historical appearance of feudalism, the royal despoty, high - in the guise of commoners, in the favorite writer from now on the topic of rejected. Quasimodo remained not just the embodiment of romantic aesthetics Grotesque - energous of the Esmeraldo from the paw "Justice", who kills the Archidacon hero became a symbol of the rebellion. Not only the truth of life - the truth of the revolution was opened in the romantic Poet of Hugo.

The system of romantic characters in the novel by V. Hugo "Cathedral of the Parisian Our Lady."

Romanticism in the literature - the epoch of the predominance of lyrical genres, primarily lyrical poetry, lyrol-epic poem. In prose, romanticism manifested itself brighter in the novel, which F. Schlegel considered the synthetic universal genre, most of all the corresponding tasks of the new literature. Early romantic romance was primarily the psychological, exploring contradictory, complicated consciousness of the main character ("Rene" of the French writer F. R. Shatubrian, 1801; "Heinrich Non Owldingen" of the largest German romance F. Novisa, 1801). In English romanticism in the work of Sir Walter Scott (1788-1832), the first samples of the historical novel appear. This genre quickly conquers exceptional popularity in all European literature. Consider a romantic historical novel on the example of the creativity of Viktor Hugo.

Victor Hugo (1802-1885), the greatest French romantic, performed in all genres of romantic literature. The ninety volumes of the collection of his writings contain twenty-two collections of his poems, twenty-one drama, nine novels, poems, articles, speeches, journalism. If the Hugo is known in Russia mostly as a novelist, then in France, he is recognized as the most prolific and original poet in the entire history of French poetry. He is the author of the whole "ocean of poetry", the exact number of poetic lines created by him - 153 837. The nineteenth century in the history of French literature is sometimes called him by the name - "Age of Hugo".

Viktor Hugo was the third, younger son in the Napoleonic General General Leopold Hugo. In it, a poetic talent was revealed early, already at fifteen years he was awarded a commendable review from the Academy. In the twenties, he was recognized as the head of a young romantic school in France, his authority of a fighter with classicism was established in the "romantic battle" for the formulation of the first romantic drama on the French stage. In the thirties, the "Romantic Theater" of the Hugo was created, he was allegedly as a prose. Hugo enthusiastically adopted the revolution of 1848 and plunged into political activities interrupted by the state coup of 1851. Hugo was not agreed with the methods of armed seizure of power Louis Napoleon, with the policy of the new emperor of France, and all the time of his rule (1851-1870) spent in exile in England. These nineteen years turned out to be the most heroic period of his life and the most fruitful period of his work. The Hugo in a new way revealed as a lyrical poet and a citizen's poet, completed the work on the novel "Molded" (1862), wrote novels "The man who laughs" and "the workers of the sea". After falling the regime, Louis Napoleon Hugo is triumphantly returns to his homeland, and in recent years of his life, his talent is just as diverse as in his youth. He creates his "free theater", performs with new collections of lyrics, publishes the novel "ninety-third" (1874).

Of all the milestones, the premiere of the Drama "Ernani" (1829) had a particular importance of the creative biography of the Hugo (1829), which marked the end of the domination of classicism on the French scene and recognition of romanticism as a new leading literary direction. Even in the preface to the drama "Cromwell" (1827), the GUGO formulated the main provisions of the romantic theory in France, in particular, the concept of romantic grotesman - the French version of the romantic irony category. In accordance with these theoretical provisions on the wave of hobby, Walter Scott Hugo writes its first mature novel - "Cathedral of the Paris Mother of God" (1831).

Three years of the Hugo collected and pondered the material of the novel: he thoroughly studied the historical era, Paris of the XV century, the time of the reign of Louis Xi, the architecture of the cathedral. The novel was written very quickly, for six months, and he carries an imprint of political events of the creation time - the revolution of 1830. In the past, Hugo wants to understand the origins of the heroism of the French people who manifested during the revolution. The picture of the national holiday opens the novel, the picture of the folk rebellion it completes. The whole romance unfolds on a wide background of the life of the city crowd.

The People's Spirit in the novel embodies the central image of the novel. This is the capital image - the Cathedral of the Paris Mother of God, Notre Dame. Here is the main hero of the novel: "... The Huge Cathedral of Our Lady, who sings in the starry sky, a black silhouette of two of their towers, stone sides and a monstrous crumple, like a two-headed Sphinx, a dormant among the city ..." Hugo had a property to animate the images of inanimate objects, and notre "Yesh lives in his novel, a special life." Cathedral is a symbol of the People's Middle Ages. For the Hugo, the majestic Gothic Cathedral, built by missile masters, is primarily a wonderful folk art, the expression of the People's Spirit. Cathedral is the colossal creation of a person and the people, the crown of folk fantasy, "Iliad" of the French people of the Middle Ages.

At the same time, the cathedral in the novel is an isna of everyday passion. He reigns in the artistic space of the novel: all the most important events occur either in the walls of the cathedral, or on the square in front of him. He seems to take part in action, actively helping one characters, counteracting others: shelters Esmeralda in his walls, drops the Frollo Claude from his towers.

The main heroes of the novel come from the folk crowd around the cathedral. At the heart of the plot is a traditional love triangle, love melodrama. Images of all the main characters are created in accordance with the theory of romantic grotesque Hugo, that is, based on hyperbola, exaggeration, devil concentration; The author not only contrasting the characters to each other, but also the image of each character is based on the contrast of external traits and internal mental properties. The first reader gets acquainted with Quasimodo, the name of the Cathedral of Our Lady. At the beginning of the novel, the elections of the king of freaks, "Pope Shitov", and in competition with all who crush terrible faces, wins the Natural Person Quasimodo - an unnatural, frozen grotesque mask. At first, his appearance corresponds to his semi-life worldview. Quasimodo gives the voice of the cathedral, "pours life into this immense building."

Cathedral for quasi-modo - native house, because he is a podlidysh found in the nursery for the biddling of the cathedral. The archchyacon Cathedral Claude Frollo brought up a little deaf ugly and made him a ring, and the quasimodo talent is manifested in this lesson. For him, the ringing bells is poured into the symphony of sounds, with its help, the cathedral is talking to citizens. But the townspeople see only a mistake of nature on the rarity of the disgusting Knison. For everyone, he "damn" the ringer, which wakes people at night, and those who saw His worker, like a monkey, along the head towers of the cathedral, and consider him the devil or revived chimera from the towers of the Cathedral.

The appearance of quasimodo awakens in people a disgust, and from human hostility, he hides behind the high walls of his caught house - Cathedral. Cathedral in medieval culture is the symbolic embodiment of a whole world, replacing a whole external world for quasi-modo. At the same time, its reliable walls become for a quasi-code fortress in which he languishes loneliness. The walls of the cathedral and rare deformity reliably separate it from people.

In a vague, unclear soul Quasimodo, wonderfully awakened under the influence of love flashed in him to Esmeralde. In romanticism, love is the driving force of the human soul, and quasimodo becomes humane, elevated and noble under its impact. The image of a quasi-modo is built on the contrast of ugly appearance (romance was the first in world literature an interest in the ugly, this affected the expansion of the sphere of aesthetically significant in the art of romanticism) and altruistic, beautiful soul. He embodies in the novel soul of the cathedral and the wider spirit of the People's Middle Ages.

Kvasimodo's opponent in passion to Esmeralde is his educator, Claude Frollo. This image is one of the most interesting creatures of the Hugo-Romance. This is the most modern personality from all the heroes of the novel. On the one hand, Claude Frollo is a harsh religious fanatic, ascetic, despot that consistently etching all human; This is a medieval, gloomy fanaticism. On the other hand, at the cost of constant work on himself, he became the most scientist person among his contemporaries, he was comprehended by all sciences, but nowhere found truth and calmness, and his restless spiritual breakdown with himself - the feature of a person of the new time, the trait of the romantic hero.

By pride and strength of the character, the priest Claude Frollo will not give way to Pirate by Conrad, he is typical of the same contempt for the pitiful people who make up humanity, this is another option of the romantic individualist's hero. Like Corsair, Claude Frollo runs from human society, it closes in his cell in the cathedral. He suspicious refers to the carnal nature of man, but the author forces this scholastic scientist to experience a real passion for Esmerald. The fire of this passion he perceives as devouring his hellish, sinful fire; He humiliates that the street dance has become the subject of his need for his passion.

Love, Claude Frollo rethinks all his last life. He is disappointed in his studies with science, begins to doubt his faith. But he reveals that love, in the soul of the usual, normal person, giving birth to a response, in the soul of the priest creates something monstrous. Distorted, the ugly love of Claude Frollo is poured into pure hatred, in a boundless malice. The priest turns into a demon. The author is half amellation with one of the main provisions of Catholicism about the need to suppress the natural intelligence of a person. The atrocities of Claude Frollo are in misfortune: "Scientist - I abused on science; nobleman - I disgraced my name; The clergyman - I turned the cook in a pillow for lustful dreams; I spat on my god! "

Between the love of Quasimodo and Claude Frollo to Esmerald, there is a principal difference. The passion of Claude Frollo is selfish. He is busy only with his own experiences, and Esmeralda exists for him only as an object of his experiences. Therefore, he does not recognize the right to an independent existence for her, and any manifestation of her personality perceives as a failure to betray. When she rejects his passion, he is unable to move the idea that the girl can get to another, and he himself gives her hand to the executioner. The destructive passion of Claude Frollo is opposed to deep and pure love quasimodo. He loves Esmeralda completely disinterestedly, without claiming anything and not expecting anything from his beloved. Not requested anything in return, he saves her and gives shelter in the cathedral; Moreover, he is ready for everything for the sake of the happiness of Esmeralda and wants to bring it to her who she is in love, "the captain of Feva de Shatoper, but that cowardly refuses to meet with her. For the sake of love, quasimodo is capable of a feud of self-sacrifice - in the eyes of the author he is a true hero.

The third peak of the love triangle in the novel is the image of the beautiful Esmeralda. It embodies in the novel spirit of the approaching Renaissance, the spirit of the era, going to replace the Middle Ages, it is all joy and harmony. It boils forever young, lively, progresal roblaseian spirit, this fragile girl himself challenges medieval asceticism. Parisians perceive young gypsy with a white goat as an unearthly, beautiful vision, but, despite the extreme idealization and melodramatism of this image, it has the degree of vitality that is achieved during romantic typing. In Esmeralda, the start of justice and kindness (the episode with the salvation of the poet of Pierre Grenguar from the gallows in the yard of miracles), she lives wide and freely, and its air charm, naturalness, moral health is equally opposed to the deformity of the Quasimodo and the gloomy asceticism of Claude Frollo. Romanticism in this image affects Esmeralda to love - she cannot change their feelings, the love of her uncompromising, this is in the literal sense of the word love to the coffin, and for love she goes to death.

Coloring and secondary images of the novel - the young aristocrat of Fleur de Lis, the king, his environment; Wonderful paintings of medieval Paris. No wonder Gyu paid so much time to study the historical era - he paints his openwork, multicolor architecture; The multi-chain of the people's crowd transmits the characteristics of the era language, and in general, the novel can be called the encyclopedia of medieval life.

The originality of romanticism in the "Cathedral of the Parisian Our Lady" GUGO is that a very saturated and confusing, full secretion and intrigue plot is played by the characters bright, exceptional, which are disclosed by opposing images. Romantic characters in general, as a rule, are static, they do not change in time, if only because the action in romantic works develops very rapidly and covers a short period of time. The romantic hero, as it were, in front of the reader on a short moment, as if caught from the darkness of a dazzling outbreak of lightning. In the romantic product, the heroes are revealed through opposition of images, and not through the development of character. Contrastration This often takes exceptional, melodramatic nature, there are typical romantic, melodramatic effects.

In the Roman GUGO depicted exaggerated, hypertrophied passions. Hugo uses traditional category for romantic aesthetics - light and darkness, good and evil, but fills them with quite specific content. Hugo believed that the work of art should not be slaky to copy reality, but to convert it, to represent it in a "condensed" concentrated form. The work of the literature he compared with a concentrating mirror that fans the individual rays of life into a multicolor bright flame. All this made the "Cathedral of the Paris Mother of God" one of the brightest samples of romantic prose, determined the success of the novel at his first readers and critics and continues to determine its popularity in our days.

In the majestic, monumental world of the GUGO was embodied both the elevated and vulnerable parties of romanticism. Curious saying about the Gugo M. Tsvetaeva: "This feather of the elements was chosen to herald. Solid vertices. Each string is a formula. Intrack tired. The magnificence of shared places. The world just just created. Each sin is the first. Rose always fragrances. Beggar - completely beggar. The girl is always innocent. The old man is always wise. In the kabaska - always drunk. The dog cannot but die on the host's grave. Such hugo. No surprises. But in romanticism, the art of paradoxes and opposites, a grandiose borrowed with skepticism, irony. A kind of summarizing the results of Western European romanticism was the work of the German poet of Henrich Heine.

The signs of the National and Historical Colorite are rich in the Hugo Ballads, as the "King John" tournament, "Hunting Burggraph", "Legend of the nun", "Fairy", etc. Already in the early period of Hugo's creativity appeals to one of the most acute problems of romanticism, What was the update of drama, the creation of a romantic drama. As an antithesis, the classic principle of the "refined nature" of the Hugo is developing the theory of grotesque: this means to present a funny, ugly in the "concentrated" form. These and many other aesthetic plants concern not only drama, but, essentially, and romantic art in general, so the preface to the Kromwell drama has become one of the most important romantic manifestos. The ideas of this manifest are being implemented in the Hugo dramas, which are all written on historical plots, and in the novel "Cathedral of the Paris Mother of God."

The idea of \u200b\u200bthe novel occurs in the atmosphere of hobby in historical genres, the beginning of which was put by the novels of Walter Scott. Hugo gives tribute to this passion and in drama, and in the novel. In the late 1820s. Hugo thinks to write a historic novel, and in 1828 it even concludes an agreement with the Publisher of the Gossel. However, work is hampered by many circumstances, and most importantly, the fact that his attention is increasingly attracting modern life.

For work on the novel of the Hugo is accepted only in 1830, literally a few days before the July revolution. His reflections on their time closely intertwined with the overall concept of human history and with the ideas about the fifteenth century, which he writes his novel. This novel receives the name "Cathedral of the Paris Our Lady" and comes out in 1831. Literature, be it novel, poem or drama, depicts history, but not as historical science makes it. Chronology, accurate sequence of events, battles, conquest and disintegration of kingdoms - only the outside of the story, argued by the Hugo. In the novel, attention is focused on what I forget about or what ignores the historian, - on the "involment" of historical events, i.e. on the inside of life.

Following this new ideas for his time, Hugo creates the "Cathedral of the Paris Mother of God." The expression of the Spirit of the era The writer considers the main criterion for the truthfulness of the historical novel. This artistic work is fundamentally different from the chronicle, which outlines the facts of history. In the novel, the actual "canvas" should serve only the overall basis of the plot, in which fictional characters can act and develop events woven by the author's fantasy. True historical novel is not exactly the accuracy of the facts, but in loyalty to the spirit of the times. Hugo is convinced that in the pedantic retelling of historical chronicles not to find so much sense as it lies in the behavior of an unnamed crowd or "argotinists" (in his novel, this is a peculiar corporation of vagrants, thieves, thieves and fraudsters), in the feelings of street dance, Esmeralda, or Kvasimodo , or in a monk scientist, whose alchemical experiments are interested in the king.

The only imperceptible requirement for the author's fiction is to answer the spirit of the era: the characters, the psychology of the characters, their relationship, actions, the overall course of the development of events, the details of life and everyday life - all aspects of the historical reality should be submitted as they actually could be. To have an idea of \u200b\u200bthe long-lasting era, it is necessary to find information not only about the official realities, but also about the nravas and the text of the daily life of simple people, you need to study all this and then recreate in the novel. Help the writer who are among the people of legends, legends and the like folklore sources, and the lack of the writer can and should fill in their imagination by the strength of his imagination, i.e., resort to fiction, always remembering that it should relate the fruits of his fantasy With the Spirit of the Epoch.

Romantics considered the imagination by the highest creative ability, and the fiction - an indispensable attribute of the literary work. The fiction, by which it is possible to recreate the real historical spirit of time, according to their aesthetics, maybe even more truthful than the fact itself.

Artistic truth is above the truth of the fact. Following these principles of the historical novel, the era of romanticism, the Hugo does not simply combine the events that have really occurred with fictional, and genuine historical characters - with unknown, but clearly gives preference to the latter. All the main actors of the novel - Claude Frollo, Quasimodo, Esmeralda, Fest - fictional to them. Only Pierre Grenguar represents an exception: he has a real historical prototype - it lived in Paris in the XV - early XVI century. Poet and playwright. In the novel, the king of Louis XI and Cardinal Burbonsky appear (the latter appears only episodically). The plot of the novel is not based on any major historical event, and only detailed descriptions of the Cathedral of the Paris Mother of God and medieval Paris can be attributed to real facts.

Unlike the heroes of the literature of the XVII - XVIII centuries, Holo Heroes combine contradictory qualities. Widely using the romantic reception of a contrast image is sometimes consciously exaggerating, turning to Grotesque, the writer creates complex ambiguous characters. His gigantic passions, heroic actions attract. It extols the power of his character of the hero, the rebellion, rebellious spirit, the ability to deal with circumstances. In characters, conflicts, Fabul, the scenery of the "Cathedral of the Paris Mother of God" tried the romantic principle of reflection of life - exceptional characters in emergency circumstances. The world of unrestrained passions, romantic characters, surprises and randomness, the image of a bold, not an interested person to any hazards, that is what the Hugo is hesing in these works.

Hugo argues that the world constantly fights between good and evil. The novel is even more bright than in Hugo's poetry, they marked the search for new moral values, which the writer finds, as a rule, not in the camp of the rich and power of the property, but in the village of disadvantaged and despised poor people. All the best feelings are kindness, sincerely dedication - they are given to the prinhibition of Quasimodo and Gypsy Esmeralde, who are genuine heroes of the novel, while the antipodes standing in the fodder of secular or spiritual power, like the King Louis XI or the same Frollo archigital, differ Cruelty, faith, indifference to the suffering of people.

The main principle of his romantic poetics - the image of life in her contrasts-Hugo was trying to justify before the "preface" in his article about the novel V. Scott "Quentin Dorvard". "It's not if he, he, - Life is a fancy drama, in which a good and evil, beautiful and ugly, high and low-law acting in all creation are mixed?".

The principle of contrasting opposition in the GUGo poetics was founded on its metaphysical ideas about the life of a modern society, in which the determining factor of development is as if the struggle of opposing moral principles - good and evil - existing worn.

A significant place in the "preface" of the GUGO assumes the determination of the aesthetic concept of grotesca, considering it a distinctive element of medieval poetry and modern romantic. What does he mean by this concept? "Grotesque, as the opposite of elevated, as a means of contrast, is, in our opinion, the richest source that nature opens the art."

Grotesque images of their works of the GUGO opposed the conditionally beautiful images of epigonian classicism, believing that without the introduction of phenomena as elevated, "so and low-lying, both beautiful and ugly, and ugly to pass the completeness and truth of life. With all the metaphysical understanding of the category" Grotesque " The rationale for this element of art at the Hugo was nevertheless a step forward on the way of approaching art to vitality.

The novel is a "character", which unites all the actors around him and saves almost all the basic scene lines of the novel into one tangle. The name of this character was submitted in the title of the work of the Hugo Cathedral of the Parisian Mother of God.

In the third book of the novel, fully dedicated to the cathedral, the author literally sings the anthem to this wonderful creation of human genius. For the Hugo, the cathedral is "as if a huge stone symphony, the colossal creation of a person and the people ... A wonderful result of the connection of all the forces of the era, where from every stone sprinkles the host of hundreds of forms of the fantasy of the worker, disciplined by the genius of the artist ... This is the creation of human hands, mighty and abundant, like creation God, from whom it seemed to borrow a dual character: a variety and eternity ... "

The cathedral became the main place of action, the fate of the archivicon of Claude is connected with it is Frollo, Quasimodo, Esmeralda. Stone sculptures of the Cathedral are witnessing human suffering, nobility and betrayal, fair retribution. Talking the history of the cathedral, allowing us to imagine how they looked in a distant 15th century, the author seeks a special effect. The reality of stone structures that can be observed in Paris and today, confirms in the eyes of the reader and the reality of the actors, their destinies, the reality of human tragedies.

The fate of all the main heroes of the novel is inextricably linked with the cathedral of both an external event cana and the threads of internal thoughts and motivations. In particular, this is true in relation to the inhabitants of the temple: Archishacon Claude Frollo and a call of Quasimodo. In the fifth chapter of the book of the fourth read: "... A strange fate fell in those days to the share of the Cathedral of Our Lady - the fate to be beloved so reverently, but completely differently two such unresponsive creatures as Claude and Quasimodo. One of them - a similarity gained, wild, conquering only instinct, loved the cathedral for the beauty, for harmony, for harmony, which is erupted this magnificent integer. Another, gifted by fervent, enriched with knowledge, loved his inner meaning in him, the meaning hidden in him, loved the legend, his symbolism, melting behind the sculptural decorations of the facade, - in a word, loved that mystery, what time impact of the century remains for the human mind Cathedral of the Parisian Our Lady. "

For the Archidacon Claude Frollo Cathedral is the habitat, service and semi-human and semi-mounted surveys, the service for all its passions, defects, repentance, throwing, and, in the end - death. Claude Frollo's clergyman, ascetic and the alchemist personifies the cold rationalistic mind, triumphant over all kind human feelings, joys, affection. This mind, torn above the heart, inaccessible pity and compassion, is for Hugo evil power. Lowest passions that broke out in the cold soul of Frollo not only lead to the death of himself, but are the cause of the death of all people who mean something in his life: dies from the hands of Quasimodo, the younger brother of Archidacon Ceanoan, dies on the gallows, clean and beautiful Esmeralda, The death of a quasimodo priest voluntarily betrayed himself to the Claude authorities voluntarily defends himself, and then tamed, and then, in fact, devotee. The cathedral, as it were, as it were, the part of the life of Claude Frollo, and here acts as a full participant in the action of the novel: with his galleries, the archchyacone observes the Esmerald, dancing on the square; In the cell of the cathedral, equipped with them to class by alchemy, he spends hours and days in classes and scientific research, here he pray to Esmeralda to complicate and give it with love. The cathedral, in the end, becomes the place of his terrible death, described by the Hugo with a stunning force and psychological reliability.

In that scene, the cathedral also seems almost an animated creature: only two lines are dedicated to how Quasi-modo confronts his mentor with balustrades, the following two pages describe the "confrontation" of Claude Frollo with the Cathedral: "The rhodes retreated a few steps behind the back of the archchikon and suddenly, in Righting rage rushing at him, pushed him into the abyss, above which Claude bent ... The priest fell down ... the drain pipe, over which he stood, detained his fall. In desperation, he clung over her with both hands ... Under it, the jius of the abyss ... In this terrible position, the archigiacon did not express a word, did not publish a single moan. He only wriggled, making inhuman efforts to climb the groove to the balustrade. But his hands slid along the granite, his legs, scratching the blackened wall, sought supports in vain ... The archchiakon was insane. At his bald forehead, sweat was rolling, from under the nails on the stones, blood oozed, knees were in abrasions. He heard at every effort that he did, his Sutan, clinging to the groove, crackled and rushed. To top off the misfortune of the gutter ended the lead pipe that bent in the severity of his body ... the soil gradually left him from under him, the fingers slid along the groove, her hands weakened, the body became harder ... He looked at the impassive sculpture of the tower, as he and he , Above the abyss, but without fear for myself, without regret. Everything was stone around: right in front of him - the oral monsters were opened, under it - in the depths of the square - the pavement, over his head - weeping quasimodo. "

A man with a cold soul and a stone heart in the last minutes of life was alone with a cold stone - and did not wait for him or pity, no compassion, nor mercy, because he himself did not give any compassion, nor pity, nor mercy.

Communication with the Cathedral of the Quasimodo - this ugly hunchback with a soul of an embittered child - even more mysterious and incomprehensible. This is what the Hugo writes about this: "Over time, strong bonds tied the sound with the cathedral. Forevulged from the world with a double misfortune with a darker origin and physical deformity, closed from childhood in this double insurmountable circle, the poor thing was accustomed to not notice anything that he lay on the other side of the sacred walls, she clicked him under her sena. While he grew and developed, the Cathedral of Our Lady served for him with the egg, then the nest, then home, then, then, finally, the universe.

Between this being and the building, undoubtedly there was some mysterious predefined harmony. When, at all, a little crumb, a quasimodo with painful efforts, the vicochochka made his way under gloomy crops, he, with his little man head and the animal torso, seemed to be reptiles, naturally arise among the raw and dusk plates ...

So, developing under the Seni of the Cathedral, living and spending the night in him, almost never leaving him and continuously experiencing his mysterious impact, quasimodo in the end began to look like him; He seemed to be in the building, turned into one of its components ... You can almost without exaggeration to say that he took the shape of the cathedral, just as the snails take the shape of the shell. It was his dwelling, his lair, his shell. Between him and ancient temple there were deep instinctive attachment, physical affinity ... "

Reading the novel, we see that for Quasimodo, the cathedral was all - asylum, housing, friend, he defended him from the cold, from human malice and cruelty, he satisfied the need for people with people in communicating: "Only with extreme reluctance he turned his eyes to of people. He was quite enough to the cathedral inhabited by marble statues of kings, saints, bishops, who at least not laughed in his face and looked at him a calm and benevolent eyes. The statues of monsters and demons were also not feeding hate to him - he was too similar to them ... The saints were his friends and protected him; The monsters were also his friends and protected him. He poured his soul for a long time. Sitting squatting in front of some statue, he talked with her clock. If at this time someone entered the temple, Quasimodo flew out like a lover, caught in the serenade. "

Only a new, stronger, unfamiliar feeling, could shake this inseparable, incredible connection between man and the building. It happened when the miracle was entered into the life of a rejected, embodied in the image of innocent and beautiful. The name of the miracle is Esmeralda. The Hugo gives this heroine with all the best features inherent in the representatives of the people: beauty, tenderness, kindness, mercy, sophistication and naivety, integrity and loyalty. Alas, in cruel time, among the brutal people, all these qualities were rather disadvantages than the advantages: kindness, naivety and simpleness do not help survive in the world of malice and pegs. Esmeralda died, offhanging her loving - Claude, devoted to her loved by her - Fet, who was not saved by adopted and committed it - quasimodo.

Quasimodo, who managed to turn the cathedral into the "killer" of the archchyakon, earlier with the help of the entire Cathedral - his integral part of the "part" - trying to save the gypsy, staging it from the scene and using the Cathedral Cathedral as a refuge, i.e. places Where the criminals persecuted by law and the authorities were not available for their persecutors, the sentences were invited to the sacred walls of refuge. However, the evil will of people turned out to be stronger, and the stones of the Cathedral of Our Lady did not save the life of Esmeralda.

38. The value of the images of CLOD Frollo, Quasimodo and Esmeralda in the novel V.GUGU "Cathedral of the Paris Mother of God"

Gypsy Esmeralda his art, all his appearance gives the pleasure of the crowd. She is far from piousness, does not refuse earthly jeads. In this image, the brightest reflected a revival of interest to the person, which becomes the main feature of the world perception in a new era. Esmeralda is inextricably linked with the people. Hugo applies a romantic contrast, shaking the beauty of the girl with images of the society, in the image of which he uses grotesque. Esmeralda - Gypsy (though, only on education) and Frenchwoman (by origin).

Her unique beauty looked crazy, and he destroyed it, because he could not understand and could not assign. Esmerald embodies the ideal of the Hugo. This is his subjective, romantic vision of freedom and beauty, which always go there. The beautiful dancer carries the features of the new Renaissance culture (nationality, the unity of spiritual and bodily, humanity), which goes to change medieval asceticism, and this cannot be changed (the symbolic content has the first scene of the novel, which shows the inevitable loss of the church of the former authority). The opposite image in the novel is an image of a cloudy scoundrel, the Archidacon of Claude Frollo (created after Cardinal Palace from Marion Delorm), reveals many years of fighting Hugo against the Church.

The royal power and her support - the Catholic Church - depicted in the novel as enemy people's people. The judicial-cruel Louis XI is very close to the gallery of crowned criminals from the drum Hugo. Frollo Claude feelings are distorted: love, parental favor, thirst for knowledge overlap with egoism and hatred. It is also expressed in one of the characteristics of the people of Renaissance, but first of all it is a man of Middle Ages, ascetic, who refers to all life joy with contempt. He fended from the people's life with the walls of the cathedral and his laboratory, and therefore his soul is in the power of dark and evil passions. Claude Frollo would like to muffle all the earthly feelings that he considers shameful, and devote himself to studying the complete information of human knowledge.

But contrary to his objection of human feelings, he himself loved Esmeralda. This love is destructive. Without having to overcome it, Claude Frollo becomes the path of crime, condemned Esmeralda on torment and death. The payback comes to the archchikon from his servant, the cathedral ringing, quasimodo. To create this image, GUGO especially uses grotesque. Quasimodo - an extraordinary freak. His face and figure at the same time and funny, and terrible. Grotesque quasimodo, ugly, mentally defective, incredibly strong physically, knew all his life and cruelty.

And he answered cruelty for cruelty. Even Frollo, who allegedly brought up a siroto, otherwise, as disgusting, can not look at the unfortunate. Quasimodo looks like chimera - fantastic animals, whose images decorate the cathedral. Quasimodo - soul of the cathedral. The ugly monster also loved the beauty of Esmeralda, but not for her beauty, but for kindness. And his soul, which awakens from sleep, in which he immersed Claude Frollo, turns out to be beautiful. The beast in its appearance, quasimodo is an angel in the shower. Love Quasimodo to Esmeralda is high love for Renaissance Madonna. So Dante loved Beatrice, so Petraka treated the laure. See you with Esmeralda Quasimodo did not know that there is love, beauty and good in the world. A good act of the girl from the courtyard of miracles was for a quasi-modo "sincere event," turned his life. Quasimodo embodies the author's understanding of the nature and fate of the people, clogged and dyeing, unreasonable and slavish submissive. But not always. See you with Esmeralda, Quasimodo's life was in a state of sleep. He saw himself only a huge construction of the cathedral, served him and was part of him. Now he saw another and for that another is ready to give life.

Protest Quasimodo is a protest unconscious, cruel, and even terrible. But it is hard to blame him, he can only sympathize. So the Gugo means of romantic art expresses its own attitude towards revolutionary events, to the people who woke up and can no longer be different. The image of the Frollo Claude is complemented by a section that has the expressive name "Nelyubov People". From outside with glitter, and in fact, the heartless and empty higher society is embodied in the image of Captain Feba de Shatoper, which, like the archchyacone, is not capable of disinterested feelings.

Highness, high humanism are inherent only by disadvantaged people from the bottom of society, they are the real heroes of the novel. Esamerad's street dancer symbolizes the moral beauty of a simple person, deaf and ugly ringing quasimodo - the eternity of public fate of oppressed. In the center of Roman - the Cathedral of the Parisian Mother of God, the symbol of the spiritual life of the French people. The cathedral was erected by the hands of hundreds of nameless masters; The description of the cathedral becomes a reason for the inspired poem in prose about the French national life. The cathedral provides the shelter of the novel by the folk heroes, their fate is closely connected with him, around the cathedral - a living people who do not stop the struggle. Cathedral, eternal and immovable, is the main character of the novel. This is not just a huge structure on the island of Sita, which unites Paris University and Paris bourgeois, this is a living being that is observing the life of Claude Frollo, Esmeralda, Quasimodo.

The cathedral embodies the Eternal Law of the Eternal Act of the need, the death of one and the birth of another. At the same time, the Cathedral is a symbol of the enslavement of the people, a symbol of feudal oppression, dark superstitions and prejudices who are held in captivity of the people's souls. No wonder in the harrobe of the cathedral, under his arch, merging with strange stone chimers, stunned by the roar of the jollov, lonely lives quasimodo, "Soul of the Cathedral", whose grotesque image personifies the Middle Ages.

In contrast to him, the magical image of Esmeralda embodies the joy and beauty of earthly life, harmony of the body and soul, i.e. The ideals of the Renaissance. The dancer Esmeralda lives among the Paris Crowd and gives his art a common people, fun and kindness. Victor Hugo did not idealize Middle Ages, he truthfully showed the dark aspects of the feudal society. At the same time, his work is deeply poetic, filled with hot patriotic love for France, to her story, to her art, in which, as Hugo believed, freedom-loving spirit and talent of the French people live. The concentration of opposite features, the exacerbation of passions create a powerful pictorial effect and make the work of the Hugo one of the brightest in the history of world literature.