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兀丨丿亘 賳賵鬲乇丿丕賲
丕丿禺賱 賲毓賳丕 睾賷丕賴亘 毓丕賱賲 亘丕乇賷爻 賮賷 丕賱賯乇賵賳 丕賱賵爻胤賶貙 賵鬲毓乇賮 毓賱賶 丕賱丨賷丕丞 丕賱賲卮丐賵賲丞 賱賰賱 賲賳 賰賵丕夭賷賲賵丿賵貙 賯丕乇毓 兀噩乇丕爻 賰丕鬲丿乇丕卅賷丞 賳賵鬲乇丿丕賲 丕賱賯亘賷丨貨 賵賰賱賵丿 賮乇賵賱賵貙 乇卅賷爻 丕賱卮賲丕賲爻丞 丕賱賲購毓匕賻亘貨 賵廿夭賲賷乇丕賱丿丕貙 丕賱乇丕賯氐丞 丕賱睾噩乇賷丞 丕賱噩賲賷賱丞貨 賵賮賷亘爻貙 丕賱賯丕卅丿 丕賱賵爻賷賲 丕賱匕賷 賷禺丿毓 廿夭賲賷乇丕賱丿丕 亘廿賷賴丕賲賴丕 亘丨亘賴 賱賴丕. 爻賵賮 鬲丨亘爻 兀賳賮丕爻賰 兀孬賳丕亍 賯乇丕亍丞 賴匕賴 丕賱乇賵丕賷丞 丕賱賲孬賷乇丞 丕賱賲丨夭賳丞 丕賱鬲賷 鬲丿賵乇 兀丨丿丕孬賴丕 丨賵賱 丕賱禺賷丕賳丞 賵丕賱丨亘 賵丕賱兀賲賱 賵丕賱賮丿丕亍.
82 pages, ebook
First published March 16, 1831
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About the author
Victor Hugo
5,585听books12.7k听followersAfter Napoleon III seized power in 1851, French writer Victor Marie Hugo went into exile and in 1870 returned to France; his novels include
The Hunchback of Notre Dame
(1831) and
Les Mis茅rables
(1862).
This poet, playwright, novelist, dramatist, essayist, visual artist, statesman, and perhaps the most influential, important exponent of the Romantic movement in France, campaigned for human rights. People in France regard him as one of greatest poets of that country and know him better abroad.
This poet, playwright, novelist, dramatist, essayist, visual artist, statesman, and perhaps the most influential, important exponent of the Romantic movement in France, campaigned for human rights. People in France regard him as one of greatest poets of that country and know him better abroad.
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Displaying 1 - 30 of 8,355 reviews
May 26, 2020
I recently read Victor Hugo's Notre Dame de Paris for the first time, and was delighted and moved by the experience. Although it lacks the depth and humanity of Les Miserables, it possesses a grandeur of architectonic structure and an Olympian compassion all its own. Best of all, it gives us one of literature's most loving and detailed depictions of a city, rivaled only by Joyce's Dublin in Ulysses.
It is a shame that this book is so seldom referred to in English by its given name, for it is about more than the history of one hunchback, however moving that history may be. First of all, it is about the great cathedral that dominates and defines the city, the setting for much of the novel's action and most of its crucial events. It is also about the 鈥済enius loci鈥� of Paris, the maternal spirit that offers sanctuary and support to its most unfortunate children, many of them literally orphans (Gringoire, Quasimodo, Esmeralda, the Frollos), be they ugly or beautiful, virtuous or evil, bringing a measure of comfort to their difficult and and often tragic lives.
Hugo's novel had been on my lengthy 鈥渕ust read鈥� list for years, but what finally moved it to the top was my growing fascination with cities in literature. In childhood, my favorite Arabian Night's tales were the ones that took place in Baghdad, and from early adolescence I loved Sherlock Holmes' London, D'Artagnan's Paris and Nero Wolfe's New York. I also began to appreciate more fantastic cities, such as Stevenson and Machen's London and Leiber's Lankhmar.
Soon I fell in love with the hard boiled detective genre and鈥攈aving been a childhood fan of Arthurian romances鈥攊dentified with each of these modern knight-errants on a quest. I also realized that the individuality of each city鈥攁nd the private detective's familiarity with it and his relation to it--was an essential part of the genre's charm. Even the most realistic of private eye cities鈥擱obert B. Parker's Boston, for example鈥攚ere filled with as many marvels as any Arthurian Romance: instead of a sorceress, one might meet a sexy widow; instead of a liveried dwarf, a mysterious butler; and instead of a disguised knight offering a cryptic challenge one might be offered a tailing job by a Beacon Hill Brahmin with a mask of smiles and hidden motivations. The world of the marvelous had been transported from the isolated castles, woods and meadows of England's 鈥済reen and pleasant land鈥� to the magnificent townhouses and seedy alleys of an urban environment. How had this occurred, and what were the literary antecedents?
I believe that Notre Dame de Paris in 1831 is the point where this all begins. Hugo took a shoot of the delicate gothic already in decline, grafted it to the hearty root of the city (or--more precisely--to a Gothic cathedral in the center of a great city, where it was most likely to flourish), watered it from the oasis of Arabian marvels (dangerous hunchback, guild of thieves, beautiful dancing girl), and cultivated the resulting growth with the historical method of Sir Walter Scott. Thus the urban romance was born.
This was just the start, of course. Another decade of industrialism and population growth would make the great European cities seem even more like ancient Baghdad. Dickens would make the thieves guild central to the sinister London of Oliver Twist and Eugene Sue's exploration of urban vices in The Mysteries of Paris (1841) would soon be successfully imitated--commercially if not artistically鈥攂y England's Reynolds in The Mysteries of London and America's Lippard in The Quaker City, or The Monks of Monk's Hall.
A little later the detective arrived in the gothic city (Poe's DuPont, Gaboriau's Lecoq, Conan Doyle's Holmes) and soon the marvelous and fantastic were re-introduced (Stevenson's New Arabian Nights, Machen's The Three Imposters) as well, fully preparing the urban landscape for the writers of the 20th century to construct their cities of romance in the worlds of detection and fantasy.
Hugo tells us that the bones of Quasimodo and Esmeralda have long ago turned to dust, but the marvelous city of crimes and dreams continues to live on.
August 7, 2009
Okay, I'm glad I read this book, if only to find out just how badly Disney ruined the story for the sake of their embarassing excuse for a film. (the horrendous straight-to-video sequel, which I fortunately only saw previews for, will not be spoken of at all.) Victor Hugo has a gift for the most ungodly depressing stories, but he writes very well when he's not rambling pointlessly to stretch out his page count. But I can't bring myself to give this four stars, and for one simple reason: with the exception of Quasimodo and Esmeralda, every single character in this book is an insufferable dickhead.
Frollo, obviously, deserves to be fed to sharks simply for the mind-boggling levels of creepiness he manages to achieve over the course of the story. Phoebus is even more of a fratboy asshole that I'd previously thought, and the way he decides to seduce Esmeralda despite the fact that she's the Gypsy equivalent of a vestal virgin made me want to teleport into the story so I could kick him in the nuts. Frollo's younger brother Jehan is a relatively minor character, but he gets mentioned because in every single scene he appears in, he's constantly yammering away and trying to be clever and witty, the result being that he makes Jar Jar Binks seem terribly endearing in comparison.
And Gringoire. I had such hope for him. He starts out promising, but then once Esmeralda gets arrested all he can worry about is the stupid goat, because I guess he thinks she's cuter than his fucking wife who saved his fucking life. When he joins Frollo to get Esmeralda out of the catherdral, he leaves the sixteen-year-old girl with Pastor Pedo McCreepy, and chooses to save the goat. The fucking goat.
One final word of advice: skip the chapter entitled "A Bird's Eye View of Paris." It's thirty pages of pointless babbling about what Paris looks like from Notre Dame, and it is impossible to read all the way through without wanting to stab yourself in the eyes with the first sharp object you can reach.
I know what you're saying - "Thirty pages? Pfft, that's nothing, I can get through that, I read Ulysses." First of all: you did not. Second: no, you cannot get through these thirty pages. "Mind-numbing" does not do it justice. It is pointless. Don't say I didn't warn you.
Frollo, obviously, deserves to be fed to sharks simply for the mind-boggling levels of creepiness he manages to achieve over the course of the story. Phoebus is even more of a fratboy asshole that I'd previously thought, and the way he decides to seduce Esmeralda despite the fact that she's the Gypsy equivalent of a vestal virgin made me want to teleport into the story so I could kick him in the nuts. Frollo's younger brother Jehan is a relatively minor character, but he gets mentioned because in every single scene he appears in, he's constantly yammering away and trying to be clever and witty, the result being that he makes Jar Jar Binks seem terribly endearing in comparison.
And Gringoire. I had such hope for him. He starts out promising, but then once Esmeralda gets arrested all he can worry about is the stupid goat, because I guess he thinks she's cuter than his fucking wife who saved his fucking life. When he joins Frollo to get Esmeralda out of the catherdral, he leaves the sixteen-year-old girl with Pastor Pedo McCreepy, and chooses to save the goat. The fucking goat.
One final word of advice: skip the chapter entitled "A Bird's Eye View of Paris." It's thirty pages of pointless babbling about what Paris looks like from Notre Dame, and it is impossible to read all the way through without wanting to stab yourself in the eyes with the first sharp object you can reach.
I know what you're saying - "Thirty pages? Pfft, that's nothing, I can get through that, I read Ulysses." First of all: you did not. Second: no, you cannot get through these thirty pages. "Mind-numbing" does not do it justice. It is pointless. Don't say I didn't warn you.
September 14, 2008
I have officially been wooed by nineteenth century French literature. First Dumas and now this. I just finished reading Victor Hugo鈥檚 The Hunchback of Notre-Dame, and it was fantastic. The characters, the themes, the literary structures鈥� Ahhh鈥� *swoons*
Before I proclaim my love affair with Victor Hugo, I have to mention some negatives. First off: very, very difficult book to get into. I struggled through at least the first hundred pages, and I鈥檓 not that hard to please. Secondly, up until this point, I had always thought that abridged novels were ridiculous. How could the editors take parts out and still have the story make sense? Upon reading unabridged Hugo, I understand. The man had complete chapters devoted to discussing the history of Paris or the history of the cathedral, and while I admit that it was a clever way to show off his knowledge and spread his political ideals, it was not what I bargained for.
The novel would have been more accurately titled 鈥淭he Archdeacon of Notre Dame.鈥� (Frollo was not a judge as in the Disney movie. They just tried to secularize him to an equivalent position.) I argue that Frollo was the protagonist. The story spent most of its time with him: his internal struggle, his plotting. And his character was fantastic! He was underhanded, but I pitied him. He was pathetic, but I feared him. He did evil, but I loved him. Frollo was not simply a powerful villain; he was a dynamic, complex character that, at times, the reader could really sympathize with.
The other characters in the novel were equally impressive. Esmeralda鈥檚 sweet, strong innocence (she was only sixteen) and foolish devotion to Phoebus is heart wrenching. Quasimodo鈥檚 strength of body and heart is awe-inspiring. Phoebus鈥� selfish arrogance is antagonizing. The minor characters, from the old heckling woman, to the foolish young Frollo (the Archdeacon鈥檚 brother), to the rambling philosopher, create a motley portrait of a fascinating world.
Hugo鈥檚 occasional comments on society cannot go unnoted. I especially enjoyed one episode where Quasimodo was being questioned in court. In the novel, unlike in the Disney movie, Quasimodo is deaf, so, as he is being questioned, he tries to anticipate the judge鈥檚 questions and answer them accordingly. The irony is that the judge was doing the same thing. Hugo created a deaf judge. Beautiful. Anyway, a funny scene ensued, and Hugo made his point.
The best part of the story (maybe, there were just so many good ones) was likely Hugo鈥檚 portrayal of love. Love was everywhere: the inexplicable love Frollo had for his useless brother, the love that caused Frollo to accept Quasimodo, the love that broke a mother鈥檚 heart at the loss of her daughter, the faithful love that sent Quasimodo to Frollo with his tail between his legs鈥� But the most stunning and provocative of all was the comparison of the three men who 鈥渓oved鈥� Esmeralda: one man, 鈥渓oving鈥� her so much that he wanted to possess her; one man, 鈥渓oving鈥� her for the moment, until another girl came along; and one man 鈥渓oving鈥� her so much that she went before everything: before his desire to be with her, before his desire to have her, before his own desire to live. *swoons again* Awesome book鈥�
When I started reading it, everyone felt the need to warn me that it didn鈥檛 end like the Disney movie. I was afraid. I was scared that after stringing me along, Hugo was going to kill it at the end. Don鈥檛 worry: he doesn鈥檛. The end is moving and beautiful and fitting and so what if it鈥檚 not Disney: it鈥檚 great.
And, to further please the happy reader, there were a million good quotes. Here you go:
鈥淥h, love!... That is to be two, and yet one. A man and a woman joined, as into an ange; that is heaven!鈥� (Esmeralda).
鈥淕reat edifices, like great mountains, are the work of the ages.鈥�
鈥淗e found that man needs affection, that life without a warming love is but a dry wheel, creaking and grating as it turns.鈥�
鈥淎las! The small thing shall bring down the great things; a tooth triumphs over a whole carcass. The rat of the Nile destroys the crocodile, the swordfish kills the whale; the book will kill the edifice鈥� (Frollo).
鈥淚t is to this setting sun that we look for a new dawn.鈥�
鈥淪pira, spera.鈥� (鈥淏reathe, hope.鈥�)
鈥淔or love is like a tree; it grows of itself; it send its roots deep into our being, and often continues to grow green over a heart in ruins.鈥�
鈥淲hat man orders鈥� Circumstances disorder鈥� (Frollo).
鈥淓veryone knows that great wealth is not acquired by letters, and that the most accomplished writers have not always a warm hearth in wintertime. The lawyers take all the wheat for themselves and leave nothing by chaff for the other learned professions鈥� (Gringoire, the philosopher).
鈥淎 lighted candle never attracts one gnat only.鈥�
鈥淭hat鈥檚 life鈥� It鈥檚 often our best friends who make us fall鈥� (Gringoire).
鈥淭he human voice is music to the human ear.鈥�
Just a wonderful sample of the jewels contained in The Hunchback of Notre-Dame. The novel was difficult, but well worth the effort. I鈥檓 just sitting here in awe of it. I can鈥檛 write any more.
Before I proclaim my love affair with Victor Hugo, I have to mention some negatives. First off: very, very difficult book to get into. I struggled through at least the first hundred pages, and I鈥檓 not that hard to please. Secondly, up until this point, I had always thought that abridged novels were ridiculous. How could the editors take parts out and still have the story make sense? Upon reading unabridged Hugo, I understand. The man had complete chapters devoted to discussing the history of Paris or the history of the cathedral, and while I admit that it was a clever way to show off his knowledge and spread his political ideals, it was not what I bargained for.
The novel would have been more accurately titled 鈥淭he Archdeacon of Notre Dame.鈥� (Frollo was not a judge as in the Disney movie. They just tried to secularize him to an equivalent position.) I argue that Frollo was the protagonist. The story spent most of its time with him: his internal struggle, his plotting. And his character was fantastic! He was underhanded, but I pitied him. He was pathetic, but I feared him. He did evil, but I loved him. Frollo was not simply a powerful villain; he was a dynamic, complex character that, at times, the reader could really sympathize with.
The other characters in the novel were equally impressive. Esmeralda鈥檚 sweet, strong innocence (she was only sixteen) and foolish devotion to Phoebus is heart wrenching. Quasimodo鈥檚 strength of body and heart is awe-inspiring. Phoebus鈥� selfish arrogance is antagonizing. The minor characters, from the old heckling woman, to the foolish young Frollo (the Archdeacon鈥檚 brother), to the rambling philosopher, create a motley portrait of a fascinating world.
Hugo鈥檚 occasional comments on society cannot go unnoted. I especially enjoyed one episode where Quasimodo was being questioned in court. In the novel, unlike in the Disney movie, Quasimodo is deaf, so, as he is being questioned, he tries to anticipate the judge鈥檚 questions and answer them accordingly. The irony is that the judge was doing the same thing. Hugo created a deaf judge. Beautiful. Anyway, a funny scene ensued, and Hugo made his point.
The best part of the story (maybe, there were just so many good ones) was likely Hugo鈥檚 portrayal of love. Love was everywhere: the inexplicable love Frollo had for his useless brother, the love that caused Frollo to accept Quasimodo, the love that broke a mother鈥檚 heart at the loss of her daughter, the faithful love that sent Quasimodo to Frollo with his tail between his legs鈥� But the most stunning and provocative of all was the comparison of the three men who 鈥渓oved鈥� Esmeralda: one man, 鈥渓oving鈥� her so much that he wanted to possess her; one man, 鈥渓oving鈥� her for the moment, until another girl came along; and one man 鈥渓oving鈥� her so much that she went before everything: before his desire to be with her, before his desire to have her, before his own desire to live. *swoons again* Awesome book鈥�
When I started reading it, everyone felt the need to warn me that it didn鈥檛 end like the Disney movie. I was afraid. I was scared that after stringing me along, Hugo was going to kill it at the end. Don鈥檛 worry: he doesn鈥檛. The end is moving and beautiful and fitting and so what if it鈥檚 not Disney: it鈥檚 great.
And, to further please the happy reader, there were a million good quotes. Here you go:
鈥淥h, love!... That is to be two, and yet one. A man and a woman joined, as into an ange; that is heaven!鈥� (Esmeralda).
鈥淕reat edifices, like great mountains, are the work of the ages.鈥�
鈥淗e found that man needs affection, that life without a warming love is but a dry wheel, creaking and grating as it turns.鈥�
鈥淎las! The small thing shall bring down the great things; a tooth triumphs over a whole carcass. The rat of the Nile destroys the crocodile, the swordfish kills the whale; the book will kill the edifice鈥� (Frollo).
鈥淚t is to this setting sun that we look for a new dawn.鈥�
鈥淪pira, spera.鈥� (鈥淏reathe, hope.鈥�)
鈥淔or love is like a tree; it grows of itself; it send its roots deep into our being, and often continues to grow green over a heart in ruins.鈥�
鈥淲hat man orders鈥� Circumstances disorder鈥� (Frollo).
鈥淓veryone knows that great wealth is not acquired by letters, and that the most accomplished writers have not always a warm hearth in wintertime. The lawyers take all the wheat for themselves and leave nothing by chaff for the other learned professions鈥� (Gringoire, the philosopher).
鈥淎 lighted candle never attracts one gnat only.鈥�
鈥淭hat鈥檚 life鈥� It鈥檚 often our best friends who make us fall鈥� (Gringoire).
鈥淭he human voice is music to the human ear.鈥�
Just a wonderful sample of the jewels contained in The Hunchback of Notre-Dame. The novel was difficult, but well worth the effort. I鈥檓 just sitting here in awe of it. I can鈥檛 write any more.
August 15, 2021
(Book 922 from 1001 books) - Notre-Dame de Paris = Our Lady of Paris = The Hunchback of Notre Dame, Victor Hugo
The Hunchback of Notre-Dame is a French Romantic/Gothic novel by Victor Hugo, published in 1831.
The story is set in Paris in 1482 during the reign of Louis XI. The gypsy Esmeralda (born as Agnes) captures the hearts of many men, including those of Captain Phoebus and Pierre Gringoire, but especially Quasimodo and his guardian Archdeacon Claude Frollo.
Frollo is torn between his obsessive lust for Esmeralda and the rules of Notre Dame Cathedral.
He orders Quasimodo to kidnap her, but Quasimodo is captured by Phoebus and his guards, who save Esmeralda.
Gringoire, who attempted to help Esmeralda but was knocked out by Quasimodo, is about to be hanged by beggars when Esmeralda saves him by agreeing to marry him for four years.
The following day, Quasimodo is sentenced to be flogged and turned on the pillory for one hour, followed by another hour's public exposure.
He calls for water. Esmeralda, seeing his thirst, approaches the public stocks and offers him a drink of water.
It saves him, and she captures his heart. Later, Esmeralda is arrested and charged with the attempted murder of Phoebus, whom Frollo actually attempted to kill in jealousy after seeing him trying to seduce Esmeralda.
She is sentenced to death by hanging. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre-Dame and carries her off to the cathedral under the law of sanctuary, temporarily protecting her from arrest.
Frollo later informs Gringoire that the Court of Parlement has voted to remove Esmeralda's right to the sanctuary so she can no longer seek shelter in the Cathedral and will be taken away to be killed.
Clopin, the leader of the Gypsies, hears the news from Gringoire and rallies the citizens of Paris to charge the cathedral and rescue Esmeralda.
When Quasimodo sees the Gypsies, he assumes they are there to hurt Esmeralda, so he drives them off. Likewise, he thinks the King's men want to rescue her, and tries to help them find her.
She is rescued by Frollo and Gringoire. But after yet another failed attempt to win her love, Frollo betrays Esmeralda by handing her to the troops and watches while she is being hanged.
When Frollo laughs during Esmeralda's hanging, Quasimodo pushes him from the height of Notre Dame to his death.
Quasimodo goes to the cemetery, hugs Esmeralda's body, and dies of starvation with her. Years later they are discovered and, while trying to separate them, Quasimodo's bones turn to dust.
诏賵跇倬卮鬲 賳賵鬲乇丿丕賲 - 賵蹖讴鬲賵乇 賴賵诏賵貨 丕丿亘蹖丕鬲 賮乇丕賳爻賴貨 丕賳鬲卮丕乇丕鬲蹖賴丕: (鬲賵爻賳貙 爻毓蹖丿蹖貙 毓蹖賳 丕賱賱賴蹖貙 丌乇賲丕賳貙 亘卮丕乇鬲貙 賳賴丕賱 賳賵蹖丿丕賳貙 丕乇睾賵丕賳貙 爻賲賵乇貙 丨賯賵賯蹖 賵 噩丕賵丿丕賳 禺乇丿)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 蹖讴蹖 丕夭 乇賵夭賴丕蹖 爻丕賱 1972賲蹖賱丕丿蹖
毓賳賵丕賳: 诏賵跇倬卮鬲 賳賵鬲乇丿丕賲貨 丕孬乇: 賵蹖讴鬲賵乇 賴賵诏賵貨 賲鬲乇噩賲: 丕丨賲丿 爻毓蹖丿蹖貨 鬲賴乇丕賳貙 爻毓蹖丿蹖貙 1348貙 丿乇 242氐貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賮乇丕賳爻賴 - 爻丿賴 蹖 19賲
賲鬲乇噩賲: 丕爻賮賳丿蹖丕乇 讴丕賵蹖丕賳貨 鬲賴乇丕賳貙 毓蹖賳 丕賱賴蹖貙 1362貙 丿乇 309氐貨
賲鬲乇噩賲: 賱賯丕 丕乇丿賱丕賳貙 鬲賴乇丕賳貙 丕賳鬲卮丕乇丕鬲 鬲賵爻賳貨 1362貙 丿乇 108氐貨
賲鬲乇噩賲: 噩賵丕丿 賲丨亘蹖貨 鬲賴乇丕賳貙 賳卮乇 亘卮丕乇鬲貙 1370貙 丿乇 547 氐貨 趩丕倬 丿賵賲: 賲卮賴丿貙 噩丕賵丿丕賳 禺乇丿貙 1385貨 丿乇 526氐貨 爻賵賲 1386貨 趩賴丕乇賲 1387貙 倬賳噩锟斤拷 1388貨 卮丕亘讴: 9789646030282貨
賲鬲乇噩賲: 丕蹖丕夭 丨丿丕丿蹖貨 鬲賴乇丕賳貙 丌乇賲丕賳貙 1370貙 丿乇 368氐貨 丿賵夭亘丕賳賴 丕賳诏賱蹖爻蹖 賮丕乇爻蹖貨 趩丕倬 亘毓丿蹖 1380貨 丿乇 390氐貨
賲鬲乇噩賲: 賮鬲丨蹖賴 氐丕賱丨蹖貨 鬲賴乇丕賳貙 丕乇睾賵丕賳貙 1371貙 丿乇 128氐貨
賲鬲乇噩賲: 乇賵蹖丕 乇蹖丕丨蹖貨 鬲賴乇丕賳貙 賳卮乇 爻賲賵乇貙 1375貙 卮丕亘讴 9646208193貨
賲鬲乇噩賲: 卮讴賵賮賴 丕禺賵丕賳貨 鬲賴乇丕賳貙 賳賴丕賱 賳賵蹖丿丕賳貙 1375貙 丿乇 192氐貨 趩丕倬 丿蹖诏乇 1392貨 丿乇 159氐貨 卮丕亘讴 9789645680464貨
賴賵诏賵 丿乇 賲賯丿賲賴 讴鬲丕亘 賲蹖賳賵蹖爻賳丿: (趩賳丿 爻丕賱 倬蹖卮 賳賵蹖爻賳丿賴 丕蹖賳 讴鬲丕亘 亘賴 賴賳诏丕賲 鬲賲丕卮丕 蹖丕 亘賴鬲乇 亘诏賵蹖蹖賲 囟賲賳 讴丕賵卮 丿乇 讴賱蹖爻丕蹖 賳鬲乇丿丕賲 丿乇 蹖讴蹖 丕夭 夭賵丕蹖丕蹖 鬲丕乇蹖讴 亘乇噩賴丕蹖 丌賳 讴賱賲賴
ANATKH
乇丕 讴賴 丿爻鬲蹖 毓賲蹖賯丕賸 亘乇 蹖讴蹖 丕夭 丿蹖賵丕乇賴丕 讴賳丿賴 亘賵丿 賲卮丕賴丿賴 讴乇丿....貨 讴爻蹖 讴賴 丕蹖賳 讴賱賲賴 乇丕 亘乇 丿蹖賵丕乇 亘乇噩 讴賱蹖爻丕蹖 賳鬲乇丿丕賲 賳賯卮 夭丿賴 亘賵丿 趩賳丿蹖賳 爻丿賴 倬蹖卮 丕夭 噩賴丕賳 乇禺鬲 亘乇亘爻鬲賴貙 賵 賳賵卮鬲賴 蹖 丕賵 賴賲 亘丿賳亘丕賱 賵蹖 賳丕倬丿蹖丿 诏乇丿蹖丿賴貙 倬丕蹖丕賳 毓賲乇 讴賱蹖爻丕 賳蹖夭 亘爻蹖丕乇 賳夭丿蹖讴 丕爻鬲貨 讴鬲丕亘 丨丕囟乇 丿乇亘丕乇賴 蹖 爻賳诏 賳賵卮鬲賴 賲夭亘賵乇 亘賴 乇卮鬲賴 蹖 鬲丨乇蹖乇 丿乇 丌賲丿賴鈥� 丕爻鬲.)貨 倬丕蹖丕賳 賳賯賱
趩讴蹖丿賴 丿丕爻鬲丕賳: 丿乇 芦倬丕乇蹖爻禄 爻丿賴 倬丕賳夭丿賴賲 賲蹖賱丕丿蹖貙 丿禺鬲乇 讴賵賱蹖 噩賵丕賳 賵 夭蹖亘丕蹖蹖貙 亘賴 賳丕賲 芦丕爻賲乇丕賱丿丕禄貨 亘賴 賴賲乇丕賴 亘夭 亘丕賴賵卮 禺賵丿 賲蹖乇賯氐蹖丿貙 賵 亘乇賳丕賲賴 丕噩乇丕 賲蹖讴乇丿貨 芦讴賱賵丿 賮乇賵賱賵禄貙 乇卅蹖爻 芦卮賲丕爻禄賴丕蹖 芦賳鬲乇丿丕賲禄 丕爻鬲貙 乇丕賴亘蹖 丕爻鬲 讴賴 丿乇 賳賴丕賳 毓丕卮賯 芦丕爻賲乇丕賱丿丕禄 卮丿賴鈥屫� 丕賵 爻毓蹖 賲蹖鈥屭┵嗀� 亘丕 蹖丕乇蹖 芦讴丕夭蹖賲賵丿賵禄貙 賳丕賯賵爻 夭賳 诏賵跇倬卮鬲貙 賵 亘丿卮讴賱 芦賳鬲乇丿丕賲禄貙 芦丕爻賲乇丕賱丿丕禄 乇丕 亘乇亘丕蹖丿貙 賵賱蹖 亘丕 丿禺丕賱鬲 芦讴丕倬蹖鬲丕賳 賮賵亘賵爻 丿賵卮丕鬲賵倬乇禄 賳丕讴丕賲 賲蹖賲丕賳丿貙 賵 芦讴丕夭蹖賲賵丿賵禄 丿爻鬲诏蹖乇 賲蹖卮賵丿貨 芦讴丕夭蹖賲賵丿賵禄 乇丕 丿乇 賲蹖丿丕賳 丕毓丿丕賲貙 亘丕 卮賱丕賯 賲噩丕夭丕鬲 賲蹖讴賳賳丿貙 賵 鬲賳賴丕 芦丕爻賲乇丕賱丿丕禄貙 讴賴 賯賱亘蹖 賲賴乇亘丕賳 丿丕乇丿貙 亘賴 丕賵 蹖丕乇蹖 賲蹖鈥屭┵嗀� 賵 噩乇毓賴鈥� 丕蹖 丌亘 亘賴 丕賵 賲蹖丿賴丿
賳賯賱 丕夭 賲鬲賳: (丿禺鬲乇讴 亘丿賵賳 丕蹖賳讴賴 爻禺賳蹖 亘乇 夭亘丕賳 亘乇丕賳丿 亘賴 賲丨讴賵賲 賳夭丿蹖讴 卮丿貙 诏賵跇倬卮鬲 賲蹖禺賵丕爻鬲 亘賴 賴乇 賯蹖賲鬲蹖 卮丿賴 禺賵丿 乇丕 丕夭 賵蹖 讴賳丕乇 讴卮丿貨 賵賱蹖 丿禺鬲乇 賯賲賯賲賴鈥� 丕蹖 乇丕 讴賴 亘乇 讴賲乇亘賳丿 丌賵蹖禺鬲賴 亘賵丿貙 亘丕夭 讴乇丿 賵 亘賴 丌乇丕賲蹖 丌賳 乇丕 亘丕 賱亘 爻賵夭丕賳 賲乇丿 亘蹖賳賵丕 丌卮賳丕 爻丕禺鬲貨 丿乇 趩卮賲 卮乇乇亘丕乇 賵 禺卮讴 诏賵跇倬卮鬲貙 丕卮讴蹖 丨賱賯賴 夭丿貙 賵 亘乇 趩賴乇賴 賳丕夭蹖亘丕蹖 丕賵 賮乇賵睾賱胤蹖丿貨 卮丕蹖丿 丕蹖賳 賳禺爻鬲蹖賳 賯胤乇賴 丕卮讴蹖 亘賵丿 讴賴 丿乇 爻乇丕爻乇 夭賳丿诏蹖 丕夭 丿蹖丿賴 賮乇賵 賲蹖乇蹖禺鬲)貨 倬丕蹖丕賳 賳賯賱貨
丕爻賲乇丕賱丿丕 毓丕卮賯 芦賮賵亘賵爻禄 卮丿賴貙 賵賱蹖 芦賮賵亘賵爻禄 讴賴 噩賵丕賳蹖 爻亘讴爻乇 賵 賴賵爻亘丕夭 丕爻鬲貙 鬲賳賴丕 丿乇 倬蹖 賱丨馗丕鬲蹖 讴賵鬲丕賴 亘丕 丕賵爻鬲貙 賵 鬲賯乇蹖亘丕賸 鬲賵丕賳爻鬲賴 芦丕爻賲乇丕賱丿丕禄蹖 倬丕讴丿丕賲賳 乇丕 賲睾賱賵亘 爻丕夭丿貙 讴賴 鬲賵爻胤 芦讴賱賵丿 賮乇賵賱賵禄貙 賲賵乇丿 丕氐丕亘鬲 禺賳噩乇 賯乇丕乇 賲蹖诏蹖乇丿貨 丕賲丕 芦丕爻賲乇丕賱丿丕禄 丕爻鬲 讴賴 亘賴 噩乇賲 賯鬲賱貙 亘賴 丕毓丿丕賲 賲丨讴賵賲 賲蹖卮賵丿貨 芦讴賱賵丿 賮乇賵賱賵禄 丿乇 夭賳丿丕賳 賳蹖夭 亘賴 芦丕爻賲乇丕賱丿丕禄 丕亘乇丕夭 毓卮賯 賲蹖鈥屭┵嗀� 賵賱蹖 芦丕爻賲乇丕賱丿丕禄 丕賵 乇丕 丕夭 禺賵丿 賲蹖乇丕賳丿貙 賵 賴賲趩賳丕賳 亘賴 蹖丕丿 芦賮賵亘賵爻禄貙 乇賳噩賴丕 乇丕 賴蹖趩 賲蹖丕賳诏丕乇丿貨 丿乇 乇賵夭 丕毓丿丕賲貙 芦丕爻賲乇丕賱丿丕禄 乇丕 亘乇丕蹖 鬲賵亘賴 亘賴 丿乇 芦賳鬲乇丿丕賲禄 賲蹖亘乇賳丿貙 丕賵 丿乇 丌賳噩丕 丕鬲賮丕賯蹖貙 趩卮賲卮 亘賴 芦賮賵亘賵爻禄貙 讴賴 丕夭 囟乇亘鬲 趩丕賯賵 噩丕賳 亘賴 丿乇 亘乇丿賴貙 賲蹖丕賮鬲丿貨 賵賱蹖 芦賮賵亘賵爻禄 丕夭 丕賵 乇賵蹖 亘乇賲蹖诏乇丿丕賳丿貨 芦丕爻賲乇丕賱丿丕禄 鬲丕 丕蹖賳 丿賲 賴乇 乇賳噩 賵 爻禺鬲蹖 乇丕 鬲丨賲賱 讴乇丿賴 亘賵丿貨 賵賱蹖 丕蹖賳 囟乇亘鬲 丌禺乇蹖賳 亘爻蹖丕乇 卮讴賳賳丿賴 亘賵丿貨 丿乇 丕蹖賳 賱丨馗賴 芦讴丕夭蹖賲賵丿賵禄貙 诏賵跇倬卮鬲 蹖讴趩卮賲 賵 讴乇貙 丕賲丕 亘爻蹖丕乇 賳蹖乇賵賲賳丿貙 賲鬲賴賵乇丕賳賴 丿禺鬲乇讴 乇丕 丕夭 丿爻鬲 賳诏賴亘丕賳丕賳 賳噩丕鬲 賲蹖丿賴丿貙 賵 丕賵 乇丕 亘丕 禺賵丿 亘賴 亘乇噩賴丕蹖 芦賳鬲乇丿丕賲禄 賲蹖亘乇丿貙 賵 丿禺鬲乇讴 丿乇 丌賳噩丕 倬賳丕賴賳丿賴 賲蹖鈥屫促堌� 賵 亘爻鬲 賲蹖賳卮蹖賳丿貨 賵 .... 丿賳亘丕賱賴 蹖 賲丕噩乇丕
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 31/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 23/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Hunchback of Notre-Dame is a French Romantic/Gothic novel by Victor Hugo, published in 1831.
The story is set in Paris in 1482 during the reign of Louis XI. The gypsy Esmeralda (born as Agnes) captures the hearts of many men, including those of Captain Phoebus and Pierre Gringoire, but especially Quasimodo and his guardian Archdeacon Claude Frollo.
Frollo is torn between his obsessive lust for Esmeralda and the rules of Notre Dame Cathedral.
He orders Quasimodo to kidnap her, but Quasimodo is captured by Phoebus and his guards, who save Esmeralda.
Gringoire, who attempted to help Esmeralda but was knocked out by Quasimodo, is about to be hanged by beggars when Esmeralda saves him by agreeing to marry him for four years.
The following day, Quasimodo is sentenced to be flogged and turned on the pillory for one hour, followed by another hour's public exposure.
He calls for water. Esmeralda, seeing his thirst, approaches the public stocks and offers him a drink of water.
It saves him, and she captures his heart. Later, Esmeralda is arrested and charged with the attempted murder of Phoebus, whom Frollo actually attempted to kill in jealousy after seeing him trying to seduce Esmeralda.
She is sentenced to death by hanging. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre-Dame and carries her off to the cathedral under the law of sanctuary, temporarily protecting her from arrest.
Frollo later informs Gringoire that the Court of Parlement has voted to remove Esmeralda's right to the sanctuary so she can no longer seek shelter in the Cathedral and will be taken away to be killed.
Clopin, the leader of the Gypsies, hears the news from Gringoire and rallies the citizens of Paris to charge the cathedral and rescue Esmeralda.
When Quasimodo sees the Gypsies, he assumes they are there to hurt Esmeralda, so he drives them off. Likewise, he thinks the King's men want to rescue her, and tries to help them find her.
She is rescued by Frollo and Gringoire. But after yet another failed attempt to win her love, Frollo betrays Esmeralda by handing her to the troops and watches while she is being hanged.
When Frollo laughs during Esmeralda's hanging, Quasimodo pushes him from the height of Notre Dame to his death.
Quasimodo goes to the cemetery, hugs Esmeralda's body, and dies of starvation with her. Years later they are discovered and, while trying to separate them, Quasimodo's bones turn to dust.
诏賵跇倬卮鬲 賳賵鬲乇丿丕賲 - 賵蹖讴鬲賵乇 賴賵诏賵貨 丕丿亘蹖丕鬲 賮乇丕賳爻賴貨 丕賳鬲卮丕乇丕鬲蹖賴丕: (鬲賵爻賳貙 爻毓蹖丿蹖貙 毓蹖賳 丕賱賱賴蹖貙 丌乇賲丕賳貙 亘卮丕乇鬲貙 賳賴丕賱 賳賵蹖丿丕賳貙 丕乇睾賵丕賳貙 爻賲賵乇貙 丨賯賵賯蹖 賵 噩丕賵丿丕賳 禺乇丿)貨 鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 蹖讴蹖 丕夭 乇賵夭賴丕蹖 爻丕賱 1972賲蹖賱丕丿蹖
毓賳賵丕賳: 诏賵跇倬卮鬲 賳賵鬲乇丿丕賲貨 丕孬乇: 賵蹖讴鬲賵乇 賴賵诏賵貨 賲鬲乇噩賲: 丕丨賲丿 爻毓蹖丿蹖貨 鬲賴乇丕賳貙 爻毓蹖丿蹖貙 1348貙 丿乇 242氐貨 賲賵囟賵毓: 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 賮乇丕賳爻賴 - 爻丿賴 蹖 19賲
賲鬲乇噩賲: 丕爻賮賳丿蹖丕乇 讴丕賵蹖丕賳貨 鬲賴乇丕賳貙 毓蹖賳 丕賱賴蹖貙 1362貙 丿乇 309氐貨
賲鬲乇噩賲: 賱賯丕 丕乇丿賱丕賳貙 鬲賴乇丕賳貙 丕賳鬲卮丕乇丕鬲 鬲賵爻賳貨 1362貙 丿乇 108氐貨
賲鬲乇噩賲: 噩賵丕丿 賲丨亘蹖貨 鬲賴乇丕賳貙 賳卮乇 亘卮丕乇鬲貙 1370貙 丿乇 547 氐貨 趩丕倬 丿賵賲: 賲卮賴丿貙 噩丕賵丿丕賳 禺乇丿貙 1385貨 丿乇 526氐貨 爻賵賲 1386貨 趩賴丕乇賲 1387貙 倬賳噩锟斤拷 1388貨 卮丕亘讴: 9789646030282貨
賲鬲乇噩賲: 丕蹖丕夭 丨丿丕丿蹖貨 鬲賴乇丕賳貙 丌乇賲丕賳貙 1370貙 丿乇 368氐貨 丿賵夭亘丕賳賴 丕賳诏賱蹖爻蹖 賮丕乇爻蹖貨 趩丕倬 亘毓丿蹖 1380貨 丿乇 390氐貨
賲鬲乇噩賲: 賮鬲丨蹖賴 氐丕賱丨蹖貨 鬲賴乇丕賳貙 丕乇睾賵丕賳貙 1371貙 丿乇 128氐貨
賲鬲乇噩賲: 乇賵蹖丕 乇蹖丕丨蹖貨 鬲賴乇丕賳貙 賳卮乇 爻賲賵乇貙 1375貙 卮丕亘讴 9646208193貨
賲鬲乇噩賲: 卮讴賵賮賴 丕禺賵丕賳貨 鬲賴乇丕賳貙 賳賴丕賱 賳賵蹖丿丕賳貙 1375貙 丿乇 192氐貨 趩丕倬 丿蹖诏乇 1392貨 丿乇 159氐貨 卮丕亘讴 9789645680464貨
賴賵诏賵 丿乇 賲賯丿賲賴 讴鬲丕亘 賲蹖賳賵蹖爻賳丿: (趩賳丿 爻丕賱 倬蹖卮 賳賵蹖爻賳丿賴 丕蹖賳 讴鬲丕亘 亘賴 賴賳诏丕賲 鬲賲丕卮丕 蹖丕 亘賴鬲乇 亘诏賵蹖蹖賲 囟賲賳 讴丕賵卮 丿乇 讴賱蹖爻丕蹖 賳鬲乇丿丕賲 丿乇 蹖讴蹖 丕夭 夭賵丕蹖丕蹖 鬲丕乇蹖讴 亘乇噩賴丕蹖 丌賳 讴賱賲賴
ANATKH
乇丕 讴賴 丿爻鬲蹖 毓賲蹖賯丕賸 亘乇 蹖讴蹖 丕夭 丿蹖賵丕乇賴丕 讴賳丿賴 亘賵丿 賲卮丕賴丿賴 讴乇丿....貨 讴爻蹖 讴賴 丕蹖賳 讴賱賲賴 乇丕 亘乇 丿蹖賵丕乇 亘乇噩 讴賱蹖爻丕蹖 賳鬲乇丿丕賲 賳賯卮 夭丿賴 亘賵丿 趩賳丿蹖賳 爻丿賴 倬蹖卮 丕夭 噩賴丕賳 乇禺鬲 亘乇亘爻鬲賴貙 賵 賳賵卮鬲賴 蹖 丕賵 賴賲 亘丿賳亘丕賱 賵蹖 賳丕倬丿蹖丿 诏乇丿蹖丿賴貙 倬丕蹖丕賳 毓賲乇 讴賱蹖爻丕 賳蹖夭 亘爻蹖丕乇 賳夭丿蹖讴 丕爻鬲貨 讴鬲丕亘 丨丕囟乇 丿乇亘丕乇賴 蹖 爻賳诏 賳賵卮鬲賴 賲夭亘賵乇 亘賴 乇卮鬲賴 蹖 鬲丨乇蹖乇 丿乇 丌賲丿賴鈥� 丕爻鬲.)貨 倬丕蹖丕賳 賳賯賱
趩讴蹖丿賴 丿丕爻鬲丕賳: 丿乇 芦倬丕乇蹖爻禄 爻丿賴 倬丕賳夭丿賴賲 賲蹖賱丕丿蹖貙 丿禺鬲乇 讴賵賱蹖 噩賵丕賳 賵 夭蹖亘丕蹖蹖貙 亘賴 賳丕賲 芦丕爻賲乇丕賱丿丕禄貨 亘賴 賴賲乇丕賴 亘夭 亘丕賴賵卮 禺賵丿 賲蹖乇賯氐蹖丿貙 賵 亘乇賳丕賲賴 丕噩乇丕 賲蹖讴乇丿貨 芦讴賱賵丿 賮乇賵賱賵禄貙 乇卅蹖爻 芦卮賲丕爻禄賴丕蹖 芦賳鬲乇丿丕賲禄 丕爻鬲貙 乇丕賴亘蹖 丕爻鬲 讴賴 丿乇 賳賴丕賳 毓丕卮賯 芦丕爻賲乇丕賱丿丕禄 卮丿賴鈥屫� 丕賵 爻毓蹖 賲蹖鈥屭┵嗀� 亘丕 蹖丕乇蹖 芦讴丕夭蹖賲賵丿賵禄貙 賳丕賯賵爻 夭賳 诏賵跇倬卮鬲貙 賵 亘丿卮讴賱 芦賳鬲乇丿丕賲禄貙 芦丕爻賲乇丕賱丿丕禄 乇丕 亘乇亘丕蹖丿貙 賵賱蹖 亘丕 丿禺丕賱鬲 芦讴丕倬蹖鬲丕賳 賮賵亘賵爻 丿賵卮丕鬲賵倬乇禄 賳丕讴丕賲 賲蹖賲丕賳丿貙 賵 芦讴丕夭蹖賲賵丿賵禄 丿爻鬲诏蹖乇 賲蹖卮賵丿貨 芦讴丕夭蹖賲賵丿賵禄 乇丕 丿乇 賲蹖丿丕賳 丕毓丿丕賲貙 亘丕 卮賱丕賯 賲噩丕夭丕鬲 賲蹖讴賳賳丿貙 賵 鬲賳賴丕 芦丕爻賲乇丕賱丿丕禄貙 讴賴 賯賱亘蹖 賲賴乇亘丕賳 丿丕乇丿貙 亘賴 丕賵 蹖丕乇蹖 賲蹖鈥屭┵嗀� 賵 噩乇毓賴鈥� 丕蹖 丌亘 亘賴 丕賵 賲蹖丿賴丿
賳賯賱 丕夭 賲鬲賳: (丿禺鬲乇讴 亘丿賵賳 丕蹖賳讴賴 爻禺賳蹖 亘乇 夭亘丕賳 亘乇丕賳丿 亘賴 賲丨讴賵賲 賳夭丿蹖讴 卮丿貙 诏賵跇倬卮鬲 賲蹖禺賵丕爻鬲 亘賴 賴乇 賯蹖賲鬲蹖 卮丿賴 禺賵丿 乇丕 丕夭 賵蹖 讴賳丕乇 讴卮丿貨 賵賱蹖 丿禺鬲乇 賯賲賯賲賴鈥� 丕蹖 乇丕 讴賴 亘乇 讴賲乇亘賳丿 丌賵蹖禺鬲賴 亘賵丿貙 亘丕夭 讴乇丿 賵 亘賴 丌乇丕賲蹖 丌賳 乇丕 亘丕 賱亘 爻賵夭丕賳 賲乇丿 亘蹖賳賵丕 丌卮賳丕 爻丕禺鬲貨 丿乇 趩卮賲 卮乇乇亘丕乇 賵 禺卮讴 诏賵跇倬卮鬲貙 丕卮讴蹖 丨賱賯賴 夭丿貙 賵 亘乇 趩賴乇賴 賳丕夭蹖亘丕蹖 丕賵 賮乇賵睾賱胤蹖丿貨 卮丕蹖丿 丕蹖賳 賳禺爻鬲蹖賳 賯胤乇賴 丕卮讴蹖 亘賵丿 讴賴 丿乇 爻乇丕爻乇 夭賳丿诏蹖 丕夭 丿蹖丿賴 賮乇賵 賲蹖乇蹖禺鬲)貨 倬丕蹖丕賳 賳賯賱貨
丕爻賲乇丕賱丿丕 毓丕卮賯 芦賮賵亘賵爻禄 卮丿賴貙 賵賱蹖 芦賮賵亘賵爻禄 讴賴 噩賵丕賳蹖 爻亘讴爻乇 賵 賴賵爻亘丕夭 丕爻鬲貙 鬲賳賴丕 丿乇 倬蹖 賱丨馗丕鬲蹖 讴賵鬲丕賴 亘丕 丕賵爻鬲貙 賵 鬲賯乇蹖亘丕賸 鬲賵丕賳爻鬲賴 芦丕爻賲乇丕賱丿丕禄蹖 倬丕讴丿丕賲賳 乇丕 賲睾賱賵亘 爻丕夭丿貙 讴賴 鬲賵爻胤 芦讴賱賵丿 賮乇賵賱賵禄貙 賲賵乇丿 丕氐丕亘鬲 禺賳噩乇 賯乇丕乇 賲蹖诏蹖乇丿貨 丕賲丕 芦丕爻賲乇丕賱丿丕禄 丕爻鬲 讴賴 亘賴 噩乇賲 賯鬲賱貙 亘賴 丕毓丿丕賲 賲丨讴賵賲 賲蹖卮賵丿貨 芦讴賱賵丿 賮乇賵賱賵禄 丿乇 夭賳丿丕賳 賳蹖夭 亘賴 芦丕爻賲乇丕賱丿丕禄 丕亘乇丕夭 毓卮賯 賲蹖鈥屭┵嗀� 賵賱蹖 芦丕爻賲乇丕賱丿丕禄 丕賵 乇丕 丕夭 禺賵丿 賲蹖乇丕賳丿貙 賵 賴賲趩賳丕賳 亘賴 蹖丕丿 芦賮賵亘賵爻禄貙 乇賳噩賴丕 乇丕 賴蹖趩 賲蹖丕賳诏丕乇丿貨 丿乇 乇賵夭 丕毓丿丕賲貙 芦丕爻賲乇丕賱丿丕禄 乇丕 亘乇丕蹖 鬲賵亘賴 亘賴 丿乇 芦賳鬲乇丿丕賲禄 賲蹖亘乇賳丿貙 丕賵 丿乇 丌賳噩丕 丕鬲賮丕賯蹖貙 趩卮賲卮 亘賴 芦賮賵亘賵爻禄貙 讴賴 丕夭 囟乇亘鬲 趩丕賯賵 噩丕賳 亘賴 丿乇 亘乇丿賴貙 賲蹖丕賮鬲丿貨 賵賱蹖 芦賮賵亘賵爻禄 丕夭 丕賵 乇賵蹖 亘乇賲蹖诏乇丿丕賳丿貨 芦丕爻賲乇丕賱丿丕禄 鬲丕 丕蹖賳 丿賲 賴乇 乇賳噩 賵 爻禺鬲蹖 乇丕 鬲丨賲賱 讴乇丿賴 亘賵丿貨 賵賱蹖 丕蹖賳 囟乇亘鬲 丌禺乇蹖賳 亘爻蹖丕乇 卮讴賳賳丿賴 亘賵丿貨 丿乇 丕蹖賳 賱丨馗賴 芦讴丕夭蹖賲賵丿賵禄貙 诏賵跇倬卮鬲 蹖讴趩卮賲 賵 讴乇貙 丕賲丕 亘爻蹖丕乇 賳蹖乇賵賲賳丿貙 賲鬲賴賵乇丕賳賴 丿禺鬲乇讴 乇丕 丕夭 丿爻鬲 賳诏賴亘丕賳丕賳 賳噩丕鬲 賲蹖丿賴丿貙 賵 丕賵 乇丕 亘丕 禺賵丿 亘賴 亘乇噩賴丕蹖 芦賳鬲乇丿丕賲禄 賲蹖亘乇丿貙 賵 丿禺鬲乇讴 丿乇 丌賳噩丕 倬賳丕賴賳丿賴 賲蹖鈥屫促堌� 賵 亘爻鬲 賲蹖賳卮蹖賳丿貨 賵 .... 丿賳亘丕賱賴 蹖 賲丕噩乇丕
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 31/06/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 23/05/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
April 8, 2019
While reading this book I started to notice how little the Hunchback is in it. A 欧宝娱乐 friend mentioned that this is why the title for it in France is actually "Our Lady of Paris". For some reason, English translations chose the the Hunchback for the title.
If other books, movies, or TV shows named themselves based on a character that was involved as much as Quasimodo was in this story, here is what they would be called:
Star Wars = Chewbacca
Harry Potter = Neville Longbottom
The Big Bang Theory = Howard Walowitz
The Shining = Danny Torrance
Frozen = Olaf
Lost = Smoke Monster
All those characters are important to the stories, but they are hardly the main focus. While this is the case with this book, it is not necessarily a bad thing, just a thing to be aware of going in; you really don't get very much Quasimodo.
After reading and loving Les Miserables, I had high hopes for this book. But, it was just okay. I am glad I read it and I did enjoy it a lot in a few parts, but most of it was a slog. Hugo spends the first 350 pages or so setting up the story, describing Paris at the time of the story, etc. I think many who try this would have a hard time staying interested. Also, and I hate to say this because I always want my books to be unabridged, but, you could probably abridge this to 150-200 pages and still get everything.
Classics buffs, Hugo fans, hardcore historical fiction fans - step right up! Casual reader thinking about checking out some Hugo, step on over to Les Mis!
If other books, movies, or TV shows named themselves based on a character that was involved as much as Quasimodo was in this story, here is what they would be called:
Star Wars = Chewbacca
Harry Potter = Neville Longbottom
The Big Bang Theory = Howard Walowitz
The Shining = Danny Torrance
Frozen = Olaf
Lost = Smoke Monster
All those characters are important to the stories, but they are hardly the main focus. While this is the case with this book, it is not necessarily a bad thing, just a thing to be aware of going in; you really don't get very much Quasimodo.
After reading and loving Les Miserables, I had high hopes for this book. But, it was just okay. I am glad I read it and I did enjoy it a lot in a few parts, but most of it was a slog. Hugo spends the first 350 pages or so setting up the story, describing Paris at the time of the story, etc. I think many who try this would have a hard time staying interested. Also, and I hate to say this because I always want my books to be unabridged, but, you could probably abridge this to 150-200 pages and still get everything.
Classics buffs, Hugo fans, hardcore historical fiction fans - step right up! Casual reader thinking about checking out some Hugo, step on over to Les Mis!
January 18, 2021
Inicio lento, final espectacular.
Cuando ni帽o am茅 mi infancia; jugaba sin parar, me encantaba hablar hasta el punto que me obligaban a callar y los deportes eran mi centro de atenci贸n en todo momento. Cuando estaba en esa etapa de mi vida 鈥攓ue por cierto extra帽o y de la cual siento nostalgia cada vez que pienso en ella鈥� como no me gustaba permanecer quieto, mi atenci贸n hacia la televisi贸n era m铆nima. Raz贸n obvia que me llev贸 a olvidar muchos de los programas o pel铆culas que conoc铆 en mi ni帽ez, como por ejemplo El Jorobado de Notre-Dame: De hecho ni siquiera recuerdo si de ni帽o vi la pel铆cula o no. Afortunadamente, el tiempo pasa y nuestros roles cambian. En mi caso, el rol de t铆o que apareci贸 a los 17 a帽os fue el que me llev贸 a conocer esta historia de Victor Hugo. Era una tarde del 2020, me encontraba aburrido, mi sobrina tambi茅n, y tras ver un listado de pel铆culas infantiles resultamos viendo la famosa cinta de Disney de El Jorobado de Notre-Dame. Personalmente, la disfrut茅 much铆simo, pero principalmente fue por la crueldad y dureza del arcediano, Claude Frollo. Me siento atra铆do por este tipo de villanos vengativos que no ceden ante sus enemigos, y que usan toda su inteligencia para evitar que el protagonista venza. Pero bueno, la pel铆cula acab贸 y ya me preparaba para quitarla, cuando en los cr茅ditos el nombre de Victor Hugo captur贸 mi atenci贸n al leer que 茅l era el creador de esa historia. 隆Yo no ten铆a ni idea! Pero de inmediato busqu茅 esta obra porque conociendo la gran capacidad de Victor Hugo de crear personajes, se volvi贸 para m铆 una urgencia leer este libro y conocer m谩s a fondo a Claude Frollo. Entonces lo le铆 y al finalizar qued茅 sorprendido por la forma como pueden transformar una historia tan cruel en una adaptaci贸n hecha para toda la familia.
La historia se desarrolla a finales del siglo XV en la ciudad de Paris, en el periodo de transici贸n entre la Edad Media y la Edad Moderna que conocemos como el Renacimiento. Una 茅poca donde las torturas, ejecuciones, creencia en la alquimia y en la brujer铆a son parte del d铆a a d铆a de las personas que viven all铆. Victor Hugo nos presenta un contexto hist贸rico excelente donde conoceremos desde la forma como est谩 construida la Catedral de Notre Dame, hasta el descaro y decadencia de la sociedad representada por la Corte de los Milagros, donde los truhanes, vagabundos y limosneros se resguardaban de noche despu茅s de pasar todo el d铆a fingiendo enfermedades, robando y enga帽ando al cr茅dulo. Tambi茅n conoceremos la opini贸n del autor hacia la guillotina, la destrucci贸n de las edificaciones antiguas, la imprenta, la arquitectura, entre otros temas. Todo eso est谩 muy bien y con ese contexto realmente sentiremos como si vivi茅ramos en la Francia del siglo XV, pero, el problema, es que el autor se excede tanto en sus descripciones que el inicio se vuelve demasiado lento; es tan lento, que en las primeras 250 p谩ginas solo encontramos tres escenas. Y s铆, ese es el estilo de Victor Hugo, pero a veces se extiende tanto que se convierte en una molestia, o por lo menos eso sent铆 yo tras leer cuarenta p谩ginas consecutivas atiborradas de descripciones sobre los lugares que se ven desde la cima de Notre-Dame: Eso no es nada agradable. Lo curioso es que ya estaba acostumbrado al estilo de Victor Hugo tras leer Los Miserables, pero en la primera mitad del libro inevitablemente perd铆 la paciencia y por momentos cre铆 que en las p谩ginas restantes encontrar铆a m谩s descripciones que historia en s铆. Adem谩s, hay muchas expresiones en lat铆n, provocando que constantemente debamos revisar las anotaciones del libro para entender el significado de aquellas frases, afectando directamente el ritmo de la obra. La prosa ha sido lo m谩s dif铆cil de este libro.
Sin embargo, el libro se vuelve interesante desde que cierto personaje grita la palabra 芦Asilo禄. En ese tiempo si un delincuente entraba en un castillo, en una catedral o en un hotel de un pr铆ncipe y ped铆a asilo, autom谩ticamente por ley deb铆an resguardarlo en ese lugar sin tener en cuenta sus delitos y no pod铆an apresarlo. Desde all铆 el libro entra en un estado de emotividad impresionante, donde conoceremos la diferencia entre un amor puro, un amor obsesivo y un amor ingenuo. Pero no solo eso, tambi茅n encontramos un ritmo intenso, acci贸n, drama, tragedia, tristeza, locura total, terror, violencia, etc. Cuando llegu茅 a la mitad cre铆 que al final me arrepentir铆a de leer este libro, pero afortunadamente no ha sido as铆, y es justamente el desenlace por lo que vale la pena soportar la lentitud inicial: Es un final conmovedor.
Los personajes, tal y como lo esperaba, son un punto muy positivo de este libro. Est谩n bien desarrollados, tienen su comportamiento, pensamientos y creencias muy bien definidas y al igual que en Los Miserables, cuando se juntan o se relacionan entre ellos es que ocurre la verdadera magia. Son personajes muy diferentes entre s铆, pero comparten una particularidad en com煤n: La atracci贸n que sienten por Esmeralda. Ella, con sus 16 a帽os, llena de belleza, sensualidad y pureza, enamora a quienes la ven bailar diariamente cerca de Notre-Dame. Esmeralda es descrita con tanta dulzura e inocencia, que en un mundo tan perverso es natural que ella sea el centro de las miradas. Los dem谩s son personajes codiciosos, ego铆stas y malvados, pero inolvidables. No olvidar茅 a Gringoire y su obsesi贸n por una cabra; no olvidar茅 a Phoebus y su repugnante presencia; no olvidar茅 a Jehan y sus malas decisiones; no olvidar茅 a Esmeralda y su ingenuidad; no olvidar茅 a Quasimodo y su amor no correspondido que me hizo recordar mis fracasos amorosos; y sobretodo no olvidar茅 la obsesi贸n, psicopat铆a y maldad del arcediano Claude Frollo.
En resumen, un libro que me ha gustado pero que he sufrido. No es tan espectacular como me lo imaginaba, pero ha sido un placer conocer la verdadera historia de Notre-Dame. Y cuando menciono 芦la verdadera historia禄 tampoco significa que el libro y la adaptaci贸n sean completamente diferentes; sin embargo, s铆 descubrimos sucesos que han sido omitidos o alterados, naturalmente por la audiencia a la que fue dirigida la adaptaci贸n. Incluso gracias a este libro entenderemos mejor el contexto hist贸rico donde se realizan los sucesos de la pel铆cula. Y s铆, la prosa es complicada, pero en este caso hay que comprender que el autor no escrib铆a para un p煤blico futuro, sino para quienes viv铆an en su propia 茅poca por lo que es entendible su forma de contar la historia. La calificaci贸n es de cuatro estrellas.
Cuando ni帽o am茅 mi infancia; jugaba sin parar, me encantaba hablar hasta el punto que me obligaban a callar y los deportes eran mi centro de atenci贸n en todo momento. Cuando estaba en esa etapa de mi vida 鈥攓ue por cierto extra帽o y de la cual siento nostalgia cada vez que pienso en ella鈥� como no me gustaba permanecer quieto, mi atenci贸n hacia la televisi贸n era m铆nima. Raz贸n obvia que me llev贸 a olvidar muchos de los programas o pel铆culas que conoc铆 en mi ni帽ez, como por ejemplo El Jorobado de Notre-Dame: De hecho ni siquiera recuerdo si de ni帽o vi la pel铆cula o no. Afortunadamente, el tiempo pasa y nuestros roles cambian. En mi caso, el rol de t铆o que apareci贸 a los 17 a帽os fue el que me llev贸 a conocer esta historia de Victor Hugo. Era una tarde del 2020, me encontraba aburrido, mi sobrina tambi茅n, y tras ver un listado de pel铆culas infantiles resultamos viendo la famosa cinta de Disney de El Jorobado de Notre-Dame. Personalmente, la disfrut茅 much铆simo, pero principalmente fue por la crueldad y dureza del arcediano, Claude Frollo. Me siento atra铆do por este tipo de villanos vengativos que no ceden ante sus enemigos, y que usan toda su inteligencia para evitar que el protagonista venza. Pero bueno, la pel铆cula acab贸 y ya me preparaba para quitarla, cuando en los cr茅ditos el nombre de Victor Hugo captur贸 mi atenci贸n al leer que 茅l era el creador de esa historia. 隆Yo no ten铆a ni idea! Pero de inmediato busqu茅 esta obra porque conociendo la gran capacidad de Victor Hugo de crear personajes, se volvi贸 para m铆 una urgencia leer este libro y conocer m谩s a fondo a Claude Frollo. Entonces lo le铆 y al finalizar qued茅 sorprendido por la forma como pueden transformar una historia tan cruel en una adaptaci贸n hecha para toda la familia.
La historia se desarrolla a finales del siglo XV en la ciudad de Paris, en el periodo de transici贸n entre la Edad Media y la Edad Moderna que conocemos como el Renacimiento. Una 茅poca donde las torturas, ejecuciones, creencia en la alquimia y en la brujer铆a son parte del d铆a a d铆a de las personas que viven all铆. Victor Hugo nos presenta un contexto hist贸rico excelente donde conoceremos desde la forma como est谩 construida la Catedral de Notre Dame, hasta el descaro y decadencia de la sociedad representada por la Corte de los Milagros, donde los truhanes, vagabundos y limosneros se resguardaban de noche despu茅s de pasar todo el d铆a fingiendo enfermedades, robando y enga帽ando al cr茅dulo. Tambi茅n conoceremos la opini贸n del autor hacia la guillotina, la destrucci贸n de las edificaciones antiguas, la imprenta, la arquitectura, entre otros temas. Todo eso est谩 muy bien y con ese contexto realmente sentiremos como si vivi茅ramos en la Francia del siglo XV, pero, el problema, es que el autor se excede tanto en sus descripciones que el inicio se vuelve demasiado lento; es tan lento, que en las primeras 250 p谩ginas solo encontramos tres escenas. Y s铆, ese es el estilo de Victor Hugo, pero a veces se extiende tanto que se convierte en una molestia, o por lo menos eso sent铆 yo tras leer cuarenta p谩ginas consecutivas atiborradas de descripciones sobre los lugares que se ven desde la cima de Notre-Dame: Eso no es nada agradable. Lo curioso es que ya estaba acostumbrado al estilo de Victor Hugo tras leer Los Miserables, pero en la primera mitad del libro inevitablemente perd铆 la paciencia y por momentos cre铆 que en las p谩ginas restantes encontrar铆a m谩s descripciones que historia en s铆. Adem谩s, hay muchas expresiones en lat铆n, provocando que constantemente debamos revisar las anotaciones del libro para entender el significado de aquellas frases, afectando directamente el ritmo de la obra. La prosa ha sido lo m谩s dif铆cil de este libro.
Sin embargo, el libro se vuelve interesante desde que cierto personaje grita la palabra 芦Asilo禄. En ese tiempo si un delincuente entraba en un castillo, en una catedral o en un hotel de un pr铆ncipe y ped铆a asilo, autom谩ticamente por ley deb铆an resguardarlo en ese lugar sin tener en cuenta sus delitos y no pod铆an apresarlo. Desde all铆 el libro entra en un estado de emotividad impresionante, donde conoceremos la diferencia entre un amor puro, un amor obsesivo y un amor ingenuo. Pero no solo eso, tambi茅n encontramos un ritmo intenso, acci贸n, drama, tragedia, tristeza, locura total, terror, violencia, etc. Cuando llegu茅 a la mitad cre铆 que al final me arrepentir铆a de leer este libro, pero afortunadamente no ha sido as铆, y es justamente el desenlace por lo que vale la pena soportar la lentitud inicial: Es un final conmovedor.
Los personajes, tal y como lo esperaba, son un punto muy positivo de este libro. Est谩n bien desarrollados, tienen su comportamiento, pensamientos y creencias muy bien definidas y al igual que en Los Miserables, cuando se juntan o se relacionan entre ellos es que ocurre la verdadera magia. Son personajes muy diferentes entre s铆, pero comparten una particularidad en com煤n: La atracci贸n que sienten por Esmeralda. Ella, con sus 16 a帽os, llena de belleza, sensualidad y pureza, enamora a quienes la ven bailar diariamente cerca de Notre-Dame. Esmeralda es descrita con tanta dulzura e inocencia, que en un mundo tan perverso es natural que ella sea el centro de las miradas. Los dem谩s son personajes codiciosos, ego铆stas y malvados, pero inolvidables. No olvidar茅 a Gringoire y su obsesi贸n por una cabra; no olvidar茅 a Phoebus y su repugnante presencia; no olvidar茅 a Jehan y sus malas decisiones; no olvidar茅 a Esmeralda y su ingenuidad; no olvidar茅 a Quasimodo y su amor no correspondido que me hizo recordar mis fracasos amorosos; y sobretodo no olvidar茅 la obsesi贸n, psicopat铆a y maldad del arcediano Claude Frollo.
En resumen, un libro que me ha gustado pero que he sufrido. No es tan espectacular como me lo imaginaba, pero ha sido un placer conocer la verdadera historia de Notre-Dame. Y cuando menciono 芦la verdadera historia禄 tampoco significa que el libro y la adaptaci贸n sean completamente diferentes; sin embargo, s铆 descubrimos sucesos que han sido omitidos o alterados, naturalmente por la audiencia a la que fue dirigida la adaptaci贸n. Incluso gracias a este libro entenderemos mejor el contexto hist贸rico donde se realizan los sucesos de la pel铆cula. Y s铆, la prosa es complicada, pero en este caso hay que comprender que el autor no escrib铆a para un p煤blico futuro, sino para quienes viv铆an en su propia 茅poca por lo que es entendible su forma de contar la historia. La calificaci贸n es de cuatro estrellas.
March 6, 2021
賵賰兀賳 賴匕賴 丕賱兀賳卮賵丿丞 丕賱禺丕賱丿丞 賷鬲乇丿丿 氐丿丕賴丕 賮賷 賰賱 乇賵丕賷丕鬲 賴賵噩賵
兀賳卮賵丿丞 丕賱賲馗賱賵賲賷賳 賵丕賱孬丕卅乇賷賳 賮賷 賰賱 賲賰丕賳
鈥�"廿賳 賴匕丕 丕賱兀賱賲 賱丕 賷賴乇賲 兀亘丿丕.."鈥�
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賵丕丨丿 賲賳 丕賱賲爻丕賰賷賳
丕賱亘丐爻丕亍
丕賱鬲毓爻丕亍
賵丕賱賲丨乇賵賲賷賳
賵丕賱賲賳毓夭賱賷賳 毓賳 丕賱毓丕賱賲
賵丕丨丿 丕爻賲賴 賰賵丕夭賷賲賵丿賵
賰賱 匕賳亘賴 賮賷 丕賱丨賷丕丞 兀賳賴 賯亘賷丨
賯亘賷丨 賵賮賯賷乇 賵亘丕卅爻
賵賱賴 賯賱亘 賲賳 匕賴亘
賰鬲賱丞 賲賳 丕賱賯亘丨
毓夭賱賴丕 賱賲噩鬲賲毓 賵兀禺賮丕賴丕 丨鬲賶 賱丕 賷丐乇賯 乇丕丨鬲賴 兀賵 賷丐匕賷 毓賷賳賷賴
丕賱毓賷賳丕賳 丕賱兀賯亘丨 賵丕賱兀賰孬乇 賲丿毓丕丞 賱賱爻禺乇賷丞
亘賱 賵丕賱卮賮賯丞
噩毓賱賵賴 賲賳亘賵匕丕 丿丕卅賲丕
賵兀囟丨賵賰丞 兀丨賷丕賳丕
毓卮賯 丕賱兀丨丿亘 賳賲賵匕噩 丕賱噩賲丕賱 丕賱賰丕賲賱 丕賱賲鬲賲孬賱 賮賷 廿夭賲賷乇丕賱丿丕
丕賱睾噩乇賷賾丞 丕賱鬲賷 毓胤賾賮鬲 毓賱賷賴 賵兀卮賮賯鬲
賵賱賰賳賴丕 賱賲 鬲丨亘 爻賵賶 馗丕賴乇 丕賱賮鬲賳丞 丕賱亘乇丕賯
賮賷亘賵爻 丕賱囟丕亘胤 丕賱賵爻賷賲 賵丕賱兀爻賵丿 丕賱賯賱亘
賵亘乇睾賲 匕賱賰 鬲鬲亘毓賴 賱賷賰賵賳 賲賵乇丿 賴賱丕賰賴丕
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賵賲毓 丿賯丕鬲 兀噩乇丕爻 賳賵鬲乇丿丕賲 賷鬲丨丿賶 丕賱兀丨丿亘 丕賱胤賷亘 賰賱 亘丿賷賴賷丕鬲 丕賱毓丕賱賲 鈥徹з勝呝堌辟堌�
賵賷毓胤賷 賱賱噩賲賷毓 丿乇爻丕 禺丕賱丿 賵丕囟毓丕 丨丿丕 賱賱賯賲毓 賵丕賱馗賱賲 丕賱匕賷 毓丕賳丕賴 胤賵丕賱 丨賷丕鬲賴 鈥徹з勜ㄘжω池�
兀乇丕丿 兀賳 賷噩毓賱 賲賳 鬲囟丨賷鬲賴 毓亘乇丞 賱賱噩賲賷毓
氐乇禺丞 兀禺賷乇丞 賷賯賵賱 賮賷賴丕 兀賳 丕賱亘賯丕亍 賱賱噩賲丕賱 丕賱丨賯賷賯賷鈥�
賵廿賳 賰賳鬲賲 鬲乇賵賳賴 兀夭賲賷乇丕賱丿丕 賮賱賷賰賳
賮賴賵 兀賷囟丕 賷乇賶 匕賱賰
爻賷賮賳賶 丕賱賯亘丨 賵賷爻鬲賲乇 賳賲賵匕噩 丕賱噩賲丕賱
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廿賳賴丕 乇丕卅毓丞 賴賵噩賵 丕賱鬲賷 亘卮禺賵氐賴丕 噩賲賷毓丕 賷氐賵乇 賱賰 賲丿賷賳丞 亘丕卅爻丞 亘賯丕胤賳賷賴丕
賴匕丕 丕賱賯爻 丕賱匕賷 賰乇賴 丕賱丨賷丕丞 賵丕毓鬲夭賱賴丕 丨鬲賶 賷賯毓 賮賷 丨亘 丕賱睾噩乇賷丞
賮賷氐賷乇 賰丕卅賳丕 丌禺乇 賱丕 賷毓乇賮 爻賵賶 丕賱兀匕賶 賵丨亘 丕賱鬲賲賱賰鈥�
丕賱兀賲 丕賱鬲毓爻丞 丕賱鬲賷 鬲噩丿 丕亘賳鬲賴丕 亘毓丿 16 毓丕賲賸丕 賱鬲賯鬲賱 賮賷 丕賱賳賴丕賷丞鈥�
噩乇賳噩賵丕乇 丕賱卮丕毓乇 丕賱睾賷乇 毓丕亘卅 亘賲賳 賷夭賵噩賵賴 兀賵 亘賲丕 賷賮毓賱賵丕 亘賴
丕賱賲丿賷賳丞 丕賱賲亘賴乇噩丞 亘兀賱賮 賱賵賳 賲夭賷賮
賵丕賱賲睾乇賯丞 賮賷 胤賱丕亍 丕賱噩賲丕賱 丕賱賲鬲賯卮乇
賵丕賱鬲賷 鬲賱毓賳 賰賱 賲丕 賷禺賷賮賴丕 噩賲丕賱賴 丕賱丨賯賷賯賷
賱丕賴孬丞 賵乇丕亍 賰賱 賲丕 賴賵 爻胤丨賷 賵賲噩賵賮 賵匕丕亘賱
兀賳卮賵丿丞 丕賱賲馗賱賵賲賷賳 賵丕賱孬丕卅乇賷賳 賮賷 賰賱 賲賰丕賳
鈥�"廿賳 賴匕丕 丕賱兀賱賲 賱丕 賷賴乇賲 兀亘丿丕.."鈥�
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賵丕丨丿 賲賳 丕賱賲爻丕賰賷賳
丕賱亘丐爻丕亍
丕賱鬲毓爻丕亍
賵丕賱賲丨乇賵賲賷賳
賵丕賱賲賳毓夭賱賷賳 毓賳 丕賱毓丕賱賲
賵丕丨丿 丕爻賲賴 賰賵丕夭賷賲賵丿賵
賰賱 匕賳亘賴 賮賷 丕賱丨賷丕丞 兀賳賴 賯亘賷丨
賯亘賷丨 賵賮賯賷乇 賵亘丕卅爻
賵賱賴 賯賱亘 賲賳 匕賴亘
賰鬲賱丞 賲賳 丕賱賯亘丨
毓夭賱賴丕 賱賲噩鬲賲毓 賵兀禺賮丕賴丕 丨鬲賶 賱丕 賷丐乇賯 乇丕丨鬲賴 兀賵 賷丐匕賷 毓賷賳賷賴
丕賱毓賷賳丕賳 丕賱兀賯亘丨 賵丕賱兀賰孬乇 賲丿毓丕丞 賱賱爻禺乇賷丞
亘賱 賵丕賱卮賮賯丞
噩毓賱賵賴 賲賳亘賵匕丕 丿丕卅賲丕
賵兀囟丨賵賰丞 兀丨賷丕賳丕
毓卮賯 丕賱兀丨丿亘 賳賲賵匕噩 丕賱噩賲丕賱 丕賱賰丕賲賱 丕賱賲鬲賲孬賱 賮賷 廿夭賲賷乇丕賱丿丕
丕賱睾噩乇賷賾丞 丕賱鬲賷 毓胤賾賮鬲 毓賱賷賴 賵兀卮賮賯鬲
賵賱賰賳賴丕 賱賲 鬲丨亘 爻賵賶 馗丕賴乇 丕賱賮鬲賳丞 丕賱亘乇丕賯
賮賷亘賵爻 丕賱囟丕亘胤 丕賱賵爻賷賲 賵丕賱兀爻賵丿 丕賱賯賱亘
賵亘乇睾賲 匕賱賰 鬲鬲亘毓賴 賱賷賰賵賳 賲賵乇丿 賴賱丕賰賴丕
鈥�
丕賱卮賯丕亍 兀賳 賷丨亘 丕賱乇噩賱 丕賲乇兀丞 賱丕 鬲丨亘賴.. 賱丕 鬲卮毓乇 亘賴.. 賱丕 鬲卮賮賯 賱丨丕賱賴鈥�
兀賳 賷乇賷丿 丕賱乇噩賱 丕賱鬲囟丨賷丞 亘丨賷丕鬲賴 賰賱賴丕 賱賯丕亍 丕亘鬲爻丕賲丞 賲賳 丨亘賷亘鬲賴 賵賴賷 鬲賳賮乇 賲賳賴 鈥徹Ｙ� 鬲賴乇亘 賵鬲氐丿
賵賱丕 鬲丿乇賷 兀賳 氐丿賵丿賴丕 胤毓賳丕鬲 賱賱賯賱亘 丕賱匕賷 兀丨亘賴丕鈥�
鈥�....鈥忊赌�
丕賱卮賯丕亍 兀賳 賷賳卮胤乇 丕賱乇噩賱 廿賱賶 毓賯賱 賵賯賱亘
丕賱毓賯賱 賷賱毓賳 賲賳 賷禺賵賳
賵丕賱賯賱亘 賷毓賮賵 賵賷爻丕賲丨 乇睾賲 丕賱兀賱賲 賵丕賱毓匕丕亘 賲毓 賲賳 賷丨亘 賵亘賰賳 賱賴 丕賱丨亘 丕賱毓馗賷賲
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賵賲毓 丿賯丕鬲 兀噩乇丕爻 賳賵鬲乇丿丕賲 賷鬲丨丿賶 丕賱兀丨丿亘 丕賱胤賷亘 賰賱 亘丿賷賴賷丕鬲 丕賱毓丕賱賲 鈥徹з勝呝堌辟堌�
賵賷毓胤賷 賱賱噩賲賷毓 丿乇爻丕 禺丕賱丿 賵丕囟毓丕 丨丿丕 賱賱賯賲毓 賵丕賱馗賱賲 丕賱匕賷 毓丕賳丕賴 胤賵丕賱 丨賷丕鬲賴 鈥徹з勜ㄘжω池�
兀乇丕丿 兀賳 賷噩毓賱 賲賳 鬲囟丨賷鬲賴 毓亘乇丞 賱賱噩賲賷毓
氐乇禺丞 兀禺賷乇丞 賷賯賵賱 賮賷賴丕 兀賳 丕賱亘賯丕亍 賱賱噩賲丕賱 丕賱丨賯賷賯賷鈥�
賵廿賳 賰賳鬲賲 鬲乇賵賳賴 兀夭賲賷乇丕賱丿丕 賮賱賷賰賳
賮賴賵 兀賷囟丕 賷乇賶 匕賱賰
爻賷賮賳賶 丕賱賯亘丨 賵賷爻鬲賲乇 賳賲賵匕噩 丕賱噩賲丕賱
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廿賳賴丕 乇丕卅毓丞 賴賵噩賵 丕賱鬲賷 亘卮禺賵氐賴丕 噩賲賷毓丕 賷氐賵乇 賱賰 賲丿賷賳丞 亘丕卅爻丞 亘賯丕胤賳賷賴丕
賴匕丕 丕賱賯爻 丕賱匕賷 賰乇賴 丕賱丨賷丕丞 賵丕毓鬲夭賱賴丕 丨鬲賶 賷賯毓 賮賷 丨亘 丕賱睾噩乇賷丞
賮賷氐賷乇 賰丕卅賳丕 丌禺乇 賱丕 賷毓乇賮 爻賵賶 丕賱兀匕賶 賵丨亘 丕賱鬲賲賱賰鈥�
丕賱兀賲 丕賱鬲毓爻丞 丕賱鬲賷 鬲噩丿 丕亘賳鬲賴丕 亘毓丿 16 毓丕賲賸丕 賱鬲賯鬲賱 賮賷 丕賱賳賴丕賷丞鈥�
噩乇賳噩賵丕乇 丕賱卮丕毓乇 丕賱睾賷乇 毓丕亘卅 亘賲賳 賷夭賵噩賵賴 兀賵 亘賲丕 賷賮毓賱賵丕 亘賴
丕賱賲丿賷賳丞 丕賱賲亘賴乇噩丞 亘兀賱賮 賱賵賳 賲夭賷賮
賵丕賱賲睾乇賯丞 賮賷 胤賱丕亍 丕賱噩賲丕賱 丕賱賲鬲賯卮乇
賵丕賱鬲賷 鬲賱毓賳 賰賱 賲丕 賷禺賷賮賴丕 噩賲丕賱賴 丕賱丨賯賷賯賷
賱丕賴孬丞 賵乇丕亍 賰賱 賲丕 賴賵 爻胤丨賷 賵賲噩賵賮 賵匕丕亘賱
December 21, 2021
Victor Hugo ties in the destinies of a handful people in Paris in the late fifteenth century so cleverly and atmospheric together in a tragedy, that it belongs to the most known dramas鈥� in European literature. The significance of this work is based on the psychological archetypes that Hugo portrays as tragic characters. The author characterized the underlying society with particular destinies and psychographics.
Church, nobility, poets and criminality of the contemporary Paris, which are here represented by individual fates, are leading to genre picture of this time.
I personally think that Hugo's excellent narrative style and ability to act are complex and intelligent.
Church, nobility, poets and criminality of the contemporary Paris, which are here represented by individual fates, are leading to genre picture of this time.
I personally think that Hugo's excellent narrative style and ability to act are complex and intelligent.
April 5, 2023
To by艂a 偶mudna przeprawa. My艣l臋, 偶e bez audiobooka bym nie podo艂a艂a.
Z minus贸w:
Mn贸stwo opis贸w architektury, kt贸re by艂y bardzo szczeg贸艂owe.
Czasami dziwne przeskoki czasowe.
Z plus贸w:
Smutna, pi臋kna historia.
Trudne i 艂ami膮ce serce tematy.
Bohaterowie niesamowicie dobrze skonstruowani.
Z minus贸w:
Mn贸stwo opis贸w architektury, kt贸re by艂y bardzo szczeg贸艂owe.
Czasami dziwne przeskoki czasowe.
Z plus贸w:
Smutna, pi臋kna historia.
Trudne i 艂ami膮ce serce tematy.
Bohaterowie niesamowicie dobrze skonstruowani.
November 9, 2022
兀賳 鬲毓賷卮 丿丕禺賱 噩爻丿 賲卮賵賴 兀賮囟賱 兀賱賮 賲乇丞 賲賳 丨賷丕鬲賰 丿丕禺賱 賳賮爻 賲卮賵賴丞 賵 賰兀賳賰 噩孬丞 鬲賲卮賶 亘賷賳 丕賱賳丕爻
01
兀賮囟賱 賵爻賷賱丞 賱鬲賴丿卅丞 丕賱噩賲賵毓 賴賷 兀賳 鬲丐賰丿 賱賴賲 兀賳 丕賱鬲賲孬賷賱 爻賷亘丿兀 賮賷 丕賱丨丕賱
02
賵亘丕亍 廿乇賴丕亘 丕賱賲卮賳賯丞貙兀禺胤乇 丕賱兀賵亘卅丞 賱兀賳賴 賱丕 賷兀鬲賷 賲賳 丕賱賱賴 亘賱 賲賳 丕賱廿賳爻丕賳
03
賵毓賱賶 丕賱乇睾賲 賲賳 賴匕賴 丕賱亘卮丕毓丞 丕賱氐丕乇禺丞貙 賵丕賱丿賲丕賲丞 丕賱賲賳賯胤毓丞 丕賱賳馗賷乇貙 賮賯丿 賰丕賳鬲 鬲亘丿賵 毓賱賶 賴匕丕 丕賱賲禺賱賵賯 丕賱毓噩賷亘 毓賱丕賲丕鬲 丕賱賯賵丞 賵丕賱禺賮丞 賵丕賱卮噩丕毓丞貙 賵賴賵 卮匕賵匕 毓賱賶 丕賱賳馗乇賷丞 丕賱賲兀賱賵賮丞 丕賱鬲賷 鬲賯賵賱 亘兀賳 丕賱賯賵丞 賰丕賱噩賲丕賱貙 賱丕 鬲賳鬲噩 廿賱丕 毓賳 鬲賳丕爻亘 丕賱兀毓囟丕亍.
December 9, 2024
Notre Dame, the grand cathedral at the heart of Paris, gave Victor Hugo鈥檚 1831 novel its original title. We in the Anglosphere know the book as The Hunchback of Notre Dame, and tend to focus on the character of Quasimodo, the bell-ringer whose physical deformities conceal a brave and kind heart. The reason for the confusion of titles is quite simple: the book鈥檚 English translator, working in a time when literary Gothicism was highly popular, simply retitled the novel for its first English-language publication in 1833, figuring no doubt that a book named after a hunchback would sell more copies than a book named after a cathedral.
As titles go, however, Notre Dame de Paris is truer to the spirit of what Hugo wanted his novel to provide 鈥� a grand, epic look at life in medieval Paris, unified around the cathedral that has been overlooking Parisian life from the 脦le de la Cit茅 ever since its completion in 1345. The novel鈥檚 action takes place during the late-15th-century reign of King Louis XI, at a time when Notre Dame was just over a century old. By 1831, however, Notre Dame was showing her age; she had suffered significant damage from anti-clerical rioters during the French Revolution, and Hugo was concerned that many of Paris鈥檚 treasures of Gothic architecture might be permitted to crumble into dust.
It is for that reason that Hugo includes in the novel extensive passages like this one in support and defense of Gothic masterpieces like Notre Dame: 鈥淸T]hree kinds of ravages nowadays disfigure Gothic architecture: wrinkles and warts on the skin 鈥� these are the work of Time; wounds, contusions, fractures, from brutal violence 鈥� these are the work of revolutions from Luther to Mirabeau; mutilations, amputations, dislocations of limbs, restorations -- this is the barbarous Greek and Roman work of professors.鈥� Read this book as Notre Dame de Paris, looking at all the characters in terms of how their lives relate to the life of the cathedral 鈥� rather than focusing solely on one (albeit undeniably interesting) character 鈥� and you will suddenly find that you are reading an entirely different, and much richer, novel.
You鈥檒l still get to spend time with the same unforgettable characters, of course. Pierre Gringoire, the aspiring poet, may reflect Hugo鈥檚 own belief in the power of words and literature to bring about positive change. There is pathos in Gringoire鈥檚 hopeless love for the Romani (鈥淕ypsy鈥�) woman Esmeralda; Hugo, whose liberal and reformist frame of mind made him sympathize with all who suffered oppression, focuses on the anti-鈥淕ypsy鈥� prejudice among the people of medieval Paris, as when the character of Gervaise says that the Romani people鈥檚 鈥渢eeth are long enough to eat little children. And I would not be surprised if La Esmeralda were to pick a bit now and then, though she has such a small, pretty mouth. Her white goat plays so many marvelous tricks that there must be something wrong at bottom.鈥� I鈥檝e never seen this person do anything wrong, but she simply must be doing some awful thing, because it suits me to think so. Hugo captures the nature of prejudice in a single line of dialogue.
It is Esmeralda鈥檚 fate to be beautiful, and 鈥� paradoxically 鈥� her misfortune to be loved. She is loved by Gringoire, whom she marries to save him from the wrath of the Truands, the professional criminals whose 鈥淐ourt of Miracles鈥� Gringoire accidentally wanders into; but she is indifferent to his love, and regards him only as a rather feckless friend. She is loved by Quasimodo the bell-ringer, who rescues her from execution in one of the novel鈥檚 most famous passages; and the feelings of pity that prompt her to bring water to Quasimodo during his public punishment in front of the church become feelings of appreciation and respect once he has saved her from execution. Most ominously, Esmeralda is loved 鈥� or, more accurately, lusted after 鈥� by the arch-deacon Frollo, a powerful church official whose vows of chastity go out the stain-glassed window once he has seen Esmeralda dance.
A lifetime of repressed or suppressed lust seethes within Frollo, who at one point in the novel tells Esmeralda that her 鈥渟uperhuman beauty鈥an come only from heaven or from hell鈥� and concludes, unsurprisingly, that 鈥淚 perceived the demon鈥檚 trap, and had no further doubt that you were from hell, and had come for my perdition.鈥� A lust-racked man blames an innocent woman for the fact that he lusts after her, and intends to destroy her if he cannot have her. So little has changed since 1831, or since 1470, or since the first time a woman said 鈥渘o鈥� to a man who desired her without loving her.
But what of Esmeralda herself? She has a heart; whom does she love? Tragically, Esmeralda has given her heart to Captain Phoebus de Chateaupers. A bold cavalryman and leader of archers, Phoebus is a veritable Apollo for good looks and gallantry; but he is doubly well-named in that he is a false god whose reality belies his quasi-divine appearance. And Esmeralda鈥檚 idolatry for Phoebus betrays her at one crucial point in the novel.
Hugo鈥檚 dedication to the liberal, democratic spirit of la R茅publique fran莽aise emerges in his portrayal of King Louis XI. Known historically as le rus茅 (鈥渢he Cunning鈥�) and l鈥檜niverselle aragne (鈥渢he Universal Spider鈥�), King Louis emerges as a capricious figure, granting clemency and ordering executions as the whims of the moment move him. Esmeralda, rescued from execution by Quasimodo, enjoys the benefits of sanctuary within Notre Dame, but the king orders that 鈥淭he witch must be hanged鈥� and subsequently asks the Virgin Mary to forgive him for violating the sanctuary of her cathedral, asking that she 鈥淔orgive me then for this time, our Lady of Paris!鈥� and assuring her that 鈥淚 will never do so again, and I will give you a beautiful statue of silver, just like the one I gave last year to our Lady of Ecouys. Amen!鈥� Thus, with a Judas Iscariot-like bribe of silver, the King of France is prepared to deliver an innocent woman over to the gallows. In the time when Notre Dame de Paris was published, the corrupt post-Napoleonic Bourbon dynasty had just been replaced by a constitutional monarchy; and in his portrayal of the King, Hugo makes clear his support for the spirit of Libert茅, 茅galit茅, fraternit茅.
In a novel filled with torture and brutality, some measure of justice is achieved; the cruel and hypocritical Frollo gets his comeuppance, and Gringoire鈥檚 belief that the power of words can outlast the power of physical force and compulsion gets some measure of vindication. But the cost in innocent human life, by novel鈥檚 end, is high; and with the novel鈥檚 final image, the reader is reminded in a moving way of Quasimodo鈥檚 pure, uncorrupted, hopeless love for the beautiful Esmeralda. Small wonder that Quasimodo has made such an impression upon generations of readers, or that he has been portrayed so memorably on screen by actors like Lon Chaney, Charles Laughton, Anthony Quinn, Anthony Hopkins, Tom Hulce, and Mandy Patinkin.
I read Notre Dame de Paris on a trip to Paris in 2006. My bookmark for the novel is a boarding pass for the flight home (Air France 5870, Paris to Detroit; courteous flight attendants, good wine with dinner). My impressions of Paris now are the same as my impressions of Paris back in 2006, as I walked the battlements of Notre Dame and looked out, from a gargoyle鈥檚-eye view, upon la ville lumi猫re, the City of Lights. Hugo鈥檚 Notre Dame de Paris captures in 1831 what people all over the world know about Paris today 鈥� that for all the tragedies and traumas that Paris has suffered over its long history, the spirit of Paris lives on, imperishable.
As titles go, however, Notre Dame de Paris is truer to the spirit of what Hugo wanted his novel to provide 鈥� a grand, epic look at life in medieval Paris, unified around the cathedral that has been overlooking Parisian life from the 脦le de la Cit茅 ever since its completion in 1345. The novel鈥檚 action takes place during the late-15th-century reign of King Louis XI, at a time when Notre Dame was just over a century old. By 1831, however, Notre Dame was showing her age; she had suffered significant damage from anti-clerical rioters during the French Revolution, and Hugo was concerned that many of Paris鈥檚 treasures of Gothic architecture might be permitted to crumble into dust.
It is for that reason that Hugo includes in the novel extensive passages like this one in support and defense of Gothic masterpieces like Notre Dame: 鈥淸T]hree kinds of ravages nowadays disfigure Gothic architecture: wrinkles and warts on the skin 鈥� these are the work of Time; wounds, contusions, fractures, from brutal violence 鈥� these are the work of revolutions from Luther to Mirabeau; mutilations, amputations, dislocations of limbs, restorations -- this is the barbarous Greek and Roman work of professors.鈥� Read this book as Notre Dame de Paris, looking at all the characters in terms of how their lives relate to the life of the cathedral 鈥� rather than focusing solely on one (albeit undeniably interesting) character 鈥� and you will suddenly find that you are reading an entirely different, and much richer, novel.
You鈥檒l still get to spend time with the same unforgettable characters, of course. Pierre Gringoire, the aspiring poet, may reflect Hugo鈥檚 own belief in the power of words and literature to bring about positive change. There is pathos in Gringoire鈥檚 hopeless love for the Romani (鈥淕ypsy鈥�) woman Esmeralda; Hugo, whose liberal and reformist frame of mind made him sympathize with all who suffered oppression, focuses on the anti-鈥淕ypsy鈥� prejudice among the people of medieval Paris, as when the character of Gervaise says that the Romani people鈥檚 鈥渢eeth are long enough to eat little children. And I would not be surprised if La Esmeralda were to pick a bit now and then, though she has such a small, pretty mouth. Her white goat plays so many marvelous tricks that there must be something wrong at bottom.鈥� I鈥檝e never seen this person do anything wrong, but she simply must be doing some awful thing, because it suits me to think so. Hugo captures the nature of prejudice in a single line of dialogue.
It is Esmeralda鈥檚 fate to be beautiful, and 鈥� paradoxically 鈥� her misfortune to be loved. She is loved by Gringoire, whom she marries to save him from the wrath of the Truands, the professional criminals whose 鈥淐ourt of Miracles鈥� Gringoire accidentally wanders into; but she is indifferent to his love, and regards him only as a rather feckless friend. She is loved by Quasimodo the bell-ringer, who rescues her from execution in one of the novel鈥檚 most famous passages; and the feelings of pity that prompt her to bring water to Quasimodo during his public punishment in front of the church become feelings of appreciation and respect once he has saved her from execution. Most ominously, Esmeralda is loved 鈥� or, more accurately, lusted after 鈥� by the arch-deacon Frollo, a powerful church official whose vows of chastity go out the stain-glassed window once he has seen Esmeralda dance.
A lifetime of repressed or suppressed lust seethes within Frollo, who at one point in the novel tells Esmeralda that her 鈥渟uperhuman beauty鈥an come only from heaven or from hell鈥� and concludes, unsurprisingly, that 鈥淚 perceived the demon鈥檚 trap, and had no further doubt that you were from hell, and had come for my perdition.鈥� A lust-racked man blames an innocent woman for the fact that he lusts after her, and intends to destroy her if he cannot have her. So little has changed since 1831, or since 1470, or since the first time a woman said 鈥渘o鈥� to a man who desired her without loving her.
But what of Esmeralda herself? She has a heart; whom does she love? Tragically, Esmeralda has given her heart to Captain Phoebus de Chateaupers. A bold cavalryman and leader of archers, Phoebus is a veritable Apollo for good looks and gallantry; but he is doubly well-named in that he is a false god whose reality belies his quasi-divine appearance. And Esmeralda鈥檚 idolatry for Phoebus betrays her at one crucial point in the novel.
Hugo鈥檚 dedication to the liberal, democratic spirit of la R茅publique fran莽aise emerges in his portrayal of King Louis XI. Known historically as le rus茅 (鈥渢he Cunning鈥�) and l鈥檜niverselle aragne (鈥渢he Universal Spider鈥�), King Louis emerges as a capricious figure, granting clemency and ordering executions as the whims of the moment move him. Esmeralda, rescued from execution by Quasimodo, enjoys the benefits of sanctuary within Notre Dame, but the king orders that 鈥淭he witch must be hanged鈥� and subsequently asks the Virgin Mary to forgive him for violating the sanctuary of her cathedral, asking that she 鈥淔orgive me then for this time, our Lady of Paris!鈥� and assuring her that 鈥淚 will never do so again, and I will give you a beautiful statue of silver, just like the one I gave last year to our Lady of Ecouys. Amen!鈥� Thus, with a Judas Iscariot-like bribe of silver, the King of France is prepared to deliver an innocent woman over to the gallows. In the time when Notre Dame de Paris was published, the corrupt post-Napoleonic Bourbon dynasty had just been replaced by a constitutional monarchy; and in his portrayal of the King, Hugo makes clear his support for the spirit of Libert茅, 茅galit茅, fraternit茅.
In a novel filled with torture and brutality, some measure of justice is achieved; the cruel and hypocritical Frollo gets his comeuppance, and Gringoire鈥檚 belief that the power of words can outlast the power of physical force and compulsion gets some measure of vindication. But the cost in innocent human life, by novel鈥檚 end, is high; and with the novel鈥檚 final image, the reader is reminded in a moving way of Quasimodo鈥檚 pure, uncorrupted, hopeless love for the beautiful Esmeralda. Small wonder that Quasimodo has made such an impression upon generations of readers, or that he has been portrayed so memorably on screen by actors like Lon Chaney, Charles Laughton, Anthony Quinn, Anthony Hopkins, Tom Hulce, and Mandy Patinkin.
I read Notre Dame de Paris on a trip to Paris in 2006. My bookmark for the novel is a boarding pass for the flight home (Air France 5870, Paris to Detroit; courteous flight attendants, good wine with dinner). My impressions of Paris now are the same as my impressions of Paris back in 2006, as I walked the battlements of Notre Dame and looked out, from a gargoyle鈥檚-eye view, upon la ville lumi猫re, the City of Lights. Hugo鈥檚 Notre Dame de Paris captures in 1831 what people all over the world know about Paris today 鈥� that for all the tragedies and traumas that Paris has suffered over its long history, the spirit of Paris lives on, imperishable.
December 6, 2022
I'm now quite resigned to being disappointed in books that are written by my favourite classical authors. It looks like I'm in the process of discovering at least one book by each of them to my dislike. The Hunchback of Notre-Dame is Victor Hugo's contribution to that lot. But it is still disheartening when a book you liked as a teen becomes a total nightmare as an adult. Perhaps it is not fair for me to draw a comparison like that, for I understand now that what I've read and liked as a teen was an abridged version of the book. And of course, I loved the Disney movie too. But the complete unabridged book is unlike either of them.
I have many grievances against this book; the first is the length. This story could have been told in half of the words than that he had used. There were too detailed descriptions of the Notre-Dame architecture and the medieval society and politics in general. It was important for Hugo to describe medieval society and politics and the general architecture of Notre Dame, but it needn't be painfully detailed. A succinct description would have been ample to serve the purpose. The irrelevant and excessive details made the story secondary, and the story proper didn't begin until half the book is gone.
The second is the tone of Hugo's writing. It didn't suit the tragic side of the story. There should be some gravity to carry the idea of tragedy in a tragic story, but instead, the writing was light and impassive for the most part. There was also some satire which I thought most unsuited. The whole tone of the book made me devoid of emotion. I couldn't pity the innocent persecuted Esmeralda nor Quasimodo, a victim of a different sort. If I felt anything, it was only the utter loathing for the antagonist, Dom Frollo, and anger toward Phoebus whom I also considered an antagonist.
The third was my dissatisfaction with the flow of the story which was time and again disrupted by Hugo's love for description and explanations. Because of this, the pace of the story was quite disturbed. Likewise was my reading experience. Instead of being taken on a smooth straight road, I was taken on a rough road with many a bend in which I jostled this way and that way till my head was swimming. It was tiring and to be quite honest I had to resort to a chapter or so of another book just to feel alright.
This doesn't mean that the book was flawed. I still liked the story. My venting here rises from my being unable to enjoy it as I wished. I felt Hugo has robbed my pleasure with his Dickensian style of verbosity and his impassive tone.
I have many grievances against this book; the first is the length. This story could have been told in half of the words than that he had used. There were too detailed descriptions of the Notre-Dame architecture and the medieval society and politics in general. It was important for Hugo to describe medieval society and politics and the general architecture of Notre Dame, but it needn't be painfully detailed. A succinct description would have been ample to serve the purpose. The irrelevant and excessive details made the story secondary, and the story proper didn't begin until half the book is gone.
The second is the tone of Hugo's writing. It didn't suit the tragic side of the story. There should be some gravity to carry the idea of tragedy in a tragic story, but instead, the writing was light and impassive for the most part. There was also some satire which I thought most unsuited. The whole tone of the book made me devoid of emotion. I couldn't pity the innocent persecuted Esmeralda nor Quasimodo, a victim of a different sort. If I felt anything, it was only the utter loathing for the antagonist, Dom Frollo, and anger toward Phoebus whom I also considered an antagonist.
The third was my dissatisfaction with the flow of the story which was time and again disrupted by Hugo's love for description and explanations. Because of this, the pace of the story was quite disturbed. Likewise was my reading experience. Instead of being taken on a smooth straight road, I was taken on a rough road with many a bend in which I jostled this way and that way till my head was swimming. It was tiring and to be quite honest I had to resort to a chapter or so of another book just to feel alright.
This doesn't mean that the book was flawed. I still liked the story. My venting here rises from my being unable to enjoy it as I wished. I felt Hugo has robbed my pleasure with his Dickensian style of verbosity and his impassive tone.
April 7, 2009
ok... i'll be honest. i hated the first 150 pages and had i not been reading it for book club i would have abandoned it. about 300 pages in i started to think it was okay. around 400... i really liked it. at page 450 i couldn't put it down. i stayed up till 2am last night finishing it.
so... is it worth the painful first half to get to the second half? now that i've done it... i would say so.
victor hugo could have used a good editor. pages and pages of diatribes and descriptions that made me feel like pulling my hair out - but the story is chilling and wonderful. i understood after reading it why there are so many abridged versions. :)
of course its a piece out of history... melodramatic and predictable... but one expects that.
all in all... i felt satisfied going to bed last night having read such a great book. still... next time i read Hugo... i will be prepared for a big front end investment.
so... is it worth the painful first half to get to the second half? now that i've done it... i would say so.
victor hugo could have used a good editor. pages and pages of diatribes and descriptions that made me feel like pulling my hair out - but the story is chilling and wonderful. i understood after reading it why there are so many abridged versions. :)
of course its a piece out of history... melodramatic and predictable... but one expects that.
all in all... i felt satisfied going to bed last night having read such a great book. still... next time i read Hugo... i will be prepared for a big front end investment.
March 25, 2025
鈥炐溞秆佈娦谎傂� 褌芯谐邪胁邪 斜械褕械 褋胁芯斜芯写薪邪 褋邪屑芯 锌芯 褌芯蟹懈 薪邪褔懈薪, 蟹邪褌芯胁邪 褌褟 褋械 懈蟹泻邪蟹胁邪褕械 斜械蟹 蟹邪写褉褗卸泻懈 褋邪屑芯 胁褗褉褏褍 泻薪懈谐懈褌械, 薪邪褉械褔械薪懈 褋谐褉邪写懈. 袧械 锌褉懈械屑邪褕械 谢懈 褎芯褉屑邪 薪邪 褋谐褉邪写邪, 锌褉芯褟胁械褕械 谢懈 斜械蟹褉邪蟹褋褗写褋褌胁芯褌芯 写邪 褋械 锌芯泻邪卸械 锌芯写 褉懈褋泻芯胁邪薪邪褌邪 褎芯褉屑邪 薪邪 褉褗泻芯锌懈褋, 褌褟 褖械褕械 写邪 斜褗写械 懈蟹谐芯褉械薪邪 芯褌 褉褗泻邪褌邪 薪邪 锌邪谢邪褔邪.鈥�
袪邪蟹泻芯褕薪芯 薪芯胁芯 懈蟹写邪薪懈械 薪邪 褌邪蟹懈 胁械谢懈泻芯谢械锌薪邪 泻薪懈谐邪! 袙懈泻褌芯褉 挟谐芯 锌芯 褔褍写械褋械薪 薪邪褔懈薪 械 芯褌写邪谢 锌芯褔懈褌 薪邪 谢械谐械薪写邪褉薪邪褌邪 泻邪褌械写褉邪谢邪 鈥炐熜把€懈卸泻邪褌邪 小胁械褌邪 袘芯谐芯褉芯写懈褑邪鈥� 懈 泻邪褌芯 褑褟谢芯 薪邪 蟹薪邪褔械薪懈械褌芯 薪邪 邪褉褏懈褌械泻褌褍褉邪褌邪, 褉邪蟹泻邪蟹胁邪泄泻懈 懈蟹泻谢褞褔懈褌械谢薪芯 胁褗谢薪褍胁邪褖邪 褌褉邪谐懈褔薪邪 懈褋褌芯褉懈褟 褋 薪械锌褉械褏芯写薪懈 屑芯褉邪谢薪懈 锌芯褋谢邪薪懈褟. 袩邪褉懈卸 芯褌 15-褌懈 胁械泻 褋械 芯泻邪蟹邪 褋谢芯卸械薪 懈 屑薪芯谐芯锌谢邪褋褌芯胁 谐谢邪胁械薪 谐械褉芯泄 胁 褉芯屑邪薪邪, 褔懈褟褌芯 谐芯褌懈褔械褋泻邪 邪褌屑芯褋褎械褉邪 锌褉懈泻芯胁邪胁邪 胁薪懈屑邪薪懈械褌芯 懈 褉邪蟹谐褉褗褖邪 锌褉械写 褔懈褌邪褌械谢懈褌械 写芯褋褌芯胁械褉薪邪 泻邪褉褌懈薪邪 薪邪 械锌芯褏邪褌邪... 袩懈褋邪褌械谢褟褌 械谢械谐邪薪褌薪芯 械 锌褉械锌谢械谢 写褉邪屑邪褌懈褔薪懈褌械 卸懈褌械泄褋泻懈 锌褗褌懈褖邪 薪邪 泻芯谢芯褉懈褌薪懈 谢懈褔薪芯褋褌懈 褋 泻褉邪褋懈胁懈 芯锌懈褋邪薪懈褟 薪邪 褎褉械薪褋泻邪褌邪 褋褌芯谢懈褑邪 懈 谢褞斜芯锌懈褌薪懈 懈褋褌芯褉懈褔械褋泻懈 锌褉械锌褉邪褌泻懈. 袩褉械胁褗蟹褏芯写薪芯 懈蟹谐褉邪写械薪懈褟褌 芯斜褉邪蟹 袣胁邪蟹懈屑芯写芯 薪械胁械褉芯褟褌薪芯 褋懈谢薪芯 屑械 胁锌械褔邪褌谢懈! 袪邪蟹斜懈褉邪 褋械, 锌芯泻褉邪泄 褋褗写斜懈褌械 薪邪 芯褋薪芯胁薪懈褌械 锌械褉褋芯薪邪卸懈, 挟谐芯 褋褗褖械胁褉械屑械薪薪芯 械 锌褉械写褋褌邪胁懈谢 懈 芯斜褖械褋褌胁械薪懈褌械 薪械褋谐芯写懈 胁 褋褉械写薪芯胁械泻芯胁薪邪褌邪 褎械芯写邪谢薪邪 褋懈褋褌械屑邪. 袙褗蟹褏懈褌械薪 褋褗屑 芯褌 胁褋械芯斜褏胁邪褌薪懈褌械 写芯褋褌芯泄薪褋褌胁邪 薪邪 鈥炐熜把€懈卸泻邪褌邪 小胁械褌邪 袘芯谐芯褉芯写懈褑邪鈥� 懈 芯锌褉械写械谢械薪芯 褖械 褋械 蟹邪胁褉褗褖邪屑 泻褗屑 褌芯蟹懈 谐械薪懈邪谢械薪 褉芯屑邪薪...
鈥炐澬� 蟹邪斜械谢械卸懈褌械谢薪芯 薪械褖芯 鈥� 褑褟谢邪褌邪 锌褍斜谢懈泻邪, 褌邪泻邪 褕褍屑薪邪 褋邪屑芯 锌褉械写懈 薪褟泻芯谢泻芯 屑懈薪褍褌懈, 褋械谐邪 褔邪泻邪褕械 锌褉懈谢懈褔薪芯, 褍锌芯胁邪胁邪泄泻懈 褋械 薪邪 写褍屑懈褌械 薪邪 泻芯屑械写懈邪薪褌邪. 孝芯胁邪 写芯泻邪蟹胁邪 胁械褔薪邪褌邪 懈褋褌懈薪邪, 褔械 薪邪泄-写芯斜褉芯褌芯 褋褉械写褋褌胁芯 写邪 薪邪泻邪褉邪褕 蟹褉懈褌械谢懈褌械 写邪 褔邪泻邪褌 褌褗褉锌械谢懈胁芯 械 写邪 谐懈 褍胁械褉懈褕, 褔械 锌褉械写褋褌邪胁谢械薪懈械褌芯 褖械 蟹邪锌芯褔薪械 薪械蟹邪斜邪胁薪芯.鈥�
鈥炐撗€械薪谐芯邪褉, 芯斜懈谐褉邪薪 褎懈谢芯褋芯褎 薪邪 锌邪褉懈卸泻懈褌械 褍谢懈褑懈, 斜械褕械 蟹邪斜械谢褟蟹邪谢, 褔械 薪邪泄-锌褉懈褟褌薪芯 褋械 屑械褔褌邪械, 泻芯谐邪褌芯 胁褗褉胁懈褕 褋谢械写 褏褍斜邪胁邪 卸械薪邪, 斜械蟹 写邪 蟹薪邪械褕 薪邪泻褗写械 芯褌懈胁邪 褌褟.鈥�
鈥炐澬敌拘毖徰傂叫把傂� 泻邪屑械薪薪邪 褋懈屑褎芯薪懈褟, 泻芯谢芯褋邪谢薪芯 写械谢芯 薪邪 械写懈薪 褔芯胁械泻 懈 薪邪 褑褟谢 薪邪褉芯写, 械写懈薪薪邪 懈 褋谢芯卸薪邪 泻邪褌芯 鈥炐樞恍感靶葱把傂扳€� 懈谢懈 泻邪褌芯 薪邪褉芯写薪懈褟 械锌芯褋, 褋 泻芯泄褌芯 褋械 褉芯写械械, 写懈胁薪芯 锌褉芯懈蟹胁械写械薪懈械, 蟹邪 泻芯械褌芯 褋邪 写邪谢懈 褋胁芯褟 锌褉懈薪芯褋 胁褋懈褔泻懈 褋懈谢懈 薪邪 械写薪邪 械锌芯褏邪, 芯褌 胁褋械泻懈 泻邪屑褗泻 薪邪 泻芯械褌芯 斜谢懈泻邪 锌芯写 褋褌芯褌懈褑懈 褎芯褉屑懈 胁褗芯斜褉邪卸械薪懈械褌芯 薪邪 褉邪斜芯褌薪懈泻邪, 芯胁谢邪写褟薪芯 芯褌 谐械薪懈褟 薪邪 褏褍写芯卸薪懈泻邪 褋褌褉芯懈褌械谢. 效芯胁械褕泻芯 褌胁芯褉械薪懈械, 褋 械写薪邪 写褍屑邪, 屑芯谐褗褖芯 懈 锌谢芯写芯褌胁芯褉薪芯 泻邪褌芯 斜芯卸械褋褌胁械薪懈褌械 褌胁芯褉械薪懈褟, 蟹邪褖芯褌芯 械 蟹邪懈屑褋褌胁邪谢芯 褌械褏薪懈褌械 写胁械 薪邪泄-褏邪褉邪泻褌械褉薪懈 褔械褉褌懈 鈥� 褉邪蟹薪芯芯斜褉邪蟹懈械 懈 薪械褌谢械薪薪芯褋褌.鈥�
鈥炐ρ徯恍把傂� 懈褋褌芯褉懈褟 薪邪 胁褌芯褉邪褌邪 锌芯谢芯胁懈薪邪 薪邪 褋褉械写薪芯胁械泻芯胁懈械褌芯 械 薪邪锌懈褋邪薪邪 胁 谐械褉斜芯胁械, 泻邪泻褌芯 懈褋褌芯褉懈褟褌邪 薪邪 锌褗褉胁邪褌邪 锌芯谢芯胁懈薪邪 鈥� 褋懈屑胁芯谢懈泻邪褌邪 薪邪 褉芯屑邪薪褋泻懈褌械 褑褗褉泻胁懈. 袚械褉斜芯胁械褌械 锌褉械写褋褌邪胁谢褟胁邪褌 泄械褉芯谐谢懈褎懈褌械 薪邪 褎械芯写邪谢懈蟹屑邪, 泻芯懈褌芯 蟹邪屑械褋褌胁邪褌 泄械褉芯谐谢懈褎懈褌械 薪邪 褌械芯泻褉邪褑懈褟褌邪.鈥�
鈥炐⑿拘� 蟹邪斜械谢褟蟹邪, 褔械 薪邪 褌芯蟹懈 褋胁褟褌 芯褋胁械薪 薪邪褍褔薪懈褌械 褌械芯褉懈懈 薪邪 小芯褉斜芯薪邪褌邪 懈 褋褌懈褏芯胁械褌械 薪邪 袨屑懈褉 懈屑邪 薪褍卸写邪 懈 芯褌 褔褍胁褋褌胁邪. 效械 谢懈褕械薪 芯褌 芯斜懈褔 懈 薪械卸薪芯褋褌, 卸懈胁芯褌褗褌 褋械 锌褉械胁褉褗褖邪 胁 斜械蟹写褍褕械薪, 褋泻褗褉褑邪褖 懈 褍斜懈泄褋褌胁械薪 屑械褏邪薪懈蟹褗屑.鈥�
鈥炐捬佇秆囆盒� 褌芯胁邪 褋械 写褗谢卸械褕械 薪邪 袣胁邪蟹懈屑芯写芯. 袙 袝谐懈锌械褌 褌芯泄 褖械褕械 写邪 斜褗写械 锌芯褔懈褌邪薪 泻邪褌芯 斜芯卸械褋褌胁芯 薪邪 褌芯蟹懈 褏褉邪屑. 小褉械写薪芯胁械泻芯胁懈械褌芯 谐芯 褋屑褟褌邪褕械 蟹邪 写械屑芯薪. 袗 褌芯泄 斜械 胁褋褗褖薪芯褋褌 写褍褕邪褌邪 薪邪 褑褗褉泻胁邪褌邪.鈥�
鈥炩€� 袙褋械 锌邪泻 懈 胁懈械 斜懈 褌褉褟斜胁邪谢芯 写邪 褉邪蟹斜械褉械褌械, 褔械 胁褔械褉邪 斜械 锌褉邪蟹薪懈泻 鈥� 蟹邪斜械谢褟蟹邪 写芯斜褉芯写褍褕薪邪褌邪 校写邪褉写.
鈥� 袗蟹 写芯斜褉械 谐芯 褉邪蟹斜褉邪褏 鈥� 芯褌谐芯胁芯褉懈 芯褌褕械谢薪懈褑邪褌邪. 鈥� 袙褌芯褉懈 写械薪 胁械褔械 薪褟屑邪屑 胁芯写邪 胁 褋褌芯屑薪邪褌邪 褋懈. 鈥� 袠 褌褟 写芯斜邪胁懈 褋谢械写 泻褉邪褌泻邪 锌邪褍蟹邪: 鈥� 袩褉邪蟹薪懈泻 斜械褕械 懈 褏芯褉邪褌邪 屑械 蟹邪斜褉邪胁懈褏邪. 孝邪泻邪 懈 褌褉褟斜胁邪. 袟邪褖芯 写邪 屑懈褋谢褟褌 蟹邪 屑械薪械, 泻芯谐邪褌芯 邪蟹 薪械 屑懈褋谢褟 蟹邪 褌褟褏? 袧邪 褍谐邪褋薪邪谢 胁褗谐谢械薪 鈥� 褋褌褍写械薪邪 锌械锌械谢.鈥�
鈥炐バ感谎徯葱� 写褉褍谐懈 芯褋泻褗褉斜谢械薪懈褟, 写褞写褞泻邪薪懈褟, 泻谢械褌胁懈, 褋屑械褏芯胁械, 邪 褋械谐懈蟹-褌芯谐懈蟹 懈 泻邪屑褗薪懈 胁邪谢褟褏邪 薪邪写 薪械褖邪褋褌薪懈泻邪.
袣胁邪蟹懈屑芯写芯 斜械褕械 谐谢褍褏, 薪芯 薪械 斜械褕械 褋谢褟锌, 锌褗泻 懈 薪邪褉芯写薪邪褌邪 褟褉芯褋褌 斜械褕械 写芯褋褌邪褌褗褔薪芯 械薪械褉谐懈褔薪芯 懈蟹褉邪蟹械薪邪 薪械 褋邪屑芯 胁 写褍屑懈褌械, 薪芯 懈 锌芯 谢懈褑邪褌邪. 袙锌褉芯褔械屑 褏胁褗褉谢械薪懈褌械 泻邪屑褗薪懈 芯斜褟褋薪褟胁邪褏邪 斜褍泄薪懈褌械 褋屑械褏芯胁械.鈥�
鈥炐毿拘承把傂� 锌谢褗褏褗褌 锌芯褔薪械 泻芯褌泻懈 写邪 褟写械,
谐褉邪写褗褌 袗褉邪褋 锌褉械写 泻褉邪谢褟 褔械谢芯 褖械 褋胁械写械:
懈 薪械芯斜褟褌薪芯褌芯 屑芯褉械 泻芯谐邪褌芯
蟹邪屑褉褗蟹薪械 懈 褋械 胁谢械写械薪懈 褋褉械写 谢褟褌芯.
褖械 胁懈写懈褌械 胁褗褉褏褍 谢械写邪, 锌褉芯褋褌褉褟薪 锌褉械写 胁邪褋,
褔械 褖械 懈蟹谢褟蟹邪褌 胁褋懈褔泻懈 芯褌 袗褉邪褋 蟹邪胁褔邪褋.鈥�
鈥炐⑿拘承靶残把埿叫狙傂� 胁懈褋褕械 芯斜褖械褋褌胁芯 褉褟写泻芯 褋械 懈薪褌械褉械褋褍胁邪褕械 芯褌 懈屑械褌芯 薪邪 芯褋褗写械薪懈褟, 泻芯谐芯褌芯 泻邪褉邪褏邪 锌芯 褍谢懈褑邪褌邪, 邪 薪懈蟹褕懈褌械 褋谢芯械胁械 芯褏芯褌薪芯 褋械 谐芯褖邪胁邪褏邪 褋 褌邪蟹懈 锌褉芯褋褌邪褕泻邪 褏褉邪薪邪. 袝泻蟹械泻褍褑懈懈褌械 斜褟褏邪 芯斜懈褔邪泄薪芯 褍谢懈褔薪芯 锌褉芯懈蟹褕械褋褌胁懈械, 褋褗褖芯 泻邪褌芯 泻芯褌谢芯薪褗褌 褋 卸邪褉邪胁邪 薪邪 斜邪薪懈褔邪褉褟 懈谢懈 褋泻芯褌芯斜芯泄薪邪褌邪 薪邪 屑械褋邪褉褟. 袩邪谢邪褔褗褌 斜械 械写懈薪 胁懈写, 泻邪褋邪锌懈薪, 褋邪屑芯 褔械 锌芯-懈蟹泻褍褋械薪.鈥�
鈥炐熜狙佈傂敌啃敌叫叫� 胁 写褍褕邪褌邪 薪邪 袝褋屑械褉邪谢写邪 褋械 胁褗蟹胁褉褗褖邪褕械 褋锌芯泻芯泄褋褌胁懈械褌芯. 袘械蟹屑械褉薪邪褌邪 谐芯褉械褋褌, 泻邪泻褌芯 懈 斜械蟹屑械褉薪邪褌邪 褉邪写芯褋褌 褋邪 斜褍褉薪懈 褔褍胁褋褌胁邪, 泻芯懈褌芯 薪械 褌褉邪褟褌 写褗谢谐芯.鈥�
鈥炩€� 袟薪邪褔懈, 袚褉械薪谐芯邪褉, 胁懈械 薪懈泻芯谐邪 薪械 褋褌械 蟹邪胁懈卸写邪谢懈 薪邪 褌械蟹懈 褏褍斜邪胁懈 褋懈薪褔械褌邪 胁褗胁 胁芯械薪薪懈 褍薪懈褎芯褉屑懈?
鈥� 袟邪 泻邪泻胁芯 写邪 懈屑 蟹邪胁懈写褟, 胁邪褕械 锌褉械锌芯写芯斜懈械? 袟邪 褌褟褏薪邪褌邪 褋懈谢邪, 蟹邪 芯褉褗卸懈械褌芯 懈谢懈 蟹邪 写懈褋褑懈锌谢懈薪邪褌邪 懈屑? 袩褉械写锌芯褔懈褌邪屑 薪械蟹邪胁懈褋懈屑芯褋褌褌邪 懈 写褉懈锌邪胁邪褌邪 褋懈 褎懈谢芯褋芯褎懈褟. 袧邪屑懈褉邪屑, 褔械 械 锌芯-锌褉懈褟褌薪芯 写邪 褋褗屑 谐谢邪胁邪 薪邪 屑褍褏邪, 芯褌泻芯谢泻芯褌芯 芯锌邪褕泻邪 薪邪 谢褗胁!鈥�
鈥炐� 屑薪芯谐芯谢褞写薪懈褌械 懈 写芯褉懈 胁 褋褌芯谢懈褔薪懈褌械 谐褉邪写芯胁械 薪褟屑邪褕械 械写懈薪薪邪 褑械薪褌褉邪谢薪邪 胁谢邪褋褌, 泻芯褟褌芯 写邪 褍褋褌邪薪芯胁褟胁邪 锌芯褉褟写褗泻邪. 肖械芯写邪谢懈蟹屑褗褌 斜械褕械 褍褋褌褉芯懈谢 屑薪芯谐芯 懈薪褌械褉械褋薪芯 褌械蟹懈 芯谐褉芯屑薪懈 谐褉邪写芯胁械 芯斜褖懈薪懈. 袚褉邪写褗褌 锌褉械写褋褌邪胁谢褟胁邪褕械 褋斜芯褉 芯褌 褏懈谢褟写懈 褎械芯写邪谢薪懈 胁谢邪写械薪懈褟, 泻芯懈褌芯 谐芯 褉邪蟹写械谢褟褏邪 薪邪 胁褋械胁褗蟹屑芯卸薪懈 锌芯 褎芯褉屑邪 懈 谐芯谢械屑懈薪邪 褔邪褋褌懈. 孝邪屑 斜褟褏邪 胁 褋懈谢邪 褏懈谢褟写懈 薪邪泄-锌褉芯褌懈胁芯褉械褔懈胁懈 褉邪蟹锌芯褉械卸写邪薪懈褟 懈谢懈, 褋 写褉褍谐懈 写褍屑懈, 薪懈 械写薪芯.鈥�
鈥炐撗€械薪谐芯邪褉 褟 褏胁邪薪邪 蟹邪 褉褗泻邪, 写褉褍谐邪褉褟褌 屑褍 胁蟹械 褎械薪械褉邪 懈 褌褉褗谐薪邪 薪邪锌褉械写. 袛械胁芯泄泻邪褌邪 斜械 蟹邪褕械屑械褌械薪邪 芯褌 褋褌褉邪褏 懈 褋械 芯褋褌邪胁懈 写邪 褟 芯褌胁械写邪褌. 袣芯蟹懈褔泻邪褌邪 谐懈 褋谢械写胁邪褕械, 锌芯写褋泻邪褔邪泄泻懈, 褌芯谢泻芯胁邪 写芯胁芯谢薪邪, 褔械 胁懈卸写邪 芯褌薪芯胁芯 袚褉械薪谐芯邪褉, 褔械 谐芯 褋锌褗胁邪褕械 薪邪 胁褋褟泻邪 泻褉邪褔泻邪, 锌褉芯胁懈褉邪泄泻懈 褉芯谐褑邪 屑械卸写褍 泻褉邪泻邪褌邪 屑褍.
鈥� 孝邪泻褗胁 械 卸懈胁芯褌褗褌 鈥� 泻邪蟹胁邪褕械 褎懈谢芯褋芯褎褗褌 胁褋械泻懈 锌褗褌, 泻芯谐邪褌芯 褌褟 谐芯 褋锌褗胁邪褕械. 鈥� 袧邪泄-写芯斜褉懈褌械 薪懈 锌褉懈褟褌械谢懈 褔械褋褌芯 薪懈 锌芯写谢邪谐邪褌 泻褉邪泻.鈥�
鈥炐⑿拘承靶残� 芯褌褕械谢薪懈褑邪褌邪 写芯褔褍锌懈 懈 锌褉械胁懈 褋 褉褗褑械 褉褗卸写褟褋邪谢懈褌械 泻褉邪懈褖邪 薪邪 锌褉械褔泻懈褌械. 袙 薪褟泻芯懈 屑芯屑械薪褌懈 卸械薪褋泻懈褌械 褉褗褑械 锌褉懈写芯斜懈胁邪褌 薪械褔芯胁械褕泻邪 褋懈谢邪.鈥�
鈥炐撔谎冄呅秆徰� 蟹胁褗薪邪褉 褋械 斜械 芯斜谢械谐薪邪谢 薪邪 屑褟褋褌芯褌芯, 泻褗写械褌芯 写芯 锌褉械写懈 屑邪谢泻芯 褋褌芯械褕械 邪褉褏懈写褟泻芯薪褗褌, 懈 薪械 褋胁邪谢褟褕械 锌芯谐谢械写 芯褌 械写懈薪褋褌胁械薪芯褌芯 薪械褖芯, 泻芯械褌芯 褋褗褖械褋褌胁褍胁邪褕械 蟹邪 薪械谐芯 胁 褌芯蟹懈 褋胁褟褌 褋械谐邪. 孝芯泄 褋褌芯械褕械 斜械蟹屑褗谢胁械薪 懈 薪械锌芯写胁懈卸械薪, 泻邪褌芯 锌芯褉邪蟹械薪 芯褌 屑褗谢薪懈褟, 懈 薪械褋锌懈褉械薪 锌芯褌芯泻 褋褗谢蟹懈 褋械 褋褌懈褔邪褏邪 褌懈褏芯 芯褌 芯泻芯褌芯 屑褍, 泻芯械褌芯 写芯 褌芯蟹懈 屑芯屑械薪褌 斜械褕械 锌褉芯谢褟谢芯 褋邪屑芯 械写薪邪-械写薪懈褔泻邪 褋褗谢蟹邪.鈥�
袪邪蟹泻芯褕薪芯 薪芯胁芯 懈蟹写邪薪懈械 薪邪 褌邪蟹懈 胁械谢懈泻芯谢械锌薪邪 泻薪懈谐邪! 袙懈泻褌芯褉 挟谐芯 锌芯 褔褍写械褋械薪 薪邪褔懈薪 械 芯褌写邪谢 锌芯褔懈褌 薪邪 谢械谐械薪写邪褉薪邪褌邪 泻邪褌械写褉邪谢邪 鈥炐熜把€懈卸泻邪褌邪 小胁械褌邪 袘芯谐芯褉芯写懈褑邪鈥� 懈 泻邪褌芯 褑褟谢芯 薪邪 蟹薪邪褔械薪懈械褌芯 薪邪 邪褉褏懈褌械泻褌褍褉邪褌邪, 褉邪蟹泻邪蟹胁邪泄泻懈 懈蟹泻谢褞褔懈褌械谢薪芯 胁褗谢薪褍胁邪褖邪 褌褉邪谐懈褔薪邪 懈褋褌芯褉懈褟 褋 薪械锌褉械褏芯写薪懈 屑芯褉邪谢薪懈 锌芯褋谢邪薪懈褟. 袩邪褉懈卸 芯褌 15-褌懈 胁械泻 褋械 芯泻邪蟹邪 褋谢芯卸械薪 懈 屑薪芯谐芯锌谢邪褋褌芯胁 谐谢邪胁械薪 谐械褉芯泄 胁 褉芯屑邪薪邪, 褔懈褟褌芯 谐芯褌懈褔械褋泻邪 邪褌屑芯褋褎械褉邪 锌褉懈泻芯胁邪胁邪 胁薪懈屑邪薪懈械褌芯 懈 褉邪蟹谐褉褗褖邪 锌褉械写 褔懈褌邪褌械谢懈褌械 写芯褋褌芯胁械褉薪邪 泻邪褉褌懈薪邪 薪邪 械锌芯褏邪褌邪... 袩懈褋邪褌械谢褟褌 械谢械谐邪薪褌薪芯 械 锌褉械锌谢械谢 写褉邪屑邪褌懈褔薪懈褌械 卸懈褌械泄褋泻懈 锌褗褌懈褖邪 薪邪 泻芯谢芯褉懈褌薪懈 谢懈褔薪芯褋褌懈 褋 泻褉邪褋懈胁懈 芯锌懈褋邪薪懈褟 薪邪 褎褉械薪褋泻邪褌邪 褋褌芯谢懈褑邪 懈 谢褞斜芯锌懈褌薪懈 懈褋褌芯褉懈褔械褋泻懈 锌褉械锌褉邪褌泻懈. 袩褉械胁褗蟹褏芯写薪芯 懈蟹谐褉邪写械薪懈褟褌 芯斜褉邪蟹 袣胁邪蟹懈屑芯写芯 薪械胁械褉芯褟褌薪芯 褋懈谢薪芯 屑械 胁锌械褔邪褌谢懈! 袪邪蟹斜懈褉邪 褋械, 锌芯泻褉邪泄 褋褗写斜懈褌械 薪邪 芯褋薪芯胁薪懈褌械 锌械褉褋芯薪邪卸懈, 挟谐芯 褋褗褖械胁褉械屑械薪薪芯 械 锌褉械写褋褌邪胁懈谢 懈 芯斜褖械褋褌胁械薪懈褌械 薪械褋谐芯写懈 胁 褋褉械写薪芯胁械泻芯胁薪邪褌邪 褎械芯写邪谢薪邪 褋懈褋褌械屑邪. 袙褗蟹褏懈褌械薪 褋褗屑 芯褌 胁褋械芯斜褏胁邪褌薪懈褌械 写芯褋褌芯泄薪褋褌胁邪 薪邪 鈥炐熜把€懈卸泻邪褌邪 小胁械褌邪 袘芯谐芯褉芯写懈褑邪鈥� 懈 芯锌褉械写械谢械薪芯 褖械 褋械 蟹邪胁褉褗褖邪屑 泻褗屑 褌芯蟹懈 谐械薪懈邪谢械薪 褉芯屑邪薪...
鈥炐澬� 蟹邪斜械谢械卸懈褌械谢薪芯 薪械褖芯 鈥� 褑褟谢邪褌邪 锌褍斜谢懈泻邪, 褌邪泻邪 褕褍屑薪邪 褋邪屑芯 锌褉械写懈 薪褟泻芯谢泻芯 屑懈薪褍褌懈, 褋械谐邪 褔邪泻邪褕械 锌褉懈谢懈褔薪芯, 褍锌芯胁邪胁邪泄泻懈 褋械 薪邪 写褍屑懈褌械 薪邪 泻芯屑械写懈邪薪褌邪. 孝芯胁邪 写芯泻邪蟹胁邪 胁械褔薪邪褌邪 懈褋褌懈薪邪, 褔械 薪邪泄-写芯斜褉芯褌芯 褋褉械写褋褌胁芯 写邪 薪邪泻邪褉邪褕 蟹褉懈褌械谢懈褌械 写邪 褔邪泻邪褌 褌褗褉锌械谢懈胁芯 械 写邪 谐懈 褍胁械褉懈褕, 褔械 锌褉械写褋褌邪胁谢械薪懈械褌芯 褖械 蟹邪锌芯褔薪械 薪械蟹邪斜邪胁薪芯.鈥�
鈥炐撗€械薪谐芯邪褉, 芯斜懈谐褉邪薪 褎懈谢芯褋芯褎 薪邪 锌邪褉懈卸泻懈褌械 褍谢懈褑懈, 斜械褕械 蟹邪斜械谢褟蟹邪谢, 褔械 薪邪泄-锌褉懈褟褌薪芯 褋械 屑械褔褌邪械, 泻芯谐邪褌芯 胁褗褉胁懈褕 褋谢械写 褏褍斜邪胁邪 卸械薪邪, 斜械蟹 写邪 蟹薪邪械褕 薪邪泻褗写械 芯褌懈胁邪 褌褟.鈥�
鈥炐澬敌拘毖徰傂叫把傂� 泻邪屑械薪薪邪 褋懈屑褎芯薪懈褟, 泻芯谢芯褋邪谢薪芯 写械谢芯 薪邪 械写懈薪 褔芯胁械泻 懈 薪邪 褑褟谢 薪邪褉芯写, 械写懈薪薪邪 懈 褋谢芯卸薪邪 泻邪褌芯 鈥炐樞恍感靶葱把傂扳€� 懈谢懈 泻邪褌芯 薪邪褉芯写薪懈褟 械锌芯褋, 褋 泻芯泄褌芯 褋械 褉芯写械械, 写懈胁薪芯 锌褉芯懈蟹胁械写械薪懈械, 蟹邪 泻芯械褌芯 褋邪 写邪谢懈 褋胁芯褟 锌褉懈薪芯褋 胁褋懈褔泻懈 褋懈谢懈 薪邪 械写薪邪 械锌芯褏邪, 芯褌 胁褋械泻懈 泻邪屑褗泻 薪邪 泻芯械褌芯 斜谢懈泻邪 锌芯写 褋褌芯褌懈褑懈 褎芯褉屑懈 胁褗芯斜褉邪卸械薪懈械褌芯 薪邪 褉邪斜芯褌薪懈泻邪, 芯胁谢邪写褟薪芯 芯褌 谐械薪懈褟 薪邪 褏褍写芯卸薪懈泻邪 褋褌褉芯懈褌械谢. 效芯胁械褕泻芯 褌胁芯褉械薪懈械, 褋 械写薪邪 写褍屑邪, 屑芯谐褗褖芯 懈 锌谢芯写芯褌胁芯褉薪芯 泻邪褌芯 斜芯卸械褋褌胁械薪懈褌械 褌胁芯褉械薪懈褟, 蟹邪褖芯褌芯 械 蟹邪懈屑褋褌胁邪谢芯 褌械褏薪懈褌械 写胁械 薪邪泄-褏邪褉邪泻褌械褉薪懈 褔械褉褌懈 鈥� 褉邪蟹薪芯芯斜褉邪蟹懈械 懈 薪械褌谢械薪薪芯褋褌.鈥�
鈥炐ρ徯恍把傂� 懈褋褌芯褉懈褟 薪邪 胁褌芯褉邪褌邪 锌芯谢芯胁懈薪邪 薪邪 褋褉械写薪芯胁械泻芯胁懈械褌芯 械 薪邪锌懈褋邪薪邪 胁 谐械褉斜芯胁械, 泻邪泻褌芯 懈褋褌芯褉懈褟褌邪 薪邪 锌褗褉胁邪褌邪 锌芯谢芯胁懈薪邪 鈥� 褋懈屑胁芯谢懈泻邪褌邪 薪邪 褉芯屑邪薪褋泻懈褌械 褑褗褉泻胁懈. 袚械褉斜芯胁械褌械 锌褉械写褋褌邪胁谢褟胁邪褌 泄械褉芯谐谢懈褎懈褌械 薪邪 褎械芯写邪谢懈蟹屑邪, 泻芯懈褌芯 蟹邪屑械褋褌胁邪褌 泄械褉芯谐谢懈褎懈褌械 薪邪 褌械芯泻褉邪褑懈褟褌邪.鈥�
鈥炐⑿拘� 蟹邪斜械谢褟蟹邪, 褔械 薪邪 褌芯蟹懈 褋胁褟褌 芯褋胁械薪 薪邪褍褔薪懈褌械 褌械芯褉懈懈 薪邪 小芯褉斜芯薪邪褌邪 懈 褋褌懈褏芯胁械褌械 薪邪 袨屑懈褉 懈屑邪 薪褍卸写邪 懈 芯褌 褔褍胁褋褌胁邪. 效械 谢懈褕械薪 芯褌 芯斜懈褔 懈 薪械卸薪芯褋褌, 卸懈胁芯褌褗褌 褋械 锌褉械胁褉褗褖邪 胁 斜械蟹写褍褕械薪, 褋泻褗褉褑邪褖 懈 褍斜懈泄褋褌胁械薪 屑械褏邪薪懈蟹褗屑.鈥�
鈥炐捬佇秆囆盒� 褌芯胁邪 褋械 写褗谢卸械褕械 薪邪 袣胁邪蟹懈屑芯写芯. 袙 袝谐懈锌械褌 褌芯泄 褖械褕械 写邪 斜褗写械 锌芯褔懈褌邪薪 泻邪褌芯 斜芯卸械褋褌胁芯 薪邪 褌芯蟹懈 褏褉邪屑. 小褉械写薪芯胁械泻芯胁懈械褌芯 谐芯 褋屑褟褌邪褕械 蟹邪 写械屑芯薪. 袗 褌芯泄 斜械 胁褋褗褖薪芯褋褌 写褍褕邪褌邪 薪邪 褑褗褉泻胁邪褌邪.鈥�
鈥炩€� 袙褋械 锌邪泻 懈 胁懈械 斜懈 褌褉褟斜胁邪谢芯 写邪 褉邪蟹斜械褉械褌械, 褔械 胁褔械褉邪 斜械 锌褉邪蟹薪懈泻 鈥� 蟹邪斜械谢褟蟹邪 写芯斜褉芯写褍褕薪邪褌邪 校写邪褉写.
鈥� 袗蟹 写芯斜褉械 谐芯 褉邪蟹斜褉邪褏 鈥� 芯褌谐芯胁芯褉懈 芯褌褕械谢薪懈褑邪褌邪. 鈥� 袙褌芯褉懈 写械薪 胁械褔械 薪褟屑邪屑 胁芯写邪 胁 褋褌芯屑薪邪褌邪 褋懈. 鈥� 袠 褌褟 写芯斜邪胁懈 褋谢械写 泻褉邪褌泻邪 锌邪褍蟹邪: 鈥� 袩褉邪蟹薪懈泻 斜械褕械 懈 褏芯褉邪褌邪 屑械 蟹邪斜褉邪胁懈褏邪. 孝邪泻邪 懈 褌褉褟斜胁邪. 袟邪褖芯 写邪 屑懈褋谢褟褌 蟹邪 屑械薪械, 泻芯谐邪褌芯 邪蟹 薪械 屑懈褋谢褟 蟹邪 褌褟褏? 袧邪 褍谐邪褋薪邪谢 胁褗谐谢械薪 鈥� 褋褌褍写械薪邪 锌械锌械谢.鈥�
鈥炐バ感谎徯葱� 写褉褍谐懈 芯褋泻褗褉斜谢械薪懈褟, 写褞写褞泻邪薪懈褟, 泻谢械褌胁懈, 褋屑械褏芯胁械, 邪 褋械谐懈蟹-褌芯谐懈蟹 懈 泻邪屑褗薪懈 胁邪谢褟褏邪 薪邪写 薪械褖邪褋褌薪懈泻邪.
袣胁邪蟹懈屑芯写芯 斜械褕械 谐谢褍褏, 薪芯 薪械 斜械褕械 褋谢褟锌, 锌褗泻 懈 薪邪褉芯写薪邪褌邪 褟褉芯褋褌 斜械褕械 写芯褋褌邪褌褗褔薪芯 械薪械褉谐懈褔薪芯 懈蟹褉邪蟹械薪邪 薪械 褋邪屑芯 胁 写褍屑懈褌械, 薪芯 懈 锌芯 谢懈褑邪褌邪. 袙锌褉芯褔械屑 褏胁褗褉谢械薪懈褌械 泻邪屑褗薪懈 芯斜褟褋薪褟胁邪褏邪 斜褍泄薪懈褌械 褋屑械褏芯胁械.鈥�
鈥炐毿拘承把傂� 锌谢褗褏褗褌 锌芯褔薪械 泻芯褌泻懈 写邪 褟写械,
谐褉邪写褗褌 袗褉邪褋 锌褉械写 泻褉邪谢褟 褔械谢芯 褖械 褋胁械写械:
懈 薪械芯斜褟褌薪芯褌芯 屑芯褉械 泻芯谐邪褌芯
蟹邪屑褉褗蟹薪械 懈 褋械 胁谢械写械薪懈 褋褉械写 谢褟褌芯.
褖械 胁懈写懈褌械 胁褗褉褏褍 谢械写邪, 锌褉芯褋褌褉褟薪 锌褉械写 胁邪褋,
褔械 褖械 懈蟹谢褟蟹邪褌 胁褋懈褔泻懈 芯褌 袗褉邪褋 蟹邪胁褔邪褋.鈥�
鈥炐⑿拘承靶残把埿叫狙傂� 胁懈褋褕械 芯斜褖械褋褌胁芯 褉褟写泻芯 褋械 懈薪褌械褉械褋褍胁邪褕械 芯褌 懈屑械褌芯 薪邪 芯褋褗写械薪懈褟, 泻芯谐芯褌芯 泻邪褉邪褏邪 锌芯 褍谢懈褑邪褌邪, 邪 薪懈蟹褕懈褌械 褋谢芯械胁械 芯褏芯褌薪芯 褋械 谐芯褖邪胁邪褏邪 褋 褌邪蟹懈 锌褉芯褋褌邪褕泻邪 褏褉邪薪邪. 袝泻蟹械泻褍褑懈懈褌械 斜褟褏邪 芯斜懈褔邪泄薪芯 褍谢懈褔薪芯 锌褉芯懈蟹褕械褋褌胁懈械, 褋褗褖芯 泻邪褌芯 泻芯褌谢芯薪褗褌 褋 卸邪褉邪胁邪 薪邪 斜邪薪懈褔邪褉褟 懈谢懈 褋泻芯褌芯斜芯泄薪邪褌邪 薪邪 屑械褋邪褉褟. 袩邪谢邪褔褗褌 斜械 械写懈薪 胁懈写, 泻邪褋邪锌懈薪, 褋邪屑芯 褔械 锌芯-懈蟹泻褍褋械薪.鈥�
鈥炐熜狙佈傂敌啃敌叫叫� 胁 写褍褕邪褌邪 薪邪 袝褋屑械褉邪谢写邪 褋械 胁褗蟹胁褉褗褖邪褕械 褋锌芯泻芯泄褋褌胁懈械褌芯. 袘械蟹屑械褉薪邪褌邪 谐芯褉械褋褌, 泻邪泻褌芯 懈 斜械蟹屑械褉薪邪褌邪 褉邪写芯褋褌 褋邪 斜褍褉薪懈 褔褍胁褋褌胁邪, 泻芯懈褌芯 薪械 褌褉邪褟褌 写褗谢谐芯.鈥�
鈥炩€� 袟薪邪褔懈, 袚褉械薪谐芯邪褉, 胁懈械 薪懈泻芯谐邪 薪械 褋褌械 蟹邪胁懈卸写邪谢懈 薪邪 褌械蟹懈 褏褍斜邪胁懈 褋懈薪褔械褌邪 胁褗胁 胁芯械薪薪懈 褍薪懈褎芯褉屑懈?
鈥� 袟邪 泻邪泻胁芯 写邪 懈屑 蟹邪胁懈写褟, 胁邪褕械 锌褉械锌芯写芯斜懈械? 袟邪 褌褟褏薪邪褌邪 褋懈谢邪, 蟹邪 芯褉褗卸懈械褌芯 懈谢懈 蟹邪 写懈褋褑懈锌谢懈薪邪褌邪 懈屑? 袩褉械写锌芯褔懈褌邪屑 薪械蟹邪胁懈褋懈屑芯褋褌褌邪 懈 写褉懈锌邪胁邪褌邪 褋懈 褎懈谢芯褋芯褎懈褟. 袧邪屑懈褉邪屑, 褔械 械 锌芯-锌褉懈褟褌薪芯 写邪 褋褗屑 谐谢邪胁邪 薪邪 屑褍褏邪, 芯褌泻芯谢泻芯褌芯 芯锌邪褕泻邪 薪邪 谢褗胁!鈥�
鈥炐� 屑薪芯谐芯谢褞写薪懈褌械 懈 写芯褉懈 胁 褋褌芯谢懈褔薪懈褌械 谐褉邪写芯胁械 薪褟屑邪褕械 械写懈薪薪邪 褑械薪褌褉邪谢薪邪 胁谢邪褋褌, 泻芯褟褌芯 写邪 褍褋褌邪薪芯胁褟胁邪 锌芯褉褟写褗泻邪. 肖械芯写邪谢懈蟹屑褗褌 斜械褕械 褍褋褌褉芯懈谢 屑薪芯谐芯 懈薪褌械褉械褋薪芯 褌械蟹懈 芯谐褉芯屑薪懈 谐褉邪写芯胁械 芯斜褖懈薪懈. 袚褉邪写褗褌 锌褉械写褋褌邪胁谢褟胁邪褕械 褋斜芯褉 芯褌 褏懈谢褟写懈 褎械芯写邪谢薪懈 胁谢邪写械薪懈褟, 泻芯懈褌芯 谐芯 褉邪蟹写械谢褟褏邪 薪邪 胁褋械胁褗蟹屑芯卸薪懈 锌芯 褎芯褉屑邪 懈 谐芯谢械屑懈薪邪 褔邪褋褌懈. 孝邪屑 斜褟褏邪 胁 褋懈谢邪 褏懈谢褟写懈 薪邪泄-锌褉芯褌懈胁芯褉械褔懈胁懈 褉邪蟹锌芯褉械卸写邪薪懈褟 懈谢懈, 褋 写褉褍谐懈 写褍屑懈, 薪懈 械写薪芯.鈥�
鈥炐撗€械薪谐芯邪褉 褟 褏胁邪薪邪 蟹邪 褉褗泻邪, 写褉褍谐邪褉褟褌 屑褍 胁蟹械 褎械薪械褉邪 懈 褌褉褗谐薪邪 薪邪锌褉械写. 袛械胁芯泄泻邪褌邪 斜械 蟹邪褕械屑械褌械薪邪 芯褌 褋褌褉邪褏 懈 褋械 芯褋褌邪胁懈 写邪 褟 芯褌胁械写邪褌. 袣芯蟹懈褔泻邪褌邪 谐懈 褋谢械写胁邪褕械, 锌芯写褋泻邪褔邪泄泻懈, 褌芯谢泻芯胁邪 写芯胁芯谢薪邪, 褔械 胁懈卸写邪 芯褌薪芯胁芯 袚褉械薪谐芯邪褉, 褔械 谐芯 褋锌褗胁邪褕械 薪邪 胁褋褟泻邪 泻褉邪褔泻邪, 锌褉芯胁懈褉邪泄泻懈 褉芯谐褑邪 屑械卸写褍 泻褉邪泻邪褌邪 屑褍.
鈥� 孝邪泻褗胁 械 卸懈胁芯褌褗褌 鈥� 泻邪蟹胁邪褕械 褎懈谢芯褋芯褎褗褌 胁褋械泻懈 锌褗褌, 泻芯谐邪褌芯 褌褟 谐芯 褋锌褗胁邪褕械. 鈥� 袧邪泄-写芯斜褉懈褌械 薪懈 锌褉懈褟褌械谢懈 褔械褋褌芯 薪懈 锌芯写谢邪谐邪褌 泻褉邪泻.鈥�
鈥炐⑿拘承靶残� 芯褌褕械谢薪懈褑邪褌邪 写芯褔褍锌懈 懈 锌褉械胁懈 褋 褉褗褑械 褉褗卸写褟褋邪谢懈褌械 泻褉邪懈褖邪 薪邪 锌褉械褔泻懈褌械. 袙 薪褟泻芯懈 屑芯屑械薪褌懈 卸械薪褋泻懈褌械 褉褗褑械 锌褉懈写芯斜懈胁邪褌 薪械褔芯胁械褕泻邪 褋懈谢邪.鈥�
鈥炐撔谎冄呅秆徰� 蟹胁褗薪邪褉 褋械 斜械 芯斜谢械谐薪邪谢 薪邪 屑褟褋褌芯褌芯, 泻褗写械褌芯 写芯 锌褉械写懈 屑邪谢泻芯 褋褌芯械褕械 邪褉褏懈写褟泻芯薪褗褌, 懈 薪械 褋胁邪谢褟褕械 锌芯谐谢械写 芯褌 械写懈薪褋褌胁械薪芯褌芯 薪械褖芯, 泻芯械褌芯 褋褗褖械褋褌胁褍胁邪褕械 蟹邪 薪械谐芯 胁 褌芯蟹懈 褋胁褟褌 褋械谐邪. 孝芯泄 褋褌芯械褕械 斜械蟹屑褗谢胁械薪 懈 薪械锌芯写胁懈卸械薪, 泻邪褌芯 锌芯褉邪蟹械薪 芯褌 屑褗谢薪懈褟, 懈 薪械褋锌懈褉械薪 锌芯褌芯泻 褋褗谢蟹懈 褋械 褋褌懈褔邪褏邪 褌懈褏芯 芯褌 芯泻芯褌芯 屑褍, 泻芯械褌芯 写芯 褌芯蟹懈 屑芯屑械薪褌 斜械褕械 锌褉芯谢褟谢芯 褋邪屑芯 械写薪邪-械写薪懈褔泻邪 褋褗谢蟹邪.鈥�
September 7, 2023
鬲賯賷賷賲賶 伽.佶
兀丨丿亘 賳賵鬲乇丿丕賲 賵丕丨丿丞 賲賳 兀卮賴乇 丕賱賰賱丕爻賷賰賷丕鬲 丕賱賮乇賳爻賷丞 . 賵賰賲丕 賳毓乇賮 廿匕丕 匕賰乇鬲 賰賱賲丞 賰賱丕爻賷賰賷丞 賮賲毓賳丕賴丕 丕賳賰 爻鬲噩丿 乇賵丕賷丞 賲賱賷卅丞 亘丕賱鬲賮丕氐賷賱 賵丕賱卮禺氐賷丕鬲 賵丕賱賵氐賮 . 賵兀丨丿亘 賳賵鬲乇丿丕賲 賱賷爻鬲 卮丕匕丞 毓賳 賴匕賴 丕賱賯丕毓丿丞 賱賰賳賴丕 賰賰孬賷乇 賲賳 丕賱賰賱丕爻賷賰賷丕鬲 鬲爻鬲丨賯 丕賱賯乇丕亍丞 賵 鬲丨鬲賵賶 賲鬲毓丞 亘賱丕 丨丿賵丿 . 賰賳鬲 賲鬲禺賵賮丞 賲賳 兀爻賱賵亘 賮賷賰鬲賵乇 賴賷噩賵 賱賰賳賳賷 賵噩丿鬲賴 兀亘爻胤 賲賲丕 鬲禺賷賱鬲 賮賰丕賳鬲 丕賱賯乇丕亍丞 鬲噩乇亘丞 噩賲賷賱丞 貙 丕爻鬲賲鬲毓鬲 亘乇賮賯鬲賴丕 賵睾氐鬲 亘丿丕禺賱賴丕 . 賵爻鬲賰賵賳 亘丿丕賷丞 賲毓乇賮丞 丨賯賷賯賷丞 亘賮賷賰鬲賵乇 賴賷噩賵 . 賵鬲卮噩毓鬲 噩丿丕 賱賯乇丕亍丞 丕賱亘丐爻丕亍 亘賳爻禺鬲賴丕 丕賱賰丕賲賱丞.
賮賷 丕賱亘丿丕賷丞 爻鬲噩丿 丕賱賰孬賷乇 賲賳 丕爻賲丕亍 丕賱卮禺氐賷丕鬲 賵爻鬲鬲賵賴 賮賷賲丕 亘賷賳賴賲 賲賳 丕賱賲賴賲 賵賲賳 爻賷賰賵賳 賲噩乇丿 卮禺氐賷丞 毓丕亘乇丞責責 賱賰賳 賱丕 鬲賯賱賯 爻鬲賴丿兀 丕賱兀賲賵乇 賮賷賲丕 亘毓丿 賵爻賳爻鬲賲乇 賮賷 丕賱睾丕賱亘 賲毓 丕賱卮禺氐賷丕鬲 丕賱乇卅賷爻賷丞 賵丕賱卮禺氐賷丕鬲 丕賱賲丐孬乇丞 賮賷 丨賷丕鬲賴賲 .
丕丨丿亘 賳賵鬲乇丿丕賲 賮賷 賱丨馗丞 賮賰乇賳賶 亘乇噩丕亍 毓賱賷卮 賵賰鬲丕亘 賱丕鬲賵賱丿 賯亘賷丨丕購 .賵賲毓丕賲賱丞 丕賱賳丕爻 賱賱卮禺氐 丕賱賱賶 亘賲賮賴賵賲賳丕 丕賱賲丨丿賵丿 " 賯亘賷丨" 賵丕賱鬲乇賷賯丞 賵丕賱廿賴丕賳丞 賵丕賱賳馗乇丕鬲 丕賱賲鬲賯夭夭丞 丕賱賱賶 亘鬲丿亘丨 丕賰鬲乇 賲賳 丕賱賰賱賲丕鬲 .賱賱兀爻賮 丕丨賳丕 亘賳賯賵賱 丕賱賰賱丕賲 賵賲亘賳賮賰乇卮 賮賷 鬲兀孬賷乇賴 毓賱賶 丕賱賱賶 賯丿丕賲賳丕 貙 賲亘賳賮賰乇卮 丕夭丕賶 賲賲賰賳 賳賰賵賳 亘賳禺賱賯 亘賰賱丕賲賳丕 賵丨卮 賲賳 噩賵丕賴 賲卮 賲賳 亘乇賴 . 賱兀賳 丕賱賲馗賴乇 丕賱禺丕乇噩賷 丿賴 禺賱賯丞 乇亘賳丕 兀氐賱丕 賲卮 亘丕禺鬲賷丕乇 丨丿 .爻丕毓丕鬲 亘賷賰賵賳 睾氐亘 毓賳賳丕 丕賳賳丕 賲賳賯丿乇卮 賳鬲賯亘賱 丕賵 賳丨亘 賵賳賯乇亘 賲賳 丕賱卮禺氐 丿賴 亘爻 丕賱賱賶 賳賯丿乇 賳鬲丨賰賲 賮賷賴 賴賵 兀爻賱賵亘賳丕 賮賷 丕賱鬲毓丕賲賱 賲毓丕賴 . 賵丕賳丕 亘賰鬲亘 丕賱乇賮賷賵 丿賱賵賯鬲賷 丕賮鬲賰乇鬲 丨丕噩丞 賵賴賶 丕賳賶 賲賳 賰丕賲 賷賵賲 賵兀賳丕 亘乇賴 卮賮鬲 乇丕噩賱 賰丕賳 賵卮賴 賮賷賴 夭賶 丿賲丕賲賱 丕賵 丨丕噩丞 賲卮 毓丕乇賮丞 丕賱賲賴賲 毓賳丿賴 賲卮賰賱丞 賮賷 賵卮賴 丕賳丕 賵賯鬲賴丕 亘氐賷鬲 丕賱賳丕丨賷丞 丕賱鬲丕賳賷丞 亘爻 賲卮 毓卮丕賳 丕卮賲兀夭賷鬲 賲賳 卮賰賱賴 亘丕賱毓賰爻 丕賳丕 丿毓賷鬲 賱賵 丿賴 賲乇囟 丕賳 乇亘賳丕 賷卮賮賷賴 亘爻 丕賳丕 賵賯鬲賴丕 禺賮鬲 丕賳賴 亘丕賱氐丿賮丞 賷亘氐 賳丕丨賷鬲賶 賵賷賱丕賯賷賳賶 亘亘氐 賱賴 賮賷賮鬲賰乇 丕賳賶 賯丕氐丿丞 賵賷鬲囟丕賷賯 貙 禺賮鬲 賮毓賱丕 毓賱賶 賲锟斤拷丕毓乇賴 . 賵丿賱賵賯鬲賷 賮賰乇鬲 賷丕鬲乇賶 賰丕賲 賵丕丨丿 卮丕賮賴 賵毓賱賯 鬲毓賱賷賯 爻禺賷賮 兀賵 賰丕賳鬲 賳馗乇鬲賴 賲丐匕賷丞責!
賵賮賰乇鬲 賮賷 丨丕噩丞 鬲丕賳賷丞 賵丕賳丕 亘賯乇兀 賵賴賶 丕賳賳丕 賱賱兀爻賮 丕賱賱賶 亘賷亘丕賳 賱賷賳丕 賲賳 賰賱 廿賳爻丕賳 賴賵 丕賱馗丕賴乇 貙 卮賰賱賴 丕賱禺丕乇噩賷 貙 賲賳毓乇賮卮 丕賷賴 噩賵丕賴 . 賷丕賲丕 賳丕爻 卮賰賱賴賲 丨賱賵 丕賵賶 兀賵 亘賷鬲賰賱賲賵丕 賲毓丕賰 賵賷毓丕賲賱賵賰 丨賱賵 賱賰賳 賱賵 卮賮鬲 賯賱賵亘賴賲 賵賳賮賵爻賴賲 賲卮 賴鬲賯丿乇 鬲亘氐 賱賷賴賲 賵賱丕 鬲爻賲毓賴賲 賱丕賳賴賲 賲賳 噩賵丕賴賲 卮丿賷丿賶 丕賱賯亘丨 . 賵丕賱毓賰爻 胤亘毓丕 氐丨賷丨 賳丕爻 賰鬲賷乇 賲賲賰賳 乇亘賳丕 丕賵 丕賱馗乇賵賮 鬲爻亘亘鬲 賮賶 廿丨丿丕孬 鬲卮賵賷賴 兀賵 賯亘丨 賮賷 卮賰賱賴賲 丕賵 賲亘賷賯丿乇賵卮 賷鬲賰賱賲賵丕 賰賵賷爻 賱賰賳 賱賵 卮賮鬲 賯賱賵亘賴賲 賵賳賮賵爻賴賲 賴鬲賱丕賯賷賴丕 賮賷 賲賳鬲賴賶 丕賱賳賯丕亍 丕賵 賲賲賰賳 賵賯鬲賴丕 鬲賱丕賯賷 噩賵丕賴賲 賳賯胤 爻賵丿丕 亘爻 賱賵 丿賵乇鬲 賴鬲賱丕賯賷 爻亘亘 丕賱賳賯胤 丿賶 睾丕賱亘丕賸 亘爻亘亘 兀賱賲賴賲 賲賳 兀爻賱賵亘 賵賳馗乇丞 丕賱賳丕爻 賱賷賴賲 .
賰賳鬲 兀鬲賲賳賶 賱賵 兀賲鬲賱賰 賯賵丞 禺丕乇賯丞 鬲鬲賷丨 賱賷丕 兀毓乇賮 丨賯賷賯丞 賲卮丕毓乇 賵兀禺賱丕賯 賵賳賷丞 丕賱賱賶 賯丿丕賲賶 亘爻 丿賶 丨丕噩丞 乇亘賳丕 亘爻 賴賵 丕賱賱賶 賷毓乇賮賴丕 賱丨賰賲丞 賲丕 賵賷賲賰賳 賲賳賴丕 丕賳賴 亘賷爻鬲乇賳丕 賯丿丕賲 亘毓囟 賱毓賱 丕賱賱賶 噩賵丕賴 禺亘孬 賷鬲賵亘 賵賷鬲睾賷乇 . 亘爻 丿賴 亘賷丨乇賲賳丕 爻丕毓丕鬲 賲賳 賳丕爻 亘鬲丨亘賳丕 亘氐丿賯 亘爻 卮賰賱賴賲 賲卮 毓丕噩亘賳丕 兀賵 賲卮 賯丕丿乇賷賳 賷毓亘乇賵丕 賰賵賷爻 毓賳 丕賱賱賶 噩賵丕賴賲 賵賳鬲爻亘亘 賮賷 兀賱賲 賱賱胤乇賮 丕賱鬲丕賳賶 .
鈥�
賱賷賴 賰賱 丕賱賰賱丕賲 丿賴 責
賱兀賳 丿賴 賴賵 氐丿賷賯賳丕 賰丕夭賷賲賵丿賵 丕賵 兀丨丿亘 賳賵鬲乇丿丕賲 貙 賯丕乇毓 丕賱兀噩乇丕爻 . 丕賱賱賶 丕賱賳丕爻 賰丕賳鬲 毓丕賷夭丞 鬲丨乇賯賴 賲賳 胤賮賵賱鬲賴 賵卮賷賮丕賴 鬲噩爻丿 賱賱卮賷胤丕賳 亘爻亘亘 賯亘丨賴 丕賱卮丿賷丿 賵毓賷賵亘賴 丕賱禺賱賯賷丞 .
" "賰丕賳 毓亘丕乇丞 毓賳 乇兀爻 賰亘賷乇丞 丕賱丨噩賲 賳賲丕 賮賵賯賴丕 卮毓乇 兀氐賴亘 賰孬賷賮 賵賷丨賲賱 丕賱乇兀爻 亘賷賳賴賲丕 丨丿亘丞貙 亘乇夭 兀丨丿 噩賵丕賳亘賴丕 賲賳 丕賱兀賲丕賲. 鬲鬲賱丕賲爻 乇賰亘鬲丕賴 亘賷賳賲丕 賷鬲亘丕毓丿 賮禺匕丕賴 賵乇丿賮丕賴 亘卮賰賱 睾乇賷亘 .....
賰丕賳 賷亘丿賵 賰毓賲賱丕賯 賲丨胤賲 貙 噩購賲毓鬲 兀噩夭丕丐賴 亘卮賰賱 禺丕胤卅貙 賵乇購賰亘鬲 賲毓 亘毓囟賴丕 賰賷賮賲丕 賰丕賳 !"
賰丕夭賷賲賵丿賵 丕賱賱賶 賮賶 賱丨馗丞 賴丕噩 賮賷 丕賱賳丕爻 賵 噩賴 賯丿丕賲 丕賱卮禺氐 丕賱賱賶 鬲賯亘賱賴 賵毓胤賮 毓賱賷賴 賵乇賰毓 賵賳爻賶 賰賱 賯賵鬲賴 丕賱噩爻丿賷丞 ... 賰丕夭賷賲賵丿賵 丕賱賱賶 兀毓鬲亘乇 丕賳 丕賱賮鬲丕丞 丕賱賱賶 爻賯鬲賴 卮乇亘丞 賲丕亍 賵丕賱賳丕爻 賰丕賳鬲 亘鬲爻禺乇 亘賷賴 乇睾賲 丕賳賴丕 賰丕賳 賲鬲賵賯毓 丕賳賴丕 兀賵賱 賵丕丨丿丞 鬲爻禺乇 賲賳賴 賵鬲毓匕亘賴 廿賱丕 丕賳賴丕 乇睾賲 禺賵賮賴丕 賵丕卮賲卅夭丕夭賴丕 賲賳賴 賮賷 賱丨馗丞 毓胤賮鬲 毓賱賷賴 賵賴賵 賲賯丿乇卮 賷賳爻賶 丕賱賱丨馗丞 丿賶 ..
" 賮鬲丕丞 噩賲賷賱丞 賵馗乇賷賮丞 賵胤丕賴乇丞. 賱賰賳賴丕 貙賮賷 丕賱賵賯鬲 賳賮爻賴貙 囟毓賷賮丞 賵賯賱賷賱丞 丕賱丨賷賱丞貙 鬲賴乇毓 賱廿賳賯丕匕 賴匕丕 丕賱亘丕卅爻 丕賱卮丿賷丿 丕賱亘卮丕毓丞 賵丕賱禺亘孬 "
賵賮賶 丕賱賲賯丕亘賱 賲賳 賯亘丨 賵賰賱 丕賱毓賷賵亘 丕賱賱賶 賮賷 賰丕夭賷賲賵丿賵 賰丕賳 丕賱毓賰爻 鬲賲丕賲丕 賮賷 噩賲丕賱 賵賮鬲賳丞 丕賱睾噩乇賷丞 兀爻賲賷乇丕賱丿丕 .
"賰丕賳鬲 賮鬲丕丞 賲鬲賵爻胤丞 丕賱胤賵賱 ... 丨爻賳丕亍 爻賲乇丕亍 丕賱亘卮乇丞 貙 賷爻鬲胤賷毓 丕賱賳丕馗乇 廿賱賷賴丕 丕賳 賷爻鬲賳鬲噩 丕賳 賱亘卮乇鬲賴丕 爻丨賳丞 匕賴亘賷丞 貙 賰賲丕 丕賱乇賵賲丕賳賷丕鬲 兀賵 丕賱兀賳丿賱爻賷丕鬲 . 賱丕 亘丿 丕賳賴丕 兀賳丿賱爻賷丞 氐睾賷乇丞 貙 賯丿賲丕賴丕 氐睾賷乇鬲丕賳 賷賱賮賴賲丕 丨匕丕亍 賱胤賷賮 .......
卮毓乇賴丕 丕賱丕爻賵丿 丕賱賰孬賷賮 賰卮賱丕賱丕鬲 "
兀夭賲賷乇丕賱丿丕 丕賱賱賶 乇亘賳丕 丨亘丕賴丕 亘噩賲丕賱 乇丕卅毓 賵丕賱賱賶 賰丕賳 賳毓賲丞 賲賳 毓賳丿 乇亘賳丕 賱賰賳賴 賰丕賳 賳賯賲丞 賮賷 賳賮爻 丕賱賵賯鬲 毓賱賷賴丕 .賵胤亘毓丕 賲卮 賴賳賳爻賶 毓賳夭鬲賴丕 丿噩丕賱賷 馃榿
賴賱 賷賲賰賳 兀賳 賷丨亘 丕賱丕丨丿亘 丕夭賲賷乇丕賱丿丕 責 亘丕賱胤亘毓 賲賲賰賳 .
鈥� 賱賰賳 賴賱 賷賲賰賳 丕賳 鬲賯毓 丕夭賲賷乇丕賱丿丕 賮賷 丨亘 賰丕夭賷賲賵丿賵 亘卮賰賱賴 丕賱賲卮賵賴 責! 兀賲 爻鬲賯毓 賮賷 丨亘 卮禺氐 丌禺乇 賷囟丕賴賷賴丕 噩賲丕賱丕賸責!
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" 賱賲 丕乇 賯亘丨賷 賷賵賲丕賸 賰賲丕 兀乇丕賴 丕賱丌賳.. 丨賷賳 兀賯丕乇賳 賳賮爻賷 亘賰... 兀賳賷 兀卮賮賯 毓賱賶 賳賮爻賷. 賮兀賳丕 賱爻鬲 爻賵賶 賵丨卮 亘丕卅爻 賲爻賰賷賳! 賵兀賯賱 賲丕 賯丿 賷丨氐賱貙 賴賵 兀賳 兀禺賷賮賰 亘卮賰賱賷 丕賱丨賷賵丕賳賷 丕賱賲卮賵賴 賴匕丕 . 兀賲丕 兀賳鬲 貙 賮兀賳鬲 卮毓丕毓 賲賳 丕賱卮賲爻 賵賯胤乇丞 賲賳 丕賱賳丿賶. 亘賱 鬲睾乇賷丿 毓氐賮賵乇 ! 賵兀賳丕 卮卅 賲禺賷賮 貙 賱丕 廿賳爻丕賳 賵賱丕 丨賷賵丕賳 貙 亘賱 卮卅 兀賯爻賶 賵兀賰孬乇 鬲賲乇睾丕賸 鬲丨鬲 丕賱兀賯丿丕賲貙 賵兀卮丿 賯亘丨丕賸 賲賳 丨氐賶 賱丕 卮賰賱 賱賴丕 !"
賴賱 賳爻鬲胤賷毓 廿禺鬲賷丕乇 賲賳 賳丨亘 責
賴賱 賳爻鬲胤賷毓 兀賳 賳噩毓賱 賲賳 賳丨亘賴 賷卮毓乇 亘丕賱丨亘 賳丨賵賳丕 責
賴賱 賷賲賰賳 丕賳 賳馗賱 賳丨亘 賲賳 賱丕 賷卮毓乇 亘賳丕 賵賱丕 賷賴鬲賲 亘賲卮丕毓乇賳丕責
賴賱 賷賲賰賳 兀賳 賳丨亘 賱兀賳 賲賳 兀賲丕賲賳丕 賷賯賵賲 亘鬲賯丿賷賲 賵賮毓賱 賰賱 卮卅 賲賲賰賳 賲賳 兀噩賱 爻毓丕丿鬲賳丕 責
賴賱 賷賲賰賳 兀賳 賷氐亘丨 丕賱丨亘 賱毓賳丞 賱賱賲丨亘 賵賱賱丨亘賷亘 責
廿賱賶 兀賷賳 賷賲賰賳 兀賳 賷氐賱 亘賳丕 丕賱丨亘 責
賴賱 丕賱丨亘 賷禺囟毓 賱賱賲賳胤賯 責責!!
" 丕賱丨亘 賰丕賱卮噩乇丞 賷賳賲賵 賲賳 鬲賱賯丕亍 賳賮爻賴貙 賵賷賲丿 噩匕賵乇賴 廿賱賶 丕賱兀毓賲丕賯 賮賷 賰賷丕賳賳丕 賰賱賴 貙 賵賷鬲丕亘毓 丕禺囟乇丕乇賴 賵丕夭丿賴丕乇賴 賮賵賯 賯賱亘 賲賮賱賵噩 賵賲賴賲賵賲.
賵賲賲丕 賷氐毓亘 卮乇丨賴 賵鬲賮爻賷乇賴貙 兀賳賴 賰賱賲丕 賰丕賳鬲 賴匕賴 丕賱毓丕氐賮丞 毓賲賷丕亍. 賰賱賲丕 丕夭丿丕丿鬲 氐賱丕亘鬲賴丕貙 賮賴賶 賱丕 鬲亘賱睾 匕乇賵鬲賴丕 廿賱丕 丨賷賳 鬲禺賱賵 賲賳 丕賱賲賳胤賯 "
賵亘丕賱胤亘毓 賱賳 賳賳爻賶 兀賳 賳匕賰乇 丕賱卮禺氐賷丞 丕賱乇卅賷爻賷丞 丕賱丕禺乇賶 賵賴賵 丕賱賯爻 賰賱賵丿 賮乇賵賱賱賵 丕賱賱賶 鬲亘賳賶 賰丕夭賷賲賵丿賵 賵兀丿禺賱賴 賮賷 丨賲丕賷鬲賴 賲賳匕 胤賮賵賱鬲賴 .亘丨賷孬 賷賰賵賳 賮賷 賴匕丕 丕賱廿丨爻丕賳 賲丕 賷賰賮乇 亘賴 毓賳 爻賷卅丕鬲 兀禺賷賴 丕賱氐睾賷乇 噩賵賴丕賳 賮賷 丕賱賲爻鬲賯亘賱 . 噩賵賴丕賳 丕賱匕賷 卮丕亍鬲 丕賱馗乇賵賮 兀賳 賷毓鬲亘乇賴 賰賱賵丿 賰兀亘賳賴 丨賷賳 鬲賵賮賷 賵丕賱丿賷賴 賵鬲乇賰賵賴 乇囟賷毓丕賸 賷鬲賷賲丕賸 .
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鈥徺堎冐з嗀� 鬲乇亘賷鬲賴 賱賰丕夭賷賲賵丿賵 賮賷 丕賱賰賳賷爻丞 丕賱爻亘亘 丕賳 賰賳賷爻丞 賳賵鬲乇丿丕賲 鬲氐亘丨 噩夭亍 賲賳 賳賮爻 丕賱兀丨丿亘 .
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鈥�" 鬲賰賵賳鬲 毓賱丕賯丞 賲丕 貙 賳賵毓 賲賳 丕賱氐賱丞 亘賷賳 賯丕乇毓 丕賱兀噩乇丕爻 賵丕賱賰賳賷爻丞. 賱賯丿 兀毓鬲丕丿 賴匕丕 丕賱亘丕卅爻 丕賱賲爻賰賷賳 兀賳 賱丕賷乇賶 賮賷 丕賱毓丕賱賲 卮賷卅丕 賵乇丕亍 丕賱噩丿乇丕賳 丕賱丿賷賳賷丞 丕賱鬲賷 兀馗賱鬲賴貙 賵賴賵 丕賱匕賷 兀賳賮氐賱 毓賳 丕賱毓丕賱賲 亘丨丕噩夭賷賳 賰兀賳賴賲丕 丕賱賯丿乇 丕賱賯丕丿乇 貙 賲賵賱丿賴 丕賱賲噩賴賵賱 賵胤亘賷毓鬲賴 丕賱亘卮毓丞 . 賮賰丕賳鬲 賳賵鬲乇丿丕賲 亘丕賱賳爻亘丞 廿賱賷賴貙 賵亘氐賵乇賴 賲鬲鬲丕亘毓丞貙 鬲夭丕賲賳丕賸 賲毓 賳賲賵賴 賵鬲胤賵乇賴 貙 丕賱亘賷囟丞 賵丕賱毓卮 貙 賵丕賱賲賳夭賱 貙 賵丕賱賵胤賳 貙 賮丕賱毓丕賱賲
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鈥� 賵賰丕賳 丕賱賰丕賴賳 丕賱爻亘亘 賮賷 兀丨丿丕孬 賰鬲賷乇 賮賷 丨賷丕丞 賰丕夭賷賲賵丿賵 賵 兀爻賲賷乇丕賱丿丕.
鈥徺佡呚ж柏� 爻賷丨丿孬 賱賰賱 賲賳賴賲 責 賵賲丕賱匕賷 爻賷噩賲毓賴賲 賲毓丕賸 責!
伲 / 佴 / 佗贍佗佗
兀丨丿亘 賳賵鬲乇丿丕賲 賵丕丨丿丞 賲賳 兀卮賴乇 丕賱賰賱丕爻賷賰賷丕鬲 丕賱賮乇賳爻賷丞 . 賵賰賲丕 賳毓乇賮 廿匕丕 匕賰乇鬲 賰賱賲丞 賰賱丕爻賷賰賷丞 賮賲毓賳丕賴丕 丕賳賰 爻鬲噩丿 乇賵丕賷丞 賲賱賷卅丞 亘丕賱鬲賮丕氐賷賱 賵丕賱卮禺氐賷丕鬲 賵丕賱賵氐賮 . 賵兀丨丿亘 賳賵鬲乇丿丕賲 賱賷爻鬲 卮丕匕丞 毓賳 賴匕賴 丕賱賯丕毓丿丞 賱賰賳賴丕 賰賰孬賷乇 賲賳 丕賱賰賱丕爻賷賰賷丕鬲 鬲爻鬲丨賯 丕賱賯乇丕亍丞 賵 鬲丨鬲賵賶 賲鬲毓丞 亘賱丕 丨丿賵丿 . 賰賳鬲 賲鬲禺賵賮丞 賲賳 兀爻賱賵亘 賮賷賰鬲賵乇 賴賷噩賵 賱賰賳賳賷 賵噩丿鬲賴 兀亘爻胤 賲賲丕 鬲禺賷賱鬲 賮賰丕賳鬲 丕賱賯乇丕亍丞 鬲噩乇亘丞 噩賲賷賱丞 貙 丕爻鬲賲鬲毓鬲 亘乇賮賯鬲賴丕 賵睾氐鬲 亘丿丕禺賱賴丕 . 賵爻鬲賰賵賳 亘丿丕賷丞 賲毓乇賮丞 丨賯賷賯賷丞 亘賮賷賰鬲賵乇 賴賷噩賵 . 賵鬲卮噩毓鬲 噩丿丕 賱賯乇丕亍丞 丕賱亘丐爻丕亍 亘賳爻禺鬲賴丕 丕賱賰丕賲賱丞.
賮賷 丕賱亘丿丕賷丞 爻鬲噩丿 丕賱賰孬賷乇 賲賳 丕爻賲丕亍 丕賱卮禺氐賷丕鬲 賵爻鬲鬲賵賴 賮賷賲丕 亘賷賳賴賲 賲賳 丕賱賲賴賲 賵賲賳 爻賷賰賵賳 賲噩乇丿 卮禺氐賷丞 毓丕亘乇丞責責 賱賰賳 賱丕 鬲賯賱賯 爻鬲賴丿兀 丕賱兀賲賵乇 賮賷賲丕 亘毓丿 賵爻賳爻鬲賲乇 賮賷 丕賱睾丕賱亘 賲毓 丕賱卮禺氐賷丕鬲 丕賱乇卅賷爻賷丞 賵丕賱卮禺氐賷丕鬲 丕賱賲丐孬乇丞 賮賷 丨賷丕鬲賴賲 .
" 賱丕鬲賳馗乇賶 廿賱賶 丕賱卮賰賱貙
亘賱 丕賳馗乇賷 廿賱賶 丕賱賯賱亘 兀賷鬲賴丕 丕賱賮鬲丕丞貙
廿賳 賯賱亘 卮丕亘 噩賲賷賱 賴賵 賮賷 丕賱睾丕賱亘 賯賱亘 賲卮賵賴貙
賮賴賳丕賰 賯賱賵亘 賱丕 鬲丨鬲賮馗 亘丕賱丨亘
兀賷鬲賴丕 丕賱賮鬲丕丞 貙
卮噩乇 丕賱氐賳賵亘乇 賱賷爻 噩賲賷賱丕賸貙
賵賱賷爻 賰卮噩乇 丕賱丨賵乇 貙 胤賵賷賱丕賸
賵賱賰賳賴 賷丨鬲賮馗 亘兀賵乇丕賯賴 丕賱禺囟乇丕亍 禺賱丕賱 丕賱卮鬲丕亍
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賵丕 兀爻賮賷 毓賱賶 丨丕賱賷 !
賱賲 賰賱 賴匕丕 丕賱賰賱丕賲 貙
賱賯丿 丕禺胤兀 丕賱賯亘賷丨 賮賷 丕賱丕丨鬲賮丕馗 亘丨賷丕鬲賴 貙
賮丕賱噩賲丕賱 賱丕 賷丨亘 睾賷乇丕賱噩賲丕賱 貙
賵卮賴乇 賳賷爻丕賳 賱丕 賷卮亘賴 兀卮賴乇 賰丕賳賵賳.
丕賱噩賲丕賱 卮卅 賰丕賲賱 貙
賵丕賱噩賲丕賱 賯丕丿乇 毓賱賶 賰賱 卮卅貙
賵丕賱噩賲丕賱 賴賵 丕賱卮卅 丕賱賵丨賷丿 丕賱賲賰鬲賲賱
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賱丕 賷胤賷乇 丕賱睾乇丕亘 廿賱丕 賮賷 丕賱賳賴丕乇貙
賵賱丕 鬲胤賷乇 丕賱亘賵賲丞 廿賱丕 賱賷賱丕賸貙
兀賲丕 丕賱亘噩毓丞 賮鬲胤賷乇 賱賷賱丕賸 賵賳賴丕乇丕賸
丕丨丿亘 賳賵鬲乇丿丕賲 賮賷 賱丨馗丞 賮賰乇賳賶 亘乇噩丕亍 毓賱賷卮 賵賰鬲丕亘 賱丕鬲賵賱丿 賯亘賷丨丕購 .賵賲毓丕賲賱丞 丕賱賳丕爻 賱賱卮禺氐 丕賱賱賶 亘賲賮賴賵賲賳丕 丕賱賲丨丿賵丿 " 賯亘賷丨" 賵丕賱鬲乇賷賯丞 賵丕賱廿賴丕賳丞 賵丕賱賳馗乇丕鬲 丕賱賲鬲賯夭夭丞 丕賱賱賶 亘鬲丿亘丨 丕賰鬲乇 賲賳 丕賱賰賱賲丕鬲 .賱賱兀爻賮 丕丨賳丕 亘賳賯賵賱 丕賱賰賱丕賲 賵賲亘賳賮賰乇卮 賮賷 鬲兀孬賷乇賴 毓賱賶 丕賱賱賶 賯丿丕賲賳丕 貙 賲亘賳賮賰乇卮 丕夭丕賶 賲賲賰賳 賳賰賵賳 亘賳禺賱賯 亘賰賱丕賲賳丕 賵丨卮 賲賳 噩賵丕賴 賲卮 賲賳 亘乇賴 . 賱兀賳 丕賱賲馗賴乇 丕賱禺丕乇噩賷 丿賴 禺賱賯丞 乇亘賳丕 兀氐賱丕 賲卮 亘丕禺鬲賷丕乇 丨丿 .爻丕毓丕鬲 亘賷賰賵賳 睾氐亘 毓賳賳丕 丕賳賳丕 賲賳賯丿乇卮 賳鬲賯亘賱 丕賵 賳丨亘 賵賳賯乇亘 賲賳 丕賱卮禺氐 丿賴 亘爻 丕賱賱賶 賳賯丿乇 賳鬲丨賰賲 賮賷賴 賴賵 兀爻賱賵亘賳丕 賮賷 丕賱鬲毓丕賲賱 賲毓丕賴 . 賵丕賳丕 亘賰鬲亘 丕賱乇賮賷賵 丿賱賵賯鬲賷 丕賮鬲賰乇鬲 丨丕噩丞 賵賴賶 丕賳賶 賲賳 賰丕賲 賷賵賲 賵兀賳丕 亘乇賴 卮賮鬲 乇丕噩賱 賰丕賳 賵卮賴 賮賷賴 夭賶 丿賲丕賲賱 丕賵 丨丕噩丞 賲卮 毓丕乇賮丞 丕賱賲賴賲 毓賳丿賴 賲卮賰賱丞 賮賷 賵卮賴 丕賳丕 賵賯鬲賴丕 亘氐賷鬲 丕賱賳丕丨賷丞 丕賱鬲丕賳賷丞 亘爻 賲卮 毓卮丕賳 丕卮賲兀夭賷鬲 賲賳 卮賰賱賴 亘丕賱毓賰爻 丕賳丕 丿毓賷鬲 賱賵 丿賴 賲乇囟 丕賳 乇亘賳丕 賷卮賮賷賴 亘爻 丕賳丕 賵賯鬲賴丕 禺賮鬲 丕賳賴 亘丕賱氐丿賮丞 賷亘氐 賳丕丨賷鬲賶 賵賷賱丕賯賷賳賶 亘亘氐 賱賴 賮賷賮鬲賰乇 丕賳賶 賯丕氐丿丞 賵賷鬲囟丕賷賯 貙 禺賮鬲 賮毓賱丕 毓賱賶 賲锟斤拷丕毓乇賴 . 賵丿賱賵賯鬲賷 賮賰乇鬲 賷丕鬲乇賶 賰丕賲 賵丕丨丿 卮丕賮賴 賵毓賱賯 鬲毓賱賷賯 爻禺賷賮 兀賵 賰丕賳鬲 賳馗乇鬲賴 賲丐匕賷丞責!
賵賮賰乇鬲 賮賷 丨丕噩丞 鬲丕賳賷丞 賵丕賳丕 亘賯乇兀 賵賴賶 丕賳賳丕 賱賱兀爻賮 丕賱賱賶 亘賷亘丕賳 賱賷賳丕 賲賳 賰賱 廿賳爻丕賳 賴賵 丕賱馗丕賴乇 貙 卮賰賱賴 丕賱禺丕乇噩賷 貙 賲賳毓乇賮卮 丕賷賴 噩賵丕賴 . 賷丕賲丕 賳丕爻 卮賰賱賴賲 丨賱賵 丕賵賶 兀賵 亘賷鬲賰賱賲賵丕 賲毓丕賰 賵賷毓丕賲賱賵賰 丨賱賵 賱賰賳 賱賵 卮賮鬲 賯賱賵亘賴賲 賵賳賮賵爻賴賲 賲卮 賴鬲賯丿乇 鬲亘氐 賱賷賴賲 賵賱丕 鬲爻賲毓賴賲 賱丕賳賴賲 賲賳 噩賵丕賴賲 卮丿賷丿賶 丕賱賯亘丨 . 賵丕賱毓賰爻 胤亘毓丕 氐丨賷丨 賳丕爻 賰鬲賷乇 賲賲賰賳 乇亘賳丕 丕賵 丕賱馗乇賵賮 鬲爻亘亘鬲 賮賶 廿丨丿丕孬 鬲卮賵賷賴 兀賵 賯亘丨 賮賷 卮賰賱賴賲 丕賵 賲亘賷賯丿乇賵卮 賷鬲賰賱賲賵丕 賰賵賷爻 賱賰賳 賱賵 卮賮鬲 賯賱賵亘賴賲 賵賳賮賵爻賴賲 賴鬲賱丕賯賷賴丕 賮賷 賲賳鬲賴賶 丕賱賳賯丕亍 丕賵 賲賲賰賳 賵賯鬲賴丕 鬲賱丕賯賷 噩賵丕賴賲 賳賯胤 爻賵丿丕 亘爻 賱賵 丿賵乇鬲 賴鬲賱丕賯賷 爻亘亘 丕賱賳賯胤 丿賶 睾丕賱亘丕賸 亘爻亘亘 兀賱賲賴賲 賲賳 兀爻賱賵亘 賵賳馗乇丞 丕賱賳丕爻 賱賷賴賲 .
賰賳鬲 兀鬲賲賳賶 賱賵 兀賲鬲賱賰 賯賵丞 禺丕乇賯丞 鬲鬲賷丨 賱賷丕 兀毓乇賮 丨賯賷賯丞 賲卮丕毓乇 賵兀禺賱丕賯 賵賳賷丞 丕賱賱賶 賯丿丕賲賶 亘爻 丿賶 丨丕噩丞 乇亘賳丕 亘爻 賴賵 丕賱賱賶 賷毓乇賮賴丕 賱丨賰賲丞 賲丕 賵賷賲賰賳 賲賳賴丕 丕賳賴 亘賷爻鬲乇賳丕 賯丿丕賲 亘毓囟 賱毓賱 丕賱賱賶 噩賵丕賴 禺亘孬 賷鬲賵亘 賵賷鬲睾賷乇 . 亘爻 丿賴 亘賷丨乇賲賳丕 爻丕毓丕鬲 賲賳 賳丕爻 亘鬲丨亘賳丕 亘氐丿賯 亘爻 卮賰賱賴賲 賲卮 毓丕噩亘賳丕 兀賵 賲卮 賯丕丿乇賷賳 賷毓亘乇賵丕 賰賵賷爻 毓賳 丕賱賱賶 噩賵丕賴賲 賵賳鬲爻亘亘 賮賷 兀賱賲 賱賱胤乇賮 丕賱鬲丕賳賶 .
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賱賷賴 賰賱 丕賱賰賱丕賲 丿賴 責
賱兀賳 丿賴 賴賵 氐丿賷賯賳丕 賰丕夭賷賲賵丿賵 丕賵 兀丨丿亘 賳賵鬲乇丿丕賲 貙 賯丕乇毓 丕賱兀噩乇丕爻 . 丕賱賱賶 丕賱賳丕爻 賰丕賳鬲 毓丕賷夭丞 鬲丨乇賯賴 賲賳 胤賮賵賱鬲賴 賵卮賷賮丕賴 鬲噩爻丿 賱賱卮賷胤丕賳 亘爻亘亘 賯亘丨賴 丕賱卮丿賷丿 賵毓賷賵亘賴 丕賱禺賱賯賷丞 .
" "賰丕賳 毓亘丕乇丞 毓賳 乇兀爻 賰亘賷乇丞 丕賱丨噩賲 賳賲丕 賮賵賯賴丕 卮毓乇 兀氐賴亘 賰孬賷賮 賵賷丨賲賱 丕賱乇兀爻 亘賷賳賴賲丕 丨丿亘丞貙 亘乇夭 兀丨丿 噩賵丕賳亘賴丕 賲賳 丕賱兀賲丕賲. 鬲鬲賱丕賲爻 乇賰亘鬲丕賴 亘賷賳賲丕 賷鬲亘丕毓丿 賮禺匕丕賴 賵乇丿賮丕賴 亘卮賰賱 睾乇賷亘 .....
賰丕賳 賷亘丿賵 賰毓賲賱丕賯 賲丨胤賲 貙 噩購賲毓鬲 兀噩夭丕丐賴 亘卮賰賱 禺丕胤卅貙 賵乇購賰亘鬲 賲毓 亘毓囟賴丕 賰賷賮賲丕 賰丕賳 !"
賰丕夭賷賲賵丿賵 丕賱賱賶 賮賶 賱丨馗丞 賴丕噩 賮賷 丕賱賳丕爻 賵 噩賴 賯丿丕賲 丕賱卮禺氐 丕賱賱賶 鬲賯亘賱賴 賵毓胤賮 毓賱賷賴 賵乇賰毓 賵賳爻賶 賰賱 賯賵鬲賴 丕賱噩爻丿賷丞 ... 賰丕夭賷賲賵丿賵 丕賱賱賶 兀毓鬲亘乇 丕賳 丕賱賮鬲丕丞 丕賱賱賶 爻賯鬲賴 卮乇亘丞 賲丕亍 賵丕賱賳丕爻 賰丕賳鬲 亘鬲爻禺乇 亘賷賴 乇睾賲 丕賳賴丕 賰丕賳 賲鬲賵賯毓 丕賳賴丕 兀賵賱 賵丕丨丿丞 鬲爻禺乇 賲賳賴 賵鬲毓匕亘賴 廿賱丕 丕賳賴丕 乇睾賲 禺賵賮賴丕 賵丕卮賲卅夭丕夭賴丕 賲賳賴 賮賷 賱丨馗丞 毓胤賮鬲 毓賱賷賴 賵賴賵 賲賯丿乇卮 賷賳爻賶 丕賱賱丨馗丞 丿賶 ..
" 賮鬲丕丞 噩賲賷賱丞 賵馗乇賷賮丞 賵胤丕賴乇丞. 賱賰賳賴丕 貙賮賷 丕賱賵賯鬲 賳賮爻賴貙 囟毓賷賮丞 賵賯賱賷賱丞 丕賱丨賷賱丞貙 鬲賴乇毓 賱廿賳賯丕匕 賴匕丕 丕賱亘丕卅爻 丕賱卮丿賷丿 丕賱亘卮丕毓丞 賵丕賱禺亘孬 "
賵賮賶 丕賱賲賯丕亘賱 賲賳 賯亘丨 賵賰賱 丕賱毓賷賵亘 丕賱賱賶 賮賷 賰丕夭賷賲賵丿賵 賰丕賳 丕賱毓賰爻 鬲賲丕賲丕 賮賷 噩賲丕賱 賵賮鬲賳丞 丕賱睾噩乇賷丞 兀爻賲賷乇丕賱丿丕 .
"賰丕賳鬲 賮鬲丕丞 賲鬲賵爻胤丞 丕賱胤賵賱 ... 丨爻賳丕亍 爻賲乇丕亍 丕賱亘卮乇丞 貙 賷爻鬲胤賷毓 丕賱賳丕馗乇 廿賱賷賴丕 丕賳 賷爻鬲賳鬲噩 丕賳 賱亘卮乇鬲賴丕 爻丨賳丞 匕賴亘賷丞 貙 賰賲丕 丕賱乇賵賲丕賳賷丕鬲 兀賵 丕賱兀賳丿賱爻賷丕鬲 . 賱丕 亘丿 丕賳賴丕 兀賳丿賱爻賷丞 氐睾賷乇丞 貙 賯丿賲丕賴丕 氐睾賷乇鬲丕賳 賷賱賮賴賲丕 丨匕丕亍 賱胤賷賮 .......
卮毓乇賴丕 丕賱丕爻賵丿 丕賱賰孬賷賮 賰卮賱丕賱丕鬲 "
兀夭賲賷乇丕賱丿丕 丕賱賱賶 乇亘賳丕 丨亘丕賴丕 亘噩賲丕賱 乇丕卅毓 賵丕賱賱賶 賰丕賳 賳毓賲丞 賲賳 毓賳丿 乇亘賳丕 賱賰賳賴 賰丕賳 賳賯賲丞 賮賷 賳賮爻 丕賱賵賯鬲 毓賱賷賴丕 .賵胤亘毓丕 賲卮 賴賳賳爻賶 毓賳夭鬲賴丕 丿噩丕賱賷 馃榿
賴賱 賷賲賰賳 兀賳 賷丨亘 丕賱丕丨丿亘 丕夭賲賷乇丕賱丿丕 責 亘丕賱胤亘毓 賲賲賰賳 .
鈥� 賱賰賳 賴賱 賷賲賰賳 丕賳 鬲賯毓 丕夭賲賷乇丕賱丿丕 賮賷 丨亘 賰丕夭賷賲賵丿賵 亘卮賰賱賴 丕賱賲卮賵賴 責! 兀賲 爻鬲賯毓 賮賷 丨亘 卮禺氐 丌禺乇 賷囟丕賴賷賴丕 噩賲丕賱丕賸責!
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" 賱賲 丕乇 賯亘丨賷 賷賵賲丕賸 賰賲丕 兀乇丕賴 丕賱丌賳.. 丨賷賳 兀賯丕乇賳 賳賮爻賷 亘賰... 兀賳賷 兀卮賮賯 毓賱賶 賳賮爻賷. 賮兀賳丕 賱爻鬲 爻賵賶 賵丨卮 亘丕卅爻 賲爻賰賷賳! 賵兀賯賱 賲丕 賯丿 賷丨氐賱貙 賴賵 兀賳 兀禺賷賮賰 亘卮賰賱賷 丕賱丨賷賵丕賳賷 丕賱賲卮賵賴 賴匕丕 . 兀賲丕 兀賳鬲 貙 賮兀賳鬲 卮毓丕毓 賲賳 丕賱卮賲爻 賵賯胤乇丞 賲賳 丕賱賳丿賶. 亘賱 鬲睾乇賷丿 毓氐賮賵乇 ! 賵兀賳丕 卮卅 賲禺賷賮 貙 賱丕 廿賳爻丕賳 賵賱丕 丨賷賵丕賳 貙 亘賱 卮卅 兀賯爻賶 賵兀賰孬乇 鬲賲乇睾丕賸 鬲丨鬲 丕賱兀賯丿丕賲貙 賵兀卮丿 賯亘丨丕賸 賲賳 丨氐賶 賱丕 卮賰賱 賱賴丕 !"
賴賱 賳爻鬲胤賷毓 廿禺鬲賷丕乇 賲賳 賳丨亘 責
賴賱 賳爻鬲胤賷毓 兀賳 賳噩毓賱 賲賳 賳丨亘賴 賷卮毓乇 亘丕賱丨亘 賳丨賵賳丕 責
賴賱 賷賲賰賳 丕賳 賳馗賱 賳丨亘 賲賳 賱丕 賷卮毓乇 亘賳丕 賵賱丕 賷賴鬲賲 亘賲卮丕毓乇賳丕責
賴賱 賷賲賰賳 兀賳 賳丨亘 賱兀賳 賲賳 兀賲丕賲賳丕 賷賯賵賲 亘鬲賯丿賷賲 賵賮毓賱 賰賱 卮卅 賲賲賰賳 賲賳 兀噩賱 爻毓丕丿鬲賳丕 責
賴賱 賷賲賰賳 兀賳 賷氐亘丨 丕賱丨亘 賱毓賳丞 賱賱賲丨亘 賵賱賱丨亘賷亘 責
廿賱賶 兀賷賳 賷賲賰賳 兀賳 賷氐賱 亘賳丕 丕賱丨亘 責
賴賱 丕賱丨亘 賷禺囟毓 賱賱賲賳胤賯 責責!!
" 丕賱丨亘 賰丕賱卮噩乇丞 賷賳賲賵 賲賳 鬲賱賯丕亍 賳賮爻賴貙 賵賷賲丿 噩匕賵乇賴 廿賱賶 丕賱兀毓賲丕賯 賮賷 賰賷丕賳賳丕 賰賱賴 貙 賵賷鬲丕亘毓 丕禺囟乇丕乇賴 賵丕夭丿賴丕乇賴 賮賵賯 賯賱亘 賲賮賱賵噩 賵賲賴賲賵賲.
賵賲賲丕 賷氐毓亘 卮乇丨賴 賵鬲賮爻賷乇賴貙 兀賳賴 賰賱賲丕 賰丕賳鬲 賴匕賴 丕賱毓丕氐賮丞 毓賲賷丕亍. 賰賱賲丕 丕夭丿丕丿鬲 氐賱丕亘鬲賴丕貙 賮賴賶 賱丕 鬲亘賱睾 匕乇賵鬲賴丕 廿賱丕 丨賷賳 鬲禺賱賵 賲賳 丕賱賲賳胤賯 "
賵亘丕賱胤亘毓 賱賳 賳賳爻賶 兀賳 賳匕賰乇 丕賱卮禺氐賷丞 丕賱乇卅賷爻賷丞 丕賱丕禺乇賶 賵賴賵 丕賱賯爻 賰賱賵丿 賮乇賵賱賱賵 丕賱賱賶 鬲亘賳賶 賰丕夭賷賲賵丿賵 賵兀丿禺賱賴 賮賷 丨賲丕賷鬲賴 賲賳匕 胤賮賵賱鬲賴 .亘丨賷孬 賷賰賵賳 賮賷 賴匕丕 丕賱廿丨爻丕賳 賲丕 賷賰賮乇 亘賴 毓賳 爻賷卅丕鬲 兀禺賷賴 丕賱氐睾賷乇 噩賵賴丕賳 賮賷 丕賱賲爻鬲賯亘賱 . 噩賵賴丕賳 丕賱匕賷 卮丕亍鬲 丕賱馗乇賵賮 兀賳 賷毓鬲亘乇賴 賰賱賵丿 賰兀亘賳賴 丨賷賳 鬲賵賮賷 賵丕賱丿賷賴 賵鬲乇賰賵賴 乇囟賷毓丕賸 賷鬲賷賲丕賸 .
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鈥徺堎冐з嗀� 鬲乇亘賷鬲賴 賱賰丕夭賷賲賵丿賵 賮賷 丕賱賰賳賷爻丞 丕賱爻亘亘 丕賳 賰賳賷爻丞 賳賵鬲乇丿丕賲 鬲氐亘丨 噩夭亍 賲賳 賳賮爻 丕賱兀丨丿亘 .
鈥�
鈥�" 鬲賰賵賳鬲 毓賱丕賯丞 賲丕 貙 賳賵毓 賲賳 丕賱氐賱丞 亘賷賳 賯丕乇毓 丕賱兀噩乇丕爻 賵丕賱賰賳賷爻丞. 賱賯丿 兀毓鬲丕丿 賴匕丕 丕賱亘丕卅爻 丕賱賲爻賰賷賳 兀賳 賱丕賷乇賶 賮賷 丕賱毓丕賱賲 卮賷卅丕 賵乇丕亍 丕賱噩丿乇丕賳 丕賱丿賷賳賷丞 丕賱鬲賷 兀馗賱鬲賴貙 賵賴賵 丕賱匕賷 兀賳賮氐賱 毓賳 丕賱毓丕賱賲 亘丨丕噩夭賷賳 賰兀賳賴賲丕 丕賱賯丿乇 丕賱賯丕丿乇 貙 賲賵賱丿賴 丕賱賲噩賴賵賱 賵胤亘賷毓鬲賴 丕賱亘卮毓丞 . 賮賰丕賳鬲 賳賵鬲乇丿丕賲 亘丕賱賳爻亘丞 廿賱賷賴貙 賵亘氐賵乇賴 賲鬲鬲丕亘毓丞貙 鬲夭丕賲賳丕賸 賲毓 賳賲賵賴 賵鬲胤賵乇賴 貙 丕賱亘賷囟丞 賵丕賱毓卮 貙 賵丕賱賲賳夭賱 貙 賵丕賱賵胤賳 貙 賮丕賱毓丕賱賲
鈥�
鈥�
鈥� 賵賰丕賳 丕賱賰丕賴賳 丕賱爻亘亘 賮賷 兀丨丿丕孬 賰鬲賷乇 賮賷 丨賷丕丞 賰丕夭賷賲賵丿賵 賵 兀爻賲賷乇丕賱丿丕.
鈥徺佡呚ж柏� 爻賷丨丿孬 賱賰賱 賲賳賴賲 責 賵賲丕賱匕賷 爻賷噩賲毓賴賲 賲毓丕賸 責!
伲 / 佴 / 佗贍佗佗
May 16, 2021
This was a great story! I can't believe it took me this long to discover this book. This is my first Victor Hugo attempt and I really enjoyed it.
It may be detail heavy on certain things, may ramble and go into seemingly different directions, and may go overboard on certain descriptors: but it adds character to the story and gives the characters more dimension.
The story centers on Esmeralda, a local Gypsy girl, trying to discover her past.
Unfortunately, she is the focus of unhealthy obsession from a priest, Frollo, who secretly dabbles with witchcraft and alchemy. Lastly, there is the outcast hunchback Quasimodo, the deformed bell ringer taken in by Frollo when he was an abandoned newborn. Oddly enough, he does not play a major role in the story and could be considered a lead supporting character. The gothic cathedral acts as a focal point to the story and almost as an additional character.
What really got me was the human element of the characters. They contained depth and were all well-developed.
The writing is terrific and I was easily sucked into the story. This translation by Walter J. Cobb read smoothly and coherently. This was great storytelling in my opinion and highly recommended. Thanks!
It may be detail heavy on certain things, may ramble and go into seemingly different directions, and may go overboard on certain descriptors: but it adds character to the story and gives the characters more dimension.
The story centers on Esmeralda, a local Gypsy girl, trying to discover her past.
Unfortunately, she is the focus of unhealthy obsession from a priest, Frollo, who secretly dabbles with witchcraft and alchemy. Lastly, there is the outcast hunchback Quasimodo, the deformed bell ringer taken in by Frollo when he was an abandoned newborn. Oddly enough, he does not play a major role in the story and could be considered a lead supporting character. The gothic cathedral acts as a focal point to the story and almost as an additional character.
What really got me was the human element of the characters. They contained depth and were all well-developed.
The writing is terrific and I was easily sucked into the story. This translation by Walter J. Cobb read smoothly and coherently. This was great storytelling in my opinion and highly recommended. Thanks!
September 25, 2021
A reread and well worth it!
September 6, 2020
An interesting read 鈥� I enjoyed this, though not as much as Les Miserables. The characters were complex and interesting and the ending very powerful, but it didn't quite hold my attention as much as Les Miserables.
August 9, 2016
This isn't a review of the book itself, but rather a sampler of its English translations. Since the ratio of English readers of Hugo to English translators of Hugo is perilously close to 1:1, I thought a quick taste test was in order, so I've whipped up this plateau d'amuse-gueules so that you can find your favorite. I've compiled as many versions of the opening paragraph(s) as I could find online; I had no luck unearthing Hazlitt [1833], but most of the others are here. I've ended with Hugo's original French, the essence of which will be surprisingly intelligible after you've parsed it against a couple of the less impressionistic translations. (Just for fun, I've added my own translation at the end, so you can see whether my opinion is worth a crap.)
Please click 'Like' if you found this useful - it will make it easier for other people to find it!
If you want an opinion without having to slog through all these, I think the only ones close to great literature in English are Beckwith [1895] and maybe Sturrock [1978], who seems to follow Beckwith rather closely. Beckwith is quite good, with Sturrock a notch below, and all the rest defacing Hugo as much as his detested 'masons' were then defacing the medieval facade of Paris.
:: Shoberl [1833] ::
On this day 348 years, six months, and nineteen days since the good people of Paris were awakened by a grand peal from all the bells in the three districts of the City, the University, and the Ville. The 6th of January, 1482, was, nevertheless, a day of which history has not preserved any record. There was nothing worthy of note in the event which so early set in motion the bells and the citizens of Paris. It was neither an assault of the Picards or the Burgundians, nor a procession with the shrine of some saint, nor a mutiny of the students, nor an entry of our "most redoubted lord, Monsieur the king," nor even an execution of rogues of either sex, before the Palace of Justice of Paris. Neither was it an arrival of some bedizened and befeathered embassy, a sight of frequent occurrence in the fifteenth century. It was but two days since the last cavalcade of this kind, that of the Flemish ambassadors commissioned to conclude a marriage between the Dauphin and Margaret of Flanders, had made its entry into Paris, to the great annoyance of the Cardinal of Bourbon, who, in order to please the king, had been obliged to receive this vulgar squad of Flemish burgomasters with good grace, and to entertain them at his hotel de Bourbon with a goodly morality, mummery, and farce, while a deluge of rain drenched the magnificent tapestry at his door.
:: Anonymous [19th century, adopted by Everyman's Library] ::
On the 6th of January, 1482, the Parisians were awakened by the noise of all the bells within the triple circuit of the City, the University, and the Town ringing in full peal. Yet this is not a day of which history has preserved any remembrance. There was nothing remarkable in the event which thus put in agitation so early in the morning the bells and the good people of Paris. It was neither an assault of Picards or of Burgundians; nor a shrine carried in procession; nor a revolt of scholars in la vigne de Laas; nor an entry of notre dit tres-redoute seigneur Monsieur le Roi - that is, in plain English, of their most dread lord the King ["In good plain English"!? - Matvei]; nor yet a good hanging up of thieves, male and female, at the Justice de Paris (justice and gibbet having been synonymous in the good old feudal times)[That remark is also actually in the translation - Matvei]. Neither was it the sudden arrival, so frequent in the 15th century, of some ambassador and his train, all covered with lace and plumes. Scarcely two days had elapsed since the last cavalcade of this sort, that of the Flemish envoys commissioned to conclude the marriage treaty between the Dauphin and Margaret of Flanders, had made its entry into Paris, to the great annoyance of Monsieur le Cardinal de Bourbon, who to please the king had been obliged to give a gracious reception to that rude train of Flemish burgomasters, and entertain them, at his Hotel de Bourbon, with one of the rude dramatic exhibitions of the time, while a beating rain drenched the magnificent tapestry at his door.
:: Alger [1882] ::
348 years, six months, and nineteen days ago today, the Parisians were waked by the sound of loud peals from all the bells within the triple precincts of the City, the University, and the Town. And yet the 6th of January, 1842, is not a day of which history takes much note. There was nothing extraordinary about the event which thus set all the bells and the citizens of Paris agog from early dawn. It was neither an attack from the Picards or the Burgundians, nor some shrine carried in procession, nor was it a student revolt in the Ville de Laas, nor an entry of "our greatly to be dreaded lord the king", nor even the wholesale slaughter of a band of thieves before the Palace of Justice. Neither was it the arrival, so frequent during the 15th century, of some plumed and laced embassy. It was scarcely two days since the last cavalcade of this sort, that of the Flemish ambassadors empowered to arrange a marriage between the Dauphin and Marguerite of Flanders, had entered Paris, to the great annoyance of Cardinal Bourbon, who, to please the king, was forced to smile upon all this rustic rout of Flemish burgomasters, and to entertain them at his own mansion with "a very fine morality and farce", while a driving rainstorm drenched the splendid tapestries at his door.
:: Hapgood [1888] ::
Three hundred and forty-eight years, six months, and nineteen days ago today, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal. The sixth of January, 1482, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of "our much dread lord, monsieur the king," nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the fifteenth century, of some plumed and bedizened embassy. It was barely two days since the last cavalcade of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance of M. le Cardinal de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable mien towards this whole rustic rabble of Flemish burgomasters, and to regale them at his H么tel de Bourbon, with a very "pretty morality, allegorical satire, and farce," while a driving rain drenched the magnificent tapestries at his door.
:: Beckwith [1895] ::
Exactly 348 years, six months, and nineteen days have passed away since the Parisians were awakened by the noise of all the bells within the triple walls of the city, the University, and the town, ringing a full peal. Yet the 6th of January, 1482, was not a day of which history has preserved any record. There was nothing remarkable in the event which thus put in agitation so early in the morning the bells and the good people of Paris. It was neither an assault of the Picards or of the Burgundians, nor a shrine carried in procession, nor a revolt of scholars in the vigne de Laas, nor an entry of their most dread lord the king, nor a grand hanging up of thieves, male and female, at the Justice de Paris. Neither was it the sudden arrival, so frequent in the fifteenth century, of some ambassador and his train, all covered with lace and plumes. Scarcely two days had elapsed since the last cavalcade of this sort -- that of the Flemish envoys commissioned to conclude the marriage treaty between the Dauphin and Margaret of Flanders -- had made its entry into Paris, to the great annoyance of Monsieur le Cardinal de Bourbon, who, to please the king, had been obliged to give a gracious reception to that rude train of Flemish burgomasters, and entertain them, at his Hotel de Bourbon, with one of the rude dramatic exhibitions of the time, while a beating rain drenched the magnificent tapestry at his door.
:: Bair [1956] ::
On January 6, 1482, the people of Paris were awakened by the tumultuous clanging of all the bells in the city. Yet history has kept no memory of this date, for there was nothing notable about the event which set in motion the bells and citizens of Paris that morning. It was not an attack by the Picards or the Burgundians, a procession carrying the relics of some saint, an entry of "Our Most Dread Lord, Monsieur the King," nor even a good hanging of thieves. Nor was it the arrival of some foreign ambassador and his train, all decked out in lace and feathers, a common sight in the 15th century. It had been scarcely two days since the latest cavalcade of this kind had paraded through the streets: the delegation of Flemish ambassadors sent to conclude the marriage between the Dauphin and Marguerite of Flanders. To his great annoyance, Cardinal de Bourbon, in order to please the king, had been obliged to give a gracious reception to that uncouth band of Flemish burgomasters and entertain them in his mansion. [Yes, Bair omitted the driving rain drenching the tapestries! - Matvei]
:: Unknown (though after you read this, it will be clear that the translator was Alan Smithee) [Wordsworth Classics edition - perhaps Cobb 1964?] ::
One morning, 348 years, six months, and nineteen days ago, the Parisians were awakened by a grand peal from all the bells, within the triple enclosure of the City, the University, and the Town. Yet the 6th of January, 1482, was not a day of which history has preserved any record. There was nothing remarkable in the event that so early in the morning set in commotion the bells and the bourgeois of Paris. It was neither a sudden attack made by Picards or by Burgundians, nor a shrine carried in procession, nor a student fight in the city of Laas, nor the entry of 'our most dread lord the King', nor even a goodly stringing up of thieves, male and female, on the Place de la Justice. Nor it was it a sudden arrival, so common in the 15th century, of some ambassador and his train, all belaced and beplumed. Only about two days ago, indeed, the last cavalcade of this kind, Flemish envoys commissioned to conclude the marriage treaty between the young dauphin and Marguerite of Flanders, had made entry into Paris, to the great annoyance of Cardinal Bourbon. To please the king, his Eminence had undertaken to give gracious reception to the rough crowd of Flemish burgomasters, and to entertain them at his Hotel de Bourbon with a 'very fine morality, burletta, and farce,' whilst a beating rain was all the time drenching his magnificent tapestries at his portals.
:: Sturrock [1978] ::
348 years, six months, and nineteen days ago today, the people of Paris awoke to hear all the churchbells in the triple enclosure of the City, the University, and the Town in full voice. Not that 6 January 1482 is a day of which history has kept any record. There was nothing noteworthy about the event that had set the burgesses and bells of Paris in motion from early morning. It was not an assault by Picards or Burgundians, it was not a reliquary being carried in procession, it was not a student revolt in the vineyard of Laas, it was not an entry by 'our most redoubtable Lord Monsieur the King', it was not even a fine hanging of male and female thieves on the gallows of Paris. Nor was it the arrival, so frequent in the 15th century, of an embassy, in all its plumes and finery. It was barely two days since the last cavalcade of this kind, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, much to the annoyance of Monsieur the Cardinal of Bourbon, who, to please the king, had had to put on a smile for this uncouth mob of Flemish burgomasters and entertain them, in his Hotel de Bourbon, with a 'very fine morality, satire, and farce', as driving rain drenched the magnificent tapestries in his doorway.
:: Krailsheimer [1993] ::
Just three hundred and forty-eight years, six months, and nineteen days ago today Parisians woke to the sound of all the bells pealing out within the triple precinct of City, University, and Town. The sixth of January 1482 is not, however, a day commemorated by history. There was nothing very special about the event which thus launched the bells and the people of Paris into movement from early in the morning. It was not an attack by Picards or Burgundians, not a procession of relics, not a student revolt in the Laas vineyard, not 鈥榦ur aforesaid most dread sovereign Lord the King鈥� making his entry, not even the 铿乶e spectacle of men and women being hanged for robbery at the Palais de Justice in Paris. Nor was it the arrival of some embassy, a frequent occurrence in the fifteenth century, all bedizened and plumed. It was hardly two days since the last cavalcade of that kind, the Flemish embassy sent to conclude the marriage of the Dauphin and Marguerite of Flanders, had entered Paris, much to the annoyance of the Cardinal de Bourbon, who, to please the King, had had to put on a welcoming smile for this rustic bunch of Flemish burgomasters and treat them, in his Hotel de Bourbon, to 鈥榓 very fine morality, satire, and farce鈥�, while torrential rain soaked the magnificent tapestries hung at his door.
:: Liu [2002] ::
Three hundred and forty-eight years, six months, and nineteen days ago, the good people of Paris awoke to the sound of all the bells pealing in the three districts of the Cit茅, the Universit茅, and the Ville. The sixth of January, 1482, was, however, a day that history does not remember. There was nothing worthy of note in the event that set in motion earlv in the morning both the bells and the citizens of Paris. It was neither an assault of the Picards nor one of the Burgundians, nor a procession bearing the shrine of some saint, nor a student revolt in the vineyard of Laas, nor an entry of 鈥渙ur most feared Lord, Monsieur the King,鈥� nor even a lovely hanging of thieves of either sex before the Palace of justice of Paris. It was also not the arrival of some bedecked and befeathered ambassador, which was a frequent sight in the fifteenth century. It was barely two days since the last Cavalcade of this kind had been seen, as the Flemish ambassadors commissioned to conclude a marriage between the Dauphin and Margaret of Flanders had entered Paris, to the great annoyance of the Cardinal de Bourbon, who, in order to please the King, had been obliged to receive the entire rustic crew of Flemish burgomasters with a gracious smile, and to entertain them at his Hotel de Bourbon with 鈥渧ery elaborate morality plays, mummery, and farce,鈥� while pouring rain drenched the magni铿乧ent tapestry at his door.
:: Unknown [CreateSpace edition, 2013] ::
348 years, six months, and nineteen days ago today, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal. The 6th of January, 1842, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of 'our much dread lord, monsieur the king', nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the 15th century, of some plumed and bedizened embassy. It was barely two days since the last cavalcade of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance of M. le Cardinal de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable mien towards this whole rustic rabble of Flemish burgomasters, and to regale them at his Hotel de Bourbon, with a very 'pretty morality, allegorical satire, and farce', while a driving rain drenched the magnificent tapestries at his door.
:: and at long last ... ::
Il y a aujourd鈥檋ui trois cent quarante-huit ans six mois et dix-neuf jours que les parisiens s鈥櫭﹙eill猫rent au bruit de toutes les cloches sonnant 脿 grande vol茅e dans la triple enceinte de la Cit茅, de l鈥橴niversit茅 et de la Ville.
Ce n鈥檈st cependant pas un jour dont l鈥檋istoire ait gard茅 souvenir que le 6 janvier 1482. Rien de notable dans l鈥櫭﹙茅nement qui mettait ainsi en branle, d猫s le matin, les cloches et les bourgeois de Paris. Ce n鈥櫭﹖ait ni un assaut de picards ou de bourguignons, ni une ch芒sse men茅e en procession, ni une r茅volte d鈥櫭ヽoliers dans la vigne de Laas, ni une entr茅e de notre dit tr猫s redout茅 seigneur monsieur le roi, ni m锚me une belle pendaison de larrons et de larronnesses 脿 la Justice de Paris. Ce n鈥櫭﹖ait pas non plus la survenue, si fr茅quente au quinzi猫me si猫cle, de quelque ambassade chamarr茅e et empanach茅e. Il y avait 脿 peine deux jours que la derni猫re cavalcade de ce genre, celle des ambassadeurs flamands charg茅s de conclure le mariage entre le dauphin et Marguerite de Flandre, avait fait son entr茅e 脿 Paris, au grand ennui de Monsieur le cardinal de Bourbon, qui, pour plaire au roi, avait d没 faire bonne mine 脿 toute cette rustique cohue de bourgmestres flamands, et les r茅galer, en son h么tel de Bourbon, d鈥檜ne moult belle moralit茅, sotie et farce, tandis qu鈥檜ne pluie battante inondait 脿 sa porte ses magnifiques tapisseries.
:: Matvei P [2014] ::
It was on this day, three hundred and forty eight years, six months, and nineteen days since, that the people of Paris awoke to the din of all the bells ringing out a grand peal from the triple ramparts of the City, the University, and the Town. Yet the 6th of January, 1482, was not otherwise a day that history records. There was nothing remarkable in the event which, all that morning, had set the bells of Paris and her dwellers so astir. It was no invasion from Picardy or Burgundy, no solemn procession of relics to a shrine, no revolt of scholars from the vineyards of Laas, no entrance of our most dread lord the king, no fine hanging of thieves at the Palace of Justice. Nor was it the sudden arrival, so frequent in those days, of some ambassador, richly brocaded and beplumed. It had been two days since the last such parade -- that of the Flemish ambassadors tasked with confirming the marriage between the dauphin and Marguerite of Flanders -- had made its way to Paris, to the great annoyance of the cardinal of Bourbon, who, to please the king, had had to welcome this bumpkin lot of Flemish worthies to his estate and there regale them with mummeries and farces, as all the while a driving rain drenched the magnificent tapestries at his door.
Please click 'Like' if you found this useful - it will make it easier for other people to find it!
If you want an opinion without having to slog through all these, I think the only ones close to great literature in English are Beckwith [1895] and maybe Sturrock [1978], who seems to follow Beckwith rather closely. Beckwith is quite good, with Sturrock a notch below, and all the rest defacing Hugo as much as his detested 'masons' were then defacing the medieval facade of Paris.
:: Shoberl [1833] ::
On this day 348 years, six months, and nineteen days since the good people of Paris were awakened by a grand peal from all the bells in the three districts of the City, the University, and the Ville. The 6th of January, 1482, was, nevertheless, a day of which history has not preserved any record. There was nothing worthy of note in the event which so early set in motion the bells and the citizens of Paris. It was neither an assault of the Picards or the Burgundians, nor a procession with the shrine of some saint, nor a mutiny of the students, nor an entry of our "most redoubted lord, Monsieur the king," nor even an execution of rogues of either sex, before the Palace of Justice of Paris. Neither was it an arrival of some bedizened and befeathered embassy, a sight of frequent occurrence in the fifteenth century. It was but two days since the last cavalcade of this kind, that of the Flemish ambassadors commissioned to conclude a marriage between the Dauphin and Margaret of Flanders, had made its entry into Paris, to the great annoyance of the Cardinal of Bourbon, who, in order to please the king, had been obliged to receive this vulgar squad of Flemish burgomasters with good grace, and to entertain them at his hotel de Bourbon with a goodly morality, mummery, and farce, while a deluge of rain drenched the magnificent tapestry at his door.
:: Anonymous [19th century, adopted by Everyman's Library] ::
On the 6th of January, 1482, the Parisians were awakened by the noise of all the bells within the triple circuit of the City, the University, and the Town ringing in full peal. Yet this is not a day of which history has preserved any remembrance. There was nothing remarkable in the event which thus put in agitation so early in the morning the bells and the good people of Paris. It was neither an assault of Picards or of Burgundians; nor a shrine carried in procession; nor a revolt of scholars in la vigne de Laas; nor an entry of notre dit tres-redoute seigneur Monsieur le Roi - that is, in plain English, of their most dread lord the King ["In good plain English"!? - Matvei]; nor yet a good hanging up of thieves, male and female, at the Justice de Paris (justice and gibbet having been synonymous in the good old feudal times)[That remark is also actually in the translation - Matvei]. Neither was it the sudden arrival, so frequent in the 15th century, of some ambassador and his train, all covered with lace and plumes. Scarcely two days had elapsed since the last cavalcade of this sort, that of the Flemish envoys commissioned to conclude the marriage treaty between the Dauphin and Margaret of Flanders, had made its entry into Paris, to the great annoyance of Monsieur le Cardinal de Bourbon, who to please the king had been obliged to give a gracious reception to that rude train of Flemish burgomasters, and entertain them, at his Hotel de Bourbon, with one of the rude dramatic exhibitions of the time, while a beating rain drenched the magnificent tapestry at his door.
:: Alger [1882] ::
348 years, six months, and nineteen days ago today, the Parisians were waked by the sound of loud peals from all the bells within the triple precincts of the City, the University, and the Town. And yet the 6th of January, 1842, is not a day of which history takes much note. There was nothing extraordinary about the event which thus set all the bells and the citizens of Paris agog from early dawn. It was neither an attack from the Picards or the Burgundians, nor some shrine carried in procession, nor was it a student revolt in the Ville de Laas, nor an entry of "our greatly to be dreaded lord the king", nor even the wholesale slaughter of a band of thieves before the Palace of Justice. Neither was it the arrival, so frequent during the 15th century, of some plumed and laced embassy. It was scarcely two days since the last cavalcade of this sort, that of the Flemish ambassadors empowered to arrange a marriage between the Dauphin and Marguerite of Flanders, had entered Paris, to the great annoyance of Cardinal Bourbon, who, to please the king, was forced to smile upon all this rustic rout of Flemish burgomasters, and to entertain them at his own mansion with "a very fine morality and farce", while a driving rainstorm drenched the splendid tapestries at his door.
:: Hapgood [1888] ::
Three hundred and forty-eight years, six months, and nineteen days ago today, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal. The sixth of January, 1482, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of "our much dread lord, monsieur the king," nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the fifteenth century, of some plumed and bedizened embassy. It was barely two days since the last cavalcade of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance of M. le Cardinal de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable mien towards this whole rustic rabble of Flemish burgomasters, and to regale them at his H么tel de Bourbon, with a very "pretty morality, allegorical satire, and farce," while a driving rain drenched the magnificent tapestries at his door.
:: Beckwith [1895] ::
Exactly 348 years, six months, and nineteen days have passed away since the Parisians were awakened by the noise of all the bells within the triple walls of the city, the University, and the town, ringing a full peal. Yet the 6th of January, 1482, was not a day of which history has preserved any record. There was nothing remarkable in the event which thus put in agitation so early in the morning the bells and the good people of Paris. It was neither an assault of the Picards or of the Burgundians, nor a shrine carried in procession, nor a revolt of scholars in the vigne de Laas, nor an entry of their most dread lord the king, nor a grand hanging up of thieves, male and female, at the Justice de Paris. Neither was it the sudden arrival, so frequent in the fifteenth century, of some ambassador and his train, all covered with lace and plumes. Scarcely two days had elapsed since the last cavalcade of this sort -- that of the Flemish envoys commissioned to conclude the marriage treaty between the Dauphin and Margaret of Flanders -- had made its entry into Paris, to the great annoyance of Monsieur le Cardinal de Bourbon, who, to please the king, had been obliged to give a gracious reception to that rude train of Flemish burgomasters, and entertain them, at his Hotel de Bourbon, with one of the rude dramatic exhibitions of the time, while a beating rain drenched the magnificent tapestry at his door.
:: Bair [1956] ::
On January 6, 1482, the people of Paris were awakened by the tumultuous clanging of all the bells in the city. Yet history has kept no memory of this date, for there was nothing notable about the event which set in motion the bells and citizens of Paris that morning. It was not an attack by the Picards or the Burgundians, a procession carrying the relics of some saint, an entry of "Our Most Dread Lord, Monsieur the King," nor even a good hanging of thieves. Nor was it the arrival of some foreign ambassador and his train, all decked out in lace and feathers, a common sight in the 15th century. It had been scarcely two days since the latest cavalcade of this kind had paraded through the streets: the delegation of Flemish ambassadors sent to conclude the marriage between the Dauphin and Marguerite of Flanders. To his great annoyance, Cardinal de Bourbon, in order to please the king, had been obliged to give a gracious reception to that uncouth band of Flemish burgomasters and entertain them in his mansion. [Yes, Bair omitted the driving rain drenching the tapestries! - Matvei]
:: Unknown (though after you read this, it will be clear that the translator was Alan Smithee) [Wordsworth Classics edition - perhaps Cobb 1964?] ::
One morning, 348 years, six months, and nineteen days ago, the Parisians were awakened by a grand peal from all the bells, within the triple enclosure of the City, the University, and the Town. Yet the 6th of January, 1482, was not a day of which history has preserved any record. There was nothing remarkable in the event that so early in the morning set in commotion the bells and the bourgeois of Paris. It was neither a sudden attack made by Picards or by Burgundians, nor a shrine carried in procession, nor a student fight in the city of Laas, nor the entry of 'our most dread lord the King', nor even a goodly stringing up of thieves, male and female, on the Place de la Justice. Nor it was it a sudden arrival, so common in the 15th century, of some ambassador and his train, all belaced and beplumed. Only about two days ago, indeed, the last cavalcade of this kind, Flemish envoys commissioned to conclude the marriage treaty between the young dauphin and Marguerite of Flanders, had made entry into Paris, to the great annoyance of Cardinal Bourbon. To please the king, his Eminence had undertaken to give gracious reception to the rough crowd of Flemish burgomasters, and to entertain them at his Hotel de Bourbon with a 'very fine morality, burletta, and farce,' whilst a beating rain was all the time drenching his magnificent tapestries at his portals.
:: Sturrock [1978] ::
348 years, six months, and nineteen days ago today, the people of Paris awoke to hear all the churchbells in the triple enclosure of the City, the University, and the Town in full voice. Not that 6 January 1482 is a day of which history has kept any record. There was nothing noteworthy about the event that had set the burgesses and bells of Paris in motion from early morning. It was not an assault by Picards or Burgundians, it was not a reliquary being carried in procession, it was not a student revolt in the vineyard of Laas, it was not an entry by 'our most redoubtable Lord Monsieur the King', it was not even a fine hanging of male and female thieves on the gallows of Paris. Nor was it the arrival, so frequent in the 15th century, of an embassy, in all its plumes and finery. It was barely two days since the last cavalcade of this kind, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, much to the annoyance of Monsieur the Cardinal of Bourbon, who, to please the king, had had to put on a smile for this uncouth mob of Flemish burgomasters and entertain them, in his Hotel de Bourbon, with a 'very fine morality, satire, and farce', as driving rain drenched the magnificent tapestries in his doorway.
:: Krailsheimer [1993] ::
Just three hundred and forty-eight years, six months, and nineteen days ago today Parisians woke to the sound of all the bells pealing out within the triple precinct of City, University, and Town. The sixth of January 1482 is not, however, a day commemorated by history. There was nothing very special about the event which thus launched the bells and the people of Paris into movement from early in the morning. It was not an attack by Picards or Burgundians, not a procession of relics, not a student revolt in the Laas vineyard, not 鈥榦ur aforesaid most dread sovereign Lord the King鈥� making his entry, not even the 铿乶e spectacle of men and women being hanged for robbery at the Palais de Justice in Paris. Nor was it the arrival of some embassy, a frequent occurrence in the fifteenth century, all bedizened and plumed. It was hardly two days since the last cavalcade of that kind, the Flemish embassy sent to conclude the marriage of the Dauphin and Marguerite of Flanders, had entered Paris, much to the annoyance of the Cardinal de Bourbon, who, to please the King, had had to put on a welcoming smile for this rustic bunch of Flemish burgomasters and treat them, in his Hotel de Bourbon, to 鈥榓 very fine morality, satire, and farce鈥�, while torrential rain soaked the magnificent tapestries hung at his door.
:: Liu [2002] ::
Three hundred and forty-eight years, six months, and nineteen days ago, the good people of Paris awoke to the sound of all the bells pealing in the three districts of the Cit茅, the Universit茅, and the Ville. The sixth of January, 1482, was, however, a day that history does not remember. There was nothing worthy of note in the event that set in motion earlv in the morning both the bells and the citizens of Paris. It was neither an assault of the Picards nor one of the Burgundians, nor a procession bearing the shrine of some saint, nor a student revolt in the vineyard of Laas, nor an entry of 鈥渙ur most feared Lord, Monsieur the King,鈥� nor even a lovely hanging of thieves of either sex before the Palace of justice of Paris. It was also not the arrival of some bedecked and befeathered ambassador, which was a frequent sight in the fifteenth century. It was barely two days since the last Cavalcade of this kind had been seen, as the Flemish ambassadors commissioned to conclude a marriage between the Dauphin and Margaret of Flanders had entered Paris, to the great annoyance of the Cardinal de Bourbon, who, in order to please the King, had been obliged to receive the entire rustic crew of Flemish burgomasters with a gracious smile, and to entertain them at his Hotel de Bourbon with 鈥渧ery elaborate morality plays, mummery, and farce,鈥� while pouring rain drenched the magni铿乧ent tapestry at his door.
:: Unknown [CreateSpace edition, 2013] ::
348 years, six months, and nineteen days ago today, the Parisians awoke to the sound of all the bells in the triple circuit of the city, the university, and the town ringing a full peal. The 6th of January, 1842, is not, however, a day of which history has preserved the memory. There was nothing notable in the event which thus set the bells and the bourgeois of Paris in a ferment from early morning. It was neither an assault by the Picards nor the Burgundians, nor a hunt led along in procession, nor a revolt of scholars in the town of Laas, nor an entry of 'our much dread lord, monsieur the king', nor even a pretty hanging of male and female thieves by the courts of Paris. Neither was it the arrival, so frequent in the 15th century, of some plumed and bedizened embassy. It was barely two days since the last cavalcade of that nature, that of the Flemish ambassadors charged with concluding the marriage between the dauphin and Marguerite of Flanders, had made its entry into Paris, to the great annoyance of M. le Cardinal de Bourbon, who, for the sake of pleasing the king, had been obliged to assume an amiable mien towards this whole rustic rabble of Flemish burgomasters, and to regale them at his Hotel de Bourbon, with a very 'pretty morality, allegorical satire, and farce', while a driving rain drenched the magnificent tapestries at his door.
:: and at long last ... ::
Il y a aujourd鈥檋ui trois cent quarante-huit ans six mois et dix-neuf jours que les parisiens s鈥櫭﹙eill猫rent au bruit de toutes les cloches sonnant 脿 grande vol茅e dans la triple enceinte de la Cit茅, de l鈥橴niversit茅 et de la Ville.
Ce n鈥檈st cependant pas un jour dont l鈥檋istoire ait gard茅 souvenir que le 6 janvier 1482. Rien de notable dans l鈥櫭﹙茅nement qui mettait ainsi en branle, d猫s le matin, les cloches et les bourgeois de Paris. Ce n鈥櫭﹖ait ni un assaut de picards ou de bourguignons, ni une ch芒sse men茅e en procession, ni une r茅volte d鈥櫭ヽoliers dans la vigne de Laas, ni une entr茅e de notre dit tr猫s redout茅 seigneur monsieur le roi, ni m锚me une belle pendaison de larrons et de larronnesses 脿 la Justice de Paris. Ce n鈥櫭﹖ait pas non plus la survenue, si fr茅quente au quinzi猫me si猫cle, de quelque ambassade chamarr茅e et empanach茅e. Il y avait 脿 peine deux jours que la derni猫re cavalcade de ce genre, celle des ambassadeurs flamands charg茅s de conclure le mariage entre le dauphin et Marguerite de Flandre, avait fait son entr茅e 脿 Paris, au grand ennui de Monsieur le cardinal de Bourbon, qui, pour plaire au roi, avait d没 faire bonne mine 脿 toute cette rustique cohue de bourgmestres flamands, et les r茅galer, en son h么tel de Bourbon, d鈥檜ne moult belle moralit茅, sotie et farce, tandis qu鈥檜ne pluie battante inondait 脿 sa porte ses magnifiques tapisseries.
:: Matvei P [2014] ::
It was on this day, three hundred and forty eight years, six months, and nineteen days since, that the people of Paris awoke to the din of all the bells ringing out a grand peal from the triple ramparts of the City, the University, and the Town. Yet the 6th of January, 1482, was not otherwise a day that history records. There was nothing remarkable in the event which, all that morning, had set the bells of Paris and her dwellers so astir. It was no invasion from Picardy or Burgundy, no solemn procession of relics to a shrine, no revolt of scholars from the vineyards of Laas, no entrance of our most dread lord the king, no fine hanging of thieves at the Palace of Justice. Nor was it the sudden arrival, so frequent in those days, of some ambassador, richly brocaded and beplumed. It had been two days since the last such parade -- that of the Flemish ambassadors tasked with confirming the marriage between the dauphin and Marguerite of Flanders -- had made its way to Paris, to the great annoyance of the cardinal of Bourbon, who, to please the king, had had to welcome this bumpkin lot of Flemish worthies to his estate and there regale them with mummeries and farces, as all the while a driving rain drenched the magnificent tapestries at his door.
January 15, 2019
Victor Hugo's is one of my all-time favourite novels and so it's odd that I've never read any of his other books. In order to fill in the gaps in my reading, I've decided to read at least one classic a month this year and am so glad I started with The Hunchback of Notre Dame. Wow, wow... WOW! What a freaking good story! It's not quite as good as Les Mis but it's still incredible. At times Hugo can be long-winded and I could have thrown the Kindle across the room when he rambled on for 50 or so pages describing Notre Dame and the view from there. However, as I didn't fancy breaking the Kindle and having to buy a new one, I reined myself in and plowed through it. (Maybe physical books ARE better than e-books in this case?!). After that section, thankfully near the beginning, the book was very enjoyable and gripping. But damn! It will break your heart! Still, Hugo's wit is prevalent throughout and I found myself chuckling several times, even though the story is so tragic. I'm so glad I finally got around to reading this.
January 19, 2022
Ceci n'est pas un roman
Diciamolo subito: uno dei primi e pi霉 famosi romanzi storici francesi, in realt脿, non 猫 un vero romanzo; chi si aspetta di trovare in queste pagine una trama lineare, che proceda ininterrottamente con un inizio, uno sviluppo e una fine, rimarr脿 profondamente deluso.
Il giovane Victor Hugo scrisse quest'opera con uno scopo assai preciso, che andava ben oltre la mera emulazione di Walter Scott: sensibilizzare la societ脿 francese nei riguardi dell'architettura storica, per impedire che molti tesori del passato venissero distrutti.
Il titolo, del resto, la dice lunga; non 猫 Quasimodo o Il gobbo di Notre-Dame e nemmeno Gli amori perversi dell'arcidiacono alchimista, ma Notre-Dame de Paris, la protagonista 猫 lei, la cattedrale gotica. Non si scappa.
Non un vero romanzo, dunque, ma un trattato sulla Parigi medievale, sulle sue vie, le sue piazze, i suoi palazzi e le sue chiese, Notre-Dame su tutte, che Hugo fa rivivere in queste pagine; ma pure una profonda riflessione filosofica sull'importanza della Storia e delle sue vestigia; il resto, i personaggi, l'intreccio, le invenzioni letterarie che pur non mancano, 猫 solo contorno, un orpello necessario per rendere l'opera vendibile al pubblico pi霉 vasto, un ninnolo per baloccare il lettore e nulla pi霉.
Le vere digressioni, qui, non sono le descrizioni urbanistiche, le argomentazioni storiche, le riflessioni filosofiche, le denunce politiche, ma le poche trame narrative che emergono come scogli fra una disquisizione e l'altra.
Perch茅 il ventottenne Victor si produsse in tanto sforzo?
Hugo aveva molto a cuore il tema della conservazione dell鈥檃rchitettura storica, qualche anno prima aveva gi脿 dato alle stampe il pamphlet Guerre aux d茅molisseurs! e bisogna ricordare che nel 1831, in Francia, il concetto di tutela del patrimonio era del tutto assente, gli edifici storici erano solo edifici vecchi e, in quanto tali, potevano essere abbattuti senza grosse remore.
Erano anni in cui, dopo le devastazioni e i saccheggi della prima Rivoluzione, i gotici luoghi di culto parigini versavano in uno stato di misero abbandono; Notre-Dame cadeva a pezzi e il progetto di demolizione della Sainte-Chapelle per costruire un nuovo padiglione del Palazzo di Giustizia era in via di approvazione.
Il rischio di perdere gran parte del patrimonio storico-architettonico fu concreto, e fu anche merito dell'esegesi del Medioevo racchiusa in questo romanzo se l'opinione pubblica parigina si scosse e la politica le venne dietro: nel 1834 Prosper M茅rim茅e fu nominato Ispettore Generale dei monumenti storici, iniziarono grandi campagne di studio che aprirono la strada, a partire dal decennio successivo, alle teorie ed alle pratiche di restauro di Viollet-le-Duc (che probabilmente conosceva a memoria il romanzo di Hugo, tant鈥櫭� che ne copi貌 l'espressione "libro di pietra" per descrivere le architetture storiche), teorie che poi si riverberarono in tutta l'Europa continentale, fino a far assurgere il gotico a "stile nazionale" francese.
Le idee di Hugo sulla tutela sono ovviamente figlie del loro tempo, e se oggi il ripristino di una forma originaria andata perduta nel corso dei secoli 猫 -o dovrebbe essere- considerato un modus operandi non pi霉 corretto, nella sua accezione pi霉 ampia il pensiero di Hugo 猫 tutt'ora condivisibile, perch茅 non si pu貌 distruggere un patrimonio che non ci appartiene, che era dei nostri antenati e sar脿 dei nostri posteri, solo in nome del progresso o del cambiamento del gusto collettivo; questa 猫 una lezione che Parigi non ha mai imparato del tutto: se il successo di Notre-Dame de Paris contribu矛 a garantire la salvaguardia dei grandi monumenti gotici cittadini, pochi anni dopo la sua pubblicazione ci avrebbe pensato il barone Haussmann a distruggere quel poco che restava della citt脿 storica, per creare i grandi boulevards per cui oggi Parigi 猫 tanto celebre. Nel corso degli anni sono andati perduti per sempre capolavori architettonici come la vertiginosa chiesa barocca di Sainte Anne la Royale, progettata da quel genio di Guarino Guarini, oppure, in tempi pi霉 recenti, Les Halles, meraviglioso mercato coperto ottocentesco realizzato in vetro e metallo, demolito solo una quarantina d'anni fa per far posto a un centro commerciale.
Tornando al romanzo, Hugo era pur sempre uno scrittore d'incomparabile talento, ed anche quel minimo di trama che c鈥櫭�, 猫 comunque degna d'attenzione; soprattutto nella seconda parte la narrazione acquista spessore, l'arcidiacono Claude Frollo 猫 un personaggio che non si dimentica tanto facilmente.
Tuttavia, nonostante la prosa superba, ci sono anche momenti d'involontaria comicit脿, come quando Esmeralda esclama: "Amo il vostro nome, amo la vostra spada. Su, sguainate la spada, Ph艙bus, fatemela vedere"; ecco, non siamo tanto distanti dal "bevi qualcosa, Pedro" di marchesiniana memoria.
Nel finale, straziante come solo Hugo sapeva fare, la narrazione subisce di nuovo una battuta d'arresto, proprio sul pi霉 bello, per far spazio ad una riflessione sul deterioramento del potere monarchico, ma, bisogna dirlo, gl'impavidi lettori che riescono ad arrivare a quel punto ormai hanno fatto il callo alla prosa di Hugo, alias il Dottor Divago, e non si stupiscono pi霉 di nulla.
Diciamolo subito: uno dei primi e pi霉 famosi romanzi storici francesi, in realt脿, non 猫 un vero romanzo; chi si aspetta di trovare in queste pagine una trama lineare, che proceda ininterrottamente con un inizio, uno sviluppo e una fine, rimarr脿 profondamente deluso.
Il giovane Victor Hugo scrisse quest'opera con uno scopo assai preciso, che andava ben oltre la mera emulazione di Walter Scott: sensibilizzare la societ脿 francese nei riguardi dell'architettura storica, per impedire che molti tesori del passato venissero distrutti.
Il titolo, del resto, la dice lunga; non 猫 Quasimodo o Il gobbo di Notre-Dame e nemmeno Gli amori perversi dell'arcidiacono alchimista, ma Notre-Dame de Paris, la protagonista 猫 lei, la cattedrale gotica. Non si scappa.
Non un vero romanzo, dunque, ma un trattato sulla Parigi medievale, sulle sue vie, le sue piazze, i suoi palazzi e le sue chiese, Notre-Dame su tutte, che Hugo fa rivivere in queste pagine; ma pure una profonda riflessione filosofica sull'importanza della Storia e delle sue vestigia; il resto, i personaggi, l'intreccio, le invenzioni letterarie che pur non mancano, 猫 solo contorno, un orpello necessario per rendere l'opera vendibile al pubblico pi霉 vasto, un ninnolo per baloccare il lettore e nulla pi霉.
Le vere digressioni, qui, non sono le descrizioni urbanistiche, le argomentazioni storiche, le riflessioni filosofiche, le denunce politiche, ma le poche trame narrative che emergono come scogli fra una disquisizione e l'altra.
Perch茅 il ventottenne Victor si produsse in tanto sforzo?
Hugo aveva molto a cuore il tema della conservazione dell鈥檃rchitettura storica, qualche anno prima aveva gi脿 dato alle stampe il pamphlet Guerre aux d茅molisseurs! e bisogna ricordare che nel 1831, in Francia, il concetto di tutela del patrimonio era del tutto assente, gli edifici storici erano solo edifici vecchi e, in quanto tali, potevano essere abbattuti senza grosse remore.
Erano anni in cui, dopo le devastazioni e i saccheggi della prima Rivoluzione, i gotici luoghi di culto parigini versavano in uno stato di misero abbandono; Notre-Dame cadeva a pezzi e il progetto di demolizione della Sainte-Chapelle per costruire un nuovo padiglione del Palazzo di Giustizia era in via di approvazione.
Il rischio di perdere gran parte del patrimonio storico-architettonico fu concreto, e fu anche merito dell'esegesi del Medioevo racchiusa in questo romanzo se l'opinione pubblica parigina si scosse e la politica le venne dietro: nel 1834 Prosper M茅rim茅e fu nominato Ispettore Generale dei monumenti storici, iniziarono grandi campagne di studio che aprirono la strada, a partire dal decennio successivo, alle teorie ed alle pratiche di restauro di Viollet-le-Duc (che probabilmente conosceva a memoria il romanzo di Hugo, tant鈥櫭� che ne copi貌 l'espressione "libro di pietra" per descrivere le architetture storiche), teorie che poi si riverberarono in tutta l'Europa continentale, fino a far assurgere il gotico a "stile nazionale" francese.
Le idee di Hugo sulla tutela sono ovviamente figlie del loro tempo, e se oggi il ripristino di una forma originaria andata perduta nel corso dei secoli 猫 -o dovrebbe essere- considerato un modus operandi non pi霉 corretto, nella sua accezione pi霉 ampia il pensiero di Hugo 猫 tutt'ora condivisibile, perch茅 non si pu貌 distruggere un patrimonio che non ci appartiene, che era dei nostri antenati e sar脿 dei nostri posteri, solo in nome del progresso o del cambiamento del gusto collettivo; questa 猫 una lezione che Parigi non ha mai imparato del tutto: se il successo di Notre-Dame de Paris contribu矛 a garantire la salvaguardia dei grandi monumenti gotici cittadini, pochi anni dopo la sua pubblicazione ci avrebbe pensato il barone Haussmann a distruggere quel poco che restava della citt脿 storica, per creare i grandi boulevards per cui oggi Parigi 猫 tanto celebre. Nel corso degli anni sono andati perduti per sempre capolavori architettonici come la vertiginosa chiesa barocca di Sainte Anne la Royale, progettata da quel genio di Guarino Guarini, oppure, in tempi pi霉 recenti, Les Halles, meraviglioso mercato coperto ottocentesco realizzato in vetro e metallo, demolito solo una quarantina d'anni fa per far posto a un centro commerciale.
Tornando al romanzo, Hugo era pur sempre uno scrittore d'incomparabile talento, ed anche quel minimo di trama che c鈥櫭�, 猫 comunque degna d'attenzione; soprattutto nella seconda parte la narrazione acquista spessore, l'arcidiacono Claude Frollo 猫 un personaggio che non si dimentica tanto facilmente.
Tuttavia, nonostante la prosa superba, ci sono anche momenti d'involontaria comicit脿, come quando Esmeralda esclama: "Amo il vostro nome, amo la vostra spada. Su, sguainate la spada, Ph艙bus, fatemela vedere"; ecco, non siamo tanto distanti dal "bevi qualcosa, Pedro" di marchesiniana memoria.
Nel finale, straziante come solo Hugo sapeva fare, la narrazione subisce di nuovo una battuta d'arresto, proprio sul pi霉 bello, per far spazio ad una riflessione sul deterioramento del potere monarchico, ma, bisogna dirlo, gl'impavidi lettori che riescono ad arrivare a quel punto ormai hanno fatto il callo alla prosa di Hugo, alias il Dottor Divago, e non si stupiscono pi霉 di nulla.
March 24, 2025
The Hunchback of Notre-Dame is a timeless masterpiece that weaves together rich, vibrant characters and breathtaking descriptions of Paris. Victor Hugo's storytelling is both poetic and powerful, drawing readers deep into the heart of a tragic yet beautiful tale. The characters, especially Quasimodo and Esmeralda, are unforgettable, evoking both sympathy and admiration. With its mix of romance, mystery, and social commentary, this novel is a truly captivating experience that resonates long after the final page. A must-read for any lover of classic literature.
December 27, 2024
Long before "Intouchables" and "Rust and Bone," Mr. Victor Hugo decided to choose disgraced, rejected, banished beings from society to make heroes of them.
Nothing is more sulfurous than this immense cathedral, its square teeming with misery, its priest hallucinated by desire, its gnome inhabited by grace, its princess in rags, and its fortress walls protecting neither vice nor death. Demons and angels confront each other, indifferent to human suffering, eternal fighters whose souls are at stake.
Nothing is more sulfurous than this immense cathedral, its square teeming with misery, its priest hallucinated by desire, its gnome inhabited by grace, its princess in rags, and its fortress walls protecting neither vice nor death. Demons and angels confront each other, indifferent to human suffering, eternal fighters whose souls are at stake.
August 29, 2024
Vibrant scenes, full of irony but also one of the most trope filled books I鈥檝e read. The Hunchback of the Notre Dame is much more like a Disney movie than I expected: predictable, fun and with solid production value a.k.a. writing by Hugo.
Setting
No better way to keep somebody waiting patiently than to swear to them that you will start immediately
This tale, with an almost execution in book two and some miraculous saves and a beauty with an animal companion (Djali the spelling, golden horned and hoofed mini goat) feels so filmic and Disney that it is almost uncanny. That the titular character only appears around page 60 is different than a modern day filmmaker would have it, but for the rest feels as formulaic and fun as a Marvel movie. Everyone knows each other, is related to each other, doesn鈥檛 know their own identity and dies at the exact same moment, it鈥檚 a soap opera like in that sense.
Hugo鈥檚 love for medieval Paris and grievances with changes after the gothic era is the longest chapter and clearly shines throughout the novel. does likes driving the point home in respect to his views on the past, in chapter two we already have two 鈥渁nd then鈥�, 鈥渁nd then鈥�, 鈥渁nd then鈥� paragraphs about some setting in the past. The slightly satiric voiceover from the 19th century providing comments on the tale in the 15th century is interesting and make the book feel quite modern, a bit like, a surprisingly easy read.
The supposition, with belief in alchemy, people locked in cells for prayer till they die and witch trials, make the world of Quasimodo still feel very different to Hugo鈥檚 or our own times. Also there is a lot of Latin, of which I wonder if it is not an anachronistic device if Hugo. Was French at that time not already a lingua franca?
Ayway, the injustice and haphazard nature of authority (that comes back more prominent in ), is exemplified here with a deaf judge, and stands in stark contrast to the love Hugo shows to the gothic scenery of Paris in the 15th century.
King Louis XI makes a chapter long cameo and perfectly captures the villains in the story: absent minded, vain, fickle and deviously fun to read about, as are the vagabonds in the Coeur des Miracles who are almost slapstick like villains.
Overall Hugo鈥檚 attitude to medieval Paris reminds me of Midnight in Paris by Woody Allen where everyone wants to go back to a historic golden age Paris that they鈥檝e just missed.
Characters
Nothing makes more adventurous than a completely empty purse
The characters are filmic as well.
Frollo gets a whole Bruce Wayne backstory in 5 pages and turns out to be the most #metoo character ever, blaming his fall from sanity and into kidnap, murder and worse fully on Esmeralda鈥檚 looks.
We have Gringoire, pedantic but pragmatic, with a lot of words, who seems a little bit too much into Djali the mini goat for comfort.
Esmeralda, in the end just being plain stupid for falling for captain Phoebus rather than just showing na茂vet茅 in my humble opinion.
And of course Quasimodo, evil because he is wild, wild because he is ugly, is depicted in an almost like way.
Also the way in how events are foreshadowed but the characters don鈥檛 seem able to do anything to change their fate (Anank猫 incidentally being the Greek word for fate that starts of the novel) feels distinctly gothic novel like. However compared to Frankenstein and I liked this work of Hugo a lot more because of the humour he incorporates as omniscient narrator, breaking the fourth wall and showing the hypocrisy of his characters. The keen eye of Hugo for the faults and limitations of his characters, for instance vain Phoebus, good for nothing, always student Jehan and naieve Esmeralda, reminds me of .
There are some aspects of the storytelling that struck me as a bit sloppy, like how did Frollo buy something, and give a coin to Phoebus, when his brother took his purse with him? And due to the slapstick nature of some characters I could not really say I engaged emotionally with the "tragic" outcome.
But overall this is a surprisingly fun classic, despite it being predictable for a modern day reader.
Setting
No better way to keep somebody waiting patiently than to swear to them that you will start immediately
This tale, with an almost execution in book two and some miraculous saves and a beauty with an animal companion (Djali the spelling, golden horned and hoofed mini goat) feels so filmic and Disney that it is almost uncanny. That the titular character only appears around page 60 is different than a modern day filmmaker would have it, but for the rest feels as formulaic and fun as a Marvel movie. Everyone knows each other, is related to each other, doesn鈥檛 know their own identity and dies at the exact same moment, it鈥檚 a soap opera like in that sense.
Hugo鈥檚 love for medieval Paris and grievances with changes after the gothic era is the longest chapter and clearly shines throughout the novel. does likes driving the point home in respect to his views on the past, in chapter two we already have two 鈥渁nd then鈥�, 鈥渁nd then鈥�, 鈥渁nd then鈥� paragraphs about some setting in the past. The slightly satiric voiceover from the 19th century providing comments on the tale in the 15th century is interesting and make the book feel quite modern, a bit like, a surprisingly easy read.
The supposition, with belief in alchemy, people locked in cells for prayer till they die and witch trials, make the world of Quasimodo still feel very different to Hugo鈥檚 or our own times. Also there is a lot of Latin, of which I wonder if it is not an anachronistic device if Hugo. Was French at that time not already a lingua franca?
Ayway, the injustice and haphazard nature of authority (that comes back more prominent in ), is exemplified here with a deaf judge, and stands in stark contrast to the love Hugo shows to the gothic scenery of Paris in the 15th century.
King Louis XI makes a chapter long cameo and perfectly captures the villains in the story: absent minded, vain, fickle and deviously fun to read about, as are the vagabonds in the Coeur des Miracles who are almost slapstick like villains.
Overall Hugo鈥檚 attitude to medieval Paris reminds me of Midnight in Paris by Woody Allen where everyone wants to go back to a historic golden age Paris that they鈥檝e just missed.
Characters
Nothing makes more adventurous than a completely empty purse
The characters are filmic as well.
Frollo gets a whole Bruce Wayne backstory in 5 pages and turns out to be the most #metoo character ever, blaming his fall from sanity and into kidnap, murder and worse fully on Esmeralda鈥檚 looks.
We have Gringoire, pedantic but pragmatic, with a lot of words, who seems a little bit too much into Djali the mini goat for comfort.
Esmeralda, in the end just being plain stupid for falling for captain Phoebus rather than just showing na茂vet茅 in my humble opinion.
And of course Quasimodo, evil because he is wild, wild because he is ugly, is depicted in an almost like way.
Also the way in how events are foreshadowed but the characters don鈥檛 seem able to do anything to change their fate (Anank猫 incidentally being the Greek word for fate that starts of the novel) feels distinctly gothic novel like. However compared to Frankenstein and I liked this work of Hugo a lot more because of the humour he incorporates as omniscient narrator, breaking the fourth wall and showing the hypocrisy of his characters. The keen eye of Hugo for the faults and limitations of his characters, for instance vain Phoebus, good for nothing, always student Jehan and naieve Esmeralda, reminds me of .
There are some aspects of the storytelling that struck me as a bit sloppy, like how did Frollo buy something, and give a coin to Phoebus, when his brother took his purse with him? And due to the slapstick nature of some characters I could not really say I engaged emotionally with the "tragic" outcome.
But overall this is a surprisingly fun classic, despite it being predictable for a modern day reader.
November 14, 2016
螖蔚谓 蠂蟻蔚喂维味蔚蟿伪喂 谓伪 蟺蠅 蟺慰位位维 纬喂伪蟿委 畏 喂蟽蟿慰蟻委伪 蔚委谓伪喂 纬谓蠅蟽蟿萎. 螛伪 蟺蠅 渭蠈谓慰 蠈蟿喂 蟽蔚 魏伪渭委伪 蟺蔚蟻委蟺蟿蠅蟽畏 未蔚谓 蟿慰 蟺蔚蟻委渭蔚谓伪 韦螣危螣 惟巍螒螜螣. 韦蠈蟽慰 苇谓蟿慰谓慰. 螠蔚 渭喂伪 蟿慰蠀 蠁蟻维蟽畏 慰 Victor Hugo 未畏渭喂慰蠀蟻纬慰蠉蟽蔚 蔚魏伪蟿慰谓蟿维未蔚蟼 蟽蠀谓伪喂蟽胃萎渭伪蟿伪.
螣 螝慰蠀伪蟽喂渭蠈未慰 蟺蟻慰蟽畏位蠅渭苇谓慰蟼 魏伪喂 蠁蠀位伪魏喂蟽渭苇谓慰蟼 蟽蟿慰谓 谓伪蠈 Notre-Dame 魏伪喂 蔚纬蠋 蟺蟻慰蟽畏位蠅渭苇谓慰蟼 魏伪喂 蠁蠀位伪魏喂蟽渭苇谓慰蟼 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀.
螖喂伪尾维蟽蟿蔚 蟿慰!
螣 螝慰蠀伪蟽喂渭蠈未慰 蟺蟻慰蟽畏位蠅渭苇谓慰蟼 魏伪喂 蠁蠀位伪魏喂蟽渭苇谓慰蟼 蟽蟿慰谓 谓伪蠈 Notre-Dame 魏伪喂 蔚纬蠋 蟺蟻慰蟽畏位蠅渭苇谓慰蟼 魏伪喂 蠁蠀位伪魏喂蟽渭苇谓慰蟼 蟽蟿喂蟼 蟽蔚位委未蔚蟼 蟿慰蠀 尾喂尾位委慰蠀.
螖喂伪尾维蟽蟿蔚 蟿慰!
April 25, 2020
鈽呪槄鈽呪槄鈽� 5 stars
Masterpiece.
Masterpiece.
January 29, 2024
Si Victor Hugo pudiese pasear por las calles de Par铆s en la actualidad y ser consciente de los 煤ltimos acontecimientos, probablemente se le saltar铆an las l谩grimas al presenciar el incendio que sufri贸 Notre Dame en el 2019, cuando parte del tejado se derrumb贸 y varias estructuras quedaron gravemente da帽adas. Su personaje principal en la novela, ese que actuaba como testigo y guardi谩n de los secretos de la sociedad parisina, quedaba envuelto en llamas ante el horror de los espectadores.
La catedral, que sobrevive al paso de la historia y a los cambios arquitect贸nicos con la misma majestuosidad inicial, ser谩 en este caso observadora de las vicisitudes de Quasimodo, un jorobado que utiliza el edificio como hogar y refugio, y de Esmeralda, una joven gitana que se gana la vida bailando en la calle.
La lectura no ha sido un camino sencillo. Hugo combina una trama social y pol铆tica con largas aclaraciones t茅cnicas sobre arquitectura y sobre la sociedad francesa durante el siglo XV. Ambas partes son magistrales y de una calidad literaria sobrecogedora. Sin embargo, se tiene que estar preparado para estos cambios de ritmo abruptos y cortes en la trama inesperados. Una vez se acepta este juego, el autor te adentra de una forma incre铆blemente realista en ese entramado de calles y clases sociales durante la 茅poca medieval.
Es curioso como adem谩s Victor Hugo parece utilizar su perspectiva decimon贸nica sobre la monarqu铆a francesa para evidenciar la realidad de la 茅poca: los reyes no se preocupaban de su pueblo y actuaban como entidades opresoras, por lo que era inevitable presenciar revueltas populares constantemente, que se serv铆an de su fuerza y su mayor铆a para combatir las injusticias.
Y si algo se encuentra en la novela, son injusticias. Tan antiguas unas como actuales otras. El autor no s贸lo retrata actitudes medievales, sino que tambi茅n define a personajes racistas y mis贸ginos, que mover谩n los hilos del devenir de la historia.
Tal vez Victor Hugo siga observando los cambios sociales y arquitect贸nicos de Par铆s, en forma de g谩rgola esculpida en piedra, atenta al paso del tiempo y con una voz silenciosa que puede sentirse desde todos los recovecos de la capital. Sea o no sea verdad, el autor nos dej贸 una carta de amor brillante a su ciudad y una historia que si s贸lo pudiese definirse con una palabra, esa ser铆a Anatkh.
La catedral, que sobrevive al paso de la historia y a los cambios arquitect贸nicos con la misma majestuosidad inicial, ser谩 en este caso observadora de las vicisitudes de Quasimodo, un jorobado que utiliza el edificio como hogar y refugio, y de Esmeralda, una joven gitana que se gana la vida bailando en la calle.
La lectura no ha sido un camino sencillo. Hugo combina una trama social y pol铆tica con largas aclaraciones t茅cnicas sobre arquitectura y sobre la sociedad francesa durante el siglo XV. Ambas partes son magistrales y de una calidad literaria sobrecogedora. Sin embargo, se tiene que estar preparado para estos cambios de ritmo abruptos y cortes en la trama inesperados. Una vez se acepta este juego, el autor te adentra de una forma incre铆blemente realista en ese entramado de calles y clases sociales durante la 茅poca medieval.
Es curioso como adem谩s Victor Hugo parece utilizar su perspectiva decimon贸nica sobre la monarqu铆a francesa para evidenciar la realidad de la 茅poca: los reyes no se preocupaban de su pueblo y actuaban como entidades opresoras, por lo que era inevitable presenciar revueltas populares constantemente, que se serv铆an de su fuerza y su mayor铆a para combatir las injusticias.
Y si algo se encuentra en la novela, son injusticias. Tan antiguas unas como actuales otras. El autor no s贸lo retrata actitudes medievales, sino que tambi茅n define a personajes racistas y mis贸ginos, que mover谩n los hilos del devenir de la historia.
Tal vez Victor Hugo siga observando los cambios sociales y arquitect贸nicos de Par铆s, en forma de g谩rgola esculpida en piedra, atenta al paso del tiempo y con una voz silenciosa que puede sentirse desde todos los recovecos de la capital. Sea o no sea verdad, el autor nos dej贸 una carta de amor brillante a su ciudad y una historia que si s贸lo pudiese definirse con una palabra, esa ser铆a Anatkh.
August 26, 2018
If these stones could speak 鈥�
Victor Hugo wrote this book in 1829, largely to make his contemporaries more aware of the value of the Gothic architecture, which was neglected and often destroyed, only to be replaced by new buildings or defaced by replacing parts of buildings in a newer style (such as the beautiful glass window of N么tre Dame).
The actual French title translates to 鈥濷ur Lady in Paris鈥� as it is not really about Quasimodo but about the cathedral of N么tre Dame.
Now, in order to understand the core story, I have to go somewhat into detail. For those, who don鈥檛 want to know, I recommend skipping this paragraph, fair warning.
We find ourselves in Paris in 1482.
Archdeacon Frollo is torn between his oaths and his obsessive lust for the gypsy Esmeralda. He therefore instructs Quasimodo to kidnap Esmeralda. Quasimodo, a half-blind and meanwhile also deaf hunchback, loving Frollo ever since he took Quasimodo in when his mother abandoned him as a child, does as he鈥檚 told. However, Quasimodo is stopped by Captain Phoebus and his guards and is captured by them. Subsequently, he is sentenced to be flogged and turned on the pillory for an hour, followed by another hour鈥檚 public exposure. During this ordeal, he almost dies of thirst but Esmeralda, of all people, saves him by giving him water - which makes him fall in love with her.
Frollo, meanwhile, driven half mad by jealousy, tries to kill Captain Phoebus and, when that fails, frames Esmeralda for the attempted murder since she keeps refusing him. Quasimodo saves her from the gallows by swinging down from N么tre Dame and taking her into the cathedral, claiming sanctuary for her. The leader of the gypsies then tries to rally the citizens of Paris to free Esmeralda before the Parliament can vote to deny her the right to sanctuary. However, Quasimodo mistakes their motives and repels them while thinking that the King鈥檚 men are there to help. Eventually, Esmeralda and Quasimodo are betrayed by Frollo, Esmeralda being handed over to the guards and hanged. Frollo, truly mad now, laughs while watching from a balcony high up on N么tre Dame, driving Quasimodo to push him off to his death. Then, Quasimodo vanishes (it is implied that he dies also, holding Esmeralda's body in a comforting embrace).
This is not the entire story, not by far. But it is the core and what is usually addressed in movie adaptations and perhaps more than future readers want to know in advance (which is why I wrote that warning above).
It has to be stated that Quasimodo does not feature too often in this story. The reason being that the story is more about the structure of the cathedral, its timelessness and what it witnessed ever since it was built. The author was trying to make the point that mere men don鈥檛 have the right to destroy or - through inaction - allow to come to harm such a magnificent and important piece of architecture. Nevertheless, it is a love story and one of the most tragic ones at that. It features all the elements relevant at the time: the aloof upper society including the uncaring ruling parties, the lower levels of society such as beggars and gypsies, artists, conflicted and not-to-be-trusted members of the clergy, outcasts. In short: the puppets and puppet masters.
The book impresses with the author鈥檚 impeccable writing style, rich with lively descriptions that place one firmly amongst the characters. The author also effortlessly throws in historical information as decoration to describe the timelessness of structures and of works of art.
Albeit this being a tragic romance, it is also definitely a satire full of sarcasm shown in people using gatherings in the church to gossip and make fun of others, or shown in how the people here react to current events and inventions:
鈥濸rinting will kill bookselling.鈥� since it supposedly is a 鈥瀢retched鈥� German invention. *lol*
Not to mention the social criticism that continuously exposes ludicrous customs, vanity, hypocrisy and other character weaknesses.
Like Dumas, Hugo allows a sharp look at the times, at the different levels of society and politics but also at peoples鈥� characters and occupations. Unlike Dumas, however, Hugo doesn鈥檛 quite manage to successfully walk the knife鈥檚 edge between bringing the surroundings and times alive through detailed descriptions, firmly placing the story through adding relevant historical information and clubbing the reader to death with too much information that has no immediate merit whatsoever. Nevertheless, it is an important piece and I very much enjoyed Bill Homewood's narration once again.
December 30, 2019
螢蔚魏喂谓蠋谓蟿伪蟼, 慰 胃蔚委慰蟼 螔委魏蟿慰蟻 渭慰蠀 蟻维纬喂蟽蔚 蟿畏谓 魏伪蟻未喂维 蟿慰蠀 魏慰蟻喂蟿蟽喂慰蠉 蟿蠅谓 90s 蟺慰蠀 渭蔚纬维位蠅蟽蔚 渭蔚 蟿喂蟼 蟿伪喂谓委蔚蟼 Disney. 螝伪喂 蠁蠀蟽喂魏维 蟺慰喂伪 蟿伪喂谓委伪 蟿畏蟼 Disney 伪谓 蠈蠂喂 畏 螤伪谓伪纬委伪 蟿蠅谓 螤伪蟻喂蟽委蠅谓! 螠蠈谓慰 蟺慰蠀 魏伪渭喂维 蟽蠂苇蟽畏 渭蔚 蟿慰 尾喂尾位委慰, 蟽伪蟼 蟿慰 位苇蠅 伪蟺蠈 蟿蠋蟻伪 伪谓 未蔚谓 蟿慰 苇蠂蔚蟿蔚 未喂伪尾维蟽蔚喂, 魏伪渭委伪 蟽蠂苇蟽畏.
螒位位维. Having said that, 魏伪喂 伪蠁慰蠉 蟿慰 苇尾纬伪位伪 伪蟺蠈 渭苇蟽伪 渭慰蠀, 蟿慰 尾喂尾位委慰 蔚委谓伪喂 蔚委谓伪喂 苇谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼. 螠伪纬谓畏蟿喂蟽蟿喂魏苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 纬喂伪 伪蟻蠂萎. 螌蟽慰 魏喂 伪谓 魏慰蠀蟻维味蔚蟿伪喂 魏维蟺慰喂慰蟼 渭蔚 蟿喂蟼 蔚魏蟿蔚谓蔚委蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼, 魏伪喂 苇蠂蔚喂 蟺慰位位苇蟼, 未蔚谓 蔚委谓伪喂 未蠀谓伪蟿蠈 谓伪 渭畏 位伪蟿蟻苇蠄蔚喂 蟿畏谓 伪谓维位蠀蟽畏 蟿慰蠀 Hugo 纬喂伪 蟿慰 谓伪蠈 蟿畏蟼 Notre Dame, 蟿畏谓 蟺慰位畏 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀 15慰蠀 伪喂蠋谓伪. 螘蟺委蟽畏蟼, 蟽蟿伪 伪蟺蠈位蠀蟿伪 蟽蠀谓 慰喂 蠀蟺苇蟻慰蠂蔚蟼 蟺伪蟻蔚魏尾伪蟽蔚喂蟼 纬喂伪 蟿畏谓 蟿苇蠂谓畏, 蟿畏谓 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎, 蟿畏 蠁喂位慰蟽慰蠁委伪. 螠伪纬喂魏蠈, 蟺蟻伪纬渭伪蟿喂魏维. 螠蔚 苇魏伪谓蔚 谓伪 胃苇位蠅 谓伪 蟺维蠅 蟽蟿慰 螤伪蟻委蟽喂 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 伪喂蟽胃维谓慰渭伪喂 蠈蟿喂 苇蠂蠅 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蠈位伪 蟿伪 蟽蟿蔚谓维 蟿慰蠀 未蔚魏维未蔚蟼 蠁慰蟻苇蟼.
螝伪喂 畏 喂蟽蟿慰蟻委伪 蔚委谓伪喂 蠁蠀蟽喂魏维 蟺伪蟻伪渭蠀胃苇谓喂伪. 螣 魏位伪蟽喂魏蠈蟼 渭蠉胃慰蟼 蟿畏蟼 蟺蔚谓蟿伪渭慰蟻蠁畏蟼 渭蔚 蟿慰 蟿苇蟻伪蟼, 伪位位维 伪蟺蠈 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 慰蟺蟿喂魏萎. O Hugo 渭伪蟼 蟺伪蟻伪未委未蔚喂 苇谓伪 胃伪蠀渭维蟽喂慰 渭蔚位蠈未蟻伪渭伪 渭蔚 未蠀谓伪蟿慰蠉蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蟽蠂蔚未喂伪蟽渭苇谓慰蠀蟼 渭蔚 蠂蔚喂蟻慰蠀蟻纬喂魏萎 伪魏蟻委尾蔚喂伪. 螇蟻蠅蔚蟼 蟺慰蠀 未蔚谓 蔚委谓伪喂 魏伪魏慰委 萎 魏伪位慰委, 伪位位维 蟺慰蠀 伪蠁萎谓慰谓蟿伪喂 蟽蟿畏 渭慰委蟻伪 畏 慰蟺慰委伪 魏伪胃慰蟻委味蔚喂 蟿畏谓 蟺慰蟻蔚委伪 魏伪喂 蟿畏谓 蔚尉苇位喂尉萎 蟿慰蠀蟼 (畏 渭慰委蟻伪, 伪蟺蠈 蟿畏谓 蔚位位畏谓喂魏萎 位苇尉畏 "伪谓维纬魏畏", 蠈蟺蠅蟼 蠀蟺慰纬蟻伪渭渭委味蔚蟿伪喂 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蟿慰 魏蔚委渭蔚谓. 螒魏蠈渭伪 魏伪喂 慰 魏蠉蟻喂慰蟼 "魏伪魏蠈蟼" 蟿慰蠀 苇蟻纬慰蠀, 慰 桅蟻慰位位慰, 未蔚谓 蔚委谓伪喂 蔚尉伪蟻蠂萎蟼 魏伪魏蠈蟼. 螉蟽伪 委蟽伪, 蔚委谓伪喂 维谓胃蟻蠅蟺慰蟼 蟿蠅谓 纬蟻伪渭渭维蟿蠅谓 蟺慰蠀 蔚蟺喂未蔚喂魏谓蠉蔚喂 渭蔚纬维位畏 蔚蠀伪喂蟽胃畏蟽委伪 蠈蟿伪谓 蠀喂慰胃蔚蟿蔚委 蟿慰谓 螝慰蠀伪蟽喂渭慰未慰, 苇谓伪 蟺位维蟽渭伪 蟺慰蠀 魏维谓蔚喂蟼 维位位慰蟼 未蔚谓 胃苇位蔚喂 谓伪 尾位苇蟺蔚喂.
螤伪蟻委蟽喂, 蟽蠀纬魏委谓畏蟽畏, 蠂蔚喂渭伪蟻蟻蠅未畏蟼 蟺苇谓伪, 魏伪胃畏位蠅蟿喂魏畏 喂蟽蟿慰蟻委伪. 螖蔚谓 尉苇蟻蠅 蟿喂 维位位慰 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 苇蠂蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 纬喂伪 谓伪 纬委谓蔚喂 魏伪位蠉蟿蔚蟻慰, 蠀蟺慰胃苇蟿蠅 蟿委蟺慰蟿伪.
螒位位维. Having said that, 魏伪喂 伪蠁慰蠉 蟿慰 苇尾纬伪位伪 伪蟺蠈 渭苇蟽伪 渭慰蠀, 蟿慰 尾喂尾位委慰 蔚委谓伪喂 蔚委谓伪喂 苇谓伪 伪蟻喂蟽蟿慰蠉蟻纬畏渭伪 蟿畏蟼 位慰纬慰蟿蔚蠂谓委伪蟼. 螠伪纬谓畏蟿喂蟽蟿喂魏苇蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼 纬喂伪 伪蟻蠂萎. 螌蟽慰 魏喂 伪谓 魏慰蠀蟻维味蔚蟿伪喂 魏维蟺慰喂慰蟼 渭蔚 蟿喂蟼 蔚魏蟿蔚谓蔚委蟼 蟺蔚蟻喂纬蟻伪蠁苇蟼, 魏伪喂 苇蠂蔚喂 蟺慰位位苇蟼, 未蔚谓 蔚委谓伪喂 未蠀谓伪蟿蠈 谓伪 渭畏 位伪蟿蟻苇蠄蔚喂 蟿畏谓 伪谓维位蠀蟽畏 蟿慰蠀 Hugo 纬喂伪 蟿慰 谓伪蠈 蟿畏蟼 Notre Dame, 蟿畏谓 蟺慰位畏 蟿慰蠀 螤伪蟻喂蟽喂慰蠉, 蟿畏谓 蔚蟺慰蠂萎 蟿慰蠀 15慰蠀 伪喂蠋谓伪. 螘蟺委蟽畏蟼, 蟽蟿伪 伪蟺蠈位蠀蟿伪 蟽蠀谓 慰喂 蠀蟺苇蟻慰蠂蔚蟼 蟺伪蟻蔚魏尾伪蟽蔚喂蟼 纬喂伪 蟿畏谓 蟿苇蠂谓畏, 蟿畏谓 伪蟻蠂喂蟿蔚魏蟿慰谓喂魏萎, 蟿畏 蠁喂位慰蟽慰蠁委伪. 螠伪纬喂魏蠈, 蟺蟻伪纬渭伪蟿喂魏维. 螠蔚 苇魏伪谓蔚 谓伪 胃苇位蠅 谓伪 蟺维蠅 蟽蟿慰 螤伪蟻委蟽喂 魏伪喂 蟿伪蠀蟿蠈蠂蟻慰谓伪 谓伪 伪喂蟽胃维谓慰渭伪喂 蠈蟿喂 苇蠂蠅 蟺蔚蟻蟺伪蟿萎蟽蔚喂 蠈位伪 蟿伪 蟽蟿蔚谓维 蟿慰蠀 未蔚魏维未蔚蟼 蠁慰蟻苇蟼.
螝伪喂 畏 喂蟽蟿慰蟻委伪 蔚委谓伪喂 蠁蠀蟽喂魏维 蟺伪蟻伪渭蠀胃苇谓喂伪. 螣 魏位伪蟽喂魏蠈蟼 渭蠉胃慰蟼 蟿畏蟼 蟺蔚谓蟿伪渭慰蟻蠁畏蟼 渭蔚 蟿慰 蟿苇蟻伪蟼, 伪位位维 伪蟺蠈 渭喂伪 未喂伪蠁慰蟻蔚蟿喂魏萎 慰蟺蟿喂魏萎. O Hugo 渭伪蟼 蟺伪蟻伪未委未蔚喂 苇谓伪 胃伪蠀渭维蟽喂慰 渭蔚位蠈未蟻伪渭伪 渭蔚 未蠀谓伪蟿慰蠉蟼 蠂伪蟻伪魏蟿萎蟻蔚蟼, 蟽蠂蔚未喂伪蟽渭苇谓慰蠀蟼 渭蔚 蠂蔚喂蟻慰蠀蟻纬喂魏萎 伪魏蟻委尾蔚喂伪. 螇蟻蠅蔚蟼 蟺慰蠀 未蔚谓 蔚委谓伪喂 魏伪魏慰委 萎 魏伪位慰委, 伪位位维 蟺慰蠀 伪蠁萎谓慰谓蟿伪喂 蟽蟿畏 渭慰委蟻伪 畏 慰蟺慰委伪 魏伪胃慰蟻委味蔚喂 蟿畏谓 蟺慰蟻蔚委伪 魏伪喂 蟿畏谓 蔚尉苇位喂尉萎 蟿慰蠀蟼 (畏 渭慰委蟻伪, 伪蟺蠈 蟿畏谓 蔚位位畏谓喂魏萎 位苇尉畏 "伪谓维纬魏畏", 蠈蟺蠅蟼 蠀蟺慰纬蟻伪渭渭委味蔚蟿伪喂 蟺慰位位苇蟼 蠁慰蟻苇蟼 蟽蟿慰 魏蔚委渭蔚谓. 螒魏蠈渭伪 魏伪喂 慰 魏蠉蟻喂慰蟼 "魏伪魏蠈蟼" 蟿慰蠀 苇蟻纬慰蠀, 慰 桅蟻慰位位慰, 未蔚谓 蔚委谓伪喂 蔚尉伪蟻蠂萎蟼 魏伪魏蠈蟼. 螉蟽伪 委蟽伪, 蔚委谓伪喂 维谓胃蟻蠅蟺慰蟼 蟿蠅谓 纬蟻伪渭渭维蟿蠅谓 蟺慰蠀 蔚蟺喂未蔚喂魏谓蠉蔚喂 渭蔚纬维位畏 蔚蠀伪喂蟽胃畏蟽委伪 蠈蟿伪谓 蠀喂慰胃蔚蟿蔚委 蟿慰谓 螝慰蠀伪蟽喂渭慰未慰, 苇谓伪 蟺位维蟽渭伪 蟺慰蠀 魏维谓蔚喂蟼 维位位慰蟼 未蔚谓 胃苇位蔚喂 谓伪 尾位苇蟺蔚喂.
螤伪蟻委蟽喂, 蟽蠀纬魏委谓畏蟽畏, 蠂蔚喂渭伪蟻蟻蠅未畏蟼 蟺苇谓伪, 魏伪胃畏位蠅蟿喂魏畏 喂蟽蟿慰蟻委伪. 螖蔚谓 尉苇蟻蠅 蟿喂 维位位慰 胃伪 渭蟺慰蟻慰蠉蟽蔚 谓伪 苇蠂蔚喂 伪蠀蟿蠈 蟿慰 尾喂尾位委慰 纬喂伪 谓伪 纬委谓蔚喂 魏伪位蠉蟿蔚蟻慰, 蠀蟺慰胃苇蟿蠅 蟿委蟺慰蟿伪.
April 2, 2021
Le cose belle richiedono pazienza: Notre-Dame de Paris 猫 certamente fra queste.
Quando ho preso fra le mani la mia copia del romanzo per la prima volta, un mese fa, temevo di non riuscire a portarlo a termine. Caro Hugo, mi hai sempre fatto tanta paura! Non avrei mai immaginato che, superato lo scoglio delle prime pagine, sarebbe stato amore.
Se le digressioni che interrompono la narrazione sono abbastanza lunghe da scoraggiare la maggior parte dei lettori, punto di forza 猫 la caratterizzazione dei personaggi, straordinariamente umani.
Le pagine dedicate al dramma interiore di Claude Frollo sono fra le migliori che abbia mai letto: la tempesta che imperversa nel cuore dell鈥檃rcidiacono, scisso fra amore terreno e divino, travolge anche chi legge. Non 猫 tutto bianco o nero e Hugo, che delinea le molte sfaccettature del proprio antieroe con grande maestria, lo sa.
Indimenticabile, poi, 猫 la figura del buon Quasimodo, la cui bellezza interiore non ha eguali. Quasimodo non conosce altri alberi se non quelli delle vetrate in fiore di Notre-Dame, altre montagne che non siano le alte torri della cattedrale, la sua casa. Il suo universo. In vita mia, non ho mai pianto tanto per le sorti di un personaggio.
Nelle ultime settimane, Notre-Dame ha accolto anche me.. e mi ha dato tanto. La salita 猫 tortuosa, ma ne vale davvero la pena.
Quando ho preso fra le mani la mia copia del romanzo per la prima volta, un mese fa, temevo di non riuscire a portarlo a termine. Caro Hugo, mi hai sempre fatto tanta paura! Non avrei mai immaginato che, superato lo scoglio delle prime pagine, sarebbe stato amore.
Se le digressioni che interrompono la narrazione sono abbastanza lunghe da scoraggiare la maggior parte dei lettori, punto di forza 猫 la caratterizzazione dei personaggi, straordinariamente umani.
Le pagine dedicate al dramma interiore di Claude Frollo sono fra le migliori che abbia mai letto: la tempesta che imperversa nel cuore dell鈥檃rcidiacono, scisso fra amore terreno e divino, travolge anche chi legge. Non 猫 tutto bianco o nero e Hugo, che delinea le molte sfaccettature del proprio antieroe con grande maestria, lo sa.
Indimenticabile, poi, 猫 la figura del buon Quasimodo, la cui bellezza interiore non ha eguali. Quasimodo non conosce altri alberi se non quelli delle vetrate in fiore di Notre-Dame, altre montagne che non siano le alte torri della cattedrale, la sua casa. Il suo universo. In vita mia, non ho mai pianto tanto per le sorti di un personaggio.
Nelle ultime settimane, Notre-Dame ha accolto anche me.. e mi ha dato tanto. La salita 猫 tortuosa, ma ne vale davvero la pena.
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