【名人评价及推荐】 在文学界和艺术界的所有伟人中，雨果是wei一活在法西兰人民心中的伟人。 ——罗曼·罗兰 他教导所有的人要热爱生活，热爱美，热爱真理，也热爱法西兰。 ——高尔基 【作者简介】 维克多·雨果（1802—1885），法国文学大师，19世纪法国浪漫主义文学的代表，被称为“法兰西的莎士比亚”，1841年入选法兰西学院院士。其文学创作有诗歌、小说、戏剧、政论、散文随笔以及文学评论，卷帙浩繁。代表作有长篇小说《巴黎圣母院》《悲惨世界》等。 【内容简介】 《巴黎圣母院》以1482年路易十一治下的法国为背景，描述了吉卜赛女郎与圣母院教堂副主教弗洛罗、弃儿卡西莫多之间的纠葛，文采斐然，气势恢宏，人物的真、善、美和假、恶、丑皆被放大。长相奇丑、既聋且哑的卡西莫多有着一颗高尚纯洁的心。爱斯美拉达是美丽、纯洁的舞女，因不屈从圣母院教堂副主教弗洛罗的欲望，被他陷害致死。卡西莫多因失去心目中的偶像而绝望，愤怒地把弗洛罗从顶楼推下摔死，自己也到公墓，在爱斯美拉达的尸体旁自尽。 【目录】 Introduction Note on the Text Select Bibliography A Chronology of Victor Hugo Notre-Dame de Paris Note on Money Explanatory Notes 【序言】 Introduction Today， more than a hundred years after Hugo’s death， it is difficult， if not impossible， to approach the man and his work with an open mind. His remains were enthusiastically borne to the pantheonin1885，to join those of such other great men as Voltaire and Rousseau; he endured exile for nearly twenty years for speaking his mind against Napoleon III; he fought a spirited campaign all his life against capital punishment. His vast literary output includes some of the most notable poetry in French in both the lyric and the epic mode. His dramatic work was an integral part of the Romantic movement: although his plays are of very varying quality， the preface to the virtually unactable Cromwell (1827) is probably better known than any other manifesto of Romanticism， while Hernani literally caused a riot in the theatre at its first performance in February 1830. More to the immediate point， his two best-known novels have inspired several film versions of The Hunchback of Notre-Dame (a title， incidentally， going back to the English translation of the novel in 1833) and stage， as well as film， versions of parts of Les Misirables， the most recent of which has proved a commercial success as a musical. On the subject of music， it is worth noting that as early as 1851 Verdi took Hugo's drama Le Roi s'amuse (banned as subversive after its first performance in 1832) as the basis for his opera Rigoletto (another hunchback hero ...) . The sheer energy and range of Hugo's writings， and indeed of the man himself in his life from day to day， should not be allowed to obscure the fact that all is by no means sound and fury: his poetry includes many examples of a more reflective， elegiac lyricism. It would be misleading here to treat Notre-Dame in the light of Hugo's later novels， or as a stage in his long ii Introduction development as man and writer. What matters is the book itself， the experiences， literary and other， which helped to shape it， and， not least， features of the novel's structure and composition which are by no means obvious to an uninitiated reader. The first Note， introducing the text published in March 1831， but apparently composed only after completion of that text， explains that the inspiration for the book was an inscription， incised deeply into the wall of one of the towers of Notre-Dame by an identifiably medieval hand， but erased since the author first came upon it while exploring the building: the single Greek word 'ANArKH. This brief Note， despite specific references to crime and misfortune， souls in anguish， and so on， is curiously vague and uncertain as to why the inscription can no longer be seen. More than half-way through the novel (Book Seven， Ch. IV)， the reader meets the word again， first in the chapter heading， then actually being incised with a pair of compasses into the wall by Claude Frollo， whose state of mind at that moment matches the description given in Hugo's introductory Note. Such careful mystification and ambiguity is a recurrent feature of Hugo's narrative technique， but in this case is uniquely prominent because the implications of the Greek inscription go far beyond anything Frollo could have foreseen when he wrote it. The author alone holds the secret of his book， and reveals it to the reader as and when he chooses. That reader (in 1831) would have had to wait for the definitive edition of 1832 for an explanation of the emphasis in the second half of the Note on demolition， erasure， destruction-not just of individuals， but of the seemingly most solid and beautiful works of human hands. 【书摘】 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 'our aforesaid most dread sovereign Lord the King' making his entry， not even the fine 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 'a very fine morality， satire， and farce'， while torrential rain soaked the magnificent tapestries hung at his door. What， in the words of Jean de Troyes，* 'excited all the people of Paris' on 6 January was the twofold celebration， combined since time immemorial， of the Feast of the Epiphany and the Feast of Fools. That day there was to be a bonfire on the Place de Greve， a maypole set up at the chapel of Braque， and a mystery I4 Book One play at the Palaia de Justice. The news had been publicly proclaimed with trumpet calls at all the crossroads by the Provost's men， in their handsome tunics of purple camlet， with big white crosses on the front. From early morning the crowd of townsfolk， men and women， had begun to come in from·all directions， leaving houses and shops closed up， malting their way towards one of the three appointed places. Everyone had made a choice， some for the bonfire， some for the maypole， some for the mystery. It must be said， in praise of the age-old good sense of curious Parisians， that the majority of this crowd was making for the bonfire， which came very seasonably， or the mystery， to be performed in the sheltered and enclosed Great Hall of the Palaia， and that， by common consent， the curious left the poor maypole， with its scanty garlands， to shiver all alone under the January sky in the cemetery of the chapel of Braque. The flood of people was particularly dense in the roads leading to the Palaia de Justice， because it was known that the Flemish ambassadon， who had arrived two days earlier， intended to be present at the performance of the mystery play and the election of the Pope of Fools， which was also to take place in the Great Hall. It was no easy matter that day to gain admission to the Great Hall， though at the time it was reputed to be the largest enclosed and covered space in the world. (It is true that Sauval had not yet measured the great hall of the castle at Montargis.) To onlookers watching from their windows the Place du Palais， blocked with people， presented the appearance of a vast sea into which a dozen streets， like so many river mouths， continually disgorged fresh streams of heads. The waves of this human flood， constantly spreading， broke against the comers of houses projecting here and there like headlands into the irregular basin formed by the Place.
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