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Der Glöckner von Notre Dame - Illustrierte Sonderausgabe: Notre Dame von Paris (Klassiker der Literatur)

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Speziell für Kindle und Kindle Apps. Wunderschöne Illustrationen! Der Glöckner von Notre Dame Diese liebevoll gestaltete Ausgabe enthält zahlreiche Illustrationen und wurde extra für Ihren Kindle abgestimmt. Mit einem klaren Schriftbild und gelungener Formatierung. Mit einem eBook der Reihe "Klassiker der Weltliteratur" erhalten sie hervorragende Qualität und eine optimale Speziell für Kindle und Kindle Apps. Wunderschöne Illustrationen! Der Glöckner von Notre Dame Diese liebevoll gestaltete Ausgabe enthält zahlreiche Illustrationen und wurde extra für Ihren Kindle abgestimmt. Mit einem klaren Schriftbild und gelungener Formatierung. Mit einem eBook der Reihe "Klassiker der Weltliteratur" erhalten sie hervorragende Qualität und eine optimale Formatierung für Ihr Lesevergnügen. Klassiker der Weltliteratur Liebevoll bearbeitet Wunderschöne Illustrationen Der Glöckner von Notre-Dame (auch: Notre-Dame von Paris, Originaltitel: Notre-Dame de Paris) ist ein 1831 erschienener historischer Roman des französischen Schriftstellers Victor Hugo (1802–1885). Im Mittelpunkt steht die aufwändig geschilderte Kathedrale Notre-Dame de Paris. In ihr spielen die wichtigsten Teile der Romanhandlung, vor allem das Geschehen um die Gestalt des Quasimodo, des Glöckners von Notre-Dame. Der französische Schriftsteller Alphonse de Lamartine (1790–1869) hat Victor Hugo nach Erscheinen des Romans als „Shakespeare des Romans“ gefeiert.


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Speziell für Kindle und Kindle Apps. Wunderschöne Illustrationen! Der Glöckner von Notre Dame Diese liebevoll gestaltete Ausgabe enthält zahlreiche Illustrationen und wurde extra für Ihren Kindle abgestimmt. Mit einem klaren Schriftbild und gelungener Formatierung. Mit einem eBook der Reihe "Klassiker der Weltliteratur" erhalten sie hervorragende Qualität und eine optimale Speziell für Kindle und Kindle Apps. Wunderschöne Illustrationen! Der Glöckner von Notre Dame Diese liebevoll gestaltete Ausgabe enthält zahlreiche Illustrationen und wurde extra für Ihren Kindle abgestimmt. Mit einem klaren Schriftbild und gelungener Formatierung. Mit einem eBook der Reihe "Klassiker der Weltliteratur" erhalten sie hervorragende Qualität und eine optimale Formatierung für Ihr Lesevergnügen. Klassiker der Weltliteratur Liebevoll bearbeitet Wunderschöne Illustrationen Der Glöckner von Notre-Dame (auch: Notre-Dame von Paris, Originaltitel: Notre-Dame de Paris) ist ein 1831 erschienener historischer Roman des französischen Schriftstellers Victor Hugo (1802–1885). Im Mittelpunkt steht die aufwändig geschilderte Kathedrale Notre-Dame de Paris. In ihr spielen die wichtigsten Teile der Romanhandlung, vor allem das Geschehen um die Gestalt des Quasimodo, des Glöckners von Notre-Dame. Der französische Schriftsteller Alphonse de Lamartine (1790–1869) hat Victor Hugo nach Erscheinen des Romans als „Shakespeare des Romans“ gefeiert.

30 review for Der Glöckner von Notre Dame - Illustrierte Sonderausgabe: Notre Dame von Paris (Klassiker der Literatur)

  1. 4 out of 5

    Bill Kerwin

    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 abou 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 “genius loci” 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 “must read” 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 Stevenson and Machen's London and Leiber's Lankhmar. Soon I fell in love with the hard boiled detective genre and—having been a childhood fan of Arthurian romances—identified with each of these modern knight-errants on a quest. I also realized that the individuality of each city—and 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—Robert B. Parker's Boston, for example—were 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 “green and pleasant land” 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—by 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 late 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.

  2. 4 out of 5

    Melissa Rudder

    I have officially been wooed by nineteenth century French literature. First Dumas and now this. I just finished reading Victor Hugo’s The Hunchback of Notre-Dame, and it was fantastic. The characters, the themes, the literary structures… Ahhh… *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’m not that hard to please. Secondly, up until this po I have officially been wooed by nineteenth century French literature. First Dumas and now this. I just finished reading Victor Hugo’s The Hunchback of Notre-Dame, and it was fantastic. The characters, the themes, the literary structures… Ahhh… *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’m 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 “The Archdeacon of Notre Dame.” (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’s sweet, strong innocence (she was only sixteen) and foolish devotion to Phoebus is heart wrenching. Quasimodo’s strength of body and heart is awe-inspiring. Phoebus’ selfish arrogance is antagonizing. The minor characters, from the old heckling woman, to the foolish young Frollo (the Archdeacon’s brother), to the rambling philosopher, create a motley portrait of a fascinating world. Hugo’s 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’s 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’s 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’s heart at the loss of her daughter, the faithful love that sent Quasimodo to Frollo with his tail between his legs… But the most stunning and provocative of all was the comparison of the three men who “loved” Esmeralda: one man, “loving” her so much that he wanted to possess her; one man, “loving” her for the moment, until another girl came along; and one man “loving” 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… When I started reading it, everyone felt the need to warn me that it didn’t 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’t worry: he doesn’t. The end is moving and beautiful and fitting and so what if it’s not Disney: it’s great. And, to further please the happy reader, there were a million good quotes. Here you go: “Oh, love!... That is to be two, and yet one. A man and a woman joined, as into an ange; that is heaven!” (Esmeralda). “Great edifices, like great mountains, are the work of the ages.” “He found that man needs affection, that life without a warming love is but a dry wheel, creaking and grating as it turns.” “Alas! 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” (Frollo). “It is to this setting sun that we look for a new dawn.” “Spira, spera.” (“Breathe, hope.”) “For 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.” “What man orders… Circumstances disorder” (Frollo). “Everyone 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” (Gringoire, the philosopher). “A lighted candle never attracts one gnat only.” “That’s life… It’s often our best friends who make us fall” (Gringoire). “The human voice is music to the human ear.” Just a wonderful sample of the jewels contained in The Hunchback of Notre-Dame. The novel was difficult, but well worth the effort. I’m just sitting here in awe of it. I can’t write any more.

  3. 4 out of 5

    Madeline

    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 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.

  4. 5 out of 5

    Huda Yahya

    وكأن هذه الأنشودة الخالدة يتردد صداها في كل روايات هوجو أنشودة المظلومين والثائرين في كل مكان https://www.youtube.com/watch?v=gpDbv... "إن هذا الألم لا يهرم أبدا.." -------------- واحد من المساكين البؤساء التعساء والمحرومين والمنعزلين عن العالم واحد اسمه كوازيمودو كل ذنبه في الحياة أنه قبيح قبيح وفقير وبائس وله قلب من ذهب كتلة من القبح عزلها لمجتمع وأخفاها حتى لا يؤرق راحته أو يؤذي عينيه العينان الأقبح والأكثر مدعاة للسخرية بل والشفقة جعلوه منبوذا دائما وأضحوكة أحيانا عشق الأحدب نموذج الجمال الكامل المتمثل في إزمير وكأن هذه الأنشودة الخالدة يتردد صداها في كل روايات هوجو أنشودة المظلومين والثائرين في كل مكان https://www.youtube.com/watch?v=gpDbv... ‏"إن هذا الألم لا يهرم أبدا.."‏ -------------- واحد من المساكين البؤساء التعساء والمحرومين والمنعزلين عن العالم واحد اسمه كوازيمودو كل ذنبه في الحياة أنه قبيح قبيح وفقير وبائس وله قلب من ذهب كتلة من القبح عزلها لمجتمع وأخفاها حتى لا يؤرق راحته أو يؤذي عينيه العينان الأقبح والأكثر مدعاة للسخرية بل والشفقة جعلوه منبوذا دائما وأضحوكة أحيانا عشق الأحدب نموذج الجمال الكامل المتمثل في إزميرالدا الغجريّة التي عطّفت عليه وأشفقت ولكنها لم تحب سوى ظاهر الفتنة البراق فيبوس الضابط الوسيم والأسود القلب وبرغم ذلك تتبعه ليكون مورد هلاكها ‎ الشقاء أن يحب الرجل امرأة لا تحبه.. لا تشعر به.. لا تشفق لحاله‏ أن يريد الرجل التضحية بحياته كلها لقاء ابتسامة من حبيبته وهي تنفر منه ‏أو تهرب وتصد ولا تدري أن صدودها طعنات للقلب الذي أحبها‎ ‏....‏‎ الشقاء أن ينشطر الرجل إلى عقل وقلب العقل يلعن من يخون والقلب يعفو ويسامح رغم الألم والعذاب مع من يحب وبكن له الحب العظيم ::::::::::::::: ومع دقات أجراس نوتردام يتحدى الأحدب الطيب كل بديهيات العالم ‏الموروثة ويعطي للجميع درسا خالد واضعا حدا للقمع والظلم الذي عاناه طوال حياته ‏البائسة أراد أن يجعل من تضحيته عبرة للجميع صرخة أخيرة يقول فيها أن البقاء للجمال الحقيقي‏ وإن كنتم ترونه أزميرالدا فليكن فهو أيضا يرى ذلك سيفنى القبح ويستمر نموذج الجمال ::::::::::::::: إنها رائعة هوجو التي بشخوصها جميعا يصور لك مدينة بائسة بقاطنيها هذا القس الذي كره الحياة واعتزلها حتى يقع في حب الغجرية فيصير كائنا آخر لا يعرف سوى الأذى وحب التملك‏ الأم التعسة التي تجد ابنتها بعد 16 عامًا لتقتل في النهاية‏ جرنجوار الشاعر الغير عابئ بمن يزوجوه أو بما يفعلوا به المدينة المبهرجة بألف لون مزيف والمغرقة في طلاء الجمال المتقشر والتي تلعن كل ما يخيفها جماله الحقيقي لاهثة وراء كل ما هو سطحي ومجوف وذابل https://www.youtube.com/watch?v=KeLtS...

  5. 4 out of 5

    İntellecta

    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’ 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 re 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’ 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.

  6. 5 out of 5

    Matthew

    While reading this book I started to notice how little the Hunchback is in it. A Goodreads 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 While reading this book I started to notice how little the Hunchback is in it. A Goodreads 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 sid 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!

  7. 5 out of 5

    Mohammed-Makram

    أن تعيش داخل جسد مشوه أفضل ألف مرة من حياتك داخل نفس مشوهة و كأنك جثة تمشى بين الناس 01 أفضل وسيلة لتهدئة الجموع هي أن تؤكد لهم أن التمثيل سيبدأ في الحال 02 وباء إرهاب المشنقة،أخطر الأوبئة لأنه لا يأتي من الله بل من الإنسان 03 وعلى الرغم من هذه البشاعة الصارخة، والدمامة المنقطعة النظير، فقد كانت تبدو على هذا المخلوق العجيب علامات القوة والخفة والشجاعة، وهو شذوذ على النظرية المألوفة التي تقول بأن القوة كالجمال، لا تنتج إلا عن تناسب الأعضاء.

  8. 4 out of 5

    Evripidis Gousiaris

    Δεν χρειάζεται να πω πολλά γιατί η ιστορία είναι γνωστή. Θα πω μόνο ότι σε καμία περίπτωση δεν το περίμενα ΤΟΣΟ ΩΡΑΙΟ. Τόσο έντονο. Με μια του φράση ο Victor Hugo δημιουργούσε εκατοντάδες συναισθήματα. Ο Κουασιμόδο προσηλωμένος και φυλακισμένος στον ναό Notre-Dame και εγώ προσηλωμένος και φυλακισμένος στις σελίδες του βιβλίου. Διαβάστε το!

  9. 4 out of 5

    Chelsea

    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 fe 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.

  10. 4 out of 5

    Ahmed

    ببساطة إحنا كبشر بنحتاج نمتلك الشفقه تجاه الغير الشفقه اللى ترضى غرورنا البشرى وترجع لنا جزء من انسانيتنا المفقودة وبراعة المبدع انه يكون من عالم مختلف وثقافة مختلفةوزمن مغاير لزمنك ويقدر يأثر عليك بالقدر الكافى. فيكتور هوجو مش محتاج ان حد يمدح فيه فهو من القامات الثابته فى مجال الادب ومن البشر اللى يسجلوا ف قائمة الارقى على الاطلاق واحدب نوتردامهى احب اعماله الى قلبى واكثرها تأثيرا عمل لا تستطيع ان تنسى اول مره قرأته فيه لانك ببساطه أكيد بكيت فيه بدموع تسلسل الاحداث عبقرى ونهايته المأساويه اعطت للع ببساطة إحنا كبشر بنحتاج نمتلك الشفقه تجاه الغير الشفقه اللى ترضى غرورنا البشرى وترجع لنا جزء من انسانيتنا المفقودة وبراعة المبدع انه يكون من عالم مختلف وثقافة مختلفةوزمن مغاير لزمنك ويقدر يأثر عليك بالقدر الكافى. فيكتور هوجو مش محتاج ان حد يمدح فيه فهو من القامات الثابته فى مجال الادب ومن البشر اللى يسجلوا ف قائمة الارقى على الاطلاق واحدب نوتردامهى احب اعماله الى قلبى واكثرها تأثيرا عمل لا تستطيع ان تنسى اول مره قرأته فيه لانك ببساطه أكيد بكيت فيه بدموع تسلسل الاحداث عبقرى ونهايته المأساويه اعطت للعمل خلود واسطوريه لا تقارن

  11. 5 out of 5

    Ahmad Sharabiani

    922. Notre-Dame de Paris = The Hunchback of Notre Dame, Victor Hugo گوژپشت نوتردام - ویکتور هوگو (جاودان خرد) ادبیات فرانسه؛ انتشاراتیها: توسن، سعیدی، عین اللهی، آرمان، بشارت، نهال نویدان، ارغوان، سمور، حقوقی و جاودان خرد منتشر شدهاست؛ تاریخ نخستین خوانش: یکی از روزهای سال 1972 میلادی عنوان: گوژپشت نوتردام؛ اثر: ویکتور هوگو؛ مترجم: احمد سعیدی؛ تهران، سعیدی، 1348، در 242 ص؛ موضوع: داستانهای نویسندگان فرانسوی - قرن 19 م مترجم: اسفندیار کاویان؛ تهران،عین الهی، 1362، در 309 ص؛ مترجم: لقا اردلان، تهران، 922. Notre-Dame de Paris = The Hunchback of Notre Dame, Victor Hugo گوژپشت نوتردام - ویکتور هوگو (جاودان خرد) ادبیات فرانسه؛ انتشاراتیها: توسن، سعیدی، عین اللهی، آرمان، بشارت، نهال نویدان، ارغوان، سمور، حقوقی و جاودان خرد منتشر شده‌است؛ تاریخ نخستین خوانش: یکی از روزهای سال 1972 میلادی عنوان: گوژپشت نوتردام؛ اثر: ویکتور هوگو؛ مترجم: احمد سعیدی؛ تهران، سعیدی، 1348، در 242 ص؛ موضوع: داستانهای نویسندگان فرانسوی - قرن 19 م مترجم: اسفندیار کاویان؛ تهران،عین الهی، 1362، در 309 ص؛ مترجم: لقا اردلان، تهران، انتشارات توسن؛ 1362، در 108 ص؛ مترجم: جواد محبی؛ تهران، نشر بشارت، 1370، در 547 ص؛ چاپ دوم: مشهد، جاودان خرد، 1385؛ در 526 ص؛ سوم 1386؛ چهارم 1387، پنجم 1388؛ شابک: 9789646030282؛ مترجم: ایاز حدادی؛ تهران، آرمان، 1370، در 368 ص؛ دوزبانه انگلیسی فارسی؛ چاپ بعدی 1380؛ در 390 ص؛ مترجم: فتحیه صالحی؛ تهران، ارغوان، 1371، در 128 ص؛ مترجم: رویا ریاحی؛ تهران، نشر سمور، 1375، شابک: 9646208193؛ مترجم: شکوفه اخوان؛ تهران، نهال نویدان، 1375، در 192 ص؛ چاپ دیگر: 1392؛ در 159 ص؛ شابک: 9789645680464؛ هوگو در مقدمه کتاب مینویسد: چند سال پیش نویسنده این کتاب به هنگام تماشا یا بهتر بگوییم ضمن کاوش در کلیسای نتردام در یکی از زوایای تاریک برجهای آن کلمه ANATKH را که دستی عمیقاً بر یکی از دیوارها کنده بود مشاهده کرد....؛ کسی که این کلمه را بر دیوار برج کلیسای نتردام نقش زده بود چندین قرن پیش از جهان رخت بربسته، و نوشته او هم بدنبال وی ناپدید گردیده، پایان عمر کلیسا نیز بسیار نزدیک است. کتاب حاضر درباره سنگ نوشته مزبور به رشته ی تحریر در آمده‌ است.؛ پایان نقل چکیده داستان: در پاریس قرن پانزدهم، دختر کولی جوان و زیبایی به نام: اسمرالدا؛ به همراه بز باهوش خود میرقصید و برنامه اجرا میکرد. کلود فرولو، رییس شماسهای نتردام است راهبی ست که در نهان عاشق اسمرالدا شده‌، او سعی می‌کند با کمک کازیمودو، ناقوس زن گوژپشت و بدشکل نتردام اسمرالدا را برباید، ولی با دخالت کاپیتان فوبوس دوشاتوپر ناکام میماند، و کازیمودو دستگیر میشود. کازیمودو را در میدان اعدام با شلاق مجازات میکنند، و تنها اسمرالدا که قلبی مهربان دارد، به او کمک می‌کند و جرعه‌ ای آب به او میدهد: «دخترک بدون اینکه سخنی بر زبان راند به محکوم نزدیک شد، گوژپشت میخواست به هر قیمتی شده خود را از وی کنار کشد. ولی دختر قمقمه‌ ای را که بر کمربند آویخته بود باز کرد و به آرامی آن را با لب سوزان مرد بینوا آشنا ساخت. در چشم شرربار و خشک گوژپشت اشکی حلقه زد و بر چهره نازیبای او فروغلطید. شاید این نخستین قطره اشکی بود که در سراسر زندگی از دیده فرو میریخت.»؛ اسمرالدا عاشق فوبوس شده ولی فوبوس که جوانی سبکسر و هوسباز است تنها در پی لحظاتی کوتاه با اوست، و تقریباً توانسته اسمرالدای پاکدامن را مغلوب سازد، که توسط کلود فرولو مورد اصابت خنجر قرار میگیرد. اما اسمرالدا است که به جرم قتل به اعدام محکوم میشود. کلود فرولو در زندان نیز به اسمرالدا ابراز عشق می‌کند، ولی اسمرالدا او را از خود میراند، و همچنان به یاد فوبوس رنجها را هیچ میانگارد. در روز اعدام اسمرالدا را برای توبه به در نتردام میبرند، او در آنجا اتفاقی، چشمش به فوبوس، که از ضربت چاقو جان به در برده میافتد؛ ولی فوبوس از او روی برمیگرداند. اسمرالدا: «تا این دم هر رنج و سختی را تحمل کرده بود. ولی این ضربت آخرین بسیار شکننده بود».؛ در این لحظه کازیمودو، گوژپشت یکچشم و کر، اما بسیار نیرومند، متهورانه دخترک را از دست نگهبانان نجات میدهد، و او را با خود به برجهای نتردام میبرد، و دخترک در آنجا پناهنده می‌شود و بست مینشیند.؛ و .... ادامه ماجرا ا. شربیانی

  12. 5 out of 5

    Trish

    If these stones could speak … 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 Nôtre Dame). The actual French title translates to „Our Lady in Paris“ as it is not really about Quasimodo but about the cathedral of Nôtre Dame. Now, in order to underst If these stones could speak … 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 Nôtre Dame). The actual French title translates to „Our Lady in Paris“ as it is not really about Quasimodo but about the cathedral of Nôtre Dame. Now, in order to understand the core story, I have to go somewhat into detail. For those, who don’t 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’s 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’s 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 Nôtre 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’s 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 Nôtre 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’t 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’s 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: „Printing will kill bookselling.“ since it supposedly is a „wretched“ 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’ characters and occupations. Unlike Dumas, however, Hugo doesn’t quite manage to successfully walk the knife’s 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.

  13. 5 out of 5

    Denisse

    Buddy Read at: Emma's Tea Party Oh my God! My brain is exhausted. I used too many neurons for this. I want to take a nap. I really wanted to love the book. In my defense I did like Frollo’s character. He has a very interesting and intense problem to read going on in his head. Sadly everyone else did not set up a thing on me. Alongside those endless descriptions, I found this story way too long and tedious. The writing is excellent, the passion behind it really inspiring but I’m just not interest Buddy Read at: Emma's Tea Party Oh my God! My brain is exhausted. I used too many neurons for this. I want to take a nap. I really wanted to love the book. In my defense I did like Frollo’s character. He has a very interesting and intense problem to read going on in his head. Sadly everyone else did not set up a thing on me. Alongside those endless descriptions, I found this story way too long and tedious. The writing is excellent, the passion behind it really inspiring but I’m just not interesting in full chapters with just architecture descriptions, they started good but were just too long for my taste. At least I’m not going to die saying I never read a Victor Hugo, so I WON! Saben, yo creía que hablaba español…hasta que leí este libro. D: Ni cuando leo en ingles uso tanto el pinche diccionario XDlol Voy a empezar diciendo que entiendo, de verdad lo hago. Hay edificios tan importantes en nuestro mundo, que por nada del mundo deberían ser demolidos o cambiados siquiera. Desgraciadamente a mi la arquitectura no me va mucho. O sea, las descripciones empezaban bien, de hecho la de Notre-Dame es muy buena, pero eran bastante largas y terminaban siempre cansándome. Esa fue la razón principal por la que no disfrute tanto la lectura. Al inicio se dice que la historia nació de una palabra que estaba escrita en la catedral: 'AN'AIKH, que significa fatalidad. Y ese dato curioso, por así decirlo, me gusto mucho, hizo que mis ganas por empezar el libro se incrementaran un montón, y en ese entonces ya eran bastante grandes. Muy pronto, como al 15% ya estaba llorando. Cuando digo que este libro tiene una introducción larga, me refiero al primer 50% y no es un chiste. En esa primera mitad, esperen muchas descripciones de todos los lugares icónicos habidos en Paris del siglo XV. Lo bueno de ese tramo es que también tenemos las historias detrás de los personajes Frollo y Quasimodo y fueron EXCELENTES. La verdadera trama no inicia si no hasta casi el 60% y es algo que cualquiera que no haya leído este bebe debe tener en cuenta, porque hay mucha gente que odia las introducciones. Y como alguien que las ama les diré esto: Casi me doy por vencida. Sentí como si la historia estuviera formada de muchas subtramas en lugar de tener una general y otras chicas que la acompañaran como es lo más normal de leer. A menos que consideren descripciones arquitectónicas como trama principal, este libro para mi no la tiene. Frollo esta encaprichado con Esmeralda, Esmeralda con Pheobus y Quasi es un ser que nunca llegue a comprender pero termino agradándome. Siento que ya escribí mucho y no he dicho nada. De cariño me pueden decir Victoria Huga XDlol Además de Frollo, ningún otro personaje tiene mucha profundidad, a ninguno lo llegue a entender realmente, otra vez, las descripciones de edificios y lugares son tantas que muchas veces los personajes quedan relegados a segundo lugar. Algo que si me gusto y bastante fue todo el rollo Esmeralda-Pheobus-Quasi. (view spoiler)[Ambos salvan a la gitana en diferentes ocasiones pero es a Pheobus a quien Esmeralda termina sobreadorando solo por su físico. Y a pesar de que estuvo mucho tiempo con Quasi nunca dejo de tenerle miedo o asco, o una mezcla de ambas y eso es muy triste porque Quasi, aunque algo bravo, es bueno mientras que el otro guey es un hdp. (hide spoiler)] Por otro lado, el final es muy bueno, todos los personajes convergen de alguna forma interesante y la trágica conclusión junto con la escritura del autor hace que termines con buen sabor de boca. A mi parecer el ultimo capitulo es simplemente bello. Y me gusta que un libro tenga unas últimas líneas increíbles. Le da mas peso al final en su totalidad a mi parecer. Y obviamente el libro esta excelentemente bien ambientado y escrito. Les recomiendo el libro si ya están acostumbrados a descripciones largas y diálogos extensos. De otra forma no lo van a disfrutar ni un poco. Si tiene muy poca fluidez debido a los capítulos alternados entre “descripción arquitectónica” y “trama”, además a veces se hacían comparaciones larguisimas con los años 1400 y 1800 que es cuando transcurre la obra y cuando se publico realmente. Desconcentran muchísimo. Al final, si es una lectura difícil, porque cualquier cosa que sea tan lenta ES difícil, pero dependiendo en lo que estés interesado es si disfrutaras esa lentitud o no. La mayoría del tiempo, con esta historia, yo no lo hice :( Al final me quedo una reseña muy larga y siento que no dije nada importante. Pero no me arrepiento de haberlo leído, simplemente ya se que tipo de clásicos no me van XD

  14. 5 out of 5

    Bradley

    Who knows, maybe I'm one of the only people in existence who enjoy good long novels about buildings. But then, there are a lot of fans of Follet's Pillars of the Earth, so maybe not. Are people the thing? Or is it place? Or what happens when we start confusing a place with the persons within it? Notre-Dame is a misshapen monster with a lumpy heart and a lumpy head. Or wait, is that Quasimodo? Is Esmeralda a good-natured gypsy dancer or is the spine of Paris itself? Seen this way, the whole tragedy Who knows, maybe I'm one of the only people in existence who enjoy good long novels about buildings. But then, there are a lot of fans of Follet's Pillars of the Earth, so maybe not. Are people the thing? Or is it place? Or what happens when we start confusing a place with the persons within it? Notre-Dame is a misshapen monster with a lumpy heart and a lumpy head. Or wait, is that Quasimodo? Is Esmeralda a good-natured gypsy dancer or is the spine of Paris itself? Seen this way, the whole tragedy of Esmeralda's gross miscarriage of justice (or the BIG IDEA writ as architecture in Notre-Dame, Quasimodo) being the gross travesty of France's history, takes on a wickedly abusive satirical slant. Or, if you prefer, a blind, deaf, and dumb legal drama so obviously obtuse as to become a farce... or is it? No. It's firmly a tragedy. Witch-killers, inquisition, hungry mobs, vagabond guilds, and blithe royalty, clergy, poets, and tradesmen... well, it's a sad, sorry tragedy where everyone gets a trowel up the flue. Did I like? That's hard to say. I loved the architecture rambling bits, which, I might say, might be the least favorite bits of other people. The characters themselves were sometimes amusing but always writ larger than life. I like that sometimes, and I liked it here most of the time. But there were points at which the tale seemed to get derailed and the more subtle points that Hugo WANTED to make, satire-wise, were lost in the drench of pathos. Overall, a solid novel and it certainly doesn't fail to entertain, but I can't quite put it up there as an absolute classic.

  15. 5 out of 5

    Cait • A Page with a View

    Whoever read this and thought it sounded like great Disney material must have been quite ambitious. That movie kind of freaked me out as a kid, though, and I'm not sure I'm a much bigger fan of this story...

  16. 4 out of 5

    Mohammad Saadeh

    عندما تنهي هذه الرواية تأكد ان شعورك لن يكون جميلا, تأكد انك ستشعر بكل حزن الدنيا في قلبك. قطعة فنية من فيكتور هوجو, رواية لا تقل روعة وجمالا عن البؤساء. من البداية الى المنتصف لم اشعر بالمتعة في الاحداث ولكن تغير كل شيء بعد ذلك. يروي لنا الكاتب قصة انسان ولد وفيه كل شيء قبيح في هذه الدنيا, لقد كان احدبا, بشعا, كثير الشعر, وفوق ذلك اصيب بالصمم فكان اصما. يروي لنا الحياة من منظور هذا الاحدب, يروي لنا كيف يرى هذا الاحدب البشع الناس وكيف يرونه هم, وكيف يتعامل هذا الاصم معهم, ويروي لنا مدى اخلاصه للذين عندما تنهي هذه الرواية تأكد ان شعورك لن يكون جميلا, تأكد انك ستشعر بكل حزن الدنيا في قلبك. قطعة فنية من فيكتور هوجو, رواية لا تقل روعة وجمالا عن البؤساء. من البداية الى المنتصف لم اشعر بالمتعة في الاحداث ولكن تغير كل شيء بعد ذلك. يروي لنا الكاتب قصة انسان ولد وفيه كل شيء قبيح في هذه الدنيا, لقد كان احدبا, بشعا, كثير الشعر, وفوق ذلك اصيب بالصمم فكان اصما. يروي لنا الحياة من منظور هذا الاحدب, يروي لنا كيف يرى هذا الاحدب البشع الناس وكيف يرونه هم, وكيف يتعامل هذا الاصم معهم, ويروي لنا مدى اخلاصه للذين يحسنون اليه لانه في الوضع الطبيعي لا يتوقع اي مساعدة من اي انسان نظرا لما يراه من البشاعة من نفسه. كل هذا يمزق القلب حقيقة والاسوأ من ذلك عندما يستغل هذا المحسن ذلك الاحدب في فعل امور سيئة, امور تلبي رغبة هذا المحسن ولكن صديقنا الاحدب لحسن نيته ولرد الجميل الى المحسن اليه لا يرفض له طلبا ولو كان على حساب موته. ويروي لنا انه مهما كان مظهر الانسان فإن الباطن هو الذي يقرر الجمال وليس الظاهر. فالحمد لله على نعمه كلها التي اعطانا اياها. والامر الاخر الذي دارت حوله الرواية هو قصة حب بين رجل فاسد شهواني يهمه جسده فقط وبين فتاة بريئة لطيفة يهمها ان تعيش في جو حب وحنان بعيدا عن كل الامور الشهوانية الحيوانية. هنا نرى كيف تضحي الفتاة بحياتها في سبيل اتمام هذا الحب, كيف تكون مستعدة لفعل اي شيء فقط في سبيل اتمامه, ونرى عكس ذلك تماما عند الرجل. كثيرا ما نرى مثل هذه العلاقات في حياتنا, ولو جُعلت حكما على امثال هؤلاء الرجال, لحكمت عليهم بالعيش في الذل والهوان طيلة حياتهم لما يسببونه من كسر في قلوب هؤلاء الفتيات. ويروي لنا كاهنا اعماه الحب وصار شيطانا, ولكنه نال نهاية يستحقها. هذا غير شعورك بمدى الظلم والحزن الذي يناله انسان حكم عليه بالموت ظلما. كله حزن في حزن. وكما في البؤساء فإن النهاية محزنة جدا, ولكن لا أدري لعلها لو كانت سعيدة لما كانت في مثل هذا الجمال. فيكتور هوجو اروع انسان بنظري يتكلم لغة المشاعر, لغة القلوب!

  17. 5 out of 5

    Corinne

    Victor Hugo’s first real novel, written under duress from his publisher!! Nevertheless, he manages to render a dark environment joyous, almost funny at times. For me, the protagonist is not Quasimodo but Esmeralda. It’s her inner and outer struggles we have access to the most. As usual, Victor Hugo portrayed them realistically, neither all good nor all bad, thus humane and credible. Even Gringoire and Claude are portrayed that way, as human beings subjected to primal instincts and humane spiritu Victor Hugo’s first real novel, written under duress from his publisher!! Nevertheless, he manages to render a dark environment joyous, almost funny at times. For me, the protagonist is not Quasimodo but Esmeralda. It’s her inner and outer struggles we have access to the most. As usual, Victor Hugo portrayed them realistically, neither all good nor all bad, thus humane and credible. Even Gringoire and Claude are portrayed that way, as human beings subjected to primal instincts and humane spirituality. In this novel Victor Hugo attacks Prejudice and Justice simultaneously: the deaf judge, judging a deaf defendant; and the judgment of Esmeralda’s goat!!! Quasimodo’s inner conflict over Claude at the end is deeply moving. Claude brought him up as father, then broke his heart by trying to harm Esmeralda. Ultimately, Quasimodo’s spirituality wins over his animal-like devotion to Claude... The final scene where we discover the skeleton of Quasimodo next to Esmeralda brought me to tears.

  18. 4 out of 5

    Alp Turgut

    Victor Hugo’nun efsaneleşmiş eseri "Notre-Dame de Paris / The Hunchback of Notre Dame / Notre Dame’ın Kamburu", sadece hikaye örgüsüyle değil aynı zamanda alt metninde işlediği sanat ve insani değerler temalarıyla defalarca okunmayı hak eden fazlasıyla etkileyici gerçek bir başyapıt niteliğinde. İnsanların 15. yüzyıl kadar düşüncelerini özgürce ifade edebilmek için mimariyi kullandığını, rönesans ve reformla birlikte gelen matbaayla beraber mimarinin etkisinin kaybolmaya başladığına dikkat çeken Victor Hugo’nun efsaneleşmiş eseri "Notre-Dame de Paris / The Hunchback of Notre Dame / Notre Dame’ın Kamburu", sadece hikaye örgüsüyle değil aynı zamanda alt metninde işlediği sanat ve insani değerler temalarıyla defalarca okunmayı hak eden fazlasıyla etkileyici gerçek bir başyapıt niteliğinde. İnsanların 15. yüzyıl kadar düşüncelerini özgürce ifade edebilmek için mimariyi kullandığını, rönesans ve reformla birlikte gelen matbaayla beraber mimarinin etkisinin kaybolmaya başladığına dikkat çeken Hugo, Kral XI. Louis zamanlarında yaşanan insanlık suçlarını kendi zamanıyla bağdaştırarak "Bir İdam Mahkumunun Son Günü"nde olduğu gibi ağır bir dille eleştiriyor. Fransa’nın güzelliklerini yitirmeye başladığının sinyallerini veren kitabın basımından sonra Notre-Dame’ın restore edilmesi bile kitabın ne kadar etkili olduğunun bir kanıtı niteliğinde. Kitabın baş karakteri kambur ve çirkin Quasimodo’nun insanlar tarafından hor görülmesiyle insanoğlunun ne kadar vahşi ve acımasız varlıklar olduğunu altını çizen kitapta Quasimodo’yu büyüten etkileyici bir görünüşe sahip olan rahip Frollo karakteriyle başarılı bir tezatlık yaratmayı bilmiş Victor Hugo. Özellikle halk tarafından işkenceye maruz edilen Quasimodo’ya su veren Esmeralda’nın davranışı tüyleri diken diken ediyor. Buna karşılık canavara benzer yapısına rağmen idam edilmek üzere olan Esmeralda’yı kahramanca bir şekilde kurtarıp ona her konuda yardım eden Quasimodo, yaratılışının lanetine rağmen kilise çanları ve Paris manzarasıyla hayattan zevk almayı başarıyor. Öte yandan, Esmeralda’ya aşık olduğu için Notre-Dame’la Esmeralda’nın arasında kalan başrahip Frollo’nun Esmeralda’yı elde etmek yaptığı tüm kötülükler karakterin içerisindeki şeytanı her defasında ortaya çıkarıyor. Esmeralda’yı elde edemediği takdirde onu öldürmeyi göze alan rahibin bağnaz kafasının günümüzde de ciddi problem yarattığını görüyoruz. Bu iki karakterle insan olmanın ne demek olduğunu düşündüren Hugo’nun alt metinde eleştirdiği dinin bağnaz yapısının şu zamana kadar neredeyse hiç değişmediğini görmek tüyler ürpertici. Kitabın başında Frollo’nun Esmeralda’yı Quasimodo’yla kaçırmaya çalışmasını engelleyen yüzbaşı Phoebus’u görür görmez aşık olan Esmeralda’yla çocuksu ilk saf aşkı ele alan klasik hikayede sevgiyle aşk arasındaki ince çizgi tartışılıyor. Esmeralda’yı tüm çocukluklarına rağmen seven Quasimodo’nun onun kalbine girmek için yaptıklarıyla Frollo’nun yaptıkları arasındaki zıtlıklar kitabın en öne çıkan detayları. Buna ek olarak Phoebus’un da Esmeralda’ya karşı bir o kadar ilgisiz kalması gerçek sevgi kavramını okuyucuya sorgulatıyor. Finaline doğru bir an bile elinizde düşüremediğiniz kitabın finali ise tek kelimeyle mükemmel. Açıkçası bu kadar kalbe dokunan bir final beklemiyordum. Kitabı bitirdiğim gibi derin bir sessizliğe gömüldüm. Hugo’nun Paris’i detaylı bir şekilde tarif ederek adeta şov yaptığı eser mutlaka okunması gereken kilometre taşlarından biri. Son olarak, kitabı okuduktan sonra 1939 tarihli aynı adlı uyarlamayla, 1996 tarihli aynı adlı ama farklılaştırılmış Disney uyarlamasını izlemeyi sakın unutmayın. 04.03.2018 İstanbul, Türkiye Alp Turgut http://www.filmdoktoru.com/kitap-labo...

  19. 5 out of 5

    Huda Aweys

    اتعرض عليه النص دا معد كمسرحية ودي كانت اول مرة اقراه بصراحه .. ولاني موش قريت الرواية نفسها كنص ادبي فكل اللي اقدر اقوله .. او جايه اقوله هنا .. اني حبيت ازميرالدا اوي :) و شفتها ايقونه للحريه و القوة على أي حال

  20. 4 out of 5

    ♔ Leah.

    This is definitely my favourite classic, I loved the dark atmosphere of the book, and the setting being Notre-Dame, which is one of my favourite places in Paris. It's not entirely dark and horrible, there are times when it can be humorous, but it's brutal in terms of showing what obsession can become when it's misunderstood as love and the true form of love shown by other characters. When starting this book, it was really difficult to get into which is why I had to force myself to keep reading u This is definitely my favourite classic, I loved the dark atmosphere of the book, and the setting being Notre-Dame, which is one of my favourite places in Paris. It's not entirely dark and horrible, there are times when it can be humorous, but it's brutal in terms of showing what obsession can become when it's misunderstood as love and the true form of love shown by other characters. When starting this book, it was really difficult to get into which is why I had to force myself to keep reading until about 60 pages in (with the introduction) when I got into the plot. The story follows different characters, as well as flashbacks and Hugo's knowledge of Notre-Dame and Paris as a city. I also love how the cathedral is a metaphor for beauty and the beast as a balanced whole— the gargoyles being a representation of Quasimodo and the famous Rose window being Esmeralda, 2 distinct features of the cathedral. *spoilers ahead* I didn't like Frollo at all, I found him to be a fucking creeper and I didn't sympathize at all with him, and I'm baffled as how people could love him. the stuff he did was sickening:— the attempted rape of Esmeralda, forcing her to love him, laughing when she was hanged, not even caring for his adopted son, Quasimodo, when he was being jeered by the crowd. He was nasty and I didn't feel for him at all, because he didn't deserve to be sympathized with. Esmeralda, as much as I liked her for being compassionate towards Quasimodo, was shallow and naive. I could have played a drinking game as to how many times she says Phoebus' name during her scenes. She was foolish and pathetically in love with Phoebus because he was handsome when really he was cold and lecherous and only wanted to get in her pants. Like Frollo, she thought that lust was love, when really it was not. The story was heart-breaking and tragic, it really showed how appearances and social positions in society can be deceiving, and how cruel it could be for individuals who were good. Overall rating is 4.5

  21. 5 out of 5

    Andrei Tamaş

    "Nôtre-Dame de Paris" este un roman estetic care are să fie înțeles numai de către spiritele clasice. în el este descris cu minuțiozitate Parisul secolului al XV-lea, din timpul domniei lui Ludovic al XI-lea. 100 de pagini sunt strict dedicate arhitecturii clasice, iar autorul vede în Renaștere un fel de decădere a artei. El compară Parisul cu "o uriașă tablă de șah făcută din piatră". De asemenea, titlul romanului nu este "Cocoșatul de la Nôtre-Dame" (deși e drept că Quasimodo, cocasatul, e unu "Nôtre-Dame de Paris" este un roman estetic care are să fie înțeles numai de către spiritele clasice. în el este descris cu minuțiozitate Parisul secolului al XV-lea, din timpul domniei lui Ludovic al XI-lea. 100 de pagini sunt strict dedicate arhitecturii clasice, iar autorul vede în Renaștere un fel de decădere a artei. El compară Parisul cu "o uriașă tablă de șah făcută din piatră". De asemenea, titlul romanului nu este "Cocoșatul de la Nôtre-Dame" (deși e drept că Quasimodo, cocasatul, e unul din personajele cărții), ci "Nôtre-Dame de Paris", așa cum a intitulat-o autorul, căci el are drept de a-și numi lucrarea, nu critica literară. Povestea este tipică vremii în care a fost scrisă (prima jumătate a secolului al XIXlea). Legături de sânge, membrii ai familiei pierduți și regăsiți, lacrimi, iubire pasionala, iubire din interes... Un fel de fundal dostoievskian (Hugo a avut o influență majoră asupra lui Dostoievski)... "Această o va ucide pe aceea!" spune arhidiaconul Claude Frollo, un erudit, arătând prin "această" o carte și prin "aceea" o biserică.

  22. 4 out of 5

    Maha Maged

    أو تدرين يا فتاة ما الشقاء ؟!! أن تكون إنساناً ولا إنسان، رجلا و لكنك مكفوف عن مصائر الرجال، أن تحب ولا تنال، لدرجة أن تخسر دينك في سبيل لذة الوصال، فلا تلقى بعد خسرانه منها إلا الصدود و النكال، أن تجد من حولك مجرد أكلون للحوم البشر ، أن تُنفي من قلوب البشر لذنب لا يد لك فيه كمية البؤس و الشقاء اللي في العالم كتيــرة جدا و عقب انتهاء الرواية هينتابك يقين أن وجود شخص واحد يحبك نعمة تستوجب الشكر و الحمد طول العمر .. أول معرفة بفيكتور هوجو و أكيد مش الأخيرة

  23. 5 out of 5

    Mahdi Lotfi

    گوژپشت نتردام (به فرانسوی: Notre-Dame de Paris) رمانی است به قلم ویکتور ماری هوگو، نویسنده فرانسوی که در ۱۸۳۱ انتشار یافت. هوگو در مقدمه کتاب مینویسد: ((چند سال پیش نویسنده این کتاب به هنگام تماشا یابهتر بگوییم ضمن کاوش در کلیسای نتردام در یکی از زوایای تاریک برجهای آن کلمه ANATKH را که دستی عمیقا بر یکی از دیوارها کنده بود مشاهده کرد.))... ((کسی که این کلمه را بر دیوار برج کلیسای نتردام نقش زده بود چندین قرن پیش از جهان رخت بربسته و نوشته او هم بدنبال وی ناپدید گردیده، پایان عمر کلیسا نیز بسیار گوژپشت نتردام (به فرانسوی: Notre-Dame de Paris)‏ رمانی است به قلم ویکتور ماری هوگو، نویسنده فرانسوی که در ۱۸۳۱ انتشار یافت. هوگو در مقدمه کتاب مینویسد: ((چند سال پیش نویسنده این کتاب به هنگام تماشا یابهتر بگوییم ضمن کاوش در کلیسای نتردام در یکی از زوایای تاریک برجهای آن کلمه ANATKH را که دستی عمیقا بر یکی از دیوارها کنده بود مشاهده کرد.))... ((کسی که این کلمه را بر دیوار برج کلیسای نتردام نقش زده بود چندین قرن پیش از جهان رخت بربسته و نوشته او هم بدنبال وی ناپدید گردیده، پایان عمر کلیسا نیز بسیار نزدیک است.کتاب حاضر درباره سنگ نوشته مزبور به رشته تحریر در آمده‌است.))

  24. 5 out of 5

    Chrissie

    I want to state clearly that the book is not bad. I gave it two stars, and by that I mean it is OK! First of all, there are some really gorgeous lines. Secondly, Hugo has the ability to put you in the middle of an event; you are right there and it is whirling around you. Thirdly, he has a talent for weaving non-fictional facts into a fictional story. Sometimes the writing feels wordy. Other times, Hugo expresses himself superbly, beautifully, elegantly. The fictional elements are what give me the I want to state clearly that the book is not bad. I gave it two stars, and by that I mean it is OK! First of all, there are some really gorgeous lines. Secondly, Hugo has the ability to put you in the middle of an event; you are right there and it is whirling around you. Thirdly, he has a talent for weaving non-fictional facts into a fictional story. Sometimes the writing feels wordy. Other times, Hugo expresses himself superbly, beautifully, elegantly. The fictional elements are what give me the most trouble. Hugo and his writing and particularly this book belong to the French Romantic Movement of literature. It is not merely that romance is a central theme, but rather that the whole style of writing is romantic, sentimental, exaggerated and overwrought. Excess and exaggeration are the defining ingredients of every event that occurs. Personally, I can deal with romance if presented in a realistic, believable manner. That is not what is delivered here! None of the fictional elements of this story can be characterized as down to earth, believable or realistic. At the start, you work on understanding what is going on. The confusion clears, and the reader begins to know who is who and what is happening. The momentum builds. Most is still within bounds. Then, all breaks loose and reality totally dissolves. Some excitement is fine. I was engaged; I thought the events were exciting. Then, with one thing on top of the other, all credibility is lost. This draws for you how it feels to progress through the book. There are long chapters devoid of characters or plot. In these the time frame departs from the Middle Ages, goes centuries back and up to when the book was printed in 1831. Hugo leaves the story and focuses on architecture, its essence, its importance and various styles. He speaks of the history of Paris, that is to say how the city of Paris has developed over centuries. These sections are interesting, but they are weakly tied to the story. Hugo is delivering a message. As a result of the book, in Paris, buildings of the Gothic style came to be restored! This being exactly what the author had attempted to achieve. There is humor, often ironic in tone, criticizing the Church, royalty, aristocracy and class. Pay attention to the lines, there is humor everywhere. Individual characters are poked at and made fun of. This is a book of historical fiction, written by Hugo primarily from September 1830 to February 1831, but it is about events occurring during three months in 1482. The setting is Paris under the reign of King Louis XI. The cathedral itself is a central character. In French, the book was originally entitled Notre-Dame de Paris. The English translation by Frederic Shoberl in 1833 changed the title to The Hunchback of Notre-Dame to attract readers of Gothic fiction popular in Britain at that time. This is a book about head-over-heels, passionate love, love at first sight. Love without bounds. It is about unrequited love. It is also about love, not of the heart, but of convenience. It is about being torn between love of a woman and love of God, faith and religion. There is witchery, murder, attempted rape, hangings and torture. Each occurring several times. I listened to the audiobook narrated by Bill Homewood. I don’t think he does a bad job. The way he reads captures the feel of the author’s words. Nevertheless, the evil characters sound the same--mean and gruff and dark. There is the angelic Esmeralda, sounding meek. Contrary to this, the other women are shrill. You can group the characters into types; listening you know to which group each individual belongs. If you are really lazy, you need not even listen to the words, just listen to the tones! I say this as a joke, as a poke. In my view, it is the author who has over-simplified his characters; the narrator is only mirroring what the author has created. I prefer Victor Hugo's Les Misérables. It isn’t as fanciful as this and has more interesting historical tidbits. Both have lyrical lines, both have exciting episodes, and both enable a reader to experience another time and place in history. I like how Victor Hugo writes, but the story of The Hunchback of Notre-Dame is too unbelievable for me! It is interesting to note that in France the author’s poetry collections are more popular than his novels.

  25. 4 out of 5

    Yara (The Narratologist)

    Disney lied to us. … Let me specify. You probably guessed that Victor Hugo’s novel does not have dancing gargoyles or Wizard of Oz references, but it goes much deeper than that. In fact, we can trace its primary misdirection back to whoever first decided on the English translation of the title of the book: The Hunchback of Notre-Dame. This implies that the main character of the story is Quasimodo, the misformed outcast with a heart of gold who longs to spend oooone daaay ooouuut theeeeere. Howeve Disney lied to us. … Let me specify. You probably guessed that Victor Hugo’s novel does not have dancing gargoyles or Wizard of Oz references, but it goes much deeper than that. In fact, we can trace its primary misdirection back to whoever first decided on the English translation of the title of the book: The Hunchback of Notre-Dame. This implies that the main character of the story is Quasimodo, the misformed outcast with a heart of gold who longs to spend oooone daaay ooouuut theeeeere. However, Hugo’s original French title is much more accurate: Notre-Dame de Paris. This focus of the novel is on its setting rather than its protagonists – we follow a cast of characters, but in the end, all roads lead to the cathedral. Read More

  26. 5 out of 5

    Sanja

    Petica, iako mi je lik Esmeralde bio toliko iritantan da sam ja htela da se obesim. Ipak, veličanstveno delo, zaista.

  27. 4 out of 5

    Victoria Addis

    This review has been hidden because it contains spoilers. To view it, click here. At least the goat survives!

  28. 4 out of 5

    Jason

    What happened to the beginning of this unabridged story!? For 300 pages, The Hunchback of Notre-Dame was scribed like a meandering storyline over a checkerboard, each square representing a chapter of the book. The few squares scribed directly by the line told fleeting, but essential parts of the story (about Quasimodo, Esmeralda, and Frollo). The more numerous squares adjacent to the scribed storyline told even less essential bits of the story. And, the majority of squares, several dozen chapter What happened to the beginning of this unabridged story!? For 300 pages, The Hunchback of Notre-Dame was scribed like a meandering storyline over a checkerboard, each square representing a chapter of the book. The few squares scribed directly by the line told fleeting, but essential parts of the story (about Quasimodo, Esmeralda, and Frollo). The more numerous squares adjacent to the scribed storyline told even less essential bits of the story. And, the majority of squares, several dozen chapters, were far removed from the storyline, and had almost nothing to do with the concluding thrust of action in the book. It's not that the story dawdled; its just that most chapters were simply irrevelant to the main characters for the greater part of 300 pages. I'm not declaring that the writing was no good. On the contrary, as you'll see below, the writing was detailed and powerful, and I record several favorite examples. This is my first encounter with Victor Hugo's literature, and the sweep of his writing clearly indicates that he is a master polyhistor. However, even after concluding the book, I felt that several dozen chapters--most at the beginning, but even some near the end--were completely unnecessary. That's a cocky, absurd statement from someone who can't write like Victor Hugo, but in this case it leads me to understand why there are several hundred versions of The Hunchback of Notre-Dame, and why most of those versions are abridged. In fact many versions are children's picture books, which capture the essential story, and excise chapters of the checkerboard that don't relate to the main three protagonists. I understand that Hugo had to provide deep background for the story. It was essential to describe Notre-Dame and important for the reader to understand the life and times of late-medeival Paris. It's important to envision the environment and atmosphere in which the action takes place. It's critical to see the characters' early actions to translate and understand the profundity of their actions later. Yes, this all makes sense. In fulfilling this background, however, Hugo spent the greater part of 300 pages following a minor character, Gringiore. Gringiore did not serve as a foil, or a fulcrum, or a window into the main characters. No, he's a bit character whose importance actually declines toward the end. We have tantalizingly few descriptions about, and even less spoken words from, the key players. I do enjoy classics--the timing it takes to develop; the word choice, the author's methodology; the subtlety, metaphor, and symbology that requires numerous re-readings to truly appreciate; the transcendence of the author's message or lesson. The last third of this book is the real classic. Oh, how I wish Hugo had focused early on Quasimodo, Frollo, and La Esmeralda, and never let go. These characters are fertile, anomolous, and peculiar enough for all the chapters of The Hunchback of Notre-Dame. There are some incredibly turbocharged chapters, some of which were written akin to tragic Romantic soliloquies. Particularly: - Book V, Ch II when Hugo rants about about how the written word has usurped architecture - Book VIII, Ch IV when Frollo declares his love - Book X, Ch I when Esmeralda meets her mother, and the mob attacks Notre-Dame There are other problems I had with the book, though. The translator provided 20 pages of footnotes. Footnotes usually provide key information for understanding deep background. These footnotes, however, often called attention to Hugo's repeated misuse of Spanish and Italian. They also provided reference or explanation for things that were obscure, not exceptionally pertinent, and that didn't help backstage the story (for example, telling the real name of a building that doesn't actually exist anymore, legal cannon from the twelfth century, and what isolated Parisian neighborhoods used to be called before they disappeared to history). The notes, overwhelmingly, are simple translations of Latin, without explanation of why or to what purpose Hugo was using a particular Latin phrase. This is wholly my own prejudice, I know, but I fear that over time, Hugo's footnotes will become more and more obscure without better translation. Similar to how I feel about John Updike's writing. Several hundred years from now, readers will miss the awesome amount of reference that Updike makes to current cultural idiosycrasies and Americana, and will eventually require several hundred footnotes per book. I also had a small problem with Hugo refering to us as 'the reader.' At one point he actually refers to 'this book' that he's writing. It just seemed to make the discourse between author and reader a bit too chatty. And, just too much Latin. I would have preferred the translator insert English into the body of the text, while providing footnotes that displayed and explained the author's original Latin. I read every footnote, and felt that it was too much. New words: escutcheon, breviary, pudendum, orpiment, woad Quotes: - "Oh how hollow science sounds when you dash against it in despair a head filled with passions." (p. 329) - "Grief like this never grows old. For a mother who has lost her child, it is always the first day. This pain never ages. It is useless that the colors of mourning fade. The heart remains black as ever." (p.338) - "Nobody had noticed in the gallery of the royal statues, immediately above the pointed arches of the entrance, a strange-looking spectator, who had till then been watching everything impassively, head so outstretched, visage so deformed that, except for his apparel, half red and half purple, he might have been taken for one of those stone monsters out or whose mouths the long gutters of the cathedral have for these six hundred years disgorged themselves." (p. 354) - "He ran through the fields until nightfall. This flight from nature, from life, from himself, from man, from God, from everything, lasted till evening. Sometimes he threw himself on his face on the earth and tore up the young corn with his fingers; at other moments he paused in some lone village street, and his thoughts were so unbearable that he grasped his head with both hands and tried to wrench it from his shoulders in order to dash it against the ground." (p. 360) - "The night was cold. The sky was covered with clouds, the large white masses of which, overlapping each other at the edges and being compressed at the corners, resembled the ice of a river that has broken up in winter. The crescent moon, embedded in those clouds, looked like a celestial ship surrounded by aerial sheets of ice." (p. 367) - "The round room was very spacious, but the tables were crammed so close together, and the customers so numerous, that all the contents of the tavern, men and women, benches and beer jugs, those who were drinking, those who were sleeping, those who were gambling, the able-bodied and the cripple, seemed to be tumbled together chaotically, with just as much order and harmony as a pile of oyster shells." (p. 407)

  29. 5 out of 5

    Wanda

    I don’t know about you, but I think about obsessional crimes and stalking as modern phenomena, exacerbated by life in huge cities. The Hunchback of Notre-Dame demonstrates that there is truly nothing new under the sun. Victor Hugo wrote this tale of obsession in the 1800s. The gypsy girl, La Esmeralda, has the misfortune of attracting the obsessional gaze of two men, the archdeacon Claude Frollo and his protégé, the deformed bell-ringer of the cathedral, Quasimodo. She, in her turn, is fixated o I don’t know about you, but I think about obsessional crimes and stalking as modern phenomena, exacerbated by life in huge cities. The Hunchback of Notre-Dame demonstrates that there is truly nothing new under the sun. Victor Hugo wrote this tale of obsession in the 1800s. The gypsy girl, La Esmeralda, has the misfortune of attracting the obsessional gaze of two men, the archdeacon Claude Frollo and his protégé, the deformed bell-ringer of the cathedral, Quasimodo. She, in her turn, is fixated on handsome Captain Phoebus, who couldn’t care less about her although he is willing to take advantage of her when an opportunity presents itself. None of these people actually know one another—they have only observed from afar and projected their own fantasies onto other people. Quasimodo has the most reason for his adoration of La Esmeralda—she brought him water while he was incapacitated at the pillory during an undeserved punishment. Earlier, we see La Esmeralda save Pierre Gringoire, the unsuccessful playwright, from hanging by accepting him as a temporary husband. Pierre is somewhat disappointed when he discovers that she intends a platonic relationship, but is sensible enough to appreciate that her kindness has spared his life. La Esmeralda is presented as a kind, good person. But like many women, she finds herself the focus of unwanted male attention. We often think of stalking in relation to celebrity, but in reality many ordinary citizens find themselves the object of obsession of other “regular” people. A waitress may, by serving a cup of coffee, unwittingly launch an obsessive on a mission to “own” her. Having had a small brush with such behaviour myself, I have realized how startlingly easy it is to become involved in such situations. There are so many lonely people living in our cities, who are used to being ignored while resenting it. If your job requires you to be polite and helpful, these folks may misinterpret your intentions. The crumbs of attention that they receive from you may trigger that hunger for more, beginning something that you never meant to start and which you feel powerless to stop. At the same time, La Esmeralda is guilty of a similar behaviour—she knows nothing about Phoebus except that he is handsome and wears a beautiful uniform. She is very young and it is like a young woman today becoming enamoured of a celebrity. Unlike many, La Esmeralda has the opportunity to meet her crush and is only prevented from consummating her desires by her stalker, Archdeacon Frollo. None of this can end well. Modern instances of stalking are liable to end in death, either of the pursuer or the pursued. The HoND deals with these apparently timeless topics—I’m reminded of Shakespeare’s tragedies, especially Othello. Victor Hugo’s tale definitely deserves its reputation as classic literature.

  30. 4 out of 5

    Marta Álvarez

    No voy a negar que hay partes de insufribles (y laaaaaargas) descripciones de cosas que no tenían que ver con la historia y que me han puesto un poco de los nervios. Pero en fin... Victor Hugo, lo has vuelto a hacer. Me han vuelto a atrapar tus personajes miserables y la forma que tienes que entrelazar sus desgracias y decir cada cosa en momento preciso para crear un conjunto tres veces más trágico. Maldito seas. Hashtag DRAMA.

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