Gothic Elements

Setting: Set during the medieval times, when gothic art flourished,  the streets of Paris were naturally rough and unkempt. With few to care, the menial houses appeared to be “decayed” and “worm-eaten”. (Bk. 2, Ch. 6, Pg. 68) This deformity immediately kickstarts the mood for the reader. Situated in the center of these woven roads lies the ethereal Notre-Dame where most of the story takes place. It’s imposing and grotesque facade proves to be more than your typical haunted house, being fully adorned with stained glass windows, gargoyles, spiked towers and an unspoken promise of divinity. Although the holy walls has served as a sanctuary to many lives, it is unforgettable that it “[retains] grief and indignation at the numberless injuries and mutilations which time and man have inflicted on the venerable structure”. (Bk. 3, Ch. 1, Pg. 90) This situational irony also establishes an eerie history to the location.

Characters:

Quasimodo (beast): He is the monster in the story, the Frankenstein of gothic novels to top it off, one look at Quasimodo face, and it will bring alive all your deepest darkest fears.

“God knows what intensity of ugliness his features could attain. We shall not attempt to give the reader any idea of that tetrahedron nose, of that horseshoe mouth, of that little left eye, stubbled up with an eyebrow of carrotty bristles, while the right was completely overwhelmed and buried by an enormous wen; of those irregular teeth, jagged here and there like the battlements of a fortress; of that horny lip, over which one of those teeth protruded, like the tusk of an elephant; of that forked chin; and, above all, of the expression, that mixture of spite, wonder, and melancholy, spread over these exquisite features. Imagine such an object, if you can.” (Bk. 1, Ch. 5, Pg. 40)

Though his heart may be pure and sincere, none of these traits will ever outweigh his profoundly ugly countenance. It is as if a lifetime curse has been placed on him for something he had nothing to do with, something there is no way of redeeming. Even after saving the life of his love, Esmeralda, she simply could not “feel sufficient gratitude to blind her to his imperfections...He was too hideous.” Have God no mercy for the creature who lives under His very haven? Or is this the work of the supernatural?

Archdeacon Claude Frollo (tyrannical male): Torn between his virtuous ways and impassioned desire to pursue Esmeralda, Frollo breaks his bonds and becomes a self-indulgent maniac. In attempt to make her love him, he abuses his power by using threats that only suffice to put her in despair. But if he can't have her, no one else can.

“Haunted by it incessantly, incessantly hearing thy song ringing in my ears, incessantly seeing thy feet dancing upon my breviary, my dreams by night, as well as my thoughts by day, being full of thee. I was desirous to behold thee again, to touch thee, to know who thou wert, to ascertain whether thou resemblest the ideal image impressed upon my mind, to dispel perhaps the phantasm by the reality.” (Bk. 7, Ch. 4, Pg 256)

Esmeralda (damsel in distress): While she appears to be level-headed and independent in the beginning, the reader slowly comes into terms with her weakness, that is to be naive for love. However glorifying it may be to in the city of love, Esmeralda blindly falls head over heals for an arrogant man whom she falsely believes is equally infatuated. This mishap puts her in the inferior position as her logic and reality is suddenly distorted. There is no hiding the fact that her unprecedented beauty and youthful charms is what condemned her to be such a target of purity.

“She was not tall, though she appeared to be so from the slenderness and elegance of her figure. Her complexion was dark, but it was easy to divine that by daylight her skin must have the beautiful golden tint of the Roman and Andalusian women. Her small foot too was Andalusian. She danced, whirled, turned round, on an old Persian carpet, carelessly spread on the pavement; and every time her radiant face passed before you as she turned her large black eyes flashed lightning.” (Bk. 2. Ch. 3, Pg. 51)

Vocabulary: There is a large selection of gothic vocabulary that not only captures the temper of the story, but also greatly enhance it.

Personification: Throughout the book, there was not a substantial use of personification as expected, but each and every one still counts and this was one of them: “The myriad bells with their little copper tongues seemed to him so many gaping jaws of serpents, ready to bite and to hiss.” (Bk. 2, Ch. 6, Pg. 77)

Pathetic Fallacy: The only pathetic fallacy that occurs during the novel follows the narration of a philosopher named Pierre Gringoire. His impartial and whimsical attitude towards life other than himself translates fluently into the passages.

“...where a thousand scattered lights flickered in the confused haze of night.” (Bk. 2, Ch. 6, Pg. 67)

Omens and Prophecies etc.: Hugo includes many elements of the mystical, such as black magic, alchemy, and curses. The remark of sorcery alone was especially thrown around as people then strongly believed in gypsies possessing evil power. Even the priest Claude Frollo is associated with such dealings when he writes ANAÃKH on the wall of his room. The word means fate and reflects on the gripping effects from which the characters appear unable to free themselves. Thus, making the word a prophecy of the short time remaining for Hugo’s main characters.

Overwrought Emotions: It is a thunderous storm of emotions encased within the inscription of words this one. From the height of the philosopher’s joy of having slipped by the card of death, to the desperation of Frollo’s break down, and Quasimodo’s final blow of anger, the intensity constantly regenerates. The whole plot is driven by these character’s raw emotions which dictates their actions. For example, at the end of this novel when Esmeralda could have narrowly escaped death, she chooses to remain a captive of her wretched emotions, yet again. And yet again, it openly betrays her. Having so mindlessly left her hiding spot to seek her past lover, it had costed her her life.

“‘Oh, my Phoebus!’ was all that poor girl could utter.” (Bk. 7, Ch. 4, Pg. 257)

“At this awful moment, a demon laugh, a laugh such as one only who has ceased to be human is capable of, burst forth upon the livid face of the priest. Quasimodo heard not this laugh, but he saw it.” (Bk. 10, Ch. 2, Pg. 411)

Romance: This novel, includes a great collection of romantic elements all as a direct result of Esmeralda. We get a taste of powerful love from the archdeacon mournful pleas, the uncertainty of reciprocated love from Phoebus, along with her rival suitors the Archdeacon, Phoebus, Gringoire and Quasimodo who all seek the attention innocent Esmeralda! This singular element, is the core that builds and connects the whole story to create tension in its unpredictability.

“Thou wilt grant me that indulgence, wilt thou not, my Phoebus? Meanwhile take me; let me belong to thee, and be the only object of they love! We Egyptians want nothing else but air and love.” (Bk. 6, Ch. 8, Pg. 231)