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The compositional role of the Cathedral of Our Lady of Paris in the eponymous novel by V. Hugo

Examples of the national and historical flavor of Hugo's rich and balady, such as "King John's Tournament", "The Burgrave's Love", "The Legend of the Nun", "The Fairy" and others. what was the renewal of dramaturgy, the creation of romantic drama. As an antithesis to the classical principle of “ennobled nature”, Hugo develops the theory of the grotesque: it is necessary to show funny, indulgent in a “concentrated” look. Numbers and riches of other aesthetic moods are not only dram, but, in fact, romantic mystekstva vzagali, that before the drama "Cromwell" has become one of the most important romantic manifestos. The ideas of this manifesto are realized in the dramas of Hugo, as written on historical plots, and in the novel “The Cathedral Our Lady of Paris».

The idea of the novel is vindicated from the atmosphere of historical genres, the beginning of which was laid by the novels of Walter Scott. Hugo sees Danin's confusion and dramaturgy, and in the novel. For example, the 1820s. Hugo thought of writing a historical novel, and in 1828 he made an agreement with the famous Gosselin. However, the work is folded into an impersonal environment, and most of them are those who attach more and more respect to modern life.

Hugo's work on the novel takes only 1830, a few days before the Lipne Revolution. Just think about your hour, closely intertwined with the fundamental concept of the history of mankind and with statements about the fifteenth century, about how you write your novel. This novel is called "The Cathedral of Our Lady of Paris" and comes out in 1831. Literature, something like a novel, something like a drama, depicting history, but not as much as historical science wants to do. The chronology, the exact sequence of battles, the conquest, and the disintegration of kingdoms are only the outer side of history, which made Hugo firm. In the novel, respect is concentrated on what the historian forgets about or ignores, - on the “visit” of historical approaches, that is, on the inner side of life.

Dorimuyuchis tsikh new ideas, Hugo creates "Cathedral of Our Lady of Paris". Viraz the spirit of the era, the writer is respected for the main criterion of the truthfulness of the historical novel. This artistic tvir is principally examined in the chronicle, demonstrating the facts of history. In the novel, the actual “canvas” can only be the sole basis of the plot, in which the characters can develop and develop according to the author’s fantasy. The truth of the historical novel over the accuracy of facts, and the truth of the spirit of the hour. Hugo re -re -re -pushes, in the pedantic roller -shaped chronyk, do not know the staging sensation, skelki yogo in the behavior of the mesitated ntovpa “Argotins” (in the yogo romance of the Corporations, Znrabrav, the wizards to the great chenci, to the alchemy tales of which the king shows interest.

The only one is indestructible to the author’s wimislu - in keeping with the spirit of the era: characters, psychology of characters, their mutuality, vchinki, wild overflow of the development of the subdivision, the details will be pobut that everyday life- all aspects of historical reality that are depicted should be imagined as they really could be. Since the mother has been revealed about the era long gone, it is necessary to know not only about the official realities, but also about the way of everyday life of the common people, it is necessary to learn everything and then work in the novel. To help the writer, they can tell the story of the people, the legends are just folklore dzherel, and the lacking details in them, the writer can and is guilty of filling with the power of his own show, so that he can go into the foretelling, keep remembering with it, that the fruit of his own fantasies in the spirit of wine .

Romantics respected the most creative building, and foresight - an indispensable attribute of a literary work. Well, guess what, for the help of someone, you can imagine the real historical spirit of the hour, looking at the current aesthetics, you can be truthful, lower the fact by itself.

The artistic truth is for the truth of the fact. Dominating these principles of the historical novel of the era of romanticism, Hugo is not easy to follow the real podії z vigadanimi, and the right historical characters - z without weights, but clearly see the rest. Mustaches of the leading novel individuals - Claude Frollo, Quasimodo, Esmeralda, Phoebus - vigadanі їm. Tilki P'єr Gringoire є vynyatkom: vіn maє real historical prototype - all alive in Paris XV - the beginning of the XVI century. the playwright sings. The novel also features King Louis XI and Cardinal of Bourbon (the rest appear only occasionally). The plot of the novel is not based on the current great historical background, but before the real facts, one can add more detailed descriptions of the Cathedral of Our Lady of Paris and middle Paris.

At the sight of the heroes of literature of the 17th - 18th centuries, the heroes of Hugo will unite with their super-smart qualities. Widely koristuyuchis romantic reception of a contrasting image, and sometimes svіdomo overbіlshyuchi, savage to the grotesque, the writer creates folded ambiguous characters. Yogo is addicted to gigantic passions, heroic inclinations. Vіn bring strength to the character of the hero, rebellious, rebellious spirit, building to fight against the furnishing. The characters, conflicts, plots, landscapes of the “Cathedral of Our Lady of Paris” had the romantic principle of showing life-vinyatkovy characters in the overarching settings. The world of unimaginable passions, romantic characters, inconsistencies and voluptuousness, the image of a brave person, who does not succumb to some kind of trouble, the axis of Hugo in these creations.

Hugo insists that the world is constantly waging a struggle between good and evil. In the novel, even more beautiful, lower in Hugo's poetry, there were signs of new moral values; All the best are almost kindness, generosity, self-confidence - acknowledgment of Quasimodo and Esmeralda Gigantes, like the right heroes of the novel, in that hour, like an antipode, to stand at the godval of the celestial and the spiritual king, Ludik XI, similar to the king zhorstokistyu, buzuvirstvo, baiduzhistyu to the suffering of people.

The main principle of his romantic poetics - the depiction of life in її contrasts - Hugo slandered the "Foremovie" in his article about the novel by W. Scott "Quentin Dorward". Chi not є, writing vin, - life a chimerical drama, in which good and evil, beautiful and virtuous, high and low are the law, what do all creations have?”.

The principle of contrasting contrasts in Hugo's poetry is based on metaphysical manifestations about the life of a daily suspense, in which the primary factor is the development of the nebito - the struggle of the opposite moral cobs - good and evil - іsnuyuchih spokonviku.

Significantly, the place in Hugo's "Preface" is to introduce the designation of an aesthetic understanding of the grotesque, while respecting it as an important element of middle-class poetry and contemporary romanticism. What can I do to understand? “The grotesque, like a proliferation to the present, like a contrast, and, with a glance, with the richest neck, like nature reveals mysticism.”

Grotesque images of your creations Hugo opposed the mentally beautiful images of epigonian classicism, respecting that without the introduction of phenomena into literature, they are as ephemeral, so low, as beautiful, so pleasurable, it is impossible to convey the totality and truth of life. With all the metaphysical comprehension of the category of "grotesque", the grounding of this element of Hugo's mysticism was the least short of the way forward of mystutry's approach to everyday truth.

The novel has a “character”, which brings together all the diyovih features and coils into one ball practically all the main storylines novel. The name of this character is attributed to the name of Hugo's work - the Cathedral of Our Lady of Paris.

In the third book of the novel, dedicated to the cathedral, the author literally sings a hymn to this miraculous creation of human genius. For Hugo, the cathedral is “nebi majestic stone symphony, a colossal creation of people and the people ... a miraculous result of the summoning of all the forces of the era, de from the skin stone of a breeze, the fantasy of a robot worker, which takes hundreds of forms, is disciplined by the genius of an artist ... All the creative hands of people can and clearly, like the creation of God, whoever has a dual character: versatility and eternity ... "

The cathedral became the main place of diy, the shares of Archdeacon Claude and Frollo, Quasimodo, Esmeraldi were tied with him. The stone statues of the cathedral become evidence of human suffering, for the sake of nobility, for fair payment. Telling the history of the cathedral, allowing us to show how the stench looked in the distant 15th century, the author achieves a special effect. The reality of stone disputes, which can be seen in Paris and dossi, confirms in the eyes of the reader that the reality of realities, their fates, the reality of human tragedies.

The shares of all the main characters in the novel are inextricably linked with the Cathedral like a splendid underlay canvas, and with threads of inner thoughts and wakefulness. It is especially true for the appointment to the Meshkants in the temple: the archdeacon Claude Frollo and the bell ringer Quasimodo. At the fifth edition of the fourth book, it reads: “... A wondrous share fell in those hours to the share of the Cathedral of Our Lady - the share of cohanim of the flooring reverently, alezov in a different way, two with such dissimilar istos, like Claude and Quasimodo. One of them is the likeness of humankind, wild, more than instinctive, loving the cathedral for its beauty, for its stringiness, for its harmony, like a miraculous body. The latter, endowed with sticky, enriched with knowledge by the veil, loving at the new yoga inner meaning, attaching to the new sense, loving the legend tied to it, yoga symbolism, which is hidden behind the sculptural embellishments of the facade - in a word, loving that riddle, which peace is left for the mind of the people Cathedral of Our Lady of Paris".

For Archdeacon Claude Frollo, the Cathedral is the place of residence, services, that navіvkovo-napivmіstichnyh vyshukuvan, receptacle for all yoga addictions, vices, repentance, throwing, and, zreshtoyu - death. The clergyman Claude Frollo, an ascetic and alchemist, makes a cold rationalistic mind, which triumphs over the usual good human feelings, joys, likenesses. This mind, which takes the mountain over the heart, inaccessible I regret and speak, є for Hugo by evil power. The low passions that flared up in the cold soul of Frollo, not only lead to the death of himself, but also the cause of death of all people, as they meant in yoga life: hyne of the hands of Quasimodo, the young brother of the archdeacon Zhean, dying on shibenitsa, Esmeralda is beautiful, seen by Claude vlady, voluntarily zadzhuє for himself the liberation of the priest Quasimodo, a bunch of taming him, and then, in fact, vіddaniya. The cathedral, being a warehouse part of the life of Claude Frollo, and here it acts as a full-fledged participant in the novel: from the galleries, the archdeacon posters for Esmeralda, who dances on the square; in the cell of the cathedral, possessed by him to occupy alchemy, to spend years and days in occupations and scientific achievements, here the blessings of Esmeralda have mercy and bestow love on him. The cathedral, to be sure, has become the scene of this terrible death, described by Hugo with gaudy power and psychological credibility.

At this stage, the Cathedral is also built with a spiritualized essence: in total, two rows are dedicated to the fact that, like Quasimodo zishtovhuє his mentor from the balustrade, the next two sides describe Claude Frollo’s “anti-fight” with the Cathedral: fiercely rushing at him, smashing him into the abyss, over which Claude chided... The priest, falling down... At the rozpachi vins of both, he clasped his hands for her... Under him, the day was yawning... At this terrible camp, the archdeacon did not win the desired word, did not see the haystack. Vіn less zvivavsya, roblyachi unhuman zusilla rise like a zholob to the balustrade. Ale, his hands forged on the granite, his feet, shabby, darkened the wall, the pillars shuffled in a frenzy... According to the yogo fox, the forehead was littered, the blood oozed on the stones, the boules were in the gardens. Vin chuv, like with skin zusilli, like vin robiv, yoga cassock, which was choked by the gore, cracked and torn. To complete the misfortune, the gutter ended with a lead pipe, which bent over the heaviness of the body... and wine, over the river, but without fear for myself, without regret to the new. Everything seemed to be like a stone: right in front of him - the opening of a wild miracle, under him - at the mud square - a brukivka, above his head - weeping Quasimodo.

A person with a cold soul and a stone heart in the rest of her life appeared alone with a cold stone - and she didn’t get pity, no pity, no mercy, for she herself did not bestow no pity, no pity, no mercy on anyone.

The call from the Cathedral of Quasimodo - that humble hunchback with the soul of an embittered child - is even more mysterious and undefiled. Axis scho write about tse Hugo: “At one o'clock, mіtsnі Uzi called the bell-ringer from the cathedral. Navіk vіdchuzheniya vіd svіtu svіu savіnіm nadvіynym nepriyatіv - dark vіdzhennyа i physical indulgence, closures from childishness in tse podvіyne inseparable kolo, bіdolaha the sound does not commemorate anything that lay on that beck of the sacred walls that they covered him with their cover. If it grows and develops, the Cathedral of Our Lady served as an egg, then a nest, then a house, then a fatherland, then, nareshti, all-world.

Mіzh tsієyu іstotoyu that budіvlei, unperturbed, boulder as if taєmnicha zoomed in harmony. If, more like crying, Quasimodo with large susillas, sneaking his way under the gloomy crypts, vines, with a human head and a beastly tulub, raising a plasun, which is naturally a vine in the midst of the orphan and gloomy slabs...

So, growing up under the cover of the cathedral, living and spending the night in the new, mayzhe nіkoli yogo do not leave and uninterruptedly watch on my own taєmnichi diyu, Kvazimodo zreshtoy becoming like a new one; vіn nіbi vrіs u budіvlyu, pretending to be one yogo warehouse parts... It is possible to say without further ado that, having filled the shape of the cathedral, it is similar to how the ravics fill the shape of a shell. Tse bulo yogo life, yogo light, yogo obolonka. Behind him, that ancient temple was founded by deep instinctive pretentiousness, physical arbitrariness...”

Reading a novel, Bachimo, that for Quasimodo the cathedral was used as a shelter, a living thing, a friend, protecting him from the cold, from human anger and bitterness, satisfying the needs of the wretched people at the spіlkuvanni: . The cathedral, inhabited by Marmur statues of queens, saints, bishops, who accepted it did not laugh at him in disguise, marveled at the new calm and kindly look. Statues of monsters and demons did not spit to a new hatred - they were like them ... Saints were friends and protected Yogo; the monster also buli yogo friends that protected yogo. Vіn dovgo waving his soul before them. Sitting on the hips in front of a statue, roaming with it for years. Yakshcho at this hour htos entering the temple, Kvazimodo tіkav, like a kohanets, caught in a serenade.

Less new, stronger, unknowingly, it could have stolen that indistinct, neimovirny link between people and life. It has become so, if in the life of the underprivileged a miracle has become, instilled in the image of the innocent and the beautiful. I'm amazed - Esmeralda. Hugo endows his heroine with all the best rice, powerful representatives of the people: beauty, tenderness, kindness, mercifulness, innocence and innocence, incorruptibility and loyalty. It’s a pity, at a zhorsty hour, among zhorsty people, all tsі yakostі were more gladly short-lived, nіzh perevagami: kindness, naїvnіstі and innocence do not help to live in the world of malice and coyness. Esmeralda perished, overtaken by him, who її love - Claude, vіddana loved by her - Phoebe, not vryatovana tim, who shrugged and adored її - Quasimodo.

Quasimodo, what a zoom to remake the Cathedral on the “drive in” of the archdeacon, earlier, for the help of all the same cathedral - its own invisible “parts” - try to turn the gypsy woman, having infiltrated the stratum of the month and the victorious cell And by the power of the evil-doers, they were inaccessible to their interrogators, behind the sacred walls, the litter box of the condemned was short-lived. Against evil, the will of the people showed itself strong, and the stone of the Cathedral of Our Lady did not betray the life of Esmeraldi.

The image of the Cathedral in Hugo's novel "The Cathedral of Our Lady of Paris"

The person of Victor Hugo (1802-1885) is against his versatility. One of the greatest readings in the world of French prose writers, for his own spivtchiznik wines, he is a great national poet, a reformer of the French verse, dramaturgy, as well as a publicist-patriot, a politician-democrat. Knowing the wines is known as a non-abyaky master of graphics, a non-tomny draughtsman of fantasies on those great creations. And yet, the main thing, which signifies rich specialty, that inspires and inspires activity, is love to the people, sensible to misery, crying out to mercy and brotherhood. The active sides of Hugo's creative work are already in the past: today, the oratorical and declamatory pathos, the richly eloquent grandeur, the efficiency to the effective antitheses of thought and images are being created old-fashioned. However, Hugo is a democrat, the antagonist of tyranny and violence against individuality, the noble defender of the victims of suspile and political injustice, is our companion and viklikatime resounding in the hearts of more rich generations of readers. People will not forget the one who, before his death, podbivayuchi pіdbivayuchi podbags voєї dialnostі, zvnoy podstavoi saying: “I have interceded in my books, dramas, prose and verses for the little and the unfortunate, the blessings of the mighty and the ungrateful. I have reaffirmed the rights of a man of blasphemy, a lackey, a convict that I will act.

The most beautiful demonstration of the justice of this assertion can be taken into account in the historical novel "The Cathedral of Our Lady of Paris", the beginnings of Hugo in the fall of 1830 and the end of the fierce fate of 1831. Hugo's life until the distant past was occupied by factors of cultural life for the first time: a wide expansion of historical subjects in literature, a hoarding of middle-class people, which is romantically interpreted, the struggle for the protection of historical and architectural monuments. The interest of romantics to the middle is rich in why the blame is a reaction to the classical focus on antiquity. Its role here was played by the bazhannya podolat znazhlivno stavlennia to the middle, as the zavdyaka to the writers-educators of the XVIII century expanded, for which the hour was the realm of darkness and non-dominance, which in the history of the progressive development of people. I, nareshti, not the main rank, the middle ages added the romantics to their innocence, like the protylezhnist prose of bourgeois life, to the dark everyday foundation. Here you can chat, vvazhali romantics, with great characters, strong passions, deeds and martyrdom in im'ya perekonan. Everything was taken in the aureole of singing mystery, connected with the insufficient crowning of the middle centuries, as if the beasts were restored to folk retellings of the legends that may be for romantic writers especially important. A different look at the role of the middle age of Hugo in 1827 in the author's premier to the drama "Cromwell" became a manifesto of the democratically minded French romantics and hung out the aesthetic position of Hugo, like a wine, swearing, finishing the end of life.

Hugo starts his editorial with a collection of his own conception of the history of literature in the field of the history of society. Zgіnoye Hugo, Persha is great in the Istori Tsivilіzai - ceremony of the era, if the people are ahead of his own svydomostly owl omnibata, the reproductive of Rosumi, yak is beautiful, and his own vihi -ninn in the lichen, the lines of the lip of rushing is the most. The originality of another era, ancient, Hugo succumb to tsomu, that at this hour people begin to create history, create prosperity, inform themselves through links with other people, a clear view of literature in this epoch is epos.

From the middle age, it seems Hugo, a new era is beginning, which stands under the sign of a new stargazer - Christianity, as if in human beings there is a constant struggle of two cobs, the earthly and the heavenly, the corruptible and the immortal, the creaturely and the divine. A person’s nibi is composed of two things: “one is lingering, otherwise - immortal, one is thin, otherwise - lifeless, one-shackled by greed, the needs of that addiction, otherwise - golden on the wings of that dream.” The struggle of two cobs in the human soul is dramatic for its sutti: "... what is the drama, if it is not so easy to wipe, the wrestling of two cobs is such a struggle, so you can always stand one to one in life and cross one person from the carts to the grave?" To that third period of the history of mankind, a literary series of dramas is being developed.

Hugo of reconciliations: everything that is found in nature and in life, can be developed in science. The art is not guilty of interfering with itself, in fact it can be true. However, the power of truth in Hugo's writing was intellectual, characteristic of a romantic writer. Voiced, from one side, that the drama is a mirror, that inspires life, impresses the special character of that mirror; it was necessary, like Hugo, that it "collected, thickened the light changes, the light blew from the light, the half-light from the light!" The truth of life inspires a strong transformation, a change in the artist's mind, like a call to romanticize reality, to show the two polar soils of good and evil behind the everyday shell.

Sounds sing more and more: thickening, polyuyuchi, transforming action, the artist shows not sonic, but vinyatkov, small extremes, contrasts. Only in this way you can reveal the creature that divine beginning, laid in people.

This call depicts extremes as one of the outer stones of Hugo's aesthetics. In creativity, the writer gradually goes to the point of contrast, to the over-exaggeration, to the grotesque setting of the virtuous and the beautiful, the comedy and the tragic.

The image of the Cathedral of Our Lady of Paris at the bright aesthetic position of Victor Hugo

We look at our robotic novel “The Cathedral of Our Lady of Paris” and reconsider the evidence that all of Hugo’s writings aesthetic principles- not just a manifesto of the theorist, but deeply thought out and considered by the writer of the foundations of creativity.

The basis, the core of this novel-legendary to become unmistakable for all the creative path of the mature Hugo, is to look at the historical process, as in the evening, the confrontation of the two cobs of light - good and evil, mercy and zhorstokost, sensibility and intolerance, sensing that wisdom. Field of battle different eras and attaching Hugo to an immeasurably greater world, below is an analysis of a specific historical situation. Zvіdsi vіdomiy nadіstorizm, symbolіchіnі geroїv, pohosіchіvі character psihologizmu. Hugo himself admitted to the fact that history didn’t like that in the novel: , arts, nareshti, civilizations in the fifteenth century. Vtіm, tse at the book is not a smut. It’s like it’s out and it’s one goodness, it’s out of it, it’s out of it - tver, created by yava, primhoy and fantasy”. However, it is reliable to know that for the description of the cathedral of that Paris in the XV century, the images are based on the era of Hugo and chimaliy historical material. The successors of the middle class hoarsely misinterpreted Hugo's "documentation" and could not know of any serious jokes in it, not caring for those that the writer did not start drawing his own vidomosti from pershogerel.

The head of the novel was inspired by the author: the gypsy Esmeralda, the archdeacon of the Cathedral of Our Lady of Paris, Claude Frollo, the ringer of the cathedral, the hunchback Quasimodo (who has long passed from the category of literary types). Ale є in the novel “character”, which is familiar to everyone diyovih osib and winding into one ball all the main plot lines of the novel. The name of this character is in the name of Hugo's work. Іm'ya tse - Cathedral of Our Lady of Paris.

The idea of the author to organize a new novel around the Cathedral of Our Lady of Paris is not out of the question: it represented Hugo's hoarding of old-fashioned architecture, and that activity to defend the memoirs of the middle class. Especially often Hugo saw the cathedral in 1828 for an hour of walks in Old Paris with his friends - the writer Nodier, the sculptor David d'Angers, the artist Delacroix. Vіn got to know the first vicar of the cathedral, abbot Egzhe, the author of mystical works, as if by recognition of the official church by the heretic ones, and that he added to his understanding of the architectural symbolism of everyday life. The posture of abbot Egge served as a prototype for Claude Frollo. At the same hour, Hugo's studio create historical, rob the number of copies from such books, such as Sauval's “History and History of the Old Towns of Paris” (1654), Du Brel's “Overview of the Old Towns of Paris” (1612) and in. Preparing the work on the novel bula, in such a rank, relatable and scrupulous; Today, Hugo did not invent the names of other rows of fiery osibs, including Pier Gringoire, all the stench was taken from old-fashioned dzherel.

We have guessed that Hugo is more worried about the share of memories of the architecture of the past.

The first division of the third book is called "The Cathedral of Our Lady". The Nii Gyugo has in the fucking form of Rospovyda about the storage of the cathedral, the dust of the profession of professionally characterized by Budіlov, to the singing eTopa, the leap style of the IGO is the way to find out to be found out - architecture, there is a beautiful side for that, which is the facade of this cathedral ... This is how majestic the stone symphony is; colossal creativity and people and people, united and folded, similar to Iliad and Romansero, which is more controversial; the miraculous result of the summoning of all the forces of the whole epoch, the breeze takes hundreds of forms from the skin stone of the breeze, the fantasy of the worker, which is directed by the genius of the artist; in a word, the works of human hands can and are great, like the creations of God, who has a dual character: diversity and eternity.

At once, out of the suffocation of human geniuses, having created a great monument to the history of mankind, the Cathedral seems to be like Hugo, the author exclaims anger and sorrow through those who are such a beautiful dispute not to be saved and not protected by people. We write: “The Cathedral of Our Lady of Paris is now a noble and majestic life. And how beautiful the cathedral is, old, not abandoned, you can’t help but be confused and not bewildered by the infamous ruins and poshkodzhen, like fates and people left an important monument of antiquity... . .

On the ruins, you can distinguish three types of greater or lesser deep ruins: the first for everything is thrown into the eyes of them, that the hand of the hour has commanded, there and there it is inconspicuously slashing and covering the surface of the wake; then hordes of political and religious turmoil rushed at them, blind and baked for their nature; completed the ruination of fashion, more and more chimerical and stupidity, which changed one another with the inevitable fall of architecture.

The very stretch of the axis has already reached two hundred rokіv from the miraculous churches of the middle. Їх to increase like a charm - and in the middle of that ring. Priest їх perefarbovuє, architect shkryabaє; then the people will come and ruin them”.

The image of the Cathedral of Our Lady of Paris is an indistinct link with the images of the main characters of the novel

We have already guessed about those that the shares of all the leading heroes of the novel are inextricably linked with the Cathedral like a splendid canvas, so with threads of inner thoughts and sponukane. It is especially true for the appointment to the Meshkants in the temple: the archdeacon Claude Frollo and the bell ringer Quasimodo. At the fifth edition of the fourth book, it reads: “... A wondrous share fell in those hours to the share of the Cathedral of Our Lady - the share of cohanim of the flooring reverently, alezov in a different way, two with such dissimilar istos, like Claude and Quasimodo. One of them is the likeness of humankind, wild, more than instinctive, loving the cathedral for its beauty, for its stringiness, for its harmony, like a miraculous body. The latter, endowed with sticky, enriched with knowledge by the veil, loving at the new yoga inner meaning, attaching to the new sense, loving the legend tied to it, yoga symbolism, which is hidden behind the sculptural embellishments of the facade - in a word, loving that riddle, which peace is left for the mind of the people Cathedral of Our Lady of Paris".

So, growing up under the cover of the cathedral, living and spending the night in the new, mayzhe nіkoli yogo do not leave and uninterruptedly watch on my own taєmnichi diyu, Kvazimodo zreshtoy becoming like a new one; vіn nіbi vrіs u budіvlyu, transforming into one of the yogo warehouse parts... You can say without further ado that you’ve filled the shape of the cathedral, like before, like the ravels are filling the shape of the shell. Tse bulo yogo life, yogo light, yogo obolonka. Behind him, that ancient temple was founded by deep instinctive pretentiousness, physical arbitrariness...”

On the cob of the novel, Hugo recounts readings about those that “the sprat of fate, looking around the Cathedral of Our Lady of Paris, or, hanging more precisely, wrapping around it, the author of the book, revealing in a dark nook one’s foot on the wall the word:

The numbers of Greek letters, darkened at the hour, and deepened deeply into the stone, like signs of power in the Gothic letter, in sight at the sight of the roztashuvannі letter, hіba sho to tell about those, the stench was handed by the hand of the people of the middle, especially yakhmury, especially folded, profoundly amazed the author.

Having nourished himself, he touched wine, whose suffering soul did not want to leave this world without it, so as not to deprive the old church of that stigmata of misfortune. This word gave birth to a reference book.

This word in Greek means Rock. The proportions of the characters in the “Cathedral” are straight forward with fate, about which they declare at the very beginning of creation. Rock here is symbolized and personified by the image of the Cathedral, which is how all the threads of divinity converge. It is possible to understand that the Cathedral symbolizes the role of the church and wider: the dogmatic svetoglyad - in the Middle Ages; tse svetoglyad pіdryadkovuє his own people just like the Cathedral rots the share of okremih diyovih osіb. Tim himself gives Hugo one characteristic rice epochs, in the yaku rozgortaetsya to the novel.

It should be noted that the romantics of the older generation dwelt in the Gothic temple for the mystic ideals of the middle class and sang with him their pragnennya to bury life's suffering in the bosom of religion and the sweaty dreams of the people - miracles of the middle. , but life's passions themselves.

Hugo's co-workers denounced you for those who are lacking in Catholicism in this novel. Lamartine, calling Hugo “the Shakespeare of the novel”, like the “Cathedral” - “a colossal work”, writing that in his temple “everything that is worthy, he has no trifles of religion”. On the butt of the share of Claude Frollo Hugo, they try to show the impossibility of church dogmatism and asceticism, their inevitable collapse ahead of the Renaissance, like for France the end of the 15th century, the images of the novel.

The novel has such a scene. In front of the archdeacon of the cathedral, we suvor that vchennym guardian of the shrine, lies one of the first drafted books, which were written by the Drukars' press of Gutenberg. On the right you can see in the cell of Claude Frollo at night. Behind the vіknom vysochіє the gloom of the bulk of the cathedral.

“For the current hour, the Archdeacon of Movchka, having glimpsed the majestic life, then, with a sigh, stretched out his right hand to the old book that was lying on the table, and his left hand to the Cathedral of Our Lady, shifting his sober glance at the cathedral, saying:

Too bad! Axis tse ub'є”.

The idea attributed to Hugo to the middle class is the idea of Hugo himself. Vaughn is obsessed with a new obґruntuvannya. Vin continues: “... So the humpbacked dog would have alarmed the angel of the Legion, that would open up its millions of wings in front of him ... That would be the fear of a warrior, who would follow the middle battering ram and say: “Vezha vpade”.

Sings-istorik nayshov privіd wide zagalnen. Winning the history of architecture, interpreting it like “I am first reading the book of people”, I am trying to fix the collective memory of generations in visible and meaningful images. Hugo speaks in front of the reader of the grandiose low century - from the primary modernity to the antique, from the ancient - to the middle, resonates with the Renaissance and speaks about the ideological and social upheaval of the XV-XVI century, which was so helped by book-breeding. Here, Hugo's promo work reaches its apogee. Vіn warehouse hymn signet:

“Tse I am a goosebump. Tse vulik, kudi golden bjoli uyavi to bring your honey.

This booth has thousands of surfaces... There is no harmonies here. Starting from the Shakespeare Cathedral and finishing the Byron Mosque.

Vtіm, miraculous life is still unfinished. Rіd lyudsky - all on foxes. Leather rosum - moular”.

Victor Hugo's victorious metaphor, one can say that having evoked one of the most beautiful and greatest buddies, which they admired. yogo fellows, and do not get tired of the new generation of grandfathers.

On the very beginning of the novel, you can read the following rows: books are dedicated to them. Sprat to make that a sign of the s-pomіzh of the living people, who put a word on the wall; arose from the walls of the cathedral and the word itself; it is possible that the cathedral itself could not be known from the earth”. We know that Hugo's total prophecy about the future cathedral has not yet come out, we want to believe that we can't manage it. Humanity step by step dbaily puts itself before the works of its hands. It turns out that the writer and humanist Victor Hugo made his contribution to the understanding of the fact that the hour is zhorsty, the prote of human obsession - to resist this ruinous onslaught and to protect the life of the people-creator.

List of references

1. Hugo V. Selection of works in 15 volumes / Introductory article by V. Nikolaev. - M., 1953-1956.

2. Hugo V. Selection of works in 6 volumes / Introductory article by M.V. Tolmachova. - M., 1988.

3. Hugo V. Selected works in 6 volumes / Concluding article by P. Antokolsky. - M., 1988.

4. Hugo V. Ninety third river; Yernan; Versh./ Introductory Article Є. Evnino. - M., 1973 (Library of all-world literature).

5. Brahman S. "Znedoleni" by Victor Hugo. - M., 1968.

6. Evnina Y. Victor Hugo. - M., 1976.

7. Lunacharsky A. Victor Hugo: Creative Way of the Writer. - Collection of works, 1965, v. 6, p. 73-118.

8. Minina T.M. The novel "The Ninety-Third River": The problem of revolution in the work of Victor Hugo. -L., 1978.

9. Morua A. Olimpio, or Life of Victor Yugo. - M: Veselka, 1983.

10. Muravyova A. Hugo. - M: Young Guard, 1961 (Life of miracle people).

11. Rezizov B.G. French historical novel for the dobie of romanticism. - L., 1958.

A lot of information. Ale tortour is not seen by a Spanish chobot - it is known in chaclunstvo, prostitution and the infancy of Phoebe de Chateaupe. For the suture of these evils, they sue the portal of the Cathedral of the Mother of God of Paris until repentance, that buv until the rise. Tiєї strati maє buti piddana i goat. Claude Frollo comes to the casemate, de Esmeralda with impatience checks for death. Wine on the knees is good її ...

Pokmury and at the same time the great symbol of the middle class - all tse vindicated the picture of the era. That buv "mustevy flavor", in the creation of such a French romanticism, was respected as one of the most important tasks of mysticism. Victor Hugo zoomed in on how to give the flavor of the era, and stripped the social rubric of that hour. The majestic mass of the disenfranchised people stand against the novel panivny merchants.

The cathedral

The right hero of the novel is "the majestic cathedral of the Mother of God, which looms in the dawn sky with a black silhouette of its two veils, stone sides and shriveled rump, like a two-headed sphinx, which slumbers in the middle of the place ...". Hugo was smart to show in his descriptions naturally in brightly illuminated and throw marvelous black silhouettes in the light. "The era seemed to him a thunder of light on the roofs and fortifications, skeletons, rivers, waters, on the squares boiling with natovpami, on the closed rows of soldiers, - a blind tide, wheezing here white windshield, here you see clothes, there stained glass. objects and add marvelous lives like a cathedral, like a place and create a shibenitsa. Yogo book is small, a great influx on French architecture."

It is unlikely that in the history of architecture there is a beautiful side for that, which is the facade of the cathedral, where, consequently and in totality, three arrowhead portals stand in front of us; Above them are a tooth of cornice, the nonsense of the gystsima of the queas, the Great Territory, the central nurse of the INSH INIKNI, roshtashovani to the priest, and the diakon, the nickels, the ledge on its thin columns there is an important maidanchik, and, nareshti, two frowning massive veils with slates. parts of a miraculous whole, arranging one above the others in five gigantic tiers, without a turbo in an inexhaustible rosemation, turn upside down before the eyes of their inconspicuous sculptural, carved carving details, which can and not logically rage at the calm greatness. to the people, one and the same, the miraculous result of the culmination of all the forces of the whole epoch, from the skin stone of the breeze takes hundreds of forms the fantasy of a robot worker, which is directed by the genius of the artist; in a word, the works of human hands can and clearly, like the creations of God, who has a dual character: diversity and eternity. "

"Cathedral of Our Lady of Paris" is not an apology for Catholicism, nor for Christianity. Bagatyokh overwhelmed this story about a priest devoured by passion, burning with love to the point of a gypsy. Hugo already entered into his recent immaculate faith. On top of the novel, I wrote "Ananke" ... Rock, not providence ... "Rock is spreading like a hawk over the human race, is it not so?" Revisited by haters, having known more roses from friends, the author prepared the letter of confession: "So." Zhorstok power panuє over the world. Rock is the tragedy of a fly snared by a spider, rock is the tragedy of Esmeraldi, it’s not the fault of a pure girl that she ate into the web of church courts. And the great step of Ananke is fate, which cherishes the inner life of a person, fatal for his heart. Hugo resonates with the moon in its hour, having adopted the anti-clericalism of its midst. "Tse vb'є those. Drukuvati vb'є church... Skin civilization begins with theocracy, and ends with democracy..." Wislov, typical for that hour.

"Cathedral of Our Lady of Paris" was Hugo's greatest achievement. Behind Michelet's words: "Hugo having entrusted the old cathedral with a poetic cathedral on such a majestic foundation and with such high veils." Actually, "The Cathedral of Our Lady of Paris" is an important, happy lanka for all the characters, all similar to the novel, whose image carried more meaning and associative vanity. The cathedral, prompted by hundreds of immeasurable masters, becomes a drive to the creation of the talent of the French people, about the national French architecture.

All of them are described in the novel about the Cathedral: the attack on the Greek Square, the enchanting dance of Esmeraldi, the swindle of calls under the hand of Quasimodo, the beauty of the cathedral at Claude Frollo.

...Quasimodo buv closely tied to the cathedral. Vіdchuzheny navіk vіd svitu podvіyny misfortunes, scho heavy over him - dark trips and physical indulgence, closed from childishness in tse podvіyne non-separating colo, bіdolaha the sound did not commemorate anything that lay on that bіk stіn, pritulkіv. In the world of that, as a rіs vin and developed, Zbіr Mother of God successively served for the new one not as an egg, or a nest, or a house, or a fatherland, or an omnipresence.

The cathedral replaced you like people, and uvesti omnisvit, all nature. Vіn not revealing their own flamboyant fences, the cream of stained-glass windows, which did not dim at all; the coldest, creamy kam'yanoy, covered with birds leaves, which blooms in the bushes of Saxon capitals; іnshih gіr, krim veletenskih vezha to the cathedral; the other ocean, the Crimea of Paris, that I saw the day."

Ale and the cathedral were built to conquer Quasimodo. It seemed that Quasimodo poured life into this restless booth. Vіn buv ubiquitous; as if having multiplied, they were instantly present at the skin point of the temple.

Hugo wrote: "Wonderful share was in the hour for the share of the Cathedral of Our Lady - the share of buti cohanim the pavement reverently, alezov in a different way, two such dissimilar istos, like Claude Frollo and Quasimodo. One of them loved the Cathedral for its string, for that harmony, like exuded a miraculous wholeness. And yet, endowed with a sticky, enriched with knowledge by a vein, loving from a new inner meaning, attaching to a new sense, loving a legend tied to it, yoga symbolism, which is hidden behind the sculptural embellishments of the facade, like the first letters of old parchment .pіznіm text, - in a word, loving that riddle, which spokonvіchno zasvaetsya for the human mind the Cathedral of Our Lady of Paris ".

Distributed: Literature

Qile:

Lighting:

Bring learning to the work of Victor Hugo.
Learn how to interpret the artistic text.

Developing:

Form the analysis of the epic creation.
Develop the independence of the judges of the students.

Vikhovny:

Develop zv'yazne movlennya uchniv.
Expand your horizons.
Vihovuvati love to the point of art.

Ownership: doshka, kreyda, multimedia projector.

Hid lesson

I. Introductory word readers.

Hello lads! Today we continue to develop the work of V. Hugo. At this time, the novel “The Cathedral of Our Lady of Paris” is a tvir, which in the past looked through the prism of a writer – a humanist of the 19th century, who had pragmatically added to those particularities of the past, as if they were the main ones for modernity. Ale before tsim repeatable twisting material.

II. Repetition of the twisted.

1. Name the fates of V. Hugo's life (Appendix 1).

2. Name the stages of creativity of V. Hugo.

I. (1820-1850)

II. Rocky Vignanna (1851-1870)

III. After the return to France (1870-1885)

3. De praised V. Hugo? Adele Fouche

4. Name the main features of V. Guo's work.

The main principle for Hugo's romantic poetics is the depiction of life in contrasts. Vіn vvazhav, that the primary clerk of the development is the struggle of good and evil, that is the eternal struggle of the good chi of the divine cob from the cob of evil, demonic.
The evil cob - lords, kings, despots, tyrants, all the dignitaries of the church or the unrighteous sovereign law.
Good cob - tі, hto bring good that mercy.
Sprynyattya svitu at the rich vimirah (not only at the present hour, but at the distant past).
Pragnennya to the truthful and rich-sided reflection of life.
Contrast, grotesque, hyperbole are the main mystical tricks of Hugo.

What is grotesque? Grotesque is a style, a genre of artistic figurativeness, foundations on the contrasting basis of credibility and caricature, tragedy and comedy, beauty and virility. For example, the image of Quasimodo (more poignant) and Esmeraldi (beautiful.)

What is hyperbole? Hyperbole - an overabundance of quiet chi and other powers of the subject for the creation of an artistic image. Let's look at the example of Quasimodo's image:

“ The poor little baby had a wart on his left eye, his head went deep into his shoulders, his spine was arched, his chest was bulging, his legs were twisted; ale vin zdavavsya tenacious, and wanting it to be important to understand, what my vein is babbling ... Quasimodo lonely-eyed, humpbacked, bow-legged, more like "mayzhe" human”.

III. Rechecking homework.(Appendix 3)

At the same time, we hear a small comment on the topic: "The History of the Creation of the Novel":

The cob of work over the Cathedral of Our Lady of Paris was carried until 1828. Hugo's return to the distant past was 3 factors of cultural life for a long time wide expansion of historical topics in literature, hoarding, middle-aged, which is romantically interpreted, the struggle for the protection of historical and architectural monuments.

Hugo, having conceived his own tvir at the time of the development of the historical novel in French literature.

The idea of organizing a meeting near the Cathedral of Our Lady of Paris was wholly due to him; it looked like it was overwhelmed by old-fashioned architecture, that її diyalnіst on the back of memoirs of the middle class. Especially often Hugo saw the cathedral in 1828 for an hour of walks in Old Paris with his friends - the writer NODIE *, the sculptor DAVID D ANGER, the artist DELACROIT *.

Vіn got to know the first vicar of the cathedral, the abbot YEGZHE, the author of mystical works, like a year of recognition by the official church of the teretic ones, and that he added to his understanding of the architecture of the symbolism of everyday life. The posture of the abbot EGGE served as a prototype for Claude Frollo.

The preparation of the work on the novel was both punctilious and scrupulous; Today, Hugo did not invent the names of other rows of fiery osibs, including Pier Gringoire, all the stinks were taken from old dzherel.

The first manuscript of 1828 has Phoebus de Chateaupert, the central line of the novel and love for Esmeraldi of two osibs - Claude Frollo and Quasimodo. Esmeralda sounds less like a charmer.

* NODIA Charles (1780-1844) - French writer.
* EUGENE DELACROIX (1798-1863) - French painter, inspired by love for nature, sensitive to the action of "Dante and Virgil" ...

IV. Work for the analysis of epic text.

And now I'm savagely savage to the analysis of the novel.

For whom all the novels of V. Hugo go up to the epoch of the 15th century. The XV century of the history of France is the epoch of the transition from the Middle Ages to the Renaissance.

The novel has more than one historical podia (the arrival of the ambassador for laying the dauphine's dress * that Margaret Flandskaya in 1482), and historical characters (King Louis XIII, Cardinal of Bourbon) are placed on another plane by numerical characters.

HISTORICAL REVIEW.

* Since 1140 the title of ruler of the Dauphine county (old province of France, mountainous city).
* Louis XIII - King of France in 1610 - 1643. Sin of Henry IV and Mary of the Medich.

Explain why the novel is called “The Cathedral of Our Lady of Paris”?

The novel is called so oskolki the central rank is the cathedral.

True, the first plan is the image of the Cathedral of Our Lady of Paris, created by the people for centuries.

HISTORICAL REVIEW (Supplement 2)

The life of the cathedral, according to the plans laid down by Bishop Maurice de Sully, was painted in 1163, when King Louis VII and specially arrived to Paris for the ceremony by Pope Alexander III, the first stone of the foundation was laid. The head of the cathedral was consecrated at the grass in 1182, until 1196 the church was completed, the robots were only on the head facade. At another quarter of the 13th century, the stars were ringing. But for the most part, everyday life was completed less than 1345, at the same time the plans were changed a lot.

In this novel, the writer has posed a serious socio-cultural problem - the conservation of architectural mementos of the old.

Find a fragment from the novel, where you can find the author's name to the cathedral, like to the architectural memo of the old.

“For the wall (I can’t guess exactly, like myself) they scribbled something, they scribbled something, and wrote a sign. The very stretch of the axis has already reached two hundred rokіv from the miraculous churches of the middle. Їх to increase like a charm - and in the middle of that ring. Priest їх perefarbovuє, architect shkryabaє; then the people will come and ruin them”.

Sorry. "This was the way to marvelous performances of the art of the middle class can be everywhere, especially in France."

Name three vidi poshkodzhen, about what the author was talking about? (Example from the text)

“ On yoga ruins, you can distinguish three types of larger-less deep pockets:

1. “The hand of the hour has set”.

2. "... then they rushed hordes of political and religious unrest, ... like they pulled up the rich sculptural and ornamental attire of the cathedrals, knocked out rosettes, ripped usisto out of arabesques * and statues, and degraded statues ".

3. "The ruins of fashion have been completed, everything is more chimerical ** and stupid."

* arabesque - folded vіzerunchastiy ornament z geometric shapes, stylіzovannogo leaves.

** chimeras - zaive vigadlivy, agility, cunning.

Can you please with the thought of V. Hugo?
- Name the main characters of the novel?

Esmeralda, Quasimodo, Claude Frollo.

It is important to note that the proportions of all the main characters in the novel are inextricably linked with the Cathedral like a splendid canvas, so with threads of inner thoughts and sponukan.

Let's take a closer look at the image of Claude Frollo and the link from the cathedral.

Who is Claude Frollo? (TEXT)

Claude Frollo - clergyman, ascetic and alchemist.

What do you know about Claude's life?

“True, Claude Frollo bov specialty is not transverse.

Having lain down to one of the quiet families of the middle stake for their adventures, they were called either eminent city dwellers or ancient noblemen in my unshakable past century.

Claude Frollo from the childhood of being appointed by the fathers for the clergy. Yogo was taught to read Latin and swung in a new voice to lower his eyes to the bottom and speak in a low voice.

Guilty for nature, being a sumptuous, stately, serious child, as if diligently climbing and quickly gaining knowledge.

Vyvchav Latina, Greek and ancient Jewish language. Claude is obsessed with the right hot cupping and accumulating scientific wealth.

A young man thinking that life has no more meta: science.

… Old men died in the plague. Yunak, having taken his own brother (nemovlya) in his arms ... pierced the sleepers, I was addicted to it and made love to the child, my brother. Claude buv for the child is more like a brother: becoming for the new mother.

Twenty years of vins, with the special permission of the papal curia, being appointed as a clergyman of the Cathedral of Our Lady of Paris.

… Fr. Claude's vіdomіst clung far beyond the boundaries of the cathedral.

How to put people up to new?

Vіn not koristuvavsya love nor in the people of importance, nor in the small people, who live near the cathedral.

How is Quasimodo set up before the new one?

Vin loved the archdeacon so much, like no dog, no elephant, no dagger, no one loved their pan. The vdyachnist of Quasimodo was deep, half-drowsy, and without borders.

How was Esmeralda staged before Claude Frollo?

Vaughn is afraid of the priest. Skilki mіsyatsi vіn tskuє me, threaten me, lakaє me! Oh my God! Yaka I was happy without anything. Tse vin throwing me into tsiu privu ... ”

How do you know, Claude Frollo is a double man? How so, explain? Why is duality manifested? (attach to text).

Zvichayno. Claude Frollo is a twofold man, to that from one side, he is good, a loving man, he is sensitive to people (violent, putting his young brother on his feet, vryatuvav little Quazimodo in the face of death, taking yoga for vihovannya); but on the other side, on the other side it is dark, evil strength, zhorstokіst (Esmeralda was lifted through the new one). TEXT: “Raptom at the most terrifying of satanic laughter, laughter, for whom there is nothing human, having cast a deathly blaze of the guise of a priest.”

Now let's simply call Claude Frollo from the cathedral.

Guess how Claude is put before the cathedral?

Claude Frollo loved the cathedral. "Loving the cathedral's inner meaning, attachment to a new sense, loving its symbolism that is hidden behind the sculptural embellishments of the façade." In addition, the cathedral was a miss, de Claude pratsyuvav, engaged in alchemy and just alive.

What are the implications of the life of Claude Frollo tied to the cathedral?

In a first way, beating the cathedral itself, in the manger for children, knowing Quasimodo and taking the child home.
In another way, “out of the galleries, the archdeacon watched over Esmeralda, as if dancing on the square” and here herself “begging Esmeralda to have mercy on him and bestow love.”

Let's look at the image of Quasimodo and yoga from the cathedral.

Can you tell me about Quasimodo's share?

From the childish fates of Quazimodo buv consolation of the father's kokhanny. Vihovuvav yoga Claude Frollo. The priest taught yoga to speak, read, and write. Let's sweat, if Quasimodo virus, Claude Frollo zrobiv yoga bell ringer at the cathedral. Through a strong link, Quasimodo has instilled his hearing.

How do people get up to Quasimodo?
- Chi all the same? (find a fragment from the text)

O! Nasty muppa!
So evil, like a conducive one!
Devil in the flesh.
Oh, damn ugly!
Oh, wretched soul.
Ogidne wonderful.

Why are people so zhorstok to Quasimodo?

Because wine is not like them.

How do you know, Quasimodo is a double image of what?
- What is it about?

Zvichayno. From one side, Quasimodo is evil, zhorstok, animal-like, with one of his glances, he strikes fear and fear at people, robs people of strength, but from the other side, good wine, at the new vulnerable, lower soul and everything evil, like people slander youma (Quasimodo ryatuє Esmeralda, hovaє її, dbaє about her).

Guess, come from the life of a hunchback, how are you tied up with a cathedral?

First, at the cathedral, the hunchback hovav Esmeralda looked like people who wanted to beat them.
In a different way, here they killed the brother of the priest Jean that same Claude Frollo.

What does a cathedral mean to Quasimodo?

"The lintel, friend, protects him from the cold, from the people that її anger, zhorstokostі ... The cathedral served him as an egg, then a nest, then a house, then a fatherland, then, nareshti, the All-world." “The cathedral replaced you like people, and uvesti omnisvet, all nature.”

Why love Quasimodo Cathedral?

To love for beauty, for stringness, for harmony, for the vibes of life, for those who felt Quasimodo here freely. Beloved by the mist was the link. Calling yourself robil Yogo is happy. "Vin loving їх, cherishing їх, speaking with them, rozumіv їх, lower z usima, starting from the smallest bells to the biggest bells".

What is the influence of the people on the character of Quasimodo?

Without a doubt, vplyvaє. “Yogo's anger was not innate. From the first of our croks among people, we’ve recognized, and then we’ll clearly see for ourselves that we’re underprivileged, squandered, branded. Pіdrostayuchi, vіn zustrіchav instilled less hatred and infected with it. Revisiting the rampant anger, he himself lifted the armor, which was wounded.

What role does Claude Frollo play in the life of a hunchback?

Claude pіdіbrav yogo, having approved, vigoduvav, vihovav. Being a child, Quasimodo sound is known to have been unknown to K. Frollo, if it was re-examined.

What does Quasimodo mean to Claude?

The archdeacon maw at the yogi's most important slave. Naivikona's servant.

Another leading character in the novel is Esmeralda

Who is out?

Gypsy.

Find Esmeraldi's description in the text.
- What can you say about her?

“In the open, free space, a young girl danced between the rich and the NATO.

Chi bula tsia young maiden human іstota, fairy chi angel ...

Vaughn was not high at the sight, but she gave herself high - such a stringy bov її thin camp. Vaughn was smart, but it didn’t matter if she guessed that her skin gave off that wonderful golden tint, which was familiar to the Andalusians and Romans. The little girl was also a little Andalusian, - she stepped so lightly at her thinned little lace. The girl danced, fluttered, circled on the old Persian kilim, which was thrown under her feet, and shchiraz, if її blatantly veiled in front of you, the look of її great black eyes dazzled you like a gleam.

Thin, tendentious, with bare shoulders and a quick-looking z-poddnichki with stringy bottoms, dark brown, blouse, like a wasp, in a golden one, tightly hugging the waist of the bodice, in a stringed dress, swelled up, slouching eyes, she was truly alive.

Esmeralda is a garna girl, life, light.

How to put up Esmeraldi people?

a) The people (Argotinci)?

Argotinci and argotinki quietly scurried, stepping on my way, their animal disguise nibi shone at one glance.

b) Pier Gringoire?

"Charming woman!". "... Buv enchantment blind bachennyam." "Right," thought Gringoire, "it's a salamander, it's a nymph, it's a goddess."

c) Claude Frollo?

“The only truth is not crying out for a new hatred.” "... Love її with the mustache of mischief, consider, for the shadow of її laughter you would give for your shelter, your soul, your goodness, your life on earth and sweat...". "I love you! Your face is more beautiful than God's face!.."

“I love you and never, I will surround you, I don’t love anyone. The captain had a chance to repeat this phrase many times over such furnishing, that he blew it in one breath, not forgetting the desired word.

Also, the leading characters in the novel are Esmeralda, Quasimodo, K. Frollo. Stinks є vtіlennyam ієї chi іnshої hudskoї ї kostі.

Think about what qualities Esmeralda is endowed with?

Hugo endows his heroine with all the best features, which are attached to the representatives of the people: beauty, delicacy.

Esmeralda is the moral beauty of a simple person. Vaughn can be innocence, naїvnіst, incorruptibility, fidelity.

It’s true, but, unfortunately, at a zhorsty hour, among zhorsty people, all of them were rather short-lived: kindness, naїvnіstnost, innocence do not help to live in the world of malice and cunning, that’s out in the world.

And what do you say about Quasimodo?

Quasimodo is the humanistic idea of Hugo: indulgent calls, rebellions for one's social status, the caller of the cathedral appears to be a highly moral person.

Name it, how can it be Quasimodo?

Kindness, vіddanіst, vminnya love strongly, bezkorislo.

Guess about Phoebe de Chateauper. What kind of things can you do?

Phoebus is hisstical, heartless, frivolous, greedy.

Vin is a Yaskravian representative of the secular society.
- And how can I make Claude Frollo?

Claude Frollo is kind, merciful on the cob, for example, to the midst of dark, gloomy forces.

V. Pіdbitya pіdbagіv.

VI. Homework.

We looked at the head images in the novel by V. Hugo

"Cathedral of Our Lady of Paris".

Enter your students and write down your homework:

Write a little more - mirkuvannya on the topic: "Why did the author herself end the novel like that?"

LITERATURE.

Hugo V. Cathedral of Our Lady of Paris: Roman. - M., 2004.
Evnina E.M. V. Hugo. - M., 1976.
Synopsis from foreign literature: Materials to sleep / Order. L.B.Ginzburg, A.Ya.Riznik. - M., 2002.

V. Hugo - the greatest French romantic, the head of the French. Romanticism, yoga theorist Winn zigrav assigned a role in the creation of a romantic novel, in the reform of French poetry, in the creation of a romantic theater. The first verses, written by Hugo in 1812-19, created according to the rules of classicism, turn to the genre of a naturalistic ode, de glorify the royal dynasty. Under the infusion of Lamartine, that Chateaubriand sings to move into positions of romanticism. By stretching his life, Hugo turned to a theoretical underpinning of romanticism.

In the novel "St. Petersburg" (1831) Hugo goes back to the 15th century. The choice of the epoch itself is important for revealing the main idea. 15 in France - the era of the transition from the Middle Ages to the Renaissance. Ale, passing on for help the historical coloring, I live like a dynamic era, Hugo whispers forever, in which all the eras unite. So, the image of the Cathedral of Our Lady of Paris, which was created by the people for centuries, hangs in the foreground. The people's cob is distinguished by the novel's setting to skin z diyovih osib.

There are three heroes in the system of characters in the room. The gypsy woman Esmeralda, with her magic, with a must-seeing look, delivers the natovp to the malt. Your piety is alien, you are not inspired by earthly joys. In this image, the most beautiful signifies a resurrection of interest in people, as if you become the head rice of light new era. Esmeralda inexorably tied up with the masses of the people. Hugo vicorist's romantic contrast, showing the beauty of the girl in the image of the lower classes, in the description of such vicorists there is a grotesque.

The upper ear of the novel is the image of the archdeacon of the cathedral, Claude Frollo. In the new one, one of the sides of the Renaissance person is also expressed - individualism. Ale us before tse middle-class people, ascetic, knowing all the joys of life. Claude Frollo wanted to strangle all the earthly senses in his own mind, as if in respect with ganebnym, and dedicate to himself the whole cult of the total crypt of human knowledge.

Ale, with your own recitation of human feelings, you yourself fell in love with Esmiralda. Tse kokhannya to wear a ruinous character. Unable to overcome, Claude Frollo is on the way to mischief, putting Esmeralda in torment and death.

The fee is to come before the archdeacon as the yogo servant, the bell ringer of the Quasimodo Cathedral. The created image of Hugo has a particularly wide vicorist grotesque. Quasimodo is an unseen genus. Win guessing chimeras - fantastic creatures, whose images adorn the cathedral. Quasimodo is the soul of the cathedral, the creation of folk fantasy. Virodok also fell in love with the beautiful Esmiralda, but not for her beauty, but for her kindness. The first soul, which rolls over in a dream, in such a її zanury Claude Frollo, appears beautiful. Beast behind his own staring eyes, Quasimodo an angel at the soul. The finale of the novel, it is clear that Quasimodo, having penetrated the underground, where Esmeraldi's body was thrown, and died there, embracing її.

Hugo is trying to show the staleness of the internal evil of a person for the reasons of his life (obviously, under the influence of realism). Quasimodo, without fear, spryaya Esmeraldi's death. Vіn protect єїї vіd natovpu, which you want not to attack її, but call. Viyshovshi from the bottom of the court, angry with the soul from the cathedral, which inspires folk cob, Quasi-modo for a long time, fighting against people, serving people hater Claude Frollo. І axis, if the people's elemental movement reaches the walls of the cathedral, Quasimodo is no longer able to grow up in the namіrs of the NATO, self-tightness to fight against it.

Hugo explores the type of romantic historical novel, the type of novels by Walter Scott. Vіn pragne to detailed accuracy; Historical individuals (King Ludovіg 11, Gringoire sings and others.) do not occupy a central place in the novel. Hugo's head meta is like a creator of a historical novel - to convey the spirit of history, its atmosphere. It is even more important for a writer to designate the post-historical power of people, the eternal struggle between good and evil.

Head topic novel "The Cathedral of Our Lady of Paris" - the theme of the people and the people's disobedience. Mi Bachimo Paris bіdnih, nedolenyh, humiliation. The novel vividly depicts its own sounds, traditions, beats the French Middle Ages, reveals the historical specifics of the era. One of the main images - symbols of the novel is the great cathedral, which bears the name of the Mother of God. Vіn buduvavsya from the ХІІ to the XV century, after which there were different architectural styles - Romanesque, the style of the early Middle Ages and later - Middle Gothic.

The cathedral, which is behind the Christian dogma, a model of the world, acts as an arena of earthly passions. In the midst of the new unfailing and Quasimodo, which with the sounds of its bells “pouring life into the unstoppable spore”, and the abbot Claude Frollo frowned.

Quasimodo is an artist's insight into the theory of the romantic grotesque, as if Hugo had gone before his "Cromwell". This is one of the images characteristic of the writer, which emphasizes the theme of poverty, “guilty without guilt”. The grotesque for Hugo is “a call for a match”, due to the contrast between the inner and the outer. First of all, we oppose the contrasting beauty of Esmeraldi and the indulgence of Quasimodo, the other - the contrasted spiritual beauty of Quasimodo and the inner darkness of Claude Frollo.

Like Quasimodo lying about his indulgence, then Frollo calls out fear with these secret passions, like they spit on his soul: What a secret thought twisted his mouth with a warm smile at that hour, like eyebrows converged, like two beats, are you ready to enter into a duel? What was behind the taєmniche half-moon I saved for an hour at Yogo look? - this is how Hugo portrays his hero.

Claude Frollo is a right romantic villain, snarky with all sorts of, inexhaustible addictions, built less for hatred, for ruin, which leads to death not only the innocent beauty of Esmeraldi, but even himself.

Why is Hugo the Catholic clergyman wearing and infiltrating evil? Tse with singing historical realities. After 1830, in the leading spheres of French supremacy, there was a sharp reaction against the Catholic Church - the head support of the old regime. Finishing his book in 1831, Hugo Bachiv, like a rallying NATO smashed the monastery of Saint-Germain-Loxerrois and the archbishop's palace in Paris, like the villagers knocked crosses from the chapel, on the great roads. Tim is no less, Claude Frollo is no less an image than historically deluded. Possibly, due to the influences and these majestic destructions, which were seen by the light-receiving companions of Hugo.

The unseen adventure of Quasimodo, physical indulgence, that deafness vindicated many people. "The skin was a beast before the new word was known to the curses." I Quasimodo instilled human hatred, becoming angry and wild. Ale for yoga indulgent zvnishnistyu was good, strange heart. The author shows that the unfortunate hunchback of the building is on the deep and lower kokhannya.

Love Esmeralda, adore її, protect from evil, protect її, not harming the power of life - everything has become a method of yoga.

Claude Frollo is a symbol of his own – a symbol of vilification of the rule of dogmas. Prote, everything in life is protirich. The skeptic Frollo, having discovered the church dogma, surfs at the full of zaboboniv and zaboboniv: a maiden, like to love wine, is assigned to you by the messenger of the devil. Claude Frollo to love Esmeralda, but see the cat in the hands. Vіn know prihilnіst to the new Quasimodo - and zrajuє tse pochutya. Vіn Yuda, but not the one whom I painted with the eye of shanuvalnikov, but the one who became a symbol for the sake of that accessibility.

The image of Claude Frollo was entrusted with an artistically authentic image of Captain Phoebus de Chateauper. Beautiful zovnіshnіst and gleam of the uniform prihovuvali empty, lightness and inner wretchedness of this young nobleman. The forces of evil, like Claude Frollo's vchinki, threw a cry to the Cathedral - a symbol of light, goodness, Christianity. І Sobor nіbi vyslovlyuє their dissatisfaction, forestall that the archdeacon will be reprimanded.

Zreshtoy, the Cathedral itself helps Quasimodo to take revenge on Claude Frollo: “Before him, the day was yawning ... Winning, applying unhuman susilla, to climb along the gutter onto the balustrade. But Yogo's hands forged on the granite, Yogo's feet, shabby blackened the walls, foolishly whispered podpori ... "

Conveying the origins of the epoch, W. Hugo at one time, as a constant, stole the credibility of the image of the past. At the center of the novel of wines, placing the image of Esmeraldi, beautiful girl, twisted by the gypsies of Vin її, having grown the inner beauty of the soul and humanity. Tsei romantic image of the author's introduction into the environment of the 15th century. V. Hugo, demonstrating that the world is constantly fighting between good and evil, and creating its own positive images, emerging from the abstract idea of goodness, not talking about those, how positive characters could be formed in the concrete minds of life.

At his remembrance to Cromwell, Hugo said that the Christian hours had given a new mind to people as a matter of fact, as if the cobs of the corporal spirituality were on the way. First - skute bazhannyam and passions, another - free, building on the wings of a hoarding that mrії rise into the sky. Later, literature can accommodate the contrasts of the mundane and the sublime, the contrived and the beautiful, to penetrate the rotten, impermanent, super-literal reality of real life.

11. V. Hugo "Znedolenі".

"Cathedral of Our Lady of Paris", dramas of the 30s. they beat revolutionaries from themselves. mood of the writer U tsikh virob-yah bol. the role was played by the people's masa, її Rukh. In the novels of the 60s. the romantic comes to the fore. personal

In the basis of the plot of the novels of the 60s - “Znedolenі”, “Workers of the sea”, “A person who laughs” - the struggle of one individual against the evil forces. In the novel "Znedolenі" Jean Valjean, the father of Fantina, bezpritulny children - Cosette, Gavroche - are a world of "wilderness", a world of people who were taken by the bourgeoisie. common wikidaye overboard and a hundred of them are especially zhorstoko.

Jean Valjean goes to hard labor for stealing bread for his sister's hungry children. Coming to hard labor as an honest person, after 19 years they will turn into a villain. Vіn u sensі words of slander; yogo nobody wants to let him spend the night, navit dog vyganya yogo from his booth. Bishop Miriel gave an apron to him, who cares that the skin of the booths should lie down, whoever needs it. Valjean to spend at a new night and an offensive wound knows at home, taking a silver with him. Spymany police wines do not dare to recount their wickedness, for all prove otherwise. Ale, the bishop declares to the policemen that Jean Valjean did not do wrong, but won a gift from him. With whom, the bishop seems to Jean Valjean: "Today, having bought your soul from evil, I give you good." From this moment, Valge becomes as holy as Bishop Miriel.
In every novel of Hugo, like everywhere else, it has an idealistic point of view in the assessment of the world; є, on yoga thought, two justices: justice good order and justice is lower. The rest is turned by the law, who has been awakened to the life of suspіlstva. The law punishes the people for the scoєny malice. Bearing the same principle of justice in the novel Javert. And yet another justice. Nosієm її є Bishop Miriel. At the glance of Bishop Miriel, evil and evildoers are not punished, but say goodbye, and even evildoers themselves are blamed. The law does not know evil, but it does force yoga. So it was with Jean Valjean. While yogo was trimmed in hard labor, vin was filled with evil spirits. If Bishop Miriel vindicated the infliction of mischief on him, he overrode Jean Valjean.

Gavroche is another Yaskravian hero of the work of G. Zukhvaliy and cynical, at once simple-hearted and childishly naive, to speak villainous jargon, to share the remaining piece of bread with hungry homeless children, to hate riches, not to be afraid of anything: no God, Image of Yak and Jean , Gavroche - the specialization of the best rice "underprivileged" by the constellation of people: love for one's neighbor, independence, courage, honesty.

Father, according to Hugo morality. Law regulate the relations of people; social legislate the services. role. Hugo does not pragne in his novel deeply reveal the laws of social life. Social process at Hugo's on another plane. Vіn pragne to bring, scho itself social. prob. if it is morally wrong, it will be allowed.

12. Poema G. Heine "Nimechchina. Zimova kazka Heine's revelation about the past, today's future Nіmechchini. Artistic features eat.

The creators of Heine's achievements were appointed to the yogo miraculous production - we sing “Nimechchina. Winter Cossack (1844). After turning from Nimechchini at the chest in 1844, the son of Heine and Marx came to the fore, their constant conversations undoubtedly appeared on the money. All the frontal dosvіd was ideologically thin in him. development of Heine - prose writer, publicist, political lyricist. "Winter's Tale", more or less be-yak іn. Heine's virility - a plіd of profound thoughts of the poet about the paths of the development of Nіmechchini. The image of Heine's fatherland is painted on clear nonsense. І space. The expanse of the territory of Nimechchini, which is sung by a poet, each new head is a new place, really smarter. Here, most of all, there was the yogo pragnennya batkivshchyna united by a single democratic state. We sing "Nimechchina", which represents itself, like an early thin. two possible paths for the development of their fatherland. In the system of artists, the theme is expressed in a sharply alternative form: either guillotine (Rozmova with Frederick Barbarossa), or that terrible stinking miner, like Heine, after drinking at the Gammonian kimnatz. sing satires - stovpi polit.rektsії in Nіmechchinі: Prussian monarchy, nobility and military. On a cold, leaf-falling day to the border line, he sings from the praises of the sounds of native language. This little girl-zhebra sings in a false voice to accompany the harp to an old song about saying about earthly blessings and about heavenly bliss in heaven. With the words of the song, the harpist's wife says that old miserable Nimechchina, like the rulers will ring the legend about heavenly joys, so that the people do not ask for bread here on earth. Політ.круги, проти кот-х спрямовані найгостріші строфи поеми,- юнкерство і боягузлива німецька буржуазія, що підтримувала прагнення німецької аристократії до возз'єднання Німеччини «зверху», тобто за допомогою відродження «німецької імперії», покликаної продовжити традиції « нації». Vikrittya deep reactionaryness of this theory is given in quiet divisions of the poem, de Heine speaks about Barbarossa, "Kaiser Rothbart". The image of the old emperor, described in folk tales and loving heart of conservative romantics, is one of the most important satires on the pribniks of the “empire”, on the champions of “raising the beast”. Heine himself, from the first rows in his sing, acts as an accomplice of the other way of the rise of Nimechchini - the way of the revolutionary, which leads to the creation of the German Republic. An hour is given in 3 times, which change one another. At the center of the bus respect - nast. an hour, like wine pіdkreslyuvav "suchasnіst". The order of the recent past-Napoleonic era and the old days, which was already formed in the myth and legend, is on equal footing. Heine went from new France to old Nimechi. Two ends of the post. spіvvіdnosjasja mizh itself. "G" is not a style of satirical poem, but rather a lir-ya, which imagined joy, anger, the author's pain, yoga "wonderful" love to vіtchizni. Correct, less famous in the scene with the girl-harpist, step-by-step flare up in all her unapproachableness through satyr. The image of Aachen, once the capital of the empire of Charlemagne, and now it has become a crossroads. Sings not bachiv fatherland 13 rokiv, ale, zdaetsya yoma, in Nіmechchyna troch changed for tsі roki, on everything lie other vigilant middle novice laws, viruvan and zvichaїv. Heine chooses those episodes from the past Nimechchini, which was destined to become reference points in the light-gazing of an ordinary German: the history of the building of the Cologne Cathedral, the battle in the Teutoburz forest, the conquerors. The skin of the national shrines is interpreted ironically, paradoxically, polemically. At the satyr. Sing the final rows, de sing in concert with the patroness of the city of Hamburg, the goddess Gamonia predicts the future, the logic of the author. thoughts like this: Nіmechchinu, as if you know the barbarian past as the norm, and the zhalyugidny progress of the present-good, maybe the checks of the future are more than abomination. In the next minute, I threaten to open the future. To be cleansed from the filth of the past, a strange call sings with a stretch of the mouth.

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