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Frollo is regarded as a severe and devout man, especially after he refuses to meet with the king’s daughter. One night, he receives unexpected visitors: Jacques Coictier (the king’s doctor) and a hooded figure who introduces himself as Compere Tourangeau. Although the doctor and Frollo evidently despise one another, they remain polite as Tourangeau explains that he desperately needs Frollo’s particular set of skills. Frollo indicates that he is not a great believer in medicine, much to the doctor’s disgust, but Tourangeau petitions Frollo for advice regarding healing and astrology. As they talk, Frollo excitedly reveals his interest in the arcane art of “alchemy,” though the doctor hints that Frollo has lost his mind. Tourangeau begs to study under Frollo, who hints that he has acquired knowledge about how to manufacture gold. When Tourangeau asks for the source of Frollo’s knowledge, Frollo points to the Notre-Dame cathedral. The building, he says, is the book he studied. He then points to an actual book, which he says can “kill” the cathedral. Frollo explains to his guests that small things can destroy greater things. As the bells ring, the guests prepare to leave. Tourangeau departs, inviting Frollo to visit him sometime, whereupon Frollo realizes that he is speaking to King Louis XI.
The novel explains that Frollo’s dictum about small things destroying great things can refer to printing, a new technology in the Medieval era that will soon change the world and “kill the Church” (192). Printed books will replace architecture as a vector of knowledge. The text discusses the history of the written word and how languages in ancient societies became more complex at the same time that their architecture did. When ideas become too complex to convey through architecture, they are conveyed through books, and changing eras in human societies have heralded changes and advances in architecture.
The evolution of the church’s power, especially as it waned throughout the years, can be read in the changing styles of architecture. Gothic architecture represents society’s growing independence from the power of the church; Notre-Dame’s Gothic architecture contains the mysterious carvings of Nicholas Flamel, whose anti-church messaging was hidden in the language of architecture. The printing press changes the need for architecture as “the principal record of mankind” (199), dramatically simplifying the distribution of ideas to a mass population. The printing press lessens the power of the Church over the people. The end of the Gothic era, from the novel’s perspective, represents an important moment in architecture when people no longer needed buildings to convey information because printing technology empowered them. Consequently, other modes of expression flourished, including theater, poetry, political theses, and, ultimately, revolutions. The text cites the schism between Catholicism and Protestantism as a revolution that the printing press fueled. After the Gothic era, architecture became plainer, replicating previous styles rather than inventing anything new, though the novel implies that while books “killed” architecture, people occasionally still create beautiful buildings.
By 1482, Robert d’Estouteville has been the provost of Paris for 17 years, retaining the position despite widespread upheaval. The position provides money and respect, placing him in charge of a retinue of city guards. He spends the day sentencing criminals and the evening relaxing in the post’s luxurious house. Among the condemned prisoners whom he leads from the Bastille prison to their execution are political prisoners who insulted the king in some way. D’Estouteville rises one day in a foul mood, which he is likely to take out on those who sit before him in judgment. Since he is late to the first trial of the day, his lieutenant, Florian Barbedienne, takes his place. Barbedienne is completely deaf yet passes sentences without hearing the arguments in the trials. Jehan sits in the courtroom, watching a trial with his friend Robin. They see the guards place Quasimodo before Barbedienne. The crowd mocks Quasimodo. Since both Quasimodo and Barbedienne are deaf, the trial is a farce. Only d’Estouteville’s arrival puts an end to the court crowd’s uproarious laughter. Quasimodo is sentenced to a public pillory: He will be publicly beaten and shamed. When Jehan calls out to the provost, d’Estouteville mistakes his shout for Quasimodo’s and extends the punishment, as does Barbedienne. Quasimodo is led away.
The Place de Grève is still covered in the previous day’s litter. In the corner of the square is a small cell, named the rathole, designed by Madame de Roland. After her father died, she built the small cell so that she could “shut herself up forever” (219) as a demonstration of grief. She spent 20 years in the rathole. Since then, “many women” have occupied the rathole, seeking refuge from their suffering. They survive on whatever scraps the public throws into the cell, and they are treated as near-saintly exemplars of piety, though the public has little sympathy for the occupants. Throughout Medieval Paris are many similar cells.
Three women named Gervaise, Oudarde, and Mahiette walk through the Place de Grève. The former two are Parisian, and Mahiette is from Riems. Mahiette is with her son, Eustache, who stares at a cake as the three women discuss the person to be placed in the pillory. Hearing a tambourine, they hurry to see Esmeralda perform. Mahiette, however, fears that “these gypsy vagabonds” (227) will steal Eustache, a belief that the woman currently occupying the rathole shares.
Mahiette tells a story about a woman named Paquette, who was forced to become a sex worker even though she was from a wealthy family. Paquette gave birth to a daughter and bought the young girl the “daintiest little pink shoes” (230). One day, Paquette visited roaming Romany fortune tellers with her daughter, and that night her daughter disappeared. All that was left was a single pink shoe. Later, a neighbor claimed to have seen two Romany people enter Paquette’s house. In her house, Paquette found a deformed child, and she believed that the Romany people stole her baby girl and then killed and ate her. Paquette disappeared shortly thereafter, while the deformed baby was sent to Paris to be put up for adoption.
The three women pass the rathole, telling Eustache to leave his cake for the woman inside. They see that the woman is dressed in rags and sits very still, though she is shivering. Mahiette recognizes her as Paquette, pointing at the little pink shoe in the corner of the cell as proof. The women weep for Paquette, who hears Eustache’s voice and cries at God’s cruelty in showing her other children. She refuses food from the three women and beats her head against the cell wall in grief. When Mahiette uses the name Paquette, however, she stands up, clinging to the bars and crying out that “the gypsy woman” (243) is calling to her.
The “well-trained” crowd gathers as Quasimodo is placed inside the pillory. The people exalted the man they elected as the Fool’s Pope but now laugh at him as he awaits public flogging. Quasimodo seems confused about what is happening. Pierrat Torterue, the Royal Torturer, begins to flog Quasimodo, who is shocked at the violent beating. The crowd cheers. When the flogging finishes, Quasimodo is left in the pillory. The crowd feels satisfied that he has been punished; one by one, they approach and insult him to his face. Quasimodo cannot hear the insults but knows that people hate him. He strains against his bonds and hangs his head in silent remorse. When Frollo rides into the square, Quasimodo briefly hopes that he will be saved. Frollo, however, scorns Quasimodo and rides away.
After half an hour, Quasimodo strains against his bindings and begs for a drink. No one in the pitiless crowd helps him until Esmeralda steps forward, accompanied by Djali. Quasimodo watches her approach him and kneel before him, offering a drink. Quasimodo is shocked. A tear rolls down his face. After drinking, he tries to kiss her hand in thanks. Esmeralda instinctually pulls back her hand. The crowd, moved by the scene, begins to cheer, but Paquette interrupts the cheers, insulting the “accursed” (253) Esmeralda from inside her cell.
Paquette’s insult shocks Esmeralda, and she runs away. The crowd begins to leave the square. No one says anything to Paquette, since she is considered devout and holy. Eustache reveals to his mother that a dog ate the cake intended for Paquette, so Mahiette hurries her son away.
Throughout, The Hunchback of Notre-Dame describes life in Medieval Paris in detail. Despite the affection with which the novel refers to Gothic art and architecture, however, not every aspect of society receives such praise. Thematically emphasizing The Spectacle of Public Punishment, the various depictions of public torture illustrate the tension between the beautiful and the terrible in Medieval society. Just a few days earlier, the Parisian crowd elevated Quasimodo to the status of Fool’s Pope, parading him through the streets and singing his praises. Although the praise was facetious and mocking, a fundamental joviality marked the Feast of Fools. When Quasimodo is publicly flogged for the attempt to kidnap Esmeralda, however, the crowd quickly turns on him. The same people who cheered him on the Feast of Fools now jeer him when he is placed in the stocks. The novel presents the Medieval crowd’s fickleness from Quasimodo’s perspective, sympathetically portraying the bell-ringer of Notre-Dame. The crowd’s cruelty reveals a dark desire for bloody entertainment, which the novel depicts as a fundamental aspect of Medieval society. The spectacle of public punishment is entertainment as much as justice. Esmeralda is the only one who takes pity on him, bringing him water, which is ironic given that Quasimodo’s flogging and public humiliation was a punishment for attempting to kidnap her.
The novel’s depiction of Quasimodo’s public punishment helps build sympathy for him as a pathetic figure. In contrast, the scene in which Frollo welcomes two men to his private office illustrates society’s respect for Frollo, even when his intellectual interests move beyond the socially acceptable realm. Not only is Frollo a priest, but he has been elevated to the station of archdeacon in one of Paris’s most important religious institutions. As an archdeacon, he has the public support of the Church. However, rumors circulate concerning his involvement in less-than-Christian practices. Allegations of witchcraft bedevil the archdeacon. These allegations are not necessarily false and are certainly more credible than the allegations of sorcery leveled against Esmeralda later in the novel. However, Frollo is not interested in devil worship or the morality of magic. He is intrigued by alchemy as an intellectual pursuit because it presents the opportunity to push the boundaries of human knowledge. Although he is a priest, Frollo dabbles in alchemy and has an intimate knowledge of magical arts because he wishes to expand his mind, not do anything particularly immoral. He is tolerated because he is brilliant. His tolerance by Paris institutions is evident when the King of France visits him. By revealing that the hooded figure is the king, the text implies that Frollo’s research has the royal blessing, that the highest authority in the land condones his work, suggesting that Frollo is a respected intellectual, even if he is not necessarily a moral figure.
Just as the text presents Quasimodo in a sympathetic light (as a social outcast whom society has alienated because of his appearance), it presents another character’s backstory in a way that builds sympathy for someone on the fringes of society. Paquette, also known as Sister Gulude, has brought alienation upon herself. Before this point in the novel, she appeared only as a source of hateful commentary: When Esmeralda danced, Paquette levied disparaging and racist remarks at her. Paquette dislikes Romany people because she (incorrectly) believes that they cannibalized her infant daughter when she left the baby girl alone for a short time and returned to find her missing. Paquette blames herself for her daughter’s disappearance, which is why she locked herself inside the rathole in penitence. She claims that her baby was stolen and possibly eaten, yet she believes that the girl might miraculously return if she suffers before God. The rathole represents the self-loathing trauma that Paquette brings upon herself. Although the trauma does not excuse her racist hatred, it contextualizes her suffering. Paquette is not at her core a hateful person; the text gives nuance to her terrible actions, just like those of Frollo. In addition, it is an example of the novel’s thematic concern regarding Love as a Destructive Force.
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