描述
开 本: 16开纸 张: 轻型纸包 装: 平装-锁线胶订是否套装: 否国际标准书号ISBN: 9787544781541丛书名: 牛津英文经典
《巴黎圣母院》奠定了雨果作为世界著名小说家的崇高地位，是法国浪漫主义文学的里程碑，小说的情节曲折离奇，紧张生动，变幻莫测，富有戏剧性和传奇色彩，当之无愧地登上了世界十大文学名著的宝座。 全书由牛津大学法语教授A.J.克莱尔谢梅尔（A.J.Krailsheimer）撰写导读并注释。
《巴黎圣母院》以1482年路易十一治下的法国为背景，描述了吉卜赛女郎与圣母院教堂副主教弗洛罗、弃儿卡西莫多之间的纠葛，文采斐然，气势恢宏，人物的真、善、美和假、恶、丑皆被放大。长相奇丑、既聋且哑的卡西莫多有着一颗高尚纯洁的心。爱斯美拉达是美丽、纯洁的舞女，因不屈从圣母院教堂副主教弗洛罗的欲望，被他陷害致死。卡西莫多因失去心目中的偶像而绝望，愤怒地把弗洛罗从顶楼推下摔死，自己也到公墓，在爱斯美拉达的尸体旁自尽。
Introduction
Note on the Text
Select Bibliography
A Chronology of Victor Hugo
Notre-Dame de Paris
Note on Money
Explanatory Notes
Today, more than a hundred years after Hugo’s death, it is difficult, if not impossible, to approach the man and his work with an open mind. His remains were enthusiastically borne to the pantheonin1885，to join those of such other great men as Voltaire and Rousseau; he endured exile for nearly twenty years for speaking his mind against Napoleon III; he fought a spirited campaign all his life against capital punishment. His vast literary output includes some of the most notable poetry in French in both the lyric and the epic mode. His dramatic work was an integral part of the Romantic movement: although his plays are of very varying quality, the preface to the virtually unactable Cromwell (1827) is probably better known than any other manifesto of Romanticism, while Hernani literally caused a riot in the theatre at its first performance in February 1830. More to the immediate point, his two best-known novels have inspired several film versions of The Hunchback of Notre-Dame (a title, incidentally, going back to the English translation of the novel in 1833) and stage, as well as film, versions of parts of Les Misirables, the most recent of which has proved a commercial success as a musical. On the subject of music, it is worth noting that as early as 1851 Verdi took Hugo’s drama Le Roi s’amuse (banned as subversive after its first performance in 1832) as the basis for his opera Rigoletto (another hunchback hero …) . The sheer energy and range of Hugo’s writings, and indeed of the man himself in his life from day to day, should not be allowed to obscure the fact that all is by no means sound and fury: his poetry includes many examples of a more reflective, elegiac lyricism.
It would be misleading here to treat Notre-Dame in the light of Hugo’s later novels, or as a stage in his long ii Introduction development as man and writer. What matters is the book itself, the experiences, literary and other, which helped to shape it, and, not least, features of the novel’s structure and composition which are by no means obvious to an uninitiated reader.
The first Note, introducing the text published in March 1831, but apparently composed only after completion of that text, explains that the inspiration for the book was an inscription, incised deeply into the wall of one of the towers of Notre-Dame by an identifiably medieval hand, but erased since the author first came upon it while exploring the building: the single Greek word ‘ANArKH. This brief Note, despite specific references to crime and misfortune, souls in anguish, and so on, is curiously vague and uncertain as to why the inscription can no longer be seen. More than half-way through the novel (Book Seven, Ch. IV), the reader meets the word again, first in the chapter heading, then actually being incised with a pair of compasses into the wall by Claude Frollo, whose state of mind at that moment matches the description given in Hugo’s introductory Note. Such careful mystification and ambiguity is a recurrent feature of Hugo’s narrative technique, but in this case is uniquely prominent because the implications of the Greek inscription go far beyond anything Frollo could have foreseen when he wrote it. The author alone holds the secret of his book, and reveals it to the reader as and when he chooses. That reader (in 1831) would have had to wait for the definitive edition of 1832 for an explanation of the emphasis in the second half of the Note on demolition, erasure, destruction-not just of individuals, but of the seemingly most solid and beautiful works of human hands.
在文学界和艺术界的所有伟人中，雨果是wei一活在法西兰人民心中的伟人。
——罗曼·罗兰
他教导所有的人要热爱生活，热爱美，热爱真理，也热爱法西兰。
——高尔基
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