“She seemed to be some sort of supernatural creature, with her billowy, multicolored dress, her bare shoulders, her shapely legs, which her skirt revealed from time to time, her jet black hair and her fiery eyes.” (2:2) This artfully crafted passage aided La Esmeralda, the heroine of Victor Hugo’s The Hunchback of Notre Dame, in becoming almost palpable through the vivid description. The book was set amid the ferment of fifteenth-century Paris. Throughout the book Esmeralda’s three foremost aspects of character carried plot: her physical attributes, her emotional range, and the emotions she produces in other characters.
One of the most prevalent aspects of Esmeralda was her physical appearance. When Hugo first introduced her in the book, she was dancing around a fire, with a great crowd surrounding her, sending the men in the crowd into a trance while watching her. In contrast to the male characters, Esmeralda possessed a swarthy complexion, similar to someone of Roman descent (2:2). Another physical trait attributed to her was she looked as if she belonged to the group of people called gypsies, because of her colorful attire and bawdy jewelry (2:2). Gypsy was a derogatory term used to refer anyone who held a nomadic, destitute lifestyle. People of this descent were often perceived negatively (2:2). The bigoted view of Esmeralda and her social class was first intimated by the reclusive ascetic Sister Gudule who believed gypsies been abducted and cannibalized her only child, and was a theme through the rest of the book (4:3). Although the book took place over a short duration of time Esmeralda’s appearance evolved, as did the plot. For example, after the court atrociously tortured her until she falsely confessed to crimes she did not commit, Hugo painted a picture of her “pale and limping.” (6:2) Similarly, when she was being tortured, the members of the court threatened to damager her beautiful, lithe legs, highlighting the significance of her appearance (6:3). Therefore, Esmeralda’s appearance served not only to provide loquacious description, but as a tool to indicate emotion and a plot device.
Another area where Esmeralda exhibited characterization was in the emotions she expressed. One emotion Esmeralda showed repeatedly was compassion. Her compassion for others was acutely illustrated in two instances in the book, one involving Pierre Gringoire and the other Quasimodo. The first occurred during Gringoire’s accidental trip into The Court of Miracles, the area in Paris where the gypsies took up residence. Upon trespassing in the gypsies’ land Gringoire should have been hung, according to tradition; yet Esmeralda was willing to wed him in order to save him from the cold grasp of the noose (2:5). The latter act of kindness occurred when Quasimodo was condemned to the stocks. While the rest of the crowd was jeering at Quasimodo and treating him with opprobrium, the gypsy girl mercifully offered him water (4:4). Infatuation occupied Esmeralda’s emotional palette for the majority of the story. The object of her child-like adoration was Phoebus de Chateaupers, a captain in the French army (2:5). Sadly, the girl’s unrestrained passion for the scoundrel continued unnoticed. However, what remained quite predominant was how Esmeralda demeanor soured from mirth and bursts of merry song into vehement anger whenever she encountered the perverted priest Claude Frollo. “She snatched the cutlass from Quasimodo’s hands and burst into furious laughter.” (7:6) Undeterred by the lecherous priest’s attempted molestation, Esmeralda gave way to her fury and annihilated any vestige of joy in her body. In contrast with her overt characteristics, was Esmeralda’s embodiment of paradox, conflicted inwardly Esmeralda struggled with instinctual physical repulsion and recognition of inward beauty in deformed Quasimodo (7:4). The turmoil was perhaps foreshadowing the stage she was at her in life: young enough in age and comport to live as an adolescent, yet possessing a precociousness born from a lack of parents. Ergo, Esmeralda’s vast range of emotion pervaded the book, providing some of the most substantially entrancing moments in the story.
Ultimately, the driving force of the tragedy was the emotional effect Esmeralda produced in the other characters. One emotion incurred by the dancer juxtaposed through the book. That is the subsequent antipathy and affection of Sister Gudule. The hatred consumed Gudule’s emotions for most of the book, because she was extremely prejudiced against gypsies for committing supposed transgressions in the past (4:4). The curses of asperity miraculously transformed into caresses of love when she discovered Esmeralda was her abducted daughter (9:1). Sadly, not all of the results were pleasant. Such as, Dom Frollo’s obsessive love towards her, which originated toward the start of the book. Escalated from mere affection to a demented lust at the finish, the love progressed the story quite effectively. The priest’s feelings culminated in an attempted sexual assault of Esmeralda (7:6). A more tender effect Esmeralda produced was Quasimodo and his hesitant love for her. This unrequited love was most poignantly illuminated in the macabre scene where Quasimodo’s disfigured skeleton was found embracing the skeleton of Esmeralda, loving her even with his dying breath (9:4). So, Esmeralda’s profound effect on others was the foundation of this inspired piece of literature.
In conclusion, without Esmeralda present in this book, it would be a hollow, unenthused book. She was the element that allowed the book to thrive. Ironically, Esmeralda serves as both a source of light in a city filled with darkness and the cause of the immorality that grips the story Moreover, she provides the intrinsic spark of entrancement, emotion, and drama to the book.
One of the most prevalent aspects of Esmeralda was her physical appearance. When Hugo first introduced her in the book, she was dancing around a fire, with a great crowd surrounding her, sending the men in the crowd into a trance while watching her. In contrast to the male characters, Esmeralda possessed a swarthy complexion, similar to someone of Roman descent (2:2). Another physical trait attributed to her was she looked as if she belonged to the group of people called gypsies, because of her colorful attire and bawdy jewelry (2:2). Gypsy was a derogatory term used to refer anyone who held a nomadic, destitute lifestyle. People of this descent were often perceived negatively (2:2). The bigoted view of Esmeralda and her social class was first intimated by the reclusive ascetic Sister Gudule who believed gypsies been abducted and cannibalized her only child, and was a theme through the rest of the book (4:3). Although the book took place over a short duration of time Esmeralda’s appearance evolved, as did the plot. For example, after the court atrociously tortured her until she falsely confessed to crimes she did not commit, Hugo painted a picture of her “pale and limping.” (6:2) Similarly, when she was being tortured, the members of the court threatened to damager her beautiful, lithe legs, highlighting the significance of her appearance (6:3). Therefore, Esmeralda’s appearance served not only to provide loquacious description, but as a tool to indicate emotion and a plot device.
Another area where Esmeralda exhibited characterization was in the emotions she expressed. One emotion Esmeralda showed repeatedly was compassion. Her compassion for others was acutely illustrated in two instances in the book, one involving Pierre Gringoire and the other Quasimodo. The first occurred during Gringoire’s accidental trip into The Court of Miracles, the area in Paris where the gypsies took up residence. Upon trespassing in the gypsies’ land Gringoire should have been hung, according to tradition; yet Esmeralda was willing to wed him in order to save him from the cold grasp of the noose (2:5). The latter act of kindness occurred when Quasimodo was condemned to the stocks. While the rest of the crowd was jeering at Quasimodo and treating him with opprobrium, the gypsy girl mercifully offered him water (4:4). Infatuation occupied Esmeralda’s emotional palette for the majority of the story. The object of her child-like adoration was Phoebus de Chateaupers, a captain in the French army (2:5). Sadly, the girl’s unrestrained passion for the scoundrel continued unnoticed. However, what remained quite predominant was how Esmeralda demeanor soured from mirth and bursts of merry song into vehement anger whenever she encountered the perverted priest Claude Frollo. “She snatched the cutlass from Quasimodo’s hands and burst into furious laughter.” (7:6) Undeterred by the lecherous priest’s attempted molestation, Esmeralda gave way to her fury and annihilated any vestige of joy in her body. In contrast with her overt characteristics, was Esmeralda’s embodiment of paradox, conflicted inwardly Esmeralda struggled with instinctual physical repulsion and recognition of inward beauty in deformed Quasimodo (7:4). The turmoil was perhaps foreshadowing the stage she was at her in life: young enough in age and comport to live as an adolescent, yet possessing a precociousness born from a lack of parents. Ergo, Esmeralda’s vast range of emotion pervaded the book, providing some of the most substantially entrancing moments in the story.
Ultimately, the driving force of the tragedy was the emotional effect Esmeralda produced in the other characters. One emotion incurred by the dancer juxtaposed through the book. That is the subsequent antipathy and affection of Sister Gudule. The hatred consumed Gudule’s emotions for most of the book, because she was extremely prejudiced against gypsies for committing supposed transgressions in the past (4:4). The curses of asperity miraculously transformed into caresses of love when she discovered Esmeralda was her abducted daughter (9:1). Sadly, not all of the results were pleasant. Such as, Dom Frollo’s obsessive love towards her, which originated toward the start of the book. Escalated from mere affection to a demented lust at the finish, the love progressed the story quite effectively. The priest’s feelings culminated in an attempted sexual assault of Esmeralda (7:6). A more tender effect Esmeralda produced was Quasimodo and his hesitant love for her. This unrequited love was most poignantly illuminated in the macabre scene where Quasimodo’s disfigured skeleton was found embracing the skeleton of Esmeralda, loving her even with his dying breath (9:4). So, Esmeralda’s profound effect on others was the foundation of this inspired piece of literature.
In conclusion, without Esmeralda present in this book, it would be a hollow, unenthused book. She was the element that allowed the book to thrive. Ironically, Esmeralda serves as both a source of light in a city filled with darkness and the cause of the immorality that grips the story Moreover, she provides the intrinsic spark of entrancement, emotion, and drama to the book.
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