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At the center of Hugo's classic novel are three extraordinary characters caught in a web of fatal obsession. The grotesque hunchback Quasimodo, bell-ringer of Notre-Dame, owes his life to the austere archdeacon, Claude Frollo, who in turn is bound by a hopeless passion to the gypsy dancer Esmeralda. She, meanwhile, is bewitched by a handsome, empty-headed officer, but by an unthinking act of kindness wins Quasimodo's selfless devotion. Behind the central figures moves a pageant of picturesque characters, including the underworld of beggars and petty criminals whose assault on the cathedral is one of the most spectacular set-pieces of Romantic literature.
Alban Kraisheimer's new translation offers a fresh approach to this monumental work by France's most celebrated Romantic authors.
- Sales Rank: #5702827 in Books
- Published on: 1993-12-09
- Original language: French
- Number of items: 1
- Dimensions: 7.31" h x 1.01" w x 4.56" l,
- Binding: Paperback
- 592 pages
Review
"Alban Krailsheimer's fluent new translation more than does justice to a great romantic classic." --Max Davidson, Weekend Telegraph 26/11/1993
About the Author
The best-known of the French Romantic writers, Victor Hugo was a poet, novelist, dramatist, and political critic. Hugo was an avid supporter of French republicanism and advocate for social and political equality, themes that reflect most strongly in his works Les Mis?rables, Notre-Dame de Paris (The Hunchback of Notre-Dame), and Le Dernier jour d'un condamn? (The Last Day of a Condemned Man). Hugo s literary works were successful from the outset, earning him a pension from Louis XVIII and membership in the prestigious Acad?mie fran?aise, and influencing the work of literary figures such as Albert Camus, Charles Dickens, and Fyodor Dostoevsky. Elevated to the peerage by King Louis-Philippe, Hugo played an active role in French politics through the 1848 Revolution and into the Second and Third Republics. Hugo died in 1885, revered not only for his influence on French literature, but also for his role in shaping French democracy. He is buried in the Panth?on alongside Alexandre Dumas and ?mile Zola.
Most helpful customer reviews
54 of 55 people found the following review helpful.
In My Opinion, The Best Translation Available
By Enamorato
Note: This review is for the Oxford World's Classics edition, translated by Alban Krailsheimer. Amazon sometimes posts reviews on multiple pages, so be careful you are looking at the right edition when ordering.
The fact that this Oxford edition chooses to retain the novel's original French title ("Notre-Dame de Paris") rather than its English counterpart ("The Hunchback of Notre-Dame"), which Hugo famously disliked for misrepresenting the book's contents, was encouraging to me when I found it in the bookstore. I've tried reading several other translations in the past including Walter Cobb's for Signet Classics and Catherine Liu's revised translation for Modern Library, but never could get beyond the first few chapters. I had also read and loved two other Hugo novels ("Les Miserables" and "The Man Who Laughs"), and couldn't understand why this famous novel never appealed to me.
This is the first version I was able to finish and I credit that to Alban Krailsheimer's extremely readable and vivid translation. He renders Hugo's often labyrinthine prose with great sensitivity, clarity, and eloquence. Readers who have read other translations may be surprised by the novel's bawdiness, eroticism, and humor. Hugo emerges as a very contemporary, imaginative writer. This is not only the best translation of a Victor Hugo novel I've read, but is simply one of the best translations of any work into English I have come across. As with other books in the Oxford World's Classics series, this edition comes with an introduction (tracing Hugo's sources; although, since it includes some spoiler material, you may want to wait until after you have finished the novel to read it) and comprehensive and explanatory notes throughout the text.
This is one of two translations recommended by Hugo biographer Graham Robb, the other being John Sturrock's translation for Penguin Classics which I've also picked up. Sturrock's translation is also very good. However, the Penguin edition lacks the Oxford's erudite textual notes in which Krailsheimer explains Hugo's obscure historical references to Medieval Parisian locales, articles of clothing, literature, social cohorts, and his appendix on Medieval French currency. This material is critical in understanding the milieu of the characters and for appreciating the sheer depth of research and detail Hugo wove into this novel. As such, I still recommend the Oxford edition.
26 of 26 people found the following review helpful.
Admirable translation
By Allan Life
For readers familiar with Victor Hugo's "Notre-Dame de Paris" in the original French, translations into English of the nineteenth century and considerably later can be jolting. This especially applies to the dialogue of the novel. While characters with less formal education, including Esmeralda, are allowed to speak the "standard" English of the translator's period, a man of Claude Frollo's erudition is compelled to articulate in archaisms ("Thy dancing whirled in my brain; ... All at once thou didst begin to sing. ... At length thou didst, perhaps, take pity on me ..."). This falsifies the speech of such characters in the original, which is essentially that of an educated Parisian of 1831.
In 1978, the novel was delivered from latter-day Jacobeans by John Sturrock, whose vigorous translation is still in print from Penguin Classics. However, readers seeking the most accurate English rendition of Hugo's masterpiece should seriously consider Alban Krailsheimer's more recent version from Oxford World's Classics. In general, Krailsheimer is more appreciative of nuances of characterization. He manifests this awareness in translations that may be more conventional than Sturrock's, but which are also more attuned to the dramatic context in which particular words and phrases are employed. To cite one instance: in the dungeon where she awaits execution, Esmeralda laments: "J'ai froid, j'ai peur, et il y a des betes qui me montent le long du corps." Sturrock: "I'm cold, I'm frightened, and there are creatures that climb up my body." Krailsheimer: "I'm cold, I'm afraid, and there are creatures that climb over my body." Though both "up" and "over" are possible, Krailsheimer's "over my body" is less invasive, more consistent with Esmeralda's detachment from the body that was her medium of expression and the fact that (unlike women currently enduring such ordeals in modern theocracies) she has not been sexually violated by her captors. (It takes Hugo's archdeacon to attempt that.) A second example, from the last two sentences of the book: "L'homme auquel il avait appartenu �tait donc venu l�, et il y �tait mort. Quand on voulut le d�tacher du squelette qu'il embrassait, il tomba en poussi�re." Sturrock: "The man to whom it had belonged must therefore have come there and have died there. When they tried to release him from the skeleton he was embracing, he crumbled into dust." Krailsheimer: "The man to whom the skeleton belonged had therefore come there himself, and died there. When they tried to remove it from the skeleton it embraced, it fell to dust." Ontologically (and, arguably, metaphysically), Krailsheimer's depersonalized "it" is surely preferable to Sturrock's "he."
In one significant respect, both translators do repeat a failing of their predecessors. They substitute quotation marks for the dashes with which Hugo heralds passages of dialogue. Through this punctuation (later employed so artfully by such writers as James Joyce), Hugo dovetails speech and description to maximum effect. As with all great literature, there is no substitute for the original, as the authors of these fine translations would be the first to concede. Both their versions can be heartily recommended, but Krailsheimer's is I believe the best.
16 of 19 people found the following review helpful.
Surprising foreshadow of technology and the interenet
By A Customer
"Notre Dame de Paris", better known by its English title "Hunchback of Notre Dame", suprised me with its applicability to the modern technological world. When I thought how unlikely events seemed and how painfully unsympathetic were most of the main characters, the story seemed poised to disappoint. But by the end I realized the fatal tragedy of the events and the effectiveness of Hugo's social commentary. All in all a wonderful book. It has inspired me to dig out Johnson's history of art to read again the history of gothic art. The book is more about architecture than about the hunchback, and events surrounding Claude Frollo, Quasimodo and Esmeralda seem to take a back seat to Hugo's passion for gothic architecture and its demise at the hands of modern "improvements".
What surprised me most was an analogy by Hugo that presages technological advances of today, in particular the internet. In Book V Hugo describes the revolutionary advance made by the printing press and how it replaced architecture as the historical language for human ideas: "The invention of printing is the greatest event in history. It is the mother of revolutions. It is humanity's mode of expression totally renewed, human thought discarding one form and putting on another... In the form of printing, thought is more imperishable than ever; it is volatile, elusive, indestructible. It blends with the air. In the time of architecture it became a mountain and took forceful possession of an age and a space. Now it becomes a flock of birds, scatters to the four winds and simultaneously occupies every point of air and space." If one did not know Hugo wrote this in the nineteenth century, one might easily think he was writing about the revolutionary nature of the internet as a vehicle for the expression of human ideas when compared to traditional publishing. Hugo calls printing "the second Tower of Babel of the human race." If he were still writing today, no doubt he might call the internet "the Third Tower of Babel."
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