3 books to know Paris. Гастон Леру

      NOW, IN 1482, QUASIMODO had grown up. He had become a few years previously the bellringer of Notre-Dame, thanks to his father by adoption, Claude Frollo,—who had become archdeacon of Josas, thanks to his suzerain, Messire Louis de Beaumont,—who had become Bishop of Paris, at the death of Guillaume Chartier in 1472, thanks to his patron, Olivier Le Daim, barber to Louis XI., king by the grace of God.

      So Quasimodo was the ringer of the chimes of Notre-Dame.

      In the course of time there had been formed a certain peculiarly intimate bond which united the ringer to the church. Separated forever from the world, by the double fatality of his unknown birth and his natural deformity, imprisoned from his infancy in that impassable double circle, the poor wretch had grown used to seeing nothing in this world beyond the religious walls which had received him under their shadow. Notre-Dame had been to him successively, as he grew up and developed, the egg, the nest, the house, the country, the universe.

      There was certainly a sort of mysterious and pre-existing harmony between this creature and this church. When, still a little fellow, he had dragged himself tortuously and by jerks beneath the shadows of its vaults, he seemed, with his human face and his bestial limbs, the natural reptile of that humid and sombre pavement, upon which the shadow of the Romanesque capitals cast so many strange forms.

      Later on, the first time that he caught hold, mechanically, of the ropes to the towers, and hung suspended from them, and set the bell to clanging, it produced upon his adopted father, Claude, the effect of a child whose tongue is unloosed and who begins to speak.

      It is thus that, little by little, developing always in sympathy with the cathedral, living there, sleeping there, hardly ever leaving it, subject every hour to the mysterious impress, he came to resemble it, he incrusted himself in it, so to speak, and became an integral part of it. His salient angles fitted into the retreating angles of the cathedral (if we may be allowed this figure of speech), and he seemed not only its inhabitant but more than that, its natural tenant. One might almost say that he had assumed its form, as the snail takes on the form of its shell. It was his dwelling, his hole, his envelope. There existed between him and the old church so profound an instinctive sympathy, so many magnetic affinities, so many material affinities, that he adhered to it somewhat as a tortoise adheres to its shell. The rough and wrinkled cathedral was his shell.

      It is useless to warn the reader not to take literally all the similes which we are obliged to employ here to express the singular, symmetrical, direct, almost consubstantial union of a man and an edifice. It is equally unnecessary to state to what a degree that whole cathedral was familiar to him, after so long and so intimate a cohabitation. That dwelling was peculiar to him. It had no depths to which Quasimodo had not penetrated, no height which he had not scaled. He often climbed many stones up the front, aided solely by the uneven points of the carving. The towers, on whose exterior surface he was frequently seen clambering, like a lizard gliding along a perpendicular wall, those two gigantic twins, so lofty, so menacing, so formidable, possessed for him neither vertigo, nor terror, nor shocks of amazement.

      To see them so gentle under his hand, so easy to scale, one would have said that he had tamed them. By dint of leaping, climbing, gambolling amid the abysses of the gigantic cathedral he had become, in some sort, a monkey and a goat, like the Calabrian child who swims before he walks, and plays with the sea while still a babe.

      Moreover, it was not his body alone which seemed fashioned after the Cathedral, but his mind also. In what condition was that mind? What bent had it contracted, what form had it assumed beneath that knotted envelope, in that savage life? This it would be hard to determine. Quasimodo had been born one-eyed, hunchbacked, lame. It was with great difficulty, and by dint of great patience that Claude Frollo had succeeded in teaching him to talk. But a fatality was attached to the poor foundling. Bellringer of Notre-Dame at the age of fourteen, a new infirmity had come to complete his misfortunes: the bells had broken the drums of his ears; he had become deaf. The only gate which nature had left wide open for him had been abruptly closed, and forever.

      In closing, it had cut off the only ray of joy and of light which still made its way into the soul of Quasimodo. His soul fell into profound night. The wretched being’s misery became as incurable and as complete as his deformity. Let us add that his deafness rendered him to some extent dumb. For, in order not to make others laugh, the very moment that he found himself to be deaf, he resolved upon a silence which he only broke when he was alone. He voluntarily tied that tongue which Claude Frollo had taken so much pains to unloose. Hence, it came about, that when necessity constrained him to speak, his tongue was torpid, awkward, and like a door whose hinges have grown rusty.

      If now we were to try to penetrate to the soul of Quasimodo through that thick, hard rind; if we could sound the depths of that badly constructed organism; if it were granted to us to look with a torch behind those non-transparent organs to explore the shadowy interior of that opaque creature, to elucidate his obscure corners, his absurd no-thoroughfares, and suddenly to cast a vivid light upon the soul enchained at the extremity of that cave, we should, no doubt, find the unhappy Psyche in some poor, cramped, and ricketty attitude, like those prisoners beneath the Leads of Venice, who grew old bent double in a stone box which was both too low and too short for them.

      It is certain that the mind becomes atrophied in a defective body. Quasimodo was barely conscious of a soul cast in his own image, moving blindly within him. The impressions of objects underwent a considerable refraction before reaching his mind. His brain was a peculiar medium; the ideas which passed through it issued forth completely distorted. The reflection which resulted from this refraction was, necessarily, divergent and perverted.

      Hence a thousand optical illusions, a thousand aberrations of judgment, a thousand deviations, in which his thought strayed, now mad, now idiotic.

      The first effect of this fatal organization was to trouble the glance which he cast upon things. He received hardly any immediate perception of them. The external world seemed much farther away to him than it does to us.

      The second effect of his misfortune was to render him malicious.

      He was malicious, in fact, because he was savage; he was savage because he was ugly. There was logic in his nature, as there is in ours.

      His strength, so extraordinarily developed, was a cause of still greater malevolence: “Malus puer robustus,” says Hobbes.

      This justice must, however be rendered to him. Malevolence was not, perhaps, innate in him. From his very first steps among men, he had felt himself, later on he had seen himself, spewed out, blasted, rejected. Human words were, for him, always a raillery or a malediction. As he grew up, he had found nothing but hatred around him. He had caught the general malevolence. He had picked up the weapon with which he had been wounded.

      After all, he turned his face towards men only with reluctance; his cathedral was sufficient for him. It was peopled with marble figures,—kings, saints, bishops,—who at least did not burst out laughing in his face, and who gazed upon him only with tranquillity and kindliness. The other statues, those of the monsters and demons, cherished no hatred for him, Quasimodo. He resembled them too much for that. They seemed rather, to be scoffing at other men. The saints were his friends, and blessed him; the monsters were his friends and guarded him. So he held long communion with them. He sometimes passed whole hours crouching before one of these statues, in solitary conversation with it. If any one came, he fled like a lover surprised in his serenade.

      And the cathedral was not only society for him, but the universe, and all nature beside. He dreamed of no other hedgerows than the painted windows, always