other leading characters, Dom Claude and Quasimodo, the chill shelter of the old cathedral. It is here that we touch most intimately the generative artistic idea of the romance: are they not all four taken out of some quaint moulding Illustrative of the Beatitudes, or the Ten Commandments, or the seven deadly sins? What is Quasimodo but an animated gargoyle? What is the whole book but the reanimation of Gothic art?

28

29

It is curious that in this, the earliest of the five great romances, there should be so little of that extravagance that latterly we have come almost to identify with the author’s manner. Yet even here we are distressed by words, thoughts, and incidents that defy belief and alienate the sympathies. The scene of the in pace, for example, in spite of its strength, verges dangerously on the province of the penny novelist. I do not believe that Quasimodo rode upon the bell; I should as soon imagine that he swung by the clapper. And again, the following two sentences, out of an otherwise admirable chapter, surely surpass what it had ever entered into the heart of any other man to imagine (vol. ii. p. 180): “Il souffrait tant que par instants il s’arrachait des poignées de cheveux, pour voir s’ils ne blanchissaient pas.” And, p. 181: “Ses pensées étaient si insupportables qu’il prenait sa tête à deux mains et tàtchait de l’arracher de ses épaules pour la briser sur le pavé.”

One other fault, before we pass on. In spite of the horror and misery that pervade all of his later work, there is in it much less of actual melodrama than here, and rarely, I should say never, that sort of brutality, that useless insufferable violence to the feelings, which is the last distinction between melodrama and true tragedy. Now, in “Notre Dame,” the whole story of Esmeralda’s passion 30 for the worthless archer is unpleasant enough; but when she betrays herself in her last hiding-place, herself and her wretched mother, by calling out to this sordid hero who has long since forgotten her—well, that is just one of those things that readers will not forgive; they do not like it, and they are quite right; life is hard enough for poor mortals without having it indefinitely embittered for them by bad art.

30

We look in vain for any similar blemish in “Les Misérables.” Here, on the other hand, there is perhaps the nearest approach to literary restraint that Hugo has ever made: there is here certainly the ripest and most easy development of his powers. It is the moral intention of this 

 Prev. P 21/240 next