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Updated: May 27, 2025
He was in sympathy with but two things in this world: Notre-Dame and Claude Frollo. There is nothing which can be compared with the empire of the archdeacon over the bellringer; with the attachment of the bellringer for the archdeacon. A sign from Claude and the idea of giving him pleasure would have sufficed to make Quasimodo hurl himself headlong from the summit of Notre-Dame.
And while some condemned themselves to an almost sepulchral regularity and seclusion, others fled the schools, swaggered in the street "with their thumbs in their girdle," passed the night in riot, and behaved themselves as the worthy forerunners of Jehan Frollo in the romance of NOTRE DAME DE PARIS. Villon tells us himself that he was among the truants, but we hardly needed his avowal.
But more artistic novelists, like Victor Hugo for example, never fail to take advantage of the terminal position. The gypsy-girl, Esmeralda, has been hanged in the Place de Grève. The hunchback, Quasimodo, has flung the archdeacon, Claude Frollo, from the tower-top of Notre Dame. This paragraph then brings the chapter to an end:
Frollo climbed stoutly on his feet. He held his lance before him like a rod, and the king's steed ran upon the spear, so that it pierced deeply in his body. Of this thrust the destrier and his rider alike came tumbling to the ground. When the Britons saw this thing, they might not contain themselves for grief.
At the moment when he stood forth from the crowd, Gringoire, who had not noticed him up to that time, recognized him: "Hold!" he said, with an exclamation of astonishment. "Eh! 'tis my master in Hermes, Dom Claude Frollo, the archdeacon! What the devil does he want of that old one-eyed fellow? He'll get himself devoured!" A cry of terror arose, in fact.
Noel!" shouted the populace in its turn; and that immense acclamation flew to astonish the crowd assembled at the Greve on the other bank, and the recluse who was still waiting with her eyes riveted on the gibbet. Claude Frollo was no longer in Notre-Dame when his adopted son so abruptly cut the fatal web in which the archdeacon and the gypsy were entangled.
The first pupil whom the Abbe de Saint Pierre de Val, at the moment of beginning his reading on canon law, always perceived, glued to a pillar of the school Saint-Vendregesile, opposite his rostrum, was Claude Frollo, armed with his horn ink-bottle, biting his pen, scribbling on his threadbare knee, and, in winter, blowing on his fingers.
Frollo was strong beyond the strength of man. His brand was great and sharp, and the buffet was struck with all his power. The blade sheared through helm and coif alike, so that King Arthur was wounded in his forehead, and the blood ran down his face.
Quasimodo tried to make out what it was the priest stared at, and then he recognised Esmeralda in the hangman's arms on the ladder, and in another second the hangman had done his work. A demoniac laugh broke from the livid lips of Claude Frollo; Quasimodo could not hear this laughter, but he saw it.
But this explanation fails many times to fit the facts: for the great romantic characters, like Leather-Stocking, Don Quixote, Monte Cristo, Claude Frollo, are just as vividly drawn as the great characters of realism; and the great events of realistic novels, like Rawdon Crawley's discovery of his wife with Lord Steyne, or Adam Bede's fight with Arthur Donnithorne, are just as thrilling as the resounding actions of romance.
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