The Hunchback of Notre Dame by Naunerle FarrThe story begins on Epiphany (6 January), 1482, the day of the Feast of Fools in Paris, France. Quasimodo, a deformed hunchback who is the bell-ringer of Notre Dame, is introduced by his crowning as the Pope of Fools.
Esmeralda, a beautiful Gypsy street dancer with a kind and generous heart, captures the hearts of many men, including those of Captain Phoebus and Pierre Gringoire, a poor street poet, but especially those of Quasimodo and his adoptive father, Claude Frollo, the Archdeacon of Notre Dame. Frollo is torn between his obsessive lust and the rules of the church. He orders Quasimodo to kidnap her, but the hunchback is captured by Phoebus and his guards, who save Esmeralda. Gringoire, witnessing all this, accidentally trespasses into the Court of Miracles, home of the Truands (criminals of Paris). He was about to be hanged under the orders of Clopin Trouillefou, the King of Truands, until Esmeralda saved his life by marrying him.
The following day, Quasimodo is sentenced to be flogged and turned on the pillory for one hour, followed by another hours public exposure. He calls for water. Esmeralda, seeing his thirst, offers him a drink. It saves him, and she captures his heart.
Esmeralda is later charged with the attempted murder of Phoebus, whom Frollo actually attempted to kill in jealousy after seeing him trying to seduce Esmeralda, and is tortured and sentenced to death by hanging. As she is being led to the gallows, Quasimodo swings down by the bell rope of Notre Dame and carries her off to the cathedral under the law of sanctuary.
Frollo later informs Gringoire that the Court of Parliament has voted to remove Esmeraldas right to sanctuary so she can no longer seek shelter in the church and will be taken from the church and killed. Clopin hears the news from Gringoire and rallies the Truands (criminals of Paris) to charge the cathedral and rescue Esmeralda.
When Quasimodo sees the Truands, he assumes they are there to hurt Esmeralda, so he drives them off. Likewise, he thinks the Kings men want to rescue her, and tries to help them find her. She is rescued by Frollo and her phony husband Gringoire. But after yet another failed attempt to win her love, Frollo betrays Esmeralda by handing her to the troops and watches while she is being hanged.
When Frollo laughs during Esmeraldas hanging, Quasimodo pushes him from the heights of Notre Dame to his death. Quasimodo then goes to the vaults under the huge Gibbet of Montfaucon, and lies next to Esmeraldas corpse, where it had been unceremoniously thrown after the execution. He stays at Montfaucon, and eventually dies of starvation. About eighteen months later, the tomb is opened, and the skeletons are found. As someone tries to separate them, Quasimodos bones turn to dust.
[HoND] 8.3 Topsy Turvy The king of fools 1080 p [HD]
In the story, Clopin disrupts Pierre Gringoire 's play, begging the audience for money. Later that night, Gringoire runs into him once again in the Court of Miracles , where Clopin is revealed not as a beggar, but as the King of Truands the criminals and outcasts of Paris. He prepares to execute Gringoire for trespassing, until the beautiful Esmeralda agrees to marry him in order to save him. Near the end of the novel, Clopin receives news of Esmeralda's upcoming execution for the framed murder of Captain Phoebus. In order to rescue her, he rounds all of the Truands to attack Notre Dame Cathedral where Esmeralda is protected by Quasimodo. In response to the assault, Quasimodo retaliates with stones, timber, and molten lead. Finally, the author notes that Clopin dies courageously during the attack.
The Hunchback of Notre Dame (soundtrack) At the end of the song, Quasimodo was crowned the King of Fools, and received warmly, before things took a.
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A simple comparison of the novel and the Disney film would ignore the historical sources and influences available to Disney artists in painting, literature, and film which inform the modern interpretation of the film. Historical accounts of the festival identify it as a time of abandon, social criticism, and role reversal.
The choral introduction of "Come one, come all" was reminiscent of the main theme of " The Bells of Notre Dame " as the opening of the scene was displayed with beautiful views of the Cathedral. The main theme, Topsy Turvy, was a vivacious, light and energetic movement that features comedic lyrics that interplayed between Clopin and the chorus. It's the Festival of Fools, and the bouncy number was led by Clopin , the host of the event. After describing the events on Topsy-Turvy Day, there was a lengthy dance by Esmeralda , setting up the bulk of the movie's plot as Frollo, Phoebus, and Quasimodo all became enamored with her at the same time. At the end of the song, Quasimodo was crowned the King of Fools, and received warmly, before things took a sharp turn for the worst. Chorus: Come one, come all Leave your looms and milking stools, Coop the hens and pen the mules Come one, come all Close the churches and the schools It's the day for breaking rules Come and join the Feast of So make a face that's horrible and frightening Make a face as gruesome as a gargoyle's wing Hugo : spoken Hey!
Such is the case in The Hunchback of Notre Dame The sweet Quasimodo is compelled to live in the bell tower of the cathedral by his reluctant guardian Frollo on the grounds that the outside world is evil and dangerous a similar argument is used by Mother Gothel years later on Rapunzel. Either Quasimodo was going to get caught, locked up, or something. And when Frollo arrived in his carriage, I thought the moment was imminent. But then…nothing seemed to happen.
The Feast of Fools Latin : festum fatuorum, festum stultorum is the name given to a specific feast day celebrated by the clergy in Europe, initially in Northern France, but later more widely. The passage of time has considerably obscured modern understandings of the nature and meaning of this celebration, which originated in proper liturgical observance, and has more to do with other examples of medieval liturgical drama than with either the earlier pagan Roman feasts of Saturnalia and Kalends or the later bourgeois lay sotie. The central idea appears to have been a brief social revolution, in which power, dignity and impunity is briefly conferred on those in a subordinate position. In the views of later commentators, this makes the medieval festival a successor to the Roman Kalends of January , although there is no continuity between the two celebrations. Many of the most colourful descriptions of the medieval festival are a result of centuries of misunderstandings and unscholarly conflations of events widely dispersed in time and place; many rely on the condemnations of later writers, which either exaggerate or deliberately misreport what was effectively an orderly, if not always fully scripted, liturgical celebration with some dramatic elements.