英文专业毕业论文《巴黎圣母院》

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巴黎圣母院的钟楼怪人英语作文

巴黎圣母院的钟楼怪人英语作文The Hunchback of Notre-Dame, also known as Quasimodo, is a fictional character from Victor Hugo's novel "The Hunchback of Notre-Dame." Quasimodo is a deformed bell-ringer who lives in the bell tower of the Notre-Dame Cathedral in Paris. He is often referred to as the "bellringer of Notre-Dame" and is a central figure in the novel's plot.Quasimodo is described as having a hunched back, a wart covering one eye, and a twisted and misshapen body. He is deaf due to the loud ringing of the bells and has a severe speech impediment. Despite his physical deformities, Quasimodo possesses a kind and gentle heart, and he is fiercely loyal to the archdeacon of Notre-Dame, Claude Frollo.Quasimodo's life changes when he meets Esmeralda, a beautiful and kind-hearted gypsy girl who shows him compassion and kindness. Quasimodo falls in love with Esmeralda and becomes fiercely protective of her. However, his love for Esmeralda puts him in direct conflict with Frollo, who also desires her.Throughout the novel, Quasimodo's loyalty and love for Esmeralda are tested as he faces betrayal, heartbreak, and tragedy. Despite the challenges he faces, Quasimodo remains a symbol of unwavering devotion and selfless love.The character of Quasimodo has been portrayed in various adaptations of "The Hunchback of Notre-Dame," including films, stage productions, and television series. He isoften depicted as a tragic and sympathetic figure, showcasing the enduring impact of Hugo's iconic character.《巴黎圣母院》中的钟楼怪人，也被称为卡西莫多，是维克多·雨果小说中的虚构人物。

英语作文推荐一本书巴黎圣母院100

英语作文推荐一本书巴黎圣母院100The Hunchback of Notre Dame is a timeless classic that has captivated readers for centuries. Written by the renowned French author Victor Hugo, this masterpiece not only tells a compelling story but also serves as a poignant commentary on the human condition. Set in the vibrant city of Paris during the 15th century, the novel delves into the lives of its diverse cast of characters, each with their own struggles and desires.At the heart of the story lies Quasimodo the hunchback, the bell ringer of the iconic Notre Dame Cathedral. Physically deformed but possessing a kind heart, Quasimodo is shunned by society and forced to live in isolation within the cathedral's towers. His only solace comes from the ringing of the bells, which he finds both soothing and empowering. However, Quasimodo's world is turned upside down when he meets the beautiful gypsy dancer Esmeralda, who captures the hearts of both Quasimodo and the archdeacon Claude Frollo.Frollo, a complex and tormented character, is the embodiment of thenovel's themes of power, corruption, and the darker aspects of human nature. As the guardian of the cathedral and the city's judge, Frollo wields immense authority, yet he is consumed by his own personal demons and a deep-seated desire for control. His obsession with Esmeralda and his fear of the gypsy community lead him down a path of cruelty and destruction, ultimately contributing to the tragic events that unfold.Through the intertwining narratives of Quasimodo, Esmeralda, and Frollo, Hugo masterfully explores the universal themes of love, justice, and the struggle between the individual and society. The novel delves into the complexities of human relationships, the consequences of unchecked power, and the search for meaning and purpose in a world that often seems indifferent to the plight of the marginalized.One of the most remarkable aspects of The Hunchback of Notre Dame is its vivid and evocative depiction of 15th-century Paris. Hugo's meticulous attention to detail transports the reader to a time and place that feels both foreign and familiar. The towering presence of the Notre Dame Cathedral, with its intricate architecture and symbolic significance, serves as a powerful backdrop to the unfolding drama. The author's descriptions of the city's streets, markets, and social hierarchy provide a rich tapestry that enhances the reader's understanding of the characters and their motivations.Moreover, the novel's themes resonate deeply with modern readers, as they continue to be relevant in our own time. The struggles of the marginalized, the abuse of power, and the search for love and acceptance are universal experiences that transcend the boundaries of time and place. Through his vivid storytelling and complex character development, Hugo invites the reader to confront their own biases and preconceptions, challenging them to consider the perspectives of those who are often overlooked or mistreated.The Hunchback of Notre Dame is a masterpiece of literature that has stood the test of time. Its enduring popularity is a testament to the power of storytelling and the ability of great works of art to illuminate the human condition. Whether you are a longtime fan of the novel or a first-time reader, this book is sure to leave a lasting impression, inspiring reflection and discussion long after the final page has been turned.。

《巴黎圣母院》英语作文

《巴黎圣母院》英语作文Title: The Hunchback of Notre Dame: A Timeless Tale of Love, Tragedy, and Redemption。

Victor Hugo's "The Hunchback of Notre Dame" stands as a masterpiece in world literature, captivating readers withits rich tapestry of characters, intricate plot, and poignant themes. Set against the backdrop of medieval Paris, the novel delves into the complexities of human nature, exploring themes of love, prejudice, and the pursuit of justice. Through its vivid portrayal of Quasimodo, Esmeralda, and Claude Frollo, Hugo crafts a timeless narrative that continues to resonate with readers today.One of the central characters in the novel is Quasimodo, the hunchbacked bell-ringer of Notre Dame Cathedral.Despite his grotesque appearance, Quasimodo possesses a gentle soul and unwavering loyalty to those he cares about. His love for Esmeralda, the beautiful gypsy dancer, serves as a driving force throughout the story. Quasimodo's tragicfate highlights the novel's exploration of societal prejudices and the cruelty of human nature. Despite his kindness and loyalty, Quasimodo is shunned and mistreated by society due to his physical deformity, emphasizing the novel's themes of injustice and the inherent cruelty of humanity.Esmeralda, with her captivating beauty and free-spirited nature, symbolizes innocence and purity in a world tainted by corruption and greed. Her kindness towards Quasimodo and her unwavering compassion towards others make her a sympathetic and relatable character. However, Esmeralda's tragic fate at the hands of Claude Frollo underscores the novel's exploration of the destructive power of obsession and unchecked desire. Frollo's unrequited love for Esmeralda drives him to commit unspeakable acts, ultimately leading to his downfall. Through Esmeralda's character, Hugo highlights the destructive consequences of lust and the importance of empathy and compassion in human relationships.Claude Frollo, the novel's antagonist, is a complex andmorally ambiguous character whose descent into darkness serves as a cautionary tale about the dangers of unchecked ambition and moral corruption. Initially portrayed as a respected priest and scholar, Frollo's obsession with Esmeralda leads him down a path of moral decay andspiritual ruin. His inability to control his desires ultimately leads to his downfall, highlighting the novel's exploration of the consequences of moral compromise and the corrupting influence of power.In addition to its compelling characters, "The Hunchback of Notre Dame" is renowned for its vividdepiction of medieval Paris and its exploration ofhistorical and social issues. Through Hugo's detailed descriptions of the city's architecture, customs, andsocial hierarchies, readers are transported to a bygone era, immersing themselves in the sights, sounds, and smells of medieval Paris. Moreover, the novel's exploration of themes such as social injustice, religious hypocrisy, and theclash of cultures resonates with contemporary audiences, highlighting the enduring relevance of Hugo's work.In conclusion, "The Hunchback of Notre Dame" remains a timeless masterpiece that continues to captivate readers with its compelling characters, intricate plot, and thought-provoking themes. Through its exploration of love, prejudice, and the pursuit of justice, Victor Hugo's novel reminds us of the enduring power of literature to illuminate the human condition and inspire empathy, compassion, and understanding.。

对巴黎圣母院评论英文作文

对巴黎圣母院评论英文作文The Notre-Dame de Paris: A Monument of Timeless Beauty and Cultural SignificanceThe Notre-Dame de Paris is not merely a building; it is a living testament to the rich history and artistic prowess of humanity. Standing majestically on the Île de la Cité in the heart of Paris, this Gothic masterpiece has captured the imagination of people from all over the world for centuries.The architecture of Notre-Dame is a breathtaking display of human creativity and ingenuity. The soaring spires, the intricate rose windows, and the elaborate carvings on the façade are a visual feast that leaves one in awe. The attention to detl and the precision with which it was constructed are a testament to the skills of the craftsmen of the time.Stepping inside the cathedral is like entering a sacred realm. The soft play of light through the stned glass windows creates a magical atmosphere, and the echoes of footsteps on the stone floors seem to carry the whispers of generations past. The sense of peace and spirituality that pervades the space is palpable, making it a place of solace and reflection for countless visitors.Beyond its architectural and religious significance, Notre-Dame holds a special place in the cultural consciousness of the world. It has inspired countless works of art, literature, and music, being an emblem of Paris and a symbol of human civilization. Its presence on the Parisian skyline is not only a physical landmark but also a reminder of our shared heritage and the importance of preserving our cultural treasures.However, the tragic fire that damaged a significant part of Notre-Dame in 2019 was a blow to humanity. But it also sparked a global outpouring of support and a determination to restore this icon to its former glory. The efforts to rebuild and restore are a testament to our collective mitment to safeguarding our history and ensuring that future generations can continue to experience the wonder of this extraordinary monument.In conclusion, the Notre-Dame de Paris is more than just a structure; it is a source of inspiration, a symbol of hope, and a reminder of the beauty and resilience of human spirit. It stands as a reminder of our past, a connection to our present, and a promise for the future.。

(全英文论文)浅析《巴黎圣母院》中的美与丑

书面语言输入与输出对英语词汇习得的影响狄更斯在《双城记》中的人道主义思想新课标指导下的中学英语语法教学A Study of Fu Donghua’s Translation of Gone with the Wind from the Perspective of Rewriting时政新词翻译探析浅析隐藏在“面纱”之后的伯莎梅森身体语言在跨文化交际中的重要作用《玻璃动物园》中的逃避主义解读高中生英语阅读策略研究The Pervasive Agitation of Humbert in LolitaMan-and-Nature Relationship in Moby-Dick从《红字》看霍桑的道德思想观论跨文化交际中的中西文化冲突Major Barriers in Listening Comprehension of College Students教师在英语自主学习中的作用《圣经》与人类文明起源《纯真年代》女性意识探析虽不起眼，但不可或缺：从《洛丽塔》中的小人物看亨伯特悲剧的必然性从概念隐喻看寓言的语篇连贯《献给艾米丽的玫瑰》中的象征主义公布英语题目均有原创英文论文可交流Q：799 75 79 38 论中西方法律文化价值取向的差异《夜访吸血鬼》中克劳迪娅这一人物的悲剧命运分析从目的论角度看英语电影片名翻译——以基本颜色词为例论艾萨克巴什维斯辛格《卢布林的魔术师》中主人公雅夏犹太身份的探寻《永别了，武器》中的自然象征意义改写理论视角下看葛浩文《狼图腾》的英译从后殖民女性主义视角分析《他们眼望上苍》浅析合作学习在英语专业口语教学中的应用从童话看中西方儿童教育的差异从卡明斯的L（a 看视觉诗的可译潜势从文化的角度审视中西习语的来源论《简爱》中伯莎﹒梅森的象征意蕴和影响解析《麦田里的守望者》中帽子和鸭子的象征意义中美脱口秀会话分析对比研究（开题报告+论）《玻璃动物园》中的逃避主义解读爱伦坡《泄密的心》的恐怖效果从高中生生理和心理的角度探讨PPT使用的利弊《玻璃动物园》中的逃避主义解读《红楼梦》汉译英对话翻译过程中人物个性的保留A Comparison of the English Color Terms影响学生阅读的主要障碍及其解决策略美国情景剧《摩登家庭》中言语幽默的语用分析广告语中预设触发语的语用分析A Comparison of English Vocabulary Learning Strategy Use in Learners of Different Ages从女性个人主义角度分析《罗密欧与朱丽叶》女性人物性格特征关联理论视角下幽默的英汉翻译《恋爱中的女人》欧秀拉和古迪兰的性格对其爱情观的影响欧亨利《警察与赞美诗》中的黑色幽默英美电视剧中双关语的字幕翻译《霍乱时期的爱情》中象征手法的解析报刊广告英语的文体特色分析浅谈礼貌策略在商务谈判中的应用论《红字》中海丝特的女性身份重构《德伯家的苔丝》苔丝和《红字》海斯特的悲剧命运的比较论中西文化中家庭观念的差异英汉基本姿势动词（立、坐、躺）的语义实证比较研究从《动物庄园》看乔治·奥威尔反极权主义思想论商标名称的翻译对品牌形象的影响沃尔特·惠特曼及其诗歌研究苔丝悲剧原因探究爱丽斯沃克小说《紫色》的妇女主义话语从对等角度研究公示语翻译广告语及标语动词的翻译《到灯塔去》的意识流分析浅析《献给艾米莉的玫瑰》中渐渐消失的玫瑰从亚历克斯哈利《根》看非裔美国人寻根史金融英语的规范性及翻译策略研究从认知的角度来看主动语态在商务信函中的语用功能A Study on Strategies of Effective Teaching in the Junior Middle School EFL Classroom文化差异对中美商务谈判的影响A Comparison of Chinese and American Food CulturesAn Interpretation of China Boy from the Perspective of Post-colonialismA Popular Form of Subtitles Translation by Fansub Group on the Internet从生态女性主义角度解读《苔丝》对非英语专业大学生英语自主学习能力的调查家庭对汉尼拔和维托科利昂的性格特征影响分析从《了不起的盖茨比》看美国梦幻灭的必然性Sexism in English LanguageOn the Factors Leading to Different Destinies of Rhett Butler and Ashley Wilkes in Gone with the Wind中西酒文化比较从目的论角度看英语电影字幕的汉译策略英语单位名词研究——以《牛津高阶英汉双解词典（第六版）》为例爱伦坡短片小说“美女之死”主题研究英语广告的修辞及其翻译Psychological Analysis of Stuttering in The King’s Speech英汉颜色词隐喻的认知比较与研究中西文化差异在广告创意中的影射探讨宗教在世界战争史中所扮演的角色简述托马斯哈代和苔丝悲剧命运的原因信用证中英语语言特点及应用研究意译在广告英语翻译中的重要性探析论广告英语的语言特色尤金·奥尼尔戏剧中的父亲形象地方名胜古迹汉译英翻译研究An Analysis of Racism in Of Mice and Men李清照词英译研究钱钟书翻译研究从大学校训看中西方大学文化差异化妆品广告的语用预设分析论价值观对中美商务谈判的影响非言语交际在英语教学中的作用中英文新闻标题的差异威廉·福克纳作品中的不称职母亲英语专业学生语音学习中的问题天鹅的涅槃——以跨文化交际的角度解读《喜福会》中母女关系从《唐顿庄园》看一战对英国庄园经济文化的影响从审美视角分析中国古典诗词的英译《老人与海》中马洛林形象的不可或缺性A Comparison of the English Color Terms从《嘉莉妹妹》看德莱塞的女性观Application of TPR Teaching Method in Facilitating Pupils' English Vocabulary Learning 接受美学视角下的英汉音译研究从奈达翻译理论初探英汉新闻导语翻译策略Comparison and Translation of Chinese and English Tourism Texts论美国黑人地位的改变《智血》中主要人物生命历程解读（开题报告+论）英语新闻标题的文体特点与翻译浅析《麦田里的守望者》中的部分重要象征物中外教师教学体态语的意义差异研究数字的文化内涵及数字的翻译英汉灾难性新闻导语写作手法初探从翻译美学探究散文英译一位《飘》不去的女性—《飘》中斯佳丽的女性主义性格特点成长分析被忽视的主人公——析《简爱》中的疯女人从关联理论的角度看英语广告中隐喻的翻译分析《雾都孤儿》中的讽刺手法建构主义学习理论在中学英语教学中的应用从电影《七宗罪》看‘七宗罪’与基督教传统的关系商务英语合同的词汇特征《纯真年代》女性意识探析浅析美国高等教育的创新《紫色》中“家”的解读从以目的为导向的翻译原则看委婉语的翻译论《瓦尔登湖》的生态伦理意蕴金融危机对中美人民经济生活造成不同影响的文化根源论《简爱》中的经济意识通过电视广告看中美思维模式差异中国民俗词语汉译英初探广告翻译中的模因传播论初中生英语学习资源策略培养中西方餐桌礼仪的文化对比分析浅析广州-ELEVEN的经营模式及其发展前景探析《越狱》中Michael的性格特征及成因论杰克•凯鲁亚克《在路上》中的嬉皮士形象论教师的非语言行为在课堂教学中的作用中世纪的典雅爱情：本质、渊源和影响论接受理论对儿童文学作品的影响——以《快乐王子》中译本为例What Made Her Yield to the Reality—An Analysis of Sue in Jude the Obscure欲望与死亡——对马丁伊登的精神分析论《宠儿》中社区与逃离的关系试析诗歌翻译中文化意象的处理从奥巴马访华报道看中美媒体报道差异Risk Comparing of Documentary Collection and Letters of Credit从文化角度分析《论语》中特殊词语的翻译——以“仁”为个例Discourse, Immigrants and Identity in In the Skin of a LionPragmatic Failures in Translation of C-E Advertisements美国俚语的社会文化特征从目的论看林语堂《浮生六记》翻译中增译法的运用中西方婚姻观差异从鹿鼎记和唐吉诃德的主要人物的较对比来比中西方侠文化从“鱼”浅谈中西文化差异论劳伦斯《儿子与情人》中瓦尔特莫雷尔悲剧的成因浅析隐藏在“面纱”之后的伯莎梅森论海勒《第二十二条军规》小人物生存模式English Teaching and Learning in China's Middle SchoolOn the Translation of Psychological Description in Wuthering Heights from the Perspective of Functional Equivalence从《刮痧》看中美家庭文化差异英语新闻中委婉语的社会功用论中西文化中家庭观念的差异论《双城记》中的批判现实主义解析凯特肖班的《觉醒》中的哥特因素：浅析维多利亚时期妇女文学的觉醒从《一个干净明亮的地方》解析海明威的冰山理论哥伦布和郑和航海的对比研究——两次航海所反映出的中西方文化差异《欲望号街车》中布兰奇的悲剧成因分析试析邓恩《别离辞节哀》中圆规与圆的意象《红楼梦》两个译本中称呼语翻译的对比研究自然会话中会话结构的分析英汉道歉语对比研究合作学习理论在中学英语课堂中的应用毕业论文]比较《荆棘鸟》和《金锁记》小说中女性婚姻爱情悲剧原因英语课堂中的教师提问策略对比评析《了不起的盖茨比》中尼克和盖茨比的梦想A Comparison between Scarlett O’Hara and Jane Eyre from the Perspective of Feminism 世纪以来英汉委婉语的语义变迁Study of Translating Skills of Business Correspondence从文化角度探析品牌名称的翻译方法英语习语非稳定性结构特征研究A New View of Feminism in The Mill on the Floss River《紫色》的妇女主义解读从自然主义视角审视《嘉莉妹妹》中小人物嘉莉的命运抗争与幻灭对圣经文学性之赏析中国人和美国人特征的比较An Analysis of Characterization of O-lan in The Good EarthCoincidences and Images in The Mayor of Casterbridge, Tess of the D’Urbervilles《呼啸山庄》和它的四个版本电影的比较研究中美大学生道歉策略对比研究论《傲慢与偏见》中简奥斯丁的女性意识电影《海上钢琴师》的浪漫主义解读。

《巴黎圣母院英文版》(3)

like the Abbey of Tournus, the grave and massive frame, the large and round vault, the glacial bareness, the majestic simplicity of the edifices which have the rounded arch for their progenitor. It is not, like the Cathedral of Bourges, the magnificent, light, multiform, tufted, bristling efflorescent product of the pointed arch. Impossible to class it in that an- cient family of sombre, mysterious churches, low and crushed as it were by the round arch, almost Egyptian, with the exception of the ceiling; all hieroglyphics, all sacerdotal, all symbolical, more loaded in their orna- ments, with lozenges and zigzags, than with flowers, with flowers than with animals, with animals than with men; the work of the architect less than of the bishop; first transformation of art, all impressed with theo- cratic and military discipline, taking root in the Lower Empire, and stop- ping with the time of William the Conqueror. Impossible to place our Cathedral in that other family of lofty, aerial churches, rich in painted windows and sculpture; pointed in form, bold in attitude; communal and bourgeois as political symbols; free, capricious, lawless, as a work of art; second transformation of architecture, no longer hieroglyphic, im- movable and sacerdotal, but artistic, progressive, and popular, which be- gins at the return from the crusades, and ends with Louis IX. Notre- Dame de Paris is not of pure Romanesque, like the first; nor of pure Ara- bian race, like the second.It is an edifice of the transition period. The Saxon architect completed the erection of the first pillars of the nave, when the pointed arch, which dates from the Crusade, arrived and placed itself as a conqueror upon the large Romanesque capitals which should support only round arches. The pointed arch, mistress since that time, constructed the rest of the church. Nevertheless, timid and inexperienced at the start, it sweeps out, grows larger, restrains itself, and dares no longer dart upwards in spires and lancet windows, as it did later on, in so many marvellous cathedrals. One would say that it were conscious of the vicinity of the heavy Romanesque pillars.However, these edifices of the transition from the Romanesque to the Gothic, are no less precious for study than the pure types. They express a shade of the art which would be lost without them. It is the graft of the pointed upon the round arch.Notre-Dame de Paris is, in particular, a curious specimen of this vari- ety. Each face, each stone of the venerable monument, is a page not only of the history of the country, but of the history of science and art as well. Thus, in order to indicate here only the principal details, while the little Red Door almost attains to the limits of the Gothic delicacy of the110fifteenth century, the pillars of the nave, by their size and weight, go back to the Carlovingian Abbey of Saint-Germain des Prés. One would suppose that six centuries separated these pillars from that door. There is no one, not even the hermetics, who does not find in the symbols of the grand portal a satisfactory compendium of their science, of which the Church of Saint-Jacques de la Boucherie was so complete a hieroglyph. Thus, the Roman abbey, the philosophers’ church, the Gothic art, Saxon art, the heavy, round pillar, which recalls Gregory VII., the hermetic symbolism, with which Nicolas Flamel played the prelude to Luther, papal unity, schism, Saint-Germain des Prés, Saint-Jacques de la Boucherie,—all are mingled, combined, amalgamated in Notre-Dame. This central mother church is, among the ancient churches of Paris, a sort of chimera; it has the head of one, the limbs of another, the haunches of another, something of all.We repeat it, these hybrid constructions are not the least interesting for the artist, for the antiquarian, for the historian. They make one feel to what a degree architecture is a primitive thing, by demonstrating (what is also demonstrated by the cyclopean vestiges, the pyramids of Egypt, the gigantic Hindoo pagodas) that the greatest products of architecture are less the works of individuals than of society; rather the offspring of a nation’s effort, than the inspired flash of a man of genius; the deposit left by a whole people; the heaps accumulated by centuries; the residue of successive evaporations of human society,— in a word, species of forma- tions. Each wave of time contributes its alluvium, each race deposits its layer on the monument, each individual brings his stone. Thus do the beavers, thus do the bees, thus do men. The great symbol of architecture, Babel, is a hive.Great edifices, like great mountains, are the work of centuries. Art of- ten undergoes a transformation while they are pending, pendent opera in- terrupta; they proceed quietly in accordance with the transformed art. The new art takes the monument where it finds it, incrusts itself there, assimilates it to itself, develops it according to its fancy, and finishes it if it can. The thing is accomplished without trouble, without effort, without reaction,—following a natural and tranquil law. It is a graft which shoots up, a sap which circulates, a vegetation which starts forth anew. Certainly there is matter here for many large volumes, and often the uni- versal history of humanity in the successive engrafting of many arts at many levels, upon the same monument. The man, the artist, the indi- vidual, is effaced in these great masses, which lack the name of their111author; human intelligence is there summed up and totalized. Time is the architect, the nation is the builder.Not to consider here anything except the Christian architecture of Europe, that younger sister of the great masonries of the Orient, it ap- pears to the eyes as an immense formation divided into three well- defined zones, which are superposed, the one upon the other: the Romanesque zone20, the Gothic zone, the zone of the Renaissance, which we would gladly call the Greco-Roman zone. The Roman layer, which is the most ancient and deepest, is occupied by the round arch, which re- appears, supported by the Greek column, in the modern and upper layer of the Renaissance. The pointed arch is found between the two. The edi- fices which belong exclusively to any one of these three layers are per- fectly distinct, uniform, and complete. There is the Abbey of Jumiéges, there is the Cathedral of Reims, there is the Sainte-Croix of Orleans. But the three zones mingle and amalgamate along the edges, like the colors in the solar spectrum. Hence, complex monuments, edifices of gradation and transition. One is Roman at the base, Gothic in the middle, Greco- Roman at the top. It is because it was six hundred years in building. This variety is rare. The donjon keep of d’Etampes is a specimen of it. But monuments of two formations are more frequent. There is Notre-Dame de Paris, a pointed-arch edifice, which is imbedded by its pillars in that Roman zone, in which are plunged the portal of Saint-Denis, and the nave of Saint-Germain des Prés. There is the charming, half-Gothic chapter-house of Bocherville, where the Roman layer extends half way up. There is the cathedral of Rouen, which would be entirely Gothic if it did not bathe the tip of its central spire in the zone of the Renaissance.21 Facies non omnibus una,No diversa tamen, qualem, etc.Their faces not all alike, nor yet different, but such as the faces of sis- ters ought to be.However, all these shades, all these differences, do not affect the sur- faces of edifices only. It is art which has changed its skin. The very con- stitution of the Christian church is not attacked by it. There is always the 20.This is the same which is called, according to locality, climate, and races, Lombard, Saxon, or Byzantine. There are four sister and parallel architectures, each having its special character, but derived from the same origin, the round arch.21.This portion of the spire, which was of woodwork, is precisely that which was consumed by lightning, in 1823.112same internal woodwork, the same logical arrangement of parts. Whatever may be the carved and embroidered envelope of a cathedral, one always finds beneath it— in the state of a germ, and of a rudiment at the least— the Roman basilica. It is eternally developed upon the soil ac- cording to the same law. There are, invariably, two naves, which inter- sect in a cross, and whose upper portion, rounded into an apse, forms the choir; there are always the side aisles, for interior processions, for chapels,—a sort of lateral walks or promenades where the principal nave discharges itself through the spaces between the pillars. That settled, the number of chapels, doors, bell towers, and pinnacles are modified to infinity, according to the fancy of the century, the people, and art. The service of religion once assured and provided for, architec- ture does what she pleases. Statues, stained glass, rose windows, ar- abesques, denticulations, capitals, bas-reliefs,— she combines all these imaginings according to the arrangement which best suits her. Hence, the prodigious exterior variety of these edifices, at whose foundation dwells so much order and unity. The trunk of a tree is immovable; the fo- liage is capricious.113Chapter 2A BIRD’S-EYE VIEW OF PARISWe have just attempted to restore, for the reader’s benefit, that admirable church of Notre-Dame de Paris. We have briefly pointed out the greater part of the beauties which it possessed in the fifteenth century, and which it lacks to-day; but we have omitted the principal thing,—the view of Paris which was then to be obtained from the summits of its towers.That was, in fact,— when, after having long groped one’s way up the dark spiral which perpendicularly pierces the thick wall of the belfries, one emerged, at last abruptly, upon one of the lofty platforms inundated with light and air,— that was, in fact, a fine picture which spread out, on all sides at once, before the eye; a spectacle sui generis, of which those of our readers who have had the good fortune to see a Gothic city entire, complete, homogeneous,— a few of which still remain, Nuremberg in Bavaria and Vittoria in Spain,— can readily form an idea; or even smal- ler specimens, provided that they are well preserved,— Vitré in Brittany, Nordhausen in Prussia.The Paris of three hundred and fifty years ago—the Paris of the fif- teenth century—was already a gigantic city. We Parisians generally make a mistake as to the ground which we think that we have gained, since Paris has not increased much over one-third since the time of Louis XI. It has certainly lost more in beauty than it has gained in size.Paris had its birth, as the reader knows, in that old island of the City which has the form of a cradle. The strand of that island was its first boundary wall, the Seine its first moat. Paris remained for many centur- ies in its island state, with two bridges, one on the north, the other on the south; and two bridge heads, which were at the same time its gates and its fortresses,— the Grand-Châtelet on the right bank, the Petit-Châtelet on the left. Then, from the date of the kings of the first race, Paris, being too cribbed and confined in its island, and unable to return thither, crossed the water. Then, beyond the Grand, beyond the Petit-Châtelet, a114first circle of walls and towers began to infringe upon the country on the two sides of the Seine. Some vestiges of this ancient enclosure still re- mained in the last century; to-day, only the memory of it is left, and here and there a tradition, the Baudets or Baudoyer gate, “Porte Bagauda”. Little by little, the tide of houses, always thrust from the heart of the city outwards, overflows, devours, wears away, and effaces this wall. Philip Augustus makes a new dike for it. He imprisons Paris in a circular chain of great towers, both lofty and solid. For the period of more than a century, the houses press upon each other, accumulate, and raise their level in this basin, like water in a reservoir. They begin to deepen; they pile story upon story; they mount upon each other; they gush forth at the top, like all laterally compressed growth, and there is a rivalry as to which shall thrust its head above its neighbors, for the sake of getting a little air. The street glows narrower and deeper, every space is over- whelmed and disappears. The houses finally leap the wall of Philip Augustus, and scatter joyfully over the plain, without order, and all askew, like runaways. There they plant themselves squarely, cut them- selves gardens from the fields, and take their ease. Beginning with 1367, the city spreads to such an extent into the suburbs, that a new wall be- comes necessary, particularly on the right bank; Charles V. builds it. But a city like Paris is perpetually growing. It is only such cities that become capitals. They are funnels, into which all the geographical, political, mor- al, and intellectual water-sheds of a country, all the natural slopes of a people, pour; wells of civilization, so to speak, and also sewers, where commerce, industry, intelligence, population,— all that is sap, all that is life, all that is the soul of a nation, filters and amasses unceasingly, drop by drop, century by century.So Charles V.’s wall suffered the fate of that of Philip Augustus. At the end of the fifteenth century, the Faubourg strides across it, passes bey- ond it, and runs farther. In the sixteenth, it seems to retreat visibly, and to bury itself deeper and deeper in the old city, so thick had the new city already become outside of it. Thus, beginning with the fifteenth century, where our story finds us, Paris had already outgrown the three concent- ric circles of walls which, from the time of Julian the Apostate, existed, so to speak, in germ in the Grand-Châtelet and the Petit-Châtelet. The mighty city had cracked, in succession, its four enclosures of walls, like a child grown too large for his garments of last year. Under Louis XI., this sea of houses was seen to be pierced at intervals by several groups of ruined towers, from the ancient wall, like the summits of hills in an in- undation,—like archipelagos of the old Paris submerged beneath the115new. Since that time Paris has undergone yet another transformation, unfortunately for our eyes; but it has passed only one more wall, that of Louis XV., that miserable wall of mud and spittle, worthy of the king who built it, worthy of the poet who sung it,—Le mur murant Paris rend Paris murmurant.22In the fifteenth century, Paris was still divided into three wholly dis- tinct and separate towns, each having its own physiognomy, its own spe- cialty, its manners, customs, privileges, and history: the City, the University, the Town. The City, which occupied the island, was the most ancient, the smallest, and the mother of the other two, crowded in between them like (may we be pardoned the comparison) a little old wo- man between two large and handsome maidens. The University covered the left bank of the Seine, from the Tournelle to the Tour de Nesle, points which correspond in the Paris of to-day, the one to the wine market, the other to the mint. Its wall included a large part of that plain where Julian had built his hot baths. The hill of Sainte-Geneviève was enclosed in it.The culminating point of this sweep of walls was the Papal gate, that is to say, near the present site of the Pantheon. The Town, which was the largest of the three fragments of Paris, held the right bank. Its quay, broken or interrupted in many places, ran along the Seine, from the Tour de Billy to the Tour du Bois; that is to say, from the place where the granary stands to-day, to the present site of the Tuileries. These four points, where the Seine intersected the wall of the capital, the Tournelle and the Tour de Nesle on the right, the Tour de Billy and the Tour du Bois on the left, were called pre-eminently, “the four towers of Paris.”The Town encroached still more extensively upon the fields than the University. The culminating point of the Town wall (that of Charles V.) was at the gates of Saint-Denis and Saint-Martin, whose situation has not been changed.As we have just said, each of these three great divisions of Paris was a town, but too special a town to be complete, a city which could not get along without the other two. Hence three entirely distinct aspects: churches abounded in the City; palaces, in the Town; and colleges, in the University. Neglecting here the originalities, of secondary importance in old Paris, and the capricious regulations regarding the public highways, we will say, from a general point of view, taking only masses and the22.The wall walling Paris makes Paris murmur.116whole group, in this chaos of communal jurisdictions, that the island be- longed to the bishop, the right bank to the provost of the merchants, the left bank to the Rector; over all ruled the provost of Paris, a royal not a municipal official. The City had Notre-Dame; the Town, the Louvre and the Hôtel de Ville; the University, the Sorbonne. The Town had the mar- kets (Halles); the city, the Hospital; the University, the Pré-aux-Clercs. Offences committed by the scholars on the left bank were tried in the law courts on the island, and were punished on the right bank at Mont- fauçon; unless the rector, feeling the university to be strong and the king weak, intervened; for it was the students’ privilege to be hanged on their own grounds.The greater part of these privileges, it may be noted in passing, and there were some even better than the above, had been extorted from the kings by revolts and mutinies. It is the course of things from time imme- morial; the king only lets go when the people tear away. There is an old charter which puts the matter naively: apropos of fidelity: Civibus fidelitas in reges, quoe tamen aliquoties seditionibus interrypta, multa peperit privileyia. In the fifteenth century, the Seine bathed five islands within the walls of Paris: Louviers island, where there were then trees, and where there is no longer anything but wood; l’ile aux Vaches, and l’ile Notre-Dame, both deserted, with the exception of one house, both fiefs of the bishop—in the seventeenth century, a single island was formed out of these two, which was built upon and named l’ile Saint-Louis— , lastly the City, and at its point, the little islet of the cow tender, which was afterwards en- gulfed beneath the platform of the Pont-Neuf. The City then had five bridges: three on the right, the Pont Notre-Dame, and the Pont au Change, of stone, the Pont aux Meuniers, of wood; two on the left, the Petit Pont, of stone, the Pont Saint-Michel, of wood; all loaded with houses.The University had six gates, built by Philip Augustus; there were, be- ginning with la Tournelle, the Porte Saint-Victor, the Porte Bordelle, the Porte Papale, the Porte Saint-Jacques, the Porte Saint-Michel, the Porte Saint-Germain. The Town had six gates, built by Charles V.; beginning with the Tour de Billy they were: the Porte Saint-Antoine, the Porte du Temple, the Porte Saint-Martin, the Porte Saint-Denis, the Porte Mont- martre, the Porte Saint-Honoré. All these gates were strong, and also handsome, which does not detract from strength. A large, deep moat, with a brisk current during the high water of winter, bathed the base of the wall round Paris; the Seine furnished the water. At night, the gates117were shut, the river was barred at both ends of the city with huge iron chains, and Paris slept tranquilly.From a bird’s-eye view, these three burgs, the City, the Town, and the University, each presented to the eye an inextricable skein of eccentric- ally tangled streets. Nevertheless, at first sight, one recognized the fact that these three fragments formed but one body. One immediately per- ceived three long parallel streets, unbroken, undisturbed, traversing, al- most in a straight line, all three cities, from one end to the other; from North to South, perpendicularly, to the Seine, which bound them togeth- er, mingled them, infused them in each other, poured and transfused the people incessantly, from one to the other, and made one out of the three. The first of these streets ran from the Porte Saint-Martin: it was called the Rue Saint-Jacques in the University, Rue de la Juiverie in the City, Rue Saint-Martin in the Town; it crossed the water twice, under the name of the Petit Pont and the Pont Notre-Dame. The second, which was called the Rue de la Harpe on the left bank, Rue de la Barillerié in the island, Rue Saint-Denis on the right bank, Pont Saint-Michel on one arm of the Seine, Pont au Change on the other, ran from the Porte Saint-Michel in the University, to the Porte Saint-Denis in the Town. However, under all these names, there were but two streets, parent streets, generating streets,—the two arteries of Paris. All the other veins of the triple city either derived their supply from them or emptied into them. Independently of these two principal streets, piercing Paris diametric- ally in its whole breadth, from side to side, common to the entire capital, the City and the University had also each its own great special street, which ran lengthwise by them, parallel to the Seine, cutting, as it passed, at right angles, the two arterial thoroughfares. Thus, in the Town, one descended in a straight line from the Porte Saint-Antoine to the Porte Saint-Honoré; in the University from the Porte Saint-Victor to the Porte Saint-Germain. These two great thoroughfares intersected by the two first, formed the canvas upon which reposed, knotted and crowded to- gether on every hand, the labyrinthine network of the streets of Paris. In the incomprehensible plan of these streets, one distinguished likewise, on looking attentively, two clusters of great streets, like magnified sheaves of grain, one in the University, the other in the Town, which spread out gradually from the bridges to the gates.Some traces of this geometrical plan still exist to-day.118Now, what aspect did this whole present, when, as viewed from the summit of the towers of Notre-Dame, in 1482? That we shall try to describe.For the spectator who arrived, panting, upon that pinnacle, it was first a dazzling confusing view of roofs, chimneys, streets, bridges, places, spires, bell towers. Everything struck your eye at once: the carved gable, the pointed roof, the turrets suspended at the angles of the walls; the stone pyramids of the eleventh century, the slate obelisks of the fifteenth; the round, bare tower of the donjon keep; the square and fretted tower of the church; the great and the little, the massive and the aerial. The eye was, for a long time, wholly lost in this labyrinth, where there was noth- ing which did not possess its originality, its reason, its genius, its beauty,—nothing which did not proceed from art; beginning with the smallest house, with its painted and carved front, with external beams, elliptical door, with projecting stories, to the royal Louvre, which then had a colonnade of towers. But these are the principal masses which were then to be distinguished when the eye began to accustom itself to this tumult of edifices.In the first place, the City.—“The island of the City,” as Sauval says, who, in spite of his confused medley, sometimes has such happy turns of expression,—“the island of the city is made like a great ship, stuck in the mud and run aground in the current, near the centre of the Seine.”We have just explained that, in the fifteenth century, this ship was anchored to the two banks of the river by five bridges. This form of a ship had also struck the heraldic scribes; for it is from that, and not from the siege by the Normans, that the ship which blazons the old shield of Paris, comes, according to Favyn and Pasquier. For him who under- stands how to decipher them, armorial bearings are algebra, armorial bearings have a tongue. The whole history of the second half of the Middle Ages is written in armorial bearings,—the first half is in the symbolism of the Roman churches. They are the hieroglyphics of feudal- ism, succeeding those of theocracy.Thus the City first presented itself to the eye, with its stern to the east, and its prow to the west. Turning towards the prow, one had before one an innumerable flock of ancient roofs, over which arched broadly the lead-covered apse of the Sainte-Chapelle, like an elephant’s haunches loaded with its tower. Only here, this tower was the most audacious, the most open, the most ornamented spire of cabinet-maker’s work that ever let the sky peep through its cone of lace. In front of Notre-Dame, and119very near at hand, three streets opened into the cathedral square,— a fine square, lined with ancient houses. Over the south side of this place bent the wrinkled and sullen façade of the Hôtel Dieu, and its roof, which seemed covered with warts and pustules. Then, on the right and the left, to east and west, within that wall of the City, which was yet so contrac- ted, rose the bell towers of its one and twenty churches, of every date, of every form, of every size, from the low and wormeaten belfry of Saint- Denis du Pas (Carcer Glaueini) to the slender needles of Saint-Pierre aux Boeufs and Saint-Landry.Behind Notre-Dame, the cloister and its Gothic galleries spread out to- wards the north; on the south, the half-Roman palace of the bishop; on the east, the desert point of the Terrain. In this throng of houses the eye also distinguished, by the lofty open-work mitres of stone which then crowned the roof itself, even the most elevated windows of the palace, the Hôtel given by the city, under Charles VI., to Juvénal des Ursins; a little farther on, the pitch-covered sheds of the Palus Market; in still an- other quarter the new apse of Saint-Germain léVieux, lengthened in 1458, with a bit of the Rue aux Febves; and then, in places, a square crowded with people; a pillory, erected at the corner of a street; a fine fragment of the pavement of Philip Augustus, a magnificent flagging, grooved for the horses’ feet, in the middle of the road, and so badly re- placed in the sixteenth century by the miserable cobblestones, called the “pavement of the League;” a deserted back courtyard, with one of those diaphanous staircase turrets, such as were erected in the fifteenth cen- tury, one of which is still to be seen in the Rue des Bourdonnais. Lastly, at the right of the Sainte-Chapelle, towards the west, the Palais de Justice rested its group of towers at the edge of the water. The thickets of the king’s gardens, which covered the western point of the City, masked the Island du Passeur. As for the water, from the summit of the towers of Notre-Dame one hardly saw it, on either side of the City; the Seine was hidden by bridges, the bridges by houses.And when the glance passed these bridges, whose roofs were visibly green, rendered mouldy before their time by the vapors from the water, if it was directed to the left, towards the University, the first edifice which struck it was a large, low sheaf of towers, the Petit-Chàtelet, whose yawning gate devoured the end of the Petit-Pont. Then, if your view ran along the bank, from east to west, from the Tournelle to the Tour de Nesle, there was a long cordon of houses, with carved beams, stained-glass windows, each story projecting over that beneath it, an in- terminable zigzag of bourgeois gables, frequently interrupted by the120mouth of a street, and from time to time also by the front or angle of a huge stone mansion, planted at its ease, with courts and gardens, wings and detached buildings, amid this populace of crowded and narrow houses, like a grand gentleman among a throng of rustics. There were five or six of these mansions on the quay, from the house of Lorraine, which shared with the Bernardins the grand enclosure adjoining the Tournelle, to the Hôtel de Nesle, whose principal tower ended Paris, and whose pointed roofs were in a position, during three months of the year, to encroach, with their black triangles, upon the scarlet disk of the setting sun.This side of the Seine was, however, the least mercantile of the two. Students furnished more of a crowd and more noise there than artisans, and there was not, properly speaking, any quay, except from the Pont Saint-Michel to the Tour de Nesle. The rest of the bank of the Seine was now a naked strand, the same as beyond the Bernardins; again, a throng of houses, standing with their feet in the water, as between the two bridges.There was a great uproar of laundresses; they screamed, and talked, and sang from morning till night along the beach, and beat a great deal of linen there, just as in our day. This is not the least of the gayeties of Paris.The University presented a dense mass to the eye. From one end to the other, it was homogeneous and compact. The thousand roofs, dense, an- gular, clinging to each other, composed, nearly all, of the same geomet- rical element, offered, when viewed from above, the aspect of a crystal- lization of the same substance.The capricious ravine of streets did not cut this block of houses into too disproportionate slices. The forty-two colleges were scattered about in a fairly equal manner, and there were some everywhere. The amus- ingly varied crests of these beautiful edifices were the product of the same art as the simple roofs which they overshot, and were, actually, only a multiplication of the square or the cube of the same geometrical figure. Hence they complicated the whole effect, without disturbing it; completed, without overloading it. Geometry is harmony. Some fine mansions here and there made magnificent outlines against the pictur- esque attics of the left bank. The house of Nevers, the house of Rome, the house of Reims, which have disappeared; the Hôtel de Cluny, which still exists, for the consolation of the artist, and whose tower was so stupidly deprived of its crown a few years ago. Close to Cluny, that Roman121。

巴黎圣母院情节英语作文

巴黎圣母院情节英语作文The Notre Dame de Paris, also known as the Notre Dame Cathedral, is a famous landmark in Paris, France. This iconic Gothic cathedral has a rich history and has witnessed many significant events over the centuries.The construction of the Notre Dame Cathedral began in 1163 and was completed in 1345. It is considered a masterpiece of Gothic architecture, with its intricate carvings, stunning stained glass windows, and towering spires. The cathedral is dedicated to the Virgin Mary and is known for its beautiful sculptures and artwork.One of the most famous features of the Notre Dame Cathedral is its magnificent rose windows. These stained glass windows are some of the largest and most intricate in the world, depicting scenes from the Bible and the lives of saints. The rose windows are a true marvel of medieval craftsmanship and are a must-see for visitors to the cathedral.Another highlight of the Notre Dame Cathedral is its impressive bell towers. The cathedral is home to several bells, including the famous Emmanuel bell, which weighs over 13 tons. The bells of Notre Dame have been ringing for centuries, marking the passage of time and calling worshippers to prayer.The Notre Dame Cathedral has also played a significant role in French history. It has witnessed the coronation of numerous kings and queens, as well as important events such as the French Revolution. The cathedral has withstood wars, revolutions, and natural disasters, and remains a symbol of resilience and hope for the people of Paris.In April 2019, tragedy struck when a devastating fire broke out at the Notre Dame Cathedral, causing extensive damage to the roof and spire. The world watched in horror as the iconic cathedral was engulfed in flames, but thanks to the heroic efforts of firefighters and preservationists, much of the cathedral was saved from destruction.Since the fire, efforts have been underway to restore and rebuild the Notre Dame Cathedral. Donations from around the world have poured in to support the restorationefforts, and experts are working tirelessly to ensure that the cathedral will once again stand as a testament to the enduring spirit of the people of Paris.In conclusion, the Notre Dame Cathedral is a true masterpiece of architecture and a symbol of the rich history and culture of Paris. Despite the challenges it has faced, the cathedral remains a beacon of hope and inspiration for people around the world. The restoration of the Notre Dame Cathedral is a testament to the resilience and determination of the human spirit, and it will continue to inspire future generations for years to come.。

巴黎圣母院英语阅读文章

巴黎圣母院英语阅读文章这是一篇介绍巴黎圣母院的英语阅读文章，一起来看看吧。

As a testament to the correlation between glorious spaces and heavenly thoughts, the Notre Dame de Paris has stood for 750 years as the apex of European religious architecture.作为荣光之地与神圣思想互相关联的证明，巴黎圣母院至今已有750年的历史了'它是欧洲宗教建筑登峰造极之作。

Seeking to liberate their creation from the sepulchral atmos of the plague-ridden medieval era, the Notre Dame architects conceived of a design more spacious than that of their predecessors. New developments in arched doorways and supports allowed for thinner outer walls and larger windows, including the famous Rose Windows on thecathedral's north, south, and west sides.寻求把他们的创作从中世纪黑死病蔓延的死寂气氛中摆脱出来，圣母院的建筑师们构思出比他们的前人更宽阔的设计。

而拱形门道和支柱的崭新设计，为较薄的外墙和较大的窗户，包括教堂北、南、西三面著名的“蔷薇花瓣小圆窗”的建造作了准备。

The west window is 9.75 meters in diameter and depicts the infant Jesus surrounded by 16 prophets, 32 0ld Testament kings, and 32 high priests, in concentric circles. With the added light and color provided by these windows, the architects created an ethereal ambience with structural integrity.西窗直径长9.75米，上面描绘了16位先知、旧约全书里的32位列王以及32位大祭司，他们呈同心圆围绕着襁褓中的耶稣。

我喜欢的书是巴黎圣母院的英文作文

我喜欢的书是巴黎圣母院的英文作文"The Hunchback of Notre Dame" is a compelling novel written by Victor Hugo, which tells the tragic story of Quasimodo, a deformed bell-ringer of Notre Dame Cathedral in Paris. The novel explores themes of loneliness, love, and societal prejudice.Quasimodo, the main character, is a deaf and hunchbacked bell-ringer who has been isolated from society due to his physical appearance. Despite facing ridicule and discrimination, Quasimodo remains loyal to his master, Archdeacon Claude Frollo, who raises him within the cathedral walls.The novel also introduces Esmeralda, a beautiful and compassionate gypsy girl who captures the hearts of both Quasimodo and Captain Phoebus. Esmeralda's kindness and gracestand in stark contrast to the cruelty and injustice shefaces from the people of Paris.Throughout the novel, Hugo explores the themes ofhumanity and compassion, highlighting the tragic consequences of prejudice and discrimination. The tragic fate of Quasimodo, Esmeralda, and other characters serves as a poignant reminder of the importance of empathy and understanding in a worldfilled with cruelty and indifference.In conclusion, "The Hunchback of Notre Dame" is atimeless classic that delves into the depths of human emotion and explores the complexities of love, loneliness, andsocietal prejudice. Hugo's vivid descriptions and heartfelt storytelling make this novel a must-read for anyone lookingto delve into the depths of the human soul.。

介绍巴黎圣母院的英语作文

介绍巴黎圣母院的英语作文Nestled in the heart of Paris, France, stands the magnificent Notre-Dame de Paris, a cathedral that has been a testament to French history, culture, and religious faith for centuries. This Gothic masterpiece, known worldwide for its stunning architecture and rich historical significance, is a must-visit destination for any traveler to the City of Light.The cathedral's exterior is a masterpiece of Gothic architecture, with its flying buttresses, rose windows, and intricate carvings. The facade, in particular, is a stunning display of the artisan's craftsmanship, with its intricate carvings and detailed sculptures. The cathedral's towering spires, reaching towards the heavens, are a symbol of its spiritual significance and a testament to the heights of human achievement.Inside, the cathedral is as breathtaking as its exterior. The interior is filled with stained glass windows that cast a rainbow of colors across the nave, creating an atmosphere of otherworldly beauty. The cathedral's organ, one of the largest and most renowned in the world, fills the space with its rich, sonorous tones during concerts and religious services.The history of Notre-Dame is as fascinating as its architecture. It has been a witness to many important events in French history, including coronations, royal weddings, and national celebrations. It has also survived wars, revolutions, and fires, emerging each time as a symbol of resilience and hope.In recent years, Notre-Dame has undergone extensive restoration work following a devastating fire that damaged its roof and interior. This restoration is a testament to the cathedral's enduring significance and the dedication of the French people to preserve their cultural heritage.In conclusion, the Notre-Dame de Paris is not just a cathedral; it is a symbol of French history, culture, and faith. Its beauty, both inside and out, and its rich historical significance make it a must-see destination for anyone visiting Paris. Whether you are a history buff, an art lover, or simply seeking a spiritual experience, Notre-Dame will leave a lasting impression on your heart and mind.。

关于巴黎圣母院的说明文

关于巴黎圣母院的说明文English Version (1500 Words)Title: The Majestic Notre-Dame de Paris: A Testament to Gothic GrandeurParis, the city of lights, is home to a plethora of architectural marvels, yet none quite capture the heart and imagination like theNotre-Dame Cathedral. This Gothic masterpiece is not just a cathedral;it is a symbol of France's rich history, a beacon of faith, and a testament to the ingenuity of medieval craftsmanship.The Notre-Dame de Paris, often referred to simply as Notre-Dame, is located on the Île de la Cité in the heart of Paris. It stands majestically on the banks of the Seine, its towering spires reaching towards the heavens, a silent guardian over the city's past and present.Construction of Notre-Dame began in 1163 during the reign of Louis VII, and it took nearly two centuries to complete. The cathedral's design is a prime example of French Gothic architecture, characterized by its pointed arches, ribbed vaults, and flying buttresses. Theexterior is adorned with intricate sculptures and gargoyles that not only serve a functional purpose but also add a touch of whimsy to the otherwise solemn facade.Stepping inside Notre-Dame is like stepping back in time. The vast nave stretches out before you, its high, vaulted ceilings drawing your gaze upwards, inviting you to contemplate the divine. The cathedral's interior is a masterpiece of light and space, with large, stained-glass windows casting a kaleidoscope of colors onto the stone floors. These windows, particularly the famous Rose Windows, are some of the most beautiful and largest in the world, depicting biblical scenes andfigures in a riot of color and light.The cathedral has witnessed many significant events in French history. It was the site of the coronation of Napoleon Bonaparte and has hosted numerous royal weddings and funerals. It has also been a place of refuge during times of war and a symbol of hope in times of peace.As the restoration efforts continue, Notre-Dame remains a symbol of hope and perseverance. It stands as a reminder that, even in the face of adversity, beauty and history can be preserved and cherished. The cathedral's future is as bright as its past, a beacon of light that will continue to inspire generations to come.Chinese Version (1500 Words)标题：巴黎圣母院：哥特式建筑的杰作巴黎，这座光之城，拥有无数的建筑奇迹，但没有任何一座能像巴黎圣母院那样，深深吸引着人们的心和想象。

介绍巴黎圣母院的英语作文

The Magnificent Notre-Dame de ParisNestled in the heart of Paris, France, stands a testament to over a thousand years of history, culture, and faith - the Notre-Dame de Paris. This cathedral, known worldwide for its intricate Gothic architecture and rich historical significance, is a must-visit destination for anyone who wishes to delve into the deep roots of Parisian history and culture.Construction of Notre-Dame began in 1163 and was completed over a span of two centuries, with the final stone being placed in 1345. The cathedral's exterior is a masterpiece of Gothic architecture, with its towering spires, intricate stained glass windows, and elaborate carvings telling a story of religious devotion and artistic genius. The interior is equally as captivating, with its vast nave, soaring arches, and intricate rose windows casting a sense of transcendental beauty and awe.One of the most remarkable features of Notre-Dame isits rose windows, which are not just works of art but also serve a practical purpose. These windows, made up of thousands of pieces of stained glass, allow natural lightto filter into the cathedral, creating a warm and inviting atmosphere. The colors and designs of the windows are also said to symbolize various biblical themes and stories.Another noteworthy aspect of Notre-Dame is its association with several historical events and figures. The cathedral has played a pivotal role in the lives of many French kings and queens, who were coronated here. It has also been a witness to some of the most significant events in French history, including the French Revolution.However, Notre-Dame's history is not just one of grandeur and triumph. In 2019, the cathedral suffered a devastating fire that destroyed much of its roof and caused extensive damage. But even in the face of such adversity, the spirit of Notre-Dame has prevailed. Restoration efforts have been ongoing since then, with the aim of restoring the cathedral to its former glory.Despite the fire, Notre-Dame remains a symbol of hope and resilience. It stands as a reminder of the resilience of the French people and their unwavering commitment to preserving their cultural heritage. The cathedral's restoration has also been a testament to the power of unityand collaboration, as people from all over the world have come together to support the efforts.Today, Notre-Dame de Paris stands tall as a beacon of history, culture, and faith. Its intricate Gothic architecture, rich historical significance, and association with several historical events and figures continue to attract millions of visitors from around the world. As one of the most visited landmarks in Paris, Notre-Dame de Paris offers a unique glimpse into the deep roots of Parisian history and culture.**巴黎圣母院的壮丽景色**在法国巴黎的心脏地带，矗立着一座见证了一千多年历史、文化和信仰的丰碑——巴黎圣母院。

巴黎圣母院内容英语作文

巴黎圣母院内容英语作文Standing tall in the heart of Paris, the Notre-Dame Cathedral is a masterpiece of Gothic architecture. Itstowering spires and intricate facade have captivated visitors for centuries.A symbol of France's rich history, Notre-Dame has witnessed countless events, from royal coronations to the beatification of saints. Its stained-glass windows cast a kaleidoscope of colors, creating an ethereal atmospherewithin its walls.The cathedral's construction began in the 12th century, a testament to the dedication and craftsmanship of the builders. The flying buttresses, a distinctive feature, providestructural support while allowing for larger windows and open spaces.Notre-Dame has faced its share of trials, including damage during the French Revolution and a devastating fire in 2019. Yet, it stands resilient, a symbol of hope and perseverance.The restoration of Notre-Dame is ongoing, with architects and artisans working tirelessly to return it to its former glory. The world watches, eager to see this architectural gem reborn.In the shadow of its grandeur, one can't help but be moved by the power of human creativity and the enduring spirit of a nation. Notre-Dame de Paris is more than a cathedral; it is a beacon of culture and faith.As I stand before it, I am reminded of the timeless beauty that transcends the ages. Notre-Dame is a living monument, a place where history, art, and spirituality converge.。

巴黎圣母院书评英语作文

巴黎圣母院书评英语作文The Notre-Dame de Paris, also known as the Notre-Dame Cathedral, is a medieval Catholic cathedral located in the fourth arrondissement of Paris. It is considered to be one of the finest examples of French Gothic architecture and is among the largest and most well-known church buildings in the world.The construction of the Notre-Dame Cathedral began in 1163 and was completed in 1345. The cathedral is famous for its iconic flying buttresses, intricate rose windows, and stunning sculptures. It has also been the setting of numerous significant events in French history and literature, including Victor Hugo's novel "The Hunchback of Notre-Dame."The cathedral is a UNESCO World Heritage site and attracts millions of visitors from around the world each year. Its beauty and historical significance make it a must-see attraction for anyone visiting Paris.The Notre-Dame Cathedral has a rich and fascinating history, and its architecture and artwork are trulybreathtaking. From the moment you approach the cathedral, you are struck by its grandeur and beauty. The intricate details of the facade, the imposing towers, and the famous gargoyles all contribute to the cathedral's awe-inspiring presence.Inside, the cathedral's vast interior is filled with stunning stained glass windows, dazzling rose windows, and beautifully carved sculptures. The grand organ, dating back to the 18th century, adds to the cathedral's majestic atmosphere. Visitors can also climb to the top of the towers for a panoramic view of Paris and a close-up look at the famous gargoyles.The Notre-Dame Cathedral is not only a place of worship but also a living museum of art and history. It is a testament to the skill and craftsmanship of the artisans who built it and a symbol of France's rich cultural heritage.In April 2019, the Notre-Dame Cathedral suffered a devastating fire that caused significant damage to the building. However, efforts are underway to restore and rebuild this iconic landmark, ensuring that futuregenerations will continue to be able to marvel at its beauty and significance.Overall, the Notre-Dame Cathedral is a must-visit for anyone interested in history, architecture, and art. Its beauty and historical significance make it a truly special place, and it is a testament to the enduring legacy of human creativity and craftsmanship.巴黎圣母院是一座中世纪天主教大教堂，位于巴黎第四区。

巴黎圣母院书评英语作文

巴黎圣母院书评英语作文English:"The Hunchback of Notre-Dame", penned by Victor Hugo, is a profound exploration of the human condition, set against the backdrop of the iconic Parisian cathedral. Through its intricate narrative and vivid characterizations, Hugo delves into themes of love, obsession, prejudice, and societal injustice. At the heart of the novel lies the tragic tale of Quasimodo, the deformed bell-ringer, whose unrequited love for the beautiful Esmeralda leads to a series of calamitous events. Esmeralda herself becomes a symbol of purity and compassion, juxtaposed against the malevolent forces of Frollo and the societal oppression faced by the marginalized. Hugo's masterful prose not only captivates the reader with its rich descriptions of medieval Paris but also serves as a commentary on the timeless struggle between the outcasts and the establishment. The novel's enduring relevance is a testament to its profound insights into the complexities of human nature and the enduring power of love and redemption.中文翻译:《巴黎圣母院》是维克多·雨果创作的一部作品，深刻探索了人类的生存状态，背景是巴黎标志性的大教堂。

如何设计巴黎圣母院英语作文

如何设计巴黎圣母院英语作文English:When designing an English essay about Notre Dame Cathedral in Paris, it is important to first introduce the history and significance of this iconic landmark. Discussing the architectural style, such as the Gothic design and the famous flying buttresses, can provide readers with a visual image of the cathedral. Exploring the interior features, such as the stunning stained glass windows and the impressive pipe organ, can showcase the artistic and cultural importance of Notre Dame. Additionally, delving into the different historical events that have taken place at the cathedral, such as the coronation of Napoleon Bonaparte, can add depth to the essay. It is also essential to discuss the devastating fire that occurred in 2019 and the subsequent restoration efforts, highlighting the resilience and importance of this historic monument. In conclusion, emphasizing the lasting impact and influence of Notre Dame Cathedral on art, culture, and history can make for a compelling and informative English essay.中文翻译:在撰写关于巴黎圣母院的英语作文时，首先要介绍这一标志性地标建筑的历史和意义。

巴黎圣母院外貌个人品质英语作文

巴黎圣母院外貌个人品质英语作文Notre-Dame de Paris and Personal Virtues: A Reflection in English CompositionIn the heart of Paris, a city synonymous with romance and art, stands the iconic Notre-Dame de Paris, a Gothic masterpiece that has witnessed centuries of history. Its towering spires, intricate stone carvings, and magnificent rose windows are not only architectural marvels but also symbols of resilience, craftsmanship, and human aspiration. As I reflect on the grandeur of this cathedral, I am reminded of the personal qualities that mirror the enduring spirit ofNotre-Dame.Firstly, the steadfastness of the cathedral's structure evokes the virtue of perseverance. For nearly two hundred years, artisans and laborers toiled under the guidance of visionary architects to erect this colossal edifice. Their dedication to overcoming challenges—from the intricacies of vaulting to the precision of flying buttresses—is an ode to the human capacity for endurance. Similarly, in our own lives, perseverance is key to achieving long-term goals, whether academic, professional, or personal. It is the ability to persist inthe face of obstacles, much like how Notre-Dame has stood tall through wars, revolutions, and natural disasters.Secondly, the beauty of Notre-Dame lies not just in its imposing presence but in the details that adorn it. The gargoyles and chimeras, though grotesque in appearance, serve a functional purpose while adding an artistic flair to the cathedral. This blend of utility and aesthetics reflects the importance of balance in our personal qualities. We must strive to be both practical and imaginative, combining the mundane tasks of daily life with the pursuit of creative expression. This harmony between the pragmatic and the idealistic is akin to the harmonious design of Notre-Dame, where every element has a role to play in the grand scheme.Lastly, the sense of community that surroundsNotre-Dame speaks to the virtue of compassion. The cathedral has been a place of worship, refuge, and celebration for millions over the years. In times of joy and sorrow, people have come together within its walls, finding solace and unity. This communal spirit is a reminder that we are social beings, dependent on one another for support and understanding. To embody the virtues reflected in Notre-Dame, we mustcultivate empathy and kindness, reaching out to those in need and fostering a sense of belonging among all.In conclusion, the Notre-Dame de Paris is more than a monument; it is a testament to the timeless values that define us as individuals and as a society. By drawing parallels between the cathedral's enduring architecture and our own personal qualities, we can aspire to be as resilient, balanced, and compassionate as this Parisian landmark. May we carry these virtues within us, just as the spirit of Notre-Dame continues to inspire generations to come.。

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The research of the vision of love in NotreDame de ParisWritten by Yu He chuanSupervised by lecturer Zhang NiA Thesis Submitted toLanzhou University of Technologyin Partial Fulfillment of the Requirements forthe Degree of Bachelor of Artsin English EducationForeign Languages College, Lanzhou University of TechnologyJune2013CONTENTSAbstract (II)摘要 (II)1 Introduction (1)1.1 The Writing background of Notre Dame DE Paris (1)1.2 The Writing background of Notre Dame DE Paris (1)1.3 The main content of the novel (2)2 Different kinds of love in Notre Dame DE Paris and the c omment on Esmeralda’s vision of love (2)2.1 Different kinds of love in Notre Dame DE Paris (2)2.1.1 The cowardly love (2)2.1.2 The selfish and superficial love (3)2.1.3 The extreme and abnormal love (4)2.1.4The menial love (5)2.5 The pitiful and painful love (5)2.2 The Comment on Esmeralda’s character and vision of love (7)2.2.1 Esmeralda’s ignoran ce and humbleness (7)2.2.2 Superficial love (9)3 Conclusion (10)Bibliography (11)Acknowledgements (12)ABSTRACTThe famous French writer, Victor Hugo, had created four characters in the novel "Notre Dame DE Paris , and each character has a different nature and vison of love. The hypocrite pursuing money 、position and beauty was Phoebus .Pierre Grangoi who just was an sorehead poet pursues his love based on a Sham marriage .Quasimodo was the bell ringer having good heart and pursuing love.There were also a suffragan Claude who was distorted humanity by religious and lost his love. They loved one person Gypsy Esmeralda who pursue her pure love .This paper would compare the four person’s characters and the vis ion of love.Then,it would analyse Gypsy Esmeralda’s choose and the attitu de towards the four kinds of love. Finally,we analyse the leading lady Esmeralda’s value of love through the analysis of the four person.Key words: Notre Dame DE Paris pursue love摘要法国著名作家维克多·雨果在小说《巴黎圣母院》中塑造了众多的人物形象，而这些形象对爱情所持的态度各不相同。

有对金钱、地位、美貌追逐的伪君子孚比斯；图有婚姻躯壳的落魄诗人格兰古瓦；有美好心灵与追求爱的升华的撞钟人卡西莫多；被禁欲扭曲了人性导致爱情破灭的副主教克洛德。

他们都爱上了追求自己纯洁爱情的艾斯米拉达；本文通过对比这四个人物的性格特点与爱情观,然后分析艾斯米拉达对爱的选择和对四种不同爱的态度。

最后通过以上分析的整合来分析女主角的爱情观。

关键词：巴黎圣母院、追求、爱情观1. Introduction1.1The the brief introduction of Victor HugoVictor Hugo (l802~1885) was the leader of the French Romantic school. He is one of literary history's greatest writers in France. His life spanned almost the entire 19th century and his literary career has always kept enduring creativity since 60 years ago. His romantic novels permanently attracted readers due to impressive and powerful storyline. Hugo was born in 1802 in southern France. His grandfather was a carpenter, and his father was an officer of the republic army who had been granted military ranks by the king of Spain, Joseph, who is Napoleon's brother, and his father also was trusted ministers of the King. Hugo was very bright and intelligent at 9-year-old and began to write poetry. At 15-year-old ,he wrote the Joy of Reading which was awarded by his school. And he won the first place in the race of writing poem at his seventeen years old. At the age of 20, he published collection of poems. In 1827, Victor Hugo published the scripts Cromwell and the preamble. Although the script was failed to perform, but it was considered as a French romantic Declaration, becoming a landmark document in literary history. It played a great role in the development of the French romantic literature. In 1830, Hugo’s scripts "that Kennedy Europe" gave a public performance at the French Academy of Theatre, and had a great influence. It established a dominant position in French Romantic literary. In July 1830, France had July Revolution, the revival of the feudal monarchy was destroyed. Hugo warmly praised the revolution and the revolutionaries, and wrote poems to condole those heroes who died in the revolution. In 1831 Victor Hugo's Notre Dame de Paris is the most romantic novels. This novel is dramatic and legendary.1.2 The Writing background of Notre Dame de ParisThe novel Notre Dame de Paris was an art which had reproduced the realhistory that happened more than 400 years ago during the reign of King Louis Jus. It described how the palace and the Church court oppressed the masses of the person, how the person struggled bravely with the two forces. The rebellious gypsy girl Esmeralda and the person with ugly facetykds Quasimodo as the real of the embodiment of beauty showing in front of the reader, however, we only saw the cruel empty heart and the evil passions from suffragan Claude and noble soldiers Phoebus. The authors combined the vivid story and the rich dramatic scenes together organically, so that the novel was highly readable.1.3 The main content of the novelNotre Dame de Paris was published by Victoria Hugo in 1831 which was his historical and first large-scale romantic novel. It told a story by strange and contrast skills about the 15th century of France. In "Fool's Day", vagrant gypsy performers dance in the square, there was a gypsy girl called Esmeralda attracting passers-by, who looked beautiful and her dance was also very beautiful.At this time, the Notre Dame de Paris archdeacon Claude Frollo suddenly was obsessed with the beautiful Esmeralda , he was burning the fire of lust and madly fell in love with her. Then he ordered the church bell ringer Quasimodo who looks odd ugly to steal Esmeralda . As a results ,the king of France captain Phoebus saved Esmeralda and catch Quasimodo. He put the man to the square to flog him .the gypsy girl not only forgave him but gave him some water to drink.The Bell ringer’s heart was pure though he had a ugly appearance, he was very grateful for Esmeralda’s help, and fell in love with her. The naive Esmeralda fell in love with Phoebus at first sight. When they had a date, Frollo following them silently behind out of jealousy, he stabs Phoebus with the sword and escape. Esmeralda had been sentenced death for murder .Quasimodo took Esmeralda out from the gallows hiding her in the Notre Dame de Paris. Claude Frollo took advantage of the occasion to threatthe gypsy girl to meet his lust.When rejected, he gave her to the king's army, and the innocent girl was hanged.Quasimodo pushed Claude down the church angrily , then he held Esmeralda's body and dead.2.All kinds of love in Notre Dame DE Paris and the Comment on Esmeralda’s vision of love2.1 All kinds of love in Notre Dame DE Paris2.1.1 The cowardly lovePierre Grangoi was a poet who can not rely on writing poetry to feed himself in today society.However,the poet also can not write to feed themselves in Paris two hundred years ago, so he had to stay in the kingdom of beggars crowd to survive. Unfortunately, a poet even can not pass the beggar's skill test, as a result, Pierre Grangoi was not qualified as a beggar and sent to the gallows.However scholars had known their limitations, when he was refused by the person he loved, immediately he chose to give up,because he felt ashamed. When Quasimodo ordered Esmeralda, he did not have the courage to save her, yet his own life was saved relying on Esmeralda’s mercy. Facing with such a woman, he did not expect anything as love if only there was a little self-esteem. So after their marriage, he would like to act as a replacement husband, and went out with Esmeralda to busk dance in the street every day. Though this kind of marriage could not get love what he want, but there was a marriage to survive at least. If Pierre Grangoi had ever loved Esmeralda, so we can only think the reason that she gave him the means to get the house and bread. On his opinion ,food、house and a nominal marriage are enough for him in life. He didn’t knows about Esmeralda at all. So, there is not love at all. Claude is the direct murderer to kill Esmeralda,but the real reason of Esmeralda’s death is Grangoi’s weak.2.1.2 The selfish and superficial lovePhoebus was the captain of the Royal Guard ,a man with handsome strikingappearance, and circulated at the upper class every day. He was the ideal prince, charming in the eyes of the rich lady. Bright Phoebus was very good at using his resources, he chose the cousin Lily with rich dowry as his fiancee, at the same time he chased Esmeralda for her beauty. The vileness of Phoebus was that he only love Esmeralda’s beauty, not cared Esmeralda’s life. Esmeralda was sentenced to death due to murder Phoebus , but Phoebus did not pick the real murder to save her when he wakes up in the hospital after escaping in order not to exposed his scandal.If Pierre’s love is weak , Phoebus’love is selfish and superficial.He excelled in coaxing rich girl depending on his beautiful appearance to cajole rich girls,and often said the same sweet words and vows of eternal love for them. He had a handsome appearance but his heart was evil. Alcohol abuse and saying crude words are his hobby. He is proud of sleeping around and playing with women. We only see a kind of image of beautiful man that a foul soul hides under the beautiful body.2.1.3 The extreme and abnormal loveIf Phoebus was hypocrite we consider of in our life, Claude was devil of love we consider of. At the age of thirty-six, Claude Frollo was the deputy leader of the church.He grew up in church schools and accepted church education.After decades years efforts, he climbed up the powerful position finally. But the inhuman church discipline could not eliminate his heart's desire, and such instinctive desire in the extreme oppression had become more intense and crazy. When his love for Esmeralda broke the religion’s long-suppressed, his instinctive desire which is like a volcano erupting,becoming uncontrollable.We could not deny Claude's love for the reason that Esmeralda was wholehearted、enthusiastic and irreplaceable, and he was even willing to give up everything together with his belief of decades for Esmeralda’s love. But his love was extreme selfish, his views on love is as follow "if I can't have, and I will destroyher!" So he instructed his son Quasimodo to rob Esmeralda in the middle night, after failing, he assassinated his rival Phoebus further, and put the blame on Esmeralda. When Esmeralda was taken to Notre Dame de Paris to take refuge,then he used his power to make Esmeralda lose the protection of Notre Dame de Paris.He threated her with a death forcing Esmeralda to accept his love. In ordinary life,some person liked Claude Frollo begot hatred due to love or begets enmity because of love ,becoming human tragedy , because of Claude’s extreme selfishness.He only wanted to satisfy their own meet, not considering other person’s willing and he never understand love.Claude’s love is cra zy and extreme. Every time he shows his love to Esmeralda with most classical words. He can give up his belief and power,even everything of him for that girl.He wants to give her the prefect love .His love is the biggest challenge towards religious asceticism.At the same time,his love also is extremely selfish and narrow.And his desire becomes very strong because of long time sexual repression.So Claude’s love is extreme and abnormal.2.1.4The menial loveIf Pierre Grangoi’s marriage without love was unhappy, relatively speaking,Quasimodo was miserable. Quasimodo had extreme bad own conditions, but he had high sights towards love. Archdeacon Claude Frollo adopted Quasimodo who was a abandoned baby because he was a deformed child.He never enjoyed the warmth of family,Since he grew up in church from childhood,After growing up, he continued staying in the church to ring bells, so he loved only two person, one was the auxiliary Claude, another was the no life church bell. However, when beautiful Esmeralda appeared, she awoke his desire for love. However, this awakening desire did not bring any happiness, but made him feel more deeply mental pain due to the physiological defects.Facing with Esmeralda's beauty, he wasso humble and pain,and he was eager to close Esmeralda, but he was afraid of that his ugliness would make Esmeralda uncomfortable and scared. Quasimodo did not expect anything from Esmeralda, as long as he can stay in her side. However, even such a hope was also taken by his stepfather. Desperate Quasimodo killed his adoptive father archdeacon Claude angrily, and killed himself finally. he hugged Esmeralda's body went into another world.Quasimodo falls in love with Esmeralda wildly because of her kindness and beauty.He chooses the most simple and honest way to treat Esmeralda,and love her with the most selfless and humble heart.He even pays with his life to protect her.Quasimodo is putting all his life and enthusiasm on Esmeralda.He would like to go through fire and water for her,and sacrifice himself all for her happiness.This kind of love is selfless without hankering to get something in return. It is the true love.2.1.5 The pitiful and painful loveFirst of all, Esmeralda lived in street and grew up with gypsy.She always did good things for others and shoot square with each other. Her nature contained passionate、 naive 、bluffness and optimistic. In her world ,person should sympathize and help each other. It was the quality which made her be loved and respected by Quasimodo 、beggars country tours and other person. Esmeralda was a female who was full of loving compassion, and she was a kind girl with the spirit of kindheartedness which was the heart of spiritual beauty. Secondly, Esmeralda was not only kindness and has courage to risk her life for another, but also she was girl with a iron hand in a velvet glove , That was to say she was faithful and unyielding on another side.In front of Claude's despotic power, she would like to die rather than submit. What’s more, Esmeralda was a pure and dedicated person. A young girl had a pure and persistence character who was lovely. Her love was unconditional and no utilitarian.She loved himnot for her own interests , only to love him due to love him. Her love was so noble and holy .This pure and beautiful heart was so extraordinary in our life.Esmeralda was a sixteen years old beautiful girl who was good at singing and dancing. She was stolen by the Gypsies from her family since she was very young ,and she grew up in the street to perform artists to feed herself. So he was not accepted the hierarchical high society at that time. When she was robbed in the middle of night, the hero handsome Royal Guard Captain Phoebus saved her, she fell in love with him at first sight, and he was also captured by her beauty. Like all heroine in novels,Esmeralda was flinging caution to fall in love with each other as long as meet her real one.Regardless of whether the person really love her and what the result was.Even she knew this love can be no results and he was not really love her, but she still devoted her life to love and believed their love.She though all things is perfect and always lived in her illusion.Esmeralda not only had the pink of perfection of the body, but also there was a noble and pure good heart. When the poet Pierre would be hanged by the beggar Kingdom , she did not hesitate to marry him to save the poet in the critical moment. The poet was shocked by her beauty and nobility ,and involuntarily fell in love with her immediately. And he hoped to become her nominal husband. But Esmeralda calmly refused him for her idol in the heart, and say: "I can only love the man. who can protect me" .And told him, she married him just to save his life, so he could only maintain the relationship of nominal husband .When archdeacon Claude forced Esmeralda to accept his love by various despicable means, Esmeralda refused to submit even death. In prison in order to get Esmeralda’s love, Claude cheated her that her lover Phoebus had been killed, and let she should not have any illusions. He could saveher out of the death penalty as long as she accept his love. Esmeralda replied "if he is dead, why you still advised me to live?" Claude told Esmeralda make a choice before the gallows finally, although Esmeralda already knew her Phoebus was still alive in that time, and she found her own mother who lost more than fifteen years . She wanted to live, but facing Claude's courtship, she only say: "I am disgusted with you rather than the gallows."In the novel, the incarnation of ugly Quasimodo first appeared in front of Esmeralda as Esmeralda’s persecutor .He was ordered to rob Esmeralda in the middle of night. When Quasimodo was arrested by royal guards after failure.When he was tied in the of shame pillar in the sun to be lashed in public, he longed for the crowd give him some water but no one care him. Esmeralda not only forgot his guilt in the past but also bravely gave him water to drink in eyes of the person.Esmeralda was the angel in that time. Misshapen appearance was always the big gap between him and Esmeralda which never be able to cross .Author let they across the gap at the end of the novel by the manner of death finally , It may be the only feasible method.2.2 The Comment on Esmeralda’s character and vision of love2.2.1 Esmeralda’s ignorant and humbleEsmeralda is ignorant.Objectively, she choses her love based on intuit and utility.In the works, because she more than once tells others that she can only love one who can protect her. She often dreams a officer who can save her life . In the "Kanawha window" section, Esmeralda tells Phoebus "you saves me and you are pleasant and beautiful , I have dreamed of you before I knew you .My Phoebus,you are wearing beautiful uniforms in the dream, the man in the dream also has a pair of a sword with elegant appearance". However, on her objective selection, appearance is more important than whether he has an ability to protect her.Because from theactual side of works, the powerful person Claude is the real person who can really protect her ,he has the right to save her when she is hung in the gallows and the person who has really protected her is Quasimodo who takes her down from the gallows. But, she not spares a glance for the two person. Compared with the above two, Phoebus saved her once while Quasimodo robbed her in the street. But when she was really in danger, Phoebus never expressed his concern for her. Therefore, protecting her just is one of the conditions when she chooses her lover, and the appearance is the real value of her choice of orientation. Esmeralda enters into the love misunderstanding. About this, Claude and Quasimodo discovered long ago and tell her in different way. Claude ever told her clearly when he watched her in the prison that her love was an officer's uniform, and she wasted her love and beauty in a stupid exaggerated person.Esmeralda is humble. A real love relationship should be based on the equal with the premise of loving each other. In the novel their relationship has always been a person and God, or the relationship between slave and master. The most tragic is this relationship created by Esmeralda herself consciously or unconsciously. In wedding night, when she heard the word "Phoebus" meaning the sun, the name of God, she constantly repeated two words, a God, with meditational and enthusiastic voice. From this description, we can see that she now has accepted the symbolic meaning of the word "Phoebus". If she makes a fetish of Phoebus at the sight of him, she not only took him as God, but also took him as his master when she was together with him. This consciousness in the section of "Kanawha window" is fully reflected. In this section, when her marriage proposals was refused by Forbes, she immediately felt ashamed of herself and replied "well, we don't have to get married, what am I?I am a poor girl growing up in the drain , but you? My Phoebus, you are in the upper class . How can a dancing girl and an officer get married,I am crazy. No, Phoebus, no, I want to be your mistress and your plaything which is just for you to pursue pleasure. As long as you are willing, I am your girl and I am ju st living for that. I don’t care other person. As long as you love me, I will become the most happiest woman. When I become old and ugly and I am not worthy of your love again,please allow me to serve you. At that time I only want to polish your Spurs, brush armor and clean boots. Ah! Phoebus, I am totally belong to you ". From her words we can see that Esmeralda’s self-esteem in front of Pierre Grangoi and the spirit of resistance in front of Claude all come into nothing to Phoebus. The most ignorant and stupid is that she puts Phoebus’possession of her and love together. She will feel being loved as long as Phoebus are willing to love her.Once she is old and ugly who can no longer attract Phoebus, she feels unworthy to get love and also wanted to stay at beside of Phoebus as maid and slaves. She consciously plays a role of slave and servant and treats the other party as her master. It expresses that she is menial in front of love.In the beginning of the novel, Esmeralda is a beautiful、enthusiasm and good quality girl. This is one aspect of her character. But she was deeply absorbed in love,which show her character weakness of ignorance and mediocre narrow. Similarly, Esmeralda is a ordinary person not a God who is also not prefect.2.2.2 Superficial loveThrough the above analysis,Obviously,Esmeralda’s love is Superficial. Esmeralda has different attitude towards the four person. Frist, I want to talk about the mischief-makers-the woman Esmeralda. She is the source of all the love in the book. I don't want to say how faithful she is, but I can see that she loves Phoebus because he is young and handsome with ability to please pretty girls. And he is noble (but not much money)with high social status, sometimes even show some heroism. It is a man thatwomen will always love him no matter what time or era. She doesn't love Pierre Grangoi because he is poor and weak. She doesn't love Claude Frollo because he is old with little refinement. She doesn't love Quasimodo anyway because he is ugly and has only bare special skill. She is beautiful not a saint. She is just like the general woman choosing the showy and hypocritical Phoebus. Her love is not really chaste. She said "Wouldn't it be nice if only Quasimodo’s heart beating in Phoebus’ body !" This is the real love in her heart. Esmeralda also is not wrong, the real wrong thing called love. What is love? It is too realistic、too specific and too cold.Imagining if Quasimodo saves her at the street at that time, may she falls in love with Quasimodo like Phoebus? I think she absolutely can’t love Quasimodo.Is appearance really so important for love? Maybe your desire in your heart drive your mind to make that choice. It is that desire or childish thinking make a miserable life for her. She may not consider what she really want and what is her life goal.3、ConclusionThis paper mainly analyse the love between the leading lady and the four man. Then it analyse the leading lady’s character and love. We can get as follow, Pierre Grangoi’s love is cowardly, Phoebus’ love is selfish and superficial, Claude’s love is extreme and abnormal, Quasimodo’s love is menial. From this four person’s love, we get that Esmeralda is ignorant and humble and Esmeralda’s love is superficial. Though love is beautiful, there are still exist some discordant things. Victor Hugo express his four kinds of ambivalent emotion. It tells us the real inward world in everyone’s h eart. Love is the best thing in the world. But it exist in our heart by the most contradictory way. In love,everyone can escape this kind of molestation. We must have enough courage to pass this test and grow up. What is the correct love value? Maybe there is no real right love value, we only need to feed our own meet.Bibliography[1]．Notre—Dame de Paris．CRANIER·FLAMMATl0N，Paris．1967．[2]．Notre-Dame de Paris.GRANIER·FLAMMATION,1967[3] 雨果.巴黎圣母院[M].:译文,1990.[4] 雨果.柳鸣九译.雨果论文学[M].:译文,1980.[5] 泽厚.泽厚美学哲学文选[C].:人民.[6] 柳鸣九.雨果创作评论集[M].:漓江,1983.[7]雨果论文学之《克伦威尔》序言[M]．：译文，1980[8]柳鸣九．雨果创作评论集[M]．：漓江，1983．[9]维克多·雨果．巴黎圣母院[M]．：译林，1995．[10]瓦西列夫．情爱论[M].：当代文学世界，2003．[11]欧仁·评《巴黎圣母院》, 转录自《雨果夫人回忆录》[M] 366-368.[12]雨果《巴黎圣母院》[Z], 敬容译, 人民, 1980 年版 616-617[13] 雨果《巴黎圣母院》[Z],冰译，人民，2001，2版 32-69.[14] 雨果《巴黎圣母院》[Z], 敬容译, 人民, 1980 年版 486-489[15]雨果《巴黎圣母院》[Z], 敬容译, 人民, 1980 年版 613-614AcknowledgementsFrist,I want to express my gratitude to my teacher for her guidance.She helps me a lot during my writing. In the process of writing,I learn much new knowledge.I have a deep understand od this novel Notre Dame de Paris.I also know a lot about the value of the lave.I should real more this kind of novel.Finally,I want to say thanks to my teacher again.。

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