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Book 1, Chapter 3
Themes
Key
LitCharts assigns a color and icon to each theme in The Hunchback of Notre Dame, which you can use to track the themes throughout the work.
Gothic Architecture, History, and Art
Lust, Sin, and Misogyny
Appearances, Alienation, and Hypocrisy
Fate and Predestination
The Supernatural, Rationalism, and Knowledge
Justice, Punishment, and Freedom
Summary
Analysis
As the dignitaries enter the hall, a man in rough workman’s clothes pushes in alongside Guillaume Rym. The usher tries to stop this man, who indignantly announces that he is with the Flemish party. His name is Jacques Coppenole, he explains, and he is a hosier. Coppenole irritates the Cardinal, who wishes that Coppenole would present himself more nobly. The Cardinal begs the usher to introduce Coppenole properly. Coppenole, however, insists the usher introduce him as a hosier, which is what he is.
Although Coppenole is a nobleman, he was not born into the nobility and still identifies with his trade (noblemen did not usually work) as a clothmaker, rather than his political office. In this sense, Coppenole represents shifts in the rigid class system of the medieval period, which would soon change as society progressed. During the Renaissance (which came after the medieval period) and the Enlightenment (a period of rapid scientific and philosophical development which came after the Renaissance), the divide between the nobility and the common people became less stark and, eventually, representative democracy—in which ordinary people could join the government—was developed. Coppenole foreshadows this societal change.
Themes
The people are pleased with this introduction and Coppenole is very popular among them. They like to see someone ordinary stand up to the Cardinal because this is something they can never do. Even Louis XI is slightly afraid of Coppenole. Coppenole enters the platform confidently, to the approval of the crowd.
Coppenole is popular with the crowd because he foreshadows their own liberation, which will develop as society becomes less hierarchical over time. The enormity of this coming change is why, even at this early stage in the process, the king is threatened by popular figures like Coppenole.
Themes
Meanwhile, Clopin Trouillefou climbs further up the pillar beneath the platform and sits directly beneath the Flemish ambassadors. When Coppenole sees the beggar, he taps him on the shoulder. The two men seem to recognize each other, and they cheerfully shake hands. The crowd lets up a delighted cheer and the Cardinal demands that Clopin be thrown out. Coppenole cries that he will not allow it and the Cardinal backs down.
Coppenole’s interaction with Clopin suggests that class boundaries—which separated nobles from beggars and ordinary people in the medieval period—are meaningless and can be broken down. Hugo seems to be saying that class differences between people are based on arbitrary factors such as wealth, and that underneath, there is not much difference between a beggar and a king.
Themes
Gringoire, meanwhile, furiously tries to restart his play, but the audience has lost interest. They are bored with the stage depiction of nobility and clergy. They have the real thing in front of them on the platform—in the figures of Coppenole and the Cardinal—and they can watch these men squabble in real life. Gringoire begins to chant for the play to continue but Jehan and the students shout him down.
The exchange between Coppenole and Clopin is a real-life meeting of two totally different social spheres. The crowd are fascinated by this, which suggests that people are interested in seeing class divides break down. Hugo uses a range of characters from different social backgrounds throughout his novel and here suggests that this is something people find interesting and meaningful, in comparison to art that only features the nobility.
Themes
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The Cardinal asks what is causing the commotion and a servant nervously informs him that they have missed the first half of the mystery play. The Cardinal is amused and uninterested in the play. He says that the actors may continue, however, much to the annoyance of the crowd, which is now bored with Gringoire’s work. The actors go on, but the usher continues to call out names as more Flemish dignitaries arrive and much of the play’s dialogue is lost in the din.
The people are not interested in Gringoire’s play because it goes over their heads. This suggests that theater is not an important artform in the medieval period—although it would become so in the next few centuries—and confirms Hugo’s thesis that architecture was the most accessible medium of this era.
Themes
Gringoire is astounded by the fickleness of the crowd. Just as the play gets going, Coppenole announces he is bored. This type of entertainment, he says, is not fitting for a Feast of Fools. In his country, he explains, they have a face-pulling contest and whoever pulls the most hideous face is crowned the “fool’s pope.” Coppenole asks the crowd if they would prefer this to the play and the crowd enthusiastically agrees. Gringoire sadly accepts this.
While Gringoire tries to appeal to the nobles with his play—which has been commissioned by and written for the nobility—Coppenole prefers to cater to the public and easily wins their approval because of this. This foreshadows the development of democracy and the disintegration of elitist institutions, such as the monarchy, as society developed beyond the medieval period. Coppenole’s behavior is democratic because rather than being forced to adhere to the nobles’ taste in entertainment, the people get to vote on how they want to spend the festival.
Themes
