It is not difficult to explain the spontaneous love attachment that arises between the "monster man" with the sensitivity of a child Quasimodo and the compassionate beauty, the "woman-child" Esmeralda. In the novel "Notre-Dame de Paris", the romantic Hugo follows the development of a dramatic situation that is constantly concerned with his creative fantasy: a beautiful woman has to choose between three men to prove her love devotion. Esmeralda impulsively chooses a well-dressed worldly beauty, Captain Feeb de Chaatopher, who, drunken by her success as a man among the noble girls, is experiencing her adventure with the beautiful young gypsy as flattering for his masculine "love" victory. Far more fateful for the faithful maiden is the sensual passion she awakens without knowing the hypocritically godly archdeacon. The worshiper in the healing spiritual power of religion, Claude Frollo, falls under the tyranny of the burning carnal passion that unlocks his villainous ingenuity. Quasimodo's spiritual mentor and Esmeralda's insistent secret wizard is portrayed by Hugo romance as a gothic version of Mephistophele, in whom lust overps the ascetic, evil stifles completely charity, instincts shift the mind and dictate his evil doings.

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The fabulous romantic romance romantic Claude Frollo is a central character. He is at the heart of the dramatic love relationship between Esmeralda and Feeb de Châteauper, between the beautiful Gypsy and the ugly ringtone of Notre Dame. His image can be perceived as a generalized symbolic personification of the conflicts between the Catholic Church, whose totalitarian and imperial ambition is embodied in the impressive Parisian cathedral, and the liberated democratic spiritual attitudes that prefigure the Renaissance political and cultural renewal at the end of the Middle Ages. The hypocrisy philosophy of the cabinet theologian will be denied by the New Age, in which a new type of learning is being built - a comprehensive, multifaceted one with a realistic interest in man's earthly fate and natural talents. At the end of the "Notre-Dame de Paris" novel, the numerous symbolic oppositions set forth in it are based on the radical nature of the historical transition, in which the private one unfolds, and is predominantly filled with various individual approaches to love, intrigue. The famous Gothic temple becomes a mute witness to the rapid secularization of the spiritual atmosphere that fills and surrounds it. According to the Late Medieval admission, "Notre Dame" loses its conquering influence as a "stone gospel" on the humble estuary.

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The spiritual guardian of Claude Frollo's temple sinks around himself only ruin and death. Quasimodo discovers his up-to-date spiritual mentor from the church towers and remains, albeit briefly, the only ruler of the temple. The compromised hypocritical religious fanaticism can no longer withstand the harsh intellectual and emotional aspirations that fill the liberated people's spirit - liberty, justice, justice, and equality. Obviously, the final conclusions of the novelist Hugo have crystallized in the atmosphere of the rebellious boil in Paris in July 1830, when the same aspirations are chanted as enthusiastic passwords on the barricades. The most graceful assessment of this work by Hugo was pronounced by his eminent contemporary Lamartine: This is a colossal work, a real adobe stone pile. This is Shakespeare in the field of the novel, this is the epic of the Middle Ages. The only remark of the deeply religious reviewer is that the work does not feel sufficiently the presence of the Providence, and in the temple everything except a little religious jealousy ...

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