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《巴黎圣母院》英文版 Author’s Biography Victor Hugo was born on the 26th of February, 1802, at Besan?on, where his father, an officer in Moreau’s army, was commanding a battalion. His first three years were spent in Corsica; in 1805 his mother took her family to Paris, but rejoined her husband, at Avellino, in South Italy, in 1807. General Hugo, as the father presently became, was appointed a governor in Spain, from which the English under Wellington dislodged himself and his family in 1812. Returning to Paris, Victor was put to school until 1818, when he made up his mind that literature should be his profession. That he was still under classical influences was proved by his first volume, the 更多TXT下载，请到http://www.bbsxiaoshuo.com “Odes et Poésies” of 1822. It gained him a pension from Louis XVIII, and was followed next year by his earliest novel, “Han d’Islande.” The romantic movement now spread to France, and Hugo was one of its earliest adherents; he took the lead in revolt by publishing his “Odes” in 1826 and his “Cromwell” in 1827. It was in the preface to the latter that his famous formula of the Romantic faith was issued. He first took a place, however, among the leading lyric poets of Europe with his “Orientales” of 1829. This was a crowning year in Victor Hugo’s career; it saw the production of “Hernani” and the composition of “Marion Delorme” and “Le Dernier Jour d’un Condamné.” From this time forth his plays, novels, and lyrical poems were poured forth in three parallel and continuous streams. “Notre-Dame de Paris” was published on the 13th of February, 1831. For the next ten years the life of Victor Hugo was one of continual prosperity and ever-ascending fame. Among his dramas, “Ruy Blas” belongs to 1838, and among the collections of his poems “Les Voix Intérieures” to 1837. He was elected to the French Academy in 1841 and created a peer of France in 1845. He had been in sympathy with the Government, but when the Royalists fell and Napoleon arrived on the scene, Victor Hugo became a violent radical. As a member of the Legislative Assembly he opposed the Coup d’état, and was exiled at the close of 1851, taking up his residence in Brussels. Here the violence of his attacks on Napoleon III led to his expulsion from Belgium, and in the summer of 1852 he settled at St. Héliers, in Jersey, whence he sent out the fierce sheaf of “Les Chatiments” in the following year. Jersey, in its turn, became too hot to hold him, and in the autumn of 1855 he took up his abode at Hauteville House, Guernsey, where he resided for fifteen years. His occupation during the earlier part of his stay at Guernsey was the composition of “La Légende des Siècles,” the first portion of which appeared in 1859. Victor Hugo’s huge novel, “Les Misérables,” was published in 1862, and his fantastic work on Shakespeare in 1864. Two grotesquely romantic novels, “Les Travailleurs de la Mer” and “L’Homme Qui Rit,” belong respectively to 1866 and 1869. The Napoleon dynasty having fallen, Hugo immediately reappeared in France (September 5, 1870) and endured his share of the sufferings of the siege of Paris. After somewhat unsuccessfully acting a part in the politics of reconstruction, Hugo withdrew to Brussels, from which town he was driven in May, 1871, for his expressed sympathy with the Paris Commune. He now retired from the feuds of politics and devoted himself mainly to poetry, only one novel, “Quatre-vingt-treize,” 1874, belonging to this latest period of his career. From December, 1871, the residence of Hugo was Paris, where he lived with his widowed daughter-in-law and her children; in 1875 he was elected a perpetual senator. For fourteen years he enjoyed, in full serenity and strength, the splendours of an old age of extreme celebrity; it was said that he entered, during his lifetime, into immortality. In the spring of 1885 he took a chill while riding, as he loved to do, on the outside of an omnibus. His heart gradually gave way, and he died on the 22d of May. He received from the city of Paris a funeral of extreme pomp, and the Panthéon was prepared for his reception, after the coffin had been lying in public state, for twenty-four hours, under the Arc de Triomphe. E. G. Author's Preface To The Edition of 1832 The announcement that this edition was furnished with several fresh chapters was incorrect; they should have been described as hitherto unpublished. For, if by fresh one understands newly written, then the chapters added to this edition are not fresh ones. They were written at the same time as the rest of the work; they date from the same period, were engendered by the same thought, and from the first formed part of the manuscript of Notre-Dame de Paris. Moreover, the author cannot imagine adding new developments to a work of this nature, the thing being once finished and done with. That cannot be done at will. To his idea, a novel is, in a sense, necessarily born with all its chapters complete, a drama with all its scenes. Do not let us think there is anything arbitrary in the particular number of parts which go to make up that whole—that mysterious microcosm which we call a novel or a drama. Neither joins nor patches are ever effectual in such a work, which ought to be fashioned in a single piece, and so be left, as best may be. The thing once done, listen to no second thoughts; attempt no touchings up of the book once given to the world, its sex, virile or otherwise, once recognised and acknowledged; the child, having once uttered its first cry, is born, is fashioned in that way and no other; father or mother are powerless to alter it, it belongs to the air and the sun; let it live or die as it is. Is your book a failure? Tant pis, but do not add chapters to those which have already failed. Is it defective?—it should have been completed before birth. Your tree is gnarled? You will not straighten it out. Your novel phthisical, not viable? You will never give it the life that is lacking to it. Your drama is born lame? Believe me, it is futile to supply it with a wooden leg. The author is therefore particularly anxious that the public should know that the interpolated chapters were not written expressly for this new edition. They were not included in the previous editions for a very simple reason. When Notre-Dame de Paris was being printed the first time, the packet of manuscript containing these chapters went astray, so that they would either have had to be rewritten or omitted. The author considered that the only chapters of real import were the two dealing specially with art and history, but that their omission would in no way disturb the course of the drama; and that the public being unconscious of their absence, he alone would be in the secret of this hiatus. He decided then for the omission, not only for the above reason, but because, it must be confessed, his indolence shrank affrighted from the task of rewriting the lost chapters. Rather would he have written a new book altogether. Meanwhile, these chapters have reappeared, and the author seizes the first opportunity to restore them to their proper place, thus presenting his work complete—such as he imagined it, well or ill, lasting or perishable; but in the form he desired it to have. Paris, October 20, 1832. Author's Preface To The Edition of 1831 Some years ago, when visiting, or, more properly speaking, thoroughly exploring the Cathedral of Notre-Dame, the writer came upon the word ’ANáGKH1 graven on the wall in a dim corner of one of the towers. In the outline and slope of these Greek capitals, black with age and deeply scored into the stone, there were certain peculiarities characteristic of Gothic calligraphy which at once betrayed the hand of the medi?val scribe. But most of all, the writer was struck by the dark and fateful significance of the word; and he pondered long and deeply over the identity of that a