Book Frollo sketches bc I think he's a cutie pie
Book accurate af.
Cosmic Funnies
trying on a metaphor

No title available
Xuebing Du

tannertan36
styofa doing anything
Cosimo Galluzzi
we're not kids anymore.

祝日 / Permanent Vacation

No title available
Misplaced Lens Cap

@theartofmadeline
Sweet Seals For You, Always

★
NASA
Jules of Nature
2025 on Tumblr: Trends That Defined the Year

❣ Chile in a Photography ❣
No title available
Stranger Things

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United States
seen from United States
seen from United States
seen from United States

seen from United States
seen from United Kingdom

seen from Poland
seen from United States
seen from United States

seen from United Kingdom
seen from Brunei
seen from United States
@mercifulcarnifex
Book Frollo sketches bc I think he's a cutie pie
Book accurate af.
Finally I've found you. Great work, great artist.
"OH CLAUDE FROLLO IS HOT"
Ok don't attack me for this!
I'm sorry Claude Frollo simps... I need to talk to you nicely... He freaks me out, because I met men like him in real life and many women did. Dudes like him gave us trauma! Not only he is a predator, but he is also murderous one at that. I just need to understand, why would anyone like him... What's scary in this character is that he is realistic. I know you guys want him, but Esmeralda didn't want him at all! Can you imagine how creepy it must have been for her? And he is just like that in the movie... It's not an irony of him, it's not a subversion on him.... He is just... like this... Scary! Both versions of him (Disney version and a book version) are the same.
Look how cute Clopin is though!
You're absolutely right: he is scary. But they don't necessarily like Frollo as a character, but their PROJECTION onto him. Simping for a character often (not always) stays superficial, it's about vibe, aesthetic, fantasies. Maybe it's fun, but I personally don't do this anymore, because my approach to the fandom has changed. Maybe you're confused because this character is far too complex to be consumed in that simple "fangirly way", but as long as people don't take themselves too serious or build their whole identity around a character...🤷♀️ Trying to at least understand serious literature and the character as an ART FIGURE is still the bare minimum for REALLY engaging with CLAUDE FROLLO and VICTOR HUGO'S WORK. That is my take, stay safe. ΑΝΑΓΚΗ is everywhere.
Draw Phoebus and Claude Frollo from the novel 🤫🤝
Oh dear!
✨️❤️⚰️
3 AM, time to paint Frollo
Principal Claude Frollo, Sketch #1
"Were there any men?"
Okaaaay, this had become an interregation...
"I-yes. There were men. And women. Families. It was a tourist-"
"Late have I loved you, beauty" he interrupted, "so ancient and so new-"
He was breathing out those words, you wouldn't even hear them if you wouldn't stand right next to him like she was.
Her mentor was quoting Augustine at her.
And the poor girl heard everything.
"Late have I loved you." ----"
(CHAPTER 5: St. Augustine's Pinky Promise)
https://archiveofourown.org/works/72770646/chapters/212625411
Yeah, I've written an AO3 fic about this guy.
Check it out! Would love to hear your thoughts in some comments <3 Thank you so much.
TRIGGER WARNING, because of sexual undertones and... Frollo's thoughts.
Father-daughter dynamics. Esmeralda & OC & Frollo. He destroys everything.
Every main character is 18+.
Trigger warning:
Psychological mobbing, racist slurs (use of the G-word), slut/ body shaming, inappropriate sexual remarks
This is an Ao3 fic.
The Hunchback of Notre Dame.
Modern AU. 90s Catholic Highschool Edition.
Every character is 18+. Trigger warning, because of sexual undertones and... Principal Frollo's thoughts.
Father-daughter dynamics. He destroys everything.
Sara Esfahani is my OC. All rights to the other main characters belong to Victor Marie Hugo.
Link:
https://share.google/fbsefR071inTJEVAe
CHAPTER 4: RED STAINS
Everything at Notre Dame High was strictly guarded and controlled by Frollo’s bony, elongated fingers. They seemed to be everywhere, lingering, pulling the strings here and there. One could feel his presence.
In the auditorium, the hallways, the stairwell, the teachers’ lounge, even in the courtyard.
And yet… there were exceptions.
The girls’ bathroom.
A place every female student from first grade to twelfth grade entered. Rarely alone, more often in groups.
A place you could go when you needed a little privacy, a little quiet.
A place that technically reeked of piss and the metallic aftertaste of old pipes, but which the girls skillfully drowned in cheap perfume and even cheaper floral soap.
A refuge. But sometimes also a battlefield.
Here you chatted, touched up your makeup, cried in one of the stalls, or fought other girls. You either belonged to one side or the other.
And Sara and Esmeralda stood right in the middle of it.
Esmeralda wrinkled her nose. She always did when she entered this place. The smell awakened too many bad memories, made her nauseous all at once.
Sara had gone ahead of her and was now washing her hands.
The afternoon light filtered through the frosted window, casting pale shadows onto the dark green walls.
“I hate this place,” Esmeralda said, leaning against the cold wall behind her. Her arms were crossed as she looked toward the opening that led to more than twenty stalls lined up side by side.
Sara washed her hands. Twice with soap. Twice rinsed. Thorough. Clean. Proper. Her hands hovered beneath the water longer than necessary.
The girl chuckled a bit.
“Oh come on. It used to smell worse. Now it smells more like a perfume department in hell.”
“I don’t necessarily mean the bathroom, dummy,” Esmeralda added, now impatient.
Their eyes met.
Sara turned off the hissing water.
Her cheeks were still flushed, her jaw tense.
There was no point in hiding anything here.
She gripped the cool porcelain edge of the sink, holding eye contact through the mirror. Then she pressed her lips together and looked at her own reflection.
No friendly smile, no mask anymore.
Only worry.
Only anger.
Only confusion.
Only that question:
Who was the person looking at her?
Of course Sara had tried to ignore it.
The assembly. All the stares. The whispering. Frollo’s voice echoing in her head like a damning church bell, and now Esmeralda’s gaze drilling into the back of her skull.
There was something else, too.
A bright ruby red.
Full lips that some young girl had pressed into the upper right corner of the mirror.
Without realizing it, Sara touched her own lips with her fingers.
She couldn’t even manage a smile, couldn’t make some amused remark about someone’s apparently successful practice session in Advanced Kissing on that cleaned up mirror.
Everything felt weird. An uncomfortable feeling in her gut.
“Everything okay?” Esmeralda asked.
“I’m fine,” Sara said automatically and let her hand fall abruptly, still standing in front of the sink.
Water dripped from her fingers onto the tiles beneath.
“Sure. Fine. Because that assembly was completely normal… Nothing strange about the principal screaming about whores and damnation for twenty minutes.”
Sara shot her a sharp look through the mirror. “He was… passionate. He cares about us. About protecting us—”
“From what, Sara?” Esmeralda pushed herself off the wall and stepped closer. “From life? From having fun? From being normal teenagers?”
“That’s not what he meant. You misunderstand him, Esme.” Sara finally turned toward her. “He’s worried about moral decay, about us losing our way. He wants to protect—”
“Protect you, you mean.”
Okay.
That hit.
Sara turned away. With an abrupt movement, she tore a paper towel from the dispenser and dried her hands with meticulous care.
Her face remained unreadable, but inside that uneasy feeling got stronger.
“What is that supposed to mean?”
Esmeralda opened her mouth, then closed it again.
“‘What is that supposed to mean’? Sara, you can’t be serious. Whatever you're thinking about, you need to think QUICKER. This is no joke. Just Listen to me. Not him, me. Why are you so, so— Ughh..."
The Romani girl let out a deep sigh, her expression almost tortured.
She didn’t know how to tell her friend what she had seen.
Sara simply stared at her. Serious. Focused for the first time since IT happened.
Alright, no fighting. Not now.
Esmeralda tried to calm herself.
There were too many things haunting her own mind now: the way Frollo’s eyes had followed Sara throughout the entire speech, the tremor in his voice, the way he had practically declared Esmeralda his ultimate enemy in his heavenly crusade. While at the same time looking at Sara as if she were both the blazing angel of his redemption and the most horrifying thing on earth. His own damnation.
This old man was absolutely sick in the head and she knew it.
“Listen,” Esmeralda said carefully, taking a deep breath. She had to improvise. “I just think… maybe you shouldn’t be alone with him right now. He seemed… not himself. More than usual.”
“Not himself?” Sara asked, frowning. She had now fully turned back to her friend.
“Intense. Angry. I don’t know… just strange! Even more than usual!” Esmeralda ran a hand through her lush curls, frustration creeping into her voice. “You saw how he reacted to Clopin. A year of detention for being late? That’s batshit crazy—even for him!”
“He isn't crazy. It's called stressed, overworked, annoyed, angry, obsessed with rules and morals. Clopin called us hot in front of the whole school, remember?” Sara countered, though her voice was a little softer now. She folded the paper towel into smaller and smaller squares. “You know what Monsieur Frollo is like—he hates profanity. And that sign… ‘Welcome to Hell’… He had every right to be angry. It is his—no, our school. We should respect one another here. Besides—”
She crumpled the used towel in her fist and tossed it into the trash with force. A perfect shot. Then she looked Esmeralda straight in the eyes again. “—he only threatened him with a year. In the end he only got one month.”
Wow, Sara. You just turned your absolutely creepy headmaster into an misunderstood Saint.
Basically what almost every adult in this school does.
Is that what people call growing up?
Pretending?
As if that righteous Stick-in the ass wasn’t already full of himself.
I can't stay quiet anymore.
Gritting her teeth together Esmeralda stepped closer.
“That’s not the point at all! He wasn’t just angry at Clopin." Then she lowered her voice. "Sara, he practically declared war on me in that assembly. On me personally: temptress, troublemaker, corrupter… whore!” She shook her head as she repeated Frollo’s words, her wild curls framing her face. “He might as well have pointed at me and shouted, ‘Arrest that gypsy girl!’ It just wasn’t normal.”
The desperate girl emphasized every single syllable.
Meanwhile, Sara’s gaze had drifted back to the mirror, right to the lipstick mark.
It was as if she were struggling with something.
The wheels in her head turning. Her eyebrows drew together in concern.
For a brief moment, the only sound was the loud, echoing drip of a faulty faucet.
Esmeralda pressed her lips together, staring at her best friend.
What are you thinking now, girl?
As if she had heard the question, Sara sighed deeply.
Then she reached out and touched Esmeralda’s arm. “Esme, he wasn’t talking about you. He was talking about… societal pressures, about—”
“I know what he was talking about.” Esmeralda’s jaw tightened. “And you should too. Every time he said ‘bad influences’ or ‘seducers,’ he looked straight at me. And then he looked at you. As if I were some kind of demon dragging you to hell.”
“That’s ridiculous—”
“Is it?” Esmeralda’s voice cracked slightly. “Sara, I know that man has hated me since we were kids. But today was different. Today he made it public. In front of everyone.” She swallowed hard. “I have a bad feeling, okay? I’m afraid of what he might do—”
Esmeralda stopped short when she saw Sara’s face darken, her focus shifting to something behind her.
She blocked it all out. Nothing could come past that invisible wall.
Oh no no no no no, you will not block ME out now.
“Saraaa! Are you even listening to me?”
Then she heard it too: footsteps.
Click-clack. Click.
Click-clack. Click.
What followed was a sweet little hum: "Hmmhmhmmm.~"
Out of reflex, Esmeralda stepped aside to give the person behind her access to the washbasin.
Before she could continue lecturing her friend, she recognized her.
Her blonde hair caught the light as she entered, as if the room were her personal kingdom.She washed her hands slowly, deliberately, then walked to the paper towel dispenser, hips swaying.
Sara and Esmeralda stood frozen. Only their eyes moved, following her.
Carefully, the figure dried her hands before planting her fists against her sides and glaring at the two friends.
She lifted her chin.
Fleur de Lys.
“Oh my, oh my… what do we have here?
Sweet petite Sara and the Whore of Babylon herself. Why so quiet all of a sudden?”
“This is a private conversation. Stay out of it, Fleur,” Sara replied emotionlessly.
“Oh, is it now? Hmm… Well allow me to make a remark. You did seem pretty lost in… thought. Didn’t even see me coming because of it. I'm just a little curious, you know.”
An amused undertone slipped into Fleur’s mocking voice.
Esmeralda turned towards Sara, shielding her and added curtly: “Leave.”
“Ah, ah, ah—where are your manners? I’m hardly surprised that with such… uncivilized behavior, you manage to drive the big scary principal into a rage."
She tilted her head a little.
"Let me just say... that that was bold of him. Very bold."
A pause. Then a soft, almost approving hum.
"But you know, I actually liked it. ”
She smiled sweet and polished. So fake.
“And what exactly is that supposed to mean?”
Sara’s voice was ice cold.
Her cheeks heated again. Something flashed in her eyes. Outrage...? More than outrage?
The blonde girl sighed theatrically and placed a hand over her heart.
“Oh, little Sara, if only you knew. Word is Monsieur Frollo is making new plans. It's about time to restore proper order in this house. It’s been so… chaotic lately. He cares so heartbreakingly about our school community. A wonderful man. And so...... manly, don’t you think?
But what can one do when sons and… daughters grow rebellious?
Sometimes you simply have to give special attention to the… most lost of sheep.”
Sara pressed her lips together. But she didn’t move.
Noticing, Esmeralda pulled her closer and whispered from behind, “She’s trying to get inside your head.”
But her best friend seemed to be somewhere else again.
Fleur crossed her arms.
“Cat got your tongues?”
Suddenly the stall door slammed open with a sharp crack against the wall.
All three spun around.
Marie and Colette—two equally perfectly made-up faces glued to Fleur de Lys like accessories—entered the girls’ restroom.
Colette strutted around her friend and stopped beside her.
“Fleur, your… boyfriend is looking for you.~ I think he misses his lady.~”
She leaned her leggings-clad butt against the sink, purple leg warmers crossing at the ankles.
A grin stretched across her face—one she seemed to steal straight from Fleur in that very moment.
“Ugh. He can wait,” Fleur replied simply, rolling her eyes.
Marie was the first to notice Sara and Esmeralda.
“Oh… hiiii.” She wiggled her fingers in mock greeting.
“What a surprise. The stars of the school.”
The redhead shot them an almost seductive look—if it weren’t for that Cheshire-cat grin so characteristic of their group.
Like a ballerina, she hopped to Fleur’s side.
3 girls seemed to be one now.
Elegance would be the first word to describe them at first glance.
Facade would be the second.
Colette squealed like a fangirl and shook Fleur’s arm as she pointed at Esmeralda.
“Look de Lys, look! The Whore of Babylon in person! Oh, we’ve waited so long to make your acquaintance, Miss.”
She made a dramatic gesture toward the ceiling.
Marie giggled. Fleur snorted.
“Oh yes. Hours. Days!”
The pretty blonde girl joined into Colette's ridiculous game.
“So tell me, Chantefleurie, how does it feel to be publicly condemned by the principal? In front of the entire school?”
Fleur stepped forward, holding her fist up to Esmeralda like an imaginary microphone.
“The students of Notre Dame High are DYING to hear more about the recent events. We are your biggest fans! Oh—and the boys especially. What’s that saying again? A whore always has room for more than three.”
Unrestrained giggling erupted behind her.
Fleur’s blue eyes slid from Esmeralda to Sara and back, eager to devour even the smallest reaction.
Esmeralda slapped Fleur’s hand away.
“Get lost if you don’t need to piss, de Lys. We have something to discuss.”
A hiss.
Fleur’s smile froze into ice. Her hand itching from the slap.
“This is a public restroom, gypsy. I have just as much right to be here as you.”
Then she turned back to her girls, running a hand through her smooth hair. With the innocence of a child she added, pouting:
“Although according to Monsieur Frollo, you don’t have much right to be around decent people, do you?”
“Fleur, please—” Sara began, but Fleur’s attention snapped to her like a predator sensing movement.
From the back, Colette chimed in,
“Ooooh, careful Fleur, she might start begging on her knees.”
Fleur’s grin widened. She closed her eyes and lifted her hands.
“Okay, okay. I’ll be quiet. I don’t want something happening to me because I didn’t obey Saint Little Miss Scarhand.”
Marie added awkwardly but just as viciously,
“And- And imagine her running straight to her Papá afterward!”
Sara’s face flushed deep red. She clenched her teeth and stepped out from behind Esmeralda.
“What did you just say?”
Marie’s smile faltered as she heard the pure wrath in Sara's voice, but Fleur didn’t let up.
“Oh, you heard correctly. Our little favourite girl has grown so pretty… despite… everything.”
Her gaze dropped deliberately to Sara’s scarred hand, now clenched into a fist.
“Tell me—does it make you feel special? All that… attention from the principal?”
Small lines of anger formed between Sara’s brows. She grabbed Esmeralda’s arm instinctively, making sure neither of them moved—even though she herself was seconds from exploding.
She thought of that morning. Of him.
Don’t overreact. That’s what she wants.
“Nothing to say? Really? Ow come on. Everyone saw it. The way he kept looking at you during assembly. Like you were the only person in the room.”
Fleur inspected her nails with exaggerated indifference.
“That’s almost… inappropriate, don’t you think? A man his age staring at a student like that?”
“That’s enough,” Esmeralda snarled. Her whole body vibrated with barely restrained fury. “You have no idea what you’re talking about.”
Beside her, Sara began to tremble. Not from fear. From rage.
“Really?” Fleur’s smile widened. She let her gaze drift over their curves.
“Body language doesn’t lie, you know. You’ve both… grown, huh? The boys can hardly keep their hands off you. No wonder, the way you put yourselves on display. Poor, poor Clopin. A whole month cleaning because he couldn’t keep his hands off you. Bit of an overreaction, don’t you think? Unless, of course, our dear principal is… jealous.”
The word fell like a stone into still water.
“You’re disgusting,” Esmeralda hissed, looking ready to strike.
But Sara grabbed her shoulder too.
Don’t overreact… Don’t let her win… Don’t disappoint Monsieur Frollo…
“I’m observant,” Fleur countered lightly, turning to her friends. “Come on, girls. The air in here is getting… unclean.”
“Bye, losers!” Colette called, making an L-sign over her forehead.
“And don’t forget protection!” Marie added. “Especially you, Saint Cicatrice! We wouldn’t want you losing your... honor!”
Shrill laughter.
Fleur followed them but paused at the door, glancing back over her shoulder.
“Oh, and Sara? A little advice. Men like Frollo—men who see themselves as saviors? They’re the most dangerous. Especially when they think they own you, sweetie. But I suppose you already have… cultural experience with that, hmm?”
The door swung shut behind them. Their hyena-like laughter echoed down the hallway.
Silence remained.
Sara stood frozen. Pale. Then red. Then pale again.
“That bitch—” Esmeralda began.
“No.” Sara’s voice was tight, controlled. “She’s just trying to provoke us. That’s what she always does. We’re not falling for it. Not this time. Never again.”
She took a breath.
“Never again.”
“Sara, don’t you think Fleur—”
“She’s wrong,” Sara pressed out. “She doesn’t-- she doesn’t know…”
She clutched her own hand. To protect it. To hide it. To steady herself.
“She has everything. A family. Security. Money. A beautiful big house. People who would do anything for her. Everything.
She doesn’t know what suffering is. The pain of waking up and asking yourself why nothing ever changes.
She doesn’t know what it’s like when your limbs ache so badly from exhaustion you think they’ll tear apart.
Staying up so long studying your head feels like it’ll burst.
Being woken at night by a crying baby, a parent in distress.
Feeling hungry, that horrible ache in your belly.
She doesn’t know what it’s like to feel the sun on your skin after darkness and think—despite everything— I’m alive!
To run into someone’s arms—a mother, a friend, a brother, a lover, a father—and that being your only home, your only safety.
She knows nothing. Nothing at all.
She doesn’t know you. She doesn’t know me. She doesn’t know him.”
Her voice softened. Her gaze drifted from the lipstick mark on the mirror to the small bright window high on the wall. Noon sunlight flooded the room.
“Who believed in me back then? Who saw me when I was nothing?
Monsieur Frollo was there.
He was always there.
I fell—he helped me up. I was dull and sad—he looked into my soul and then he knew.
He was strict, sometimes cold—but then he would smile at me. Soft. Warm.
He always understood.”
Esmeralda turned toward her.
“Sara—”
“Frollo." Sara cut her off with his name. "He isn’t… he isn’t what she says. He never… he always protected me. Encouraged me. Took me seriously. Without him I… I wouldn’t be here.
She doesn’t know how he saved Quasimodo. She doesn’t know how he gave me books my father would have loved. She doesn’t know how he looked at me when I was nine—not like- like now, but… like a person. The first adult who ever treated me like one.”
She inhaled. Her eyes glistening.
“She’s trying to take that away from me. To make it ugly. I won’t let her.”
Esmeralda went silent.
Fuck.
“You’re planning to visit him now. Don’t you?”
Sara smiled.
“I have to. I want to… fight....
Her?... Him? I don’t know to be honest.”
A bitter laugh from Esmeralda.
“You’re the craziest person I know. Right after the old man and that bitch."
Silence. Esmeralda had no other choice then to give in right now.
"But if you think you can talk to him… I can’t stop you. Not now.”
She was being honest.
The next second without warning, Sara wraped her arms around Esmeralda’s neck and pulled her into a brief embrace.
“I promise I will survive. We will clean everything up after fighting.”
"I have no idea what you're talking about." Esmeralda mumbled while Sara released her again, grinning like the scene with Fleur didn’t happen.
"You know, like Clopin after he makes a mess."
"Stop speaking and go visit the endboss. You don’t want him to activate his 'Sara, you are late' stare."
A light giggle from Sara.
Then she added:
"Effect: Hypnosis and ultimate guilt for 30 seconds. I need to hurry! See you later, teamplayer."
In the next moment, she pushed the door open with her shoe toe and ran down the hall.
Esmeralda remained, closing her eyes.
“Damn it…”
Happy lunar new year
He lost no nut November....
I am deeply sorry for this, it wasn’t my idea.
Notre Dame de Paris and the actual meaning of Victor Hugo's ΑΝΑΓΚΗ: Claude Frollo's self-deception, ΑΝΑΓΚΗ vs. FATUM and the foreign "Other"
"A language does not become fixed. The human intellect is always on the march, or, if you prefer, in movement, and languages with it."
—Victor Hugo, Cromwell (Preface) 1827
ΑΝΑΓΚΗ (Greek) can be best translated as "necessity". But a simple translation cannot explain the cultural and religious meaning with which this Greek word is heavily loaded. We will get to this later.
A fact which is often misunderstood is that Victor Hugo’s and Frollo’s perspective and understanding of ΑΝΑΓΚΗ is the same.
It isn't.
Victor Hugo: "La fatalité d’Hernani n’est pas la mienne. Le poëte n’est pas le personnage. Je serais donc alors tous mes personnages ?"
(translation: “The 'Fatalité' of Hernani is not mine. The poet is not the character. So am I then all my characters?", Letter to monsieur Durandeau, 1861)
Let's compare Frollo and Hugo first, because this is extremely important.
The author’s political and historical perspective on ΑΝΑΓΚΗ:
"Victor Hugo explained its meaning in March 1866, in the preface to Toilers of the Sea:
“A triple Ananke weighs upon us: the Ananke of dogmas, the Ananke of laws, the Ananke of things.”
In Notre-Dame de Paris, he denounced the first; in Les Misérables, the second; in this book, he indicates the third. To these three fatalities that envelop humankind is added the inner fatality, the supreme Ananke, the human heart. Here we see the link that unites Victor Hugo’s three great novels. He returned to this theme in a letter to the journalist Durandeau:
“Whenever necessity encroaches upon freedom and oppresses it, it is called ‘fate.’ The poet denounces this abuse of the unknown. This is what I do in Notre-Dame de Paris, in Les Misérables, in Toilers of the Sea.” (July 11, 1867)
Hugo speaks about a triple Ananke with which oppressors or oppressive systems legitimize the oppression of freedom. It is "the abuse of the unknown." (Link to the full article below)
This seems to be a philosophical and political project of Victor Hugo: to debunk the abuse of ΑΝΑΓΚΗ through his works and to push people to fight for freedom. We must remember that he was an activist for the marginalized, for the workers and slaves of the world.
Notre-Dame de Paris is still a social critique, not a moral story. Hugo’s view of ΑΝΑΓΚΗ is seen through this lens.
The fact that ΑΝΑΓΚΗ was allegedly engraved on a wall in the cathedral is probably invented by Hugo, which speaks volumes about his views: ΑΝΑΓΚΗ is something (everything which threatens free will/ freedom) created by humans.
His character Claude Frollo is a high-ranking clergy member, someone with power and ideological knowledge. As an oppressor and an instrument of the state, he abuses the concept (through the invented ΑΝΑΓΚΗ narrative) to legitimize the first.
But Frollo also fights against the ΑΝΑΓΚΗ (of Dogma, laws, societal expectations, his heart which he cannot control etc.) and he looses that fight in contrast to Jean Valjean (Les Miserables) for example, whom Victor Hugo mentions in one sentance with our priest:
"Le poëte dénonce cet abus de l'inconnu. C'est ce que j'ai fait dans Notre-Dame de Paris, dans Les Misérables, dans Les Travailleurs de la Mer.
Au nom de qui cette dénonciation? Au nom de la liberté.
Ananké ! Voilà ce que combattent Claude Frollo, Jean Valjean et Gilliatt."
Translation: "The poet denounces this abuse of the unknown.
That is what I did in The Hunchback of Notre-Dame, in Les Misérables, in Toilers of the Sea.
In whose name is this denunciation? In the name of freedom.
Ananke! That is what Claude Frollo, Jean Valjean, and Gilliatt fight against."
Claude’s understanding of ΑΝΑΓΚΗ:
ΑΝΑΓΚΗ vs. Fatum
What does Frollo’s ΑΝΑΓΚΗ mean to him?
"And he [Claude Frollo] flung away the hammer in a rage. Then he sank down so deeply on the arm-chair and the table, that Jehan lost him from view behind the great pile of manuscripts. For the space of several minutes, all that he saw was his fist convulsively clenched on a book. Suddenly, Dom Claude sprang up, seized a compass and engraved in silence upon the wall in capital letters, this Greek word ἈΝÁΓΚΗ.
“My brother is mad,” said Jehan to himself; “it would have been far more simple to write Fatum, every one is not obliged to know Greek.”
The archdeacon returned and seated himself in his armchair, and placed his head on both his hands, as a sick man does, whose head is heavy and burning."
FROM: BOOK 7. CHAPTER IV. ΑΝΑΓΚΗ, NDdP (Victor Hugo)
Jehan asks the crucial question: Why not the Latin FATUM?
After all, it is the language most people who could read and write at that time would understand.
Because Latin belongs to Frollo, as a priest, the Latin language and culture are something familiar to him: Latin, from his POV as a priest, is a part of him.
Also, the word Fatum is tied to the Christian God Jesus Christ, because it is seen within the framework of Providentia Dei (divine providence), which surpasses Fatum and works through it.
Dom Frollo, however, suffers a crisis of faith as a priest torn between duty and passion. He must use the word connected with the pagan goddess Ananke (even stronger than Zeus) in Greek.
He carries his entire inner conflict (between duty and passion) in other languages: he turns to Jewish Kabbalah, reading its mystical texts in Hebrew, and at the end of Notre-Dame de Paris even desperately to the Indian philosopher Menu, whose philosophy depicts women as the highest honorable beings (Frollo intellectually agrees, but immediately feels ashamed because he does not live this theory in practice, and is not "in control," bringing us back to his societal position, expectations which condemn his feelings and power structures).
Thus, Frollo, as one of the very few scholars in Paris who understood "the language of pagan gods, from Dionysus to Apollo," writes "ΑΝΑΓΚΗ" (Fate, compulsion) on the wall of his dark cell, while Esmeralda dances Italian sarabands below in the sun.
ΑΝΑΓΚΗ represents compulsion, a force against which one can do nothing. It is associated with Greek pagan culture and therefore foreign to him, like Esmeralda or his passions, which he refuses to acknowledge as part of himself:
"Then I perceived the snare of the demon, and I no longer doubted that you [Esmeralda] had come from hell and that you had come thence for my perdition. I believed it. I believe it still [...] Yes, dating from that day, there was within me a man whom I did not know."
FROM: BOOK 8. CHAPTER IV. LASCIATE OGNI SPERANZA -Abandon all hope
Fatum would force him to acknowledge his free will through Jesus Christ and take full responsibility for his passions and actions.
"Perhaps I might have renounced it; perhaps my hideous thought would have withered in my brain, without bearing fruit. I thought that it would always depend upon me to follow up or discontinue this prosecution. But every evil thought is inexorable, and insists on becoming a deed; but where I believed myself to be all powerful, fate was more powerful than I. Alas! ’tis fate which has seized you and delivered you to the terrible wheels of the machine which I had constructed doubly."
FROM: BOOK 8. CHAPTER IV. LASCIATE OGNI SPERANZA -Abandon all hope
ΑΝΑΓΚΗ allows him to portray himself as a victim of higher powers—even though he knows it is nonsense.
Instead of accepting that he is both victim and predator and confronting his inner struggle, he convinces himself he cannot act because a higher power (ΑΝΑΓΚΗ) is influencing him.
But Frollo is not a fool; he is not superstitious.
He knows it is nonsense, which is why he blushes when Jehan mentions the Greek word on his wall:
"The scholar raised his eyes boldly. “Monsieur my brother, doth it please you that I shall explain in good French vernacular that Greek word which is written yonder on the wall?”
“What word?”
“ἈΝÁΓΚΗ.”
A slight flush spread over the cheeks of the priest with their high bones, like the puff of smoke which announces on the outside the secret commotions of a volcano. The student hardly noticed it.
“Well, Jehan,” stammered the elder brother with an effort, “What is the meaning of yonder word?”
“FATE.”
Dom Claude turned pale again, and the scholar pursued carelessly.
“And that word below it, graved by the same hand, Ἀνάγνεία, signifies ‘impurity.’ You see that people do know their Greek.”
And the archdeacon remained silent. This Greek lesson had rendered him thoughtful."
FROM: BOOK 7. CHAPTER IV. ΑΝΑΓΚΗ, NDdP (Victor Hugo)
FATUM = fate (connected to Christian culture and God)
In the English translation, Jehan renders
Fatum as fate = general destiny.
In the German translation it is Vorsehung= Providence (like providencia- the "Roman Ananke")
In the French translation, it is FATALITÉ = negative, even deadly fate.
In this scene Jehan exposes him without meaning to: he is like a mirror to him.
His little brother literally tells him (unknowingly): You -as a priest- are betraying your God for a pagan one. Your thoughts are impure:
It can only lead to fatalité.
Frollo blushes, becomes pale and ultimately remains silent: From a Christian point of view it is the truth. And for a moment he sees the consequence of this.
Only to.......
reflect on the fate of a fly eaten by the spider in the next scene. He paints this as something which cannot be prevented (deadly fate, Fatalité).
And again he fails to accept that he has free will.
The "Spider and the Fly" metaphor perfectly captures his duality: he is both predator (Spider) and passive victim (Fly) of his OWN created web.
It's not about good and evil here. Hugo wasn't interested in this.
Our Archdeacon is a fanatic, a hypocrite, and a murderer (Esmeralda: "Assassin!") AND a loving brother, father, and intellectual genius.
He is a curious and romantic soul internally, a gloomy, cruel Archdeacon externally—both at once.
"Thou art the Spider, Claude! Claude, thou art the Fly also."
That is the full complexity of this character. The tragedy is that this sensitive, brilliant man deceives himself and others, calling it ΑΝΑΓΚΗ.
It is human and understandable, but not excusable. We can show empathy with him, as Hugo intended (not only towards Esmeralda and Quasimodo, but towards out priest also), but he cannot be portrayed solely as a victim of circumstance.
He was both predator and victim, too weak to resist the temptation of ΑΝΑΓΚΗ as Victor Hugo understands it (the ΑΝΑΓΚΗ of systematic dogma, law, things and the inner heart against which humans need to fight).
Frollo could not face the fact that he had free will, even if he knew he had. He didn’t want to fight.
He swings from recognizing that he himself is at fault:
"...in making himself a priest, [he] made himself a demon," (BOOK 9. CHAPTER 1: Delirium)
"Thou art the spider, Claude!" (BOOK 7. CHAPTER IV. ΑΝΑΓΚΗ)
"Cain, what hast thou done with thy brother? What have I done with him, Lord? I received him, I reared him, I nourished him, I loved him, I idolized him, and I have slain him!"
(BOOK 11, CHAPTER 1 THE LITTLE SHOE)
to externalizing his guilt:
"He cast a haggard eye over the double, tortuous way which fate had caused their two destinies to pursue up to their point of intersection, where it had dashed them against each other without mercy,"
"Claude, thou art the fly also!"
"[...] because of this woman, because of her."
His relationship with Esmeralda and his role as Archdeacon +
Conclusion:
Behind all his projections and attributions to the exotic "Other", including his ΑΝΑΓΚΗ, lies the systemic:
Frollo perceives himself as a tragic, loving savior, but in the end, he is merely the executioner of a system that allows him only a limited range of choices:
1. He can eliminate the “object woman” (Esmeralda), who renders him functionally incapable as a priest, in order to preserve himself and maintain the system.
Religious justification: temptress, witch, etc.
Or
2. He can possess her in order to control and domesticate her (and thereby keep her away from the society she “threatens”, which would ALSO serve the medieval feudalist system), but in doing so, he risks his position and becomes a renegate. This act of possession can then be framed as "romantic", while constantly being pursued by the authorities, ultimately suffocating Esmeralda herself on the way. After all then they are man and woman: he “saves” her, she “saves” him, until he realizes that, due to his internalized thinking (moral system, his time, limited knowledge etc.), it cannot work—and he spirals again.
Anything else is excluded by the systemic conditions.
For Hugo, the enemy to be fought is the oppressive ΑΝΑΓΚΗ of dogmas and of the human heart. Frollo turns this into his own personal alibi-Ananke. He hides behind the foreign word in order to escape the responsibility that the familiar FATUM (providentia dei) would have demanded of him.
He refuses to acknowledge that he has free will and that he actively uses that will in the service of the political order (even if he “loves” Esmeralda, she is still someone whose mere existance is a treat. Half of Paris was "bewitched" by her. And if it werent for Frollo, anyone else with power would have eliminated her).
He calls his struggle “ΑΝΑΓΚΗ” (necessity), and he does so in a foreign language because he projects his passion onto the foreign—both the culture and Esmeralda.
He could have ignored her, but he blocked that path through his own choices throughout his entire biography.
His parents confined him to university from a young age so that he would become a priest, and after being left alone with his younger brother, he always acted within the prevailing system: sacrificing himself for "Jehan's sake", suppressing his feelings, and working his way up to become Archdeacon to provide Jehan with a “comfortable life.”
And in the end, this man—this destroyed, once innocent soul— ultimately failed.
(I tried to stay as neutral as possible, even if Frollo is my favourite. I wanted to potray him as the complex, flawed and human character he truly is without idealizing him into something he is not. Would love to hear your thoughts. Thank you for reading. Until next time.)
Sources and other stuff:
Victor Hugo’s letter to the Journalist Durandeau 11th July 1867 (in French):
Correspondance de Victor Hugo/1867 - Wikisource https://share.google/LY7bqc0dqy7qxIiCy
Victor Hugo about his works ΑΝΑΓΚΗ (in French, article):
https://share.google/j1Cmk0bbeHrKr5bc5
https://www.gavroche.org/vhugo/cromwellpreface.shtml (Preface, Cromwell, Victor Hugo, 1827)
https://www.gutenberg.org/files/2610/2610-h/2610-h.htm (Notre Dame de Paris English translation from Gutenberg, Victor Hugo, 1831)
https://www.gutenberg.org/cache/epub/19657/pg19657-images.html (Notre Dame de Paris french translation from Gutenberg, Victor Hugo, 1831)
Roman Godess Providentia:
https://en.wikipedia.org/wiki/Providentia
The greek Godess Ananke:
https://www.theoi.com/Protogenos/Ananke.html
FATUM: https://fiveable.me/key-terms/world-literature-i/fatum
Boethus: The Consolation of Philosophy, Fate and Providence 1 (Book IV, Prose 6):
https://sourcebooks.web.fordham.edu/source/con-phil.asp
"This leads to the conclusion that all things subject to Fate are in turn subject to Providence; therefore, Fate itself is subject to Providence."
Claude Frollo. °‿°
God bless you, I LOVE this more than anything I have ever seen in my life.
King Louis XI. The Clever or Cunning One, The Spider (1461-1483)
||||| Short Analysis ||||| Understanding Disney Frollo
You can already see that he’s quite sneaky XD
The King would’ve deserved an appearance in the Disney film, since his politics essentially fuel Frollo’s schemes.
The king was afraid of the nobility and the dukes of Burgundy, Brittany, and so on.
That’s why Paris had to be kept stable and quiet (our judge may only be a fictional character, but in the end, even in the story, it’s the king who is the real puppet master, shamelessly exploiting Frollo’s fanatical religiosity and his tireless work ethic).
The “Gypsies” then become the perfect scapegoats whenever something goes wrong economically or when people are starving.
And if people complain about the strictness with which Paris is ruled, their grievance letters don’t go to the king, but to the Minister of Justice, Frollo, who in turn shields the rulers from criticism.
(In the novel, Louis XI. appears in disguise under the name of “Compère Tourangeau” to ask Dom Frollo for a medicine, because of his sickness. He died in 1483. Frollo didn't gave him any medicine, but a cool quote of Iamblichos XD)
"Medicine is the daughter of dreams."—JAMBLIQUE
(BOOK FIFTH.CHAPTER I. ABBAS BEATI MARTINI. Notre Dame de Paris)
Archdeacon Claude Frollo (Victor Hugo, Notre Dame de Paris, 1831) Disney Artstyle Version.
I followed the canon description. We lost.
Marche Slave, Op. 31, TH 45- Tschaikowsky
19 year old Claude Frollo and his little brother Jehan. The Hunchback of Notre Dame (Victor Hugo).
"He threw himself, therefore, into the love for his little Jehan with the passion of a character already profound, ardent, concentrated; that poor frail creature, pretty, fair-haired, rosy, and curly,—that orphan with another orphan for his only support, touched him to the bottom of his heart; and grave thinker as he was, he set to meditating upon Jehan with an infinite compassion. He kept watch and ward over him as over something very fragile, and very worthy of care.
He was more than a brother to the child; he became a mother to him."