■巴黎圣母院
The Hunchback of Notre Dame
◎Victor Hugo/维克多·雨果
Oh, love, that is to be two and yet only one—a man and a woman blending into an angel—it is heaven!
We have already said that Quasimodo disappeared from Notre-Dame on the day of the death of the gipsy girl and the Archdeacon. He was never seen again, nor was it known what became of him.
In the night following the execution of Esmeralda, the hangman’s assistants took down her body from the gibbet and carried it, according to custom, to the great charnel vault of Montfaucon.
Montfaucon, to use the words of Sauval, was “the most ancient and the most superb gibbet in the kingdom”. Between the faubourgs of the Temple and Saint-Martin, about a hundred and sixty toises from the wall of Paris and a few bow-shots from La Courtille, there stood on the highest point of a very slight eminence, but high enough to be visible for several leagues round, an edifice of peculiar form, much resembling a Celtic cromlech, and claiming like the cromlech its human sacrifices.
作品导读
喔！爱情，那是两个人却又只有一个人——一个男人和一个女人融合为一个天使——那就是天堂！
我们已经提到，在吉普赛姑娘和副主教死去的那天，加西莫多也消失了。再也没有人看到过他，也没有人知道他身上发生了什么。
在爱斯梅拉达被处死的那天晚上，刽子手的副手将她的尸体从绞刑架上拖下来带走了，按照当地习俗，尸体要送往隼山的尸窖。
隼山，用索瓦尔的话来说，是“王国里最古老、最气派的绞刑架”。在神殿和圣马丁之间的近郊，距巴黎城墙160突阿斯[5]，离库尔提也仅有几射之地的位置有个微微隆起的小山丘，但也足够高，方圆几里都能看见这座山。山顶上的建筑风格奇特，与凯尔特环状列石十分相像，据说用作活人献祭。
Let the reader imagine a huge oblong mass of masonry[6] fifteen feet high, thirty feet wide, and forty feet long, on a plaster base, with a door, an external railing, and a platform; on this platform sixteen enormous pillars of rough hewn stone, thirty feet high, ranged as a colonnade[7] round three of the four sides of the immense block supporting them, and connected at the top by heavy beams, from which hung chains at regular intervals; at each of these chains, skeletons; close by, in the plain, a stone cross and two secondary gibbets, rising like shoots of the great central tree; in the sky, hovering over the whole, a perpetual crowd of carrion crows. There you have Montfaucon.
By the end of the fifteenth century, this formidable gibbet, which had stood since 1328, had fallen upon evil days. The beams were worm-eaten, the chains corroded with rust, the pillars green with mould, the blocks of hewn stone gaped away from one another, and grass was growing on the platform on which no human foot ever trod now. The structure showed a ghastly silhouette against the sky—especially at night, when the moonlight gleamed on whitened skulls, and the evening breeze, sweeping through the chains and skeletons, set them rattleing in the gloom. The presence of this gibbet sufficed to cast a blight over every spot within the range of its accursed view.
The mass of masonry that formed the base of the repulsive edifice was hollow, and an immense cavern had been constructed in it, closed by an old battered iron grating, into which were thrown not only the human relics that fell from the chains of Montfaucon itself, but also the bodies of the victims of all the other permanent gibbets of Paris. To that deep charnel-house, where so many human remains and the memory of so many crimes have rotted and mingled together, many a great one of the earth, and many an innocent
读者可以想象一下，在一个石灰底座上，一个15英尺宽、40英尺长的巨大矩形石造建筑，开了一扇门，外部有栏杆，还有一个平台；平台上矗立着16根巨大的粗凿石柱，每根高30英尺，排成柱廊，三面环绕大平台并支撑着它，上面由厚实沉重的横梁连接着，横梁一段距离悬挂着一条铁链；每条铁链上都吊着一个骷髅；不远的平原上，有一个石头十字架和两个小一些的绞刑架，仿佛是从大树干里长出的枝丫；在这片土地之上的天空中，一群小嘴乌鸦不断地盘旋着。这就是隼山。
15世纪末，这座建于1328年的可怕的绞刑架早已破败不堪。横梁已被虫蚀，铁链锈迹斑斑，石柱蔓着青苔，粗糙的石基也裂开了缝，平台上杂草丛生，如今再也没人涉足于此。这座建筑在天空的衬托下，投下可怕的剪影——尤其是在夜晚，当月光照亮那白骨之时，夜间的风吹得那铁链和骷髅在黑暗中来回晃动，咯咯作响。这座绞刑架给周围的每一处都蒙上了阴影。
这座令人厌恶的建筑石基是中空的，里面挖了一个宽阔的地穴，由一排铁栅栏关着，被丢进这里的不仅有隼山铁链上掉下来的遗骸，还有巴黎常设绞刑架上所有被处死的人的尸体。这尸窖的深处，有多少人类的遗骸、多少罪恶一起腐烂，世间多少伟人、多少无辜的牺牲者存骨于此，上至昂格朗·德·马里尼[8]，他是第一个死于隼山的正直人，
victim, have contributed their bones, from Enguerrand de Martigny, who inaugurated[9] Montfaucon, and was one of the just, down to Admiral de Coligny—likewise one of the just—who closed it.
As for Quasimodo’s mysterious disappearance, all that we have been able to ascertain on the subject is this:
About a year and a half or two years after the concluding events of this story, when search was being made in the pit of Montfaucon for the body of Olivier le Daim, who had been hanged two days before, and to whom Charles VIII granted the favour of being interred at Saint-Laurent in better company, there were found among these hideous carcasses two skeletons, the one clasped in the arms of the other. One of these skeletons, which was that of a woman, had still about it some tattered remnants of a garment that had once been white, and about its neck was a string of beads together with a small silken bag ornamented with green glass, but open and empty. These objects had been of so little value that the executioner, doubtless, had scorned to take them. The other skeleton, which held this one in so close a clasp, was that of a man. It was observed that the spine was crooked, the skull compressed between the shoulder-blades, and that one leg was shorter than the other. There was no rupture of the vertebrae at the nape of the neck, from which it was evident that the man had not been hanged. He must, therefore, have come of himself and died there.
When they attempted to detach this skeleton from the one it was embracing, it fell to dust.
下至科里尼海军上将[10]，他是最后一个被送来的，也是一个正直的人。
至于加西莫多的神秘失踪，我们所能查明的是：
大约在这个故事结束之后的一年半到两年间，人们到隼山地窖里搜寻两天前被绞死的奥利维埃的尸体，因为查理八世特许他移葬到一个好人的存尸所——圣洛朗。在这些恐怖的尸骸当中，有人发现了两具彼此紧紧环抱着的骨架。其中一具是女人的，身上残留有破烂的白衣碎片，脖子上戴着一串木珠项链，上面还有装饰着绿色玻璃的小绸袋，里面空无一物。这些东西一文不值，毫无疑问，刽子手不屑于拿走它们。另一具男人的尸骸紧紧拥抱着她。可以发现，他的脊柱弯曲不直，头盖骨缩在两肩胛骨之间，一条腿比另一条要短。他的颈脖处没有断裂的痕迹，很明显，这个男人不是被绞死的。因此，他一定是自己死在这儿的。
当人们试图分开他和他抱着的那具骨架时，他化成了灰烬。