Navaiy state pedagogical institute the faculty the english language and literature the department of the english language and literature

2.2. The central characteristics defined physical monstrosity.
You might say that the best fiction exists to disassemble expectations. Nature can be the same way, which is why, even when we understand the realities of fire, we’re still taken aback—in the modern, technologically-ramped-up age—when something like Notre Dame Cathedral becomes a sky-tethered conflagration.
I have expectations when
I come to a story in literature. For instance, there will be a protagonist, and normally that person will be a human, unless we’re in the sci-fi ambit or Franz Kafka’s brain. But here on earth, you expect to see a human at the center of a story. Victor Hugo did not quite see things this way when he published The Hunchback of Notre-Dame in 1831.
He was in his mid-fifties, and this was a man with a cause. You might even call it an extra-curricular cause, so far as the literary arts went. For Victor Hugo was in thrall to Gothic architecture, the way a self-described geek might be headlong into anime now.
Notre-Dame Cathedral consists of a choir and apse, a short transept, and a nave flanked by double aisles and square chapels.
Hugo’s The Hunchback of Notre Dame considers what it means to be a monster. The novel makes Quasimodo’s defining characteristic his physical monstrosity, and his entire identity is constructed around being perceived as a monster. Quasimodo (from Quasimodo Sunday) is a fictional character and the main protagonist of the novel The Hunchback of Notre-Dame (1831) by Victor Hugo. Quasimodo was born with a hunchback and feared by the townspeople as a sort of monster, but he finds sanctuary in an unlikely love that is fulfilled only in death. He is described by one of the women of Paris as a “wicked” ugly man. Several characters suggest that he is some kind of supernatural being that prowls around Paris, casting spells on its citizens. Quasimodo is juxtaposed with the dashing Captain Phoebus, who shares his name with the Greco-Roman god of the Sun. Phoebus is described as an imposing young man, “one of those handsome fellows whom all women agree to admire.” Yet it is Quasimodo—not Captain Phoebus—who attempts to save Esmeralda and who ultimately kills the archdeacon, thereby ending his reign of terror.
Esmeralda is also perceived as a kind of monster. Although she is not, in fact, a Rom, she is seen and treated as one. In The Hunchback of Notre Dame the Roma are associated with witchcraft and the supernatural. They are viewed as exotic outsiders and are said to practice magic, possess satanic goats, and kidnap Parisian children among other things. Frollo exploits their association with the supernatural to sanction a Roma purge, just as Charmolue uses it to authorize Esmeralda’s execution.

The novel condemns the society that heaps misery on the likes of Quasimodo and Esmeralda. In the end, Hugo indicates that the real monsters are not Quasimodo and Esmeralda but Frollo and Phoebus.