First edition to use the now iconic title, changed from the 1831 French edition's title NOTRE-DAME DE PARIS, and one of two translations that year first bringing the work to English readers.
Very good plus.
"Hugo's novel NOTRE-DAME DE PARIS [...] enjoyed such wide currency in nineteenth-century Britain that it really deserves to be considered as part of the Victorian canon." – Tim Duncan
Hugo's novel keeps to the tradition of Gothic literature in showcasing the cathedral itself as the main character; in this English translation, the retitling shifts the novel's emphasis to the human story of Quasimodo, a change that has proved both popular and powerful in modern adaptations (including Disney's 1996 animated film). There was another English translation in 1833 by William Hazlitt, far less influential, and not using the "Hunchback" title by which the book is now known in English. Kylee-Anne Hingston cites this translation's cheaper cost (only six shillings), compelling new title, positive reviews, and extensive reprintings as evidence that this is "the most influential edition in popularizing Hugo's novel in England": later editions in English followed Shoberl's translation, not Hazlitt's. Shoberl's was also the first single-volume edition. A fantastic copy of the French classic.
Read more: Tredennick, Victorian Transformations: Genre, Nationalism and Desire in Nineeenth-Century Literature, 11; Hingston, Articulating Bodies: The Narrative Form of Disability and Illness in Victorian Fiction, 23.
London: Richard Bentley, 1833. Octavo. 6.5'' x 3.75''. Contemporary half green calf bound by Dublin bookbinder Gerald Bellew, marbled paper boards. Spine elaborately gilt-stamped, with black goatskin spine label. Marbled endpapers, marbled edges. Standard Novels printed title page, followed by engraved frontispiece and engraved title page, then second printed title page for this volume alone. xiv, 466 pages. Housed in custom quarter green goatskin clamshell box. Contemporary binder ticket and engraved bookplate on front pastedown. Rubbing to binding extremities and boards, spine sunned. Some foxing to edges of engraved frontispiece and title, otherwise text crisp.
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