Beauty Close Reading Structure Chart (Hugo 205-211)

"However, Paquette's child had more that was pretty about it besides its feet. I saw her when she was only four months old; she was a love! She had eyes larger than her mouth, and the most charming black hair, which already curled. She would have been a magnificent brunette at the age of sixteen! Her mother became more crazy over her every day. She kissed her, caressed her, tickled her, washed her, decked her out, devoured her! She lost her head over her, she thanked God for her. Her pretty, little rosy feet above all were an endless source of wonderment, they were a delirium of joy! She was always pressing her lips to them, and she could never recover from her amazement at their smallness. She put them into the tiny shoes, took them out, admired them, marvelled at them, looked at the light through them, was curious to see them try to walk on her bed, and would gladly have passed her life on her knees, putting on and taking off the shoes from those feet, as though they had been those of an Infant Jesus."

‘The tale is fair and good,’ said Gervaise in a low tone; ‘but where do gypsies come into all that?’

‘Here,’ replied Mahiette. ‘One day there arrived in Reims a very queer sort of people. They were beggars and vagabonds who were roaming over the country, led by their duke and their counts. They were browned by exposure to the sun, they had closely curling hair, and silver rings in their ears. The women were still uglier than the men. They had blacker faces, which were always uncovered, a miserable frock on their bodies, an old cloth woven of cords bound upon their shoulder, and their hair hanging like the tail of a horse. The children who scrambled between their legs would have frightened as many monkeys. A band of excommunicates . . . [Chantefleurie] was very much frightened by the Egyptians, and wept. But her mother kissed her more warmly and went away enchanted with the good fortune which the soothsayers had foretold for her Agnes. She was to be a beauty, virtuous, a queen. So she returned to her attic in the Rue Folle-Peine, very proud of bearing with her a queen. The next day she took advantage of a moment when the child was asleep on her bed, (for they always slept together), gently left the door a little way open, and ran to tell a neighbor in the Rue de la Séchesserie, that the day would come when her daughter Agnes would be served at table by the King of England and the Archduke of Ethiopia, and a hundred other marvels. On her return . . . The child was no longer there, the place was empty. Nothing remained of the child, but one of her pretty little shoes. She flew out of the room, dashed down the stairs, and began to beat her head against the wall, crying: 'My child! Who has my child? Who has taken my child? . . . During her absence, a neighbor had seen two gypsies ascend up to it with a bundle in their arms, then descend again, after closing the door. After their departure, something like the cries of a child were heard in Paquette's room. The mother, burst into shrieks of laughter, ascended the stairs as though on wings, and entered.--A frightful thing to tell, Oudarde! Instead of her pretty little Agnes, so rosy and so fresh, who was a gift of the good God, a sort of hideous little monster, lame, one-eyed, deformed, was crawling and squalling over the floor. She hid her eyes in horror. 'Oh!' said she, 'have the witches transformed my daughter into this horrible animal?' . . . It was the monstrous child of some gypsy woman, who had given herself to the devil . . . La Chantefleurie flung herself upon the little shoe, all that remained to her of all that she loved. She remained so long motionless over it, mute, and without breath, that they thought she was dead” (205-211).
 

	Linguistic	Semantic	Structural	Cultural
Examples	“The tale is fair and good” (208).	“Instead of her pretty little Agnes, so rosy and so fresh, who was a gift of the good God, a sort of hideous little monster, lame, one-eyed, deformed, was crawling and squalling over the floor. She hid her eyes in horror” (210).	“My child! Who has my child? Who has taken my child?” (210)	“‘The tale is fair and good,’ said Gervaise in a low tone; ‘but where do gypsies come into all that?’   ‘Here,’ replied Mahiette. ‘Oned day there arrived in Reims a very queer sort of people. They were beggars and bagabonds who were roaming ober the country, led by their duke and their counts’” (208).
Analysis	This simple quote suggests to the audience that the following information, given later in the passage, will be in the form of a story. This form includes description, setting, dialogue, etc. In addition, this style was used to inconspicuously insert foreshadowing into the story If the author had merely described the story himself, it wouldn’t be nearly as memorable and therefore fail to create a memorable foreshadow for the audience.	This quote depicts how even though beauty is short-lived, the characters will o almost anything to obtain it and stop at nothing to shun the opposite. It is understandable that the woman is upset by the loss of her daughter, but instead of caring for a child who is under such a similar circumstance, all she can do is turn away in revulsion.	In this example, the repetition and dialogue are used to emphasize emotion. Repetition of “my child shows the disbelief that the woman feels after loosing her daughter. Dialogue is especially used to emphasize emotion because it can show the audience how a person is truly feeling by what they say during stressful situations and their interactions with others.	The Hunchback of Notre-Dame is considered a piece from the Romantic era. Throughout the period of Romanticism, new ideas were spurred from stories of the past. Therefore, this passage is written in the form of a frame narrative to emphasize how the actions of the past affect our future and that history repeats itself.