Hunchback of Notre Dame (Barnes & Noble Classics Series) by Victor Hugo

great door, a dais covered with gold brocade, placed against the wall, to which a private entrance was arranged by means of a window from the passage to the gold room, had been built for the Flemish envoys and other great personages invited to the performance of the mystery.
    This mystery, according to custom, was to be performed upon the marble table. It had been prepared for this at dawn; the superb slab of marble, scratched and marked by lawyers’ heels, now bore a high wooden cage-like scaffolding, whose upper surface, in sight of the entire hall, was to serve as stage, while the interior, hidden by tapestry hangings, was to take the place of dressing-room for the actors in the play. A ladder placed outside with frank simplicity formed the means of communication between the dressing-room and stage, and served the double office of entrance and exit. There was no character however unexpected, no sudden change, and no dramatic effect, but was compelled to climb this ladder. Innocent and venerable infancy of art and of machinery!
    Four officers attached to the Palace, forced guardians of the people’s pleasures on holidays as on hanging days, stood bolt upright at the four corners of the marble table.
    The play was not to begin until the twelfth stroke of noon rang from the great Palace clock. This was doubtless very late for a theatrical performance; but the ambassadors had to be consulted in regard to the time.
    Now, this throng had been waiting since dawn. Many of these honest sightseers were shivering at earliest daylight at the foot of the great Palace staircase. Some indeed declared that they had spent the night lying across the great door, to be sure of getting in first. The crowd increased every moment, and, like water rising above its level, began to creep up the walls, to collect around the columns, to overflow the entablatures, the cornices, the window-sills, every projection of the architecture, and every bit of bold relief in the carvings. Then, too, discomfort, impatience, fatigue, the day’s license of satire and folly, the quarrels caused incessantly by a sharp elbow or a hob-nailed shoe, the weariness of waiting gave, long before the hour when the ambassadors were due, an acid, bitter tone to the voices of these people, shut up, pent in, crowded, squeezed, and stifled as they were. On every hand were heard curses and complaints against the Flemish, the mayor of Paris, Cardinal Bourbon, the Palace bailiff, Madame Margaret of Austria, the ushers, the cold, the heat, the bad weather, the Pope of Fools, the columns, the statues, this closed door, that open window,—all to the vast amusement of the groups of students and lackeys scattered through the crowd, who mingled their mischief and their malice with all this discontent, and administered, as it were, pin-pricks to the general bad humor.
    Among the rest there was one group of these merry demons who, having broken the glass from a window, had boldly seated themselves astride the sill, distributing their glances and their jokes by turns, within and without, between the crowd in the hall and the crowd in the courtyard. From their mocking gestures, their noisy laughter, and the scoffs and banter which they exchanged with their comrades, from one end of the hall to the other, it was easy to guess that these young students felt none of the weariness and fatigue of the rest of the spectators, and that they were amply able, for their own private amusement, to extract from what they had before their eyes a spectacle quite diverting enough to make them wait patiently for that which was to come.
    “By my soul, it’s you, Joannes Frollo de Molendino!” cried one of them to a light-haired little devil with a handsome but mischievous countenance, who was clinging to the acanthus leaves of a capital; “you are well named, Jehan du Moulin (of the mill), for your two arms and your two legs look like the four sails fluttering in the wind. How long have you been