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在西方文学作品中,神父形象是一个给人沉默而含蓄印象的系列组合,这类形象以其“放牧羔羊”的独特身份在诸多“迷途羔羊”的形象身边担当陪衬和辅助角色。而雨果小说《巴黎圣母院》却塑造了一个身为“牧羊人”自己却“迷途”的独特神父———克洛德.孚罗洛形象。克洛德的灵魂被孕育了悲剧性的分裂和冲突,他与爱丝美拉尔达的相遇,是神性与人性遭遇和决斗的集中展现,其中蕴藏着人类发展中一个戏剧性的隐喻:导航者难免也迷途,迷途者在艰难导航。
In western literary works, the priesthood image is a series of combinations that give people a silent and implicit impression. Such kind of image plays a supporting and auxiliary role in the image of many “lost lambs” in the unique identity of “grazing lambs”. The Hugo novel “Notre Dame de Paris” shaped the image of Claude Ferohlo as a unique “priests” but “lost” priest. Claude’s soul was conceived of the tragedy of division and conflict. His encounter with Esmeralda was a concentrated manifestation of divine and human encounters and duels, which contained a dramatic metaphor in human development: navigation Those who are inevitably lost, those who lost their way in difficult navigation.