One of three doorways on the outside of Notre Dame Cathedral, 'The Gallery Of Kings', featuring the figures of 28 French Kings, from Childebert I (511-588) to Philippe Aguste (1180-1223).  

BILL MOYERS: ...So it would be natural for people trying to explain the wonders of the universe to look to the female figure as the explanation for what they saw in their own lives.

JOSEPH CAMPBELL: Not only that, but then when you move to a philosophical point of view, the female represents what in Kantian terminology we call the forms of sensibility. The female represents time and space itself. She is time and space, and the mystery beyond her is beyond pairs of opposites, so it isn’t male and it isn’t female. It neither is nor isn’t, but everything is within her, so that the gods are her children. Everything you can think of, everything you can see, is the production of the goddess. [1]

BILL MOYERS: [But] by having been the tempter, women have paid a great price, because in mythology, some of this mythology, they are the ones who led to the downfall.

JOSEPH CAMPBELL: Of course they did. I mean, they represent life. Man doesn’t enter life except by woman, and so it is woman who brings us into the world of polarities and pair of opposites and suffering and all. [2]


Make no mistake. This is not the poetic adaptation of a beloved gothic tale. This is not the gush of acclimating fandom, nor is it the trite adoration of a classical piece of literature. This is the product of abuse. It is the honed rage of torment, spawned into what can only be seen as a visualisation of the heart of feminine sorrow; of women idolised, demonised, and tortured by men.

Inspired by the song, 'Belle', from french musical, Notre Dame De Paris, 1998.

English translation and illustrations by Emmanuelle Chateauneuf, 2016.



1 . http://billmoyers.com/content/ep-2-joseph-campbell-and-the-power-of-myth-the-message-of-the-myth/

2 . http://billmoyers.com/content/ep-5-joseph-campbell-and-the-power-of-myth-love-and-the-goddess-audio/

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