Chapter The King's Closet At The Tuileries. Chapter The Cemetery Of The Chateau D'if. Chapter The Island Of Monte Cristo. Free kindle book and epub digitized and proofread by Project Gutenberg. Le comte de Monte-Cristo by Alexandre Dumas; editions; First published in ; Subjects: Social life and customs, In library, Historical.
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As usual, a pilot put off immediately, and rounding the Chateau d'If, got on board the vessel between Cape Morgion and Rion island. Immediately, and according. Losing Haydée Motto: “Forgive us, Madam, for the humiliation that we have inflicted on you” (Le Comte de Monte Cristo, ) “The novel of Alexandre Dumas. Comte de Monte-Cristo. III. Title. IV. Title: Count of Monte Cristo. tadocarlandchan.tk [Fic]--dc22 Table of Contents CHAPTER 1: The Arrival.
In the last chapter ch. Therefore, with his mission accomplished, Monte Cristo is determined to punish himself for the pain he caused to the innocents and leave her side, not wanting to allow his destiny to overshadow hers.
But why is her love redeeming? The first takes the form of a hope: Overcoming his doubts concerning his mission, Monte Cristo still has a remorse about the innocents who crossed his path and were crushed under his steps - this is what he wants to forget, as it is reiterate in his farewell letter to Maximilien and Valentine and not his own sufferings, as erroneously is presented in some adaptations. Her love may therefore ease his conscience. The second effect regards his intellect and faith: He understands that happiness came into his life when he waited and hoped for it: My God!
A third effect of her love is his reattachment to life, understood with its sufferings and joys: From this state of spirit must be understood his comeback to life, which is confirmed by his gesture of reassuming his name, along with that of Count of Monte Cristo see the double signature on his farewell letter, ch.
Then his voice almost dies out at the thought of leaving her. He accepts his destiny at her side, be it really a reward or a punishment. The image of their reciprocal love is reinforced by the similarities and by the perfect harmony between them. This brings forth a desire of vengeance, which counts also as a yearning for justice. Their souls and destinies are intertwined: The initial couple cannot be reunited without breaking the laws of logic: The happiness he regains in the end comes as a reward for accomplishing his mission, but also as a compensation for his previous sufferings: This ending respects thus the evolution of the hero and it actually represents a new beginning for Monte Cristo: From novel to film.
After an arduous research, I was able to get hold of 19 films and TV mini-series, made between and , in Europe and outside of Europe. They are at least one per decade, but most of them are concentrated in the ss. They evolve from silent to talking movies and from black-and-white to color. Aside from the ending, the screenplays keep some likeness to her story, but also present smaller or bigger differences. In relation to her participation in the plot, none of the 17 adaptations is completely faithful to the novel.
The various episodes in which she is present the meetings with the Count, the recognition of Fernand, the trial, the ending scene are generally a mixture of moments and lines taken from the novel and others distorted or invented; many details are however left aside, draining the episode of its profoundness.
The first resemblance or difference to be noticed regards her looks. The beautiful dark- haired and white-skinned Greek turns out to be sometimes a beautiful blonde El Conde… or a dark-skinned fair , Also young, but somehow different in attitude one shy, the other daring flirtatious and are the portrayals of the American Virginia Brown Faire and the Lebanese Valerie Sarruf Since Dumas gives no different indications, it is rightly to presume that she remained faithful to the Oriental style.
In movies, on the contrary, she makes use of this liberty and switches between the Oriental style sometimes rather modern and the European style corresponding to the age of the novel or contemporary to the shootings , sometimes even combining them. She wears only her Oriental costume in the adaptations from , , , , , and Sometimes wearing discrete jewelry, she reaches an abundance in the TV Mini-Series.
Exotic elements are also added to her attire in the film. The makeup usually respects the rules of the times of the shootings, ranging from natural to heavy makeup. As for her hair, she lets it loose most of the times, keeps it braided or adapts it to a particular style - the s style; Le Comte…, El Conde…, , - a certain 19th century European style. In the French adaptations from and , she also has flowers in her hair, just like Dumas describes her.
In the film, she speaks only Arabic and the Count acts like her interpreter; whereas in the adaptation she speaks French with a heavy accent. It is however noteworthy the choice of using some Greek lines in the TV Series; also, in the Le Comte…, she barely speaks French when the Count downloads her from El-Kobbir, but later she is very fluent - this can be attributed to the Counts beneficial influence. Her love for music is not well exploited: As for the Opera, only in the , , both of them , and films she and the Count are shown at spectacles; in the TV Series their frequent presence at the Opera is just mentioned.
Only that Dumas clearly indicates that she loves the tobacco of the East, which is a perfume, but not cigars, because of their bad smell ch. Furthermore, she is described as smoking from a hookah, when the Count comes to visit her ch. The Le Comte… keeps only a trace of it: Because of this, she is but rarely on the lips of the other characters , , El Conde… - only after the trial, , There are also examples in which she moves freely in the house , , El Conde…, , , or even accompanies Monte Cristo at parties , , - at the Carnival in Rome.
She is presented not only with her name, but also her origin is revealed. In the Monte Cristo, their mere acquaintance is pushed so far as to become lovers. In three other films the meeting is reduced to a simple introduction.
The Opera is also their meeting place in the film; whereas in the Argentinian-Mexican adaptation, the introduction takes place in the garden of Monte Cristo, in Paris. The continuation of the scene is different: Fernand recognizes her and leaves, but returns later to challenge the Count to a duel.
It is now that she accuses him for betraying her father and selling her as a slave. She accuses Fernand, but then the Count treats the happening as an unfortunate incident in order to delude him. Other digressions from the novel, which are not quite essential, include the trial taking place in open session, instead of a small committee without public open session: In every adaptation, but one, she yearns for the chance to find and expose the traitor; sometimes, that is actually her only desire in life.
She is not sure of the rightness of her vengeance, she is always fearful and full of grief at the thought of bringing back her sad past. The Count tells her over and over that justice is on their side, yet even before leaving for the trial she is not fully convinced of the step she is about to do. A general difference in comparison to the novel is the omission of her Christian faith in opposition to her desire of revenge.
A scandal breaks and no other explanation is required. He also participates at the session of the Peers in the film, but without getting involved. The Count is only mentioned in the , and adaptations. Still at the Opera, but this time with the complicity of the Count, the scene is kept also in the adaptation.
In three other films Le Comte…, and she recognizes Fernand during a party hosted by the Count, as she stays hidden in another room or behind a curtain. In these four cases, the Count admits openly his involvement. She is with the Count at the Opera in both the adaptations and she witnesses directly the dialogue between Monte Cristo and Albert.
In the film, she remains in the box of the Count, whereas he goes out to talk to Albert, not before comforting her. The events of Yanina are not always presented in details, leaving many questions unanswered.
Many times she had a different age when the events took place a young girl - , ; a young woman - ; 9 years - ; 2 years - ; 6 years - Le Comte…; 13 years - ; 7 years - ; 5 years - She was taken from her mother by Fernand, in the Monte Cristo. In the film the Turks killed her father, her mother and her two brothers and made her a slave in the harem.
As for her download by the Count, only a few adaptations relate the story , Le Comte…, , , and they do it even in more detail than the novel. Irrespective of the moment when the Count bought her, she was already a young woman 16 years - ; 18 years - Le Comte In two cases it is revealed how the Count found out about her: Thompson, who becomes a kind of adviser to Monte Cristo The two sources are evidently invented and have nothing to do with what happened in the novel.
Not surprisingly, they are also characterized by the lowest number of her appearances in the story. Another specific feature they have in common is the complicity between her and the Count for the accomplishment of their revenge. She is also said to have been seen riding many times with the Count, in his carriage. The relation between her and Monte Cristo is not exploited at all.
There is no indication on how she came to be near him or what is her position in his house. The only time he speaks to her, in order to give her instructions on how to behave at the party, he addresses to her with the title of princess. For her part, she shows some concern about him at his trial, but then she disappears, never to be mentioned again. And she does nothing more than that. All her appearances are connected to her wish: She is grateful to Monte Cristo for saving her from slavery and promises to listen to his advices, which indeed he gives her.
The Count guides her steps toward vengeance and warns her against the dangers in her path. Their relation is limited to their mutual desire of revenge. Besides the scene of the trial, she appears only three other times, with the Count trying to convince her of the rightness of their vengeance.
He always calls her princess and his behavior towards her is probably the most passionate of all adaptations. Nonetheless, no relation breaks between them, as she disappears after the trial.
For his part, the Count completes his vengeance and leaves France to travel on the sea, in search of a place where there are no corrupted people. But he is also thinking only about his revenge. There are no gestures or words that could betray any kind of affection between them.
They have the same purpose, so they stick together in order to reach it. Except for the first film , where her fate is not completely clear, the following two present an alternative happy ending compared to the one in the novel. His beneficial influence is easily noticed in the transformation of her attire, from dull to magnificent. With an always melancholy look, she shows an affectionate gratitude and obedience towards him. He also seems to be quite gentle with her, but nothing more.
Le comte de Monte-Cristo , Gallimard. Count of Monte-Cristo , Purnima Prakashan. Count of Monte Cristo May , W. Clement Stone. Veryatra , Navbhardt. Le Comte de Monte-Cristo , Gallimard. Le Compte de Monte-Cristo , Gallimard.
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Unfortunately, the girl is in love with Dantes. Absence serves as well as death. Danglars 10 wrote these lines with his left hand to disguise his writing: Only it will be an infamous shame! It is time to return. He glanced back to see Mondego pick up the crumbled paper, put it in his pocket, and rush away.
The balcony was filled with impatient guests dressed in their finest to honor the day. Monsieur Morrel came forward to meet them. He escorted Mercedes up the wooden steps to the chamber where the feast was waiting. On my left I will place he who has been like a brother to me. On the opposite side of the table, Edmond joyfully seated Monsieur Morrel on his right and Danglars on his left. In the midst of the celebration and feasting came three sharp knocks on the chamber door.
The door opened and a magistrate presented himself, followed by four soldiers and a corporal. What for, I pray? Your son has probably neglected some form in registering his cargo. It is likely he will be set at liberty after he has given the information required.
Dearest Edmond! We shall soon meet again! Dantes, the magistrate, and two soldiers got in and the vehicle drove off toward Marseille. But in the meantime, what are we to do? I authorize you to assume command and look carefully to the unloading of her freight.
Private misfortune must never cause us to neglect public affairs. At the age of only twenty-seven he was already rich and held a high official position. He was pale but calm and saluted his judge with easy politeness. All my opinions are summed up in these three: I love 16 my father.
I respect Monsieur Morrel. My position is not high enough for that. Do you know the writing? A cloud passed over his brow as he read it. This envious person is a real enemy. I was to stop at the Isle of Elba, ask for the grand-marshal, give him a letter, and complete any further instructions they give me.
After delivering the letter to the grand-marshal, 17 he gave me a letter to carry on to a person in Paris. I intended to start for Paris tomorrow. Give me this letter you have brought from Elba and go rejoin your friends. It was taken from me with some others that I see in that packet. Have you shown this letter to anyone? I shall keep you until this evening in the Palais de Justice.
Villefort whispered in his ear. Dantes saluted him and left. Oh my father, must your past career always interfere with my successes?
Six hours later, the door opened. By torchlight Dantes saw the glittering sabers and the muskets of four policemen.
He was escorted to a carriage waiting outside the main door. Dantes was seated inside between two policemen. Then the carriage rolled heavily over the stones to the port. A dozen soldiers came out of the guardhouse and formed a passage from the carriage to the port. Can all this force be summoned on my account?
He was escorted to a boat and seated between two of the policemen with the other two opposite him. It is only for political prisoners.
I have committed no crime. One of the sailers leaped to shore to secure the boat. His escorts dragged Dantes to the steps that led to the gate of the fortress. There is bread, water, and fresh straw. That is all a prisoner can wish for.
The jailer returned. If you are very well behaved, you will be allowed to walk about and someday you will meet the governor. A month, six months, a year. I wish to see him at once.
He was in this chamber two years ago. He returned in an instant with several soldiers. We must put the madman with the madmen. They descended fifteen steps and thrust him through the door of a dungeon. He continued until he lacked the strength to go to the window. The next day, Dantes felt close to death. In the evening, he heard a hollow sound in the wall. So many disgusting animals lived in the walls that sounds were normal.
But this was a continual scratching, as if something was attacking the stones. It lasted nearly three hours and then all was silent. Some hours later it began again, sounding nearer. Dantes thought some prisoner was striving to gain freedom. Full of hope, he 24 swallowed a few mouthfuls of bread and water. He found himself recovering his strength. Dantes was determined to assist in the work. He moved his bed and broke his water jug into pieces.
Dantes hid two of the sharpest pieces and left the rest on the floor. After the jailer delivered the morning food, he attacked the plaster. Dantes worked on the wall for three days until his jug pieces were broken to bits. Then he convinced the jailer to leave the iron saucepan. He used the iron handle to dig at the wall. After three hours of work, Dantes came to a barrier. The iron handle made no impression on the surface. He would need to dig above or under it. Have pity on me. How long have you been here?
This man had been in prison four years longer than he. I will not forget you. Expect me. Through a day and a night there was silence from his neighbor. The morning after, he heard three knocks.
He threw himself on his knees. First, a head, then the shoulders and body of a man appeared. He was a man of small frame with thick, gray eyebrows and a beard down to his chest.
He dragged the table beneath the window. The young man obeyed. He managed to slip his head through the top bar of the window for a perfect view. I sought to form one large Italy instead of allowing it to be split up into many petty districts. I was betrayed and imprisoned. When you pay me a visit in my cell, I will show you my work. Dantes followed. An old fireplace provided a deep storage area behind a long hearth stone. Faria drew from its hiding place rolls of linen. They were covered with writing in Italian that Dantes could easily read.
Attached was a pointed piece of something that was divided at the nib like a regular pen.
I made it, as well as this larger knife, out of an old candlestick. I dissolved the soot in a portion of the wine brought to me every Sunday. Dantes possessed a tremendous memory and a quick mind. At the end of six months he began to speak Spanish, English, and German. After a year Dantes was a new man. He rushed to Faria and found him standing, pale as death with his hands clenched together.
Dantes carried him to the bed. Another hour passed before Faria was awake, but he lay helpless. The next fit will kill me. Tomorrow I have something of great importance to tell you. Faria held out a rolled piece of paper to Dantes. From this day forth, one-half belongs to you.
Dantes turned his head away with a sigh. Gold, money, and jewels will be found on raising the twentieth rock from the small creek to the east. The treasure is in the farthest angle of the second cave. This treasure I leave entirely to him. The last Comte de Spada made me his heir. Faria compelled Dantes to memorize the letter, which he easily did.
One night Dantes awoke suddenly. The sound of a pitiful voice reached him. Dantes moved his bed, took up a stone, and rushed into the passage. He found the old man pale with another fit.
Dantes fell to his knees, leaning his head on the bed. My son, I bless you! When daylight came into the dungeon, Dantes saw he was alone with a corpse. He needed to go, for it was time for the jailer to come. Dantes slipped into the secret passageway and listened. He sat next to the body of his friend wrapped in a coarse sack. He passed quickly from despair to a deep desire for life and liberty.
Since none but the dead pass freely from this dungeon, let me take the place of the dead! He carried the corpse to his own chamber and laid it on his cot. He got inside the sack and sewed it up from the inside.
After an agony of waiting, footsteps were heard on the stairs. Summoning all his courage, he held his breath. Two grave diggers entered, while another held a torch at the door. The two men each took the sack by its edges. The men carried Dantes on a stretcher. He felt the fresh night air. The grave diggers carried him twenty paces, then stopped and put the stretcher on the ground.
Dantes heard something heavy laid down beside him and at the same time a cord was tightened around his feet. The men picked him up again and advanced fifty more paces.
Three, and away! He entered the ice-cold water, dragged to the depths by a thirty-six-pound weight tied to his feet. He bent his body and desperately cut the cord that bound his legs to the weight. He rose to the surface, took a breath, and dived again to avoid being seen. How could he find his way in the darkness? Dantes noticed the lighthouse of Plenier before him like a brilliant star.
By keeping this light on his right, he knew he would find Tiboulen a little to the left. His captivity had taken away nothing of his power. He was still a master swimmer. An hour 37 passed as Dantes continued to split the waves, excited by the feeling of freedom. Before him rose a mass of rocks that was the Isle of Tiboulen. Dantes rose, advanced a few steps, and stretched out on the granite. He fell into the deep sleep of one worn by fatigue. When Dantes awoke, he knew he had to find a way to escape those who would search for him.
As Dantes uttered a prayer, he saw a small boat skimming like a bird over the sea. His eyes searched the rocks of the island and found some wreckage of a fishing vessel. Dantes swam to the cap and then seized one of the beams that floated near it. He set out to reach the path the boat was taking. When he came closer to the boat, he used the last of his strength to rise half out of the water and shout. His arms and legs grew stiff, and he was almost breathless. He felt himself sink.
The water passed over his head, and he fainted.
You have saved my life and I thank you. Leave me at the first port and I shall be sure to find work. Dantes guided the swift boat so skillfully that the captain asked him to join the crew. A sailor named Jacopo gave him a shirt, a pair of trousers, a piece of bread, and something to drink. It was February 28, Dantes was nineteen when he entered the prison.
He was thirty-three when he escaped. Dantes went to the barber to have his beard and hair cut. He smiled when he saw himself. It would be impossible for anyone to recognize him, for he did not recognize himself!
The smuggling vessel lost little time in port. The captain needed only a week to fill the boat with muslims, cotton, English powder, and tobacco. They set sail again. In the next two and a half months, Dantes formed an acquaintance with all of the smugglers on the coast. Dantes passed the Isle of Monte Cristo twenty times with no opportunity to land there.
If successful, the profit would be enormous. It was vital to find a neutral place on which the exchange could be made.
The patron proposed the Isle of Monte Cristo. He entered caves paved with emeralds, where rubies covered the walls and diamonds sparkled on the ceilings.
Dantes filled his pockets with the gems, only to find them change to pebbles when he pulled them out again.
The trip was smooth and quick. They arrived at night and went on land the next day. Jacopo insisted on following him, so Dantes quickly killed a goat and asked Jacopo to take it back to be prepared. Making his way alone between two walls of rock, Dantes thought he 41 could see marks on certain rocks that were made by man.
Dantes sprang from rock to rock, catching the attention of his shipmates. He slipped his foot off the edge of a rock and fell from their view. They all rushed to where he lay bleeding. Dantes convinced them he was not physically able to leave. Return when you can. As soon as the vessel was out of sight, Dantes rose, limber as the island goats.
Using the pickax and powder from his gun, the treasure-seeker uncovered a square flagstone with an iron ring. He lifted the stone and went down the steps he found under it. Dantes passed through the first cave, remembering that the treasure was in the 42 farthest angle of the second opening. The second cave was lower and gloomier.
Dantes advanced to the corner and attacked the ground with the pickax. He struck against iron. More frantic digging revealed an oak chest with steel trim. The crest of the Spada family was engraved on the lid. Dantes inserted the sharp end of the pickax between the chest and the lid and pressed with all his strength. The fastenings burst open and three compartments stood before him.
Bars of unpolished gold were stacked in the second. Dantes grasped handfuls of diamonds, pearls, and rubies from the third. They sounded like hail against glass as he let them fall back on one another in the chest.
Dantes saw daylight disappearing and left the cave. He ate a piece of biscuit and some wine for his supper. He snatched a few hours of sleep near the mouth of the cave. This done, he impatiently waited for the return of his companions. On the sixth day, the smugglers returned. When the Young Amelia arrived at Leghorn, Dantes visited a dealer of precious stones.