The Count of Monte Cristo

Rating:
Summary: A Great story that reads quicker than it's length suggests.
Review: I hope the reader will forgive me, but since other reviewers did a fine job of commenting on this wonderful story, I'd like to dwell more on this books author, the great Alexandre Dumas. The man is an incredible writer who, despite the length of some of his novels, is able to entice the reader on and on and when the story ends they put down the book wishing that there was more to read. The reader by the end is won over by the enduring characters, good, bad, and in between, by the intricate and exciting plot, and by the wonderful wit of the author who is almost another character himself because of the flair of his writing.

All I can say is that if you are the type of reader who can be scared off by the length of a novel, you should realize that Dumas' books usually move along at a wonderful pace and that everything in them is essential reading, and everything cut out of the abridged editions is a loss to the reader.

So that being said I recommend The Count of Monte Cristo very highly, and recommend also that if you choose to read it that you are sure to get an unabridged copy. To cut out parts of this wonderful story is a crime, and a needless one considering how wonderfully told this story is.

Rating:
Summary: the best book I ever read
Review: you must read this bokk, je vous conseille de lire en français, c est beaucoup mieux.
The story is great, there is a lot of suspence and action. It's not boring because there isn't a lot descrptions. You learn alot of things because there is a lot of history : the french one, italian greek spanish....
So read it!!!!
Vive alexandre dumas, le meilleur écrivain!!!

Rating:
Summary: A truly remarkable work!
Review: This is one of the best books ever written. The characterizations are remarkable. Certainly a "must-have" for anyone who likes to read. It is a long book, but the richness of the text will more than compensate you for the time spent reading.
The characters all comport themselves with a dignity and nobility that cannot be seen or portrayed by people of our time period. It is as though all of the characters have the distinction of Anthony Hopkins(and this still does not do it justice!). This work is a feast for the mind!

Rating:
Summary: A Masterpiece for All Times.
Review: Every year amusement parks around the world spend millions of dollars trying to build the biggest and fastest roller coasters. These parks seek to give their visitors the greatest thrills possible on these rides without actually endangering the riders and thrill seekers flock to these parks by the thousands in order to take what they hope will be the ride of their lives. My advice is to skip the long trips and even longer lines and take a ride with Alexander Dumas and Edmond Dantes. No technology known to man can match the excitement and adventure you will thus find.

Make no mistake; this will be a long and sometimes bumpy ride. Dumas occasionally will drop his reader into a chapter that seems to have no relevance to any of the chapters before it. After a while though, it will all become crystal clear as this master storyteller weaves his magic. There will be twists and turns that the reader will not be able to foresee and in the end you will marvel at the scope of the story and the extent of both the vengeance and kindness of the story's hero.

As with many great works of literature, there have been many film adaptations of this book. Some were of course better than others were but none of these films come close to doing this book justice. If you have watched any or all of these films, be prepared to find that the book will often only resemble the films in that the characters have the same names. At least the characters that make it into the films will have the same names but many of the characters in the book never make it into the films. This book is simply too rich and too deep to be captured on film. To really experience Dumas' work you simply must read the book.

This is a story of love lost, of deception, jealousy and murder. Within this book the reader will find villains so vile that they seem almost inhuman but when their downfall comes it is so terrible that one almost feels for these wretched creatures. All through the book the reader sees the story building to a climax, but it builds slowly. So slowly in fact that the reader will be almost on the edge of his or her seat as they wait for the inevitable falling of the ax. When the final act does finally come, the reader will know the characters so well that they will almost be able to feel their agony. On the other hand, the reader will also see that the Count's victims would not have become victims but for their own greed and pride. The traps laid by the Count simply would not have worked had not his victims been ruled by same vices that led them to wrong Dantes in the first place. As with all great works of fiction, the moral lessons are there, but buried under the surface so that they don't interfere with a great story.

This is indeed a great story.

Rating:
Summary: Man of mystery with a mission
Review: The Count of Monte Cristo by Alexandre Dumas père. Highly recommended.

As translator Robin Buss points out in his introduction, many of those who haven't read The Count of Monte Cristo assume it is a children's adventure story, complete with daring prison escape culminating in a simple tale of revenge. There is very little for children in this very adult tale, however. Instead, the rich plot combines intrigue, betrayal, theft, drugs, adultery, presumed infanticide, torture, suicide, poisoning, murder, lesbianism, and unconventional revenge.

Although the plot is roughly linear beginning with Edmond Dantès' return to Marseille, prenuptial celebration, and false imprisonment and ending with his somewhat qualified triumphant departure from Marseille and France, Dumas uses the technique of interspersing lengthy anecdotes throughout. The story of Cardinal Spada's treasure, the origins of the Roman bandit Luigi Vampa (the least germane to the novel), Bertuccio's tale of his vendetta, and the account of the betrayal and death of Ali Pasha are few of the more significant stories-within-the-novel. While Dumas devotes an entire chapter to bandit Luigi Vampa's background, he cleverly makes only a few references to what will remain the plot's chief mystery-how the youthful, intelligent, and naive sailor Edmond Dantès transforms himself into the worldly, jaded, mysterious Renaissance man and Eastern philosopher, the count of Monte Cristo, presumably sustained by his own advice of "wait" and "hope."

This novel is not a simple tale of simple revenge. The count does not kill his enemies; he brilliantly uses their vices and weaknesses against them. Caderousse's basic greed is turned against him, while Danglars loses the only thing that has any meaning for him. Fernand is deprived of the one thing that he had that he had never earned-his honour. In the process, he loses the source of his initial transgression, making his fate that much more poignant. The plot against Villefort is so complicated that even Monte Cristo loses control of it, resulting in doubt foreign to his nature and remorse that he will not outlive.

This long but generally fast-paced is set primarily in Marseille, Rome, and Paris. It begins with Dantès' arrival in Marseille aboard the commercial vessel Pharaon and ends with his departure from Marseille aboard his private yacht, accompanied by the young, beautiful Greek princess Haydée. What gives The Count of Monte Cristo its life, however, are the times in which it is set-the Revolution, the Napoleonic era, the First and Second Restoration, and the Revolution of 1830. Life-and-death politics motivates many of the characters and keeps the plot moving. Dumas also uses real people in minor roles, such as Countess G- (Byron's mistress) and the Roman hotelier Signor Pastrini, which adds to the novel's sense of historical veracity.

The most troubling aspect of The Count of Monte Cristo is Edmond Dantès himself. His claim to represent a higher justice seems to justify actions and inactions that are as morally reprehensible as those that sent him to prison, for example, his account of how he acquired Ali and his loyalty. Had he not discovered young Morrel's love for Valentine Villefort, she too might have become an innocent victim. As it is, there are at least two other innocents who die, although one clearly would not have been an innocent for long based on his behaviour in the novel. One wonders of Dantès' two father figures, his own flower-loving father and fellow prisoner Abbé Faria, would have approved of the count.

The translation appears to be good, with a few slips into contemporary English idioms that sound out of place. In his introduction, Buss states that the later Danglars and Fernand have become unrecognizable and that Fernand in particular has been transformed "from the brave and honest Spaniard with a sharp sense of honour . . . to the Parisian aristocrat whose life seems to have been dedicated to a series of betrayals." There is never anything honest or honourable about Fernand; his very betrayal of Edmond is merely the first we know of in his lifelong pattern.

What seems extreme and somewhat unrealistic about Fernand is his transformation from an uneducated Catalan fisherman into a "Parisian aristocrat," hobnobbing with statesmen, the wealthy, and the noteworthy of society. This, however, is the result of the milieu that the novel inhabits. During these post-Revolution, post-Napoleonic years, Fernand could rise socially through his military and political accomplishments just as Danglars does through his financial acumen. Danglars is careful to note that the difference between them is that Fernand insists upon his title, while Danglars is openly indifferent to and dismissive of his; his viewpoint is the more aristocratic.

Countess G- is quick to point out that there is no old family name of Monte Cristo and that the count, like many other contemporaries, has purchased his title. It serves mainly to obscure his identity, nationality, and background and to add to the aura of mystery his persona and Eastern knowledge create. What is most telling is that his entrée into Parisian society is based primarily on his great wealth, not his name. Dumas reinforces this point with Andrea Cavalcanti, another mystery man of unknown name and reputed fortune.

I have read The Man in the Iron Mask and The Three Musketeers series, both of which surprised me with their dark aspects (the character and fate of Lady de Winter, for example) and which little resembled the adventure stories distilled from them for children and for film. When I overheard a college student who was reading The Count of Monte Cristo on the bus tell a friend that she couldn't put it down, I was inspired to read it. I couldn't put it down, either, with its nearly seamless plot, dark protagonist, human villains, turbulent historical setting, and larger-than-life sense of mystery. At 1,078 pages, it's imposing, but don't cheat yourself by settling for an abridged version. You'll want to pick up every nuance.

Diane L. Schirf, 12 September 2004.