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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.

Le Comte De Monte Cristo Pdf

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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. sppn.info [Fic]--dc22 Table of Contents CHAPTER 1: The Arrival.

However, those experienced in navigation saw plainly that if any accident had occurred, it was not to the vessel herself, for she bore down with all the evidence of being skilfully handled, the anchor a-cockbill, the jib-boom guys already eased off, and standing by the side of the pilot, who was steering the Pharaon towards the narrow entrance of the inner port, was a young man, who, with activity and vigilant eye, watched every motion of the ship, and repeated each direction of the pilot.

The vague disquietude which prevailed among the spectators had so much affected one of the crowd that he did not await the arrival of the vessel in harbor, but jumping into a small skiff, desired to be pulled alongside the Pharaon, which he reached as she rounded into La Reserve basin.

When the young man on board saw this person approach, he left his station by the pilot, and, hat in hand, leaned over the ship's bulwarks. He was a fine, tall, slim young fellow of eighteen or twenty, with black eyes, and hair as dark as a raven's wing; and his whole appearance bespoke that calmness and resolution peculiar to men accustomed from their cradle to contend with danger.

Morrel," replied the young man,—"a great misfortune, for me especially! Off Civita Vecchia we lost our brave Captain Leclere. Morrel; and I think you will be satisfied on that head. But poor Captain Leclere—" "What happened to him?

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The young sailor gave a look to see that his orders were promptly and accurately obeyed, and then turned again to the owner. After a long talk with the harbor-master, Captain Leclere left Naples greatly disturbed in mind. In twenty-four hours he was attacked by a fever, and died three days afterwards. We performed the usual burial service, and he is at his rest, sewn up in his hammock with a thirty-six pound shot at his head and his heels, off El Giglio island.

We bring to his widow his sword and cross of honor. It was worth while, truly," added the young man with a melancholy smile, "to make war against the English for ten years, and to die in his bed at last, like everybody else.

If not, why, there would be no promotion; and since you assure me that the cargo—" "Is all safe and sound, M. Morrel, take my word for it; and I advise you not to take 25, francs for the profits of the voyage. Morrel," said Dantes, observing the owner's impatience, "here is your supercargo, M. 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.

Le comte de Monte-Cristo, Tome I by Alexandre Dumas

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. There is no indication of a relation between them or of her having a redeeming role in his life. There is neither any complicity between them for the punishment of Fernand, unlike in the next two films.

In the Monte Cristo, her story seems rather focused on her love affair with Albert. Thanks to him, they both find their way to happiness: However a last mention of her indicates an ending to her story. He saves her from slavery because he needs her in order to accomplish his plan.

But he is also moved by her sufferings and misfortunes. The third category, including the films that remained faithful to the ending of Dumas, is the largest.

The fidelity to the novel is generally at most literally and not in spirit, which makes the ending appear most of the times fake.

Among these ten films are those who can be considered the most accurate adaptations in their entirety: They do respect most of the ideas of the novel and some of the scenes are almost literally. She is usually more present in the story before the trial. Afterwards, her appearances are rare and sometimes limited only to the ending. In the film, the scene is anticipated and moved on Monte Cristo, before starting their travels in Europe.

The scene also exists in the French film, but unlike the previous ones, here is kept the setting, whereas the dialogue is different. It is strange though that the scene is not shown in the film, which is, on the other hand, the only one keeping the episode at the theatre in Rome and presenting a quite faithful scene at the Opera in Paris.

They are usually scenes of little importance, sometimes even without lines. In the two adaptations, these scenes are connected to the ending scene. In some cases, the Count actually treats her more like a partner and shares with her his plans concerning all his enemies , El Conde…, Regarding the ending, the scene on Monte Cristo is kept in the following films: The dialogue, where it exists, is shortened, but nevertheless faithful in the lines which have survived.

On the other hand, the Count is much more reserved and what he shows towards her is generally just a tender affection. In the TV Series, the Count makes it clear from the beginning that all he wants her for is to avenge himself on Fernand.

Their last meeting, on his yacht, show a rather tormented Monte Cristo, who finally yields to her determination and takes her hands in his, smiling at her with love.

The ending shows him kissing her hand and leaving the island with her.

No gesture or word from neither of them indicates any affection between them until the ending. This is why their last scene, precisely because of its literal fidelity to the novel, is false: There is no chemistry between the two characters, they lack emotion, are untruthful and the Count seems weary of life, while she pushes obedience to passivity. There are however a few exceptions, which show much more than the novel itself.

Later, before the duel with Albert, he tells her that she will understand how much he loved her on her way back home, the next day. He is affected by her suffering and asks her not to speak anymore, because he will lose his courage.

He does reject her every time she tries to kiss him, but his behavior afterwards shows, on the contrary, that he indeed cares for her and in a different way than as a father. The second time, he takes her hands in his and ask her to forgive him; moreover, it was him who wanted to see her before leaving for the duel with Albert.

He indirectly tells her that he loves her, by giving thanks to God for allowing him to love again. Another special case is in the film, where their relation remains the same from the beginning until the end and moreover is rather a partnership than a love affair. In their first conversation, the Count tells her that his only desire is to go back to the East, with her. This is exactly what he does in the end. This happens also because the Count is rarely shown feeling any remorse. He sees his love for her as a gift from God and therefore her presence in his life is redeeming.

The reunification of the initial couple is however the favorite ending of screenwriters, whether the films actually end so or not. In this case, the wait and hope ending is there, although in a completely different way. There is no connection with God and the result is to be seen in the future. Before that, when she asks him if he still loves that woman he loved in his youth, he answers that he has forgiven her. His elusive reply could also hide his true feelings for her.

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Neither her appearance, nor her personality are faithfully reproduced in film. It is no wonder then that she is neither permitted to fully honor the mission entrusted to her by Dumas. There are only three exceptions in which the Count clearly tells her that he loves her , El Conde…, and in only one film he considers her presence in his life as a gift from God. This is not merely a problem of misrepresenting a character.

Its effects go further and reach the main character and the story of the novel, which thus loses some of its meaning and depth. In spite of the great number of films that keep the ending imagined by Dumas, this ending seems most of the times disconnected from the rest of the movie and false all the more when it is literally faithful to the novel. At least as grave, if not more, is the de-deification of the Count.

But such a character, that comes to be almost a demigod and sometimes considered even more than that, may seem too distant to the 20th and 21st century viewers. The romantic figure of Monte Cristo, an ideal hero for the people of the 19th century Biglia, , ch. It might be one of the reasons which led to this end. The few surviving lines, dropped occasionally, do not find roots in the story or are not supported by the manner in which the characters act. This is a regression both of the character and the story.

On the contrary, in the novel, he rediscovers his old self in a journey in his past ch. But this is the beginning of another analysis. References Biglia, M.

Available at: Dumas, A. Le Monte-Cristo, 17 Sep. The Count of Monte-Cristo. London and New York: George Routledge and Sons. Le Comte de Monte-Cristo. Reference edition: Monte-Cristo 3: Le Comte de Morcerf. Le Joyeux Roger. Lord Byron, The Corsair.

Don Juan. Le Diamant et la Vengeance. Anecdote contemporaine. Pastiches Dumas, n. Monte Cristo - Charles Fechter. Alexandre Dumas: The Count of Monte Cristo. Selig Polyscope Company. Monte Cristo. Fox Film Corporation. Edward Small Productions as Reliance Pictures.

El Conde de Montecristo. Regina Films. Excelsa Film. Cineroma, Fono Roma and Lux Film. Argentina Sono Film S. Les Film J. The Count of Monte Cristo Greven av Monte Christo.

NRK TV. Il Conte di Montecristo. RAI - Radiotelevisione italiana. Norman Rosemont Productions.

FR3 Europa-Films. Bavaria Atelier. Edizioni Farnese and Rex Cinematografica. Elena Raicu Uznik Zamka If. Directed by Georgi Yungvald-Khikevich. Intra Media. Russia Soviet Union: Odessa Film Studios and Sovinfilm. Le Comte de Monte Cristo.

Taurus Film. Touchstone Pictures.At the age of nineteen. This paper has the address of my new abode. He indirectly tells her that he loves her, by giving thanks to God for allowing him to love again.

Le Comte de Monte-Cristo 1

Morrel; and I think you will be satisfied on that head. My father told my mother I was dead, wrapped me in a napkin marked with an H and an N, and buried me alive in the garden. The balcony was filled with impatient guests dressed in their finest to honor the day. He bent his body and desperately cut the cord that bound his legs to the weight.

I always knew you were a good son. In the Monte Cristo, her story seems rather focused on her love affair with Albert.