The Count of Monte Cristo (Penguin Classics)
The Count of Monte Cristo (Penguin Classics) book cover

The Count of Monte Cristo (Penguin Classics)

Paperback – Unabridged, May 27, 2003

Price
$13.99
Format
Paperback
Pages
1276
Publisher
Penguin Classics
Publication Date
ISBN-13
978-0140449266
Dimensions
5.08 x 2.25 x 7.78 inches
Weight
1.94 pounds

Description

Alexandre Dumas (1802–1870) was the son of Napoleon’s famous general Dumas. A prolific author, his body of work includes a number of popular classics, including The Three Musketeers and The Man in the Iron Mas k. Robin Buss (1939–2006) was a writer and translator who worked for the Independent on Sunday and as television critic for the Times Educational Supplement . He was also the translator of a number of volumes for Penguin Classics. Excerpt. © Reprinted by permission. All rights reserved. The Count of Monte Cristo By Alexandre Dumas Penguin Books Copyright ©2003 Alexandre DumasAll right reserved. ISBN: 0140449264 Chapter One Chapter ION FEBRUARY 24, 1815, the watchtower at Marseilles signaled the arrival of the three-master Pharaon, coming from Smyrna, Trieste and Naples.The quay was soon covered with the usual crowd of curious onlookers, for the arrival of a ship is always a great event in Marseilles, especially when, like the Pharaon, it has been built, rigged and laden in the city and belongs to a local shipowner.Meanwhile the vessel was approaching the harbor under topsails, jib and foresail, but so slowly and with such an air of melancholy that the onlookers, instinctively sensing misfortune, began to wonder what accident could have happened on board. However, the experienced seamen among them saw that if there had been an accident, it could not have happened to the ship herself, for she had every appearance of being under perfect control. Standing beside the pilot, who was preparing to steer the Pharaon through the narrow entrance of the harbor, was a young man who, with vigilant eyes and rapid gestures, watched every movement of the ship and repeated each of the pilot's orders.The vague anxiety hovering over the crowd affected one man so much that he could not wait until the ship entered the harbor: he leaped into a small boat and ordered the boatman to row him out to meet the Pharaon.When he saw this man coming toward him, the young sailor left his post beside the pilot and walked over to the side of the ship, holding his hat in his hand. He was a tall, slender young man, no more than twenty years old, with dark eyes and hair as black as ebony. His whole manner gave evidence of that calmness and resolution peculiar to those who have been accustomed to facing danger ever since their childhood."Ah, it's you, Dantès!" cried the man in the boat. "What's happened? Why does everything look so gloomy on board?""A great misfortune, Monsieur Morrel!" replied the young man. "We lost our brave Captain Leclère off Civitavecchia.""What about the cargo?" asked the shipowner eagerly."It arrived safely, Monsieur Morrel, and I think you'll be satisfied on that score, but poor Captain Leclère-""What happened to him?" asked the shipowner, visibly relieved."He died of brain fever, in horrible agony. He's now at rest off the Isle of II Giglio, sewed up in his hammock with one cannon ball at his head and another at his feet." The young man smiled sadly and added, "How ironic-he waged war against the English for ten long years and then died in his bed like anyone else.""Well, we're all mortal," said the shipowner, "and the old must make way for the young, otherwise there would be no promotion."As they were passing the Round Tower, the young sailor called out, "Make ready to lower topsails, foresail and jib!" The order was executed as smartly as on board a man-of-war. "Lower away and brail all!" At this last order all the sails were lowered and the ship's speed became almost imperceptible."And now, if you'd like to come aboard, Monsieur Morrel," said Dantès, seeing the shipowner's impatience, "you can talk to your purser, Monsieur Danglars, who's just coming out of his cabin. He can give you all the information you want. As for myself, I must look after the anchoring and dress the ship in mourning."The shipowner did not wait to be invited twice. He grasped the line which Dantès threw to him and, with an agility that would have done credit to a sailor, climbed up the ladder attached to the ship's side. Dantès returned to his duties, while Danglars came out to meet Monsieur Morrel. The purser was a man of twenty-five or twenty-six with a rather melancholy face, obsequious to his superiors and arrogant to his subordinates. He was as much disliked by the crew as Edmond Dantès was liked by them."Well, Monsieur Morrel," said Danglars, "I suppose you've heard about our misfortune.""Yes, I have. Poor Captain Leclère! He was a brave and honorable man.""And an excellent seaman, too, grown old between the sky and the water, as a man should be when he's entrusted with the interests of such an important firm as Morrel and Son.""But," said the shipowner, watching Dantès preparing to drop anchor, "it seems to me a man doesn't have to be old to do his work well, Danglars. Our friend Edmond there doesn't look as though he needs advice from anyone.""Yes," said Danglars, casting Dantès a glance full of hatred, "he's young and he has no doubts about anything. As soon as the captain was dead he took command without consulting anyone, and he made us lose a day and a half at the Isle of Elba instead of coming straight back to Marseilles.""As for taking command," said the shipowner, "it was his duty as first mate, but he was wrong to waste a day and a half at the Isle of Elba, unless the ship needed some sort of repairs.""The ship was as sound as I am and as I hope you are, Monsieur Morrel. Wasting that day and a half was nothing but a whim of his; he just wanted to go ashore for a while, that's all.""Dantès," said Morrel, turning toward the young man, "come here, please.""Excuse me, sir, I'll be with you in a moment," said Dantès. Then, turning to the crew, he called out, "Let go!" The anchor dropped immediately and the chain rattled noisily. Dantès walked over to Morrel."I wanted to ask you why you stopped at the Isle of Elba.""It was to carry out an order from Captain Leclère. As he was dying he gave me a package to deliver to Marshal Bertrand there.""Did you see him, Edmond?""Yes."Morrel looked around and drew Dantès off to one side. "How is the emperor?" he asked eagerly."He's well, as far as I could tell. He came into the marshal's room while I was there.""Did you talk to him?""No, he talked to me," said Dantès, smiling."What did he say?""He asked me about the ship, when it had left for Marseilles, what route it had taken and what cargo it was carrying. I think that if the ship had been empty and I had been its owner he would have tried to buy it from me, but I told him I was only the first mate and that it belonged to the firm of Morrel and Son. 'I know that firm,' he said. 'The Morrels have been shipowners for generations and there was a Morrel in my regiment when I was garrisoned at Valence.' ""That's true!" exclaimed Morrel, delighted. "It was Policar Morrel, my uncle. He later became a captain." Then, giving Dantès a friendly tap on the shoulder, he said, "You were quite right to follow Captain Leclère's instructions and stop at the Isle of Elba, although you might get into trouble if it became known that you gave the marshal a package and spoke to the emperor.""How could it get me into trouble?" asked Dantès. "I don't even know what was in the package, and the emperor only asked me the same questions he would have asked any other newcomer. But excuse me for a moment, sir; I see the health and customs officers coming on board."Danglars stepped up as the young man walked away. "Well," he said, "he seems to have given you some good reasons for his stopover.""He gave me excellent reasons, Monsieur Danglars.""That's good; it's always painful to see a friend fail to do his duty.""Dantès did his duty well," replied the shipowner. "It was Captain Leclère, who ordered the stopover.""Speaking of Captain Leclère, didn't Dantès give you a letter from him?""No. Was there one?""I thought Captain Leclère gave him a letter along with the package.""What package, Danglars?""Why, the one Dantès delivered to the Isle of Elba.""How do you know he delivered a package there?"Danglars flushed. "The captain's door was ajar when I was passing by," he said, "and I saw him give Dantès a package and a letter.""He didn't say anything to me about it, but if he has the letter I'm sure he'll give it to me."Danglars was silent for a moment, then he said, "Monsieur Morrel, please don't mention it to Dantès; I must have been mistaken."Just then Dantès returned and Danglars walked away."Well, Dantès, have you finished now?""Yes, sir.""Then will you come to dinner with us?""Please excuse me, Monsieur Morrel, but I think I owe my first visit to my father. Just the same, I'm grateful for the honor of your invitation.""You're right, Dantès. You're a good son. But we'll be expecting you after you've visited your father.""Excuse me again, Monsieur Morrel, but after that first visit there's another one that's equally important to me.""Oh, yes; I was forgetting that there's someone who must be waiting for you as impatiently as your father-the beautiful Mercédès. You're a lucky man, Edmond, and you have a very pretty mistress.""She's not my mistress, sir," said the young sailor gravely. "She's my fiancée.""That's sometimes the same thing," said Morrel, laughing."Not with us, sir," replied Dantès."Well, I won't keep you any longer; you've taken care of my affairs so well that I want to give you as much time as possible to take care of your own. Do you have anything else to tell me?""No.""Didn't Captain Leclère give you a letter for me before he died?""He was unable to write, sir. But that reminds me that I must ask you for two weeks' leave.""To get married?""First of all; and then to go to Paris.""Very well, take as long as you like, Dantès. It will take at least six weeks to unload the cargo, and we won't be ready to put to sea again before another three months or so. But in three months you'll have to be here. The Pharaon," continued the shipowner, patting the young sailor on the shoulder, "can't leave without her captain.""Without her captain!" cried Dantès, his eyes flashing with joy. "Do you really intend to make me captain of the Pharaon?""If I were alone, my dear Dantès, I'd shake your hand and say, 'It's done.' But I have a partner, and you know the Italian proverb, 'He who has a partner has a master.' The thing is at least half done, though, since you already have one vote out of two. Leave it to me to get you the other one; I'll do my best.""Oh, Monsieur Morrel!" cried Dantès, grasping the ship-owner's hand with tears in his eyes. "I thank you in the name of my father and of Mercédès.""That's all right, Edmond. Go see your father, go see Mercedes, then come back to see me.""Don't you want me to take you ashore?""No, thanks; I'll stay on board and look over the accounts with Danglars. Were you satisfied with him during the trip?""That depends on how you mean the question, sir. If you're asking me if I was satisfied with him as a comrade, the answer is no; I think he's disliked me ever since the day we had a little quarrel and I was foolish enough to suggest that we stop for ten minutes at the Isle of Monte Cristo to settle it, a suggestion which I was wrong to make and which he was right to refuse. But if you're speaking of him as a purser, I think there's nothing to be said against him and that you'll be quite satisfied with the way he's done his work.""If you were captain of the Pharaon, would you be glad to keep him?""Whether I'm captain or first mate, Monsieur Morrel," replied Dantès. "I'll always have great respect for those who have the confidence of my shipowners.""Good, good, Dantès! I see you're a fine young man in every way. But don't let me hold you back any longer-I can see how anxious you are to leave.""May I take your skiff?""Certainly.""Good-bye, Monsieur Morrel, and thank you from the bottom of my heart."The young sailor leaped into the skiff and sat down in the stern, giving orders to be rowed to the Canebière. Smiling, the shipowner watched him until he saw him jump ashore, after which he was immediately swallowed up in the crowd. When he turned around, Morrel saw Danglars standing behind him, also following the young sailor's movements. But there was a great difference in the expression of the two men as they both watched Edmond Dantès. - From the Paperback edition. Continues... Excerpted from The Count of Monte Cristo by Alexandre Dumas Copyright ©2003 by Alexandre Dumas. Excerpted by permission. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.

Features & Highlights

  • "On what slender threads do life and fortune hang."
  • Nominated as one of America’s best-loved novels by PBS’s
  • The Great American Read
  • Thrown in prison for a crime he has not committed, Edmond Dantes is confined to the grim fortress of If. There he learns of a great hoard of treasure hidden on the Isle of Monte Cristo and he becomes determined not only to escape, but also to unearth the treasure and use it to plot the destruction of the three men responsible for his incarceration. Dumas’ epic tale of suffering and retribution, inspired by a real-life case of wrongful imprisonment, was a huge popular success when it was first serialized in the 1840s.
  • Robin Buss’s lively English translation is complete and unabridged, and remains faithful to the style of Dumas’s original. This edition includes an introduction, explanatory notes and suggestions for further reading. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.

Customer Reviews

Rating Breakdown

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Most Helpful Reviews

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ROBIN BUSS's TRANSLATION from PENGUIN CLASSICS

This review is for those who've already decided they want to read The Count of Monte Cristo (you won't regret it!), and don't know which version to get.

Short answer: see review title, duh!

The Count of Monte Cristo is my favorite book, and I've read several translations, both abridged and unabridged.

TRANSLATION
The Buss translation is the most modern, and reads most fluidly. A quick example comparing this translation with the one found on Project Gutenberg:

PG - His wife visited for him, and this was the received thing in the world, where the weighty and multifarious occupations of the magistrate were accepted as an excuse for what was really only calculated pride...

BUSS - His wife visited on his behalf; this was accepted in society, where it was attributed to the amount and gravity of the lawyer's business -- when it was, in reality, deliberate arrogance...

Buss's work reads like the book was written in English. The two or so times that the work is nearly untranslatable, Buss makes a footnote about it (eg, an insinuated insult using the formal "vous" instead of the familiar "tu"). Other translations just skip the subtlety. The most common translation out there (uncredited in my version) reads like a swamp. Trust me, get Buss.

ABRIDGED V UNABRIDGED
Abridged versions of this book rarely say "abridged." You can tell by the size: abridged is 500-700 pages, unabridged is 1200-1400 pages. Go for the unabridged.

The abridged version is VERY confusing! Pruning 1200 pages down to 600 leaves a lot of plot on the cutting room floor. Suddenly, arriving at dinner are 4 new characters; it's very tiring to try to keep up with the hole-ridden story of the abridged versions. And you know where the holes are? Publishers "clean up" the book by omitting the affairs, illegitimate children, homosexuality, hashish trips, etc.

As an added bonus in the Penguin Classics edition, there's a wonderful appendix bursting with footnotes to explain all the 19th century references, and a quick guide to the rise and fall of Napoleon (crucial to the politics in the story).

Hope this helps. Get the book and start reading!
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This treasure will prevent you from enjoying other novels

I grew up under the cultural bias that "Dumas was for middlebrows", not literary, hence one should quickly read "The Three Musqueteers" when still in puberty, followed by Dickens, then move on to "real" and "literary" novelists like Flaubert, Zola, or, perhaps Balzac, as a preparation for, some day, the Russians. Dumas reputation was not helped by a posthumous smear campaign that spread the rumor that Dumas used an entire workshop ("atelier") of ghostwriters, no doubt fed with the French wordplay around a racial connotation ("ghostwriter" has a double meaning in French).

So it was the most pleasant surprise that, during the lockdown of COVID-19, I accidentally got into this. Owing to the early developments around the pandemic, I could not easily concentrate on the usual material, so looking for a historical novel, I opened the book and could not stop. In spite of its length is built like a short (theater) play: there is not a single detail at any point that does'nt later on come to count in the resolution --and you know it instinctively so you do not miss anything. It moves very fast, but is... 1600 pages long (I read the French version).

I cannot vouch for this translation (as I said I read it in the original), but I have not read more absorbing novel written in the past 180 years.

Read old books.
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Nah

When I first started this book I wanted to kick myself for having waited so many years to read it. It’s apparently a very praised piece of work all over the world for many years now.

At first, I found it extremely hard to put this book down. The start off is great! A man is in love and due to be married, wrongfully accused of a wrongdoing and thrown into prison for it so that he can never marry his bride to be. That part was fascinating. The prison time was absolutely interesting, as was the Abbé’s part and Dantés’ escape. Even the part of Dantés going to Monte Cristo for the treasure was great.

Then the story took a complete plummet into the abyss of boringness. This was a complete 180 turn from fascination to boring and confusing all in a matter of a few pages, introducing (throwing, more like) several characters into the mix and at times you don’t have a clue who in the heck is talking or doing what.

I went from being incapable of putting this book down, to reading a few pages here and there when I felt like it, to removing my bookmark and completely just slamming the book shut with frustration.

Good thing it was cheap.
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just perfect

I agree with the reviewers that this is one of the best books ever written. I read this book as part of a book club and probably never would have read it on my own--having read many of the books of Hugo and Dickens and other writers of that approximate era. I love both of these writers but find them both at times cumbersome and stilted and really wasn't in the mood for another. However, I could not put the Count of Monte Cristo down. This book seems freshly modern in writing style compared to these superb writers. From the beginning it is a page turner--almost Harry Potter like in its ability to have action, adventure and drama on almost every page. If you read the unabridged version you will find some allusions to morality and the wrongness of revenge which I enjoyed. But what makes the book great is the grandeur of the writing, the tightness of a wonderful plot, filled with subplots, the development of the characters, and the constant magic of combining romance and adventure. It is the ultimate romance book. If you watched the most recent version of the movie, you might be disappointed at the lack of sword fights, but there is never a lack of adventure and suspense. It might be 1400 pages long, but it never disappoints.
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A Classic, A Masterpiece

This classic story of wrongful imprisonment, hidden treasure, and revenge is truly a masterpiece. Alexandre Dumas’ famous novel The Count of Monte Cristo has seen life not only in print but in film and television, but one cannot appreciate the novel unless you read it in its entire unabridged length.

Edmond Dantes is wrongfully accused of a crime and thrown in prison without trial to be forgotten, after overcoming both mental and physical anguish and befriending a fellow prisoner, and finally he is able to escape. Thanks to his friendship Dantes knows where a potential hidden treasure is located and finds it to be real, and using it begins finding out why he was thrown into prison and chart is path to revenge through fortune and hidden identities. Yet what this quick synopsis omits is the numerous and fascinating major and secondary characters that Dantes interacts throughout the narrative.

Originally published in serial form, Dumas was paid for how much he wrote and one would think that The Count of Monte Cristo might be riddled with meandering subplots that never go anywhere and/or have nothing to do with the central plot. But Dumas instead wove a tapestry of beauty with every word he wrote; instead of making meandering plots he described scenes and events in rich detail that it brings the story even more alive in the reader’s imagination.

If pressed to find anything negative to say about this book, the easiest answer would be cultural references that are almost 170 years old. The only other negative was the completely different societal norms that were in Parisian society in the 1840s compared today’s. However both of these ‘negatives’ can easily be put down to a piece of fiction that was contemporary when it was written but now can be seen as historical fiction with the passage to time.

The Count of Monte Cristo needs to be read in all its unabridged glory to fully appreciate why it is a masterpiece and classic. Dumas’ literary tapestry is a delight to behold once finished with the last page and makes the reader think about when they’ll have time to reread it in the future.
56 people found this helpful
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When the cold dish of revenge meets the white heat of Fate

I have been curious to read this massive novel for many years. Having read other books at least as long if not longer (‘War and Peace’, ‘Les Miserables’, ‘In Search of Lost Time’), the only excuse for my procrastination was the reputation the book has been given over time as a genre novel, a tale of revenge (there are hundreds of those by now, many influenced by ‘Monte Cristo’ itself), an adventure novel. This reputation was not entirely deserved and I knew that the novel transcended genre, so the question was when was I ready to devote the necessary time to tackle it?

The premise of the novel is well known to anyone who has either read an abridged version or watched one of the many TV and film adaptations; a young sailor, Edmond Dantes, has everything going for him. He has just been promoted as the new captain of the vessel he has served, he is engaged to a beautiful and devoted young woman named Mercedes, his aging father is devoted to him, and he is on excellent terms with his employer and his family. However, there are a few people who are envious of his good life enough to take advantage of an opportunity to take him down. Fernand Mondego has been in love with Mercedes almost as long as Edmond; he is single-minded in his obsession with her enough to sabotage the upcoming marriage. Fernand comes in contact with another mate on the ship, Denglars, a bitter man who is envious of Edmond’s promotion, resentful of serving a man who, in his mind, has no qualities that make him superior to Denglars.

On his way back to Marseilles, Edmond is tasked with delivering a package to Elba, home of Napoleon Bonaparte’s exile, and picking up a letter, contents unknown to Edmond. This gives Fernand and Denglars the perfect opportunity to frame Edmond. He is arrested and brought to the deputy crown prosecutor, Villefort, who opens the letter, seeing that it was from Napoleon to his own father, a Bonaparte supporter. Villefort burns the letter in front of Edmond and says he may go. Rather than setting him free, Villefort orders Edmond to be taken away to prison, suppressing the knowledge of his father’s association with Napoleon and preserving his own reputation.

Without a trial or any kind of explanation, Edmond is taken to the Chateau d’If, an island prison analogous to the American Alcatraz, locked in a dungeon cell and left there. Driven to despair, he unsuccessfully tries to kill himself, finally resigned to live this subterranean existence. After a few years, he hears some hammering and digging and finally meets his next-door prison neighbor, an older man named Abbe Faria. The Abbe has been digging in the wrong direction, coming up in Edmond’s cell. They reach a mutual decision to start digging in the right direction. During this time, the Abbe, a political prisoner thought to be mad by his captors, tutors Edmond on reading, writing, languages, sciences, giving him a thorough education on a variety of subjects. Edmond suddenly has a will to live and, with the Abbe’s questioning, figures out who betrayed him and why.

After fourteen years they are making progress on their tunnel when the Abbe has a seizure and dies. Edmond moves the body of Faria to his cell, covered in blankets and puts himself in the shroud meant for Faria. He thinks he’ll be buried somewhere on the island and be able to dig himself out but instead, weighted by a cannonball, he is thrown off the cliff into the waves below. Luckily, he has a knife and can cut himself out of the shroud, breaking the surface and making his way toward the nearest spot of land. After encountering smugglers and thinking of a plausible story, he joins the band long enough to locate Monte Cristo and finds the treasure, which is indeed enough riches to make him immensely wealthy.

Between the well-rounded education from Faria and the fortune that is now his, Edmond starts a new life for himself as the wealthy Count of Monte Cristo. During the next ten years he not only establishes a new life and lifestyle for himself as the Count but tracks down what has happened to his betrayers. During these years he adopts various aliases aside from the Count: Sinbad the Sailor, a wealthy British philanthropist named Lord Wilmore, a chief clerk from a British banking firm., and Abbe Busoni, a priest.

Under the various aliases he is able to track down what happened to his betrayers. His fiancé, Mercedes, worn down by Fernand’s persistence and convinced that Edmond was dead, married Fernand and had a child, Albert, now grown, and befriended by the Count. Fernand achieved a high rank in the army, and bought a title of Count for himself. Denglars became a wealthy banker, and Villefort became a chief prosecutor, now with a grown daughter, Valentine, and taking care of his aged father, the Bonapartist, who has had a stroke and can only communicate through a series of eye blinks.

Unlike my earlier impression of this book, there are no swashbuckling sword fights like any that characterized ‘The Three Musketeers’. The Count doesn’t kill anyone. He becomes a self-appointed Agent of Karma, finding people and evidence from these people’s past lives and sins, manipulating these events so that the public knowledge of their misdeeds is what dooms them. Edmond Dantes becomes a virtual superhero, traveling massive distances at lightning speeds, changing swiftly from one disguise to another.

The Count does seem to possess godlike powers. It seems he has also acquired a knowledge of various poisons and dosages, so that he can administer enough of a drug to make it appear that the person is dead, whereas he can resurrect her later. I suppose Dumas thought that Shakespeare got away with something like it in ‘Romeo and Juliet’, why shouldn’t he?

As I said, unlike earlier impressions, this is not the kind of adventure novel with swordplay. What it does have is a serial poisoner, a lesbian couple, cross dressing, hashish hallucination, and many other aspects that render it not suitable for children. The Robin Buss translation is very straightforward, flowing and fast moving. Much like ‘War and Peace’, which is also very readable, the main hurdle which is worth surmounting is its intimidating length and its varied gallery of characters and aliases.

With each triumph over one of his conspirators, the Count reveals his true identity as Edmond Dantes. He wants his victims to know that Dantes not only did not die but that he was able to administer justice in the end. Where the Count’s god-like powers end is in not being able to control the actions of peripheral characters so that innocent people die. His single-minded obsession grows beyond his control.

What Dumas has written is an epic melodrama, probably more akin to a great opera than one of the other great French 19th century novels written by authors such as Balzac, Flaubert, and Zola. Those authors created stories that were more relatable to the average reader, one that led a life less dramatic than most of the characters in ‘The Count of Monte Cristo. Yet even the most ordinary reader sometimes wants to live vicariously through big lives with grand gestures. It is for this reader that Dumas has written.
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The movie is good, but the book is classic

I often enjoy reading a book, and then checking out the movie. Almost always I enjoy the book more, although it is fun to see the movie version after reading the book. I don't think it would really even be possible for a two hour movie to do Dumas' classic justice (although the movie is enjoyable). This book is very entertaining, involves an intricate plot with many intertwined characters, and elements of suspense that could not be understood in a movie. It also covers a 24 year time span. The story is of Edmund Dantes, who after being promoted to captain of his ship, is brutally betrayed by those he trusts. On the day before his mairrage to his beautiful fiance, Mercedes, he is arrested for treason and taken to a prison on an island off the coast. He holds the image of his fiance in his mind, but unknown to him, she assumes he is dead and marries his friend who betrayed him. He is in prison for years, but life becomes barely tolerable after a tunnel is dug from a priest's cell to his. They are able to meet daily, and the priest is able to teach Dantes science, language, and even defense. Through his torturous incarceration, Dantes vows revenge on those who betrayed him. The two plot an escape through a tunnel, and the story continues to tell Dantes' life after prison.

This is an excellent book and certainly a classic that most people, even younger readers, will enjoy. I plan on reading it again in a couple of years, and just may read it again after that. It is that good!
23 people found this helpful
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A Fantastic Classic, but Has Many Flaws

Of all the books I've ever read, this is one of my favorite. But all my good memories of it come from the first third of the book. Up until the end of chapter 30 I'd give the book five stars, but after that it's pretty long-winded and drawn out (And that's 87 more chapters!) . Furthermore I didn't even like any of the characters introduced after the first 30 chapters, except two I'll mention below, who were very minor characters.

The first thirty chapters deal with Dantes being unjustly imprisoned and spending a miserable 14 years in the Chateau d'If. The story of his imprisonment, escape, and coming to riches and power culminates in his saving his old boss from financial ruin and suicide. It's a fantastic story but after that it's on to a long, drawn out, extremely wordy, and ultimately not-very-satisfying revenge on those who put him in prison. The main characters during these 87 chapters, aside from Dantes, his woman, and the four men who put him in prison are Haydee (the beautiful, but disturbingly reclusive Greek woman), Albert (the hotheaded son of Monte Cristo's old rival Fernand), Madame Danglars (the shrewish wife of Danglars), Héloïse de Villefort (the one-dimensional murderer whose love for her child is her only emotion), Franz d'Epinay, (a nice guy, but forgettable), and a host of other forgettable characters. Finally, there are Valentine de Villefort and Maximilien Morrel: two annoying and sappy lovers who remind me exactly of Cosette and Marius from Les Miserables. If you liked those two you'll love the latter half of the book. I detested them and the latter half of the book gave them an unfortunately large amount of sappy-time.

So that's the principle problem with the last 87 chapters: I don't like any of the characters. I wasn't even all that fond of Dantès during this part. The only characters I even remotely liked were Ali, Monte Cristo's slave, and Noitier de Villefort, who talks by blinking. Everyone else is either annoying or forgettable. This means that the almost the entire last 87 chapters are dedicated to conversations among all these annoying or forgettable people, very little of which was interesting.

Still, my memories are mostly fond. It's only when I put on my critic's hat that I began to realize how bored I was during the last two-thirds of the book. I'd recommend this book to anyone who wants a good long read. The abridged version would probably be better for the non-OCD type, as it'll cut out a lot of the superfluous stuff.
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Poor Condition

[[VIDEOID:80b543c9e3e8cd415c32d08407e9fa21]] I love this book, but the condition I got it in was unacceptable and the measures they took to disguise the damage on this piece of literature is absolutely embarrassing.
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Just Awe-Inspiring

In the same spirit of challenge that led me to read Pride and Prejudice and A Tale of Two Cities (and find that they have become irreplaceable parts of my bookshelf) and that will lead me to read others like Don Quixote, Ivanhoe, and The Three Musketeers, I have now officially read The Count of Monte Cristo, and I can say that it was the easiest and most thrilling of all the classics I have yet read.

Oh, sure, A Tale of Two Cities was tearjerking and triumphantly sad, and Pride and Prejudice just made you want to squeal in happiness, but The Count of Monte Cristo makes you think, makes you tear up (not out of sadness, at the wonder of the dialogue and the love you have for the characters -- and this is a translation!) makes you wonder, and finally, makes you go to this page to write a glowing 5-star review for one of the greatest books ever written in any language.

If you're not fluent in French you'll do fine with this book, though without a basic knowledge of just a few words you might have a little trouble with it, and without having heard of some of the places or having been to France, you might not know exactly what the Champs-Elysees or Chateau d'If is. It doesn't matter. Those aren't the focal points of the book. The story is Edmond Dantes, happy and fortunate young sailor, about to become captain of his own ship, marry his beloved Mercedes, and live happily ever after. Then success is snatched from his hand and he is unjustly thrown into the monstrous prison of Chateau d'If, where he spends fourteen years vowing to avenge himself.

He gets out eventually, in one of the most dazzling and vivid scenes ever written, and makes his fortune finding buried treasure on the tiny island of Monte Cristo. Henceforth he is known as the Count of Monte Cristo: Enigmatic, a little surreal, and ready to exact perfect reward for those who did him well -- and perfect justice for those who did him evil.

But there are complications that even the mighty count couldn't have foreseen: the son of his ex-fiancee and his bitter enemy befriends him, the son of his dead benefactor is in love with the daughter of the man who sentenced him to life in prison to protect his career, and the question comes up: When is revenge right, how far do you go, and do humans even have the right?

It's a fantastic story, a memorable and fast-paced story, and, unlike a few books I could mention, truly deserves its label of classic. For those who like action: This book has prison, escape, treasure, poison, love, cruelty, redemption, revenge, forgiveness, ambiguity, sadness, triumph, and hope. Don't be daunted by the page count. It's a true work of art.

Has anyone got a copy of the Three Musketeers?

Rating: Masterpiece
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