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Valois Romances
Две Дианы
"Две Дианы" - историко-приключенческий роман замечательного французского писателя А. Дюма, рассказывающий об одном из наиболее трагических моментов в истории Франции XVI века - начале религиозной междоусобицы между католиками и протестантами.
624 pages, Hardcover
First published January 1, 1846
25 people are currently reading
463 people want to read
About the author
Alexandre Dumas
7,081 books12.4k followersThis note regards Alexandre Dumas, père, the father of Alexandre Dumas, fils (son). For the son, see Alexandre Dumas fils.
Alexandre Dumas père, born Alexandre Dumas Davy de la Pailleterie, was a towering figure of 19th-century French literature whose historical novels and adventure tales earned global renown. Best known for The Three Musketeers, The Count of Monte Cristo, and other swashbuckling epics, Dumas crafted stories filled with daring heroes, dramatic twists, and vivid historical backdrops. His works, often serialized and immensely popular with the public, helped shape the modern adventure genre and remain enduring staples of world literature.
Dumas was the son of Thomas-Alexandre Dumas, a celebrated general in Revolutionary France and the highest-ranking man of African descent in a European army at the time. His father’s early death left the family in poverty, but Dumas’s upbringing was nonetheless marked by strong personal ambition and a deep admiration for his father’s achievements. He moved to Paris as a young man and began his literary career writing for the theatre, quickly rising to prominence in the Romantic movement with successful plays like Henri III et sa cour and Antony.
In the 1840s, Dumas turned increasingly toward prose fiction, particularly serialized novels, which reached vast audiences through French newspapers. His collaboration with Auguste Maquet, a skilled plotter and historian, proved fruitful. While Maquet drafted outlines and conducted research, Dumas infused the narratives with flair, dialogue, and color. The result was a string of literary triumphs, including The Three Musketeers and The Count of Monte Cristo, both published in 1844. These novels exemplified Dumas’s flair for suspenseful pacing, memorable characters, and grand themes of justice, loyalty, and revenge.
The D’Artagnan Romances—The Three Musketeers, Twenty Years After, and The Vicomte of Bragelonne—cemented his fame. They follow the adventures of the titular Gascon hero and his comrades Athos, Porthos, and Aramis, blending historical fact and fiction into richly imagined narratives. The Count of Monte Cristo offered a darker, more introspective tale of betrayal and retribution, with intricate plotting and a deeply philosophical core.
Dumas was also active in journalism and theater. He founded the Théâtre Historique in Paris, which staged dramatizations of his own novels. A prolific and energetic writer, he is estimated to have written or co-written over 100,000 pages of fiction, plays, memoirs, travel books, and essays. He also had a strong interest in food and published a massive culinary encyclopedia, Le Grand Dictionnaire de cuisine, filled with recipes, anecdotes, and reflections on gastronomy.
Despite his enormous success, Dumas was frequently plagued by financial troubles. He led a lavish lifestyle, building the ornate Château de Monte-Cristo near Paris, employing large staffs, and supporting many friends and relatives. His generosity and appetite for life often outpaced his income, leading to mounting debts. Still, his creative drive rarely waned.
Dumas’s mixed-race background was a source of both pride and tension in his life. He was outspoken about his heritage and used his platform to address race and injustice. In his novel Georges, he explored issues of colonialism and identity through a Creole protagonist. Though he encountered racism, he refused to be silenced, famously replying to a racial insult by pointing to his ancestry and achievements with dignity and wit.
Later in life, Dumas continued writing and traveling, spending time in Belgium, Italy, and Russia. He supported nationalist causes, particularly Italian unification, and even founded a newspaper to advocate for Giuseppe Garibaldi. Though his popularity waned somewhat in his final years, his literary legacy grew steadily. He wrote in a style that was accessible, entertaining, and emotionally reso
Alexandre Dumas père, born Alexandre Dumas Davy de la Pailleterie, was a towering figure of 19th-century French literature whose historical novels and adventure tales earned global renown. Best known for The Three Musketeers, The Count of Monte Cristo, and other swashbuckling epics, Dumas crafted stories filled with daring heroes, dramatic twists, and vivid historical backdrops. His works, often serialized and immensely popular with the public, helped shape the modern adventure genre and remain enduring staples of world literature.
Dumas was the son of Thomas-Alexandre Dumas, a celebrated general in Revolutionary France and the highest-ranking man of African descent in a European army at the time. His father’s early death left the family in poverty, but Dumas’s upbringing was nonetheless marked by strong personal ambition and a deep admiration for his father’s achievements. He moved to Paris as a young man and began his literary career writing for the theatre, quickly rising to prominence in the Romantic movement with successful plays like Henri III et sa cour and Antony.
In the 1840s, Dumas turned increasingly toward prose fiction, particularly serialized novels, which reached vast audiences through French newspapers. His collaboration with Auguste Maquet, a skilled plotter and historian, proved fruitful. While Maquet drafted outlines and conducted research, Dumas infused the narratives with flair, dialogue, and color. The result was a string of literary triumphs, including The Three Musketeers and The Count of Monte Cristo, both published in 1844. These novels exemplified Dumas’s flair for suspenseful pacing, memorable characters, and grand themes of justice, loyalty, and revenge.
The D’Artagnan Romances—The Three Musketeers, Twenty Years After, and The Vicomte of Bragelonne—cemented his fame. They follow the adventures of the titular Gascon hero and his comrades Athos, Porthos, and Aramis, blending historical fact and fiction into richly imagined narratives. The Count of Monte Cristo offered a darker, more introspective tale of betrayal and retribution, with intricate plotting and a deeply philosophical core.
Dumas was also active in journalism and theater. He founded the Théâtre Historique in Paris, which staged dramatizations of his own novels. A prolific and energetic writer, he is estimated to have written or co-written over 100,000 pages of fiction, plays, memoirs, travel books, and essays. He also had a strong interest in food and published a massive culinary encyclopedia, Le Grand Dictionnaire de cuisine, filled with recipes, anecdotes, and reflections on gastronomy.
Despite his enormous success, Dumas was frequently plagued by financial troubles. He led a lavish lifestyle, building the ornate Château de Monte-Cristo near Paris, employing large staffs, and supporting many friends and relatives. His generosity and appetite for life often outpaced his income, leading to mounting debts. Still, his creative drive rarely waned.
Dumas’s mixed-race background was a source of both pride and tension in his life. He was outspoken about his heritage and used his platform to address race and injustice. In his novel Georges, he explored issues of colonialism and identity through a Creole protagonist. Though he encountered racism, he refused to be silenced, famously replying to a racial insult by pointing to his ancestry and achievements with dignity and wit.
Later in life, Dumas continued writing and traveling, spending time in Belgium, Italy, and Russia. He supported nationalist causes, particularly Italian unification, and even founded a newspaper to advocate for Giuseppe Garibaldi. Though his popularity waned somewhat in his final years, his literary legacy grew steadily. He wrote in a style that was accessible, entertaining, and emotionally reso
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April 20, 2021
Karl Mays verschwiegener Ahnherr
Das Verfahren von Alexandre Dumas Romanwerkstatt war schon zu Lebzeiten bekannt, spätestens nach dem durch einen Rivalen angestrengten Prozess, der nachweisen konnte, dass der Meister jede Minute des Jahres hätte schreiben müssen, - ohne Schlaf und Nahrungsaufnahme -, um einen derartigen Output zu produzieren. Daran änderte auch synchrone Arbeit mit jeweils einer Hand an unterschiedlichen literarischen Produkten nichts. Als die dramatisierte Version Der beiden Dianen auf die Bühne kam, veröffentliche Dumas dagegen selbst eine Darstellung, dass er von der ihm zugeschriebenen Vorlage keine Zeile gelesen habe.
Falls der Meister überhaupt in die Entstehung des von Paul Meurice geschriebenen Romans verwickelt war, dann allenfalls in die Redaktionssitzungen zwecks Erstellung des Konzepts vor der eigentlichen Niederschrift. Ist der Roman, der gewissermaßen das Prequel zur Valois-Trilogie bildet, deshalb überhaupt lesenswert? Wenn ja, für wen??
In erster Linie für Karl-May-Liebhaber, außer Sués Geheimnisse von Paris kenne ich keinen Roman, dessen Konstellationen, Verhaltensmuster der Helden und Beschreibungen ähnlich ungebrochen auf die Werke des Maysters durchgeschlagen haben. In Sachen Qualität erreicht das Buch sicher nicht die Gipfelmomente von Monte-Christo, der Musketier- oder Valois-Trilogie,
andererseits gibt es auch nicht die Abbrüche oder Handlungssequenzen, die derart kapital gegenüber dem Start abfallen, dass man den Eindruck hat, dass die Helden nur namentlich anwesend sind oder unter einer Persönlichkeitsspaltung leiden. Meurice, der vor allem als enger Vertrauter von Victor Hugo in die Literaturgeschichte eingegangen ist, hat wohl wirklich alles selbst geschrieben und sich bei der Gestaltung von historischem Personal halt seine Freiheiten als Autor heraus genommen. Sprich: der historisch verbürgte Montgomery hat zwar den nachweislich letzten (prominenten) Turniertoten im ritterlichen Lanzenstechen produziert, . Meurices Eisenfresser Guise, der erst im Verlauf des Romans ein Auge verlieren wird, ist eine deutlich umgänglichere Person als der Finsterling in Balzacs Katharina du Medici, gräbt sich aber auch nicht so tief ins Gedächtnis ein.
Ein Herkules Undercover
Vielleicht gab es in jener Ära ja unzählige ähnlich gestrickte Romane, in denen die Kinder von in tödliche Ungnade gefallenen Höflingen erst mal unter obskuren Verhältnissen in Sicherheit gebracht werden und erst später von den Pflege-Eltern von ihrer wahren Herkunft erfahren, aber die Idee, dass so ein junger Adelsspross nur die Rache als Erbe annimmt und erst mal undercover geht, um den Mord an seinem Vater aufzuklären, hat ja was für sich. Zumal der Autor schon früh andeutet, dass der Totgeglaubte Graf Montgomery in einem geheimen Verlies schmachtet, dessen ungesunde Details in etlichen Karl-May-Romanen als Kulisse wieder auferstehen. Wie auch der anfangs unterschätzte Superheld, der es als einziger wagt, den König von Frankreich beim Turnier zu schlagen. Zufällig lässt gerade Heinrich II. den Vater des jungen Helden Gabriel im Kerker verschmachten.
Racheficks waren damals noch kein Thema, dabei leckt sich die sträflich vernachlässigte Königin Katharina von Medici sämtliche Finger nach dem jungen Recken und lässt es auch nicht an eindeutigen Angeboten fehlen, doch Gabriel liebt eine andere. Seine Reaktion auf das Anerbieten der vernachlässigten Königin und der hinterhältigen Favoritin Diana von Poitiers, könnte sich auch bei Karl May so finden. Auch wenn seine tugendhafte Verweigerung gegenüber den Avancen der Sirene, die den König an ihrem Gängelband laufen lässt, viel zum Kreislauf von zwar erfolgreich bewältigten, aber nie wirklich honorierten Missionen beiträgt.
Immerhin weiß der Held, wegen wem er ablehnen muss. Seine große Liebe, - die andere Diana, die er seit den Tagen liebt, als sie als seine Schwester mit ihm aufgezogen wurde, steckt ausgerechnet im Kloster St. Quentin fest. Die Stadt ist so gut wie in Feindes Hand, Coligny hin oder her, Gabriel setzt alles auf eine Karte und verspricht die Eroberung der Stadt. Seine erste Herkulesarbeit. Für die komische Ebene ist Gabriels Diener zuständig, gewissermaßen ein Nachfolger der Scottschen Originale und Vorläufer von Halef, Hawkins und co. Dessen krimineller Doppelgänger sorgt durch allerlei Identitäts-Diebstähle für zusätzliche Verwirrung bis zuletzt und bringt Gabriel auf seinen Missions impossible zwischen den Fronten von Kriegen zwischen Nationen und Religionskonflikten in zusätzliche Nöte.
Hauptmanko in der vorliegenden Übersetzung sind die Dialoge, die wirken streckenweise ziemlich hölzern, aber darunter leiden auch die von allerlei Unterteufeln verfertigten Seiten der Meisterwerke von Alexandre Dumas. Alles in allem ein historisches Lesevergnügen, das sicher nicht an Balzacs Roman-Essay Katharina von Medici oder die besten Momente von Dumas heran reicht, aber trotzdem eine herrliche Sommer-Zerstreuung darstellt, erst recht, wenn man so viel Karl May in der Frühphase der literarischen Bildung hat wie meine Wenigkeit.
Das Verfahren von Alexandre Dumas Romanwerkstatt war schon zu Lebzeiten bekannt, spätestens nach dem durch einen Rivalen angestrengten Prozess, der nachweisen konnte, dass der Meister jede Minute des Jahres hätte schreiben müssen, - ohne Schlaf und Nahrungsaufnahme -, um einen derartigen Output zu produzieren. Daran änderte auch synchrone Arbeit mit jeweils einer Hand an unterschiedlichen literarischen Produkten nichts. Als die dramatisierte Version Der beiden Dianen auf die Bühne kam, veröffentliche Dumas dagegen selbst eine Darstellung, dass er von der ihm zugeschriebenen Vorlage keine Zeile gelesen habe.
Falls der Meister überhaupt in die Entstehung des von Paul Meurice geschriebenen Romans verwickelt war, dann allenfalls in die Redaktionssitzungen zwecks Erstellung des Konzepts vor der eigentlichen Niederschrift. Ist der Roman, der gewissermaßen das Prequel zur Valois-Trilogie bildet, deshalb überhaupt lesenswert? Wenn ja, für wen??
In erster Linie für Karl-May-Liebhaber, außer Sués Geheimnisse von Paris kenne ich keinen Roman, dessen Konstellationen, Verhaltensmuster der Helden und Beschreibungen ähnlich ungebrochen auf die Werke des Maysters durchgeschlagen haben. In Sachen Qualität erreicht das Buch sicher nicht die Gipfelmomente von Monte-Christo, der Musketier- oder Valois-Trilogie,
andererseits gibt es auch nicht die Abbrüche oder Handlungssequenzen, die derart kapital gegenüber dem Start abfallen, dass man den Eindruck hat, dass die Helden nur namentlich anwesend sind oder unter einer Persönlichkeitsspaltung leiden. Meurice, der vor allem als enger Vertrauter von Victor Hugo in die Literaturgeschichte eingegangen ist, hat wohl wirklich alles selbst geschrieben und sich bei der Gestaltung von historischem Personal halt seine Freiheiten als Autor heraus genommen. Sprich: der historisch verbürgte Montgomery hat zwar den nachweislich letzten (prominenten) Turniertoten im ritterlichen Lanzenstechen produziert, . Meurices Eisenfresser Guise, der erst im Verlauf des Romans ein Auge verlieren wird, ist eine deutlich umgänglichere Person als der Finsterling in Balzacs Katharina du Medici, gräbt sich aber auch nicht so tief ins Gedächtnis ein.
Ein Herkules Undercover
Vielleicht gab es in jener Ära ja unzählige ähnlich gestrickte Romane, in denen die Kinder von in tödliche Ungnade gefallenen Höflingen erst mal unter obskuren Verhältnissen in Sicherheit gebracht werden und erst später von den Pflege-Eltern von ihrer wahren Herkunft erfahren, aber die Idee, dass so ein junger Adelsspross nur die Rache als Erbe annimmt und erst mal undercover geht, um den Mord an seinem Vater aufzuklären, hat ja was für sich. Zumal der Autor schon früh andeutet, dass der Totgeglaubte Graf Montgomery in einem geheimen Verlies schmachtet, dessen ungesunde Details in etlichen Karl-May-Romanen als Kulisse wieder auferstehen. Wie auch der anfangs unterschätzte Superheld, der es als einziger wagt, den König von Frankreich beim Turnier zu schlagen. Zufällig lässt gerade Heinrich II. den Vater des jungen Helden Gabriel im Kerker verschmachten.
Racheficks waren damals noch kein Thema, dabei leckt sich die sträflich vernachlässigte Königin Katharina von Medici sämtliche Finger nach dem jungen Recken und lässt es auch nicht an eindeutigen Angeboten fehlen, doch Gabriel liebt eine andere. Seine Reaktion auf das Anerbieten der vernachlässigten Königin und der hinterhältigen Favoritin Diana von Poitiers, könnte sich auch bei Karl May so finden. Auch wenn seine tugendhafte Verweigerung gegenüber den Avancen der Sirene, die den König an ihrem Gängelband laufen lässt, viel zum Kreislauf von zwar erfolgreich bewältigten, aber nie wirklich honorierten Missionen beiträgt.
Immerhin weiß der Held, wegen wem er ablehnen muss. Seine große Liebe, - die andere Diana, die er seit den Tagen liebt, als sie als seine Schwester mit ihm aufgezogen wurde, steckt ausgerechnet im Kloster St. Quentin fest. Die Stadt ist so gut wie in Feindes Hand, Coligny hin oder her, Gabriel setzt alles auf eine Karte und verspricht die Eroberung der Stadt. Seine erste Herkulesarbeit. Für die komische Ebene ist Gabriels Diener zuständig, gewissermaßen ein Nachfolger der Scottschen Originale und Vorläufer von Halef, Hawkins und co. Dessen krimineller Doppelgänger sorgt durch allerlei Identitäts-Diebstähle für zusätzliche Verwirrung bis zuletzt und bringt Gabriel auf seinen Missions impossible zwischen den Fronten von Kriegen zwischen Nationen und Religionskonflikten in zusätzliche Nöte.
Hauptmanko in der vorliegenden Übersetzung sind die Dialoge, die wirken streckenweise ziemlich hölzern, aber darunter leiden auch die von allerlei Unterteufeln verfertigten Seiten der Meisterwerke von Alexandre Dumas. Alles in allem ein historisches Lesevergnügen, das sicher nicht an Balzacs Roman-Essay Katharina von Medici oder die besten Momente von Dumas heran reicht, aber trotzdem eine herrliche Sommer-Zerstreuung darstellt, erst recht, wenn man so viel Karl May in der Frühphase der literarischen Bildung hat wie meine Wenigkeit.
December 28, 2017
Recenzia pentru această carte o găsiți pe canalul meu de YouTube.
October 6, 2024
In adolescenta am citit numai cărți clasice. Aceasta este una dintre cărțile mele preferate.
June 6, 2009
Пусть ваши идеи бьются за вас - истине не нужна кровь!
January 8, 2021
A heartbreaking story.
A tale of old times, a story of intrigue and betrayal. Of love. Of the honor of great men, of true knights. This historical fiction novel, brings us to the court of Henry II of France, when his queen Catherine Medici was brewing her revenge, and his lover Diana was the true queen. It leads us through the eyes of Gabriel Montgomery in his tragic and somehow heroic, noble life story, through a lens that closely follows the true historical facts of the time but giving it a more personal twist.
Dumas is an author that always speaks to my heart and upon re-read he still manages to deliver old forgotten emotions. Sure, the romance is a tad melodramatic, but the heart of the story is still very much there. 4/5 stars.
A tale of old times, a story of intrigue and betrayal. Of love. Of the honor of great men, of true knights. This historical fiction novel, brings us to the court of Henry II of France, when his queen Catherine Medici was brewing her revenge, and his lover Diana was the true queen. It leads us through the eyes of Gabriel Montgomery in his tragic and somehow heroic, noble life story, through a lens that closely follows the true historical facts of the time but giving it a more personal twist.
Dumas is an author that always speaks to my heart and upon re-read he still manages to deliver old forgotten emotions. Sure, the romance is a tad melodramatic, but the heart of the story is still very much there. 4/5 stars.
November 2, 2021
Era în 5 mai, anul 1551. Un băiat de optsprezece ani şi o femeie de patruzeci, ieşind dintr-o căsuţă cu aspect modest, străbăteau satul Montgommery, situat în ţinutul Auge.
Tânărul se trăgea din acea frumoasă spiţă normandă, cu părul castaniu, cu ochii albaştri, cu dinţii albi şi buze trandafirii. Avea tenul proaspăt şi catifelat al oamenilor din nord, care uneori profită de pe urma frumuseţilor aproape feminine. Mai era, deasupra şi minunat clădit, cu trup unduios şi totodată puternic, având ceva din vigoarea stejarului, dar şi din supleţea trestiei. Era îmbrăcat simplu, însă elegant, cu o vestă scurtă de postav violet închis cu broderii aplicate, de aceeaşi culoare. Pantalonii bufanţi erau din acelaşi postav şi aveau aceleaşi ornamente ca şi vesta; cizmele de piele neagră erau înalte până peste genunchi, cum purtau pajii şi valeţii; o tocă de catifea, uşor înclinată într-o parte, umbrită de o pană albă, acoperea o frunte pe care se puteau lesne recunoaşte semnele calmului şi fermităţii. Calul său, al cărui frâu şi-l petrecuse pe sub braţ, îi urmă ridicând din când în când capul, adulmecând aerul şi nechezând la miasmele pe care i le aducea vântul.
Femeia părea să aparţină, dacă nu clasei de jos a societăţii, celei situate între această şi burghezie. Costumul îi era simplu, dar atât de curat, încât această curăţenie extremă părea să-i dea o notă de eleganţă. Tânărul o rugase de mai multe ori să se sprijine de braţul lui, dar ea îl refuzase mereu, ca şi cum această cinste ar fi fost mai presus de condiţia ei.
Pe măsură ce străbăteau satul, pe potecă ce ducea spre castelul ale cărui turnuri masive se vedeau dominând burgul, era de remarcat un lucru şi anume că nu numai tinerii, dar chiar şi cei vârstnici îl salutau, plecându-se adânc, pe tânărul de optsprezece ani, care răspundea fiecăruia cu un semn prietenos din cap. Toţi păreau să-l recunoască de stăpân pe acest adolescent care, cum se va vedea în curând, nu ştia încă nimic despre sine.
Ieşind din sat, o luară pe poteca râpoasă pe coasta muntelui, pe care cei doi abia o puteau străbate alături.
Aşa că, după multe piedici şi după ce tânărul îi spuse tovarăşei sale de drum că ar fi primejdios pentru ea să meargă în urmă, femeia se hotărî să treacă înainte. Tânărul o urmă fără să scoată o vorbă. Fruntea să se plecase sub povara unei adânci îngândurări. Castelul către care se îndreptau cei doi pelerini, atât de diferiţi ca vârsta şi condiţie socială, era frumos şi totuşi de temut. În patru secole, zece generaţii ridicaseră această masă de piatră din temelii şi până la creneluri; ea însăşi un munte, domina muntele pe care fusese clădită.
Ca toate edificiile din acea vreme, castelul conţilor de Montgommery nu era o clădire unitară. Părinţii îl lăsaseră moştenire fiilor şi fiecare nou proprietar adăugase câte ceva uriaşului de piatră, după nevoia sau capriciul său. Donjonul pătrat, fortăreaţa principală, fusese clădit sub ducii de Normandia. Pe urmă, nişte turnuleţe elegante cu creneluri şi câteva ferestre dantelate fuseseră adăugate severului donjon, care-şi înmulţea podoabele de piatră pe măsură ce trecea timpul, ca şi cum acesta ar fi făcut să rodească bogată vegetaţie de granit. Spre sfârşitul domniei lui Ludovic al XII-lea şi începutul celei a lui Francisc I, o lungă galerie cu ferestre în ogivă completase seculara construcţie.
Din această galerie, dar mai ales din înălţimea donjonului, cuprindeai cu privirea multe leghe din dropiile bogate şi înverzite ale Normandiei. Căci, după cum am mai spus, comitatul de Montgommery, cu cele opt sau zece baronii ale sale, era situat în ţinutul Auge, astfel încât cele o sută cincizeci de fiefuri depindeau de tribunalele senioriale din Argentan, Caen şi Alencon.
În sfârşit cei doi ajunseră la marea poartă a castelului.
Ciudat lucru! De mai bine de cincisprezece ani măreţul şi puternicul donjon n-avea stăpân. Un bătrân intendent continua să strângă arenzile; slujitorii, care şi ei îmbătrâniră în această singurătate, continuau să aibă grijă de castelul ce-şi deschidea zilnic porţile ca şi cum stăpânul urma să se întoarcă şi care şi le închidea în fiecare seară ca şi cum stăpânul urma să vină a doua zi.
Tânărul se trăgea din acea frumoasă spiţă normandă, cu părul castaniu, cu ochii albaştri, cu dinţii albi şi buze trandafirii. Avea tenul proaspăt şi catifelat al oamenilor din nord, care uneori profită de pe urma frumuseţilor aproape feminine. Mai era, deasupra şi minunat clădit, cu trup unduios şi totodată puternic, având ceva din vigoarea stejarului, dar şi din supleţea trestiei. Era îmbrăcat simplu, însă elegant, cu o vestă scurtă de postav violet închis cu broderii aplicate, de aceeaşi culoare. Pantalonii bufanţi erau din acelaşi postav şi aveau aceleaşi ornamente ca şi vesta; cizmele de piele neagră erau înalte până peste genunchi, cum purtau pajii şi valeţii; o tocă de catifea, uşor înclinată într-o parte, umbrită de o pană albă, acoperea o frunte pe care se puteau lesne recunoaşte semnele calmului şi fermităţii. Calul său, al cărui frâu şi-l petrecuse pe sub braţ, îi urmă ridicând din când în când capul, adulmecând aerul şi nechezând la miasmele pe care i le aducea vântul.
Femeia părea să aparţină, dacă nu clasei de jos a societăţii, celei situate între această şi burghezie. Costumul îi era simplu, dar atât de curat, încât această curăţenie extremă părea să-i dea o notă de eleganţă. Tânărul o rugase de mai multe ori să se sprijine de braţul lui, dar ea îl refuzase mereu, ca şi cum această cinste ar fi fost mai presus de condiţia ei.
Pe măsură ce străbăteau satul, pe potecă ce ducea spre castelul ale cărui turnuri masive se vedeau dominând burgul, era de remarcat un lucru şi anume că nu numai tinerii, dar chiar şi cei vârstnici îl salutau, plecându-se adânc, pe tânărul de optsprezece ani, care răspundea fiecăruia cu un semn prietenos din cap. Toţi păreau să-l recunoască de stăpân pe acest adolescent care, cum se va vedea în curând, nu ştia încă nimic despre sine.
Ieşind din sat, o luară pe poteca râpoasă pe coasta muntelui, pe care cei doi abia o puteau străbate alături.
Aşa că, după multe piedici şi după ce tânărul îi spuse tovarăşei sale de drum că ar fi primejdios pentru ea să meargă în urmă, femeia se hotărî să treacă înainte. Tânărul o urmă fără să scoată o vorbă. Fruntea să se plecase sub povara unei adânci îngândurări. Castelul către care se îndreptau cei doi pelerini, atât de diferiţi ca vârsta şi condiţie socială, era frumos şi totuşi de temut. În patru secole, zece generaţii ridicaseră această masă de piatră din temelii şi până la creneluri; ea însăşi un munte, domina muntele pe care fusese clădită.
Ca toate edificiile din acea vreme, castelul conţilor de Montgommery nu era o clădire unitară. Părinţii îl lăsaseră moştenire fiilor şi fiecare nou proprietar adăugase câte ceva uriaşului de piatră, după nevoia sau capriciul său. Donjonul pătrat, fortăreaţa principală, fusese clădit sub ducii de Normandia. Pe urmă, nişte turnuleţe elegante cu creneluri şi câteva ferestre dantelate fuseseră adăugate severului donjon, care-şi înmulţea podoabele de piatră pe măsură ce trecea timpul, ca şi cum acesta ar fi făcut să rodească bogată vegetaţie de granit. Spre sfârşitul domniei lui Ludovic al XII-lea şi începutul celei a lui Francisc I, o lungă galerie cu ferestre în ogivă completase seculara construcţie.
Din această galerie, dar mai ales din înălţimea donjonului, cuprindeai cu privirea multe leghe din dropiile bogate şi înverzite ale Normandiei. Căci, după cum am mai spus, comitatul de Montgommery, cu cele opt sau zece baronii ale sale, era situat în ţinutul Auge, astfel încât cele o sută cincizeci de fiefuri depindeau de tribunalele senioriale din Argentan, Caen şi Alencon.
În sfârşit cei doi ajunseră la marea poartă a castelului.
Ciudat lucru! De mai bine de cincisprezece ani măreţul şi puternicul donjon n-avea stăpân. Un bătrân intendent continua să strângă arenzile; slujitorii, care şi ei îmbătrâniră în această singurătate, continuau să aibă grijă de castelul ce-şi deschidea zilnic porţile ca şi cum stăpânul urma să se întoarcă şi care şi le închidea în fiecare seară ca şi cum stăpânul urma să vină a doua zi.
July 30, 2020
Прочитала эту книгу лет 5 назад, но до сих пор вспоминаю, какое удовольствие мне доставляло её прочтение.
Искренне не понимаю, почему роман остаётся в тени творчества А.Дюма, ведь произведение действительно достойное внимания. Всем очень советую прочитать и ‘прожить’ эту историю.
Искренне не понимаю, почему роман остаётся в тени творчества А.Дюма, ведь произведение действительно достойное внимания. Всем очень советую прочитать и ‘прожить’ эту историю.
January 31, 2021
This is a very good book about jousts, chivalry and adventures of a proud knight in 16th century France.
The story is about Gabriel, comte de Montgomery whose father was unlawfully imprisoned by the king and who now seeks to free him. Apart from this quest for revenge, a love story unfolds - the one about two Dianas, one loved by his father, now Gabriel`s enemy, and another - loved by Gabriel himself, daughter to the king.
The book`s strong sides are humour and a decent amount of battles, travels and adventures, spiced by the political intrigues. It is easy to read despite its rather large volume.
The book`s negative sides include the ending that seems rather forced and does not include either of Dianas until the very last pages. Gabriel`s Diana makes a fearful choice at the end... with little to no explanation as to why would she do that.
Overall, it is a very good book and it might appeal to all historical adventure romance lovers.
The story is about Gabriel, comte de Montgomery whose father was unlawfully imprisoned by the king and who now seeks to free him. Apart from this quest for revenge, a love story unfolds - the one about two Dianas, one loved by his father, now Gabriel`s enemy, and another - loved by Gabriel himself, daughter to the king.
The book`s strong sides are humour and a decent amount of battles, travels and adventures, spiced by the political intrigues. It is easy to read despite its rather large volume.
The book`s negative sides include the ending that seems rather forced and does not include either of Dianas until the very last pages. Gabriel`s Diana makes a fearful choice at the end... with little to no explanation as to why would she do that.
Overall, it is a very good book and it might appeal to all historical adventure romance lovers.
July 28, 2018
This has to be one of my favourite books that i've read; the romance mixed with action and betrayal leaves you with an empty feeling on the inside once it ends because you have experienced so much emotion throughout the book.
Though, it has been said that in fact it was written by a friend of his and published under Dumas's name. Nevertheless, it still is a great read.
Though, it has been said that in fact it was written by a friend of his and published under Dumas's name. Nevertheless, it still is a great read.
August 24, 2021
My soul is healed and yet my heart is in a million pieces. I love each and every one of those characters except for the ones that I passionately hate. I will never stop wondering at how Dumas crafts such beauty and passion and hatred and love and all earthly feelings. I am as always with tears in my eyes if not drowning in them.
June 6, 2018
Граф Монтгомери - какая судьба, какие страсти. Как же жаль, что Габриель и Диана не смогли быть вместе. Опять эти интриги, ненависть, игра с человеческими судьбами. Каково же было Габриелю достигнув желаемого, найти мертвого отца, умершего накануне.
July 14, 2020
Основное достоинство -- исторический сеттинг. Неровная хронология, гиперчувствительность вкупе с неспособностью "словами через рот", авторская навязчивость в подсветке -- в недостатках. И то ли вторичность, то ли черновиковость относительно "Мушкетёров".
March 13, 2022
Для меня сложно быть объективной, составляя мнение о произведениях Александра Дюма- мне нравится их приключенческий дух, поэзия и реалии старой Франции! Каждая история раскрывает роль рыцарства, чести , преданности и достоинства, которые так редко встретишь в наши дни.
January 18, 2025
A. Dumas a fost unul dintre primii autori cu care am început “cariera” mea de cititor și nu m-a dezamăgit niciodată. Ador ficțiunea istorică și mai ales sunt romane de aventuri, astfel am fost tentată să-i citesc 21 de volume.
Așadar 5/5⭐️
Așadar 5/5⭐️
March 15, 2020
Very interesting how Dumas brought in the real life story of Martin Guerre.
November 23, 2021
Uneori poate forțată în legătură cu anumite acțiuni dar în același timp foarte dureroasă. O tragedie, o iubire neîmplinită, povestea unei vieți distruse.
June 21, 2022
Funfact:Actually, the book was written by Paul Meurice, not Alexandre Dumas. He only publushed it and recognised it in one of his letters.
July 21, 2022
O carte bună. Eu ofer 4 ( * * * *) și nu 5, pentru Cele doua Diane pentru ca detaliază foarte mult fiecare conversație.
October 21, 2023
Menudo muermo
April 9, 2025
Great book! Read Katharina Medici short biography before, good introduction into the beginning of religious wars. Great love and honor story
December 3, 2025
Povestea celor două Diana de Alexandre Dumas a fost una dintre preferatele mele. Am adorat această carte – foarte bine scrisă, captivantă și plină de detalii istorice fascinante despre Diana de Poitiers, Catherina de Medici și Henric al II-lea. O recomand cu căldură, fiind o combinație perfectă între ficțiune și cunoaștere istorică
December 25, 2015
I really loved this story when I've read it. With every page of this book I wanted to read more and more. It's very interesting, romantic, tragic story about young, brave and noble man,that died because of his desire of justice and the meanness of the very powerful politicians of these times.
July 8, 2017
I've read this book a couple of decades ago and do not remember much from this book, but I still remember it and even feel those pleasant and powerful perceptions after reading it. And this worth a lot.
June 13, 2012
This is the very interesting book by Dumas, whenever I read.
June 26, 2015
the first novel I have read, and now, 15 years later, still one of the best
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