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A mulher da gargantilha de veludo e outras histórias de terror
Alexandre Dumas não foi apenas autor de romances de capa e espada. O criador de sucessos como "Os três mosqueteiros" e "O Conde de Monte Cristo" também escreveu histórias de vampiros e fantasmas, com o clima soturno característico das tramas de terror. Este volume reúne duas novelas de tirar o sono. "A mulher da gargantilha de veludo" tem como protagonista E.T.A. Hoffmann, o mestre alemão da literatura fantástica. E, em "1001 fantasmas", depois de decapitar a esposa, um homem se entrega à polícia dizendo que a cabeça falara com ele. Seria possível algo assim acontecer? Daqueles livros que prendem da primeira à última página.
550 pages, Kindle Edition
Published November 5, 2012
6 people are currently reading
47 people want to read
About the author
Alexandre Dumas
6,441 books12.5k 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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Displaying 1 - 3 of 3 reviews
August 14, 2020
3⭐️ para 1001 fantasmas e 4⭐️ para a mulher da gargantilha de veludo
February 1, 2019
A inclusão de Dumas no terreno do gótico sobrenatural
Alexandre Dumas é mais conhecido como autor de "Os Três Moqueteiros" e "O Conde de Monte Cristo" considerados livros clássicos no gênero aventura. Por isso, foi uma surpresa quando descobri esta antologia reunindo duas novelas, onde o autor francês faz sua inclusão no universo gótico.
Na primeira "1001 Fantasmas" encontramos uma estrutura narrativa parecida com "Noites na Taverna", de Álvares de Azevedo e como o título sugere um inusitado diálogo intertextual com "As Mil e uma noites". Ou seja, temos uma história que dá origem a outras histórias, sendo em que em todas há ênfase em motivos sobrenaturais tais como aparições fantasmagóricas, duplos e vampiros e sempre terminam com impactantes cenas de horror.
Na segunda novela "A mulher da gargantilha de veludo" o protagonista é E. T. Hoffman, um dos expoentes do movimento romântico, descrito com o mesmo excesso de sensibilidade que caracteriza alguns dos personagens de suas histórias fantásticas.
Apesar do desenvolvimento um pouco mais lento, a narrativa surpreende pela forma como descreve os eventos sobrenaturais que por seu aspecto surreal, onde não é possível estabelecer um limite entre o real e o imaginário. Assim, ela encontra ressonância com "O Homem Areia", conto considerado uma das obras-primas do autor alemão, estabelecendo-se uma relação intertextual entre as duas narrativas.
Dumas, por meio de uma escrita irônica, utiliza a estética do horror para criticar duramente o chamado "Regime de terror", na França que gerou drásticas mudanças sociais e, principalmente, espalhou o medo e a desconfiança entre os parisienses, que por qualquer motivo se sentiam ameaçados, literalmente de perderem a cabeça.
Dessa forma, esta inclusão de Dumas ao universo gótico sobrenatural resulta em uma leitura muito prazerosa, que demonstra sua habilidade em contar histórias, mesmo que estas sejam assustadoras como as que integram essa coletânea.
Alexandre Dumas é mais conhecido como autor de "Os Três Moqueteiros" e "O Conde de Monte Cristo" considerados livros clássicos no gênero aventura. Por isso, foi uma surpresa quando descobri esta antologia reunindo duas novelas, onde o autor francês faz sua inclusão no universo gótico.
Na primeira "1001 Fantasmas" encontramos uma estrutura narrativa parecida com "Noites na Taverna", de Álvares de Azevedo e como o título sugere um inusitado diálogo intertextual com "As Mil e uma noites". Ou seja, temos uma história que dá origem a outras histórias, sendo em que em todas há ênfase em motivos sobrenaturais tais como aparições fantasmagóricas, duplos e vampiros e sempre terminam com impactantes cenas de horror.
Na segunda novela "A mulher da gargantilha de veludo" o protagonista é E. T. Hoffman, um dos expoentes do movimento romântico, descrito com o mesmo excesso de sensibilidade que caracteriza alguns dos personagens de suas histórias fantásticas.
Apesar do desenvolvimento um pouco mais lento, a narrativa surpreende pela forma como descreve os eventos sobrenaturais que por seu aspecto surreal, onde não é possível estabelecer um limite entre o real e o imaginário. Assim, ela encontra ressonância com "O Homem Areia", conto considerado uma das obras-primas do autor alemão, estabelecendo-se uma relação intertextual entre as duas narrativas.
Dumas, por meio de uma escrita irônica, utiliza a estética do horror para criticar duramente o chamado "Regime de terror", na França que gerou drásticas mudanças sociais e, principalmente, espalhou o medo e a desconfiança entre os parisienses, que por qualquer motivo se sentiam ameaçados, literalmente de perderem a cabeça.
Dessa forma, esta inclusão de Dumas ao universo gótico sobrenatural resulta em uma leitura muito prazerosa, que demonstra sua habilidade em contar histórias, mesmo que estas sejam assustadoras como as que integram essa coletânea.
April 20, 2022
Dois contos com estilos bastante diferentes mais igualmente bem escritos, apesar de se chamar histórias de terror, não é exatamente o tipo de leitura que te deixa angustiado por todo tempo, mas sim o tipo que te cativa, de certa forma, e te faz querer saber o que acontece com aquelas personagens no final de tudo. O apêndice “Arsenal” também é uma ótima leitura, e apesar de entender porque foi colocado no final do livro, acho que teria sido bom ter contato com ele antes de ler “A mulher da gargantilha de veludo”. Minha única crítica é que Dumas não fica 2 linhas sem referenciar uma personalidade ou evento local, e ficar o tempo todo indo para as notas fica cansativo depois de um tempo, acho que algumas delas não são desnecessárias e não trazem informações tão relevantes assim, já que algumas referências, mesmo se o leitor não conhecer, ainda podem ser facilmente entendidas pelo contexto.
Displaying 1 - 3 of 3 reviews