What do you think?
Rate this book
Le Vicomte de Bragelonne - Tome III
Ce livre est une oeuvre du domaine public éditée au format numérique par Ebooks libres et gratuits. L’achat de l’édition Kindle inclut le téléchargement via un réseau sans fil sur votre liseuse et vos applications de lecture Kindle.
364 pages, Kindle Edition
Published September 29, 2011
About the author
Alexandre Dumas
6,472 books13k 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
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 of 1 review
November 2, 2021
De Guiche înţelese situaţia în care se afla… Trebuia să i-o ia înainte lui de Wardes. Porni în goană, spre a-l surprinde înainte ca acesta să apuce să-şi încarce pistolul.
De Wardes îl vedea apropiindu-se ca o furtună. Plumbul era exact cât ţeava şi intra greu. O încărcătură pripită ar fi riscat să-i prăpădească ultimul foc. O încărcătură bună însemna pierdere de vreme, sau chiar pierderea vieţii. Îşi struni calul, făcându-l să se ridice în două picioare.
De Guiche se roti la stânga şi, în momentul când calul recăzu pe picioarele dinainte, glontele porni, smulgându-i pălăria lui de Wardes. De Wardes înţelese că avea o clipă în favoarea lui ― se grăbi să termine încărcarea pistolului.
De Guiche, văzând că adversarul său nu cade, aruncă primul pistol, care nu-i mai folosea la nimic şi se îndreptă spre de Wardes cu al doilea pistol ridicat. Dar la al treilea pas, de Wardes îl ochi din mers şi trase. Un răcnet de mânie fu răspunsul: braţul contelui se crispă şi se lăsă în jos. Pistolul se rostogoli alături.
De Wardes îl văzu pe conte aplecându-se, ridicând pistolul cu mâna stângă şi făcând încă un pas spre el. Clipa era hotărâtoare.
― Sunt pierdut ― murmură de Wardes ― nu e rănit de moarte.
Dar, în momentul când de Guiche întindea pistolul spre de Wardes, capul, umerii şi şalele contelui se frânseră dintr-o dată. El scoase un suspin dureros şi se prăbuşi la picioarele calului lui de Wardes.
― Acum e acum! murmură acesta.
Şi, trăgând de frâu, dădu pinteni. Calul sări peste trupul înţepenit şi-l duse pe de Wardes în goană la castel. Ajuns acolo, acesta stătu un sfert de ceas să cumpănească. În graba lui de a părăsi terenul de luptă, nu mai căutase să se încredinţeze dacă de Guiche murise sau nu. O dublă ipoteză frământa acum spiritul neliniştit al lui de Wardes: de Guiche era sau mort sau numai rănit. Dacă de Guiche era mort, trebuia oare să-i lase trupul astfel în gura lupilor? Ar fi fost o cruzime de prisos, căci dacă de Guiche era ucis, el nu mai putea vorbi niciodată. Iar dacă nu era ucis, la ce bun, nedându-i niciun ajutor, să se înfăţişeze ca un sălbatic lipsit de mărinimie? Se opri la această din urmă consideraţie.
De Wardes îl vedea apropiindu-se ca o furtună. Plumbul era exact cât ţeava şi intra greu. O încărcătură pripită ar fi riscat să-i prăpădească ultimul foc. O încărcătură bună însemna pierdere de vreme, sau chiar pierderea vieţii. Îşi struni calul, făcându-l să se ridice în două picioare.
De Guiche se roti la stânga şi, în momentul când calul recăzu pe picioarele dinainte, glontele porni, smulgându-i pălăria lui de Wardes. De Wardes înţelese că avea o clipă în favoarea lui ― se grăbi să termine încărcarea pistolului.
De Guiche, văzând că adversarul său nu cade, aruncă primul pistol, care nu-i mai folosea la nimic şi se îndreptă spre de Wardes cu al doilea pistol ridicat. Dar la al treilea pas, de Wardes îl ochi din mers şi trase. Un răcnet de mânie fu răspunsul: braţul contelui se crispă şi se lăsă în jos. Pistolul se rostogoli alături.
De Wardes îl văzu pe conte aplecându-se, ridicând pistolul cu mâna stângă şi făcând încă un pas spre el. Clipa era hotărâtoare.
― Sunt pierdut ― murmură de Wardes ― nu e rănit de moarte.
Dar, în momentul când de Guiche întindea pistolul spre de Wardes, capul, umerii şi şalele contelui se frânseră dintr-o dată. El scoase un suspin dureros şi se prăbuşi la picioarele calului lui de Wardes.
― Acum e acum! murmură acesta.
Şi, trăgând de frâu, dădu pinteni. Calul sări peste trupul înţepenit şi-l duse pe de Wardes în goană la castel. Ajuns acolo, acesta stătu un sfert de ceas să cumpănească. În graba lui de a părăsi terenul de luptă, nu mai căutase să se încredinţeze dacă de Guiche murise sau nu. O dublă ipoteză frământa acum spiritul neliniştit al lui de Wardes: de Guiche era sau mort sau numai rănit. Dacă de Guiche era mort, trebuia oare să-i lase trupul astfel în gura lupilor? Ar fi fost o cruzime de prisos, căci dacă de Guiche era ucis, el nu mai putea vorbi niciodată. Iar dacă nu era ucis, la ce bun, nedându-i niciun ajutor, să se înfăţişeze ca un sălbatic lipsit de mărinimie? Se opri la această din urmă consideraţie.
Displaying 1 of 1 review