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La comtesse de Charny #1/3
غرش طوفان جلد چهارم [vol. 4 of 7]
عنوان: غرش طوفان جلد چهارم از هفت جلد؛ نویسنده: الکساندر دوما؛ مترجم ذبیح الله منصوری، تهران، نگارستان کتاب، چاپ نهم 1388
جمع هفت جلد در 4515 صفحه
جمع هفت جلد در 4515 صفحه
Paperback
First published January 1, 1891
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96 people want to read
About the author
Alexandre Dumas
6,981 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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Displaying 1 - 6 of 6 reviews
August 18, 2019
این جلد از کتاب غرش طوفان که مربوط به واقعه فرار لویی شانزدهم و همسرش ماری آنتوانت می باشد یکی از عبرت انگیز ترین صفحات تاریخ فرانسه بلکه دنیا است و آنچه در این جلد راجع به فرار لویی شانزدهم و همسرش می خوانید در هیچ یک از تواریخ معمولی وجود ندارد و کتاب غرش طوفان برای همین یک واقعه هم که باشد از کتب کم نظیر ادب در اروپا می باشد. _ مرحوم منصوری
November 30, 2017
Merely a pleasing dash of Dumas, not his customary ladleful.
As a matter of fact I was just over halfway through this novel set in Revolution-era France when I started to become aware that rounding up the wider stories of a disparate cast was going to be impossible.
A quick visit to Wikipedia revealed both why this was so, as well as why the length of the book was so stunted for a writer of many strapping epics - The Hero of the People is but the fifth part of an eight book series following the luxurious, doomed career of the nation's least favourite queen, Marie Antoinette.
Dumas goes pretty easy on the empty-headed spendthrift, at least in this volume he did, which focused on the conflicting plots to get the king and queen out of the way of an angry Paris before the axe finally fell. Or should that be the guillotine?
Not the most exciting episode in the life of Marie Antoinette to be sure. Not as memorable as the Affair of the Diamond Necklace, nor the "Let them eat brioche!" (yes, brioche, not cake) pronouncement. Thank Dieu then for the guillotine!
That's because the lion's share of the fun here comes from great glee Dumas derived from foreshadowing the advent of that trusty implement. We see it's inventor demo a miniature prototype, hear of an early test run with the real thing. Count Cagliostro, not a charlatan in this portrayal, captures the Dumas spirit perfectly:
"do you believe that so human a philanthropist, so distinguished a physician as Dr. Louis Guillotin, would busy himself about such an instrument unless he felt the want of it?"
The book's other plot, where Ange Pitou and Isidore Charny, a farmhand and a viscount, play out a provincial rivalry which includes falling in love with the same girl, suffers from the incompleteness that comes with being merely an episode in a larger story.
What else? Well, I never knew that Louis XVI was a keen locksmith. As for the plots and follies of his wife, he puts up with them as only a weak husband can, but he does the writing on the wall:
"Austria has always been fatal to France"
As a matter of fact I was just over halfway through this novel set in Revolution-era France when I started to become aware that rounding up the wider stories of a disparate cast was going to be impossible.
A quick visit to Wikipedia revealed both why this was so, as well as why the length of the book was so stunted for a writer of many strapping epics - The Hero of the People is but the fifth part of an eight book series following the luxurious, doomed career of the nation's least favourite queen, Marie Antoinette.
Dumas goes pretty easy on the empty-headed spendthrift, at least in this volume he did, which focused on the conflicting plots to get the king and queen out of the way of an angry Paris before the axe finally fell. Or should that be the guillotine?
Not the most exciting episode in the life of Marie Antoinette to be sure. Not as memorable as the Affair of the Diamond Necklace, nor the "Let them eat brioche!" (yes, brioche, not cake) pronouncement. Thank Dieu then for the guillotine!
That's because the lion's share of the fun here comes from great glee Dumas derived from foreshadowing the advent of that trusty implement. We see it's inventor demo a miniature prototype, hear of an early test run with the real thing. Count Cagliostro, not a charlatan in this portrayal, captures the Dumas spirit perfectly:
"do you believe that so human a philanthropist, so distinguished a physician as Dr. Louis Guillotin, would busy himself about such an instrument unless he felt the want of it?"
The book's other plot, where Ange Pitou and Isidore Charny, a farmhand and a viscount, play out a provincial rivalry which includes falling in love with the same girl, suffers from the incompleteness that comes with being merely an episode in a larger story.
What else? Well, I never knew that Louis XVI was a keen locksmith. As for the plots and follies of his wife, he puts up with them as only a weak husband can, but he does the writing on the wall:
"Austria has always been fatal to France"
August 11, 2019
This book is a continuation of ‘Storming of the Bastille’, and, was a great read from Dumas.
This story seems to be completely the opposite to the previous book. Storming of the Bastille, very revolutionary, Socialist, power to the people. Here we see a return to Dumas’ love affair of the Royal Family. Even that of Marie Antoinette seems to change and mellowed. The story picks up many historical characters and events of the day, Robespierre, Guillotene and so forth. It is moving on to its inevitable crecendo in The Queens Necklace.
Like with Dickens’ A Tale of Two Cities that covers the same period, Dickens very dark, stark, real. Dumas focuses of a very typically French Romantic side of a dark period in French History.
This story seems to be completely the opposite to the previous book. Storming of the Bastille, very revolutionary, Socialist, power to the people. Here we see a return to Dumas’ love affair of the Royal Family. Even that of Marie Antoinette seems to change and mellowed. The story picks up many historical characters and events of the day, Robespierre, Guillotene and so forth. It is moving on to its inevitable crecendo in The Queens Necklace.
Like with Dickens’ A Tale of Two Cities that covers the same period, Dickens very dark, stark, real. Dumas focuses of a very typically French Romantic side of a dark period in French History.
February 28, 2019
دوك حيرت زده برگشت و چشمش به خانم دوپاري افتاد و با مسرتي زياد كه معلوم نبود طبيعي يا ساختگي است گفت: آه... كنتس عزيز، شما مثل هميشه زيبا و شاداب هستيد و متشكرم كه از همه زودتر آمديد.
دوپاري گفت: دوست عزيز، من تقريبا از سرما منجمد شده ام.
دوك گفت: خواهش مي كنم به بودوار تشريف بياوريد.
دوپاري با غمزه اي مليح گفت: آخر من چطور با شما تنها، در بودوار باشم؟
در اين هنگام صداي ديگري شنيده شد كه گفت: تنها نيستيد بلكه سه نفر مي باشيد...
دوپاري گفت: دوست عزيز، من تقريبا از سرما منجمد شده ام.
دوك گفت: خواهش مي كنم به بودوار تشريف بياوريد.
دوپاري با غمزه اي مليح گفت: آخر من چطور با شما تنها، در بودوار باشم؟
در اين هنگام صداي ديگري شنيده شد كه گفت: تنها نيستيد بلكه سه نفر مي باشيد...
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June 7, 2013Free download available at Project Gutenberg
September 21, 2019
Excellent
Displaying 1 - 6 of 6 reviews