What do you think?
Rate this book
Trilogie des Mousquetaires #1.5
The Red Sphinx: A Sequel to The Three Musketeers
In 1844, Alexandre Dumas published The Three Musketeers, a novel so famous and still so popular today that it scarcely needs introduction. Shortly thereafter he wrote a sequel, Twenty Years After. Later, toward the end of his career, Dumas wrote The Red Sphinx, another direct sequel to The Three Musketeers that begins a mere twenty days afterward. Picking up right where the The Three Musketeers left off, The Red Sphinx continues the stories of Cardinal Richelieu, Queen Anne, and King Louis XIII—and introduces a charming new hero, the Comte de Moret, a real historical figure from the period. Dumas wrote seventy-five chapters of The Red Sphinx, but never quite finished it and the novel languished for almost a century. While Dumas never completed the book, he had earlier written a separate novella, The Dove, that recounts the final adventures of Moret and Cardinal Richelieu. Now for the first time in one cohesive narrative, The Red Sphinx and The Dove make a complete and satisfying storyline—a rip-roaring novel of historical adventure, heretofore unknown to English-language readers, by the great Alexandre Dumas, king of the swashbucklers
765 pages, Hardcover
First published January 1, 1866
120 people are currently reading
5050 people want to read
About the author
Alexandre Dumas
7,377 books12.2k 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 - 30 of 119 reviews
April 22, 2020
I'm not proud that it took me over a year to finish this bad boy but in my defence it is the size of a toddler. Also, it's kind of - and saying this feels rather blasphemous - dull?
*le sigh*
So, let's break it down.
First: Me.
I am obsessed with The Three Musketeers and the five sequels that follow the adventures of d'Artagnan and his friends. You can see my review HERE and there's enough gushing in that to make it redundant for me to reiterate it all again here. Safe to say that I love everything to do with The d'Artagnan Romances so even though this book wasn't directly related to the musketeers themselves, being in the same realm meant this was a must read for me.
Second: The story behind this book.
This story is actually composed of two parts: an unfinished manuscript titled The Red Sphinx that was published serially between October 1865 and March 1866 but never completed, and a novella, The Dove. Because both feature the illegitimate son of King Henri IV, the dashing Comte de Moret, it's considered that together they make a complete story. I strongly disagree.
So in consideration of that, I'll review both stories individually, as well as provide my thoughts on the merging of the two.
It's also worth noting that there is zero musketeer adventure in this book. You've been warned.
Part One: The Red Sphinx
This story occupies 685 pages of the total 775 so it's a lot to get through. Which makes sense when you consider it's unfinished - I wonder if a lot of it might have been edited out if Dumas had a hand in it's completion. It begins chronologically only a few days after the events of The Three Musketeers however our soldiers have been abandoned for politics. Instead, the focus is on Cardinal Richelieu, King Louis XIII and the traitors: Queen Anne, Queen Mother Marie de Medici and Monsieur aka Gaston, the King's simpering, cowardly brother.
It actually opens brilliantly with a duel that got me all excited for Musketeer-like adventures with new heroes. We're introduced to Latil - a mercenary with a strong sense of honour and loyalty - and then eventually the Comte de Moret, who is to be our hero. However it's quick to jump back to the politics, and a lot of names get thrown around which is going to confuse you if you're not familiar with all the players of French history during this time period.
I really enjoyed the intrigue, and the secrets, and the double crossing, but there's also a lot that felt superfluous and made the story drag. The endless place names and battle strategies wore me down a fair bit, but then I'd be revived by a risky undertaking or the sly workings of the Cardinal. The tone was inconsistent and that contributed to my taking so long to read it. Plus it jumps between Moret and the schemers and it can be a little tricky to keep up with who is where and doing what.
Also, Gretchen the dwarf in a cage really threw me.
It travels a long way without any real satisfying conclusions, so you kind of get that episodic feel of it without the final installment. If you're interested in the political stuff, prepare yourself for a cliffhanger. Thankfully it's historical fiction so we can Google the ending.
Overall, Moret and Latil were really fun characters, so I enjoyed their stories, and it's always fun to read about the Cardinal's plotting because he's twenty steps ahead of everyone else. It's weird to think of him as a villain because he really is formidable, and he seems to be in the right here, so he's become something of a hero. Instead, Anne has become the villain as she plots with the king's mother and brother to bring down her husband and his most trusted adviser. So the role reversal there is rather jarring if you're following on directly from The Three Musketeers.
The war talk is preeeetty boring, but Dumas seems to have loved these details. There is just a lot of it to get through, though, and it detracts from the action so it slows down the pace again. I honestly don't need to know how many soldiers and horses etc are going into battle at which location and which formation and how much everyone is being paid etc. Don't care. Unless it's essential to the plot, of course. This was an overload, and while it will appeal to the real historian types, it was too much for my action-loving heart.
So, to summarise:
- Fascinating characters, though a few too many to keep track of
- Constant focus shift between characters is a little jarring
- Fun action mingled with boring war and politics, making for an inconsistent pace
- Less a coherent story and more several episodes, with no decent conclusion
- Classic Dumas writing, though dense and full of superfluous detail
All in all, about a 3-star read.
Part Two: The Dove
This story, on the other hand, I read in one sitting. It was utterly absorbing and I loved every second. This is a polished, tense, thrilling adventure worthy of the author. It's told in letters between Moret and his love interest from The Red Sphinx, Isabelle. This style adds to the suspense and hooked me immediately. The romance came alive for me, and I'm not someone who usually enjoys romance. This is the power of Dumas.
Hands down an easy 5-star read.
The Combined Novel
Here's the thing: There's very little reference to any of the previous story when we get to The Dove. We jump straight into four years later and the lovers writing to one another. But the tone is completely different, and Moret himself seems to have switched sides. It was really hard to reconcile the hero who fought valiantly for King and Cardinal with the guy who then seemingly betrayed them for Monsieur. Especially when Gaston is Gaston. He's a complete imbecile and Dumas has never had us in his corner, so why would we be there now? Somehow we're supposed to still be rooting for this hero who fought with honour and then for some reason swapped sides? History places Moret at Gaston's side, but Dumas certainly doesn't.
Then you've got the cliffhanger ending of The Red Sphinx. One minute a plot is afoot, next minute it's four years later and everyone is forgotten. There's no neat flow from one to the other, and indeed the different writing styles mark the latter story as very much it's own being.
The second story is refined, succinct and a fantastic, tense adventure. The first is a heavy, overloaded mess of ideas and intrigues that doesn't do credit to the author.
Final Thoughts and Conclusion
Moret and Latil, while fun characters, don't even come close to worthy of the devotion I have to my beloved musketeers. Latil actually seems the more decent of the two, and I would have been much more impressed with a story relating his adventures instead.
This is a book only for solid Dumas lovers, or history buffs. Part One, The Red Sphinx, is a lot to get through and travels at an inconsistent pace, whereas Part Two, The Dove, is a tense, refined read that's hard to put down. I think if the latter was released on it's own I'd recommend it to everyone but, coupled to this hunk of history, it suffers.
And the two smooshed together definitely does not equal a complete novel.
*le sigh*
So, let's break it down.
First: Me.
I am obsessed with The Three Musketeers and the five sequels that follow the adventures of d'Artagnan and his friends. You can see my review HERE and there's enough gushing in that to make it redundant for me to reiterate it all again here. Safe to say that I love everything to do with The d'Artagnan Romances so even though this book wasn't directly related to the musketeers themselves, being in the same realm meant this was a must read for me.
Second: The story behind this book.
This story is actually composed of two parts: an unfinished manuscript titled The Red Sphinx that was published serially between October 1865 and March 1866 but never completed, and a novella, The Dove. Because both feature the illegitimate son of King Henri IV, the dashing Comte de Moret, it's considered that together they make a complete story. I strongly disagree.
So in consideration of that, I'll review both stories individually, as well as provide my thoughts on the merging of the two.
It's also worth noting that there is zero musketeer adventure in this book. You've been warned.
Part One: The Red Sphinx
This story occupies 685 pages of the total 775 so it's a lot to get through. Which makes sense when you consider it's unfinished - I wonder if a lot of it might have been edited out if Dumas had a hand in it's completion. It begins chronologically only a few days after the events of The Three Musketeers however our soldiers have been abandoned for politics. Instead, the focus is on Cardinal Richelieu, King Louis XIII and the traitors: Queen Anne, Queen Mother Marie de Medici and Monsieur aka Gaston, the King's simpering, cowardly brother.
It actually opens brilliantly with a duel that got me all excited for Musketeer-like adventures with new heroes. We're introduced to Latil - a mercenary with a strong sense of honour and loyalty - and then eventually the Comte de Moret, who is to be our hero. However it's quick to jump back to the politics, and a lot of names get thrown around which is going to confuse you if you're not familiar with all the players of French history during this time period.
I really enjoyed the intrigue, and the secrets, and the double crossing, but there's also a lot that felt superfluous and made the story drag. The endless place names and battle strategies wore me down a fair bit, but then I'd be revived by a risky undertaking or the sly workings of the Cardinal. The tone was inconsistent and that contributed to my taking so long to read it. Plus it jumps between Moret and the schemers and it can be a little tricky to keep up with who is where and doing what.
Also, Gretchen the dwarf in a cage really threw me.
It travels a long way without any real satisfying conclusions, so you kind of get that episodic feel of it without the final installment. If you're interested in the political stuff, prepare yourself for a cliffhanger. Thankfully it's historical fiction so we can Google the ending.
Overall, Moret and Latil were really fun characters, so I enjoyed their stories, and it's always fun to read about the Cardinal's plotting because he's twenty steps ahead of everyone else. It's weird to think of him as a villain because he really is formidable, and he seems to be in the right here, so he's become something of a hero. Instead, Anne has become the villain as she plots with the king's mother and brother to bring down her husband and his most trusted adviser. So the role reversal there is rather jarring if you're following on directly from The Three Musketeers.
The war talk is preeeetty boring, but Dumas seems to have loved these details. There is just a lot of it to get through, though, and it detracts from the action so it slows down the pace again. I honestly don't need to know how many soldiers and horses etc are going into battle at which location and which formation and how much everyone is being paid etc. Don't care. Unless it's essential to the plot, of course. This was an overload, and while it will appeal to the real historian types, it was too much for my action-loving heart.
So, to summarise:
- Fascinating characters, though a few too many to keep track of
- Constant focus shift between characters is a little jarring
- Fun action mingled with boring war and politics, making for an inconsistent pace
- Less a coherent story and more several episodes, with no decent conclusion
- Classic Dumas writing, though dense and full of superfluous detail
All in all, about a 3-star read.
Part Two: The Dove
This story, on the other hand, I read in one sitting. It was utterly absorbing and I loved every second. This is a polished, tense, thrilling adventure worthy of the author. It's told in letters between Moret and his love interest from The Red Sphinx, Isabelle. This style adds to the suspense and hooked me immediately. The romance came alive for me, and I'm not someone who usually enjoys romance. This is the power of Dumas.
Hands down an easy 5-star read.
The Combined Novel
Here's the thing: There's very little reference to any of the previous story when we get to The Dove. We jump straight into four years later and the lovers writing to one another. But the tone is completely different, and Moret himself seems to have switched sides. It was really hard to reconcile the hero who fought valiantly for King and Cardinal with the guy who then seemingly betrayed them for Monsieur. Especially when Gaston is Gaston. He's a complete imbecile and Dumas has never had us in his corner, so why would we be there now? Somehow we're supposed to still be rooting for this hero who fought with honour and then for some reason swapped sides? History places Moret at Gaston's side, but Dumas certainly doesn't.
Then you've got the cliffhanger ending of The Red Sphinx. One minute a plot is afoot, next minute it's four years later and everyone is forgotten. There's no neat flow from one to the other, and indeed the different writing styles mark the latter story as very much it's own being.
The second story is refined, succinct and a fantastic, tense adventure. The first is a heavy, overloaded mess of ideas and intrigues that doesn't do credit to the author.
Final Thoughts and Conclusion
Moret and Latil, while fun characters, don't even come close to worthy of the devotion I have to my beloved musketeers. Latil actually seems the more decent of the two, and I would have been much more impressed with a story relating his adventures instead.
This is a book only for solid Dumas lovers, or history buffs. Part One, The Red Sphinx, is a lot to get through and travels at an inconsistent pace, whereas Part Two, The Dove, is a tense, refined read that's hard to put down. I think if the latter was released on it's own I'd recommend it to everyone but, coupled to this hunk of history, it suffers.
And the two smooshed together definitely does not equal a complete novel.
October 11, 2021
In The Red Sphinx the translator combines Dumas's unfinished novel The Count of Moret with the earlier novella The Dove to give a complete story. The Dove
is a focused, driven epistolary story that shows Dumas didn't need dialogue to keep readers on the edge of their seats as the plot raced forward. The Count of Moret was written toward the end of Dumas's career, and follows a much more meandering path, which isn't necessarily uncharacteristic of Dumas's longer works.
When the publication serializing The Count of Moret went out of business, Dumas didn't finish writing the book. The translator speculates that this was partly because he didn't know how, having already written The Dove, which was the conclusion of Moret's story. Personally, I didn't get the sense that Dumas was struggling to produce more chapters. The flow of the writing seemed to go along as well as it had in the majority of the book, until it suddenly ended. His skill as a writer doesn't seem to be faltering, even though this isn't one of his better works. Instead I'd agree with the other reason the translator proposes for the stop. Dumas was writing The Count of Moret mainly for the money, and when the money went away so did his motivation. Throughout the novel, Dumas inserted chapters that serve no real purpose other than amusing himself. He was using every interesting note he'd obtained during his research, drawing out the text, spending rather detrimental amounts of time on (inaccurate) history lectures and Cardinal Richelieu's literary pursuits. The chapters following Richelieu's political maneuvering were the most interesting for me, and Dumas obviously enjoyed writing those. Rather than focusing on the flow of the narrative, he spent parts of the book jumping around to incidents and people he personally enjoyed, more so than usual. For example, the duel that occupies the first few chapters of the novel features characters that then mostly disappear, a few popping up dozens or even a hundred pages later as very minor characters. The introductions of the main characters are saved for much later. It seemed like the topic of the novel was chosen, but Dumas didn't have a committed interest in it. He did his best to maintain an interest but, without guaranteed payment, he decided to stop writing.
If you enjoy Dumas, this is still a book worth reading. If you don't enjoy Dumas, then The Dove is still worth reading.
is a focused, driven epistolary story that shows Dumas didn't need dialogue to keep readers on the edge of their seats as the plot raced forward. The Count of Moret was written toward the end of Dumas's career, and follows a much more meandering path, which isn't necessarily uncharacteristic of Dumas's longer works.
When the publication serializing The Count of Moret went out of business, Dumas didn't finish writing the book. The translator speculates that this was partly because he didn't know how, having already written The Dove, which was the conclusion of Moret's story. Personally, I didn't get the sense that Dumas was struggling to produce more chapters. The flow of the writing seemed to go along as well as it had in the majority of the book, until it suddenly ended. His skill as a writer doesn't seem to be faltering, even though this isn't one of his better works. Instead I'd agree with the other reason the translator proposes for the stop. Dumas was writing The Count of Moret mainly for the money, and when the money went away so did his motivation. Throughout the novel, Dumas inserted chapters that serve no real purpose other than amusing himself. He was using every interesting note he'd obtained during his research, drawing out the text, spending rather detrimental amounts of time on (inaccurate) history lectures and Cardinal Richelieu's literary pursuits. The chapters following Richelieu's political maneuvering were the most interesting for me, and Dumas obviously enjoyed writing those. Rather than focusing on the flow of the narrative, he spent parts of the book jumping around to incidents and people he personally enjoyed, more so than usual. For example, the duel that occupies the first few chapters of the novel features characters that then mostly disappear, a few popping up dozens or even a hundred pages later as very minor characters. The introductions of the main characters are saved for much later. It seemed like the topic of the novel was chosen, but Dumas didn't have a committed interest in it. He did his best to maintain an interest but, without guaranteed payment, he decided to stop writing.
If you enjoy Dumas, this is still a book worth reading. If you don't enjoy Dumas, then The Dove is still worth reading.
March 20, 2017
2.5 – 3 stars
One thing that is perhaps important to get out of the way first: the subtitle 'A Sequel to the Three Musketeers' is both from one perspective the truest statement that could be made about this novel and also, as most readers coming to this book will take it, the most egregious lie possible (there is certainly not an Athos, Porthos, Aramis, or D'Artagnan to be found anywhere amongst its pages). The only way this book can truly be considered a sequel to the Three Musketeers is in a purely chronological sense since it takes place very soon after the events of the first book. Indeed the fact that the central villain in the one becomes the main hero of the other (more on this below) makes the claim even less tenable and one might even say that this book actually takes the Three Musketeers and flips it on its head. In regards to a close connection between the two works, let's just say they occur in the same era and leave it at that.
I was somewhat dubious about this book when I first heard about it given the proliferation of Dumas forgeries throughout history made in an attempt to cash in on his more famous tales, and the very real possibility that even if this was genuine the fact that it has only been published (widely at least) now might speak to its relative lack of literary merit. It’s definitely not in the same league as _The Three Musketeers_ or _The Count of Monte Cristo_, but that being said it is a fine work, albeit one that is unfortunately incomplete. Dumas does a good job as usual at creating vivid characters and putting them into suitably melodramatic situations against the backdrop of history. Historical and political events are front and centre in this tale and as such the title given to this edition, 'The Red Sphinx', is much more appropriate than the one it first had in serial publication (‘The Comte de Moret’, given here as an alternate title). Cardinal Richelieu, the ‘red sphinx’ of the title, is by far the more likely protagonist of the story than the aforementioned Count, an illegitimate son of Henri IV whose adventures as invented by Dumas also occur in the pages. These adventures, as swashbuckling and romantic as they may be, have much less to do with the meat of the novel and even his love affair with the possibly invented Isabelle de Lautrec seem little more than footnotes when compared to the overarching shadow of the Cardinal and his actions in securing his hold over the monarch of France and France's own rising place on the stage of Europe.
Thus readers coming to this book expecting a ‘sequel to the Three Musketeers’ will indeed be surprised at this predominance of the Cardinal who now is no longer the scheming villain grasping for power against a noble family that are merely his pawns, but more or less the hero of the story, holding France together by his own genius and daring. Indeed Dumas paints such a vivid picture of the in-fighting, greed and venality of the French court that one wonders how it could have survived without such a man controlling it from behind the throne (or frankly why the musketeers would have bothered to be their champions in the more famous book). Centering on the weak-willed and feckless Louis XIII, his grasping and scheming mother Marie de Medicis, his cowardly and treacherous brother Gaston, Duc d'Orleans, and his unfaithful wife Anne of Austria, intent on supporting her Austrian and Spanish family against France, the royal house seems ripe for its own downfall from within. It suddenly seems less surprising to see Richelieu as the hero as it is apparent that he is the one man competent enough to keep the ship of France on an even keel even in the midst of the royal chaos around him.
As I said I enjoyed the novel, though I wish Dumas had been able to pull together a more coherent plot and there are some problems: the story of the Comte de Moret’s love for Isabelle de Lautrec barely gets off the ground and, quite frankly, is the least interesting part of the story; an intriguing character created by Dumas in the form of the swashbuckling sword-for-hire Etienne Latil gets only enough time in the pages to make us wish he was there more often; and our real hero, Cardinal Richelieu, is barely getting his pieces in place on the chess board of Europe before the story breaks off. Alas Dumas never finished the tale and we don’t get the chance to see how he was going to bring all the strands together in the end. The editor cobbles something of an ending to the story by adding the novella ‘The Dove’ as the capstone. On the face of it this makes eminent sense as it was a story Dumas had written years earlier in epistolary form, detailing the final end to the love between the Comte de Moret and Isabelle de Lautrec. I personally found it a little less than satisfying, however, given the fact that I thought the romance to be one of the weakest (and least interesting) threads of the novel.
I am perhaps not doing a very good job at encouraging people to read this book and that is certainly not my intention. I enjoyed my time with the Cardinal and his men and wish Dumas had finished the tale, but ultimately I imagine this book is likely to be of primary interest to Dumas aficionados and completists.
One thing that is perhaps important to get out of the way first: the subtitle 'A Sequel to the Three Musketeers' is both from one perspective the truest statement that could be made about this novel and also, as most readers coming to this book will take it, the most egregious lie possible (there is certainly not an Athos, Porthos, Aramis, or D'Artagnan to be found anywhere amongst its pages). The only way this book can truly be considered a sequel to the Three Musketeers is in a purely chronological sense since it takes place very soon after the events of the first book. Indeed the fact that the central villain in the one becomes the main hero of the other (more on this below) makes the claim even less tenable and one might even say that this book actually takes the Three Musketeers and flips it on its head. In regards to a close connection between the two works, let's just say they occur in the same era and leave it at that.
I was somewhat dubious about this book when I first heard about it given the proliferation of Dumas forgeries throughout history made in an attempt to cash in on his more famous tales, and the very real possibility that even if this was genuine the fact that it has only been published (widely at least) now might speak to its relative lack of literary merit. It’s definitely not in the same league as _The Three Musketeers_ or _The Count of Monte Cristo_, but that being said it is a fine work, albeit one that is unfortunately incomplete. Dumas does a good job as usual at creating vivid characters and putting them into suitably melodramatic situations against the backdrop of history. Historical and political events are front and centre in this tale and as such the title given to this edition, 'The Red Sphinx', is much more appropriate than the one it first had in serial publication (‘The Comte de Moret’, given here as an alternate title). Cardinal Richelieu, the ‘red sphinx’ of the title, is by far the more likely protagonist of the story than the aforementioned Count, an illegitimate son of Henri IV whose adventures as invented by Dumas also occur in the pages. These adventures, as swashbuckling and romantic as they may be, have much less to do with the meat of the novel and even his love affair with the possibly invented Isabelle de Lautrec seem little more than footnotes when compared to the overarching shadow of the Cardinal and his actions in securing his hold over the monarch of France and France's own rising place on the stage of Europe.
Thus readers coming to this book expecting a ‘sequel to the Three Musketeers’ will indeed be surprised at this predominance of the Cardinal who now is no longer the scheming villain grasping for power against a noble family that are merely his pawns, but more or less the hero of the story, holding France together by his own genius and daring. Indeed Dumas paints such a vivid picture of the in-fighting, greed and venality of the French court that one wonders how it could have survived without such a man controlling it from behind the throne (or frankly why the musketeers would have bothered to be their champions in the more famous book). Centering on the weak-willed and feckless Louis XIII, his grasping and scheming mother Marie de Medicis, his cowardly and treacherous brother Gaston, Duc d'Orleans, and his unfaithful wife Anne of Austria, intent on supporting her Austrian and Spanish family against France, the royal house seems ripe for its own downfall from within. It suddenly seems less surprising to see Richelieu as the hero as it is apparent that he is the one man competent enough to keep the ship of France on an even keel even in the midst of the royal chaos around him.
As I said I enjoyed the novel, though I wish Dumas had been able to pull together a more coherent plot and there are some problems: the story of the Comte de Moret’s love for Isabelle de Lautrec barely gets off the ground and, quite frankly, is the least interesting part of the story; an intriguing character created by Dumas in the form of the swashbuckling sword-for-hire Etienne Latil gets only enough time in the pages to make us wish he was there more often; and our real hero, Cardinal Richelieu, is barely getting his pieces in place on the chess board of Europe before the story breaks off. Alas Dumas never finished the tale and we don’t get the chance to see how he was going to bring all the strands together in the end. The editor cobbles something of an ending to the story by adding the novella ‘The Dove’ as the capstone. On the face of it this makes eminent sense as it was a story Dumas had written years earlier in epistolary form, detailing the final end to the love between the Comte de Moret and Isabelle de Lautrec. I personally found it a little less than satisfying, however, given the fact that I thought the romance to be one of the weakest (and least interesting) threads of the novel.
I am perhaps not doing a very good job at encouraging people to read this book and that is certainly not my intention. I enjoyed my time with the Cardinal and his men and wish Dumas had finished the tale, but ultimately I imagine this book is likely to be of primary interest to Dumas aficionados and completists.
April 28, 2017
An Alexandre Dumas work - definitely, but a sequel to the Three Musketeers - certainly not; these promotional half truths do more a disservice to the book that enhance its acceptance by the public.
I also feel that a bit more editing would have been beneficial for the final outcome - I wouldn't have missed some annoying anachronisms, some overly lengthy historical passages and the overload of adverts for his other novels, which we love and cherish anyways. I also didn't quite appreciate some of Dumas' trademark - but often rather absurd - coincidences, although I suppose there's no cure for that.
Still, a new novel by Dumas could never be a disappointment for the completist at heart. His captivating writing style, albeit somewhat muddled by the penny-a-line convention, his lively characters, his humor, the intrigue, the passion, the historical background that we get to know in detail- all that is more than enough for me to say that I truly enjoyed this novel, even despite its untimely cliffhanger of an ending, and the slightly ridiculous novella added to this edition. Richelieu was among my favorite characters even when portrayed as a villain in the Three Musketeers, so this vindication is most welcome for his numerous fans.
Last, but not least, the translator did a magnificent job of rendering this book into English, and I couldn't be more satisfied with the result. Thanks to him and to the gifted narrator, this book turned out to be much more enjoyable than I expected after reading the initial impressions here.
I also feel that a bit more editing would have been beneficial for the final outcome - I wouldn't have missed some annoying anachronisms, some overly lengthy historical passages and the overload of adverts for his other novels, which we love and cherish anyways. I also didn't quite appreciate some of Dumas' trademark - but often rather absurd - coincidences, although I suppose there's no cure for that.
Still, a new novel by Dumas could never be a disappointment for the completist at heart. His captivating writing style, albeit somewhat muddled by the penny-a-line convention, his lively characters, his humor, the intrigue, the passion, the historical background that we get to know in detail- all that is more than enough for me to say that I truly enjoyed this novel, even despite its untimely cliffhanger of an ending, and the slightly ridiculous novella added to this edition. Richelieu was among my favorite characters even when portrayed as a villain in the Three Musketeers, so this vindication is most welcome for his numerous fans.
Last, but not least, the translator did a magnificent job of rendering this book into English, and I couldn't be more satisfied with the result. Thanks to him and to the gifted narrator, this book turned out to be much more enjoyable than I expected after reading the initial impressions here.
May 7, 2017
Below are three quotes from this Dumas novel that let the reader know what they're in for:
"Readers who already know these historical facts may complain that these are unnecessary details that just get in the way of the picturesque and the novel. Such readers are welcome to pass over these details, but we included them for those unfamiliar with history or for those who, attracted by the ambitious title of this historical romance, hope to learn something from it."
"Our readers may find this chapter a bit long and dry, but our respect for history leads us to reproduce every detail of this great meeting in the Luxembourg that decided on the war in Italy, including all the speeches of the two cardinals. Our claim is that a historical novel should entertain both those readers who know the history it's based upon, and those who are learning about it from what we write."
"The gravity of the historical events we recount sometimes distracts us from the joys or sorrows they bring to the hearts of our characters."
The first two quotes allude to the wealth of historical detail in these book. I think Dumas has a point here, and one of the reasons I enjoy historical novels is indeed to learn something from them. The third quote - where Dumas admits that sometimes he lets those historical details distract him from the emotional drama of the fictional story - is unfortunately true, and it is a weakness in the book, more so than in other Dumas novels I've read. There are, as one should expect, scenes of swashbuckling action, surprising lustiness and scandal, and laugh-out-loud humor; but the plot as a whole is rather meandering and unfocused. It did not move quickly. You can tell that Dumas is extremely enthused by the period in history where he sets his tales, and it's clear as well that he feels passionately about the figure of Cardinal Richelieu, around whom the book is woven. But still, the story isn't really going anywhere, although it contains quite a few engaging scenes along the way. Honestly, I think this is why Dumas left the novel unfinished. The seventy-five existing chapters were originally published in serial format before the tale sputtered out, and were not collected for publication until decades later, in 1946. This is the first English translation to become available.
However, included here as an 'ending', or possibly a coda to "The Red Sphinx" (or, "The Comte de Moret,") is a separate novella, "The Dove," which is also a previously untranslated work. This dramatically sentimental tale of tragically separated lovers who languish alone could not be more different in tone and writing style, although the setting (and characters) may be the same. It's tightly plotted, concise, emotional (possibly to a fault) and poetic. It's a tale to read while languidly picnicking in the gardens of a folly, or reclining on a bench outside a romantic grotto. I loved it.
Overall, I would say, if you are a Dumas fan, of course, the publication of this book is a major event, and you should definitely read it. If you are not yet familiar with Dumas, however, don't start here. Go for one of the more well-known classics. However, even in that case, this volume is STILL worth getting for 'The Dove,' which is a quick read.
I leave you with two more quotes.
One thought-provoking:
"In every society throughout history, there has always been a conservative party that opposes all new ideas as violations of tradition. This party prefers the known routine to an unknown future: that is to say, progress. The adherents of the status quo, favoring stagnation over movement, death versus life, saw in Richelieu a revolutionary whose efforts to reform society would just cause unrest. And Richelieu was not just the enemy of conservatives, but of the entire Catholic world. Without him, Europe would have been at peace."
And one simply clever:
"Wine tended to bring out the religion in him, as it put him in a state of grace."
Many thanks to Pegasus Books and NetGalley for the opportunity to read. As always, my opinions are solely my own.
"Readers who already know these historical facts may complain that these are unnecessary details that just get in the way of the picturesque and the novel. Such readers are welcome to pass over these details, but we included them for those unfamiliar with history or for those who, attracted by the ambitious title of this historical romance, hope to learn something from it."
"Our readers may find this chapter a bit long and dry, but our respect for history leads us to reproduce every detail of this great meeting in the Luxembourg that decided on the war in Italy, including all the speeches of the two cardinals. Our claim is that a historical novel should entertain both those readers who know the history it's based upon, and those who are learning about it from what we write."
"The gravity of the historical events we recount sometimes distracts us from the joys or sorrows they bring to the hearts of our characters."
The first two quotes allude to the wealth of historical detail in these book. I think Dumas has a point here, and one of the reasons I enjoy historical novels is indeed to learn something from them. The third quote - where Dumas admits that sometimes he lets those historical details distract him from the emotional drama of the fictional story - is unfortunately true, and it is a weakness in the book, more so than in other Dumas novels I've read. There are, as one should expect, scenes of swashbuckling action, surprising lustiness and scandal, and laugh-out-loud humor; but the plot as a whole is rather meandering and unfocused. It did not move quickly. You can tell that Dumas is extremely enthused by the period in history where he sets his tales, and it's clear as well that he feels passionately about the figure of Cardinal Richelieu, around whom the book is woven. But still, the story isn't really going anywhere, although it contains quite a few engaging scenes along the way. Honestly, I think this is why Dumas left the novel unfinished. The seventy-five existing chapters were originally published in serial format before the tale sputtered out, and were not collected for publication until decades later, in 1946. This is the first English translation to become available.
However, included here as an 'ending', or possibly a coda to "The Red Sphinx" (or, "The Comte de Moret,") is a separate novella, "The Dove," which is also a previously untranslated work. This dramatically sentimental tale of tragically separated lovers who languish alone could not be more different in tone and writing style, although the setting (and characters) may be the same. It's tightly plotted, concise, emotional (possibly to a fault) and poetic. It's a tale to read while languidly picnicking in the gardens of a folly, or reclining on a bench outside a romantic grotto. I loved it.
Overall, I would say, if you are a Dumas fan, of course, the publication of this book is a major event, and you should definitely read it. If you are not yet familiar with Dumas, however, don't start here. Go for one of the more well-known classics. However, even in that case, this volume is STILL worth getting for 'The Dove,' which is a quick read.
I leave you with two more quotes.
One thought-provoking:
"In every society throughout history, there has always been a conservative party that opposes all new ideas as violations of tradition. This party prefers the known routine to an unknown future: that is to say, progress. The adherents of the status quo, favoring stagnation over movement, death versus life, saw in Richelieu a revolutionary whose efforts to reform society would just cause unrest. And Richelieu was not just the enemy of conservatives, but of the entire Catholic world. Without him, Europe would have been at peace."
And one simply clever:
"Wine tended to bring out the religion in him, as it put him in a state of grace."
Many thanks to Pegasus Books and NetGalley for the opportunity to read. As always, my opinions are solely my own.
July 14, 2017
The Red Sphinx was Dumas' "sequel" to the Three Musketeers. Just as a warning, not a single Musketeer makes even so much as a cameo appearance. This is Dumas' ode to Louis XIII and Cardinal Richelieu. Obviously Dumas admired the Cardinal and much is made of him in this tale.
It is a book very heavy on politics. It is the interplay of the King with his mother and wife and brother. It is Cardinal Richelieu walking that political tightrope for the good of the King and France. If you don't really care about the machinations on behalf of Marie de Medicis (the Queen Mother) and Anne of Austria (Queen of France) to manipulate Louis XIII and destroy Cardinal Richelieu-then you will not like this detailed historical fiction. For that is what this is. A fictional account of palace intrigue, Richelieu's brilliance, Louis XIII's prevarication and a little bit of adventure, some sword fighting and even a military campaign add some color to an otherwise political based story.
So why three stars? Well the story never ends. Dumas never finished it. It ends rather abruptly. In the edition I bought, it includes the short story "The Dove" which is allegedly the answer to the intrigues. It is. Somewhat. It was written years before Red Sphinx and doesn't always translate well into Red Sphinx. I didn't like the Dove. Thus due to the non-ending and the rather poor quality of the Dove this is a 3 star book. The Red Sphinx had it been finished would likely have been a 4-5 star review. I found it interesting and Dumas' style lends the impression of a action/spy thriller far ahead of it's time. The illustrations were really nice too. Shame it never ended.
It is a book very heavy on politics. It is the interplay of the King with his mother and wife and brother. It is Cardinal Richelieu walking that political tightrope for the good of the King and France. If you don't really care about the machinations on behalf of Marie de Medicis (the Queen Mother) and Anne of Austria (Queen of France) to manipulate Louis XIII and destroy Cardinal Richelieu-then you will not like this detailed historical fiction. For that is what this is. A fictional account of palace intrigue, Richelieu's brilliance, Louis XIII's prevarication and a little bit of adventure, some sword fighting and even a military campaign add some color to an otherwise political based story.
So why three stars? Well the story never ends. Dumas never finished it. It ends rather abruptly. In the edition I bought, it includes the short story "The Dove" which is allegedly the answer to the intrigues. It is. Somewhat. It was written years before Red Sphinx and doesn't always translate well into Red Sphinx. I didn't like the Dove. Thus due to the non-ending and the rather poor quality of the Dove this is a 3 star book. The Red Sphinx had it been finished would likely have been a 4-5 star review. I found it interesting and Dumas' style lends the impression of a action/spy thriller far ahead of it's time. The illustrations were really nice too. Shame it never ended.
November 29, 2018
Set four days after the conclusion of The Three Musketeers, Dumas' unfinished novel has some wonderful moments of adventure, intrigue, and romance but no musketeers. Instead, the focus is on Cardinal Richelieu's heroic efforts to protect Louis XIII from numerous plots. Unfortunately, this often involves lengthy explanations of 17th century politics. It cuts off abruptly, just as the story becomes exciting again. The Dove, the short story that the translator selected as a coda, does not resolve the political intrigues, but it is a beautifully written resolution to the main romance. Don't skip the translator's historical notes, which are excellent.
March 17, 2017
I was offered a free copy of this book by NetGalley in exchange for an honest review.
So this is a difficult one to judge for a few reasons, mainly that reviewing The Red Sphinx really means reviewing the endeavour of compiling, finishing and translating into English this fairly half-baked Dumas sequel. Of course, there are many other sequels to The Three Musketeers other than this one out there; some of them by Dumas and many are not. But another Dumas - however desperately padded, as this one undeniably is - is still another Dumas, which means that it's fun and implausible and overwrought in just the ways you want it to be. The translation is solid if not spectacular and this reader at least didn't mind that the seams between Dumas and his collaborators are showing a great deal. Dumas is a shabby writer, and that's part of the fun of reading him: "will he manage to tie this scene together in a way that makes a tiny bit of sense? By gad he's done it!" is a huge part of the enjoyment of reading him. Highly recommended, just don't forget to switch your brain off first!
So this is a difficult one to judge for a few reasons, mainly that reviewing The Red Sphinx really means reviewing the endeavour of compiling, finishing and translating into English this fairly half-baked Dumas sequel. Of course, there are many other sequels to The Three Musketeers other than this one out there; some of them by Dumas and many are not. But another Dumas - however desperately padded, as this one undeniably is - is still another Dumas, which means that it's fun and implausible and overwrought in just the ways you want it to be. The translation is solid if not spectacular and this reader at least didn't mind that the seams between Dumas and his collaborators are showing a great deal. Dumas is a shabby writer, and that's part of the fun of reading him: "will he manage to tie this scene together in a way that makes a tiny bit of sense? By gad he's done it!" is a huge part of the enjoyment of reading him. Highly recommended, just don't forget to switch your brain off first!
February 12, 2021
It’s not exactly a sequel to the 3 musketeers. Technically speaking it does happen after the events but with almost an entirely new cast. It may happen in the same world as the 3 musketeers but that’s as far as it goes to be in a sequel.
It is a generally good story with some rather unique characters. That being said it could’ve been half the length and wooden been better for it. If you decide to read this book you should know that you won’t be getting characters are are used to reading about if you think it’s about the musketeers. I’m am glad I read it but I doubt I will ever reread it.
It is a generally good story with some rather unique characters. That being said it could’ve been half the length and wooden been better for it. If you decide to read this book you should know that you won’t be getting characters are are used to reading about if you think it’s about the musketeers. I’m am glad I read it but I doubt I will ever reread it.
November 29, 2017
4.5 stars.
Despite how long it took me to get through this one, I really enjoyed it. Dumas is always a fun read, even with his long, rambling passages that often seem to be sidetracking from the plot entirely. The humour was great in this one, and I loved all the snide observations and comments that were strewn throughout. I should point out however, that, despite the title, none of the four musketeers make an appearance, though there are allusions to a some of the events of a 'previous novel' that 'readers may be familiar with'.
This is a period of history that I don't know much about, so it was nice to have quite a large focus on Cardinal Richelieu, who was such a big player in French and European politics back then. Obviously, there were a few facts and ideas that were embellished or made up for entertainment purpose - the 'facts' around Louis XIII's parentage, for example, and the very historically-vague relationship that Anne of Austria had with the English Duke of Buckingham. But, Dumas is a storyteller, and storytellers often bend the truth to fit their own purpose.
It's a shame that the 'Red Sphinx' manuscript was unfinished, but that of 'The Dove' works really well to provide an ending - at least for the story of the Comte de Moret and Isabelle. I did find the change in style a little jarring though ('The Dove' is told through an exchange of letters sent via a dove), and it took me a while to work out that the letters were written by two different people rather than a single author. It was also a little confusing initially as to whom was writing which letter, but once the plot cleared that up, it was much more coherent.
Overall, a highly enjoyable read, though I can't deny that I missed the presence of Milady de Winter at the cardinal's side.
Despite how long it took me to get through this one, I really enjoyed it. Dumas is always a fun read, even with his long, rambling passages that often seem to be sidetracking from the plot entirely. The humour was great in this one, and I loved all the snide observations and comments that were strewn throughout. I should point out however, that, despite the title, none of the four musketeers make an appearance, though there are allusions to a some of the events of a 'previous novel' that 'readers may be familiar with'.
This is a period of history that I don't know much about, so it was nice to have quite a large focus on Cardinal Richelieu, who was such a big player in French and European politics back then. Obviously, there were a few facts and ideas that were embellished or made up for entertainment purpose - the 'facts' around Louis XIII's parentage, for example, and the very historically-vague relationship that Anne of Austria had with the English Duke of Buckingham. But, Dumas is a storyteller, and storytellers often bend the truth to fit their own purpose.
It's a shame that the 'Red Sphinx' manuscript was unfinished, but that of 'The Dove' works really well to provide an ending - at least for the story of the Comte de Moret and Isabelle. I did find the change in style a little jarring though ('The Dove' is told through an exchange of letters sent via a dove), and it took me a while to work out that the letters were written by two different people rather than a single author. It was also a little confusing initially as to whom was writing which letter, but once the plot cleared that up, it was much more coherent.
Overall, a highly enjoyable read, though I can't deny that I missed the presence of Milady de Winter at the cardinal's side.
December 16, 2023
** 2.7 STARS **
Alexandre Dumas wrote two of my all-time favourite books. Unfortunately, The Red Sphinx is a far cry from those classics.
The Red Sphinx is boring, bloated and full of uninteresting characters; Cardinal Richelieu was the only good character in the whole book. I guess it had to happen, a Dumas book I didn't love... or even like.
Alexandre Dumas wrote two of my all-time favourite books. Unfortunately, The Red Sphinx is a far cry from those classics.
The Red Sphinx is boring, bloated and full of uninteresting characters; Cardinal Richelieu was the only good character in the whole book. I guess it had to happen, a Dumas book I didn't love... or even like.
February 11, 2017
I would like to thank NetGalley and the publisher for this copy.
I have always enjoyed reading the stories of Alexandre Dumas as French literature was an integral part of my days at school, especially with the Three Musketeers. So it was a little bit strange for me to read Dumas in English!
I admit that i have never heard of this book of Dumas before, so i was doubly pleased when reading it. And the translation work was really good, at least from my humble point of view.
Now, about the story itself, it was quite interesting, as all Dumas's stories are, but it did not feature the famous three Musketeers at all. It treated the events that happened after their story. Of course, a Sequel to the Three Musketeers cannot possible work without the one and only Cardinal Richelieu, but it introduced another very interesting character, Antoine de Bourbon Comte de Moret and his tragic love story with Isabelle de Lautrec.
I liked how Dumas always included real life events and shaped his stories around them, many times it felt like a history lesson, a very interesting one. The way he painted the court life, the very diverse set of characters, the intrigues, the betrayals, the love affairs, the wars, the treaties, the loss and the victory. Each time i closed the book, i felt like leaving a time capsule, where i was for a moment in the France of the 17th century.
The fascinating thing about this particular book is that Dumas never actually finished it. But as it turned out, he wrote in some previous period a short story featuring the "end" of the story of Le Comte de Moret and Isabelle. The publisher of this edition have done a great work putting the original manuscript with the short story, it would have been rather dissapointing otherwise.
And for me, that short story was the best part of the whole book. Dumas was able to conjure the pure feelings of two broken souls in so few pages, those words were so powerful.
I definitely recommend this book the classics lovers, you would enjoy it a lot.
As for me, i think at some point i'll want to read it again in French. I don't know why, but i always feel that there is something magical to read the words that author put himself.
I have always enjoyed reading the stories of Alexandre Dumas as French literature was an integral part of my days at school, especially with the Three Musketeers. So it was a little bit strange for me to read Dumas in English!
I admit that i have never heard of this book of Dumas before, so i was doubly pleased when reading it. And the translation work was really good, at least from my humble point of view.
Now, about the story itself, it was quite interesting, as all Dumas's stories are, but it did not feature the famous three Musketeers at all. It treated the events that happened after their story. Of course, a Sequel to the Three Musketeers cannot possible work without the one and only Cardinal Richelieu, but it introduced another very interesting character, Antoine de Bourbon Comte de Moret and his tragic love story with Isabelle de Lautrec.
I liked how Dumas always included real life events and shaped his stories around them, many times it felt like a history lesson, a very interesting one. The way he painted the court life, the very diverse set of characters, the intrigues, the betrayals, the love affairs, the wars, the treaties, the loss and the victory. Each time i closed the book, i felt like leaving a time capsule, where i was for a moment in the France of the 17th century.
The fascinating thing about this particular book is that Dumas never actually finished it. But as it turned out, he wrote in some previous period a short story featuring the "end" of the story of Le Comte de Moret and Isabelle. The publisher of this edition have done a great work putting the original manuscript with the short story, it would have been rather dissapointing otherwise.
And for me, that short story was the best part of the whole book. Dumas was able to conjure the pure feelings of two broken souls in so few pages, those words were so powerful.
I definitely recommend this book the classics lovers, you would enjoy it a lot.
As for me, i think at some point i'll want to read it again in French. I don't know why, but i always feel that there is something magical to read the words that author put himself.
November 6, 2017
I’m rating the book higher than is my wish because my bad experience with it has much to do with it being a Zeno’s Nightmare Doorstop for an audiobook narrator. Dumas seemed averse to effing pronouns so I got to pronounce every snot-laden Francophone name four times per sentence for EIGHT. HUNDRED. PAGES. I get paid, but I’m glad he’s dead.
October 11, 2020
Alexander Dumas left this manuscript unfinished at his death, and this recent translation is a bit choppy in places, but still well worth the read. His Three Musketeers novel set Cardinal Richelieu as the bad guy, and this novel characterizes the story from his own perspective, so he is the good guy, for the most part. It is an interesting & novel approach that actually works out quite well. So I can recommend this to anybody with an appreciation of 17th century France, or anybody trying to get into understanding that period, who might need an antidote for the oft dry history books that so often turn people off of formally studying history.
April 2, 2017
My third Dumas book, in translation. And a new addition to my short list of favorite authors.
Le Comte de Moret, also known as Le Sphinx Rouge, was originally serialized in 1865-1866.; but it was left unfinished when the publisher went under and Dumas never returned to it. The Dove, which completes the story of Le Comte de Moret and Isabelle de Lautrec was published in 1850. Translator Lawrence Ellsworth has brought them together in one volume and the result is nothing short of magnificent.
It's only been a year since I read The Three Musketeers, for the first time, but I'd already forgotten how fun Dumas is to read. His witty, pointed dialogue; dramatic set pieces; and exceptional characterizations make his historical romances come to memorable life.
Make no mistake, this novel + novella is not in the same class as The Three Musketeers and The Count of Monte Cristo. It is a novel of political intrigue more than swashbuckling action. A lot of modern readers might become impatient with The Red Sphinx as the first two thirds of the book dwell on the political maneuvering of the Cardinal de Richelieu in protecting King Louis XIII and France from court and international conspiracies. But when it does swing into action, it is cinematic, exciting and suspenseful. For me, though, the last third of the book was a bit of a let down compared to the first 500 pages.
There was also a couple of annoying format issues: Ellsworth italicizes the letters and missives in the book; but twice, the interrupting action of the character reading which the letter gets italicized along with the presentation of the letter. Worth noting as it caused me to stop reading, but quickly forgotten as Dumas' gorgeous narrative continued.
But it is The Dove, in its first English language publication, that is the real jewel of this book. Astonishingly told in an exchange of letters format, it is a stunning conclusion to The Red Sphinx. Beautiful and suspenseful, it put me in a misty-eyed state.
I found the pedigree of the translator to be refreshing. He grew up reading pulp fiction stories of Edgar Rice Burroughs and Robert E. Howard which led him to J.R.R. Tolkien, H. Rider Haggard and Arthur Conan Doyle. He learned French specifically to read Dumas and the memoirs of Richelieu in their original language. He became a writer for TSR (Dungeons&Dragons) and hosted live action role-playing in the 70s and 80s. No stuffy academian HE.!
Highly reccomended for fans of Dumas, French history and politcal novels.
Le Comte de Moret, also known as Le Sphinx Rouge, was originally serialized in 1865-1866.; but it was left unfinished when the publisher went under and Dumas never returned to it. The Dove, which completes the story of Le Comte de Moret and Isabelle de Lautrec was published in 1850. Translator Lawrence Ellsworth has brought them together in one volume and the result is nothing short of magnificent.
It's only been a year since I read The Three Musketeers, for the first time, but I'd already forgotten how fun Dumas is to read. His witty, pointed dialogue; dramatic set pieces; and exceptional characterizations make his historical romances come to memorable life.
Make no mistake, this novel + novella is not in the same class as The Three Musketeers and The Count of Monte Cristo. It is a novel of political intrigue more than swashbuckling action. A lot of modern readers might become impatient with The Red Sphinx as the first two thirds of the book dwell on the political maneuvering of the Cardinal de Richelieu in protecting King Louis XIII and France from court and international conspiracies. But when it does swing into action, it is cinematic, exciting and suspenseful. For me, though, the last third of the book was a bit of a let down compared to the first 500 pages.
There was also a couple of annoying format issues: Ellsworth italicizes the letters and missives in the book; but twice, the interrupting action of the character reading which the letter gets italicized along with the presentation of the letter. Worth noting as it caused me to stop reading, but quickly forgotten as Dumas' gorgeous narrative continued.
But it is The Dove, in its first English language publication, that is the real jewel of this book. Astonishingly told in an exchange of letters format, it is a stunning conclusion to The Red Sphinx. Beautiful and suspenseful, it put me in a misty-eyed state.
I found the pedigree of the translator to be refreshing. He grew up reading pulp fiction stories of Edgar Rice Burroughs and Robert E. Howard which led him to J.R.R. Tolkien, H. Rider Haggard and Arthur Conan Doyle. He learned French specifically to read Dumas and the memoirs of Richelieu in their original language. He became a writer for TSR (Dungeons&Dragons) and hosted live action role-playing in the 70s and 80s. No stuffy academian HE.!
Highly reccomended for fans of Dumas, French history and politcal novels.
November 17, 2023
This was an extremely frustrating book. It’s definitely inaccurate to say that it’s a sequel to The Three Musketeers — except in a purely chronological sense — but I enjoyed seeing Cardinal Richelieu as a protagonist and there were lots of individual scenes that I really enjoyed. The problem is that, when they were put together, these didn’t form a particularly satisfying story, even allowing for the fact that the book wasn’t completed.
In a way, it’s actually almost fitting that the book was unfinished. More than once, Dumas skipped a concluding event that had been building over several chapters, something that was particularly frustrating when that conclusion promised to be a the most exciting part of the story. Why shouldn’t he do the same thing with the book as a whole? (I still can’t believe that we didn’t get to see how Marie de’ Medici and Anne of Austria reacted to the news that the Cardinal had returned to power!)
Furthermore, although I understand the urge to find an authentic ending to the unfinished novel, I don’t think The Dove was the right choice. I didn’t mind the sudden change in structure, but I couldn’t overlook the fact that the Comte de Moret of The Red Sphinx bore very little resemblance to the the Comte de Moret in the concluding novella. How did he go from a loyal ally of the Cardinal to betraying his brother, the rightful king, to fight against him? It didn’t make sense. And neither, for that matter, did the behaviour of Isabel and Moret. Why didn’t they exchange addresses before separating for three months? Why did they set the three month limit at all? A good book needs plenty of drama, but contrived and unnecessary drama — the sort of drama that could be solved in no time if the protagonists had a proper conversation — isn’t much fun for a reader.
In a way, it’s actually almost fitting that the book was unfinished. More than once, Dumas skipped a concluding event that had been building over several chapters, something that was particularly frustrating when that conclusion promised to be a the most exciting part of the story. Why shouldn’t he do the same thing with the book as a whole? (I still can’t believe that we didn’t get to see how Marie de’ Medici and Anne of Austria reacted to the news that the Cardinal had returned to power!)
Furthermore, although I understand the urge to find an authentic ending to the unfinished novel, I don’t think The Dove was the right choice. I didn’t mind the sudden change in structure, but I couldn’t overlook the fact that the Comte de Moret of The Red Sphinx bore very little resemblance to the the Comte de Moret in the concluding novella. How did he go from a loyal ally of the Cardinal to betraying his brother, the rightful king, to fight against him? It didn’t make sense. And neither, for that matter, did the behaviour of Isabel and Moret. Why didn’t they exchange addresses before separating for three months? Why did they set the three month limit at all? A good book needs plenty of drama, but contrived and unnecessary drama — the sort of drama that could be solved in no time if the protagonists had a proper conversation — isn’t much fun for a reader.
November 22, 2021
Dumas wrote plenty and we get much. Knowing before reading that this read is not a sequel n the since of which most readers would expect, more of it is the situations that followed next. It’s actually a novel and novella combined into one unit and The Red Sphinx perhaps is the most appropriate title. This read was very intriguing perhaps even more so than the 3Musketeers. I do find it rather laughable that some view Richelieu as the hero, at least in this particular part of the story. He was perhaps the lesser of AllTheEvils. And that too depends on point of view, because for me they were All1NTheSame. Tho Heroes r definitely n play. Dumas is a great storyteller, funny at times and serious at others. These reads are extremely long and very telling. He does deflect, digress, summarize, and said himself he needs to be more succinct with his stories but still with all that Dumas in TheEnd brings it All2Gather and we r left with historical lessons, better views of human behavior & character, and maybe a wanting for more.
September 6, 2017
A pairing of an unfinished, serialized novel by Dumas with a novella by the same author that sort of serves as the conclusion, this book is, by necessity, somewhat incomplete. But if you loved "The Three Musketeers" and other Dumas works, you really need to read this one.
Note: It is a sequel to "Musketeers," but does not feature d'Artagnan, Athos, Aramis and Porthos. It is the cardinal's tale, through and through, and has more intrigue and statesmanship than swashbuckling.
Full review at my blog: https://stevegoblefiction.wordpress.c...
Note: It is a sequel to "Musketeers," but does not feature d'Artagnan, Athos, Aramis and Porthos. It is the cardinal's tale, through and through, and has more intrigue and statesmanship than swashbuckling.
Full review at my blog: https://stevegoblefiction.wordpress.c...
February 6, 2017
Well, it may be only January but I think I already know one book which will be appearing on my books of the year list this December! Having read and enjoyed all of Alexandre Dumas’ d’Artagnan novels over the last few years (beginning with a re-read of The Three Musketeers and ending with The Man in the Iron Mask), imagine my delight when I discovered that Dumas had written yet another Musketeers sequel – The Red Sphinx, which is being made available in a new English translation this month. Bearing in mind that this is a later Dumas novel, written towards the end of his career on the urging of his publishers, I was pleased to find, almost as soon as I started reading, that it was living up to my expectations!
I don’t think it’s at all necessary to have read The Three Musketeers first; The Red Sphinx is set in the same world – that is, in the 17th century at the court of Louis XIII of France – but it also stands alone and if you’re hoping to be reacquainted with d’Artagnan, Athos, Porthos and Aramis, you’ll be disappointed as the four friends don’t appear at all in this book. However, it does contain many of the same elements that made the original novel so much fun to read. There are dashing young heroes and beautiful heroines; duels, battles and sieges; spies and smugglers; secret messages, clever disguises, letters written in code – and political and romantic intrigue in abundance.
Beginning only a few weeks after the events of The Three Musketeers ended, the novel opens in Paris at the Inn of the Painted Beard where a hunchbacked marquis is trying to persuade swordsman Etienne Latil to assassinate a rival. When Latil hears that the man he is required to kill is the Comte de Moret, illegitimate son of the late King Henri IV, he refuses to accept the mission and a fight breaks out during which both Latil and the marquis are injured. As fate would have it, upstairs in the inn at that very moment are the Comte de Moret himself and one of the Queen’s ladies, who have met in disguise to arrange for Moret to attend a meeting with the Queen.
At the meeting, Moret, who has only recently returned to France from Italy, delivers some letters to the Queen, Anne of Austria, the King’s mother Marie de’ Medici, and the King’s brother, Gaston d’Orleans, and learns that they are plotting the downfall of Cardinal Richelieu, the Red Sphinx of the title. Now, in The Three Musketeers, the Cardinal is portrayed as a villain; in The Red Sphinx, he is very much a hero. With an intelligence network stretching across half of Europe, he is shown to be a formidably clever man but also a loyal one who always acts with France’s best interests at heart – and although he’s accused of having too much influence over the king, it’s evident that he is trying to use his influence for the good of the country.
I can’t possibly describe the plot of this novel in any more detail; it’s so complex that I wouldn’t know where to start. I think it’s enough to say that most of it is devoted to the power struggle between Cardinal Richelieu and his allies on one side and the two queens and Gaston d’Orleans on the other, with the ineffectual young king caught in the middle. Dumas spends a lot of time introducing us to each character who plays a part in the story, even the minor ones, and although this makes the book longer than it probably needed to be, I didn’t mind because the amusing anecdotes he provides about them are so entertaining. He also includes whole chapters dedicated to explaining the political situation in France and across Europe or to describing the progress of key battles – and I’ll confess to not finding these very interesting. In general, though, I thought the balance was right and despite the length of the book it held my attention from beginning to end.
One important thing to know about The Red Sphinx is that it was never actually finished! In his introduction to the new edition, Lawrence Ellsworth (who is also responsible for the wonderful translation) suggests that maybe Dumas struggled to write an ending because he had already done this in an earlier work. This means that the novel comes to a rather abrupt end with several plot points left unresolved. Annoying – but not as annoying as it could have been, because Ellsworth comes to the rescue by pairing The Red Sphinx with another little-known Dumas work, The Dove. This is a short story (actually more of a novella) which continues the adventures of two of our main characters, the Comte de Moret and Isabelle de Lautrec, and brings at least some of the threads of the story to a satisfying conclusion.
The Dove was written earlier in Dumas’ career than The Red Sphinx and has a very different feel, being told in the form of letters carried by a dove. It’s an unashamedly sentimental story, but I loved it. I found it beautifully romantic and perfectly paced, with the suspense building and building from one letter to the next.
I will, of course, be reading more by Dumas – I have an upcoming re-read of one of my favourite books, The Count of Monte Cristo, planned – but I was also so impressed by Lawrence Ellsworth’s translation that I’ve had a look to see what else he has done. It seems that he has also edited The Big Book of Swashbuckling Adventure, which sounds very appealing. One to add to the wishlist, I think!
Thanks to Pegasus Books for providing a copy of this book for review via NetGalley.
I don’t think it’s at all necessary to have read The Three Musketeers first; The Red Sphinx is set in the same world – that is, in the 17th century at the court of Louis XIII of France – but it also stands alone and if you’re hoping to be reacquainted with d’Artagnan, Athos, Porthos and Aramis, you’ll be disappointed as the four friends don’t appear at all in this book. However, it does contain many of the same elements that made the original novel so much fun to read. There are dashing young heroes and beautiful heroines; duels, battles and sieges; spies and smugglers; secret messages, clever disguises, letters written in code – and political and romantic intrigue in abundance.
Beginning only a few weeks after the events of The Three Musketeers ended, the novel opens in Paris at the Inn of the Painted Beard where a hunchbacked marquis is trying to persuade swordsman Etienne Latil to assassinate a rival. When Latil hears that the man he is required to kill is the Comte de Moret, illegitimate son of the late King Henri IV, he refuses to accept the mission and a fight breaks out during which both Latil and the marquis are injured. As fate would have it, upstairs in the inn at that very moment are the Comte de Moret himself and one of the Queen’s ladies, who have met in disguise to arrange for Moret to attend a meeting with the Queen.
At the meeting, Moret, who has only recently returned to France from Italy, delivers some letters to the Queen, Anne of Austria, the King’s mother Marie de’ Medici, and the King’s brother, Gaston d’Orleans, and learns that they are plotting the downfall of Cardinal Richelieu, the Red Sphinx of the title. Now, in The Three Musketeers, the Cardinal is portrayed as a villain; in The Red Sphinx, he is very much a hero. With an intelligence network stretching across half of Europe, he is shown to be a formidably clever man but also a loyal one who always acts with France’s best interests at heart – and although he’s accused of having too much influence over the king, it’s evident that he is trying to use his influence for the good of the country.
I can’t possibly describe the plot of this novel in any more detail; it’s so complex that I wouldn’t know where to start. I think it’s enough to say that most of it is devoted to the power struggle between Cardinal Richelieu and his allies on one side and the two queens and Gaston d’Orleans on the other, with the ineffectual young king caught in the middle. Dumas spends a lot of time introducing us to each character who plays a part in the story, even the minor ones, and although this makes the book longer than it probably needed to be, I didn’t mind because the amusing anecdotes he provides about them are so entertaining. He also includes whole chapters dedicated to explaining the political situation in France and across Europe or to describing the progress of key battles – and I’ll confess to not finding these very interesting. In general, though, I thought the balance was right and despite the length of the book it held my attention from beginning to end.
One important thing to know about The Red Sphinx is that it was never actually finished! In his introduction to the new edition, Lawrence Ellsworth (who is also responsible for the wonderful translation) suggests that maybe Dumas struggled to write an ending because he had already done this in an earlier work. This means that the novel comes to a rather abrupt end with several plot points left unresolved. Annoying – but not as annoying as it could have been, because Ellsworth comes to the rescue by pairing The Red Sphinx with another little-known Dumas work, The Dove. This is a short story (actually more of a novella) which continues the adventures of two of our main characters, the Comte de Moret and Isabelle de Lautrec, and brings at least some of the threads of the story to a satisfying conclusion.
The Dove was written earlier in Dumas’ career than The Red Sphinx and has a very different feel, being told in the form of letters carried by a dove. It’s an unashamedly sentimental story, but I loved it. I found it beautifully romantic and perfectly paced, with the suspense building and building from one letter to the next.
I will, of course, be reading more by Dumas – I have an upcoming re-read of one of my favourite books, The Count of Monte Cristo, planned – but I was also so impressed by Lawrence Ellsworth’s translation that I’ve had a look to see what else he has done. It seems that he has also edited The Big Book of Swashbuckling Adventure, which sounds very appealing. One to add to the wishlist, I think!
Thanks to Pegasus Books for providing a copy of this book for review via NetGalley.
May 3, 2025
The sequel from The Three Musketeers talks about cardinal Richelieu trying to stay in his position and alive after being afraid things would get a bad turn for him and France.
There are many other characters, the king himself, sieges and battles, intriguing events and espionage.
It's a big book and needs patience to finish it. However it's considered as 1.5 between the first and the second book in the series.
While it's not mandatory to read it its highly recommended so the reader knows more about the cardinal, the king and the Queen Anne of Austria
There are many other characters, the king himself, sieges and battles, intriguing events and espionage.
It's a big book and needs patience to finish it. However it's considered as 1.5 between the first and the second book in the series.
While it's not mandatory to read it its highly recommended so the reader knows more about the cardinal, the king and the Queen Anne of Austria
October 6, 2025
Disfruté bastante este libro. Me pareció "fresco" (para una novela de 150 años) ver la perspectiva del Cardenal y todo el rollo de la intriga política en la corte de Luis XIII. Es una novela histórica valiosa, al menos como punto de partida, o como complemento de otras novelas y datos históricos.
Después de un inicio muy lento, coge ritmo y se vuelve muy legible y disfrutable. Fue una buena sorpresa ver a Mazarino hacia el final. Es una pena que esta historia haya quedado inconclusa.
En cuanto "Le colombe", La paloma, la historia epistolar del final, me pareció bastante menos buena, pero igual, se lee rápido y permite más o menos concluir la historia de Antoine de Bourbon, Conde de Moret.
Suficiente interés generado para seguirme de corrido con Veinte años después. (Bogotá, 05 y 06 de octubre 2025)
Después de un inicio muy lento, coge ritmo y se vuelve muy legible y disfrutable. Fue una buena sorpresa ver a Mazarino hacia el final. Es una pena que esta historia haya quedado inconclusa.
En cuanto "Le colombe", La paloma, la historia epistolar del final, me pareció bastante menos buena, pero igual, se lee rápido y permite más o menos concluir la historia de Antoine de Bourbon, Conde de Moret.
Suficiente interés generado para seguirme de corrido con Veinte años después. (Bogotá, 05 y 06 de octubre 2025)
March 9, 2019
A look into the intrigue and corruption of the court of Louis the 13th. Dumas is a master storyteller he is adept at bringing his characters to life.
I especially liked the 2nd part of this combination “The Dove”. Written in epistolary form. I was gripped with foreboding that the ending would end in tragedy, but lo and behold , it doesn’t. I enjoyed it more than the first part.
I especially liked the 2nd part of this combination “The Dove”. Written in epistolary form. I was gripped with foreboding that the ending would end in tragedy, but lo and behold , it doesn’t. I enjoyed it more than the first part.
This entire review has been hidden because of spoilers.
March 15, 2023
First part was insanely entertaining, second part very touching
September 19, 2025
NOO NOT MADAME BONACIEUX💔💔💔💔
September 15, 2018
A follow up to The Three Musketeers with Richelieu as the hero? Brilliant, from beginning to end, with the wily Cardinal foiling plots, launching counterplots and being wittily sarcastic throughout. (Will someone please get a script to Peter Capaldi stat?)
December 27, 2017
D'ARTAGNAN ROMANCES BOOK 1.5:
THE EVENTS IN THIS BOOK FOLLOW RIGHT AWAY AFTER THE CLIMAX THAT HAPPENED IN THE THREE MUSKETEERS (BOOK 1 OF THE SERIES).
IN THIS BOOK THERE IS MORE EXPOSURE OF THE CARDINAL RICHELIEU'S CHARACTER WHICH IS A CENTRAL CHARACTER IN THE WHOLE PLOT.
THE NEW DYNAMIC CHARACTER THAT YOU WILL LOVE IS THE COMTE DE MORET...THIS CHARACTER IS AMAZING AND THE LOVE BETWEEN HIM AND ISABELLE IN THE SHORT STORY "THE DOVE (PART 2 OF THIS BOOK) IS VERY TOUCHING AND BREATHTAKING...
A VERY GOOD BOOK AND ADDITION TO THIS PROMISING SERIES..
THE ONLY DISAPPOINTING PART WAS THE THREE MUSKETEERS ARE NOT PART OF THIS PLOT OR DON'T SHOW UP...
THE EVENTS IN THIS BOOK FOLLOW RIGHT AWAY AFTER THE CLIMAX THAT HAPPENED IN THE THREE MUSKETEERS (BOOK 1 OF THE SERIES).
IN THIS BOOK THERE IS MORE EXPOSURE OF THE CARDINAL RICHELIEU'S CHARACTER WHICH IS A CENTRAL CHARACTER IN THE WHOLE PLOT.
THE NEW DYNAMIC CHARACTER THAT YOU WILL LOVE IS THE COMTE DE MORET...THIS CHARACTER IS AMAZING AND THE LOVE BETWEEN HIM AND ISABELLE IN THE SHORT STORY "THE DOVE (PART 2 OF THIS BOOK) IS VERY TOUCHING AND BREATHTAKING...
A VERY GOOD BOOK AND ADDITION TO THIS PROMISING SERIES..
THE ONLY DISAPPOINTING PART WAS THE THREE MUSKETEERS ARE NOT PART OF THIS PLOT OR DON'T SHOW UP...
February 24, 2020
My #YearofDumas continues with this lost sequel to The Three Musketeers, The Red Sphinx. Because this hadn't been published when I originally read The Three Musketeers, this is my first time reading this particular sequel. I really enjoyed it.
Last month, even though I own a Lawrence Ellsworth translation of The Three Musketeers, I opted for the Richard Pevear translation. The difference between the two styles is fascinating to me, and just goes to show how much can be changed in the feel and flow of a novel by translators. Unfortunately, I cannot speak or read French, so I cannot read these in their original language, which is a shame. While I enjoy the work of both translators, I feel like Pevear's work is a bit clunky, and while it may be truer to the French in a word-for-word translation, it doesn't flow as well as Ellsworth's, and I'm a little sorry I didn't opt for the Ellsworth translation of Musketeers.
As for the story itself, I have to admit I was a little thrown off by the cover blurb and by the treatment of Cardinal Richelieu. I thought this was going to center more on the actions of the Comte de Moret, but this is much more a story of Richelieu, at least, until the abrupt end of the original manuscript. In The Three Musketeers, he was very much the villain. In The Red Sphinx, Dumas appears to look on the Cardinal with a fonder eye, emphasizing his support of Louis XIII, and his skills as a statesman. The Comte de Moret is also more of a side character, albeit an important one. The Dove, which is a short epistolary story, which Ellsworth chooses to include as a conclusion to The Red Sphinx, is a series of letters between Isabelle de Lautrec and the Comte. It's as fitting an end as any, I suppose, since it appears Dumas never finished the book himself.
That abrupt ending and the addition of The Dove as the conclusion is what brings me to the 4 star rating instead of 5. The completely different style of storytelling in The Dove compared to the main text is jarring. It doesn't help that I was not at all interested in the love story between the two characters whose exchange of letters we read. The other issue I had, and it's one I have with all of Dumas, is that there are SO MANY CHARACTERS. I find it difficult to keep everyone straight. Those two criticisms aside, The Red Sphinx is a highly entertaining adventure tale full of intrigue, sword fights, and a fair bit of chaste romance. I think that's why I love Dumas so much. There is so much joy in the writing. I can't wait to (re)read more!
Last month, even though I own a Lawrence Ellsworth translation of The Three Musketeers, I opted for the Richard Pevear translation. The difference between the two styles is fascinating to me, and just goes to show how much can be changed in the feel and flow of a novel by translators. Unfortunately, I cannot speak or read French, so I cannot read these in their original language, which is a shame. While I enjoy the work of both translators, I feel like Pevear's work is a bit clunky, and while it may be truer to the French in a word-for-word translation, it doesn't flow as well as Ellsworth's, and I'm a little sorry I didn't opt for the Ellsworth translation of Musketeers.
As for the story itself, I have to admit I was a little thrown off by the cover blurb and by the treatment of Cardinal Richelieu. I thought this was going to center more on the actions of the Comte de Moret, but this is much more a story of Richelieu, at least, until the abrupt end of the original manuscript. In The Three Musketeers, he was very much the villain. In The Red Sphinx, Dumas appears to look on the Cardinal with a fonder eye, emphasizing his support of Louis XIII, and his skills as a statesman. The Comte de Moret is also more of a side character, albeit an important one. The Dove, which is a short epistolary story, which Ellsworth chooses to include as a conclusion to The Red Sphinx, is a series of letters between Isabelle de Lautrec and the Comte. It's as fitting an end as any, I suppose, since it appears Dumas never finished the book himself.
That abrupt ending and the addition of The Dove as the conclusion is what brings me to the 4 star rating instead of 5. The completely different style of storytelling in The Dove compared to the main text is jarring. It doesn't help that I was not at all interested in the love story between the two characters whose exchange of letters we read. The other issue I had, and it's one I have with all of Dumas, is that there are SO MANY CHARACTERS. I find it difficult to keep everyone straight. Those two criticisms aside, The Red Sphinx is a highly entertaining adventure tale full of intrigue, sword fights, and a fair bit of chaste romance. I think that's why I love Dumas so much. There is so much joy in the writing. I can't wait to (re)read more!
May 9, 2017
Despite not having terribly tight plotting, this was a fun read. There are lots of little side stories about minor characters in order to introduce what sort of person they were, and those stories are often hilarious. As for the actual plot, it was fun to read a book with Cardinal Richelieu as a protagonist, and the Comte de Moret was charming too. Dumas is excellent at writing vibrant, active characters.
Of course, as I'm sure you've noted, the novel was unfinished, although the translator noted that an earlier novella by Dumas provides a good ending for some of the characters of the novel. Thus, there is an abrupt shift in the book from where the unfinished novel ends and the novella begins. It jumps forward a couple of years, and those two years really matter for the characters. Allegiances have changed in that time. Major political and military action has dramatically changed the political climate. We don't get a real ending to the novel for Richelieu (although some of what ultimately transpires is explained in the novella and we see where the conspiracy ended up). In essence, the book remains obviously incomplete, but it does have a somewhat satisfying ending written by Dumas himself.
The shift to the novella is jarring, not only because of the time shift, but also because there's a serious change in style. The two protagonists in the novella are exchanging letters by dove. At first, because I was so disconcerted by the abrupt change, I didn't think I liked the novella. Upon reaching the end, however, I thought it was lovely.
I should also add that the historical character notes that the translator provided at the end of the book are wonderful and entertainingly honest.
Of course, as I'm sure you've noted, the novel was unfinished, although the translator noted that an earlier novella by Dumas provides a good ending for some of the characters of the novel. Thus, there is an abrupt shift in the book from where the unfinished novel ends and the novella begins. It jumps forward a couple of years, and those two years really matter for the characters. Allegiances have changed in that time. Major political and military action has dramatically changed the political climate. We don't get a real ending to the novel for Richelieu (although some of what ultimately transpires is explained in the novella and we see where the conspiracy ended up). In essence, the book remains obviously incomplete, but it does have a somewhat satisfying ending written by Dumas himself.
The shift to the novella is jarring, not only because of the time shift, but also because there's a serious change in style. The two protagonists in the novella are exchanging letters by dove. At first, because I was so disconcerted by the abrupt change, I didn't think I liked the novella. Upon reaching the end, however, I thought it was lovely.
I should also add that the historical character notes that the translator provided at the end of the book are wonderful and entertainingly honest.
August 7, 2021
I wish I could give this a 3.5 as that would be more accurate. This book is overlong with far reaching and extraneous characters, asides and intrigues, however when you complete the tale, it gives you a much better respect and understanding for the world of the Three Musketeers. The Comte de Moret is an interesting character but the Cardinal is the TRUE star of the show. This book will turn your understanding of the vile enemy of our musketeers on its side and have you question just how naive you might be. In fact, when you begin Twenty Years After, this book does a PERFECT job of bridging the gap and helping you appreciate better the characters view of Mazarin as well as their hindsight view of Richelieu himself. For me, the coda ending of the Dove was unneeded and only fits as an ending much like someone squinting to see a person's similarity to another. But it really doesn't matter as the Red Sphinx portion of the story does have it's own natural and satisfying conclusion in regards to our dear Cardinal. And honestly, I think repeat readings will raise my regard for this book just for the world building it adds.
February 10, 2017
I adore Alexandre Dumas. I've read all the original musketeer stories, so I was really excited to hear about this book. I have to admit that it was a bit disappointing. Since it's billed as a Three Musketeers sequel, that really raises expectations of who the main characters are going to be. In fact, it's not really about the musketeers, it's more about Richelieu.
Still, there are a lot of great action sequences, impossible escapes, surprising twists and witty banter. So while it won't go down as a MAJOR addition to the Dumas canon, it's still an enjoyable read for devotees of one of France's greatest storytellers.
I received my copy of this book for free at Edelweiss in exchange for an honest review.
Still, there are a lot of great action sequences, impossible escapes, surprising twists and witty banter. So while it won't go down as a MAJOR addition to the Dumas canon, it's still an enjoyable read for devotees of one of France's greatest storytellers.
I received my copy of this book for free at Edelweiss in exchange for an honest review.
Displaying 1 - 30 of 119 reviews