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Memoriile lui Garibaldi
With Contributions By George Sand And Victor Hugo.
- GenresNonfictionHistory
410 pages, Paperback
Published January 1, 1970
6 people are currently reading
67 people want to read
About the author
Alexandre Dumas
6,987 books12.3k followersThis note regards Alexandre Dumas, père, the father of Alexandre Dumas, fils (son). For the son, see Alexandre Dumas fils.
Alexandre Dumas père, born Alexandre Dumas Davy de la Pailleterie, was a towering figure of 19th-century French literature whose historical novels and adventure tales earned global renown. Best known for The Three Musketeers, The Count of Monte Cristo, and other swashbuckling epics, Dumas crafted stories filled with daring heroes, dramatic twists, and vivid historical backdrops. His works, often serialized and immensely popular with the public, helped shape the modern adventure genre and remain enduring staples of world literature.
Dumas was the son of Thomas-Alexandre Dumas, a celebrated general in Revolutionary France and the highest-ranking man of African descent in a European army at the time. His father’s early death left the family in poverty, but Dumas’s upbringing was nonetheless marked by strong personal ambition and a deep admiration for his father’s achievements. He moved to Paris as a young man and began his literary career writing for the theatre, quickly rising to prominence in the Romantic movement with successful plays like Henri III et sa cour and Antony.
In the 1840s, Dumas turned increasingly toward prose fiction, particularly serialized novels, which reached vast audiences through French newspapers. His collaboration with Auguste Maquet, a skilled plotter and historian, proved fruitful. While Maquet drafted outlines and conducted research, Dumas infused the narratives with flair, dialogue, and color. The result was a string of literary triumphs, including The Three Musketeers and The Count of Monte Cristo, both published in 1844. These novels exemplified Dumas’s flair for suspenseful pacing, memorable characters, and grand themes of justice, loyalty, and revenge.
The D’Artagnan Romances—The Three Musketeers, Twenty Years After, and The Vicomte of Bragelonne—cemented his fame. They follow the adventures of the titular Gascon hero and his comrades Athos, Porthos, and Aramis, blending historical fact and fiction into richly imagined narratives. The Count of Monte Cristo offered a darker, more introspective tale of betrayal and retribution, with intricate plotting and a deeply philosophical core.
Dumas was also active in journalism and theater. He founded the Théâtre Historique in Paris, which staged dramatizations of his own novels. A prolific and energetic writer, he is estimated to have written or co-written over 100,000 pages of fiction, plays, memoirs, travel books, and essays. He also had a strong interest in food and published a massive culinary encyclopedia, Le Grand Dictionnaire de cuisine, filled with recipes, anecdotes, and reflections on gastronomy.
Despite his enormous success, Dumas was frequently plagued by financial troubles. He led a lavish lifestyle, building the ornate Château de Monte-Cristo near Paris, employing large staffs, and supporting many friends and relatives. His generosity and appetite for life often outpaced his income, leading to mounting debts. Still, his creative drive rarely waned.
Dumas’s mixed-race background was a source of both pride and tension in his life. He was outspoken about his heritage and used his platform to address race and injustice. In his novel Georges, he explored issues of colonialism and identity through a Creole protagonist. Though he encountered racism, he refused to be silenced, famously replying to a racial insult by pointing to his ancestry and achievements with dignity and wit.
Later in life, Dumas continued writing and traveling, spending time in Belgium, Italy, and Russia. He supported nationalist causes, particularly Italian unification, and even founded a newspaper to advocate for Giuseppe Garibaldi. Though his popularity waned somewhat in his final years, his literary legacy grew steadily. He wrote in a style that was accessible, entertaining, and emotionally reso
Alexandre Dumas père, born Alexandre Dumas Davy de la Pailleterie, was a towering figure of 19th-century French literature whose historical novels and adventure tales earned global renown. Best known for The Three Musketeers, The Count of Monte Cristo, and other swashbuckling epics, Dumas crafted stories filled with daring heroes, dramatic twists, and vivid historical backdrops. His works, often serialized and immensely popular with the public, helped shape the modern adventure genre and remain enduring staples of world literature.
Dumas was the son of Thomas-Alexandre Dumas, a celebrated general in Revolutionary France and the highest-ranking man of African descent in a European army at the time. His father’s early death left the family in poverty, but Dumas’s upbringing was nonetheless marked by strong personal ambition and a deep admiration for his father’s achievements. He moved to Paris as a young man and began his literary career writing for the theatre, quickly rising to prominence in the Romantic movement with successful plays like Henri III et sa cour and Antony.
In the 1840s, Dumas turned increasingly toward prose fiction, particularly serialized novels, which reached vast audiences through French newspapers. His collaboration with Auguste Maquet, a skilled plotter and historian, proved fruitful. While Maquet drafted outlines and conducted research, Dumas infused the narratives with flair, dialogue, and color. The result was a string of literary triumphs, including The Three Musketeers and The Count of Monte Cristo, both published in 1844. These novels exemplified Dumas’s flair for suspenseful pacing, memorable characters, and grand themes of justice, loyalty, and revenge.
The D’Artagnan Romances—The Three Musketeers, Twenty Years After, and The Vicomte of Bragelonne—cemented his fame. They follow the adventures of the titular Gascon hero and his comrades Athos, Porthos, and Aramis, blending historical fact and fiction into richly imagined narratives. The Count of Monte Cristo offered a darker, more introspective tale of betrayal and retribution, with intricate plotting and a deeply philosophical core.
Dumas was also active in journalism and theater. He founded the Théâtre Historique in Paris, which staged dramatizations of his own novels. A prolific and energetic writer, he is estimated to have written or co-written over 100,000 pages of fiction, plays, memoirs, travel books, and essays. He also had a strong interest in food and published a massive culinary encyclopedia, Le Grand Dictionnaire de cuisine, filled with recipes, anecdotes, and reflections on gastronomy.
Despite his enormous success, Dumas was frequently plagued by financial troubles. He led a lavish lifestyle, building the ornate Château de Monte-Cristo near Paris, employing large staffs, and supporting many friends and relatives. His generosity and appetite for life often outpaced his income, leading to mounting debts. Still, his creative drive rarely waned.
Dumas’s mixed-race background was a source of both pride and tension in his life. He was outspoken about his heritage and used his platform to address race and injustice. In his novel Georges, he explored issues of colonialism and identity through a Creole protagonist. Though he encountered racism, he refused to be silenced, famously replying to a racial insult by pointing to his ancestry and achievements with dignity and wit.
Later in life, Dumas continued writing and traveling, spending time in Belgium, Italy, and Russia. He supported nationalist causes, particularly Italian unification, and even founded a newspaper to advocate for Giuseppe Garibaldi. Though his popularity waned somewhat in his final years, his literary legacy grew steadily. He wrote in a style that was accessible, entertaining, and emotionally reso
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Displaying 1 - 4 of 4 reviews
November 8, 2016
Am citit 180 de pagini şi am renunțat. Nu pot să citesc istorie pură, pur şi simplu îmi pierd interesul. Mă aşteptam la altceva, având în vedere faptul că textul este revăzut de Alexandre Dumas.
Îmi pare rău de acest fiu al patriei italiene, de faptul că îşi pierde toți prietenii şi soția pe care o numeşte de atâtea ori curajoasă şi demnă. Războaiele sunt mult prea triste.
Îmi pare rău de acest fiu al patriei italiene, de faptul că îşi pierde toți prietenii şi soția pe care o numeşte de atâtea ori curajoasă şi demnă. Războaiele sunt mult prea triste.
October 2, 2025
Ler esse livro foi como atravessar não só uma história, mas uma vida inteira. Não parece uma autobiografia comum e nem um romance histórico. É um encontro raro: de um lado, Garibaldi contando batalhas, fugas, dores e amores com simplicidade; do outro, Alexandre Dumas dando forma épica, ampliando os gestos, transformando o homem em mito.
O que mais me marcou é que Garibaldi quase não fala de si mesmo. Ele sempre coloca os outros na frente. São os companheiros que dançam sob as balas, o jovem Monfrini que volta ao campo de batalha só para fazer número, os que morrem sorrindo, os que acreditam até o fim. Garibaldi se apaga para que a coragem dos outros brilhe, e nisso ele se torna ainda mais imenso.
Já Dumas entra para completar os silêncios. Ele exagera, ele explica demais, mas sem ele o livro não teria essa força quase mítica. Onde Garibaldi só dá um traço, Dumas pinta o quadro inteiro. É por isso que a leitura parece às vezes ficção, e outras vezes um documento cru da realidade.
O ritmo é impressionante. Do nada ele está em Santa Catarina, depois em Montevidéu, de repente em Roma. A vida dele era um salto atrás do outro, sempre no fio da morte. É cansativo e fascinante ao mesmo tempo, porque você sente que tudo poderia acabar ali, em cada página, e não acaba.
E sempre volta Roma. Roma como lembrança e promessa. Eles gritavam Viva Roma e Viva Itália como quem chama de volta uma glória antiga. Para eles Roma não era passado, era futuro.
O último capítulo me derrubou. A voz do doutor Bertani, descrevendo cadáveres, perdas e juventudes sacrificadas, é dolorosa. E quando aparece o nome de Goffredo Mameli, morto aos 21 anos, autor do hino que Garibaldi cantava sem parar, tudo fecha com tristeza e grandeza. É impossível não se emocionar.
É verdade que falta uma segunda parte. A vida dele foi muito maior que esse livro. Mas talvez seja isso mesmo: esse volume já é suficiente para sentir a alma de um homem que viveu tudo, que arriscou tudo, e que nunca deixou de acreditar.
Eu termino a leitura com gratidão. Poucas vezes um livro me fez sentir tão perto de uma vida e de um ideal.
Garibaldi viveu.
E, pelas mãos de Dumas, ele ainda vive.
O que mais me marcou é que Garibaldi quase não fala de si mesmo. Ele sempre coloca os outros na frente. São os companheiros que dançam sob as balas, o jovem Monfrini que volta ao campo de batalha só para fazer número, os que morrem sorrindo, os que acreditam até o fim. Garibaldi se apaga para que a coragem dos outros brilhe, e nisso ele se torna ainda mais imenso.
Já Dumas entra para completar os silêncios. Ele exagera, ele explica demais, mas sem ele o livro não teria essa força quase mítica. Onde Garibaldi só dá um traço, Dumas pinta o quadro inteiro. É por isso que a leitura parece às vezes ficção, e outras vezes um documento cru da realidade.
O ritmo é impressionante. Do nada ele está em Santa Catarina, depois em Montevidéu, de repente em Roma. A vida dele era um salto atrás do outro, sempre no fio da morte. É cansativo e fascinante ao mesmo tempo, porque você sente que tudo poderia acabar ali, em cada página, e não acaba.
E sempre volta Roma. Roma como lembrança e promessa. Eles gritavam Viva Roma e Viva Itália como quem chama de volta uma glória antiga. Para eles Roma não era passado, era futuro.
O último capítulo me derrubou. A voz do doutor Bertani, descrevendo cadáveres, perdas e juventudes sacrificadas, é dolorosa. E quando aparece o nome de Goffredo Mameli, morto aos 21 anos, autor do hino que Garibaldi cantava sem parar, tudo fecha com tristeza e grandeza. É impossível não se emocionar.
É verdade que falta uma segunda parte. A vida dele foi muito maior que esse livro. Mas talvez seja isso mesmo: esse volume já é suficiente para sentir a alma de um homem que viveu tudo, que arriscou tudo, e que nunca deixou de acreditar.
Eu termino a leitura com gratidão. Poucas vezes um livro me fez sentir tão perto de uma vida e de um ideal.
Garibaldi viveu.
E, pelas mãos de Dumas, ele ainda vive.
December 12, 2022
Non è male, ma non è venuto fuori un gran libro. Dumas era pieno di debiti e lo scrisse per raggranellare soldi. Comunque si vede che stimava sinceramente Garibaldi, con cui del resto ha condiviso parecchie avventure. Dumas era anche a Palermo coi mille, e ha contribuito in parte alla missione.
May 25, 2022
Ha scoperto di non aver mai capito niente di Garibaldi. Il mio nuovo idolo!!!!
Displaying 1 - 4 of 4 reviews