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Vicontele de Bragelonne vol. 3
D'Artagnan, toujours inquiet des manœuvres d'Aramis, fait présenter à la cour Porthos comme maître d'œuvre de Belle-Île, tandis que Fouquet présente Aramis en tant qu'architecte. La rencontre des trois amis fait comprendre à Aramis que D'Artagnan est acquis à la cause du roi, et qu'il flaire un danger : il faut hâter l'action qu'il a en tête.
533 pages, Hardcover
Published January 1, 1970
About the author
Alexandre Dumas
6,586 books12.9k 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 - 2 of 2 reviews
November 22, 2024
Romanian review: Trecuseră patru ani de când nu mai citisem nimic de Alexandre Dumas (n-aș putea spune de ce, având în vedere că este unul din scriitorii mei preferați) și îmi era teamă că s-ar putea să mă dezamăgească- cum a făcut-o Jules Verne în ultimul timp. În cazul lui Jules Verne, problema este că am citit cea mai mare parte dintre cele mai bune romane ale sale, iar acum citesc romanele sale mai mediocre. Din fericire, nu a fost cazul cu Dumas. Încă îi ador proza, personajele mi se par la fel de interesante, iar intriga este încă captivantă.
Acest volum a fost destul de lung; mi-a luat ceva timp să îmi amintesc ce se întâmplase în primele două volume (au fost patru ani lungi), dar povestea nu a înaintat foarte mult în vreo direcție. Acesta este și motivul pentru care i-am scăzut o stea. Însă Alexandre Dumas este în continuare autorul meu preferat de romane istorice. Sunt curios dacă voi avea aceeași părere și după ce citesc cărțile lui Ken Follett.
De fiecare dată când citesc despre D'Artagnan, Athos, Porthos și Aramis, devin nostalgic. Toți patru au evoluat foarte mult de-a lungul întregii "saga", și îmi amintesc cum erau la început.
Sunt din ce în ce mai curios ce va face Aramis în ultimul volum; el se implică cel mai mult în intrigi politice. În ciuda faptului că Athos și D'Artagnan sunt personajele mele preferate, Aramis este cel mai interesant în momentul de față.
Finalul a fost epic, dar destul de nerealist. În realitate, nici D'Artagnan, nici Athos, nu ar fi putut să-i vorbească regelui în felul în care i-au vorbit în carte fără să fie, cel mai probabil, condamnați la moarte sau arestați. Cu toate acestea, mi-au plăcut la nebunie acele scene.
Aștept cu nerăbdare să văd cum se încheie povestea celor patru mușchetari.
English review: It had been four years since I last read anything by Alexandre Dumas (I couldn’t really say why, considering he’s one of my favorite authors), and I was worried he might disappoint me—much like Jules Verne has done recently. With Verne, the problem is that I’ve already read most of his best novels, and now I’m left with his more mediocre works. Thankfully, this wasn’t the case with Dumas. I still adore his prose, find his characters captivating, and remain hooked by his plots.
This volume was quite long, and it took me a while to recall what had happened in the first two books (it has been four long years), but the story didn’t progress very much in any particular direction. That’s the main reason I docked it a star. Even so, Alexandre Dumas remains my favorite author of historical novels. I’m curious if I’ll feel the same way after I read Ken Follett’s books.
Every time I read about D’Artagnan, Athos, Porthos, and Aramis, I feel a wave of nostalgia. All four have evolved so much over the course of the entire saga, and I can’t help but remember how they were in the beginning.
I’m growing increasingly curious about what Aramis will do in the final volume; he’s the one most deeply involved in political intrigues. While Athos and D’Artagnan are my favorite characters, Aramis is the most interesting at this point.
The ending was epic but quite unrealistic. In reality, neither D’Artagnan nor Athos could have spoken to the king the way they did in the book without being condemned to death or arrested. Still, I absolutely loved those scenes.
I can’t wait to see how the story of the four musketeers concludes.
March 24, 2021
Este al treilea și ultimul roman despre aventurile lui D’Artagnan și ale mușchetarilor. Acest roman are 6 parti. In afara de cei 4 muschetari, il mai avem ca personaj principal pe Vicontele de Bragelonne, Raoul(cum ne putem da seama din titlu). Ca personaje secundare ii avem pe : regele Ludovic al XIV-lea, La Valliere(logodnica Vicontelui de Bragelonne), domnul Fouquet(ministrul de finante), Colbert si multe alte personaje.
Abia acum afla deznodamantul vietii celor patru prieteni.
Abia acum afla deznodamantul vietii celor patru prieteni.
Displaying 1 - 2 of 2 reviews