What do you think?
Rate this book
Le Comte de Monte-Cristo / The Count of Monte Cristo #3/6
Le comte de Monte-Cristo Tome3
Le Comte de Monte-Cristo est un roman d'Alexandre Dumas terminé en 1844. Le thème central du livre est d'abord celui de la vengeance, mais les libéraux trouveront dans cette œuvre romantique une quête incessante de la liberté menée par un homme en marge de la société. Écrasé par la justice injuste de son pays, le héros décide de se faire justice lui-même. Le roman est long et touffu, avec parfois des digressions et des développements peu utiles, ce qui correspond aux canons du XIXe siècle où la publication était faite en feuilleton dans les journaux. Une bonne partie de l’œuvre est due à Auguste Maquet, le "nègre" de Dumas, mais il revient à Dumas d'avoir transformé ce qui était à l'origine un fait divers (l'histoire du cordonnier Pierre Picaud), une vengeance élaborée, en un roman grandiose.
252 pages, Paperback
Published December 12, 2017
About the author
Alexandre Dumas
6,635 books13k followersThis note regards Alexandre Dumas, père, the father of Alexandre Dumas, fils (son). For the son, see Alexandre Dumas fils.
Alexandre Dumas père, born Alexandre Dumas Davy de la Pailleterie, was a towering figure of 19th-century French literature whose historical novels and adventure tales earned global renown. Best known for The Three Musketeers, The Count of Monte Cristo, and other swashbuckling epics, Dumas crafted stories filled with daring heroes, dramatic twists, and vivid historical backdrops. His works, often serialized and immensely popular with the public, helped shape the modern adventure genre and remain enduring staples of world literature.
Dumas was the son of Thomas-Alexandre Dumas, a celebrated general in Revolutionary France and the highest-ranking man of African descent in a European army at the time. His father’s early death left the family in poverty, but Dumas’s upbringing was nonetheless marked by strong personal ambition and a deep admiration for his father’s achievements. He moved to Paris as a young man and began his literary career writing for the theatre, quickly rising to prominence in the Romantic movement with successful plays like Henri III et sa cour and Antony.
In the 1840s, Dumas turned increasingly toward prose fiction, particularly serialized novels, which reached vast audiences through French newspapers. His collaboration with Auguste Maquet, a skilled plotter and historian, proved fruitful. While Maquet drafted outlines and conducted research, Dumas infused the narratives with flair, dialogue, and color. The result was a string of literary triumphs, including The Three Musketeers and The Count of Monte Cristo, both published in 1844. These novels exemplified Dumas’s flair for suspenseful pacing, memorable characters, and grand themes of justice, loyalty, and revenge.
The D’Artagnan Romances—The Three Musketeers, Twenty Years After, and The Vicomte of Bragelonne—cemented his fame. They follow the adventures of the titular Gascon hero and his comrades Athos, Porthos, and Aramis, blending historical fact and fiction into richly imagined narratives. The Count of Monte Cristo offered a darker, more introspective tale of betrayal and retribution, with intricate plotting and a deeply philosophical core.
Dumas was also active in journalism and theater. He founded the Théâtre Historique in Paris, which staged dramatizations of his own novels. A prolific and energetic writer, he is estimated to have written or co-written over 100,000 pages of fiction, plays, memoirs, travel books, and essays. He also had a strong interest in food and published a massive culinary encyclopedia, Le Grand Dictionnaire de cuisine, filled with recipes, anecdotes, and reflections on gastronomy.
Despite his enormous success, Dumas was frequently plagued by financial troubles. He led a lavish lifestyle, building the ornate Château de Monte-Cristo near Paris, employing large staffs, and supporting many friends and relatives. His generosity and appetite for life often outpaced his income, leading to mounting debts. Still, his creative drive rarely waned.
Dumas’s mixed-race background was a source of both pride and tension in his life. He was outspoken about his heritage and used his platform to address race and injustice. In his novel Georges, he explored issues of colonialism and identity through a Creole protagonist. Though he encountered racism, he refused to be silenced, famously replying to a racial insult by pointing to his ancestry and achievements with dignity and wit.
Later in life, Dumas continued writing and traveling, spending time in Belgium, Italy, and Russia. He supported nationalist causes, particularly Italian unification, and even founded a newspaper to advocate for Giuseppe Garibaldi. Though his popularity waned somewhat in his final years, his literary legacy grew steadily. He wrote in a style that was accessible, entertaining, and emotionally reso
Alexandre Dumas père, born Alexandre Dumas Davy de la Pailleterie, was a towering figure of 19th-century French literature whose historical novels and adventure tales earned global renown. Best known for The Three Musketeers, The Count of Monte Cristo, and other swashbuckling epics, Dumas crafted stories filled with daring heroes, dramatic twists, and vivid historical backdrops. His works, often serialized and immensely popular with the public, helped shape the modern adventure genre and remain enduring staples of world literature.
Dumas was the son of Thomas-Alexandre Dumas, a celebrated general in Revolutionary France and the highest-ranking man of African descent in a European army at the time. His father’s early death left the family in poverty, but Dumas’s upbringing was nonetheless marked by strong personal ambition and a deep admiration for his father’s achievements. He moved to Paris as a young man and began his literary career writing for the theatre, quickly rising to prominence in the Romantic movement with successful plays like Henri III et sa cour and Antony.
In the 1840s, Dumas turned increasingly toward prose fiction, particularly serialized novels, which reached vast audiences through French newspapers. His collaboration with Auguste Maquet, a skilled plotter and historian, proved fruitful. While Maquet drafted outlines and conducted research, Dumas infused the narratives with flair, dialogue, and color. The result was a string of literary triumphs, including The Three Musketeers and The Count of Monte Cristo, both published in 1844. These novels exemplified Dumas’s flair for suspenseful pacing, memorable characters, and grand themes of justice, loyalty, and revenge.
The D’Artagnan Romances—The Three Musketeers, Twenty Years After, and The Vicomte of Bragelonne—cemented his fame. They follow the adventures of the titular Gascon hero and his comrades Athos, Porthos, and Aramis, blending historical fact and fiction into richly imagined narratives. The Count of Monte Cristo offered a darker, more introspective tale of betrayal and retribution, with intricate plotting and a deeply philosophical core.
Dumas was also active in journalism and theater. He founded the Théâtre Historique in Paris, which staged dramatizations of his own novels. A prolific and energetic writer, he is estimated to have written or co-written over 100,000 pages of fiction, plays, memoirs, travel books, and essays. He also had a strong interest in food and published a massive culinary encyclopedia, Le Grand Dictionnaire de cuisine, filled with recipes, anecdotes, and reflections on gastronomy.
Despite his enormous success, Dumas was frequently plagued by financial troubles. He led a lavish lifestyle, building the ornate Château de Monte-Cristo near Paris, employing large staffs, and supporting many friends and relatives. His generosity and appetite for life often outpaced his income, leading to mounting debts. Still, his creative drive rarely waned.
Dumas’s mixed-race background was a source of both pride and tension in his life. He was outspoken about his heritage and used his platform to address race and injustice. In his novel Georges, he explored issues of colonialism and identity through a Creole protagonist. Though he encountered racism, he refused to be silenced, famously replying to a racial insult by pointing to his ancestry and achievements with dignity and wit.
Later in life, Dumas continued writing and traveling, spending time in Belgium, Italy, and Russia. He supported nationalist causes, particularly Italian unification, and even founded a newspaper to advocate for Giuseppe Garibaldi. Though his popularity waned somewhat in his final years, his literary legacy grew steadily. He wrote in a style that was accessible, entertaining, and emotionally reso
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 6 of 6 reviews
November 25, 2023
Jeg antar at dette er siste del av historien, selv om det finnes noen til her.
Mye av omtalen fra del I gjør seg forsatt gjeldene i resten av boka. Man må respektere måten Dumas har bygget opp bakhistoriene til sine karakterer og gjort forsøk på å gjøre dem til ekte mennesker. Og det kan godt hende det kommer av en tidsforskyving fra skrivestund til lesestund, men jeg synes han tidvis lykkes. Altså at han ofte ikke gjør det. Men dette må man også forstå gjennom de kulturelle normene og reglene som rådet da boka ble skrevet, som vi ikke i dag kan forstå på noen særlig intuitiv måte.
Motivasjonene til karakterene er ofte bare at de kun bryr seg om penger, hvilket vel kan være for å vise at de er overfladiske, men penge- og statusjaget til karakterene blir på ingen måte fremstilt på en negativ måte, så for min del virker boka ofte som en feiring av den franske overklassen og dens livsstil, heller enn å være en kritikk av den. Jeg vet ikke om Dumas hadde noe fore annet enn å skulle skrive en spennende bok, men når de fleste karakterene fremstilles, diskuteres og selv tenker at alle har en innbyrdes god eller dårlig moral og har velstanden de har nettopp på grunn av dette, blir denne manglende samfunnskritikken veldig synlig.
For å si det kort, er nok ikke boka lenger å anse som verdens beste spenningsroman, noe jeg tror jeg har lest at den lenge var. Med det sagt, er det høyst uvanlig for 200 år gamle mesterverk å holde seg på samme nivå som de påfølgende, som kan lære av dem for å bli enda bedre. Og med tanke på at den gjør det, selv med enorme kulturelle omveltninger i mellomtiden som kan gjøre karakterene vanskelig å relatere til, må den få en femmer. Jeg vil si at lytteopplevelsen får en firer. Hva leseopplevelsen angår, må dere spørre noen andre.
Mye av omtalen fra del I gjør seg forsatt gjeldene i resten av boka. Man må respektere måten Dumas har bygget opp bakhistoriene til sine karakterer og gjort forsøk på å gjøre dem til ekte mennesker. Og det kan godt hende det kommer av en tidsforskyving fra skrivestund til lesestund, men jeg synes han tidvis lykkes. Altså at han ofte ikke gjør det. Men dette må man også forstå gjennom de kulturelle normene og reglene som rådet da boka ble skrevet, som vi ikke i dag kan forstå på noen særlig intuitiv måte.
Motivasjonene til karakterene er ofte bare at de kun bryr seg om penger, hvilket vel kan være for å vise at de er overfladiske, men penge- og statusjaget til karakterene blir på ingen måte fremstilt på en negativ måte, så for min del virker boka ofte som en feiring av den franske overklassen og dens livsstil, heller enn å være en kritikk av den. Jeg vet ikke om Dumas hadde noe fore annet enn å skulle skrive en spennende bok, men når de fleste karakterene fremstilles, diskuteres og selv tenker at alle har en innbyrdes god eller dårlig moral og har velstanden de har nettopp på grunn av dette, blir denne manglende samfunnskritikken veldig synlig.
For å si det kort, er nok ikke boka lenger å anse som verdens beste spenningsroman, noe jeg tror jeg har lest at den lenge var. Med det sagt, er det høyst uvanlig for 200 år gamle mesterverk å holde seg på samme nivå som de påfølgende, som kan lære av dem for å bli enda bedre. Og med tanke på at den gjør det, selv med enorme kulturelle omveltninger i mellomtiden som kan gjøre karakterene vanskelig å relatere til, må den få en femmer. Jeg vil si at lytteopplevelsen får en firer. Hva leseopplevelsen angår, må dere spørre noen andre.
August 12, 2024
Je n'ai pas lu la collection affichée, mais une collection en 6 tomes et en format numérique Bibebook, que je n'ai pas trouvé sur Babelio.
Dans ce Tome 3 qui se termine au chapite : "Le testament", Le comte de Monte Cristo déplace les uns et les autres comme s'ils étaient de simple pions dans le jeu de sa vengeance.
Il y a des situations très désuettes qui m'ont faite sourire, certains s'insurgeraient, mais c'est une question d'époque sur la place des femmes, le peu de considération que les hommes avaient pour elles et qui finalement montrent le chemin parcouru.
Dans ce Tome 3 qui se termine au chapite : "Le testament", Le comte de Monte Cristo déplace les uns et les autres comme s'ils étaient de simple pions dans le jeu de sa vengeance.
Il y a des situations très désuettes qui m'ont faite sourire, certains s'insurgeraient, mais c'est une question d'époque sur la place des femmes, le peu de considération que les hommes avaient pour elles et qui finalement montrent le chemin parcouru.
April 27, 2025
Et veldig hyggelig gjensyn 25 år etter. En drivende bok om hat, kjærlighet og hevn.
December 25, 2025
Excellent
Read
May 2, 2020මොන්ත කිරිස්නෝ සිටුවරයා පොත සින්හලෙන්
October 5, 2020
Best book
Displaying 1 - 6 of 6 reviews