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When I saw this line I just couldn’t help hunting down a certain gif from the best movie ever. Revenge shows up and not just from the Count. – Alexandre Dumas, The Count of Monte Cristo (p.
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No one likes a free box as much as a millionaire. The irony that shows up every now and then could be summed up in this one perfect line: There’s nothing quite as funny as an author making fun of themselves. – Alexandre Dumas, The Count of Monte Cristo (pg. I’m pretty sure that this is the funniest line in the whole novel:ĭo you think that, if I did, I would lead you to the answer inch by inch, like a dramatist or a novelist? 34).’ I also thought it was hilarious when Albert is trying to hook up in Italy and finds that Italian women are faithful in their infidelity and so not at all interested in him.
The Count of Monte Cristo is about more than just revenge, especially in the unabridged edition that I read. As long as this story is, I really can’t see how you would abridge it without losing something.Ī few of my favorite funny moments were when this love sick guy talks about dying for love and the drunk guy responds, ‘There’s love, or I don’t know it (pg. I was not expecting this classic novel about revenge to also be ironic, sarcastic, funny, witty, and based on a true story. Dumas' epic tale of suffering and retribution, inspired by a real-life case of wrongful imprisonment, was a huge popular success when it was first serialised in the 1840s. There he learns of a great hoard of treasure hidden on the Isle of Monte Cristo and he becomes determined not only to escape, but also to unearth the treasure and use it to plot the destruction of the three men responsible for his incarceration. But Dantè's extraordinary journey, from youthful naivety through madness, torment, and calculated revenge to an eventual peace, relinquishing his ultimate vengeance, remains one of my first choices for a sun-baked holiday – and damn the weight allowance.Thrown in prison for a crime he has not committed, Edmond Dantès is confined to the grim fortress of If. Moments like these can jolt me out of my readerly bliss. Ali, the Count's voiceless Nubian slave, is allowed to express only doglike devotion and Eugenie, daughter of Dantè's arch-enemy, is humiliated for attempting to run away (scandalously and Sapphically, with her singing-teacher friend) from a forced marriage. There are notes in the book that I accepted unquestioningly as a younger reader, but which I find uncomfortable now. He's driven by past trauma and injustice – but is ultimately forced to confront the fact that he, too, has strayed from the side of the angels, becoming almost as pernicious as the villains he persecutes. The Count has a great deal in common with, say, Batman in his new incarnation, he's unrecognisable to almost everyone – and he has powers which seem almost supernatural, but which in fact derive from his limitless resources.
I also love its memorable, melodramatic crises, like the moment when Mercédès bursts through the polite fictions surrounding "the Count" to utter her despairing, agonised plea: "Edmond, you will not kill my son?"īut I think I find Dantè's narrative most addictive because it's a forerunner of the classic superhero stories – in essence, I'm sitting on the sand reading the world's heaviest comic.
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In part, this is because of its unrestrained richness – it's full of emeralds hollowed into pillboxes, diamond-bedecked horses, picturesque bandits and letters of unlimited credit. Donning myriad disguises and aliases, Dantès sets out to wreak havoc among those who cost him so dear.ĭespite its plethora of plot strands, places, and characters, and its layers of detail, rendered with a miniaturist's anxious exactitude, The Count of Monte Cristo remains compulsively readable. Mercédès, his betrothed, believing him gone forever, has married Fernand, his arch-rival, and borne him a son. The years of his youth are lost his father has died in penury. Staging a daring escape, Dantès finds the treasure, but his life is irrevocably changed by his imprisonment. Here he receives an extensive education from the Abbé Faria in the next cell acquires an aristocratic, unearthly pallor, allowing him, later, to masquerade as both a lord and a vampire and is told the location of an unimaginable treasure – a barren island known as Monte Cristo. But, framed by his jealous rivals as a Bonapartist traitor, he is arrested on his wedding day and summarily imprisoned.ĭantès is incarcerated in the notorious Chateau d'If for 14 years. Rich in nature's blessings, handsome, clever and well-made, he is about to be named captain of his ship, and to marry his Catalan fiancée, Mercédès. In 1815, Edmond Dantès, a 19-year-old merchant sailor, returns to port in Marseilles.
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