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Three Musketeers (Modern Library) de Alexandre Dumas

Three Musketeers (Modern Library)

Autor Alexandre Dumas Traducere de Jacques Le Clercq
en Limba Engleză Hardback – 18 noi 1999

Ce rămâne dintr-un om atunci când onoarea este singura monedă de schimb într-o lume guvernată de trădare și ambiție politică? Suntem de părere că forța acestui roman, dincolo de faima sa universală, rezidă în capacitatea lui Alexandre Dumas de a transforma istoria Franței într-un mecanism narativ vibrant, unde fiecare duel și fiecare ambuscadă capătă o dimensiune aproape mitică. În această ediție Modern Library, povestea tânărului D'Artagnan, care sosește la Paris în 1625 cu speranța de a se alătura gărzilor regelui Ludovic al XIII-lea, este redată cu o prospețime care justifică de ce, după aproape două secole, rămâne un punct de referință în literatura de aventură.

Notăm cu interes modul în care autorul echilibrează dinamismul acțiunii cu portretele psihologice ale celor trei camarazi: melancolicul Athos, exuberantul Porthos și enigmaticul Aramis. Cititorul care a apreciat tema dreptății și a răbdării strategice din The Count of Monte Cristo va găsi aici un spirit similar de reziliență — dar într-un context diferit, mult mai exuberant și axat pe fraternitate militară. Dacă în alte lucrări, precum Ten Years Later, Dumas explorează amurgul eroismului și greutatea trecerii timpului, în Three Musketeers (Modern Library) asistăm la apogeul vitalității. Stilul este unul alert, marcat de o succesiune de evenimente care nu lasă răgaz reflecției statice, ci invită la o trăire nemijlocită a comploturilor orchestrate de Cardinalul Richelieu și de fatala Milady. Putem afirma că romanul nu este doar o cronică a duelurilor, ci o explorare a loialității absolute, scrisă cu o plăcere evidentă a povestirii care se transmite intactă cititorului modern.

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Specificații

ISBN-13: 9780679603320
ISBN-10: 0679603328
Pagini: 624
Dimensiuni: 147 x 214 x 34 mm
Greutate: 0.67 kg
Ediția:Modern Library edition
Editura: Random House

De ce să citești această carte

Recomandăm această ediție celor care doresc să descopere sau să reviziteze fundamentul romanului de capă și spadă într-o formă neprescurtată. Cititorul câștigă acces la o lume a eleganței primejdioase, unde prietenia este singura ancoră în fața corupției politice. Este o lectură esențială pentru oricine apreciază construcția personajelor arhetipale care au modelat cultura europeană, oferind un amestec rar de rigoare istorică și divertisment pur.

Despre autor

Alexandre Dumas (1802–1870), cunoscut și ca Dumas père pentru a se distinge de fiul său, a fost unul dintre cei mai prolifici și citiți scriitori francezi. Cu o moștenire multiculturală — bunicul său fiind nobil francez, iar bunica sclavă africană din Saint-Domingue — Dumas a reușit să cucerească scena literară pariziană, începând cu piese de teatru și culminând cu romane foileton care au definit epoca. Opera sa monumentală, ce însumează peste 100.000 de pagini, include titluri legendare precum The Count of Monte Cristo și seria muschetarilor, fiind adaptată în sute de producții cinematografice datorită geniului său în a combina faptele istorice cu intriga de aventură.

Descriere scurtă

"We read The Three Musketeers to experience a sense of romance and for the sheer excitement of the story," reflected Clifton Fadiman. "In these violent pages all is action, intrigue, suspense, surprise--an almost endless chain of duels, murders, love affairs, unmaskings, ambushes, hairbreadth escapes, wild rides. It is all impossible and it is all magnificent." First published in 1844, Alexandre Dumas's swashbuckling epic chronicles the adventures of D'Artagnan, a gallant young nobleman who journeys to Paris in 1625 hoping to join the ranks of musketeers guarding Louis XIII. He soon finds himself fighting alongside three heroic comrades--Athos, Porthos, and Aramis--who seek to uphold the honor of the king by foiling the wicked plots of Cardinal Richelieu and the beautiful spy "Milady." "Dumas will be read a hundred, nay, three hundred years on," wrote John Galsworthy. "His greatest creation is undoubtedly D'Artagnan, type at once of the fighting adventurer and of the trusty servant, whose wily blade is ever at the back of those whose hearts have neither his magnanimity nor his courage. Few, if any, characters in fiction inspire one with such belief in their individual existences. . . . To one who made D'Artagnan all shall be forgiven." Clifton Fadiman agreed: "Dumas enjoyed writing his stories. . . . The pleasure he must have felt in
creating D'Artagnan's troubles and triumphs flashes out of these pages. . . . Dumas rampaged through the history of France, inventing, changing, distorting--doing whatever was needed to produce a tale to hold the reader breathless."

Notă biografică

Alexandre Dumas, who lived a life as dramatic as any depicted in his more than three hundred volumes of plays, novels, travel books, and memoirs, was born on July 24, 1802, in the town of Villers-Cotterêts, some fifty miles from Paris. He was the third child of Thomas-Alexandre Davy de la Pailleterie (who took the name of Dumas), a nobleman who distinguished himself as one of Napoleon's most brilliant generals, and Marie-Louise-Elisabeth Labouret. Following General Dumas's death in 1806 the family faced precarious financial circumstances, yet Mme. Dumas scrimped to pay for her son's private schooling. Unfortunately he proved an indifferent student who excelled in but one subject: penmanship. In 1816, at the age of fourteen, Dumas found employment as a clerk with a local notary to help support the family. A growing interest in theater brought him to Paris in 1822, where he met François-Joseph Talma, the great French tragedian, and resolved to become a playwright. Meanwhile the passionate Dumas fell in love with Catherine Labay, a seamstress by whom he had a son. (Though he had numerous mistresses in his lifetime Dumas married only once, but the union did not last.) While working as a scribe for the duc d'Orléans (later King Louis-Philippe) Dumas collaborated on a one-act vaudeville, La Chasse et l'amour ( The Chase and Love, 1825). But it was not until 1827, after attending a British performance of Hamlet, that Dumas discovered a direction for his dramas. 'For the first time in the theater I was seeing true passions motivating men and women of flesh and blood,' he recalled. 'From this time on, but only then, did I have an idea of what the theater could be.'

Dumas achieved instant fame on February 11, 1829, with the triumphant opening of Henri III et sa cour (Henry III and His Court). An innovative and influential play generally regarded as the first French drama of the Romantic movement, it broke with the staid precepts of Neoclassicism that had been imposed on the Paris stage for more than a century. Briefly involved as a republican partisan in the July Revolution of 1830, Dumas soon resumed playwriting and over the next decade turned out a number of historical melodramas that electrified audiences. Two of these works—Antony (1831) and La Tour de Nesle (The Tower of Nesle, 1832)—stand out as milestones in the history of nineteenth-century French theater. In disfavor with the new monarch, Louis-Philippe, because of his republican sympathies, Dumas left France for a time. In 1832 he set out on a tour of Switzerland, chronicling his adventures in Impressions de voyage: En Suisse ( Travels in Switzerland, 1834-1837); over the years he produced many travelogues about subsequent journeys through France, Italy, Russia, and other countries.

Around 1840 Dumas embarked upon a series of historical romances inspired by both his love of French history and the novels of Sir Walter Scott. In collaboration with Auguste Maquet, he serialized Le Chevalier d'Harmental in the newspaper Le Siècle in 1842. Part history, intrigue, adventure, and romance, it is widely regarded as the first of Dumas's great novels. The two subsequently worked together on a steady stream of books, most of which were published serially in Parisian tabloids and eagerly read by the public. He is best known for the celebrated d'Artagnan trilogy—Les trois mousquetaires ( The Three Musketeers, 1844), Vingt ans après (Twenty Years After, 1845) and Dix ans plus tarde ou le Vicomte de Bragelonne ( Ten Years Later; or The Viscount of Bragelonne, 1848-1850)—and the so-called Valois romances—La Reine Margot (Queen Margot, 1845), La Dame de Monsoreau ( The Lady of Monsoreau, 1846), and Les Quarante-cinc ( The Forty-Five Guardsmen, 1848). Yet perhaps his greatest success was Le Comte de Monte Cristo ( The Count of Monte Cristo), which appeared in installments in Le Journal des debats from 1844 to 1845. A final tetralogy marked the end of their partnership: Mmoires d'un medecin: Joseph Balsamo ( Memoirs of a Physician, 1846-1848), Le Collier de la reine ( The Queen's Necklace, 1849-1850), Ange Pitou ( Taking the Bastille, 1853), and La Comtesse de Charny ( The Countess de Charny, 1852-1855).

In 1847, at the height of his fame, Dumas assumed the role of impresario. Hoping to reap huge profits, he inaugurated the new Theatre Historique as a vehicle for staging dramatizations of his historical novels. The same year he completed construction of a lavish residence in the quiet hamlet of Marly-le-Roi. Called Le Château de Monte Cristo, it was home to a menagerie of exotic pets and a parade of freeloaders until 1850, when Dumas's theater failed and he faced bankruptcy. Fleeing temporarily to Belgium in order to avoid creditors, Dumas returned to Paris in 1853, shortly after the appearance of the initial volumes of Mes Memoires ( My Memoirs, 1852). Over the next years he founded the newspaper Le Mousquetaire, for which he wrote much of the copy, as well as the literary weekly Le Monte Cristo, but his finances never recovered. In 1858 he traveled to Russia, eventually publishing two new episodes of Impressions de voyage: Le Caucase (Adventures in the Caucasus, 1859) and En Russie (Travels in Russia, 1865).

The final decade of Dumas's life began with customary high adventure. In 1860 he met Garibaldi and was swept up into the cause of Italian independence. After four years in Naples publishing the bilingual paper L'Independant/L'Indipendente, Dumas returned to Paris in 1864. In 1867 he began a flamboyant liaison with Ada Menken, a young American actress who dubbed him 'the king of romance.' The same year marked the appearance of a last novel, La Terreur Prussiene (The Prussian Terror). Dumas's final play, Les Blancs et les Bleus (The Whites and the Blues), opened in Paris in 1869.

Alexandre Dumas died penniless but cheerful on December 5, 1870, saying of death: 'I shall tell her a story, and she will be kind to me.' One hundred years later his biographer Andre Maurois paid him this tribute: 'Dumas was a hero out of Dumas. As strong as Porthos, as adroit as d'Artagnan, as generous as Edmond Dantes, this superb giant strode across the nineteenth century breaking down doors with his shoulder, sweeping women away in his arms, and earning fortunes only to squander them promptly in dissipation. For forty years he filled the newspapers with his prose, the stage with his dramas, the world with his clamor. Never did he know a moment of doubt or an instant of despair. He turned his own existence into the finest of his novels.'