The Three Musketeers

The Three Musketeers

The Three Musketeers

The Three Musketeers

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Overview

All for one, and one for all!

The young D'Artagnan and the legendary musketeers Athos, Porthos and Aramis are 'the inseparables' - ready to sacrifice everything in a duel or game of dice in order to defend their honour or that of the King and Queen of France. Handsome and hot-tempered, they dive into raging battles or back-street conspiracies with gusto, especially if by their daring deeds they can thwart the wicked devices of their arch-enemy, Cardinal Richelieu, and his mysterious accomplice, Milady de Winter.

'Pure swashbuckling pleasure' Daily Telegraph

TRANSLATED BY WILL HOBSON

VINTAGE FRENCH CLASSICS - six masterpieces of French fiction in gorgeous new gift editions.


Product Details

ISBN-13: 9781448181155
Publisher: Random House
Publication date: 11/28/2013
Sold by: Barnes & Noble
Format: eBook
Pages: 816
Sales rank: 723,191
File size: 2 MB

About the Author

About The Author
Alexandre Dumas (1802–1870) was the author of more than a hundred plays and novels including the famous Three Musketeers trilogy (1844–47), The Count of Monte Cristo (1844–45), and The Man in the Iron Mask (1848–50). His grandfather was a nobleman who lived in the French colony of Santo Domingo (now Haiti), and his grandmother an Afro-Caribbean slave. Dumas’s father, a celebrated general in Napoleon’s army, eventually fell out of favor and then died when Alexandre was four years old, leaving his family in poverty. At the age of twenty-one, Dumas moved to Paris, where he enjoyed success first as a playwright and then as a prolific writer of both fiction and nonfiction. He took part in the uprising of July 1830, which placed his patron, Louis-Philippe, on the throne, and built his own imposing Château de Monte Cristo outside of Paris. But by 1851, his lavish lifestyle had bankrupted him, and he left France, fleeing both creditors and Louis-Napoleon Bonaparte, the new ruler who was no fan of Dumas. In the following decade, he made extended stays in Belgium, Russia, and Italy, where he joined the movement for its independence and unification. He died penniless but optimistic, saying of death, “I shall tell her a story, and she will be kind to me.”

A scholar, critic, and novelist, Thomas Flanagan (1923–2002) was the author of The Irish Novelists, 1800–1850 (1959), The Year of the French (1979), which won the National Book Critics Award, The Tenants of Time (1988), and The End of the Hunt (1994).

Marcelle Clements is a novelist and journalist who has contributed articles on culture, the arts, and politics to many national publications. She is the author of two books of nonfiction, The Dog Is Us and The Improvised Woman, and the novels Rock Me and Midsummer.

Read an Excerpt

Chapter 1
The three gifts of monsieur d'artagnan the elder

On the first Monday of April, 1625, the market town of Meting, birthplace of the author of the Roman de Ia Rose, seemed to be in as great a turmoil as if the Huguenots had come to turn it into a second La Rochelle. A number of townsmen, seeing women running in the direction of the main street and hearing children shouting on doorsteps, hastened to put on their breastplates and, steadying their rather uncertain self-assurance with a musket or a halberd, made their way toward the inn, the Hotellerie du Franc Meunier, in front of which a noisy, dense, and curious throng was growing larger by the minute.

Panics were frequent in those times, and few days went by when an event of this kind was not recorded in the archives of one town or another. Noblemen fought among themselves; the king was at war with the cardinal; the Spanish were at war with the king. And then, besides all this secret or open warfare, there were robbers, beggars, Huguenots, wolves, and lackeys, who were at war with everyone. The townsmen always took up arms against robbers, wolves, and lackeys, often against noblemen and Huguenots, sometimes against the king, but never against the cardinal or the Spanish. It was because of these habits that the townsmen, on that first Monday of April, 1625, bearing a commotion and seeing neither a red and yellow Spanish flag nor the livery of Cardinal Richelieu, hurried toward the Franc Meunier inn.

When they arrived there, they were able to see the cause of the tumult.

A young man ... Let us sketch a rapid portrait of him. Imagine Don Quixote at eighteen, a Don Quixotewithout chain mail or thigh pieces, wearing a woolen doublet whose original blue had been transformed into an elusive shade between purple and azure. He had a long, dark face with prominent cheekbones, a mark of shrewdness; his jaw muscles were heavily developed, an infallible sign by which one can recognize a Gascon, even without a beret, and our young man wore a beret adorned with some sort of feather. His eyes were frank and intelligent; his nose was hooked, but finely drawn; he was too big for an adolescent and too small for a full-grown man. An untrained eye might have taken him for a farmer's son on a journey if it had not been for the sword that bung from a shoulder belt, slapping against his calves when he walked, and against his shaggy horse when he rode.

For the young man had a mount, one that could not fail to attract attention: a small Bearn horse twelve to fourteen years old, with a yellowish coat, an almost hairless tail and sores on his legs. He walked with his head lower than his knees, which made a martingale unnecessary, but he could still do twenty miles a day. Unfortunately his good qualities were hidden by his strange color and his outlandish gait. He had come into Meting a quarter of an hour earlier through the Beaugency gate, and since in those days everyone was a practiced judge of horses, his appearance had caused a sensation that cast disfavor on his rider.

This was all the more painful to young d'Artagnan (such was the name of the Don Quixote astride that other Rosinante) because he was well aware of how ridiculous his horse made him seem, even though he was an excellent rider. That was why he had sighed when he had accepted the horse as a gift from his father. He knew that such an animal was worth at least twenty livres; the words that had accompanied the gift, however, were priceless.

"My son," the Gascon nobleman had said in the Bearn accent that Henry IV never succeeded in losing, "this horse was born on my estate nearly thirteen years ago and has never left it. That should be enough to make you love him. Never sell him, let him die peacefully and honorably of old age, and if you go to war with him, treat him with consideration, as you would treat an old servant. At court, if you have the honor to go there, an honor to which our ancient nobility entitles you, be worthy of your noble name, worthily borne by your ancestors for over five hundred years. For yourself, your relatives, and your friends, never tolerate the slightest affront from anyone except the cardinal or the king. Remember this: it's by courage, and courage alone, that a nobleman makes his way nowadays. Anyone who trembles for even one second may lose the chance that fortune offered him precisely at that second. You're young, and you must be brave for two reasons: first, you're a Gascon; and second, you're my son. Don't be afraid of opportunities, and seek out adventures. I've taught you to use a sword. You have iron legs and a steel wrist. Fight duels at the drop of a hat, especially since duels are forbidden: that means it takes twice as much courage to fight one.

"My son, all I have to give you is fifteen ecus, my horse, and the advice You've just heard. Your mother will give you the recipe for an ointment that a Gypsy woman taught her how to make: it miraculously heals any wound that doesn't reach the heart. Make the most of all these gifts, and have a long, happy life.

"I have only one more thing to add: an example for you to follow. It's not MY own, because I've never appeared at court and I've fought only in the wars of religion as a volunteer. I'm speaking of Monsieur de Treville, who used to be my neighbor and had the honor of playing with our King Louis XIII—may God preserve him!—when they were both children. Sometimes their games turned into fights, and the king didn't always win them. The drubbings be got from Monsieur de Treville made him feel great respect and . . .


Table of Contents



Translator's Introduction

9

Part 1

1

The Three Gifts of Monsieur d'Artagnan the Elder

27

2

Monsieur de Treville's Ante-Room

42

3

The Audience

53

4

Athos' Shoulder, Porthos' Shoulder-Belt, and Aramis' Handkerchief

65

5

The King's Musketeers and the Cardinal's Guards

73

6

His Majesty King Louis XIII

84

7

The Musketeers at Home

105

8

A Court Intrigue

115

9

D'Artagnan takes Command

124

10

A Seventeenth-Century Mouse-Trap

133

11

The Plot Thickens

144

12

George Villiers, Duke of Buckingham

162

13

Monsieur Bonacieux

171

14

The Man of Meung

180

15

Soldiers and Magistrates

191

16

In which Seguier, the Keeper of the Seals, looks again for the Chapel Bell which in his youth he rang so furiously

201

17

The Bonacieux at Home

213

18

The Lover and the Husband

228

19

The Plan of Campaign

236

20

The Journey

245

21

My Lady de Winter

259

22

The Merlaison Ballet

269

23

The Tryst

277

24

The Summer-House

285

25

Porthos' Mistress

299

26

Aramis' Thesis

318

27

Athos' Wife

335

28

The Return

355

29

In Search of Equipment

369

30

Milady

378

31

English and French

386

32

Lunch at the Lawyer's

394

33

Mistress and Maid

403

34

How Aramis and Porthos Found Their Equipment

413

35

All Cats are Grey at Night

422

36

Plans for Revenge

430

37

Milady's Secret

437

Part 2

1

How Athos Found His Equipment Without Bestirring Himself

447

2

A Vision

456

3

The Cardinal

464

4

The Siege of La Rochelle

473

5

The Anjou Wine

484

6

The Red Dovecote Inn

492

7

The Advantage of Stove Pipes

500

8

A Conjugal Scene

508

9

The Bastion of St Gervais

514

10

A Council of War

521

11

A Family Affair

539

12

Disaster

553

13

Conversation Between Brother and Sister

561

14

Officer!

569

15

First Day of Captivity

579

16

Second Day of Captivity

586

17

Third Day of Captivity

593

18

Fourth Day of Captivity

601

19

Fifth Day of Captivity

609

20

Histrionics in the Grand Manner

623

21

Escape

629

22

What Happened at Portsmouth on 25 August 1628

638

23

In France

648

24

The Carmelite Convent at Bethune

654

25

The Female and the Male

668

26

A Drop of Water

674

27

The Man in the Red Cloak

690

28

The Trial

696

29

The Execution

704

30

A Messenger from the Cardinal

709



Epilogue

719


What People are Saying About This

From the Publisher

"Rollicking."
— Independent

"Dumas is a master of ripping yarns full of fearless heroes, poisonous ladies and swashbuckling adventurers."
— Guardian

"The Napoleon of storytellers."
— Washington Post

EBOOK COMMENTARY

“The name Alexandre Dumas is more than French—it is universal.”—Victor Hugo

Reading Group Guide

1. Discuss Dumas's use of historical events in the novel. Do you think a knowledge of history is necessary or unnecessary in order to enjoy the novel? Discuss the ways in which Dumas alters or takes liberties with real events in order to suit the story. Is his view of history sanitized in any way?

2. Dumas is thought of as the chief popularizer of French Romantic drama. In considering The Three Musketeers, do you think this reputation is an accurate one? How does Dumas use dramatic effect in the novel?

3. Contemporary critics were offended by the scenes depicting vice and violence in the novel. Do you find these scenes arbitrary or not?

4. Many critics have described the musketeers as well-developed stereotypes, but are there ways in which the musketeers transcend these stereotypes? Are there other, perhaps more complex ways of interpreting the four protagonists?

5. Discuss Dumas's female characters, in particular Milady. What is her role in the novel, and what does this reveal about Dumas's views of women, if anything? Does Dumas depict a war between the sexes?

6. How do the chapter endings contribute to Dumas's masterly maintenance of pace? How does this kind of device recall a play, and how does this speak to Dumas's strengths stylistically?

7. In what ways is The Three Musketeers a bildungsroman? Would you characterize the work as a youthful novel?


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