The Count of Monte Cristo
Garret M. Gwozdz Ms. Vertiz English I-H./ 4 28 March 2013 The Mad Twins The Count of Monte Cristo, written by Alexandre Dumas in 1845, has actually fascinated and intrigued readers for centuries, with its many gothic components and concepts. It was composed in France during the time after Napoleon was dethroned in 1844. Alexandre Dumas took a tour of Southern France in 1834 and much of the information that he acquired on the tour was used to write this unique consisting of the City of Marseille.
The novel, with its complex and diverse series of characters and their relations, is littered with gothic references, concepts, and signs. Three particular motifs that Dumas consistently used throughout the plot are the Faust, and doppelgangers to reveal that Dantes believes he is powerful enough to control and manage other people, and he Dumas also uses a magic talisman to reveal the shift Edmond makes from a naive seafarer to a master manipulator. One motif discovered frequently in The Count of Monte Cristo is the Faust.
After Dantes escapes jail he really believes that he is capable of anything and that no one can stop him. Renee Winegarten says that “The Count of Monte Cristo, himself, has a fabulous endless amount of wealth and the immense power it gives him,” (Winegarten 13). Edmond Dantes manipulates people’s destinies practically as if he has a right to do so. He plays with their lives like puppets and they mainly react precisely how he planned it, with few exceptions. On the topic of power, Franz states this to the count:
But, with such an outlook, that makes you the judge and executioner in your own case, it would be hard for you to confine yourself to actions that would leave you forever immune to the power of the law. Hatred is blind and anger deaf: the one who pours himself a cup of vengeance is likely to consume a bitter draught. (Dumas 444) However, with such an outlook, that makes you the judge and executioner in your own case, it would be tough for you to restrict yourself to actions that would leave you forever immune to the power of the law.
Hatred is blind and anger deaf: the one who pours himself a cup of revenge is likely to drink a bitter draught. (Dumas 444) That is precisely what The Count thinks and he understands that no-one will stop him. When Dantes abuses Danglars, the bandit Luigi remarks that “For 3 days the name of God was constantly on Danglars’ lips, if not in his heart.” (Dumas 521). This offers the reader a perfect example that The Count is acting like God. He is toying with Danglars and will continue to up until, in his mind, he is equivalent.
The name that he assumes even has a substantial significance behind it. Monte Cristo, indicating mountain of Christ in Italian, suggests that Edmond thinks himself to be an equal if not higher the Jesus Christ himself. Although Dantes overall usages his power for dire reasons, there are a number of circumstances where he utilizes his supremacy for deserving reasons. The way Edmond conserves Morrel is the very best example of how he uses his impact for good intent, but at the exact same time he remains in disguise as Abbe Busoni. Edmond Dantes likewise utilizes lots of disguises throughout the whole novel.
He and his many doppelgangers are the primary source of confusion for most readers. Eventually in the plot he is called by the name of: Edmond Dantes, The Count of Monte Cristo, Sinbad the Sailor, Abbe Busoni, and Lord Wilmore. The reader can analyze these lots of attempts of Edmond altering his identity as a way of concealing his true self because of the shamefulness he feels about his past life of being such a naive, dim-witted, sailor. R. Brustein composes “Dantes really doesn’t like who he is and was therefore embraces pseudonyms several times.” (Brustein 14).
His disguises were beyond doubt a work of genius and only one person, Mercedes, can distinguish between him and his disguises. He hides himself and his actual feelings so well that in one minute he can hate one person and the next he can conspire with him. Renee Winegarten states that, “The Count of Monte Cristo … was a master of impenetrable disguise.” (Winegarten 22). Edmond uses his aliases as another method to manipulate individuals, by entering into their lives as an innocent neighbor, or to be accepted by society and get in the classy Parisian culture.
He lets them trust him and then exposes his true identity and betrays them. His requirement for his victims to know that it is Edmond Dantes who did all these things to them is a genuine mark of how mad he actually is, and it also shows that underneath a cape of invincibility is actually simply an outrageous psychopath. The reader can attribute most of these qualities to his time spent in the Chateau d’if and his time spent in a cell with Abbe Faria. Abbe Faria is an elderly Italian priest with Bonapartist and Pan-Italian compassions who was jailed at the Chateau d’If four years before Dantes.
The jail guards feel that Faria seethes since he has actually offered them part of a great treasure, which they do not believe exists, if he is released. Faria ends up being Dantes’ teacher, having inadvertently tunneled into Dantes’ cell. (Williams 2) Abbe Faria is an elderly Italian priest with Bonapartist and Pan-Italian sympathies who was put behind bars at the Chateau d’If four years prior to Dantes. The jail guards feel that Faria is mad due to the fact that he has offered them part of a terrific treasure, which they do not think exists, if he is released. Faria becomes Dantes’ instructor, having actually accidentally tunneled into Dantes’ cell. Williams 2) His time invested with Abbe Faria is a good time of enlightenment for Edmond Dantes. The Abbe treats Edmond like a kid and teaches him whatever he understands and even provides him the entire treasure of spada. Faria has a past that has actually helped him acquire knowledge of the world and he teaches Edmond most of what he understands: “I regret now”, said he, “having actually helped you in your late questions, or having actually provided you the details I did.” “Why so?” inquired Dantes. “Due to the fact that it has actually instilled a new enthusiasm in your heart that of revenge. (Dumas 194) “I regret now”, stated he, “having actually helped you in your late inquiries, or having actually provided you the information I did.” “Why so?” asked Dantes. “Because it has actually instilled a new enthusiasm in your heart that of revenge.” (Dumas 194) Faria is a great teacher and reveals Edmond many things such as mathematics, science, politics, literatures, and logical thinking. Faria has the understanding of the location of the Treasure of Spada and tells Dantes where it is. Faria provides him everything he has consisting of all of his knowledge and even his own life. Faria states:
The Abbe knows that Edmond plans to seek revenge on all of the people that mistreated him and disagreed with his intentions but likewise recognizes that he can not stop Dantes from performing these strategies. This quote likewise shows that Faria has good character and knows right from incorrect despite the fact that those lines are blurred. Faria even sacrifices himself so that Edmond can leave. Faria informs Edmond “‘Hush! Hush!’ murmured the passing away guy, ‘that they may not separate us if you save me! ‘” (Dumas 225). This quote reveals that the Abbe understands what flexibility expenses and wants to pay it for Edmond.
The reader can acknowledge this as a significant turning point in the novel as this story modifications from a novel of captivity to among adventure and vengeance. The Count of Monte Cristo is a novel that has actually fascinated readers for centuries. Practically all of the characters within the plot are vibrant. The characters relationships are intricate and diverse. The gothic components that Alexandre Dumas includes within this novel are excellent. The themes that he utilizes including the magic talisman, doppelgangers, and the Faust are very in depth.
They reveal that people are incapable of having excessive power and will ultimately abuse that power, this holds true in literature and in history. The Count of Monte Cristo is a gothic novel that handles lost likes, the change of personality, and vengeance. Works Cited Dumas, Alexandre. The Count of Monte Cristo. New York: Random Home, 1996. Print. Winegarten, Renne. Alexandre Dumas: Truth and Fiction. Detroit: Wind, 2003. Print. Brustein, Robert. The Naked and the Dressed. Detroit: Gale, 2003. Print Williams, A. N. “Cerebrovascular disease in Dumas’ The Count of Monte Cristo” National Center of Biotechnology information (2003 ): Web.