<h1 class="pgc-h-arrow-right" data-track="1" > character experiences</h1>
Dumas was born on 24 July 1802 in Ville-Cottelet , France ( near Paris ) , and was dependent on his mother.
Before the age of 10, Dumas read through the Adventure Novel "Robinson Crusoe" by the British writer Defoe, the novel "Teremmark" by the French writer Fenalong, and the mythical book "Letter to Emily" written by the writer Demsgier.
At the age of 15, Dumas was sent to Monaçon's notary firm as a clerk, sending various notarized documents to the surrounding villages for signature.
At the age of 18, Dumas learned Italian and German from Rappens. Together, they translated the novel "The Last Letters of Jacob Orti" by the Italian writer Hugo Foscolo at the turn of the 18th and 19th centuries.
In 1823, out of a yearning for a career in theater, the 21-year-old Dumas came to Paris alone, first working as a clerical scribe in the secretariat of the Duke of Orléans, to solve the problem of his shelter and food. From an early age, Dumas was an avid writer of drama, and in the comfortable and spacious office of the Duke, he was busy writing the play "Henry III and His Court". Dumas, who was quick-witted, spent the night writing a book.
On July 27, 1824, a boy was born with Caterina Rabe. Like his father, the son was named Alexander (Dumas the Younger).
In 1825, Dumas joined the Ranks of the Romantics, led by Hugo.
In 1828, the five-act poetic play Christina was completed.
In 1829, the play "Henry III and His Court" came out, and the French drama scene applauded Dumas's debut. Soon, the play was staged at the Théâtre de Paris. Hugo and numerous Romantic writers went to the theater to see it, and thought that it was a big victory for the Romantics. The play depicts the struggles, deceptions, and conspiracies between kings and reactionary nobles during the French Religious Wars in the 16th century. French literary critics considered The play Henry III and His Court to be the finest play of Dumas's life.
In 1830, the play "Christina" was published, and the first performance was held on March 30, 1830. "Christina" was successfully staged, and Dumas immediately devoted himself to writing another screenplay, "Anthony". It was released in July of the same year.
In 1830, Dumas participated in the "July Revolution", opposing the restoration of the dynasty, demanding political reform and broadening the path of speech.
Dumas and Ada Muncón
On the afternoon of July 29 of the same year, the rebels attacked the last fortress of the Restoration Dynasty, the Palace of Sileri. Dumas took part in the battle and was one of the first warriors to storm the palace. Dumas spent a sleepless night in the crowded town hall. The rebels lacked ammunition, and Dumas volunteered to General Lafayette that there was a large amount of ammunition stored in Suisson and Rafael, and he could get some of it. Dumas finally persuaded General Lafayette. In the end, 3500 kilograms of ammunition obtained from Suisson were sent to the Paris City Hall.
After the victory of the July Revolution, Dumas wanted to make a big difference in the political arena, but Louis Philippe's attitude made him very disappointed. Dumas found himself not the kind of man Louis Philippe needed. Back at home, he drafted his resignation.
Dumas resigned as librarian and immediately joined the artillery unit of the National Guard. Dumas was elected deputy company commander of the Fourth Artillery Company. He also commanded the military training of the entire company. Soon a captain resigned, and by unanimous election, Dumas filled the vacancy for the captain.
Louis Philip's push for republicanism increased Dumas's resentment. Since Louis Philip did not react to his first resignation, he wrote a second one and published it in the newspaper.
In 1831, Dumas served as a deputy company commander in the French artillery, and he often spread among his soldiers a political view of the restoration of the dynasty. Because of his radical republican views, his name has been placed on a blacklist of arrests prepared by the authorities. After escaping from the country, Dumas drifted everywhere, accumulating a large amount of material for his creative career.
On May 3, 1831, Anthony was published. In February 1832, Therisa was published.
By the mid-1840s, Dumas had written a large number of plays written by himself or in collaboration, including Caterina Howard (1833) on the theme of love, Keane, also known as "Debauchery and Genius" (1836), featuring the famous British drama actor Keane, "Caligula" (1837), which depicted the story of the ancient Roman Emperor Caligula, and "The Alchemist" (1838), which co-wrote with Riella de Neval. And the comedies "Mademoiselle Belle Il", "A Marriage in the Age of Louis XV", "The Ladies of Saint-Cyr", etc., written between 1839 and 1843.
From May 3 to June 23, 1838, The Century serialized his novella Captain Paul.
The short story "Cruel Pierre", published from August 31 to September 3, 1839.
After 1840, Dumas, who returned to China, began to cooperate with others to write serial novels for newspapers and periodicals.
In 1842, the Knight of Armand was published against the backdrop of the regency of Philippe, Duke of Orléans, in the 18th century.
In 1844, "The Three Musketeers", one of the trilogies set in the reign of Kings Louis XIII and Louis XIV in the 17th century, was published.
In 1845, "Queen Margot," one of the trilogies set in the 16th century, and "Twenty Years Later," was published, one of the trilogies set in the 17th century during the reigns of King Louis XIII and Louis XIV.
In 1846, "Madame Montsoreau", one of the trilogies set in the 16th century Wars of Religion, was published.
In August 1847, Dumas, in his play The Red House Knight, set against the backdrop of the French bourgeois revolution at the end of the 18th century, used the old Bourbon dynasty as a metaphor for the July Dynasty and issued an appeal for the armed overthrow of the July Dynasty. Between 1847 and 1848, forty-five guards, one of the trilogies set in the 16th-century Wars of Religion, was published.
During the Revolution of 1848, Dumas, dressed in military uniform, led an army to attack Paris. Whenever early in the morning came, he distributed his edited and printed newspapers to the citizens to promote his republican ideas. After Napoleon III staged a coup d'état, Dumas objected and went into exile in Brussels, Belgium. In 1860, he traveled to Italy to take part in Garibaldi's conquest of the Kingdom of Naples.
From 1848 to 1850, the Viscount of Brajelona, one of the trilogies set in the reign of Kings Louis XIII and Louis XIV in the 17th century, was published. He also published a group of novels, Joseph Balsamo (or translated Asgarder: Baron Balsamo, 1849), and The Queen's Necklace (1849-1850), set against the backdrop of the harbingers of the bourgeois revolution at the end of the 18th century.
In 1851, anger Pidou was published.
In 1852-1855, he published Oramp of Clive (1852), the Mohicans of Paris (1854-1855), and the Countess of Charnais (1852-1855), set against the backdrop of the Restoration Dynasty.
In 1857, he published "A Gang of Yehus" (or translated as "The Tale of the Two Heroes", "The Killer and the Rogue").
In 1858, "The She-Wolf of Marshkull" was published in the context of the July Dynasty.
In 1867-1868, he published The White and Blue Parties against the backdrop of the upheavals after the bourgeois revolution.
After returning from Le Havre in 1868, he was often dizzy and could only occasionally read his old works.
In 1869, he followed a doctor's advice to rest in a secluded corner of Brittany while writing a Culinary Dictionary for the publisher Le Maitelle. However, he was exhausted and could not complete the work.
In the spring of 1870, Dumas went to the south of France to recuperate. Back in Paris in July, the Franco-Prussian War, the one he predicted in The Prussian Terror, broke out. Dumas rushed to take him to his seaside house near the city of Diep in the province of Normandy before the Prussian army besieged Paris. People hid from him the truth about the french defeat on the battlefield. He had severely lost his memory.
In December 1870, when Dumas was bedridden, he instructed his family to hire a priest. However, when Father Andreyo arrived on 5 December, he was already unconscious. At 10 p.m. that night, he died in the arms of his daughter Mary at the age of 68. On 8 December, Dumas's body was temporarily buried in the cemetery of the Nieville Chapel, one kilometer from Diep. A delegation from the Municipal Council of Diap and a number of writers and artists attended the funeral. Montigny, manager of the Jumnaz Theatre in Paris, who took refuge in Tiep, delivered a speech on behalf of the deceased's former friends.
On April 16, 1872, the official burial ceremony was held in Cotelais, the hometown of Villers in Dumas near Paris.
On November 30, 2002, his remains arrived in Paris from his hometown and were placed in the Panthéon de Paris, the hall of fame behind him, in the presence of French President Jacques Chirac and Prime Minister Raffarin. Dumas was the 72nd person to make an extraordinary contribution to France to enter the Panthéon and the sixth French writer to enter the Panthéon after Voltaire, Rousseau, Hugo, Zola and Malraux.
<h1 class="pgc-h-arrow-right" data-track="48" > creative features</h1>
<h1 class="pgc-h-arrow-right" data-track="50" > drama</h1>
Dumas's theatrical activities made an important contribution to the Romantic movement. In particular, his Henry III and His Court first opened the way for Romantic theater and made him one of the pioneers of Romantic theater.
Dumas's theatrical background is extremely broad, such as the historical drama "Henry III and His Court" set in the 16th century French Religious Wars, while the five-act play "Antony" is set in the upper society of the Restoration Dynasty.
As a member of the nineteenth-century romantic literary camp, he advocated the abolition of the many rules and precepts that classicism had imposed on drama. He, like many Romantic writers, believed that drama should show the audience the passion of life, and the audience would be moved. In his historical drama Henry III and His Court, which he created in 1829, he began to embody his creative ideas. This debut literary drama is actually the best interpretation of his own personality.
<h1 class="pgc-h-arrow-right" data-track="54" > novel</h1>
<h1 class="pgc-h-arrow-right" data-track="87" > narrative</h1>
The use of real historical events and historical figures as objects of narration and the addition of bold fiction and imagination are notable features of Dumas's historical narrative novels. In Dumas's historical narrative novels, the goals pursued by history are no longer truth and objectivity, but entertainment as the only purpose. Therefore, the popularization of history is dumas's most important achievement in his literary career. However, his unique creative concept is very different from the historical goal of pursuing objective and true reproduction of history. Thus Dumas did not hold a lofty place in the history of French literature, but had a large readership compared to many of his contemporaries.
Dumas's achievements in the field of popular historical narrative fiction are unquestionable. However, despite the full affirmation given by many writers of literary history in their evaluation of his historical narrative novels, and the large number of readers he had in the world, he did not enjoy a lofty place in the history of French literature. Much of this stems from his attitude when writing historical narrative novels. He once openly stated that history was just a nail to hang his novels, and he never admitted in literature what genre he belonged to or what kind of banner he had set up, and that entertainment was his only purpose in writing history.
As for Dumas's way of narrating history, Moloa believes that in Dumas's historical narrative novel, when narrating historical events, the writer on the one hand narrates the real history that has happened as a clue in the novel; on the other hand, he describes the fictional hero as another clue, so that the fictional hero is active in the real historical event, so that the history recorded in his historical narrative novel looks true or false. The novel became the main stylistic form of Dumas's depiction of such a grand historical scene.
Dumas hardly uses simple narration, but uses dialogue to explain the historical background and the development of the story. Many of the protagonists' lives are also explained in the dialogue. Most of the dialogue is very short and powerful, with a strong sense of rhythm.
<h1 class="pgc-h-arrow-right" data-track="86" > writing style</h1>
In One of Dumas's masterpieces, Madame de Montsoreau, Dumas once said: "Historical events have the characteristic that they tend to express their importance in the circumstances that precede them. This reflects the reason why the writer attaches great importance to the depiction of the historical background in the text of the historical narrative novel and strives to be realistic. Therefore, although Dumas's historical narrative novels are often criticized for arbitrarily changing the authenticity of historical events at will, many foreign readers understand the major historical events in French history and experience the alternating changes in French history from reading Dumas's historical narrative novels.
Dumas closely combines the genre of the novel with history, because the stylistic characteristics of the novel are able to accommodate huge social life, so that dumas's grand historical narrative technique can be displayed, combining the writer's accumulated rich historical materials with the ability to control historical themes, so as to include more real history in the fictional story. The historical narrative novels he created depict the background of the historical era with great momentum.
Dumas's heroic view of history is reflected in the content of the novel's text. Dumas believed that every development and change in history was created by outstanding people, and that unusual people in history always influenced the course of historical development. This idea is reflected in the titles of some of his novel texts: for example, the entire book of The Count of Monte Cristo revolves around the revenge of the sailor Edmund Daunes, and the Count of Monte Cristo is the central character of the novel. Another example is the "Red House Knight" set in the French Revolution, which revolves around the Red House Knight's rescue of Louis XVI's queen, and the title also reflects that the Red House Knight is the hero that the book focuses on.
Dumas allowed many real or fictional historical figures to appear together in such historical situations. In the novel, he participates in the development process of history, portraying many vivid characters of different classes. Even in the face of a long time span, the grand narrative of historical events with many characters is methodical. Thus Dumas's construction of the historical world in his historical narrative novels has been praised by many contemporaries.
It can be said that Dumas's historical narrative novel is constantly using heroes to construct history, using history to shape heroes, and integrating heroes and history into the novel. These three are constructed and dependent on each other.
Dumas's historical narrative novels are based on real historical figures and events and add their own subjective imagination and fiction. The writer narrates the story in a chronological order by mixing fictional characters with real characters. Therefore, when evaluating Dumas's historical narrative novels by restoring the sense of history and humanistic care contained in the text of the novel that restores the truth of history, Dumas's novel text does not enjoy a lofty position in the history of literature.
Dumas's historical narrative novels do not have objective truth as their stated goal. It does not point at the historical facts themselves at all. Rather, it is to choose a possibility in the historical space as the center of direction. And this center is the history that the writer himself constructs is more real than history.
This technique is a stronger tendency to deviate from history in Dumas's historical narrative novels. However, because the materials are selected from historical events, and everything revolves around the historical events described, the historical theme itself has a cohesive force. Thus, Dumas's historical narrative novels are away from the center of history while reconstructing history.
Many of Dumas's later historical plays were based on his own best-selling historical narrative novels. This shows that the historical narrative novels created by Dumas contain dramatic elements that are easy to adapt into plays. Dumas's historical narrative novels are mostly set against the backdrop of major historical events, and when describing historical events with a large span of historical events to show intricate court contradictions, they can always give readers a coherent and one-stop reading experience. The main reason for this is that Dumas used theatrical techniques to create novels. Remove the overly lengthy narrative style in long historical narrative novels.
Dumas's main literary achievements were in the creation of historical narrative novels. Moreover, most of the historical narrative novels he created are long-form historical narrative novels, and historical narrative novels are also a kind of gradual art as novels. The process of historical conflict manifests itself as a process of gradual escalation. The transformation of the scenes of each chapter, the integration of static set elements increases the dramatic effect of the novel, and the corresponding direct use of a large number of dialogues to promote the development of the plot causes the absence of the narrator. The contradictions and conflicts between characters can be directly reflected, and the confrontation between characters and characters can be increased.
Dumas started writing the screenplay. In his novels, dialogue plays a large part. This actually preserves the characteristics of writing a script. In a way, Dumas's novels are dramatic. His novels were easily adapted into screenplays.
Dialogue plays a variety of roles in his novels, beginning with portraying the character through dialogue. Dumas rarely gave long descriptions of his characters, whose personalities were mostly revealed through actions and dialogue.
The author sometimes uses only one sentence to enlighten the spiritual outlook of the person. At the beginning of "The Count of Monte Cristo", Dantis returns to Marseille and reports with great sorrow to the ship's owner, The Elder Morial: "We have lost the brave captain Richler. The next sentence is: "What about goods? The shipowner asked anxiously.
In just two words, The mental state of which Morial cares more about goods than for people is accurately expressed. The elder Moraire was a positive figure, but he was a capitalist after all.
<h1 class="pgc-h-arrow-right" data-track="85" > heroic image</h1>
The heroes in the text of the novel move in the historically real environment shaped by the writer. These characters are brave, witty, adventurous and take this adventurous experience as a kind of fun, and often end up doing something that ordinary people can't reach because of coincidence and courage, thus promoting and changing the development of history. For example, d'Artagnan, the adventurous fourth musketeer in The Three Musketeers, and his three companions, Athos, Bordos, and Aramis; The brave French hero Bissi in Madame De Monthoreau; Larmor and Kocona, loyal to their friendship in Queen Margot; Laurent and Morgaon, portrayed in The Tale of the Two Heroes; knights in the Red House who were killed to rescue the queen of Louis XVI in The Red House, and so on. Dumas is constructing the history in the text with a heroic image that is very different from ordinary people.
Alexander Dumas
Dumas-style heroes can be said to be a product of the times. The heroic image in the text of the novel always has extraordinary actions and boldness. Most of these heroes are brave, good at planning, still have their own character even in complex political struggles, and have the ability to navigate the situation. In the process of historical narration, there is also a righteous, noble chivalrous spirit. This is in line with the spiritual side of the hero.
The difference, however, is that Dumas-style heroes no longer have high spiritual value. Commenting on the character d'Artagnan in The Three Musketeers, the translator said: "D'Artagnan, he is greedy for almost everything, for fame, money, status, femininity, and so on. It was the adventurous spirit inspired by greed that set him on a path full of temptations. ”
Dumas-style heroes are more about making people understand the meaning of wealth, body, and senses. They do not possess the spiritual value of heroes, who simply achieve lower values in the objective value hierarchy order. They are more likely to arouse the reader's obsession than reverence. Although these heroic figures still have heroic spirit, such heroes are shaped from the universal sense of value, which is the product of hero reconstruction. Therefore, even if these images can still achieve deeds that ordinary people cannot achieve, he no longer has the value of heroes.
<h1 class="pgc-h-arrow-right" data-track="80" > character influences</h1>
Alexandre Dumas, one of the representative writers of French Nineteenth-Century Romantic literature. From the time he ascended to the romantic literary scene until his death in 1870, in his literary career of more than forty years, he created a large number of popular historical narrative novels, and achieved remarkable achievements in this field. His historical narrative novels have a large readership in France and around the world. His approach to writing history still has a profound influence today. In the history of French literature, Dumas, along with Eugène Sue, became one of the most prominent writers of popular historical narrative novels in the nineteenth-century French Romantic literary camp.
Dumas's achievements in the creation of popular historical narrative novels are outstanding. From the perspective of French mainland, André Moloa wrote "Dumas" and "The Biography of The Three Dumas", in order to introduce dumas's life and creative process and the influence of his family on his creation.
Although he had the largest number of readers compared to his contemporaries, it contradicted his position in literary history. Dumas enjoyed the highest status in the French literary scene. And the evaluation of Dumas himself and his works is also biased in French. But this did not affect readers' liking for Dumas's historical narrative novels. In 2002, following voltaire, Luleng, Hugo, Zola and Malroan, the remains of Dumas were relocated to the Pantheon.