and Buss' modern translation did not give me the same feel that this public domain book gives. And I once compared the opening pages between this edition and the penguin edition of Robin Buss. But the main appeal this book has for me is exactly the older English language which Robin Buss' translation seems to do away with. Ok maybe this public domain edition has some part of the story cut out or whatever as many have pointed out on Reddit before. And after listening to this version, I think could never be able to enjoy this in any other edition. In the audiobook version from Librivox narrated exceptionally well by a volunteer named David Clarke. let's say that he was ahead of his time, and some of these things would have been shocking for the Victorian-era, English-speaking audience! Notice that the 1846 translation is trying to hide something about this particular girl, adding an additional clause not present in the original French (.fastidious connoisseur.) and making it sound like "she's too erudite" is the issue, as well as her age! And that's not what Dumas was getting at. Google translation of original French: "As for the education she had received, if there was anything wrong with her, it was that, like certain points of her physiognomy, she seemed to belong to another sex."ġ846 Chapman-Hall English translation: "As regarded her attainments, the only fault to be found with them was the same that a fastidious connoisseur might have found with her beauty, that they were somewhat too erudite and masculine for so young a person"ġ996 Robin Buss: As for her upbringing, if there was anything to be said against it, it was that, like some traits of her physiognomy, it seemed more appropriate to the other sex" Original French: Quant à l'éducation, qu'elle avait reçue, s'il y avait un reproche à lui faire, c'est que, comme certains points de sa physionomie, elle semblait un peu appartenir à un autre sexe. For fun, just read the same passage side by side. Within this autobiographical 19th century milieu, the paper further explores an imperial cosmopolitanism impacting the collective memory struggles and the racial politics of contemporary France.Definitely recommend the Robin Buss translation over the 1846 one! Embedded within the frame of the story, the racial politics of the Other extend beyond the Orient into the French Atlantic touching Dumas, the author, directly: his half-Haitian father fought as a free officer in Napoleon's Egyptian campaign. ![]() The story's immediate and stunning popularity indicates how audiences understood their world at a precise post-Napoleonic moment when France was constructing itself by projecting its power into the Ottoman Empire's North African domains. The traffic in goods, people, technologies, and ideas the web of symbolic interaction measured in imperial conquest relations of trade and finance with the Orient, hitherto treated as background, are central to the moral universe of righteous retribution in the tale. Details of the vengeance plots carried out by means of multiple disguises, customized for each of the characters reveal the metageography of an imperial Mediterranean. Wrongfully accused of state treason, a Marseilles sailor, Dantès, transforms into the mysterious and foreign Count of Monte Cristo through an Orientalising metamorphosis that begins in an island prison and unfolds through a revenge plan after a miraculous escape. ![]() Dubbed 'a 19th-century version of " The Arabian Nights " ', this fictional tale is also a historical text linking East and West within the moral universe of post-Napoleonic Europe. This paper examines the use of Orientalism in the history, plot, and reception one of the most successful French novels of all time: Alexandre Dumas' The Count of Monte Cristo (1845).
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