A strong story, more stories together, characters with a unique fate. That is why the "Montecristo Count" is the model of a good creation. MonteCristo's account is a true treasure trove - a fortune of course lying but destined to increase our need for an "other" reality that is not reduced to the ubiquity of our daily livesWhat is "novel"? What does it consist of? When do we have the right to use this term, outside and within literature? Be cool readers: It is not the intention to give here a rhetorical lecture and literary theory. I just want to share with you some minor sensations that I have extracted from the revelation recently, during the summer of the colossal monument in the imaginary reality (in the double meaning) that is the Montecristo Convent of Alexander Dumas (1803 -1870).
About Kontit has written beautiful things Umberto Ecco (mass superman, 2001). But perhaps any conclusions may be added to his noble canonization. Let's see, starting from the beginning.
Montecristo's account was written and published around 1844.
Almost at the same time, the literary "machine" of literary production, which was Alexander Dumas's father, conceived and carried out the masterpieces of the musketeer saga, "The Three Musketeers", "Twenty Years Later", "The Visconti of Brageleone" . But the Conta was a step up, more ambitious, about setting and almost the contemporary of the events about his readers of that time.
In extreme synthesis: the protagonist of the novel Edmond Dante is originally a new sailor, very expert in his work and extremely honest, whose hands are tied to three treacherous characters: Fernand Mondego, Gerard de Villefort and Danglars . He is imprisoned in the awesome French prison called the Castle of If, spends several years in almost absolute segregation and in extreme desperation (Dantes is accused of bonaparism, so it is not excluded that Dumas allows in his story to drip from a little anti-burial poison) . There, adventurously, is known to another innocent prisoner, Abatin Faria, who came and appeared suddenly in his cell, after digging, in the midst of inhumane suffering, an underground tunnel that had to be pulled out but a calculation Wrong, leads exactly to Edmond's cell. From abbot Faria, cultured Italian priest, Edmond understands many things; But above all it is known, before Faria dies, with the existence of a hidden treasure on the island of Montecristo's. Edmond escapes from the fortress of If with a macabre, as well as clever deception, is entrusted to the treasury and begins a new life. In the second part of the novel Edmonds passes from disguise to the other, in a persistent quest to reach vengeance. The work, however, has a happy end, as a result of which Edmond resumes the human right to forgiveness and love.
Montecristo's account has suffered negatively in time as the "stain" of being a novel supplement, essentially voted because of the commercialization of the product or, as it is said in the present time, by "market laws". There is no doubt that it was so early. However, the result makes it today worthy of greater attention.
Let's try to relaunch the initial questions. Romani 1) is a strong and complex story that can not (I repeat: can not) pretend to be large dimensions; 2) part of a single story, but that means a lot; 3) is composed of characters that are each carrier of a particular "destiny", which, however, is exactly knit with that of many others; 4) meditates and represents structurally a system of relationships between real and imaginary, between the possible and the impossible - that is, what is what is, which is also at a certain point what it is. Now the Montecristo Concerto unequivocally presents all these features. But can not the same discussion of another act, which, according to a general judgment, has a wider scope, such as "War and Peace"? Of course, it can. What is the difference then? I'm afraid the difference is, as it was once said, in "content". The logical, sentimental weight, the Ideal of War and Peace is unmatched in comparison to that expressed from beginning to end to the Montecristo Count.
However, that said, everything else remains valid for the Montecristo Container, which means that his confessional "machine" possesses such an extraordinary vitality that makes it a great value even to modern readers. Today's readers, those who no longer need to be told that they should read a text because it will be "useful", suffices to know that it will be passionate and entertaining.From this point of view, Montecristo's book reserves surprises that hardly contemporary works make us experiment. This is easily verifiable: if today we begin to read each of its chapters, it is very difficult to get out of hand without going to the end.
The experience of Container's first readers who read it every week in an attachment to a journalistic body of the time, and apparently expressed the anxiety-filled expectation that something would happen, can be read again by today's readers Who will be tired of being cut off from the text at key points of the story, to return to their daily life much more banal.
The fact is that "romance", that original, is another thing, compared to what we have already listed. It is the design of a worldview that would not be if this novel was not written. It's a lie in every case to look for real evidence of what we see confessed. What we see in the story is also a reality - a reality that is clearly distinguished from the fact that we continue to believe in it and call it "reality."
From this point of view, MonteCristo's account is a true treasury of wealth-a fortune certainly false, but destined to increase our need for an "other" reality that is not reduced to the ubiquity of our daily lives.