Three Musketeers (Barnes & Noble Classics Series) Page 5
26. Milady is described as “that invincible power of evil” on page 556 of the novel. Like many other nineteenth-century French writers, Dumas often condemns women in positions of power. On this and related subjects, see Lise Quefflélec, ”Inscription romanesque de la femme au XIXe siècle: Le Cas du roman-feuilleton sous la monarchie de Juillet“ (Revue d’Histoire Littéraire de la France 86:2 [1986], pp. 189-206) and Odile Krakovitch, Peurs et obsessions du XIXe siècle (forthcoming).
27. In fact, the image of the woman who loses consciousness in such cases is so well established that, in Madame Bovary (1857), where Flaubert routinely ironizes Romantic clichés, Emma Bovary feels faint after reading the letter Rodolphe Boulanger has sent her to announce the end of their adulterous relationship.
28. Indeed, the plan Milady adopts in chapter 36—she makes love to D’Artagnan in the hope that he will agree to punish “De Wardes” for insulting her—seems to link Milady to another famously strong-willed literary villainess: Choderlos de Laclos’s Madame de Merteuil (Dangerous Liaisons, 1782). In that book, Merteuil uses the naive and inexperienced Chevalier Danceny as an instrument of vengeance against a former lover.
29. The panther image returns in chapter 50 when, chastising his prisoner, Lord de Winterpointed, with a slow and accusing gesture, to the left shoulder of Milady, which he almost touched with his finger.
Milady uttered a deep, inward shriek, and retreated to a corner of the room like a panther which crouches for a spring.
“Oh, growl as much as you please,” cried Lord de Winter, “but don’t try to bite, for I warn you that it would be to your disadvantage....”
The eyes of Milady darted such flashes that although he was a man and armed before an unarmed woman, he felt the chill of fear glide through his whole frame (pp. 541-542).
The comparison of Milady to a serpent, also present in chapter 36, appears again in chapter 52.
30. For a summary of the numerous reasons Milady will have to hate our hero, see pages 556-557. For similar scenes where Milady’s prostration is followed by resolve, see page 536 and page 558.
31. The name is a homonym of mordant, the present participle of the verb mordre, “to bite.” When used as an adjective, the participle can also mean caustic, corrosive, bitingly critical, or sarcastic. The name describes the man’s character as well as his actions.
32. Balzac’s Rastignac (in Old Goriot) must affirm his character in face of the temptations offered by the master criminal, Vautrin, who, like Milady, has been branded by the authorities for his crimes.
33. As the executioner prepares to put Milady to death, D‘Artagnan is moved to pity and declares, “Pardon me, madame, for having by a trick unworthy of a gentleman provoked your anger; and I, in exchange, pardon you the murder of my poor love and your cruel vengeance against me. I pardon you, and I weep for you. Die in peace!” (p. 687). Again, the comparison with Balzac’s Père Goriot comes to mind. That novel, too, shows the hero shedding his final, youthful tears at the book’s conclusion before moving on to a more calculating, adult existence.
34. Contrast this to Louis XIII of whom the narrator says, “Louis XIII, like every weak mind, was wanting in generosity” (p. 689).
35. See, among others, Alexandre Dumas, une lecture de l’histoire (edited by Michel Arrous; Paris: Maisonneuve et Larose, 2003). Claude Schopp, who has already published parts of Dumas’s correspondence, is heading up the effort to collect and print all of his letters.
Author’s Preface
In which it is proved that, notwithstanding their names’ ending in os and is, the heroes of the story which we are about to have the honor to relate to our readers have nothing mythological about them.
A short time ago, while making researches in the Royal Library for my History of Louis XIV,1 I stumbled by chance upon the Memoirs of M. d’Artagnan, printed—as were most of the works of that period, in which authors could not tell the truth without the risk of a residence, more or less long, in the Bastille—at Amsterdam, by Pierre Rouge. The title attracted me; I took them home with me, with the permission of the guardian, and devoured them.
It is not my intention here to enter into an analysis of this curious work; and I shall satisfy myself with referring such of my readers as appreciate the pictures of the period to its pages. They will therein find portraits penciled by the hand of a master; and although these squibs may be, for the most part, traced upon the doors of barracks and the walls of cabarets, they will not find the likenesses of Louis XIII, Anne of Austria, Richelieu, Mazarin, and the courtiers of the period, less faithful than in the history of M. Anquetil.2
But, as it is well known, what strikes the capricious mind of the poet is not always what affects the mass of readers. Now, while admiring, as others doubtless will admire, the details we have to relate, our main preoccupation concerned a matter to which no one before ourselves had given a thought.
D’Artagnan relates that on his first visit to M. de Tréville,3 captain of the king’s Musketeers, he met in the antechamber three young men, serving in the illustrious corps into which he was soliciting the honor of being received, bearing the names of Athos, Porthos, and Aramis.
We must confess these three strange names struck us; and it immediately occurred to us that they were but pseudonyms, under which D’Artagnan had disguised names perhaps illustrious, or else that the bearers of these borrowed names had themselves chosen them on the day in which, from caprice, discontent, or want of fortune, they had donned the simple Musketeer’s uniform.
From that moment we had no rest till we could find some trace in contemporary works of these extraordinary names which had so strongly awakened our curiosity.
The catalogue alone of the books we read with this object would fill a whole chapter, which, although it might be very instructive, would certainly afford our readers but little amusement. It will suffice, then, to tell them that at the moment at which, discouraged by so many fruitless investigations, we were about to abandon our search, we at length found, guided by the counsels of our illustrious friend Paulin Paris, a manuscript in folio, endorsed 4772 or 4773, we do not recollect which, having for title, “Memoirs of the Comte de la Fère, Touching Some Events Which Passed in France Toward the End of the Reign of King Louis XIII and the Commencement of the Reign of King Louis XIV.”
It may be easily imagined how great was our joy when, in turning over this manuscript, our last hope, we found at the twentieth page the name of Athos, at the twenty-seventh the name of Porthos, and at the thirty-first the name of Aramis.
The discovery of a completely unknown manuscript at a period in which historical science is carried to such a high degree appeared almost miraculous. We hastened, therefore, to obtain permission to print it, with the view of presenting ourselves someday with the pack of others at the doors of the Académie des Inscriptions et Belles Lettres, if we should not succeed—a very probable thing, by the by—in gaining admission to the Académie Française with our own proper pack. This permission, we feel bound to say, was graciously granted; which compels us here to give a public contradiction to the slanderers who pretend that we live under a government but moderately indulgent to men of letters.
Now, this is the first part of this precious manuscript which we offer to our readers, restoring to it the title which belongs to it, and entering into an engagement that if (of which we entertain no doubt) this first part should obtain the success it merits, we will publish the second immediately.
In the meanwhile, as the godfather is a second father, we beg the reader to lay to our account, and not to that of the Comte de la Fère, the pleasure or the ennui he may experience.
This being understood, let us proceed with our history.
I
THE THREE PRESENTS OF D’ARTAGNAN THE ELDER
On the first Monday of the month of April, 1625, the market town of Meung,4 in which the author of the Romance of the Rose5 was born, appeared to be in as perfect a state of revolution as if the Huguenots had just
made a second La Rochelle of it. Many citizens, seeing the women flying toward the High Street, leaving their children crying at the open doors, hastened to don the cuirass, and supporting their somewhat uncertain courage with a musket or a partisan, directed their steps toward the hostelry of the Jolly Miller, before which was gathered, increasing every minute, a compact group, vociferous and full of curiosity.
In those times panics were common, and few days passed without some city or other registering in its archives an event of this kind. There were nobles, who made war against each other; there was the king, who made war against the cardinal; there was Spain, which made war against the king. Then, in addition to these concealed or public, secret or open wars, there were robbers, mendicants, Huguenots, wolves, and scoundrels, who made war upon everybody. The citizens always took up arms readily against thieves, wolves, or scoundrels, often against nobles or Huguenots, sometimes against the king, but never against the cardinal or Spain. It resulted, then, from this habit that on the said first Monday of the month of April, 1625, the citizens, on hearing the clamor, and seeing neither the red-and-yellow standard nor the livery of the Duc de Richelieu, rushed toward the hostel of the Jolly Miller. When arrived there, the cause of this hubbub was apparent to all.
A young man—we can sketch his portrait at a dash. Imagine to yourself a Don Quixote6 of eighteen; a Don Quixote without his corselet, without his coat of mail, without his cuisses; a Don Quixote clothed in a woolen doublet, the blue color of which had faded into a nameless shade between lees of wine and a heavenly azure; face long and brown; high cheek bones, a sign of sagacity; the maxillary muscles enormously developed, an infallible sign by which a Gascon may always be detected, 7 even without his cap—and our young man wore a cap set off with a sort of feather; the eye open and intelligent; the nose hooked, but finely chiseled. Too big for a youth, too small for a grown man, an experienced eye might have taken him for a farmer’s son upon a journey had it not been for the long sword which, dangling from a leather baldric, hit against the calves of its owner as he walked, and against the rough side of his steed when he was on horseback.
For our young man had a steed which was the observed of all observers. It was a Béarn pony, from twelve to fourteen years old, yellow in his hide, without a hair in his tail, but not without windgalls on his legs, which, though going with his head lower than his knees, rendering a martingale quite unnecessary, contrived nevertheless to perform his eight leagues a day. Unfortunately, the qualities of this horse were so well concealed under his strange-colored hide and his unaccountable gait, that at a time when everybody was a connoisseur in horseflesh, the appearance of the aforesaid pony at Meung—which place he had entered about a quarter of an hour before, by the gate of Beaugency—produced an unfavorable feeling, which extended to his rider.
And this feeling had been the more painfully perceived by young D‘Artagnan—for so was the Don Quixote of this second Rosinante named—from his not being able to conceal from himself the ridiculous appearance that such a steed gave him, good horseman as he was. He had sighed deeply, therefore, when accepting the gift of the pony from M. d’Artagnan the elder. He was not ignorant that such a beast was worth at least twenty livres; and the words which had accompanied the present were above all price.
“My son,” said the old Gascon gentleman, in that pure Béarn patois of which Henry IV could never rid himself, “this horse was born in the house of your father about thirteen years ago, and has remained in it ever since, which ought to make you love it. Never sell it; allow it to die tranquilly and honor-ably of old age, and if you make a campaign with it, take as much care of it as you would of an old servant. At court, provided you have ever the honor to go there,” continued M. d’Artagnan the elder, “—an honor to which, remember, your ancient nobility gives you right—sustain worthily your name of gentleman, which has been worthily borne by your ancestors for five hundred years, both for your own sake and the sake of those who belong to you. By the latter I mean your relatives and friends. Endure nothing from anyone except Monsieur the Cardinal and the king. It is by his courage, please observe, by his courage alone, that a gentleman can make his way nowadays. Whoever hesitates for a second perhaps allows the bait to escape which during that exact second fortune held out to him. You are young. You ought to be brave for two reasons: the first is that you are a Gascon, and the second is that you are my son. Never fear quarrels, but seek adventures. I have taught you how to handle a sword; you have thews of iron, a wrist of steel. Fight on all occasions. Fight the more for duels being forbidden,8 since consequently there is twice as much courage in fighting. I have nothing to give you, my son, but fifteen crowns, my horse, and the counsels you have just heard. Your mother will add to them a recipe for a certain balsam, which she had from a Bohemian and which has the miraculous virtue of curing all wounds that do not reach the heart. Take advantage of all, and live happily and long. I have but one word to add, and that is to propose an example to you—not mine, for I myself have never appeared at court, and have only taken part in religious wars as a volunteer; I speak of Monsieur de Tréville, who was formerly my neighbor, and who had the honor to be, as a child, the play-fellow of our king, Louis XIII, whom God preserve! Sometimes their play degenerated into battles, and in these battles the king was not always the stronger. The blows which he received increased greatly his esteem and friendship for Monsieur de Tréville. Afterward, Monsieur de Tréville fought with others: in his first journey to Paris, five times; from the death of the late king till the young one came of age, without reckoning wars and sieges, seven times; and from that date up to the present day, a hundred times, perhaps! So that in spite of edicts, ordinances, and decrees, there he is, captain of the Musketeers; that is to say, chief of a legion of Cæsars, whom the king holds in great esteem and whom the cardinal dreads—he who dreads nothing, as it is said. Still further, Monsieur de Tréville gains ten thousand crowns a year; he is therefore a great noble. He began as you begin. Go to him with this letter, and make him your model in order that you may do as he has done.”
Upon which M. d’Artagnan the elder girded his own sword round his son, kissed him tenderly on both cheeks, and gave him his benediction.
On leaving the paternal chamber, the young man found his mother, who was waiting for him with the famous recipe of which the counsels we have just repeated would necessitate frequent employment. The adieux were on this side longer and more tender than they had been on the other—not that M. d‘Artagnan did not love his son, who was his only offspring, but M. d’Artagnan was a man, and he would have considered it unworthy of a man to give way to his feelings; whereas Mme. d‘Artagnan was a woman, and still more, a mother. She wept abundantly; and—let us speak it to the praise of M. d’Artagnan the younger—notwithstanding the efforts he made to remain firm, as a future Musketeer ought, nature prevailed, and he shed many tears, of which he succeeded with great difficulty in concealing the half.
The same day the young man set forward on his journey, furnished with the three paternal gifts, which consisted, as we have said, of fifteen crowns, the horse, and the letter for M. de Treville—the counsels being thrown into the bargain.
With such a vade mecum D‘Artagnan was morally and physically an exact copy of the hero of Cervantes, to whom we so happily compared him when our duty of an historian placed us under the necessity of sketching his portrait. Don Quixote took windmills for giants, and sheep for armies; D’Artagnan took every smile for an insult, and every look as a provocation—whence it resulted that from Tarbes to Meung his fist was constantly doubled, or his hand on the hilt of his sword; and yet the fist did not descend upon any jaw, nor did the sword issue from its scabbard. It was not that the sight of the wretched pony did not excite numerous smiles on the countenances of passers-by; but as against the side of this pony raffled a sword of respectable length, and as over this sword gleamed an eye rather ferocious than haughty, these passers-by repressed their hilarity, or if hilarity prevailed over pr
udence, they endeavored to laugh only on one side, like the masks of the ancients. D’Artagnan, then, remained majestic and intact in his susceptibility, till he came to this unlucky city of Meung.
But there, as he was alighting from his horse at the gate of the Jolly Miller, without anyone—host, waiter, or hostler—coming to hold his stirrup or take his horse, D‘Artagnan spied, through an open window on the ground floor, a gentleman, well-made and of good carriage, although of rather a stern countenance, talking with two persons who appeared to listen to him with respect. D’Artagnan fancied quite naturally, according to his custom, that he must be the object of their conversation, and listened. This time D’Artagnan was only in part mistaken; he himself was not in question, but his horse was. The gentleman appeared to be enumerating all his qualities to his auditors; and, as I have said, the auditors seeming to have great deference for the narrator, they every moment burst into fits of laughter. Now, as a half-smile was sufficient to awaken the irascibility of the young man, the effect produced upon him by this vociferous mirth may be easily imagined.
Nevertheless, D‘Artagnan was desirous of examining the appearance of this impertinent personage who ridiculed him. He fixed his haughty eye upon the stranger, and perceived a man of from forty to forty-five years of age, with black and piercing eyes, pale complexion, a strongly marked nose, and a black and well-shaped mustache. He was dressed in a doublet and hose of a violet color, with aiguillettes of the same color, without any other ornaments than the customary slashes, through which the shirt appeared. This doublet and hose, though new, were creased, like traveling clothes for a long time packed in a portmanteau. D’Artagnan made all these remarks with the rapidity of a most minute observer, and doubtless from an instinctive feeling that this stranger was destined to have a great influence over his future life.