Dumas, in fact, wrote his 'Crimes Celebres' just prior to launching upon his wonderful series of historical novels, and they may therefore be considered as source books, whence he was to draw so much of that far-reaching and intimate knowledge of inner history which has perennially4 astonished his readers. The Crimes were published in Paris, in 1839-40, in eight volumes, comprising eighteen titles—all of which now appear in the present carefully translated text. The success of the original work was instantaneous. Dumas laughingly said that he thought he had exhausted5 the subject of famous crimes, until the work was off the press, when he immediately became deluged6 with letters from every province in France, supplying him with material upon other deeds of violence! The subjects which he has chosen, however, are of both historic and dramatic importance, and they have the added value of giving the modern reader a clear picture of the state of semi-lawlessness which existed in Europe, during the middle ages. "The Borgias, the Cenci, Urbain Grandier, the Marchioness of Brinvilliers, the Marchioness of Ganges, and the rest—what subjects for the pen of Dumas!" exclaims Garnett.
Space does not permit us to consider in detail the material here collected, although each title will be found to present points of special interest. The first volume comprises the annals of the Borgias and the Cenci. The name of the noted7 and notorious Florentine family has become a synonym8 for intrigue9 and violence, and yet the Borgias have not been without stanch10 defenders11 in history.
Another famous Italian story is that of the Cenci. The beautiful Beatrice Cenci—celebrated in the painting of Guido, the sixteenth century romance of Guerrazi, and the poetic12 tragedy of Shelley, not to mention numerous succeeding works inspired by her hapless fate—will always remain a shadowy figure and one of infinite pathos13.
The second volume chronicles the sanguinary deeds in the south of France, carried on in the name of religion, but drenching14 in blood the fair country round about Avignon, for a long period of years.
The third volume is devoted15 to the story of Mary Queen of Scots, another woman who suffered a violent death, and around whose name an endless controversy16 has waged. Dumas goes carefully into the dubious17 episodes of her stormy career, but does not allow these to blind his sympathy for her fate. Mary, it should be remembered, was closely allied18 to France by education and marriage, and the French never forgave Elizabeth the part she played in the tragedy.
The fourth volume comprises three widely dissimilar tales. One of the strangest stories is that of Urbain Grandier, the innocent victim of a cunning and relentless19 religious plot. His story was dramatised by Dumas, in 1850. A famous German crime is that of Karl-Ludwig Sand, whose murder of Kotzebue, Councillor of the Russian Legation, caused an international upheaval20 which was not to subside21 for many years.
An especially interesting volume is number six, containing, among other material, the famous "Man in the Iron Mask." This unsolved puzzle of history was later incorporated by Dumas in one of the D'Artagnan Romances a section of the Vicomte de Bragelonne, to which it gave its name. But in this later form, the true story of this singular man doomed22 to wear an iron vizor over his features during his entire lifetime could only be treated episodically. While as a special subject in the Crimes, Dumas indulges his curiosity, and that of his reader, to the full. Hugo's unfinished tragedy,'Les Jumeaux', is on the same subject; as also are others by Fournier, in French, and Zschokke, in German.
Other stories can be given only passing mention. The beautiful poisoner, Marquise de Brinvilliers, must have suggested to Dumas his later portrait of Miladi, in the Three Musketeers, the mast celebrated of his woman characters. The incredible cruelties of Ali Pacha, the Turkish despot, should not be charged entirely23 to Dumas, as he is said to have been largely aided in this by one of his "ghosts," Mallefille.
"Not a mere24 artist"—writes M. de Villemessant, founder25 of the Figaro,—"he has nevertheless been able to seize on those dramatic effects which have so much distinguished26 his theatrical27 career, and to give those sharp and distinct reproductions of character which alone can present to the reader the mind and spirit of an age. Not a mere historian, he has nevertheless carefully consulted the original sources of information, has weighed testimonies28, elicited29 theories, and . . . has interpolated the poetry of history with its most thorough prose."
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1 celebrated | |
adj.有名的,声誉卓著的 | |
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2 motives | |
n.动机,目的( motive的名词复数 ) | |
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3 inception | |
n.开端,开始,取得学位 | |
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4 perennially | |
adv.经常出现地;长期地;持久地;永久地 | |
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5 exhausted | |
adj.极其疲惫的,精疲力尽的 | |
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6 deluged | |
v.使淹没( deluge的过去式和过去分词 );淹没;被洪水般涌来的事物所淹没;穷于应付 | |
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7 noted | |
adj.著名的,知名的 | |
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8 synonym | |
n.同义词,换喻词 | |
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9 intrigue | |
vt.激起兴趣,迷住;vi.耍阴谋;n.阴谋,密谋 | |
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10 stanch | |
v.止住(血等);adj.坚固的;坚定的 | |
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11 defenders | |
n.防御者( defender的名词复数 );守卫者;保护者;辩护者 | |
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12 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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13 pathos | |
n.哀婉,悲怆 | |
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14 drenching | |
n.湿透v.使湿透( drench的现在分词 );在某人(某物)上大量使用(某液体) | |
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15 devoted | |
adj.忠诚的,忠实的,热心的,献身于...的 | |
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16 controversy | |
n.争论,辩论,争吵 | |
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17 dubious | |
adj.怀疑的,无把握的;有问题的,靠不住的 | |
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18 allied | |
adj.协约国的;同盟国的 | |
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19 relentless | |
adj.残酷的,不留情的,无怜悯心的 | |
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20 upheaval | |
n.胀起,(地壳)的隆起;剧变,动乱 | |
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21 subside | |
vi.平静,平息;下沉,塌陷,沉降 | |
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22 doomed | |
命定的 | |
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23 entirely | |
ad.全部地,完整地;完全地,彻底地 | |
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24 mere | |
adj.纯粹的;仅仅,只不过 | |
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25 Founder | |
n.创始者,缔造者 | |
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26 distinguished | |
adj.卓越的,杰出的,著名的 | |
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27 theatrical | |
adj.剧场的,演戏的;做戏似的,做作的 | |
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28 testimonies | |
(法庭上证人的)证词( testimony的名词复数 ); 证明,证据 | |
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29 elicited | |
引出,探出( elicit的过去式和过去分词 ) | |
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