Description of the city based on the work of Dumas. Biography of Alexandre Dumas (father)

Dumas was born on July 24, 1802 in the small French town of Ville-Cotret in the family of a general. Thanks to the connections of his parents in the biography of Dumas, a small position was obtained in the office of the Parisian palace of the Palais Royale. Serving the Duke of Orleans, after the start of the July Revolution of 1830, Dumas was active in public life. Under the threat of arrest, Alexandre Dumas fled from France to Switzerland. Dumas did not stop studying literature, and in Switzerland he was preparing his work Gaul and France for publication. The book, published in 1833, reflected the author's interest in national history. Dumas studied the works of French historians, was well aware of the past of his country.

The most famous books in the biography of Alexandre Dumas are three books about musketeers: The Three Musketeers (1844), Twenty Years Later (1845), Vicomte de Bragelonne, or Ten Years Later (1847). Also among the most famous works of Dumas: "The Count of Monte Cristo", "Two Dianas", "The Black Tulip" and many others. In addition to adventure novels, Dumas created several comedies and dramas. For example, "Secrets of the Nelskaya Tower", "Christian". For his biography, Dumas tried to found a theater and publish magazines, but all attempts ended in failure.

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fr. Alexandre Dumas

an outstanding French writer, playwright and journalist; one of the most widely read French authors

Alexandre Dumas father

short biography

Alexandr Duma(father) - French writer, journalist, playwright, author of popular adventure novels that made him one of the most famous and widely read French writers in the world. The word "father" is added to his name, because. his son was also called Alexander, and he also gained fame in the literary field. The birthplace of Alexandre Dumas was the small town of Villers-Kotrets near Paris, where on July 24, 1802 he was born into the family of a famous cavalry general of the Napoleonic army. Alexander on his father's side was a Quaternary: his grandmother was black. His father died in 1806, leaving the family in a rather deplorable situation, in any case, his mother did not have enough money for a quality education, and Alexander replenished his knowledge base by reading a lot.

In his hometown, Dumas met his youth. A friend of Alexander, who liked to visit Parisian theaters, strengthened him in his intention to become a playwright. Thanks to their father, their family had some connections in Paris, and the young man who moved to the capital in 1822 was able to get a job in the office of the Duke of Orleans and at the same time began to fill in the gaps in education.

The first published works of Alexandre Dumas père were vaudevilles, plays and magazine articles. The debut vaudeville "The Hunt for Love" was immediately accepted for production, which inspired the writing of the drama. "Henry III and his court" was received very warmly by the public, and his subsequent dramatic works were also successful, thanks to which creativity turned for Dumas into a source of good income. To call his plays perfect from an artistic point of view would be an exaggeration, but the young playwright had the gift of holding attention until the end of the performance, even frankly weak plays with his co-authorship took on a new, successful life, gathered full houses.

The July Revolution of 1830 involved Dumas in active social work. Taking the side of the opposition, he was forced to flee to Switzerland because of the threat of arrest. The year 1835 was marked in his biography by the release of the first historical novel - "Isabella of Bavaria", which, according to the writer's idea, was to initiate a major cycle of works that covered a large period in the life of his country. In 1840, he married the actress Ida Ferrier, but this did not prevent him from having affairs on the side. In 1844, the spouses, without filing a divorce in the future, actually ended their relationship.

Inspired by the success of Isabella of Bavaria, in the 40s. Alexandre Dumas publishes historical adventure novels in newspapers, thanks to which he became a world-famous writer: The Three Musketeers (1844) and two continuations of the trilogy - Twenty Years Later (1845), Vicomte de Bragelonne, or Ten Years Later (1848-1850), "Count of Monte Cristo" (1844-1845), "Queen Margo", (1846), "Madame de Monsoro" (1846), "Two Dianas" (1846), "Forty-five" (1848 ). Literary activity brought Dumas very good income, but the writer spent all the money, not wanting to deny himself luxury. In 1851, he even had to hide from creditors in Belgium.

During 1858-1859. Dumas traveled around Russia, and the impressions from the trips formed the basis of the five-volume travel notes “From Paris to Astrakhan”. Being familiar with Garibaldi, Dumas-father was a member of the Italian national liberation movement for three years, in 1860 he went on a campaign to Sicily. When there was a war between Austria and Prussia, in 1866 he was a war correspondent. In the last years of his life, he was on the verge of poverty and existed at the expense of supporting children. His death on December 6, 1870 in Puy was practically ignored: at that time, Prussian troops occupied France. In 2002, the ashes of Dumas père were reburied in the Paris Pantheon.

The literary heritage of the writer is amazing: the complete collection of his works includes more than a thousand volumes. In this regard, they often talk about co-authors, assistants, literary blacks who worked under the "Dumas brand", although the writer himself was famous for his very high efficiency and great diligence. Be that as it may, no one has yet been able to push his name from the first line of the world ranking of the most prolific writers.

Biography from Wikipedia

Alexandre Dumas, father(French Alexandre Dumas, père; July 24, 1802, Ville Cotret - December 5, 1870, Puy) - French writer, playwright and journalist. One of the most widely read French authors. He worked in many genres: plays, novels, articles and travel books. His works total 100,000 pages. In 1847, Dumas founded the Historical Theater in Paris. Dumas is the author of two famous novels of French literature, The Count of Monte Cristo and The Three Musketeers (both written in 1844-1845).

Since Dumas' son also bore the name Alexander and was also a writer, to prevent confusion when referring to Dumas Sr., a clarification is often added " -father».

Alexandre Dumas was born in 1802 to General Thomas-Alexandre Dumas and Marie-Louise Labouret, the daughter of an innkeeper in Villers-Cottres. Dumas was considered a quadroon since his paternal grandmother was a black slave from the island of Haiti.

Dumas spent his childhood, adolescence and youth in his native city. There he became friends with Adolphe de Leuven, his peer, poet and frequenter of the Parisian theaters. Dumas decided to become a playwright by all means. Without money and connections, relying only on his father's old friends, he decided to move to Paris. Twenty-year-old Alexander, who had no education (his trump card was only excellent handwriting), was given a position in the Palais Royal (Paris) in the office of the Duke of Orleans, which General Foix helped to get. Dumas began to replenish his education. One of his acquaintances compiled for Alexander a list of authors whom he was supposed to read: it included classics, memoirs, and chronicles. Dumas visited theaters in order to study the profession of a playwright, at one of the performances he accidentally met Charles Nodier. Together with Levene, who believed that it was easier to achieve success in the light genre, Dumas composed the vaudeville "Hunting and Love", which was accepted for production by the Ambigyu Theater.

Once, at one of the exhibitions of the annual Salon, Dumas noticed a bas-relief depicting the murder of Giovanni Monaldeschi. After reading articles about Monaldeschi and the Swedish Queen Christina in the World Biography, Dumas decided to write a drama on this topic. At first he offered cooperation to Soulier, but in the end everyone decided to write their own "Christine". Dumas's play was liked by the royal commissioner at the Comédie Francaise, Baron Taylor, with his help, "Christine" was accepted on the condition that Dumas would finalize it. However, the all-powerful Mademoiselle Mars, whose strong point was the classical repertoire, objected to the staging of the drama. When the young author flatly refused to make corrections to the play at her request, Mademoiselle Mars did everything to prevent "Christine" from appearing on the stage of the Comédie Francaise.

Dumas, who had to support his mother, as well as his illegitimate son Alexander, wrote a play on a new topic in two months - the drama Henry III and his court. The actors of the Comédie Francaise, after reading the play in Melanie Valdor's salon, asked to be accepted for the production out of turn.

The premiere was a success on February 10, 1829, and it was a victory for the Romantics in a theater hitherto considered a mainstay of classicism.

Dumas became a regular at the famous salon of Nodier in the Arsenal, where representatives of the new school, romanticism, gathered. He was one of the first to turn to the drama of modern life, he dared to touch on the role of passion in modern society. It was also new that the author endowed modern man with such intensity of feelings, which, according to the generally accepted opinion, was rather characteristic of the Renaissance.

His play "Antony" was based on the circumstances of his personal life - at that time, Dumas was experiencing a passion for the poetess Melanie Valdor, whom he brought out in the play in the form of Adele d'Herve. The drama premiered on May 3, 1831 at the theater of Porte Saint-Martin with Dorval and Bocham in the lead roles and "made no less noise than the premiere of Hernani"

Dumas's plays were not distinguished by artistic perfection, but he, like no one else, possessed the ability to keep the audience's attention from the first to the last act and compose spectacular remarks at the end. His name on the poster for theater directors meant big fees, and for other playwrights he became a co-author, capable of bringing the most unsuccessful plays to success.

In July 1830, the July Revolution took place in France, overthrowing Charles X and establishing a bourgeois kingdom. The Duke of Orleans ascended the throne under the name of Louis Philippe. Alexandre Dumas was among the rebels who stormed the Tuileries royal palace. Subsequently, in their "Memoirs" he wrote:

I saw those who made the revolution of 1830, and they saw me in their ranks ... The people who made the revolution of 1830 personified the ardent youth of the heroic proletariat; they not only kindled the fire, but also extinguished the flames with their blood.

From the very first days of the revolution, Alexandre Dumas took an active part in public life and carried out several important assignments from General Lafayette, who was then at the head of the National Guard.

On June 5, 1832, General Lamarck was buried in Paris. Dumas was personally acquainted with him, and at the request of the relatives of the late general, he led a column of artillerymen that followed the mourning hearse. When the police began to disperse the crowd, what happened was what was to be expected: the funeral procession served as the beginning of a revolutionary uprising. A few days later it was brutally suppressed. One of the royalist newspapers printed a false report that Alexandre Dumas, with weapons in his hands, was seized by the police and shot that same night. In reality, of course, this was not the case, but Dumas was threatened with arrest. On the advice of friends, he left France and went to Switzerland, where he lived for several months, preparing for publication his first historical and journalistic essay, Gaul and France (1833).

In 1840, he married the actress Ida Ferrier, while continuing to be in touch with many other women (Belle Krelsamer, from whom he officially had a daughter, Marie Alexandrine, Celeste Skrivanek, Louise Baudouin, Anna Bauer, Beatrice Pierson). The couple actually separated in 1844, but the divorce was never formalized.

Dumas earned a lot, but also spent a lot to lead a luxurious lifestyle.

In 1847 he built a castle near Port Marly, called Monte Cristo. He published magazines and created his own theater (Historical Theater) - both of these enterprises ended unsuccessfully.

After the coup of 1851, he fell into disgrace, fled from creditors to Brussels (Belgium), where he began writing Memoirs, which, in terms of their artistic merit, are not inferior to his best fiction writings.

In 1853, returning to Paris, he founded the Musketeer newspaper (which existed until 1857), in which he published his Memoirs. He published the novels "Parisian Mohicans", "The Jehu Brothers".

In 1858-1859, the writer made a trip to Russia, following from St. Petersburg to Astrakhan and further to the Caucasus. Returning to Paris and wanting to acquaint his compatriots with his impressions of this trip, Dumas opens his own publishing house and already in April 1859 begins to publish the newspaper Kavkaz. Newspaper of travels and novels published daily. In the same year, "Kavkaz" was published in Paris as a separate book.

The impressions of the trip formed the basis of the book "Caucasus", which was published in 1859 in Paris, in 1861 in Russian in Tiflis, in 1862 in English in New York. In the French edition of Le voyage au Caucase (“Journey to the Caucasus”) in 2002, for the first time, black-and-white illustrations of Jean-Pierre Moinet and Prince G. Gagarin, who accompanied A. Dumas on his journey, were printed.

Dumas spent a year in Russia (1858-1859), visited St. Petersburg, the sights of Karelia, the island of Valaam, Uglich, Moscow, Tsaritsyn, Astrakhan, Transcaucasia. Dumas wrote a book about his travels in Russia, Traveling Impressions. In Russia.

Dumas participated in the struggle for a united Italy, was personally acquainted and close with Garibaldi. Dumas took the news of the first defeats of the French during the Franco-Prussian war as a personal grief. Soon he was overtaken by the first blow. Half-paralyzed, he managed to get to his son's house, where he died a few months later.

In 2002, Dumas' ashes were transferred to the Paris Pantheon.

His works have been translated into many languages ​​and serve as material for numerous theatrical productions and films.

Creation

The writer begins his literary activity during the Restoration, when the Bourbon monarchy triumphed, trying to win over representatives of the bourgeoisie and pursuing a policy of eradicating all the most important transformations that took place in France during the bourgeois revolution of 1789-1794. King Louis XVIII, unable to fully restore the pre-revolutionary order, was forced to introduce a constitution. The new French parliament consisted of two chambers: high-ranking officials appointed by the king sat in the chamber of peers, and the chamber of deputies was elected by the wealthiest segments of the French population. The most conservative circles of the nobility at that time sought the restoration of former privileges and fought for the complete triumph of monarchical despotism. Here is the future author "The Count of Monte Cristo" quite meaningfully perceived the course of state policy, giving an idea of ​​​​it already in the first chapters of his work.

At the beginning of the 1820s, heated debates took place in France about the forms and content of the emerging romantic literature, which corresponded to the spiritual needs of the 19th century. A relatively small group of poets and prose writers, led by Victor Hugo, declared themselves adherents of a new trend in French literature. The progressive course of romanticism expressed the opposition of the advanced French society to the feudal-noble reaction of the Restoration.

Among the romantics was Alexandre Dumas, who was the first to achieve great success and full recognition of his dramatic talent as the author of a historical drama. "Henry III and his court".

"Henry III"- a historical drama in which the author debunked the cult of monarchical power, was staged in 1829 on the stage of the French Comedy Theater. Of the significance of this drama, André Maurois wrote:

Was his play historical? No more and no less than the novels of Walter Scott. History is full of secrets. With Dumas, everything turned out to be clear and definite. Catherine de Medici held in her hands the threads of all the intrigues. Henry III frustrated the plans of the Duke of Guise. However, Dumas himself was well aware that in reality all these adventures were much more complicated. But what did it mean to him? He wanted only one thing - stormy action. The era of Henry III with its duels, conspiracies, orgies, with rampant political passions reminded him of the Napoleonic era. The story in the processing of Dumas was the way the French wanted to see it: cheerful, colorful, built on contrasts, where Good was on one side, Evil on the other. The audience of 1829 that filled the stalls consisted of the same people who made the great revolution and fought in the armies of the empire. She liked it when kings and their deeds were presented in "pictures that were heroic, full of drama and therefore well known to them."

Following Henry III, Dumas wrote a number of well-known dramas and comedies, which at one time enjoyed great fame. These include: "Christina", "Anthony", "Kin, genius and debauchery", "Secrets of the Nel Tower".

D "Artagnan on the pedestal of the Dumas monument in the 17th arrondissement of Paris

Alexandre Dumas expanded the range of knowledge by studying the works of famous French historians P. Barant, O. Thierry, J. Michelet. Developing national-historical themes in his works, he shared in many respects the views of Augustin Thierry, who in his research sought to trace the regular sequence of events that took place in a certain era, to determine the content of the works intended to become the true history of the country.

Book Dumas "Gaul and France"(1833) testified to the author's awareness of issues of national history. Talking about the early era of the formation of the Gallic tribe, the struggle of the Gauls with the Franks, Dumas quotes many works on French history. In the final chapter of the book, the author expressed a critical attitude towards the monarchy of Louis Philippe. He wrote that under the new king the throne was supported by an elite of manufacturers, landowners, financiers, predicted that in France in the future there would be a Republic as a form of broad popular representation. A positive review of this work by Thierry inspired the author, and with even greater zeal he began to study many works of French historians.

In the 30s, Dumas had the idea to reproduce the history of France of the 15th-19th centuries in an extensive cycle of novels, which was initiated by the novel "Isabella of Bavaria"(1835). The historical basis was "Chronicle of Froissart", "Chronicle of the times of Charles VI" Juvenal Yursina, "History of the Dukes of Burgundy" Prosper de Barante.

He also showed the history of France in two historical novels-biographies: "Louis XIV" and "Napoleon".

Co-authors

In the late 30s of the XIX century, French newspapers to increase the number of subscribers practiced the publication of novels with a sequel. Dumas was one of the most coveted writers for newspaper publishers: his books were very popular, his name attracted a lot of readers. One of Dumas' collaborators, Gerard de Nerval, introduced him to the little-known writer Auguste Maquet and, under his influence, Dumas decided to turn to the genre of historical adventure novel, in which the realities of past eras serve as a backdrop for the adventures of heroes. Dumas remade Macke's play "Carnival Evening" ("Batilde"), rejected by Antenor Joly, and it was accepted for production by the Renaissance Theater. The young author was delighted with his success and proposed to Dumas a draft of a novel from the time of the regency, The Kind Buvat.

August Maquet.
Lithograph by S. Faber, 1847

Dumas participated in its revision, in the final version the novel was called "Chevalier d'Harmental". It was accepted for publication by the newspaper La Presse, which bought up all the future works of Dumas. However, against the fact that "Chevalier ..." was signed by both authors, Emile de Girardin sharply objected: in his eyes, the book was devalued by the name Macke - the reader wanted to see only Dumas' novels. "Chevalier ..." came out signed by one Dumas, Macke received a large compensation - eight thousand francs and subsequently continued cooperation. Together with Dumas, Macke worked on The Three Musketeers, The Count of Monte Cristo, Queen Margot, and Women's War. Correspondence between Dumas and Macke shows that the latter's contribution to the novels was significant. The literary historian Albert Thibodet suggested calling them Dumas-Maquet, believing that, following the example of Erkman-Chatrian, the authorship of novels should be indicated by a double name.

Dumas' fertility caused astonishment, and the resounding success of his books gave rise to envy and numerous enemies. In 1845, Eugene de Mirecourt's pamphlet "Alexandre Dumas and Co. Trading House" novel factory was published, where the author not only accused Dumas of ruthlessly exploiting literary blacks, but also touched on his private life. Dumas sued Mirekur and won the process, but he failed to stop the spread of rumors discrediting him. In connection with the release of the pamphlet, he asked Macke to write a letter where he waived his rights to republish books created with Dumas. Macke, in particular, wrote:

Good friendship and an honest word have always been enough for us; so that we, having written almost half a million lines about other people's affairs, never once thought of writing a single line about our affairs. But one day you broke the silence. You acted in such a way as to protect us from low and ridiculous slander ... you acted in such a way as to publicly announce that I wrote a number of works in collaboration with you. You were even too generous, dear friend, you could have denied me three times, but you did not - and glorified me. Haven't you already paid me back in full for all the books we wrote together?

Later, when relations with Dumas were damaged, Macke claimed that he wrote the letter under duress. In 1858, Macke sued Dumas, demanding to recognize his co-authorship in the creation of 18 novels, but lost three cases one after another. In the last days of his life, Dumas, already seriously ill, spoke to his son about "secret accounts" between him and Mac. Informing Mac about the death of his father, Dumas son asked if the co-authors had a special agreement. In a letter dated September 26, 1871, he assured that there were no "mysterious accounts".

Together with Levene, who believed that it was easier to achieve success in the light genre, Dumas composed the vaudeville " Hunt and Love", which was accepted for production by the Ambigyu Theater.

Once, at one of the exhibitions of the annual Salon, Dumas drew attention to a bas-relief depicting the murder of Giovanni Monaldeschi. After reading articles about Monaldeschi and the Swedish Queen Christina in the World Biography, Dumas decided to write a drama on this topic. At first he offered cooperation to Soulier, but in the end everyone decided to write their own "Christine". Dumas's play was liked by the royal commissioner at the Comédie Francaise, Baron Taylor, with his help, "Christine" was accepted on the condition that Dumas would finalize it. However, the all-powerful Mademoiselle Mars, whose strong point was the classical repertoire, objected to the production of the drama. When the young author flatly refused to make corrections to the play at her request, Mademoiselle Mars did everything to prevent "Christine" from appearing on the stage of the Comédie Francaise.

Dumas, who had to support his mother, as well as his illegitimate son Alexander, wrote a play on a new theme. The drama "Henry III and his Court" was created in two months. The actors of the Comédie Francaise, after reading the play, which took place in the salon of Melanie Valdor, asked to take it out of turn. The premiere was a success on February 10, 1829, and it was a victory for the Romantics in a theater hitherto considered a mainstay of classicism.

Dumas became a regular at the famous salon of Nodier at the Arsenale, where representatives of the new school, Romanticism, gathered. He was one of the first to turn to the drama of modern life, he dared to touch on the role of passion in modern society. It was also new that the author endowed modern man with such intensity of feelings, which, according to the generally accepted opinion, was rather characteristic of the Renaissance. His play " Anthony"was brought to life by personal circumstances - at that time Dumas was experiencing a passion for the poetess Melanie Valdor, whom he brought out in the form of Adele d'Herve. The drama premiered on May 3, 1831 at the theater of Porte Saint-Martin with Dorval and Bocham in the lead roles and "made no less noise than the premiere of Hernani"

Dumas's plays were not distinguished by artistic perfection, but he, like no one else, possessed the ability to keep the audience's attention from the first to the last act and compose spectacular remarks under the curtain. His name on the poster for theater directors meant big fees, and for other playwrights he became a co-author, capable of bringing the most unsuccessful plays to success.

For three years he participated in the struggle for a united Italy, was personally acquainted and close with Garibaldi. Dumas took the news of the first defeats of the French during the Franco-Prussian War as a personal grief. Soon he was overtaken by the first blow. Half-paralyzed, he managed to get to his son's house, where he died a few months later.

In 2002, Dumas' ashes were transferred to the Paris Pantheon.

His works have been translated into many languages ​​and have served as material for numerous theatrical productions and films.

Creation

The writer begins his literary activity during the Restoration, when the Bourbon monarchy triumphed, trying to win over representatives of the bourgeoisie and pursuing a policy of eradicating all the most important transformations that took place in France during the period of the bourgeois revolution -1794. King Louis XVIII, unable to fully restore the pre-revolutionary order, was forced to introduce a constitution. The new French parliament consisted of two chambers: high-ranking officials appointed by the king sat in the chamber of peers, and the chamber of deputies was elected by the wealthiest segments of the French population. The most conservative circles of the nobility at that time sought the restoration of former privileges and fought for the complete triumph of monarchical despotism. Here is the future author "The Count of Monte Cristo" quite meaningfully perceived the course of state policy, giving an idea of ​​​​it already in the first chapters of his work.

Was his play historical? No more and no less than the novels of Walter Scott. History is full of secrets. With Dumas, everything turned out to be clear and definite. Catherine de Medici held in her hands the threads of all the intrigues. Henry III frustrated the plans of the Duke of Guise. However, Dumas himself was well aware that in reality all these adventures were much more complicated. But what did it mean to him? He wanted only one thing - stormy action. The era of Henry III with its duels, conspiracies, orgies, with rampant political passions reminded him of the Napoleonic era. The story in the processing of Dumas was the way the French wanted to see it: cheerful, colorful, built on contrasts, where Good was on one side, Evil on the other. The audience of 1829 that filled the stalls consisted of the same people who made the great revolution and fought in the armies of the empire. She liked it when kings and their deeds were presented in "pictures that were heroic, full of drama and therefore well known to them."

Following "Henry III" Dumas wrote a number of well-known dramas and comedies, which at one time enjoyed great fame. These include: "Christina", "Anthony", "Kin, genius and debauchery", "Secrets of the Nelskaya Tower".

Alexandre Dumas expanded the circle of knowledge by studying the works of famous French historians P. Barant, O. Thierry, J. Michelet. Developing national-historical themes in his works, he shared in many respects the views of Augustin Thierry, who in his research sought to trace the natural sequence of events that took place in a certain era, to determine the content of the works intended to become the true history of the country.

Book Dumas "Gaul and France"() testified to the author's awareness of issues of national history. Talking about the early era of the formation of the Gallic tribe, the struggle of the Gauls with the Franks, Dumas quotes many works on French history. In the final chapter of the book, the author expressed a critical attitude towards the monarchy of Louis Philippe. He wrote that under the new king the throne was supported by an elite of manufacturers, landowners, financiers, predicted that in France in the future there would be a Republic as a form of broad popular representation. A positive review of this work by Thierry inspired the author, and with even greater zeal he began to study many works of French historians.

In the 30s, Dumas had the idea to reproduce the history of France -XIX centuries in an extensive cycle of novels, which was initiated by the novel "Isabella of Bavaria"(). The historical basis was "Chronicle of Froissart", "Chronicle of the times of Charles VI" Juvenal Yursina, "History of the Dukes of Burgundy" Prosper de Barante.

He also showed the history of France in two historical novels-biographies: "Louis XIV" and "Napoleon".

Returning to the regiment and conveying to the commander the state of Denisov's case, Rostov went to Tilsit with a letter to the sovereign.
On June 13, the French and Russian emperors gathered in Tilsit. Boris Drubetskoy asked the important person under whom he belonged to be included in the retinue appointed to be in Tilsit.
“Je voudrais voir le grand homme, [I would like to see a great man,” he said, speaking of Napoleon, whom he still always, like everyone else, called Buonaparte.
– Vous parlez de Buonaparte? [Are you talking about Buonaparte?] – the general told him smiling.
Boris looked inquiringly at his general and immediately realized that this was a mock test.
- Mon prince, je parle de l "empereur Napoleon, [Prince, I'm talking about Emperor Napoleon,] - he answered. The general patted him on the shoulder with a smile.
“You will go far,” he said to him, and took him with him.
Boris was among the few on the Neman on the day of the meeting of the emperors; he saw rafts with monograms, Napoleon's passage along the other bank, past the French guards, he saw the pensive face of Emperor Alexander, while he silently sat in a tavern on the banks of the Neman, waiting for Napoleon's arrival; I saw how both emperors got into the boats and how Napoleon, having first landed on the raft, went forward with quick steps and, meeting Alexander, gave him his hand, and how both disappeared into the pavilion. From the time of his entry into the higher worlds, Boris made it a habit to carefully observe what was happening around him and write it down. During a meeting in Tilsit, he asked about the names of those people who came with Napoleon, about the uniforms that they were wearing, and listened carefully to the words that were spoken by important people. At the same time as the emperors entered the pavilion, he looked at his watch and did not forget to look again at the time when Alexander left the pavilion. The meeting lasted an hour and fifty-three minutes: he wrote it down that evening, among other facts that, he believed, were of historical significance. Since the emperor’s retinue was very small, it was very important for a person who valued success in his service to be in Tilsit during the meeting of the emperors, and Boris, having got to Tilsit, felt that from that time on his position was completely established. He was not only known, but they got accustomed to him and got used to him. Twice he carried out assignments for the sovereign himself, so that the sovereign knew him by sight, and all those close to him not only did not be ashamed of him, as before, considering him a new face, but would be surprised if he were not there.
Boris lived with another adjutant, the Polish Count Zhilinsky. Zhilinsky, a Pole brought up in Paris, was rich, passionately loved the French, and almost every day during his stay in Tilsit, French officers from the guards and the main French headquarters gathered for lunch and breakfast at Zhilinsky and Boris.
On June 24, in the evening, Count Zhilinsky, Boris' roommate, arranged a dinner for his French acquaintances. At this supper there was an honored guest, one adjutant of Napoleon, several officers of the French guards and a young boy of an old aristocratic French family, Napoleon's page. On that very day, Rostov, taking advantage of the darkness so as not to be recognized, in civilian clothes, arrived in Tilsit and entered the apartment of Zhilinsky and Boris.
In Rostov, as well as in the whole army, from which he came, the revolution that took place in the main apartment and in Boris was still far from being accomplished in relation to Napoleon and the French, who had become friends from enemies. Still continued in the army to experience the same mixed feeling of anger, contempt and fear for Bonaparte and the French. Until recently, Rostov, talking with a Platovsky Cossack officer, argued that if Napoleon had been taken prisoner, he would have been treated not as a sovereign, but as a criminal. More recently, on the road, having met with a French wounded colonel, Rostov got excited, proving to him that there could be no peace between the legitimate sovereign and the criminal Bonaparte. Therefore, Rostov was strangely struck in Boris's apartment by the sight of French officers in those same uniforms that he was accustomed to look at in a completely different way from the flanker chain. As soon as he saw the French officer leaning out of the door, that feeling of war, hostility, which he always felt at the sight of the enemy, suddenly seized him. He stopped on the threshold and asked in Russian if Drubetskoy lived there. Boris, hearing someone else's voice in the hall, went out to meet him. His face in the first minute, when he recognized Rostov, expressed annoyance.
“Oh, it’s you, very glad, very glad to see you,” he said, however, smiling and moving towards him. But Rostov noticed his first movement.
“I don’t seem to be on time,” he said, “I wouldn’t come, but I have a business,” he said coldly ...
- No, I'm just surprised how you came from the regiment. - "Dans un moment je suis a vous", [I'm at your service this minute,] - he turned to the voice of the one who called him.
“I see that I am not on time,” repeated Rostov.
The expression of annoyance had already disappeared from Boris's face; apparently having considered and decided what to do, he took him by both hands with special calmness and led him into the next room. Boris's eyes, calmly and firmly looking at Rostov, were as if covered with something, as if some kind of shutter - the blue glasses of the hostel - were put on them. So it seemed to Rostov.
- Oh, come on, please, can you be at the wrong time, - said Boris. - Boris led him into the room where dinner was laid, introduced him to the guests, naming him and explaining that he was not a civilian, but a hussar officer, his old friend. - Count Zhilinsky, le comte N.N., le capitaine S.S., [count N.N., captain S.S.] - he called the guests. Rostov frowned at the French, reluctantly bowed and was silent.
Zhilinsky, apparently, did not gladly accept this new Russian face into his circle and did not say anything to Rostov. Boris did not seem to notice the embarrassment that had occurred from the new face, and with the same pleasant calmness and veiled eyes with which he met Rostov, he tried to revive the conversation. One of the French turned with ordinary French courtesy to Rostov, who was stubbornly silent, and told him that he had probably come to Tilsit to see the emperor.
"No, I have business," Rostov answered curtly.
Rostov became out of sorts immediately after he noticed the displeasure on Boris's face, and, as always happens with people who are out of sorts, it seemed to him that everyone was looking at him with hostility and that he interfered with everyone. Indeed, he interfered with everyone and alone remained outside the newly ensued general conversation. "And why is he sitting here?" said the glances cast at him by the guests. He got up and walked over to Boris.
“However, I’m embarrassing you,” he said to him quietly, “let’s go and talk about business, and I’ll leave.”
“No, not at all,” said Boris. And if you're tired, let's go to my room and lie down and rest.
- And in fact ...
They entered the small room where Boris slept. Rostov, without sitting down, immediately with irritation - as if Boris was to blame for something before him - began to tell him Denisov's case, asking if he wanted and could ask about Denisov through his general from the sovereign and through him to convey a letter. When they were alone, Rostov was convinced for the first time that it was embarrassing for him to look Boris in the eyes. Boris, crossing his legs and stroking the thin fingers of his right hand with his left hand, listened to Rostov, as the general listens to the report of his subordinate, now looking to the side, then with the same obscured look in his eyes, looking directly into Rostov's eyes. Rostov felt awkward every time and lowered his eyes.
– I have heard about such cases and I know that the Emperor is very strict in these cases. I think we should not bring it to His Majesty. In my opinion, it would be better to directly ask the corps commander ... But in general, I think ...
“So you don’t want to do anything, just say so!” - Rostov almost shouted, not looking Boris in the eyes.
Boris smiled: - On the contrary, I will do what I can, only I thought ...
At this time, the voice of Zhilinsky was heard in the door, calling Boris.
- Well, go, go, go ... - said Rostov and refusing dinner, and left alone in a small room, he walked back and forth in it for a long time, and listened to the cheerful French dialect from the next room.

Rostov arrived in Tilsit on the day least convenient for intercession for Denisov. He himself could not go to the general on duty, since he was in a tailcoat and arrived in Tilsit without the permission of his superiors, and Boris, even if he wanted to, could not do this the next day after Rostov's arrival. On this day, June 27, the first terms of peace were signed. The emperors exchanged orders: Alexander received the Legion of Honor, and Napoleon received the 1st degree, and on this day a dinner was appointed for the Preobrazhensky battalion, which was given to him by the battalion of the French guard. The sovereigns were to attend this banquet.
Rostov was so awkward and unpleasant with Boris that when Boris looked in after dinner, he pretended to be asleep and the next day, early in the morning, trying not to see him, left the house. In a tailcoat and a round hat, Nikolai wandered around the city, looking at the French and their uniforms, looking at the streets and houses where the Russian and French emperors lived. On the square, he saw tables being set up and preparations for dinner; on the streets he saw draperies thrown over with banners of Russian and French colors and huge monograms A. and N. There were also banners and monograms in the windows of the houses.
“Boris does not want to help me, and I do not want to contact him. This matter is settled, thought Nikolai, everything is over between us, but I will not leave here without doing everything I can for Denisov and, most importantly, without handing over the letter to the sovereign. Sovereign?! ​​... He is here! thought Rostov, involuntarily going back to the house occupied by Alexander.
Riding horses stood at this house and a retinue gathered, apparently preparing for the departure of the sovereign.
“I can see him at any moment,” thought Rostov. If only I could hand him the letter directly and tell him everything, would I really be arrested for wearing a tailcoat? Can't be! He would understand which side justice is on. He understands everything, knows everything. Who can be more just and generous than him? Well, if I were arrested for being here, what's the trouble? he thought, looking at the officer going up to the house occupied by the sovereign. “After all, they are rising. - E! it's all nonsense. I’ll go and submit a letter to the sovereign myself: so much the worse for Drubetskoy, who brought me to this. And suddenly, with a decisiveness that he himself did not expect from himself, Rostov, feeling the letter in his pocket, went straight to the house occupied by the sovereign.
“No, now I won’t miss the opportunity, as after Austerlitz,” he thought, expecting every second to meet the sovereign and feeling a rush of blood to his heart at this thought. I will fall at my feet and beg him. He will raise, listen and thank me again.” “I am happy when I can do good, but correcting injustice is the greatest happiness,” Rostov imagined the words that the sovereign would say to him. And he walked past those who were looking at him curiously, on the porch of the house occupied by the sovereign.
From the porch a wide staircase led straight up; to the right was a closed door. Downstairs under the stairs was a door to the lower floor.
- Who do you want? someone asked.
“Submit a letter, a request to His Majesty,” said Nikolai with a trembling voice.
- Request - to the duty officer, please come here (he was pointed to the door below). They just won't accept it.
Hearing this indifferent voice, Rostov was frightened of what he was doing; the idea of ​​meeting the sovereign at any moment was so seductive and therefore so terrible for him that he was ready to run, but the chamber fourier, who met him, opened the door to the duty room for him and Rostov entered.
A short, stout man of about 30, in white pantaloons, over the knee boots, and in one batiste shirt, which had just been put on, was standing in this room; the valet was fastening beautiful new straps embroidered with silk on his back, which for some reason Rostov noticed. This man was talking to someone in the other room.
- Bien faite et la beaute du diable, [The beauty of youth is well built,] - this man said, and when he saw Rostov, he stopped talking and frowned.
– What do you want? Request?…
- Qu "est ce que c" est? [What is this?] someone asked from the other room.
- Encore un petitionnaire, [Another petitioner,] - answered the man in the harness.
Tell him what's next. It's out now, you have to go.
- After the day after tomorrow. Late…
Rostov turned and wanted to go out, but the man in the harness stopped him.
- From whom? Who are you?
“From Major Denisov,” answered Rostov.
- Who are you? Officer?
- Lieutenant, Count Rostov.
- What courage! Submit on command. And you yourself go, go ... - And he began to put on the uniform given by the valet.
Rostov went out again into the passage and noticed that on the porch there were already many officers and generals in full dress uniform, past whom he had to pass.
Cursing his courage, dying at the thought that at any moment he could meet the sovereign and be disgraced and sent under arrest in his presence, fully understanding the indecency of his act and repenting of it, Rostov, lowering his eyes, made his way out of the house, surrounded by a crowd of brilliant retinue when a familiar voice called out to him and a hand stopped him.
- You, father, what are you doing here in a tailcoat? asked his bass voice.
He was a cavalry general, who in this campaign earned the sovereign's special favor, the former head of the division in which Rostov served.
Rostov, frightened, began to make excuses, but seeing the good-naturedly joking face of the general, stepping aside, in an excited voice handed over the whole matter to him, asking him to intercede for Denisov, who was known to the general. The general, having listened to Rostov, shook his head seriously.
- It's a pity, a pity for the young man; give me a letter.
As soon as Rostov had time to hand over the letter and tell the whole story of Denisov, quick steps with spurs pounded from the stairs and the general, moving away from him, moved to the porch. The gentlemen of the sovereign's retinue ran down the stairs and went to the horses. The landlord Ene, the same one who was in Austerlitz, brought the sovereign's horse, and on the stairs there was a slight creak of steps, which Rostov now recognized. Forgetting the danger of being recognized, Rostov moved with several curious residents to the very porch and again, after two years, he saw the same features he adored, the same face, the same look, the same gait, the same combination of greatness and meekness ... And a feeling of delight and love for the sovereign with the same strength resurrected in the soul of Rostov. The sovereign in the Preobrazhensky uniform, in white leggings and high boots, with a star that Rostov did not know (it was legion d "honneur) [star of the Legion of Honor] went out onto the porch, holding his hat under his arm and putting on a glove. He stopped, looking around and that's all illuminating his surroundings with his gaze. He said a few words to some of the generals. He also recognized the former division chief Rostov, smiled at him and called him to him.
The whole retinue retreated, and Rostov saw how this general said something to the sovereign for quite some time.
The emperor said a few words to him and took a step to approach the horse. Again a crowd of retinues and a crowd of the street, in which Rostov was, moved closer to the sovereign. Stopping by the horse and holding the saddle with his hand, the emperor turned to the cavalry general and spoke loudly, obviously with a desire that everyone could hear him.
“I can’t, General, and therefore I can’t, because the law is stronger than me,” said the emperor and put his foot in the stirrup. The general bowed his head respectfully, the sovereign sat down and galloped down the street. Rostov, beside himself with delight, ran after him with the crowd.

On the square where the sovereign went, the battalion of the Preobrazhenians stood face to face on the right, the battalion of the French guards in bear hats on the left.
While the sovereign was approaching one flank of the battalions, which had made guard duty, another crowd of horsemen jumped to the opposite flank, and ahead of them Rostov recognized Napoleon. It couldn't be anyone else. He rode at a gallop in a small hat, with St. Andrew's ribbon over his shoulder, in a blue uniform open over a white camisole, on an unusually thoroughbred Arabian gray horse, on a crimson, gold embroidered saddle. Riding up to Alexander, he raised his hat, and with this movement, the cavalry eye of Rostov could not fail to notice that Napoleon was badly and not firmly sitting on his horse. The battalions shouted: Hurray and Vive l "Empereur! [Long live the Emperor!] Napoleon said something to Alexander. Both emperors got off their horses and took each other's hands. Napoleon had an unpleasantly fake smile on his face. Alexander with an affectionate expression said something to him .
Rostov did not take his eyes off, despite the trampling by the horses of the French gendarmes, besieging the crowd, followed every movement of Emperor Alexander and Bonaparte. As a surprise, he was struck by the fact that Alexander behaved as an equal with Bonaparte, and that Bonaparte was completely free, as if this closeness with the sovereign was natural and familiar to him, as an equal, he treated the Russian Tsar.
Alexander and Napoleon with a long tail of retinue approached the right flank of the Preobrazhensky battalion, right on the crowd that was standing there. The crowd unexpectedly found itself so close to the emperors that Rostov, who was standing in the front ranks of it, became afraid that they would not recognize him.
- Sire, je vous demande la permission de donner la legion d "honneur au plus brave de vos soldats, [Sir, I ask you for permission to give the Order of the Legion of Honor to the bravest of your soldiers,] said a sharp, precise voice, finishing each letter This was said by Bonaparte, small in stature, looking directly into Alexander's eyes from below.
- A celui qui s "est le plus vaillament conduit dans cette derieniere guerre, [To the one who showed himself the most bravely during the war]," Napoleon added, rapping out each syllable, with outrageous calmness and confidence for Rostov, looking around the ranks of Russians stretched out in front of him soldiers, keeping everything on guard and looking motionlessly into the face of their emperor.
- Votre majeste me permettra t elle de demander l "avis du colonel? [Your Majesty will allow me to ask the colonel's opinion?] - said Alexander and took a few hasty steps towards Prince Kozlovsky, the battalion commander. Meanwhile, Bonaparte began to take off his white glove, small hand and tearing it, he threw it in. The adjutant, hastily rushing forward from behind, picked it up.
- To whom to give? - not loudly, in Russian, Emperor Alexander asked Kozlovsky.
- Whom do you order, Your Majesty? The sovereign grimaced with displeasure and, looking around, said:
“Yes, you have to answer him.
Kozlovsky looked back at the ranks with a resolute look, and in this look captured Rostov as well.
“Is it not me?” thought Rostov.
- Lazarev! the colonel commanded, frowning; and the first-ranking soldier, Lazarev, briskly stepped forward.
– Where are you? Stop here! - voices whispered to Lazarev, who did not know where to go. Lazarev stopped, glancing fearfully at the colonel, and his face twitched, as happens with soldiers called to the front.
Napoleon slightly turned his head back and pulled back his small plump hand, as if wanting to take something. The faces of his retinue, guessing at the same moment what was the matter, fussed, whispered, passing something to one another, and the page, the same one whom Rostov had seen yesterday at Boris, ran forward and respectfully leaned over the outstretched hand and did not make her wait for a single moment. one second, put an order on a red ribbon into it. Napoleon, without looking, squeezed two fingers. The Order found itself between them. Napoleon approached Lazarev, who, rolling his eyes, stubbornly continued to look only at his sovereign, and looked back at Emperor Alexander, showing by this that what he was doing now, he was doing for his ally. A small white hand with an order touched the button of the soldier Lazarev. It was as if Napoleon knew that in order for this soldier to be happy, rewarded and distinguished from everyone else in the world forever, it was only necessary that Napoleon’s hand deign to touch the soldier’s chest. Napoleon only put the cross on Lazarev's chest and, letting go of his hand, turned to Alexander, as if he knew that the cross should stick to Lazarev's chest. The cross really stuck.
Helpful Russian and French hands, instantly picking up the cross, attached it to the uniform. Lazarev looked gloomily at the little man with white hands, who did something to him, and continuing to hold him motionless on guard, again began to look directly into Alexander's eyes, as if he was asking Alexander whether he was still to stand, or whether they would order him walk now, or maybe do something else? But nothing was ordered to him, and he remained in this motionless state for quite some time.

In the thirties of the XVIII century, this author, one of the first romantic playwrights, became known in France and far beyond its borders. Today, his works are reread several times, the adventures of his heroes are so fascinating. Interest in his books did not disappear even centuries later, more than 150 films were made based on them. According to statistics, the most widely read French author in the world is Alexandre Dumas, whose biography and photo are presented in this article.

Writer's childhood

The famous novelist Dumas (1802-1870) was born in the town of Villers-Kotrets. His father is General Tom Dumas, his mother, a serious and virtuous woman, Marie-Louise Laboure, is the daughter of an innkeeper.

Alexander's father served in the army of Bonaparte, and upon returning to his homeland in 1801, he ended up in prison. On the occasion of reconciliation, an exchange of prisoners took place and he was released. But the prison did its job - he came out half-paralyzed, mutilated and with a stomach ulcer. There was no question of military service. At this time, the son Alexander appeared in the family.

The boy's childhood passed in financially constrained conditions. For him, they could not even get a scholarship to study at the Lyceum. Alexander was taught to write and read by his mother and sister. But in mathematics, things did not move beyond the multiplication table. But his handwriting was excellent - clear, neat, with numerous curls.

His mother tried to teach him music, but Dumas did not have a hearing. The boy danced beautifully, fenced and shot well. Attending the college of the Abbot Gregoire, Dumas learned the basics of grammar and the beginnings of Latin. For days on end, the future writer disappeared in the forest, because he was very fond of hunting. But you can't live by hunting alone. It's time to find a job. And Alexandre Dumas enters the service of a notary.

New life

Once, during a trip to Paris, Dumas meets the actor Talma. And having concluded that a career can only be built in Paris, Alexander, without hesitation, moves there. Settles in the office of the Duke of Orleans. Service was only a source of livelihood for him.

For himself, the future writer concluded that he needed to study, since his ignorance amazes his acquaintances. He devotes a lot of time to literature, communicates with playwrights and famous writers. In 1829 he wrote the drama "Henry the Third and his Court". The play was a resounding success and went through several performances.

The king saw in the drama "Henry the Third" some resemblance to the reigning monarch and was going to ban the play. But the Duke of Orleans supported her. So, Dumas, who came from the provinces without education and money, became a famous person. Soon the theater repertoire was enriched with such dramas and plays as "Kin, or Genius and Debauchery", "Nelskaya Tower", "Anthony".

After the Great Revolution, the Duke of Orleans ascends the French throne. Among those who stormed the royal palace of the Tuileries was Dumas Alexander. His biography has developed in such a way that from the very first days the writer takes every possible part in public life and fulfills the instructions of General Lafayette, who led the guard.

In 1832, at the request of the relatives of General Lamarck, who was buried on June 5, Dumas led the column of artillerymen who accompanied the funeral procession. The police disperse the crowd, which was the beginning of the uprising, which was brutally suppressed.

A false report appeared in the press that Dumas had been shot. In fact, on the advice of friends, he leaves France and goes to Switzerland, where he prepared the essay "Gallia and France" for publication.

Love beautiful impulses

“Busy people have no time to look at women,” the great writer Alexandre Dumas liked to say. A biography for children, which many met at school, tells only about the main milestones of the biography: "was born, married, worked." In fact, Dumas led not only a stormy writing activity. The personal life of the immortal author was in full swing.

Before opening the veil of the adventures of a passionate Don Juan, I would like to note that Dumas understood the female soul, and most importantly, he really loved all of them and was grateful to them for their love. He was a kind-hearted man. It was for this that he was appreciated by all his beloved. Many of them confessed that they had never met a more generous person than him.

There are legends about the love affairs of the great writer. No one knows how many mistresses he had in his life, but biographers are inclined to believe that there are from 350 to 500 of them. Dumas himself mentions only a few in his memoirs:

• His first Parisian love, Adele Dalvin, who broke the heart of a fifteen-year-old rake. After a two-year relationship, she married another. The only woman who broke up with him herself, in all other cases, Dumas was the initiator of the breakups.
• Catherine Labe - a neighbor on the landing, to which he moved to live. But the modest and devoted Catherine ceased to suit him. Upon learning that she was expecting a child, he drew conclusions: she simply decided to tie him to her. Dumas leaves and appears on the threshold of her house when her son is seven years old.
• Alexandre Dumas justified his “African passions” by the fact that he gets many mistresses out of philanthropy, the only one would simply die in a week. Among the many heartfelt adventures with actresses is the connection with Belle Krelsamer. It ended with the fact that in 1831 she gave birth to a daughter from him.

Personal life

In 1832, the case brought him together with the actress Ida Ferrier (real name - Marguerite Ferrand). As soon as a relationship began between them, Dumas was already falling in love with another actress. Nevertheless, in 1838, Dumas married Marguerite Ferran. How a plump blonde with crooked teeth managed to accomplish such a feat remains a mystery.

Having married, Dumas did not change his way of life. In 1844 the marriage broke up. In 1851, Anna Bauer, another beloved of the indefatigable womanizer, gives birth to the son of Henri from Dumas. Since she was a married woman, the son bore her husband's surname.

The last love of Alexandre Dumas was the American equestrian actress Ada Menken. He met her in 1866, when she came to conquer Paris. Dumas, the son, persuaded his father not to advertise his relationship with a young American woman who had already been married four times. But the father did not heed the voice of reason.

It is not known how the relationship with the woman would have ended, but the fate of Ada turned out to be tragic. She died of acute peritonitis in 1868. After that, Dumas the son decided to unite his parents. The father did not mind, but Catherine Labe replied that her lover was forty years late. In October 1868, she passed away. Dumas will outlive her by two years.

Unknown Dumas

An outstanding novelist, traveler, historian and publicist, Dumas was also an excellent cook. In many of his works, he describes in detail the preparation of certain dishes. The fact that he planned to create a "Culinary Dictionary", the writer spoke during his stay in the Russian Empire. In 1870, he submitted to print a manuscript containing 800 short stories on a culinary theme.

The "Great Culinary Dictionary" was published in 1873, after the death of the writer. Later, an abridged copy was published - "Small Culinary Dictionary". By the way, Dumas was not a gourmet or a glutton. On the contrary, he led a healthy lifestyle, did not drink alcohol, tobacco and coffee. Alexandre Dumas rarely cooked for himself, because he kept to a diet. For guests only.

Dumas was known as a hospitable and generous host. The Monte Cristo estate, owned by Dumas, becomes an open house from the very first days. Everyone is warmly welcomed in it, no matter who it is, fed and, if necessary, put to bed. Any person, constrained by means, could easily settle in the estate.

Castle of Monte Cristo

The success of The Count of Monte Cristo, a novel published in 1844, exceeded all expectations. In it, Dumas described his dream of a chic, carefree life, without money problems. Having experienced this on the pages of the novel through the fate of Dantes, the writer began to make his dream come true.

He began by building a castle. In July 1847, its grand opening took place, at which more than 600 guests arrived. The castle was amazing! A beautiful building is surrounded by a park laid out like an English one. It contains sculptures of great people - Shakespeare, Goethe, Homer. Above the entrance is the owner's motto: "I love those who love me."

Many dreams associated with the castle, Dumas did not have time to realize. For example, he dreamed of creating a literary park and calling each alley one of his works. After 150 years, his dream came true. You can study his books from him. Everything is as Dumas Alexander dreamed.

The biography of this great writer has united thousands of people who are not indifferent to his work. Thanks to their efforts, today the house-museum of Alexandre Dumas has been created in the castle, open to the public.

Creation

In the thirties, Alexander had the idea to recreate the history of France with a whole series of books. Dumas expands his knowledge by studying the works of famous historians: O. Thierry, P. Barant, J. Michelet. In his works, he adheres to a natural sequence of events. His books testify to the author's knowledge of French history.

"Isabella of Bavaria" was the first book of this cycle. The historical basis for the creation of the novel was: "Chronicle of the times of Charles VI", "History of the Dukes of Burgundy", "Chronicle of Froissart". Along with historical characters, fictitious names are also involved in the novel. Thus, it was Alexandre Dumas who revived the genre of the historical novel.

The biography and work of this author are associated with an important event for every Frenchman - the Great French Revolution. He will dedicate a series of books to her. The author understands that in order for the life of kings and ministers to be interesting to the reader, it is necessary to show that they are not alien to the same feelings and experiences as mere mortals.

He knew that his novels did not represent historical value, since the facts were presented in the way that the art form required. The story was the way the French wanted to see it: colorful, cheerful, where good and evil are on opposite sides.

The readers of that time consisted of people who made a great revolution and fought in the armies of the empire. And they liked it when the monarchs were presented in heroic pictures.

History of France

Dumas repelled in his work from well-known sources, sometimes fake. Like the Memoirs of d'Artagnan, for example. Original materials - "Memoirs of Madame de Lafayette" - served as the basis for the book "Viscount de Brazhelon".

From 1845 to 1855 Alexandre Dumas wrote without respite. Perhaps, in the entire history of literature, no other writer has been so prolific. In the novels of Dumas, the history of France passes before the reader. After The Three Musketeers come Twenty Years Later and The Vicomte de Bragelonne.

Dumas perfectly portrays the character of the crowd - sometimes cruel and thirsty for blood, sometimes slavish and submissive, sometimes rude and cynical, sometimes sentimental. The novels "Queen Margot", "Countess de Monsoro", "Forty-five" are the living embodiment of the soul of France.

Dumas dedicates a series of novels to the Great French Revolution: "Joseph Balsam", "The Queen's Necklace", "Ange Pita", "The Cavalier of the Red Castle", "Countess Charni". In them, the author reveals the reasons that caused the revolution, describes the fall of the French monarchy.

Dumas allows deviations from historical facts quite boldly, but he compensates for this with the drama of events, effects and wonderful adventures that make the heart of readers beat hard.

During his life, Dumas père managed to write and publish more than 500 volumes of works of various genres. This shows the great talent of this writer, his amazing and boundless imagination.

Dumas Alexander (father) (1802-1870)

Renowned French writer whose adventure novels have made him one of the most widely read French authors in the world. He was also a playwright and journalist.
Alexandre Dumas' father, Thomas-Alexandre, was the son of the Marquis Davi de Da Peleteri and a black slave, Kessetta du Ma. However, in the future, Thomas-Alexander quarreled with his father and decided to be called "Dumas" in memory of his mother. He was a general in the French Republican army.

Despite the poverty, the family still had a good reputation and aristocratic connections, which helped the twenty-year-old Alexander get a position in the Palais Royal (Paris) in the office of the Duke of Orleans. He began writing articles for magazines and plays. The first play, "Henry III and his court" was a great success, as well as the second "Christine", and Dumas was able to earn his living by writing. In 1835, his first historical novel, Isabella of Bavaria, appeared in print.

Since then, newspapers have published his numerous historical adventure novels: the Three Musketeers trilogy, Twenty Years Later, Vicomte de Brazhelon; trilogy about Henry of Navarre "Queen Margot", "Madam Monsoreau", "Forty-five".
In 1840, he married the actress Ida Ferrier, but continued to have relations with many other women, which resulted in three illegitimate children (one of them also became a successful writer and playwright).

Dumas earned a lot of money, but constantly spent it on a luxurious lifestyle and women. He published magazines and created his own theater - both ended unsuccessfully. After the coup of 1851, he fled from creditors to Brussels. He spent two years in Russia (1858-1859), participated in the struggle for the unification of Italy for three years.