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`
` The Three Musketeers `
` Alexandre Dumas `
` `
` `
` `
` `
` Contents `
` `
` `
` Author's Preface `
` `
` 1 THE THREE PRESENTS OF D'ARTAGNAN THE ELDER `
` 2 THE ANTECHAMBER OF M. DE TREVILLE `
` 3 THE AUDIENCE `
` 4 THE SHOULDER OF ATHOS, THE BALDRIC OF PORTHOS AND THE `
` HANDKERCHIEF OF ARAMIS `
` 5 THE KING'S MUSKETEERS AND THE CARDINAL'S GUARDS `
` 6 HIS MAJESTY KING LOUIS XIII `
` 7 THE INTERIOR OF "THE MUSKETEERS" `
` 8 CONCERNING A COURT INTRIGUE `
` 9 D'ARTAGNAN SHOWS HIMSELF `
` 10 A MOUSETRAP IN THE SEVENTEENTH CENTURY `
` 11 IN WHICH THE PLOT THICKENS `
` 12 GEORGE VILLIERS, DUKE OF BUCKINGHAM `
` 13 MONSIEUR BONACIEUX `
` 14 THE MAN OF MEUNG `
` 15 MEN OF THE ROBE AND MEN OF THE SWORD `
` 16 M. SEGUIER, KEEPER OF THE SEALS, LOOKS MORE THAN ONCE FOR THE BELL, `
` IN ORDER TO RING IT, AS HE DID BEFORE `
` 17 BONACIEUX AT HOME `
` 18 LOVER AND HUSBAND `
` 19 PLAN OF CAMPAIGN `
` 20 THE JOURNEY `
` 21 THE COUNTESS DE WINTER `
` 22 THE BALLET OF LA MERLAISON `
` 23 THE RENDEZVOUS `
` 24 THE PAVILION `
` 25 PORTHOS `
` 26 ARAMIS AND HIS THESIS `
` 27 THE WIFE OF ATHOS `
` 28 THE RETURN `
` 29 HUNTING FOR THE EQUIPMENTS `
` 30 D'ARTAGNAN AND THE ENGLISHMAN `
` 31 ENGLISH AND FRENCH `
` 32 A PROCURATOR'S DINNER `
` 33 SOUBRETTE AND MISTRESS `
` 34 IN WHICH THE EQUIPMENT OF ARAMIS AND PORTHOS IS TREATED OF `
` 35 A GASCON A MATCH FOR CUPID `
` 36 DREAM OF VENGEANCE `
` 37 MILADY'S SECRET `
` 38 HOW, WITHOUT INCOMMODING HIMSELF, ATHOS PROCURED HIS EQUIPMENT `
` 39 A VISION `
` 40 A TERRIBLE VISION `
` 41 THE SEIGE OF LA ROCHELLE `
` 42 THE ANJOU WINE `
` 43 THE SIGN OF THE RED DOVECOT `
` 44 THE UTILITY OF STOVEPIPES `
` 45 A CONJUGAL SCENE `
` 46 THE BASTION SAINT-GERVAIS `
` 47 THE COUNCIL OF THE MUSKETEERS `
` 48 A FAMILY AFFAIR `
` 49 FATALITY `
` 50 CHAT BETWEEN BROTHER AND SISTER `
` 51 OFFICER `
` 52 CAPTIVITY: THE FIRST DAY `
` 53 CAPTIVITY: THE SECOND DAY `
` 54 CAPTIVITY: THE THIRD DAY `
` 55 CAPTIVITY: THE FOURTH DAY `
` 56 CAPTIVITY: THE FIFTH DAY `
` 57 MEANS FOR CLASSICAL TRAGEDY `
` 58 ESCAPE `
` 59 WHAT TOOK PLACE AT PORTSMOUTH `
` 60 IN FRANCE `
` 61 THE CARMELITE CONVENT AT BETHUNE `
` 62 TWO VARIETIES OF DEMONS `
` 63 THE DROP OF WATER `
` 64 THE MAN IN THE RED CLOAK `
` 65 TRIAL `
` 66 EXECUTION `
` 67 CONCLUSION `
` `
` EPILOGUE `
` `
` `
` `
` `
` The Three Musketeers `
` Alexandre Dumas `
` `
` `
` `
` `
` 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, 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. `
` `
` But, 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 Treville, `
` 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 the 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 Fere, `
` 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 Academie des `
` Inscriptions et Belles Lettres, if we should not succeed--a very `
` probable thing, by the by--in gaining admission to the Academie `
` Francaise 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 it to the title which belongs to `
` it, and entering into an engagement that if (of which we have 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 `
` Fere, the pleasure or the ENNUI he may experience. `
` `
` This being understood, let us proceed with our history. `
` `
` `
` `
` 1 THE THREE PRESENTS OF D'ARTAGNAN THE ELDER `
` `
` On the first Monday of the month of April, 1625, the market town `
` of Meung, in which the author of ROMANCE OF THE ROSE 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 `
`
` The Three Musketeers `
` Alexandre Dumas `
` `
` `
` `
` `
` Contents `
` `
` `
` Author's Preface `
` `
` 1 THE THREE PRESENTS OF D'ARTAGNAN THE ELDER `
` 2 THE ANTECHAMBER OF M. DE TREVILLE `
` 3 THE AUDIENCE `
` 4 THE SHOULDER OF ATHOS, THE BALDRIC OF PORTHOS AND THE `
` HANDKERCHIEF OF ARAMIS `
` 5 THE KING'S MUSKETEERS AND THE CARDINAL'S GUARDS `
` 6 HIS MAJESTY KING LOUIS XIII `
` 7 THE INTERIOR OF "THE MUSKETEERS" `
` 8 CONCERNING A COURT INTRIGUE `
` 9 D'ARTAGNAN SHOWS HIMSELF `
` 10 A MOUSETRAP IN THE SEVENTEENTH CENTURY `
` 11 IN WHICH THE PLOT THICKENS `
` 12 GEORGE VILLIERS, DUKE OF BUCKINGHAM `
` 13 MONSIEUR BONACIEUX `
` 14 THE MAN OF MEUNG `
` 15 MEN OF THE ROBE AND MEN OF THE SWORD `
` 16 M. SEGUIER, KEEPER OF THE SEALS, LOOKS MORE THAN ONCE FOR THE BELL, `
` IN ORDER TO RING IT, AS HE DID BEFORE `
` 17 BONACIEUX AT HOME `
` 18 LOVER AND HUSBAND `
` 19 PLAN OF CAMPAIGN `
` 20 THE JOURNEY `
` 21 THE COUNTESS DE WINTER `
` 22 THE BALLET OF LA MERLAISON `
` 23 THE RENDEZVOUS `
` 24 THE PAVILION `
` 25 PORTHOS `
` 26 ARAMIS AND HIS THESIS `
` 27 THE WIFE OF ATHOS `
` 28 THE RETURN `
` 29 HUNTING FOR THE EQUIPMENTS `
` 30 D'ARTAGNAN AND THE ENGLISHMAN `
` 31 ENGLISH AND FRENCH `
` 32 A PROCURATOR'S DINNER `
` 33 SOUBRETTE AND MISTRESS `
` 34 IN WHICH THE EQUIPMENT OF ARAMIS AND PORTHOS IS TREATED OF `
` 35 A GASCON A MATCH FOR CUPID `
` 36 DREAM OF VENGEANCE `
` 37 MILADY'S SECRET `
` 38 HOW, WITHOUT INCOMMODING HIMSELF, ATHOS PROCURED HIS EQUIPMENT `
` 39 A VISION `
` 40 A TERRIBLE VISION `
` 41 THE SEIGE OF LA ROCHELLE `
` 42 THE ANJOU WINE `
` 43 THE SIGN OF THE RED DOVECOT `
` 44 THE UTILITY OF STOVEPIPES `
` 45 A CONJUGAL SCENE `
` 46 THE BASTION SAINT-GERVAIS `
` 47 THE COUNCIL OF THE MUSKETEERS `
` 48 A FAMILY AFFAIR `
` 49 FATALITY `
` 50 CHAT BETWEEN BROTHER AND SISTER `
` 51 OFFICER `
` 52 CAPTIVITY: THE FIRST DAY `
` 53 CAPTIVITY: THE SECOND DAY `
` 54 CAPTIVITY: THE THIRD DAY `
` 55 CAPTIVITY: THE FOURTH DAY `
` 56 CAPTIVITY: THE FIFTH DAY `
` 57 MEANS FOR CLASSICAL TRAGEDY `
` 58 ESCAPE `
` 59 WHAT TOOK PLACE AT PORTSMOUTH `
` 60 IN FRANCE `
` 61 THE CARMELITE CONVENT AT BETHUNE `
` 62 TWO VARIETIES OF DEMONS `
` 63 THE DROP OF WATER `
` 64 THE MAN IN THE RED CLOAK `
` 65 TRIAL `
` 66 EXECUTION `
` 67 CONCLUSION `
` `
` EPILOGUE `
` `
` `
` `
` `
` The Three Musketeers `
` Alexandre Dumas `
` `
` `
` `
` `
` 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, 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. `
` `
` But, 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 Treville, `
` 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 the 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 Fere, `
` 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 Academie des `
` Inscriptions et Belles Lettres, if we should not succeed--a very `
` probable thing, by the by--in gaining admission to the Academie `
` Francaise 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 it to the title which belongs to `
` it, and entering into an engagement that if (of which we have 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 `
` Fere, the pleasure or the ENNUI he may experience. `
` `
` This being understood, let us proceed with our history. `
` `
` `
` `
` 1 THE THREE PRESENTS OF D'ARTAGNAN THE ELDER `
` `
` On the first Monday of the month of April, 1625, the market town `
` of Meung, in which the author of ROMANCE OF THE ROSE 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 `
`