Though I did enjoy reading this masterpiece of French literature, The Three Musketeers was not exactly the story that I had expected. To begin with, not once in the book did the famous phrase appear: “All for one, and one for all!” Neither did there appear to be a single overarching plot. It’s a book written for people with different attention spans; it had been published in serial form over the course of two months, so it was designed to keep readers hooked like a television show.
I like books written in serial form. They require commitment to read, though; I’ve been working on The Three Musketeers for almost a month, and I’m a fast reader.
Something still felt rather off about the whole story. I blame all of the cartoon adaptations that have popped up over the years. These adaptations present children with a softened version of the story, so it is a surprise when one opens the long novel and discovers elements of darkness or sketchy behavior. Adaptations did this book no justice.
It’s about four men, sword-wielding Musketeers loyal to the King, who are willing to fight and duel almost anyone over anything (many of these things are trivial.) It features gambling, murder, infidelity, mistresses, and a great deal of bloodshed (because of trivial things.) Honor is the big virtue the book touts, but it is often portrayed in a trivial manner–comical.
We might hesitate, these days, to call such men heroes, but they are indeed the heroes of this novel. D’Artagnan, Porthos, Athos and Artemis live to protect the King and Queen, no matter what that might involve. They also protect one another, helping avenge a person who insulted a friend. Loyalty is an admirable quality, too, but some instances I felt could have been let slip.
That’s the point of this book, though–it lauds bravery, fearlessness, loyalty and honor. It perhaps goes a little too far, but I understand that, at the time it was published, readers might have been in need of characters like these. It was published in 1844; not long before that, people had experienced the Bourbon Restoration, the fall of the first Napoleon–a time of great fear, in which wars were waged and many people were killed. Escapism has always been necessary to heal a society from a difficult time period. Maybe the French of the 1840s needed reckless, brave, outspoken heroes, people who would fight for their honor, leaders.
This, of course, is only my speculation; what is for certain is that the fall of Napoleon would have been felt for a long time after it took place, and it would have affected literature.
Of the four characters, the only Musketeer I had sympathy for from the beginning was Aramis. He is only temporarily a Musketeer; his real desire is to enter a monastery. He took up the sword on a youthful matter of honor, but reading about his theological epiphanies and his genuine conscience provided me with a welcome break from the rash duels.
Athos I also came to like, but only near the end, when more details about his past were given. He was able to keep a level head in the midst of a struggle, as opposed to young hot-blooded D’Artagnan, who does not hesitate to draw his pistol. At the age of twenty-one, D’Artagnan has not lived enough. When a tragedy takes place near the end of the novel, he does show his human side, and I sense this tragedy was the initiative for him to mature.
The brave lackeys who aided these men did not get the credit they deserved; rather, they are often treated as objects, even to be gambled away. The Musketeers are not always people worthy of admiration.
Though it was an enjoyable read, I felt that the story did not fully grip me until the final quarter, in which we see the tale from the antagonist’s point of view. Milady de Winter’s thought process is completely different from the Musketeers. For better or for worse, she is making decisions based on reason and cunning, rather than knee-jerk duels. She is by no means a good person, but her intelligent choices kept me reading. I wanted to know what she would do next.
The Musketeers–and most of the men in this novel–underestimated the clever ways in which a woman under pressure can survive.
Finally, the prose–it was so beautiful that I found myself constantly stopping to jot down a quote or two. I wish that I could read The Three Musketeers in its original French; one day, perhaps.
The Three Musketeers is the first in a series of books published by Alexandre Dumas, known as The D’Artagnan Romances. In order, the series is as follows:
- The Three Musketeers (serialized between March and July, 1844)
- Twenty Years After (serialized between January and August, 1845)
- The Vicomte of Bragelonne: Ten Years Later (serialized between October 1847 and January 1850)
In addition, there have been unofficial sequels:
- The Son of Porthos (1883) by Paul Mahalin, published under the pen name of Alexandre Dumas
- D’Artagnan Kingmaker (1900) – supposedly based on one of Dumas’ plays
- The King’s Passport (1925) by H. Bedford-Jones
- D’Artagnan, the sequel to The Three Musketeers by H. Bedford-Jones
In addition is a sequel written by Dumas himself but left incomplete after seventy-seven chapters, called The Red Sphinx. This, in particular, interests me–as all unfinished classics do, such as Dickens’ Mystery of Edwin Drood and Austen’s Sanditon. Unfinished novels give a sense of the authors’ being very much alive; I’ll write more on this later.
I will certainly finish The D’Artagnan Romances, but keeping in mind that each of them is an almost month-long commitment. You can’t skim old books like these without losing sight of what makes them timeless.
Our world is fast-paced; to read a good classic, one must be prepared to slow down.
Mariella Hunt 