Looking at England in the early months of 1785, covering twenty or even thirty miles a day and making detailed and intelligent notes at night, the two La Rochefoucauld brothers, Francois and Alexandre, and their tutor, saw landscapes still visible today; but the world of momentous industrial invention and optimism that they envied, as patriots, is one we can now only envy them for knowing and admire them for recording. Norman Scarfe presents the three documentary sources of the book (all previously unpublished) in his own spirited translation, while the many illustrations bring the travellers' experiences vividly to life. His epilogue traces the divergent attitudes of the brothers at the onset of the Revolution and beyond: the elder loyally serving Louis XVI, the younger establishing his cotton-mill on English lines, then joining the entourage of Napoleon.
When François de la Rochefoucauld, and his brother Alexandre visited Suffolk in 1784, the events which were to lead to the French Revolution in 1789 were already in train. François' father, the duc de Liancourt, Grand Master of the Wardrobe at Louis XVI's court, was well placed to appreciate the dangers of the situation in France, and it must have been with anxious hopefulness that he sent his sons (François was then 18) to England for a year to appreciate the ordering of these things in a country which had experienced a revolution over a century earlier. Such reflections are never far below the surface of this otherwise cheerful book, which gives a vivid picture of English provincial life in a good year. François' observations range over such diverse subjects as English customs and manners and methods of agriculture and stockbreeding, and include a lively account of a general election. The spirited translation is complemented by numerous illustrations.
A swashbuckling novel by the author of The Three Musketeers Set in the same period as his best-known novel, Alexandre Dumas’s “forgotten masterpiece” (Le Monde) features two steely and preternaturally modern heroines fighting on opposite sides of the wars that ravaged seventeenth-century France. An unabashed page-turner, humorous, dramatic, and crackling with panache, this new English translation—the first in more than 100 years—shows Dumas at the peak of his powers.
The War of Women Vol. II" by Alexandre Dumas is a sweeping historical fiction epic that immerses readers in the vibrant tapestry of 19th-century French literature. Set against the backdrop of war, Dumas weaves a tale of romance, intrigue, and adventure, capturing the essence of the era with his masterful storytelling. At its core, the novel delves into the complexities of women's roles in society, exploring themes of feminism and empowerment amidst the chaos of conflict. Through richly developed characters and intricate plotlines, Dumas paints a vivid portrait of a society grappling with change and upheaval. Amidst the backdrop of war, love blossoms and alliances are forged, driving the narrative forward with a sense of urgency and excitement. Dumas's epic narrative sweeps readers off their feet, transporting them to a world where passion and bravery collide on the battlefield and in the hearts of its characters. With its blend of historical accuracy and imaginative storytelling, "The War of Women Vol. II " stands as a testament to Dumas's prowess as a writer and his ability to craft compelling tales that resonate across generations.
At a short distance from Libourne, the bright and bustling city mirrored in the swift waters of the Dordogne, between Fronsac and Saint-Michel-la-Rivière, once stood a pretty little white-walled, red-roofed village, half-hidden by sycamores, lindens, and beeches. The high-road from Libourne to Saint-André-de-Cubzac passed through the midst of its symmetrically arranged houses, and formed the only landscape that they possessed. Behind one of the rows of houses, distant about a hundred yards, wound the river, its width and swiftness at this point indicating the proximity of the sea. But the civil war passed that way; first of all it up-rooted the trees, then depopulated the houses, which, being exposed to all its capricious fury, and being unable to fly like their occupants, simply crumbled and fell to pieces by the roadside, protesting in their way against the savagery of intestine warfare. But little by little the earth, which seems to have been created for the express purpose of serving as the grave of everything upon it, covered the dead bodies of these houses, which were once filled with joyous life; lastly, the grass sprang up in this artificial soil, and the traveller who to-day wends his way along the solitary road is far from suspecting, as he sees one of the vast flocks which one encounters at every turn in the South cropping the grass upon the uneven surface, that sheep and shepherd are walking over the burial-place of a whole village. But, at the time of which we are speaking, that is to say about the month of May, 1650, the village in question lay along both sides of the road, which, like a mammoth artery, nourished it with luxuriant vegetation and overflowing life. The stranger who happened to pass along the road at that epoch would have taken pleasure in watching the peasants harness and unharness the horses from their carts, the fishermen along the hank pulling in their nets wherein the white and red fish of the Dordogne were dancing about, and the smiths striking sturdy blows upon the anvil, and sending forth at every stroke of the hammer a shower of sparks which lighted up the forge. However, the thing which would most have delighted his soul, especially if his journeying had given him that appetite which has become a proverbial attribute of travellers, would have been a long, low building, about five hundred yards outside the village, a building consisting of a ground-floor and first floor only, exhaling a certain vapor through its chimney, and through its windows certain odors which indicated, even more surely than the figure of a golden calf painted upon a piece of red iron, which creaked upon an iron rod set at the level of the first floor, that he had finally reached one of those hospitable establishments whose proprietors, in consideration of a certain modest recompense, undertake to restore the vigor of the tired wayfarer.
A major new translation of one of the most enduring works of literature, from the award- winning, bestselling co-translator of Anna Karenina-with a spectacular, specially illustrated cover The Three Musketeers is the most famous of Alexandre Dumas's historical novels and one of the most popular adventure stories ever written. Now in a bracing new translation, this swashbuckling epic chronicles the adventures of d'Artagnan, a brash young man from the countryside who journeys to Paris in 1625 hoping to become a musketeer and guard to King Louis XIII. Before long he finds treachery and court intrigue-and also three boon companions: the daring swordsmen Athos, Porthos, and Aramis. Together they strive heroically to defend the honor of their queen against the powerful Cardinal Richelieu and the seductive spy Milady. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
The War of Women Vol. I" by Alexandre Dumas is a sweeping historical fiction epic that immerses readers in the vibrant tapestry of 19th-century French literature. Set against the backdrop of war, Dumas weaves a tale of romance, intrigue, and adventure, capturing the essence of the era with his masterful storytelling. At its core, the novel delves into the complexities of women's roles in society, exploring themes of feminism and empowerment amidst the chaos of conflict. Through richly developed characters and intricate plotlines, Dumas paints a vivid portrait of a society grappling with change and upheaval. Amidst the backdrop of war, love blossoms and alliances are forged, driving the narrative forward with a sense of urgency and excitement. Dumas's epic narrative sweeps readers off their feet, transporting them to a world where passion and bravery collide on the battlefield and in the hearts of its characters. With its blend of historical accuracy and imaginative storytelling, "The War of Women Vol. I" stands as a testament to Dumas's prowess as a writer and his ability to craft compelling tales that resonate across generations.
If you enjoyed the jolly romp, ‘The Three Musketeers,’ then ‘The War of Women I’ is sure to tickle your literary fancy. Set in 17th century France, the plot of this tale is played out against the backdrop of the war between France and Spain. However, the war in question is not between the two countries. Instead, it is between two women, Nanon de Lartigues and Viscountess de Cambes, who have both fallen in love with the Baron de Canolles. Given that each is on a different political side, which one will he choose? Full of swashbuckling swagger, double identities, betrayal, and vengeful villains, the plot twists and turns at a rate of knots. ́The War of Women I ́ is a rollicking story, packed with historical detail and intrigue. Alexandre Dumas (1802 – 1870) was one of the most popular French authors and playwrights of the 19th Century. After the death of his father, Dumas travelled to Paris where he eventually decided to work in the theatre. He first came to public attention at the age of 27 with his first play, ‘King Henry III and his Courts.’ After a succession of successful stage plays, Dumas turned his hand to writing novels. Many of these were serialised in newspapers, such as ‘La Comtesse de Salisbury; Édouard III,’ and ‘Le Capitaine Paul.’ Many of Dumas’ later works have been hailed as timeless classics and adapted for television and the silver screen, such as ‘The Three Musketeers’, starring ‘Lord of the Rings’ ́ Orlando Bloom, and ‘The Count of Monte Cristo’, starring ‘Superman’ star, Henry Cavill.
There is no real biography of Alexandre Dumas. Nobody has collected and sifted all his correspondence, tracked his every movement, and pursued him through newspapers and legal documents. Letters and other papers (if they have been preserved) should be as abundant in the case of Dumas as they are scanty in the case of Molière. But they are left to the dust of unsearched offices; and it is curious that in France so little has been systematically written about her most popular if not her greatest novelist. Many treatises on one or other point in the life and work of Dumas exist, but there is nothing like Boswell's Johnson or Lockhart's Scott. TheMémoires by the novelist himself cover only part of his career, Les Enfances Dumas; and they bear the same resemblance to a serious conscientious autobiography as Vingt Ans Après bears to Mr. Gardiner's History of England. They contain facts, indeed, but facts beheld through the radiant prismatic fancy of the author, who, if he had a good story to tell, dressed it up "with a cocked hat and a sword," as was the manner of an earlier novelist. The volumes of travel, and the delightful work on Dumas's domestic menagerie,Mes Bêtes, also contain personal confessions, as does the novel, Ange Pitou, with the Causeries, and other books. Fortunately Dumas wrote most about his early life, and the early life of most people is more interesting than the records of their later years. In its limitation to his years of youth, the Mémoires of Dumas resemble that equally delightful book, the long autobiographical fragment by George Sand. Both may contain much Dichtung as well as Wahrheit: at least we see the youth of the great novelists as they liked to see it themselves. The Mémoires, with Mes Bêtes, possess this advantage over most of the books, that the most crabbed critic cannot say that Dumas did not write them himself. In these works, certainly, he was unaided by Maquet or any other collaborator. They are all his own, and the essential point of note is that they display all the humour, the goodness of heart, the overflowing joy in life, which make the charm of the novels. Here, unmixed, unadulterated, we have that essence of Dumas with which he transfigured the tame "copy" drawn up by Maquet and others under his direction. He told them where to find their historical materials, he gave them the leading ideas of the plot, told them how to block out the chapters, and then he took these chapters and infused into them his own spirit, the spirit which, in its pure shape, pervades every page of the Mémoires. They demonstrate that, while he received mechanical aid from collaborators, took from their hands the dry bones of his romances, it was he who made the dry bones live. He is now d'Artagnan, now Athos, now Gorenflot, now Chicot,—all these and many other personages are mere aspects of the immortal, the creative Alexandre.
In 1786 Alexandre de La Rochefoucauld & his precepteur Lazowski journeyed to Scotland to learn about farming improvements. This record of places & people, the terrain they travelled & houses they visited, is full of contemporary details.
This will help us customize your experience to showcase the most relevant content to your age group
Please select from below
Login
Not registered?
Sign up
Already registered?
Success – Your message will goes here
We'd love to hear from you!
Thank you for visiting our website. Would you like to provide feedback on how we could improve your experience?
This site does not use any third party cookies with one exception — it uses cookies from Google to deliver its services and to analyze traffic.Learn More.