Twice now (I’m at Valentine’s poisoning) twice now someone Dantes loves has shown up at his house and been like 🥺😭☹️😩😫 noooo Count pleeeeaaaassseee you can’t do your revenge on the children of the guy who wronged you. Because I love them!!!! 🥺😩😭🙏🥺 and the Count just goes 😠😤🤬😑 ugh I hate you. FINE 🙄 just this once I’ll be nice! I’ll save their life ughhhhh smh you plan out this big fucking revenge and it goes badly. why? because of stupid emotionsssss I hate it hereeee 🙄🫤 here’s $2 million dollars 💰

have you got any tcomc playlists? 👁️👁️

OH, ABSOLUTELY I DO

i posted them a while back but i can't be bothered to find the post, so if i do i'll delete it to keep from clogging up the tags...

as i've said before, it's been a hot minute since i've really participated in the fandom (i'd like to remedy that), so some of my views on the characters have changed a bit since i made these? so not all of the song choices are perfect imo anymore... but i am constantly tweaking these playlists so it's whatever.

oh also also, a couple of these are major WIPs, lol. ANYWAY.

putting them under a read-more cut so that nobody hates me for the length of the post, lmao

here's Edmond's:

here's Fernand:

here's Villefort:

here's Danglars (one of the ones i'm less happy with lol):

here's Caderousse (my favourite character heheh):

here's Mercédès:

here's Albert (idk this one's a WIP):

here's Benedetto (another of my favourites!!):

and finally, Valentine! (my beautiful darling sweetheart):

i also have playlists for a couple ships i like, so if you're interested in those, feel free to ask, but they're not quite as good lol

Mercédès de Morcerf as depicted in Gankutsuou for Mother Dearest - an anime moms Zine

The Count: I learned some very valuable lessons from this

Mercédès: I’m guessing they are all horrible distortions on the lessons you actually should’ve taken away

The Count: Death isn’t real and I’m basically God

So I picked back up Monte Cristo since I have reading time again, and may I just say Albert being Mercedes’s son is the biggest time screwup ever. Mercedes is 1-3 years younger than Dantès depending if he is 18,19 or20. By his own mention, he’s 20, but then later he’s 19, so who knows. But then we get to him being imprisoned for 14 years which is by far the most “concrete and it is this quantity” in the book. But then we meet Albert (love this lovesick puppy kid, but that’s neither here nor there”. He’s the result of incest between Mercedes and Fernand (who says he’s French, despite being Mercedes, cousin and growing up in the Catalan village and has been given ten more years than he had at the beginning.). Albert then says they have been married for twenty years, but that’s before the novel takes place and since crap goes south at Mercedes and Edmonds’s pre wedding feast, there’s no way that they were married that long. And then Albert I saw ppl saying he’s 20, but then a son out of wedlock? For shame back then. But then if you apply any sort of logic to it, if Mercedes waited to marry the douche 18 months after Dantès was imprisoned (also explicitly stated), and we’ll say that despite all of the issues with pregnancies back then, Mercedes got pregnant ASAP with him, he should only be around 13. So this 13 year old is touring Italy with his friend, trying to bang Italian girls without any escort or parental supervision, and almost gets shanked to death. This timeline makes as much sense as a freaking comic book.

An absolutely stellar quote for each of the villains from 'The Hundred Days':

Villefort shuddered at the idea of the prisoner cursing him in the darkness and silence, but he had gone too far to retreat. Dantes would have to be broken between the cogs of his ambition.

God, that second line is so good. What I love about this line is how deliberate and at the same time resigned it is. Villefort will sacrifice anything to his ambition, and by doing so finds himself somewhat trapped by his own choices. He has no way out but forward. While he may cringe a bit, and dreads the idea of reprisal from his enemies, he knowingly continues to walk this path.

...his denunciation had been accurate and, like all men with a certain natural aptitude for crime and only average understanding of ordinary life, he described this strange coincidence as 'a decree of Providence'. But when Napoleon had returned to Paris and his voice, imperious and powerful, was heard once more in the land, Danglars knew fear.

While his decision to leave here does end up working for him, it's motivated by no great strategic mind; rather, he is described as having criminal instincts but not a great deal more. He fears revenge (and that last line is fantastic) but, for all his scheming, he isn't the character who sees the picture around him most clearly (except in one distinct way - he remembers Dantes, and fears him, rather than any official/larger-scale fallout. He knows the kind of man Dantes is more than the others). That's Villefort, who is described above and earlier in the chapter as being quite aware of his situation and possible future ramifications, as well as having good instincts. So Danglars runs, always hoping to rebuild anew somewhere else.

As for Fernand, he understood nothing. Dantes had gone away; that was enough. What had happened to him? Fernand did not try to find out.

Look, this guy's dumb. He's a loser. He wants Mercedes, he hates Dantes, and that's as far as he goes. His lack of curiosity or awareness of what is truly going on around him makes him in some ways the easiest mark of them all, certainly compared to the two schemers above. This quote made me laugh.

Caderousse was called up as Fernand had been; but, being eight years older than the Catalan and married, he was not recruited until the third wave of conscription and sent to guard the coast.

Okay, I admit this stretches 'absolutely stellar quote' to the limit. It's not really at all, but I do feel like it kind of sums his role up decently. He's kind of a sucky guy, but not as much as the other three. He hangs back, in terms of villainy, both in convicting Dantes and in profiting off his absence, compared to the others. While he does get drawn in to the villainy repeatedly, it is more reluctantly/gradually... but it does still happen. He succumbs to temptation. He gets used, he keeps quiet out of cowardice, he gets greedy, etc. I dunno, it's probably just because I thought some of the other lines were somewhat character-defining, but I thought this line about his eventual conscription sort of matches his role among the villains.

Also, a couple bonus lines that I love:

So it was that Dantes, during the Hundred Days and after Waterloo, remained under lock and key, forgotten, if not by men, at least by God.

The reversal of the usual phrase here, where he may be remembered by men but has been forgotten by God, is delicious.

It was not the fact that Mercedes lacked the courage to carry out this intention, but the succour of religion that saved her from suicide.

I dunno, I love the emphasis on her bravery and her genuine love for Edmond. Also the contrast of her 'hopeless expectation' driving her to suicide being held back by her religion and the comfort she recieves from Fernand is such an interesting contrast to Dantes' own suicidal thoughts in prison.

Monte Christo cats part 2 ✌ (The first drawing is a scene from this Russian production!)

Image descriptions: 5 greyscale drawings of anthro cats. The first is a drawing of two cats dancing in profile, with the view cut off at their knees. The left cat is a short, round black cat wearing a sleeveless dress, long velvet gloves, & tassel earrings. She's singing with a somber expression, and reaching out to touch the other cat's face. The other cat is sleek with a long snout & pale tabby markings. He's wearing a black leather coat & leather gloves. He's looking down at the other cat- his expression is almost angry, but he's smiling. He's holding up one of the other cat's hands. The second drawing is of a fluffy dark tabby cat walking towards the viewer. In one hand he holds a rapier. He's wearing thick gloves, a grey vest, a white shirt with the sleeves rolled up, white pants, & dark shoes. His tail is fluffed up & he's looking to the side angrily, baring his teeth in a strained smile. The third drawing is of a grey cat wearing a simple dress. She's standing, leaning forward slightly, with one hand clenched in a fist by her heart & the other holding onto her skirt. She's singing with her eyes closed. The fourth drawing is a bust of a round tabby cat with a pale snout. He's wearing a white shirt, waistcoat, & a loose bow tie. He's cringing with his teeth bared & eyes shut tight. The fifth and final drawing is a bust of the fluffy tabby from earlier. He's facing the right with his right arm extended in front of him- his hand is out of frame. He snarls angrily, "you've started this game, & I'm going to end it!" End descriptions.

The Count Of Monte Cristo (2002)

Albert dit que "les aventures de Sindbad le marin le faisait amuser dans sa jeunesse". Et Edmond a choisi ce nom. Quel est la liaison entre eux? Mercedes. Peut-être Mercedes et Edmond revaient de cette histoire quend ils étaient jeunes et puis elle a raconté ses histoires à son fils, Albert.

I've started reading A Fire Born of Exile (Aliette de Bodard's sci-fi Count of Monte Cristo retelling), and it's interesting figuring out who each character is. I'm about a fifth of the way into it, and so far we have (apologies for omitting accents)

Suong Quynh/Da Lan: the Count/Edmond Dantes

Hoa: Maximilien Morrell

Minh: Valentine Villefort

Heart's Sorrow: Albert de Morcerf

Guts of Sea: Haydee? I'm not entirely sure, maybe amalgamated with other members of the Count's household

Prefect Tinh Duc: Prosecutor Villefort

Van: Edouard Villefort

General Tuyet: Fernand de Morcerf, but also Mercedes, which is a fascinating decision. Women's wrongs etc etc

Thanh Nhang: the bits of Fernand that aren't Tuyet? It's hard to tell so far

Thien Hanh: Monsieur Morrell

What's interesting to me here is that A Fire Born of Exile has made some adaptational choices (starting the action after the timeskip, omitting Danglars and all his related plots) that are pretty common, but most adaptations that make those choices center the plot on Albert, while this one has picked Valentine and Maximilien, which is fascinating. When reading The Count of Monte Cristo I honestly found their plotline quite boring, mainly because it dragged on for a long time insisting that Valentine was too perfect and saintly to do anything like "move out of a house where everyone hated her and she was being poisoned to death", so I'm curious to see what an adaptation that gives her more agency will do.

Hello Pilf, I was hoping for some insight, if you don't mind. I am about 3/4s of the way through the Count of Monte Cristo and it's been losing me a little. Having read 80+ chapters though, I really want to see it through. I am struggling with the way the women are written. Monte Cristo was going on - again! - about the inconstancy of women ("woman is fickle" etc.) and I had to slam the book shut and walk away in a temper.

I feel like my issue is that I am coming at it with very modern sensibilities - I am conscious that things were very different at the time so I pursed my lips through the stint in Italy where the story of a girl who gets kidnapped and raped by bandits results in her being killed as a mercy while the idea of banditry continued to be held up as some kind of romantic ideal. I also accepted the the general assumptions about a woman's place in her family and in the world, on whether she should be able to be literate and what agency she has or doesn't have as a given.

But it seems that my sticking point is Mercedes. Monte Cristo is furious for her for not staying loyal to him. I am familar with the story, so I gather that her narrative isn't meant to get any happier - she doesn't die a horrible death and other characters get much worse but she is left to be unhappy and guilty and alone. The story frames it as though the fact that she married someone else was a great betrayal. He was sent to prison for life! They couldn't correspond (I presume)! And her aforementioned place in society mentioned that she couldn't do much to support herself! What did he think she should have done? Was she supposed to have not given up and instead tried to get him pardoned and released? Was she supposed to have stayed single (a peasant girl with no relations) and waited for him or just died like his father.

I do get why he is angry with her - she married the guy who framed him and it can't have been all that long after he went to prison in the long run. Was it that she was supposed to trust in god because he was innocent and that go would see him freed in the end? I don't know it all seems spectacularly unreasonable.

I don't like his relationship with Haydee any better - the way he owns her and she loves him for it (even if technically she is free as soon as she gets to France). She has never spent time with another man apart from Monte Cristo when she first converses with Albert de Morcerf. He's a father figure to her and also a love interest. It's not like I haven't enjoyed fictional romance involving large age gaps before, but they were always written by women. She feels like she is a very pretty, exotic object. I just find it all kind of horrorfying.

Then, to move away from women for a second, there is Ali who worships Monte Cristo and is his willing slave. I can't make heads or tails out of what take Dumas has on slavery. It's technically illegal but everyone seems to enjoy the idea of it very much. I like Ali's character - how skilled he is - but I don't like how little power he has.

None of this seems to be written with any sympathy for what it is like to not have any agency over your life. Even though that is exactly what happened to Edmond in the first half of the book. I think I might be missing a lot of subtext - it would help if I understood Dumas and the context of his world better.

I haven't had much luck in finding anything written about this - essays or articles. Can you recommend anything?

I’m posting this in hopes that more Dumas-focused bloggers will chime in! and posting my bit under a cut  bc this will be a Long post

Honestly, I share your general discomfort with how Dumas handles a lot of women in his stories. I don’t know of anything that’s ever made me more comfortable with how characters like Mercedes or Haydee or even Milady are written, so I really can’t offer any assistance in that sense. I find it quite hard to take, myself--the point where Athos gives his version of his marriage and its ending was the point where I had to put down Three Musketeers (and yet some of the women in CoMC are just wonderful? Eugenie is a delight who manages to escape the tire fire of her family history, and I think Valentine is fantastic. And yet there’s all the issues you pointed out, and they don’t so much cancel out as just hang out uneasily together for me?) . 

 But I can give some context anyway!

-  Dumas, unlike Hugo, really was getting paid by the installment, and writing on the fly a lot , and IMO it shows--his stories sometimes have the same problems that other serialized media , like TV or comics, have run into, where a chunk of story makes an exciting or tense installment but doesn’t really fit into a larger message or arc?  so we get stuff like the whole drug trip episode, or the bandit story that is...like that. How does the bandit story support the larger point of the novel? NO idea (though I am very open to defenses of it!) .

-Dumas’  own family history of course made slavery relevant to him personally. I’ve heard speculation that things like Haydee’s story might represent efforts for him to deal with that  in various ways?  I’ve not seen any in depth articles on it though!

-regarding CoMC specifically, Dumas’  own father was a prisoner in Italy for two years, and while it was,of course for political reasons--France and Naples were at war-- there was open speculation that those political reasons were not as simple as they seemed--that in fact Gen. Dumas had been set up and was left to be forgotten on purpose because of the dislike Napoleon had for him personally.  it seems to be generally agreed that this is a big part of what Alex Dumas ws thinking of in Edmond’s unfair imprisonment. 

So--yeah, that’s all I can think of to say for this!  Sincerely hope some more intensely Dumas/CoMC -focused people will have more to say!

EPISODE HIGHLIGHT: THE CAPTAIN OF THE MONTE CRISTO

Today we're highlighting our 28th episode of Season 1: "The Captain of the Monte Cristo"    

it's the count of monte cristo but in spaaaaaaace!

you can find it wherever you get your podcasts! (if not, pls let us know!)

https://shows.acast.com/tranthologies/episodes/the-captain-of-monte-cristo

Image description under the cut

Slide 1: A dark purple background. In white lettering, a title reads: "THE CAPTAIN OF THE MONTE CRISTO” In the centre of the page, there is the cover art for this episode. It pictures two a planet and a spaceship. The cover art has arrows pointing away from it with text coming off them. The text coming off the arrows reads as the following: "1. Drama! 2. Retelling of a classic! 3. T4t romance! 4. It’s got jazz! 5. Happy ending! 6. Cool old timey duel! 7. It’s in SPAAAAAAAAAACE!”

Slide 2: A dark purple background. There is a design of a piece of paper in the centre of the page. On the paper, text reads: “The Count of Monte Cristo but in SPAAAAAAAAAAACE!” There are spaceships in the top right, bottom left, and bottom right corners of the page.

Slide 3: A dark purple background. Covering most of the page, there is a design of white lined paper. On the paper, an excerpt from the episode reads: “Narrator: In this time away from the world, she realizes her name is not Eden, but Esmen. It takes them over a decade to repair the Monte Cristo, but at long last, they make their escape. Upon return, Esmen spends years rebuilding themself as the Count of Monte Cristo. Their mysterious emergence and wealth draw the attention of high society, though they are never recognised as one of the galaxy’s most infamous pirates.” There is a spaceship in the bottom left corner.

Slide 4: A dark purple background. In the centre of the page, there is a design of white lined paper. On the paper, the credits read: “CREW: Written by Sylvie Keyes. Directed by Sylvie Keyes and Zoey Davis. Audio editing by Zoey Davis. Art by Sylvie Keyes. CAST: Ronan Fernsel as Esmen. Moira-Juliet Scott as Mercedes. Alex Abrahams as Fernand. Sats Di Stefano as Albert. Wes French as the Narrator. Ace as Servant on the Château de Morcerf. Shawn Tumbokon-Flowers as Renée. L M Chlohessy as Franz.” There is a planet on the left side of the page and a spaceship on the right side of the page.

Characters in the count of monte cristo

Those he love are showered with blessings and protection. But these extreme emotions of wrath only extend to those he hates. 35) He uses his outward warm nature to manipulate those around him into harming his enemies. men to all the tortures his fiery imagination could contrive, but even the cruelest ones seemed too mild and too short for them." (Pg. 147) Yet his true nature and motives are quite the opposite. Monsieur de Morcerf was "obviously charmed by what Monte Cristo had said." (Pg. He appears to his houseguests as a gracious and understanding host who always seeks to please. Even through Dantes time in prison (and for the grand scheme of the text this really is a short time), there is the constant hope that he will be freed.The Count of Monte Cristo has many sides to his personality, and is anything but one-dimensional. This drives the plot in a near auto-pilot-esque way because what would a novel be if the protagonist didn’t win out in the end? Certainly not as good. With the exception of one or two wild cards, it is very apparent from the beginning that Edmond has those that are on his side, and those that are very apparently not. His father’s allegiance to the Bonapartist Party seems to be doing him no favors and Edmond even less! It is very clear that Villefort is acting on his own self interest and is trying to ensure that none of his father’s acts serve as a detriment to Villefort’s own life.įrom the little knowledge I have of The Three Muskateers, I feel as though Dumas often splits his novels into two categories “us versus them”. These characters, although self motivated, seem round in complexity but static in character they had a lot fueling their actions but the ideals that drive them, namely greed, do not seem as though they will change all that much.ĭuring Edmond’s arrest Villefort is almost more suspicious than any of the other characters in the text. He and his cohort in Edmond’s arrest, Baron Danglars, seem to be the most important antagonists. Edmond’s arrest is most quickly blamed on Fernand by many a reader (you’d be lying if you said you didn't know he had something to do with it), and the thoughts of Edmond’s coming revenge is enough to keep anyone turning the pages. The way he just couldn’t seem to accept Mercedes and Edmond tying the knot was an immediate clue in that he would be up to no good soon. Her act of marrying Fernand while Edmond was in prison, however, works as a significant plot point, because Edmond seeks revenge on Fernand for more reasons than just one.įernand Mondego could be pegged as a story’s antagonist from a mile away. Mercedes seems to be driven by several different types of motives, creating in her a round character. As she said that she could never be with anyone other than her beloved Dantes the first red flag was set off in my mind. This encounter sets the reader with a positive outlook on Mercedes, for she is incredibly faithful to the love of her life Edmond. Mercedes is first seen talking to Fernand Mondego, who is dead set on marrying her for he is deeply in love with his cousin. But, when a text is over 500 pages and the main character manages to get his dream job and his dream wife in the first few chapters, the foreshadowing does not have to be that blatant to let the reader know that something is about to go down.Įdmond’s dream wife as previously mentioned, is Mercedes. At 19 years old he is already “set” to be captain of the ship he was a crew member for. He’s a round, obviously dynamic character. The Count of Monte Cristo makes very evident that the protagonist of the text is Edmond Dantes. (It often seems like the first day of a new school when everyone is expected to remember everyone else after the first class period) The beginning of a text is the most imperative time to introduce and shape the characters of a novel, and is therefore the most difficult time to understand everything that is going on. A novel’s plot is developed first and foremost through the interactions of its characters.

Opening Day Squad + Pride HCs. All of my muses are part of the community as a rule, but I figured I’d lay out specifics as part of today’s festivities. With apologies to the wider character tags this is going to trip, please just scroll past.

ANIMANGA:

Charlotte: Baby bi, coming to some realizations

Enrico Maxwell: Gay

Pip Bernadotte: Pansexual transman

COMICS:

Dream: Bisexual

Lucien: Aspec

Bane: Bisexual

Jonathan Crane: Transman, gay

Mina Wakefield: Pansexual

LITERATURE:

Aleary ibn-Jiang: Pansexual (also grew up w two dads! pride is in his blood!)

Cirila Montoya: Aromantic pansexual

Claude di Montoya: Genderfluid, Aspec, polyamorous

Daniel Molloy: Gay, polyamorous

Evi Kholin: Pansexual, polyamorous

Gabrielle de Lioncourt: Transmasc lesbian, polyamorous

Joanna Lannister: Bisexual

John de Winter: Bisexual

Karin Lindholm: Bisexual, polyamorous

Mercedes de Morcerf: Bisexual

Moash: Gay

Odessa Harkonnen: Lesbian

Syl: Asexual

Wit: God I keep toying w transman HC here but I’m hedging my bets B. Sando will knock this one totally out of the water someday.

MYTHOLOGY:

Ariadne: Bisexual, polyamorous

Artemis: Lesbian

Fenrir: Pansexual

Freyja: Pansexual, polyamorous

Hnoss: Bisexual, but has not yet realized it.

Laufey: Bisexual, polyamorous

Melinoe: Lesbian demigirl

Odin: Bisexual

Orpheus: Bisexual

Sigyn: Pansexual, polyamorous

PODCAST:

Eric Delano: Pansexual

Catherine Rice: Bisexual

Peter Lukas: Gay

Melanie King: Lesbian

SQUARE:

Astraea Lucis Caelum: Pansexual

Cyra Cross: Bisexual, nonbinary

Eraqus Kurosawa: Gay, gender non-conforming

Isa Cervantes: Gay

Kokoro: Kyriakou: Bisexual, nonbinary

Roxas: Baby bi

Steria Kyriakou: Bisexual

VIDEO GAMES:

Albel Nox: Bisexual (closeted), nonbinary

Aria Mahariel: Aspec, nonbinary, gender non conforming (by human standard)

Eva Portinari: Bisexual

Gwynevere: Pansexual, polyamorous

Azumaya Hana: Closeted bisexual

Nishitani Homare: Pansexual Disaster, Polyamorous

Inessa Briar: Bisexual

Lothric: Bisexual, polyamorous, nonbinary

Shalendra: Pansexual, polyamorous

Gensai Shizuka: Pansexal, genderfluid, polyamorous

Tanith: Pansexual, demiwoman

Zelda: Bisexual

Zevran Arainai: Pansexual, genderfluid

Edmond: Do you hear that? That’s the sound of peace and justice

Mercèdès: That’s the sound of people dying, Edmond

Без возврата [FANVID]

Fandoms: Le Comte de Monte-Cristo | Count of Monte Cristo - Alexandre Dumas, Dum - Fandom, DUMAS Alexandre - Works, Dumas - Fandom

Graphic Depictions Of Violence

Edmond Dantès/Mercédès Mondego

Edmond Dantès

Mercedes Hererra | Countess de Morcerf

Angst

Drama

Fanvids

Эдмон Дантес вернулся, Мерседес его узнала, но возврата к прежней жизни уже никогда не случится

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