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The Count of Monte Cristo

Le Comte de Monte-Cristo

by Alexandre Dumas

A sailor jailed on his wedding day spends fourteen years in a fortress and the rest of the book taking Paris apart, one enemy at a time.

Published
1846
Era
Shelf rating
4.8

About Alexandre Dumas

Illustrated portrait of Alexandre Dumas
Alexandre Dumas

5 books shelved

The story, briefly

Spoiler-free

Edmond Dantès, a nineteen-year-old sailor from Marseille, is about to be made captain and to marry Mercédès when three envious men have him denounced as a Bonapartist agent. The prosecutor Villefort locks him in the Château d'If, the island fortress off Marseille, without a trial. In the prison Dantès meets the Abbé Faria, a learned Italian priest, who educates him and leaves him the secret of a treasure on the island of Monte Cristo. Dantès escapes after fourteen years, finds the treasure, and returns as the Count of Monte Cristo. The second half of the novel is his revenge, carried out in the Paris of 1838 against a banker, a general and a public prosecutor who have each grown rich on his ruin. Alexandre Dumas published the story in daily parts in the newspaper Journal des Débats between August 1844 and January 1846.[1][2]

The story, in more detail

Alexandre Dumas explained where the book came from in an essay he called the civil register of the Count of Monte Cristo, printed in his collected Causeries. In 1842 he sailed round the island of Elba with a young Bonaparte prince and asked to land on a bare island nearby called Monte-Cristo. Quarantine rules kept the party in the boat, so Dumas promised to give the island's name to a novel instead. For the story he turned to a twenty-page anecdote titled Le Diamant et la Vengeance in Jacques Peuchet's published memoirs from the Paris police archives. It tells of a man falsely denounced by his friends who returned years later to punish them.[3][4]

Dumas first planned a story set in Rome, then talked it over with Auguste Maquet, the former schoolteacher who had already worked with him on The Three Musketeers. In Dumas's own account the book grew from that conversation and was, in his words, finished in collaboration by Maquet and himself. The newspaper Journal des Débats printed the first instalment on its front page on 28 August 1844 and the last on 15 January 1846. The Paris publisher Pétion issued the novel as a book in eighteen volumes between 1845 and 1846.[3][5][2][6][7]

The novel moves from Marseille in 1815 to the Château d'If, then to the Italian coast and Rome, and settles in Paris from 1838. Dumas gives every important character a real street. The count buys the house at No. 30 on the Avenue des Champs-Élysées and a country house at No. 28 Rue de la Fontaine in Auteuil. The banker Danglars lives at No. 7 Rue de la Chaussée d'Antin, the Morcerf family at No. 27 Rue du Helder, the Morrels at No. 14 Rue Meslay, and the prosecutor Villefort in the Faubourg Saint-Honoré. The Opera, the Bois de Boulogne and the cemetery of Père-Lachaise each carry a chapter.[1]

The full plot

What happens, beginning to end — the ending included. Open when you're ready.

On 24 February 1815 the merchant ship Pharaon comes into Marseille without its captain, who has died at sea. The nineteen-year-old first mate Edmond Dantès has brought the ship home, and its owner Morrel promises him the captaincy. Dantès has also carried a letter from Elba, where Napoleon is in exile, to be delivered in Paris. Three men want him out of the way: Danglars, the ship's purser, who wants the captaincy; Fernand Mondego, a Catalan fisherman who wants Dantès's fiancée Mercédès; and Caderousse, a drunken neighbour who does nothing to stop them. Danglars writes an anonymous denunciation with his left hand. Dantès is arrested at his own betrothal feast.[1]

The deputy prosecutor Villefort sees at once that Dantès is harmless, until he reads the letter's address: it is meant for Villefort's own father, Noirtier, a Bonapartist. Villefort burns the letter and sends Dantès to the Château d'If without a trial. In the fortress Dantès is prisoner number 34. After years alone he hears digging, and the tunnel brings him the Abbé Faria, prisoner number 27, an Italian scholar the governor thinks mad. Faria teaches Dantès languages, science and history, works out from Dantès's own story who betrayed him, and confides the location of a treasure hidden by the Spada family on the island of Monte Cristo. When Faria dies, Dantès takes his place in the burial sack and is thrown into the sea.[1]

Dantès is picked up by smugglers, finds the treasure, and reappears under several names: Sinbad the Sailor, the Abbé Busoni, Lord Wilmore and the Count of Monte Cristo. He learns from Caderousse that his father died of hunger, that Mercédès married Fernand, and that Fernand is now the Count of Morcerf, Danglars a baron and banker, and Villefort the king's attorney in Paris. He saves the Morrel firm from bankruptcy anonymously. In Rome he rescues Albert de Morcerf, Fernand's son, from bandits, and Albert introduces him to Paris society in May 1838. From his house on the Champs-Élysées the count sets three separate traps. His tools are a false telegraph message, a poisoner inside the Villefort household, a young convict passed off as an Italian nobleman, and a Greek slave girl named Haydée, whose father Fernand betrayed.[1]

How it ends — spoilers aheadThe final movement, ending included. Open when you're ready.

The three revenges land in Chapters 86 to 116, and the book tells each one to the end. Haydée testifies before the Chamber of Peers that Fernand sold her father, Ali Pasha of Yanina, to the Turks. Mercédès and Albert leave Fernand, and as their carriage crosses the gateway a pistol shot is heard from his bedroom. Villefort's second wife poisons four members of the household, and when Villefort, who has just prosecuted a murder trial, orders her to kill herself, she takes their small son with her. The convict in the dock has meanwhile named Villefort as the father who buried him alive at Auteuil. The count finds Villefort digging in his garden for the child and says out loud that the man is mad. Danglars, who has fled to Rome with five million francs stolen from the hospitals, is held in the catacombs by the bandit Luigi Vampa and charged a hundred thousand francs for each meal until he repents. The count reveals his name, forgives him, and lets him go with his hair turned white.

The count has hidden Valentine de Villefort, apparently poisoned, on the island of Monte Cristo, and on 5 October he reunites her with Maximilien Morrel there. His farewell letter tells Morrel that there is neither happiness nor misery in the world, only the comparison of one state with another, and that all human wisdom is summed up in the words Wait and hope. The novel ends with Valentine and Maximilien watching the count's white sail disappear, Haydée beside him.

Themes and analysis

These readings discuss events throughout the book, including its ending.

Chapters that stop at the worst possible moment

The Journal des Débats printed the novel a few columns at a time along the bottom of its front page, and Alexandre Dumas built the chapters for that space. Chapter 5, the betrothal feast, ends when a police commissary walks in and arrests the bridegroom. Chapter 7 ends with Villefort holding the letter that could destroy his own career over the fire. Chapter 20 ends with a single line after Dantès is thrown from the cliff with a thirty-six-pound shot tied to his feet: the sea is the cemetery of the Château d'If. A reader who bought the next day's paper was buying the answer to a question the last column had asked.

The same habit shapes the revenges at the far end of the book. Chapter 92 closes with the sound of a pistol shot and smoke breaking a window pane, and does not say who fired it. Chapter 111 closes on the count's own words about Villefort, that he is mad, and on the count's first doubt about whether he had the right to do what he has done. Dumas rarely ends a chapter on a quiet scene. He ends it on a door opening, a shot, a name spoken, or a man with a spade, and the next chapter often starts somewhere else entirely so the reader has to wait longer still.

Dumas, Auguste Maquet and a story from the police archive

Alexandre Dumas was unusually open about how the book was made. In the essay he printed later in his Causeries, he says the seed was an anecdote of about twenty pages in Jacques Peuchet's memoirs from the police archives, titled Le Diamant et la Vengeance. He also says that his first plan was a story set in Rome, and that he had written part of it before he described the plan to Auguste Maquet, with whom he had already worked. Dumas records that Maquet thought he had simply done him a favour, and that the novel then grew and, in Dumas's words, was finished in collaboration by Maquet and himself.

Maquet was a former schoolteacher, born in Paris in 1813, whom the poet Gérard de Nerval had introduced to Dumas in 1839. The Larousse encyclopedia credits him with the research and preparatory work on most of Dumas's large historical novels, this one included, and on their stage versions. Only Dumas's name appeared on the covers, and the arrangement ended in 1856 after Maquet sued over money he was owed. The Société des Amis d'Alexandre Dumas lists Maquet as the collaborator on Monte Cristo and on the four-play stage adaptation the two men made of it.

What the revenge does with time

The novel gives exact dates and then makes the reader feel the gap between them. The Pharaon docks on 24 February 1815. Albert de Morcerf's breakfast in Paris is fixed for 21 May, and a guest names the year as 1838. Between those dates lie fourteen years in a cell, told in seven chapters that move by small units: the number of paces across the floor, the days between visits, the months a tunnel takes. When Dantès comes out, the men who ruined him have had the same years to become rich, and the count's whole method is to make them spend those years again, backwards.

The revenge itself runs on controlling the speed of news. In Chapters 60 and 61 the count visits a telegraph tower, the line of semaphore stations that carried government messages across France, and pays the operator to send a false report that the Spanish pretender Don Carlos has escaped. Danglars sells his Spanish bonds on the strength of it and loses five hundred thousand francs in a day. Where the count wants slowness, he supplies it: a pretended death for Valentine that lasts weeks, and a starvation in the catacombs measured out by the day. The last chapter is dated 5 October and ends with a letter that turns waiting into the book's moral.

The Paris the count buys his way into

Dumas gives his Paris characters house numbers, which was unusual in a novel of the period. The count tells Albert that his own address is No. 30, Avenue des Champs-Élysées, then a district of new mansions at the edge of the city. His steward Bertuccio buys him a country house at No. 28 Rue de la Fontaine in Auteuil, and the count chooses it because Villefort once buried a newborn child in its garden. Albert lives with his parents at No. 27 Rue du Helder, near the boulevards. Danglars keeps his bank and his household at No. 7 Rue de la Chaussée d'Antin, which a character calls the real centre of Paris. The Morrels, the honest family from Marseille, live at No. 14 Rue Meslay in the Marais. Villefort's house stands on the Faubourg Saint-Honoré.

Public Paris carries the turning points. At the Opera, during a performance of Meyerbeer's Robert le Diable in Chapter 53, the count shows Haydée to the city for the first time. Albert challenges the count in a box at the same theatre in Chapter 88. The duel is fixed for the Bois de Boulogne in Chapter 90, and it is there, at eight in the morning, that Albert apologises in front of the seconds because his mother has told him the truth. Valentine's apparent funeral in Chapter 105 goes to the cemetery of Père-Lachaise, and Maximilien Morrel follows the hearse there on foot. None of these places is decoration. Each one is where a character learns who the count is.

Quotes from The Count of Monte Cristo

Quoted verbatim from the text, each line verified against its source.

until the day when God shall deign to reveal the future to man, all human wisdom is summed up in these two words,—‘Wait and hope.’
— The count's farewell letter to Maximilien Morrel · Alexandre Dumas, The Count of Monte Cristo (1846), Chapter 117, anonymous nineteenth-century translation
There is neither happiness nor misery in the world; there is only the comparison of one state with another, nothing more. He who has felt the deepest grief is best able to experience supreme happiness.
— The count's farewell letter to Maximilien Morrel · Alexandre Dumas, The Count of Monte Cristo (1846), Chapter 117, anonymous nineteenth-century translation
I wish to be Providence myself, for I feel that the most beautiful, noblest, most sublime thing in the world, is to recompense and punish.
— The Count of Monte Cristo, to Villefort · Alexandre Dumas, The Count of Monte Cristo (1846), Chapter 48, anonymous nineteenth-century translation

All 7 The Count of Monte Cristo quotes →

Why we recommend it

  1. The revenge is engineered, not improvised

    Three enemies, three separate traps, each fitted to the man's own vice: money for the banker, honour for the soldier, the law for the prosecutor. The count sets them running in Paris and waits.

  2. The prison chapters are the best thing Dumas wrote

    Fourteen years in the Château d'If take seven chapters. The tunnel, the lessons, the treasure map and the burial sack are told so plainly that the escape still works on a reader who knows it is coming.

  3. Paris with house numbers

    The Champs-Élysées, Auteuil, the Chaussée d'Antin, the Rue du Helder, the Opera, the Bois de Boulogne and Père-Lachaise. Dumas maps the city of 1838 street by street, and the addresses are in the text.

  4. Dumas explains how he made it

    His own essay names the police-archive anecdote, the island he saw from a boat in 1842, and the conversation with Auguste Maquet that changed the plan. Few novels of the period come with their own workshop notes.

What this book explores

The people in its pages

The cast is invented. Napoleon and Louis XVIII appear briefly in Chapters 10 and 11, and Ali Pasha of Yanina, whom Haydée's story describes, was a real ruler; nobody else in the book existed.[1]

  • Edmond Dantès

    The sailor betrayed on his wedding day, and the count who comes back fourteen years later under four different names.

  • Mercédès

    The Catalan girl Dantès was to marry, who becomes the Countess of Morcerf and recognises him the moment he walks into her house.

  • Fernand Mondego, Count of Morcerf

    The Catalan fisherman who posts the denunciation, marries Mercédès, and rises to general and peer of France on a betrayal in Greece.

  • Danglars

    The ship's purser who writes the denunciation, and the banker whose fortune the count takes apart with a telegraph and a bill of fare.

  • Gérard de Villefort

    The deputy prosecutor who burns the letter and jails Dantès to protect his own career, and the king's attorney whose house the count fills with poison.

  • The Abbé Faria

    The Italian priest in the next cell, called mad by the governor, who educates Dantès and leaves him the treasure of Monte Cristo.

  • Noirtier de Villefort

    Villefort's father, a Bonapartist conspirator, paralysed by 1838 and able to speak only with his eyes, who breaks off Valentine's engagement and, by dosing her with his own medicine, makes her able to survive the poison.

  • Valentine de Villefort

    Villefort's daughter, in love with Maximilien Morrel and promised to someone else, whose apparent death is the count's last trick.

  • Eugénie Danglars

    The banker's daughter, a musician who refuses every marriage her father arranges and leaves Paris disguised as a man.

  • Bertuccio

    The count's Corsican steward, who once stabbed Villefort in the garden at Auteuil; his sister-in-law Assunta raised the child he found there.

  • Andrea Cavalcanti, called Benedetto

    A young convict presented to Paris as an Italian prince, engaged to Eugénie Danglars, and in truth the child buried at Auteuil.

  • Luigi Vampa

    The Roman bandit chief who kidnaps Albert in the catacombs and later keeps Danglars there on the count's instructions.

Also in the book

  • Maximilien Morrel

    The shipowner's son, an army captain, whom the count treats as the one person in Paris he owes something to.

  • Haydée

    The daughter of Ali Pasha of Yanina, bought by the count at a slave market, whose testimony destroys Fernand.

  • Albert de Morcerf

    Fernand and Mercédès's son, kidnapped by bandits in Rome, who brings the count into Paris and then challenges him.

  • Gaspard Caderousse

    The tailor next door who watched the denunciation being written and said nothing, later an innkeeper, a thief and a murderer.

Bring it to book club

  • The count says in Chapter 48 that he wishes to be Providence himself. Does the novel agree with him by the end, or does the last chapter withdraw that claim?
  • Mercédès recognises Edmond Dantès in Chapter 41 and says nothing for most of the book. What does her silence cost, and whom does it protect?
  • Dumas gives each enemy a punishment that fits his crime. Which of the three seems just to you, and which seems only cruel?
  • Haydée is bought at a slave market and ends the book as the count's companion. How does the novel ask you to read that relationship, and do you accept the reading?
  • The chapters were written to end on a hook for the next day's paper. Where does that habit help the story, and where does it stretch it?

A complete discussion guide is on our editorial calendar. Join the letter to hear when it ships.

Timeline

  1. 1842

    Alexandre Dumas sails past the island of Monte-Cristo near Elba with a young Bonaparte prince and promises to name a novel after it, by his own later account.

  2. August 28, 1844

    The Journal des Débats prints the first instalment of Le Comte de Monte-Cristo on its front page.

  3. January 15, 1846

    The Journal des Débats prints the last instalment.

  4. 1845–1846

    Pétion publishes the novel in Paris as a book in eighteen volumes.

  5. 1847

    Dumas names the house he has built at Port-Marly, west of Paris, the Château de Monte-Cristo.

  6. 1848

    The stage version by Dumas and Auguste Maquet is published; the adaptation eventually runs to four plays, the last in 1851.

  7. September 7, 1934

    Reliance Pictures releases the Hollywood film directed by Rowland V. Lee, with Robert Donat as Edmond Dantès.

  8. January 25, 2002

    Touchstone and Spyglass release Kevin Reynolds's film, with Jim Caviezel as Edmond and Guy Pearce as Fernand.

  9. 2024

    The French film by Matthieu Delaporte and Alexandre de La Patellière is shown out of competition at the Festival de Cannes.

Book editions

Hardcover
Hardcover
French
Pétion
1846
First book edition, Paris, eighteen volumes issued between 1845 and 1846, after the newspaper serial that ran from 28 August 1844 to 15 January 1846.
Paperback edition cover
Paperback
Penguin Classics
2003
ISBN-13
9780140449266
Translated by
Robin Buss
Robin Buss's 1996 translation, in copyright, with his introduction and notes. The publisher describes it as unabridged; 1,312 pages. The edition to read if you want the complete book in modern English.
Paperback edition cover
Paperback
Oxford World's Classics
2008
ISBN-13
9780199219650
Edited by David Coward. The publisher describes it as a newly revised, unabridged translation that updates the classic nineteenth-century translation against the original serialisation; 1,136 pages.
Paperback edition cover
Paperback
Modern Library
2002
ISBN-13
9780375760303
Introduction by Lorenzo Carcaterra, with a reading-group guide. The publisher names no translator. At 1,488 pages it runs longer than the complete Penguin text.
Paperback edition cover
Paperback
Bantam Classic
1984
ISBN-13
9780553213508
Translated by
Lowell Bair
Abridged. Lowell Bair translated and cut the novel; Open Library lists the 1984 printing at 441 pages, a third of the complete book. Many cheap paperbacks descend from this text.

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The Count of Monte Cristo: frequently asked questions

Is The Count of Monte Cristo based on a true story?

Partly. Alexandre Dumas said the seed was an anecdote of about twenty pages, Le Diamant et la Vengeance, in Jacques Peuchet's memoirs drawn from the Paris police archives, about a man denounced by friends who came back to punish them. The characters, the prison and the treasure are Dumas's own.

How long is the novel?

The complete book has 117 chapters. The Penguin Classics translation runs to about 1,300 pages and the Oxford World's Classics text to about 1,100. Any edition under 600 pages is abridged.

Which English translation should I read?

Robin Buss's Penguin Classics translation of 1996 is complete and in modern English, but it is in copyright. The Oxford World's Classics edition prints a revised, unabridged version of the nineteenth-century translation. The free Project Gutenberg text is the older anonymous translation, also complete, and it is the one quoted here.

Where does Wait and hope come from?

From the last chapter. The count writes it in his farewell letter to Maximilien Morrel, and Valentine repeats it in the book's final line as the two watch his sail disappear.

Is the Château d'If a real place?

Yes. It is a sixteenth-century fortress on a small island in the bay of Marseille, used for centuries as a prison. It can be visited by boat from the Old Port, and the novel is the reason most visitors go.

Is Monte Cristo a real island?

Yes. Montecristo is a small island between Corsica and the Tuscan coast, south of Elba. Dumas sailed past it in 1842 and, he said, chose the name for the novel before he had a story.

How much of the book is set in Paris?

Roughly the second half. The count arrives in May 1838, and from Chapter 39 to Chapter 111 the action stays in the city: the Champs-Élysées, Auteuil, the Chaussée d'Antin, the Rue du Helder, the Opera, the Bois de Boulogne and Père-Lachaise.

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References

References

The sources below include the primary text, editions, scholarship, archival materials, and other records that informed this page. They document The Count of Monte Cristo, its publication, and its place in literary history.

  1. 1abcdefThe Count of Monte Cristo (anonymous nineteenth-century English translation)

    Novel
    Project Gutenberg, eBook no. 1184
    Used for

    The primary text for the plot, the character guides, the Paris addresses and every quotation, in the anonymous nineteenth-century English translation.

    View source

  2. 2abJournal des débats politiques et littéraires, 28 August 1844 (first instalment of Le Comte de Monte-Cristo)

    Periodical
    Gallica, Bibliothèque nationale de France, 1844
    Used for

    The newspaper issue with the first instalment, in Gallica's full-text search: the title appears on page one, in the feuilleton.

    View source

  3. 3abCauseries, vol. 1 (including État civil du Comte de Monte-Cristo)

    Essays
    Gallica, Bibliothèque nationale de France, 1857
    Used for

    Dumas's own account of the book's origin: the 1842 voyage, the island, Peuchet's anecdote, the first plan for a Roman story, and the conversation with Auguste Maquet.

    View source

  4. 4↑Mémoires tirés des archives de la police de Paris, pour servir à l'histoire de la morale et de la police, depuis Louis XIV jusqu'à nos jours

    Nonfiction
    Gallica, Bibliothèque nationale de France, 1838
    Used for

    The police-archive memoirs Dumas names as his source; Gallica's record is for the first volume of the set. The anecdote Le Diamant et la Vengeance is cited from Dumas's description of it.

    View source

  5. 5↑Auguste Maquet

    Website
    Encyclopédie Larousse
    Used for

    Maquet's dates, his introduction to Dumas by Gérard de Nerval in 1839, his research role on the novels, and the lawsuit that ended the partnership in 1856.

    View source

  6. 6↑Journal des débats politiques et littéraires, 15 January 1846 (last instalment of Le Comte de Monte-Cristo)

    Periodical
    Gallica, Bibliothèque nationale de France, 1846
    Used for

    The issue carrying the final scene, Valentine and Morrel after the count has gone, which fixes the serial's last day.

    View source

  7. 7↑Bibliographie des œuvres d'Alexandre Dumas (first editions)

    Website
    Société des Amis d'Alexandre Dumas
    Used for

    First editions: Pétion, Paris, 1845 to 1846, eighteen volumes; the 1848 drama published by Tresse.

    View source

  8. 8Le Comte de Monte-Cristo

    Website
    Encyclopédie Larousse
    Used for

    The encyclopedia's summary entry for the novel.

    View source

  9. 9Roman-feuilleton — définition

    Website
    Dictionnaire de français Larousse
    Used for

    The definition of the newspaper serial novel as a form.

    View source

  10. 10Le Comte de Monte-Cristo (Dictionnaire des œuvres)

    Website
    Société des Amis d'Alexandre Dumas
    Used for

    The Société des Amis d'Alexandre Dumas entry: dates, Maquet as collaborator, the span of the story from 1815 to 1839.

    View source

  11. 11Monte-Cristo, Le Comte de Morcerf, Villefort: the stage adaptation (Dictionnaire des œuvres)

    Website
    Société des Amis d'Alexandre Dumas
    Used for

    The stage adaptation in four plays by Dumas and Maquet, 1848 to 1851.

    View source

  1. 12Alexandre Dumas

    Website
    Château de Monte-Cristo, Le Port-Marly
    Used for

    The house at Port-Marly named after the novel.

    View source

  2. 13The Count of Monte Cristo (1934), AFI Catalog of Feature Films

    Website
    American Film Institute
    Used for

    Release date, director, cast and production company of the 1934 film.

    View source

  3. 14The Count of Monte Cristo (2002), AFI Catalog of Feature Films

    Website
    American Film Institute
    Used for

    Release date, director, cast and production companies of the 2002 film.

    View source

  4. 15Le Comte de Monte-Cristo (2024), Official Selection, Out of Competition

    Website
    Festival de Cannes, 2024
    Used for

    The 2024 French film's directors and its Out of Competition screening.

    View source

  5. 16The Count of Monte Cristo, translated by Robin Buss (Penguin Classics, 2003), publisher page

    Website
    Penguin Random House
    Used for

    The Penguin Classics edition: Robin Buss as translator, unabridged, ISBN and page count.

    View source

  6. 17The Count of Monte Cristo, Oxford World's Classics (2008), edition description

    Website
    Schuler Books, carrying the Oxford University Press description
    Used for

    The Oxford World's Classics description: David Coward, revised unabridged translation, page count.

    View source

  7. 18The Count of Monte Cristo, Modern Library Classics (2002), edition description

    Website
    Parnassus Books, carrying the Modern Library description
    Used for

    The Modern Library description: Lorenzo Carcaterra's introduction, page count; no translator named.

    View source

  8. 19The Count of Monte Cristo, translated by Lowell Bair (Bantam Classic), catalogue record

    Website
    WorldCat
    Used for

    The library record naming Lowell Bair as translator of the Bantam Classic text.

    View source

  9. 20The Count of Monte Cristo, edition records (Penguin 2003, Oxford 2008, Modern Library 2002, Bantam 1984)

    Website
    Open Library
    Used for

    ISBN, publisher, year and page-count checks for the Penguin, Oxford, Modern Library and Bantam editions, including the 441-page Bantam printing.

    View source

  10. 21The Count of Monte Cristo

    Novel
    Alexandre Dumas, 1846
    Used for

    The primary text represented by this page, used for descriptions of the work’s contents and for any quoted passages shown here.

i
Why these sources are here

The primary text is the baseline reference for every book page. Additional references document publication history, interpretation, and historical context where that evidence is available.

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