Alexandre Dumas

The Man in the Iron Mask

• Gebundenes Buch

Produktbeschreibung

Since Aramis's singular transformation into a confessor of the order, Baisemeaux was no longer the same man. Up to that period, the place which Aramis had held in the worthy governor's estimation was that of a prelate whom he respected and a friend to whom he owed a debt of gratitude; but now he felt himself an inferior, and that Aramis was his master. He himself lighted a lantern, summoned a turnkey, and said, returning to Aramis, "I am at your orders, monseigneur." Aramis merely nodded his head, as much as to say, "Very good"; and signed to him with his hand to lead the way. Baisemeaux advanced, and Aramis followed him. It was a calm and lovely starlit night; the steps of three men resounded on the flags of the terraces, and the clinking of the keys hanging from the jailer's girdle made itself heard up to the stories of the towers, as if to remind the prisoners that the liberty of earth was a luxury beyond their reach. It might have been said that the alteration effected in Baisemeaux extended even to the prisoners. The turnkey, the same who, on Aramis's first arrival had shown himself so inquisitive and curious, was now not only silent, but impassible. He held his head down, and seemed afraid to keep his ears open. In this wise they reached the basement of the Bertaudiere, the two first stories of which were mounted silently and somewhat slowly; for Baisemeaux, though far from disobeying, was far from exhibiting any eagerness to obey. On arriving at the door, Baisemeaux showed a disposition to enter the prisoner's chamber; but Aramis, stopping him on the threshold, said, "The rules do not allow the governor to hear the prisoner's confession."Baisemeaux bowed, and made way for Aramis, who took the lantern and entered; and then signed to them to close the door behind him. For an instant he remained standing, listening whether Baisemeaux and the turnkey had retired; but as soon as he was assured by the sound of their descending footsteps that they had left the tower, he put the lantern on the table and gazed around. On a bed of green serge, similar in all respect to the other beds in the Bastile, save that it was newer, and under curtains half-drawn, reposed a young man, to whom we have already once before introduced Aramis. According to custom, the prisoner was without a light. At the hour of curfew, he was bound to extinguish his lamp, and we perceive how much he was favored, in being allowed to keep it burning even till then. Near the bed a large leathern armchair, with twisted legs, sustained his clothes. A little table-without pens, books, paper, or ink-stood neglected in sadness near the window; while several plates, still unemptied, showed that the prisoner had scarcely touched his evening meal. Aramis saw that the young man was stretched upon his bed, his face half concealed by his arms. The arrival of a visitor did not caused any change of position; either he was waiting in expectation, or was asleep.

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Produktdetails

• Verlag: Simon & Brown
• Seitenzahl: 580
• Erscheinungstermin: 30. September 2018
• Englisch
• Abmessung: 235mm x 157mm x 38mm
• Gewicht: 1081g
• ISBN-13: 9781613825587
• ISBN-10: 1613825587
• Artikelnr.: 54298965

Autorenporträt

Alexandre Dumas, born Dumas Davy de la Pailleterie; 24 July 1802 - 5 December 1870), was a French writer. His works have been translated into nearly 100 languages, and he is one of the most widely read French authors. Many of his historical novels of high adventure were originally published as serials, including The Count of Monte Cristo, The Three Musketeers, Twenty Years After, and The Vicomte de Bragelonne: Ten Years Later. His novels have been adapted since the early twentieth century for nearly 200 films. Prolific in several genres, Dumas began his career by writing plays, which were successfully produced from the first. He also wrote numerous magazine articles and travel books; his published works totalled 100,000 pages. In the 1840s, Dumas founded the Théâtre Historique in Paris. The English playwright Watts Phillips, who knew Dumas in his later life, described him as "the most generous, large-hearted being in the world. He also was the most delightfully amusing and egotistical creature on the face of the Earth. His tongue was like a windmill - once set in motion, you never knew when he would stop, especially if the theme was himself."