By Alexandre Dumas
this can be a replica of a ebook released earlier than 1923. This booklet could have occasional imperfections
resembling lacking or blurred pages, bad photographs, errant marks, and so forth. that have been both a part of the unique artifact,
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Il Conte Di Monte-Cristo; [Biblioteca Romantica Illustrata]</p>
<p><author> Alexandre Dumas</p>
<publisher> E. Sonzogno, 1895</p>
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<p><b>Extra resources for Il conte di Montecristo</b></p>
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<p>Si veda per il duca d’Orléans il numero del 6 agosto, e per Victor Hugo si vedano tutti quelli usciti21. Partimmo per Livorno nel calesse da viaggio del principe; il cameriere sedeva a cassetta insieme al postiglione. Sette-otto ore dopo eravamo a Livorno. Poiché Livorno è una città tra le più barbose che vi siano al mondo, non appena fummo a Livorno sentimmo l’urgenza di ripartire e corremmo al porto per vedere se c’era qualche bastimento in partenza per Portoferraio. Non ce n’era nessuno e, quel che era peggio, nessuno sapeva dirci quando ve ne sarebbero stati. </p>
<p>Monsieur Dumas ha ceduto a monsieur Voss di Berlino il diritto di proprietà in Germania del Comte de Monte-Christo»47. Identico titolo si trova in apertura dei centoventidue fogli conservati al museo di Villers-Cotterêts, che non costituiscono, propriamente parlando, un manoscritto frammentario del romanzo (capp. XXXI-XXXVIII): il titolo (Le Comte de Monte-Christo) testimonia l’esitazione iniziale nella composizione dell’opera, e rivela un testo ancora in fase di lavorazione; al suo interno infatti, sotto cancellazioni di differente tratto e di diverso periodo è possibile individuare tre, se non quattro48, fasi successive che corrispondono a concezioni diverse dell’insieme. </p>
<p>Terza fase. Questa fase del manoscritto nasce dalla decisione presa da Dumas, in seguito ai consigli di Maquet, di «non trascurare il periodo più interessante della vita del [suo] eroe, ovvero gli amori con la catalana, il tradimento di Danglars e Fernand, e i dieci anni di prigionia insieme all’abate Faria», creando così un racconto nel racconto, necessariamente scorciato, che diventa la prima parte del romanzo. L’aggiunta di Marsiglia toglieva a Roma l’iniziale funzione di prologo; il lettore non incontrava per la prima volta un eroe misterioso perché senza passato, ma riconosceva in lui il conte di Montecristo. </p>
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