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The Count of Monte Cristo (Penguin Classics) Paperback – May 27, 2003
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''Dumas was... a summit of art. Nobody ever could, or did, or will improve upon Dumas's romances and plays.'' --George Bernard Shaw
''(Audiobook narrator) John Lee imbues this classic with exactly the right balance of solemnity and compassion. His light accents for characters of various nationalities give them individual personalities without overdoing them in the slightest. Lee works with Dumas's text to give each character complexity and emotion. The listener regrets the stor's end, wishing to live with Edmund and his adventures just a little longer.'' --AudioFile
''Popular writers of contemporary action thrillers owe a debt of gratitude to Dumas, whose famous early-nineteenth-century protagonist, Edmond Dantés, is a loner and a vigilante, single-mindedly bent on redressing wrong and infinitely capable of achieving that end, no matter how extreme or wildly improbable the means. From the first page of the novel, Dumas separates the 'good guys' from the bad and pulls the reader into the drama, squarely on Edmond's side . . . (audiobook narrator) Lee's deep muscular voice works well for this swashbuckler . . . his reading is highly expressive, his pace brisk, his tone rich with foreboding.'' --Kliatt --This text refers to an alternate Paperback edition.
Text: English (translation)
Original Language: French --This text refers to an alternate Paperback edition.
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Top Customer Reviews
Short answer: see review title, duh!
The Count of Monte Cristo is my favorite book, and I've read several translations, both abridged and unabridged.
The Buss translation is the most modern, and reads most fluidly. A quick example comparing this translation with the one found on Project Gutenberg:
PG - His wife visited for him, and this was the received thing in the world, where the weighty and multifarious occupations of the magistrate were accepted as an excuse for what was really only calculated pride...
BUSS - His wife visited on his behalf; this was accepted in society, where it was attributed to the amount and gravity of the lawyer's business -- when it was, in reality, deliberate arrogance...
Buss's work reads like the book was written in English. The two or so times that the work is nearly untranslatable, Buss makes a footnote about it (eg, an insinuated insult using the formal "vous" instead of the familiar "tu"). Other translations just skip the subtlety. The most common translation out there (uncredited in my version) reads like a swamp. Trust me, get Buss.
ABRIDGED V UNABRIDGED
Abridged versions of this book rarely say "abridged." You can tell by the size: abridged is 500-700 pages, unabridged is 1200-1400 pages. Go for the unabridged.
The abridged version is VERY confusing! Pruning 1200 pages down to 600 leaves a lot of plot on the cutting room floor. Suddenly, arriving at dinner are 4 new characters; it's very tiring to try to keep up with the hole-ridden story of the abridged versions. And you know where the holes are? Publishers "clean up" the book by omitting the affairs, illegitimate children, homosexuality, hashish trips, etc.
As an added bonus in the Penguin Classics edition, there's a wonderful appendix bursting with footnotes to explain all the 19th century references, and a quick guide to the rise and fall of Napoleon (crucial to the politics in the story).
Hope this helps. Get the book and start reading!
Why Robin Buss' translation for Penguin Classics? That's a reasonable question since Alexandre Dumas has been dead long enough for his works to enter the public domain. Several translations of his major novels are not only available in cheaper editions (such as Barnes & Noble Classics), but for free on Project Gutenberg.
These are inferior and, in the case of THE COUNT OF MONTE CRISTO, censored translations. Most of them date back to the Victorian period, and render Dumas' evergreen French into English prose that feels old-fashioned and stilted today. Furthermore, because these are translations from the Victorian period, the translators filtered Dumas through their own moral sensibilities to give us Bowdlerized versions of a novel that ran on sex, drugs, and rock 'n roll a century before rock 'n roll was something you could do without a machine gun.
Robin Buss' unabridged translation comes directly from the original French and renders Dumas into fresh, readable modern English. Material previously omitted by Victorian-era translators such as Franz' hashish-fueled sexual fantasies and the strongly implied lesbian relationship between Eugenie and Louise remain intact and uncensored. As another reviewer pointed out, Buss will provide footnotes to explain subtleties that aren't easily translated from French to English, such as insults delivered by using the formal you (vous) rather than the informal/friendly/intimate you (tu).
A detailed appendix provides valuable historical and cultural context that aids the reader in understanding Dumas' masterpiece, and includes a primer on the rise, fall, return, and final downfall of Napoleon Bonaparte that is crucial to making sense of the politics driving the novel's plot.
If you cannot read Dumas in his native French, and you want a definitive English version, Robin Buss's unabridged and uncensored modern English translation is essential reading. No other translation will suffice.