The Three Musketeers character study. Character trait of the cunning Milady crossword clue

Milady is one of the main characters in Alexandre Dumas's novel The Three Musketeers. In the past, she bore the name of Countess de La Fère, was the wife of Athos, whom he, seeing the mark of a criminal on her shoulder, hung. However, Milady managed to escape, and she became a confidant of Cardinal Richelieu, and therefore an enemy of the musketeers.

On the pages of the novel, the musketeers successfully destroy her cunning plans.

But still, Milady faces inevitable death because she killed Constance Bonacieux, d’Artagnan’s beloved. Musketeers execute Milady in a remote place

Armentières. This woman, cunning, heartless and intelligent, is not stopped by anything; she strives to fulfill her plans and carry out Richelieu’s political intrigues at any cost.

She has absolutely no remorse when she, taking advantage of her angelic appearance, seduces and sends to certain death the fanatic Felton, since she received orders from Richelieu to kill the Duke of Buckingham. For this murder, the cardinal promised Milady to allow reprisals against d'Artagnan. She mercilessly kills Constance with poison, who upset Richelieu's plans. Milady cleverly uses the cardinal for her own purposes, copes

With the most dangerous situations and always achieves what he wants with the help of dirty intrigues and atrocities.

The image of Milady contrasts sharply with the images of the main characters - the noble musketeers. She has only negative qualities.

Dumas presented Milady as a heroine-villain who provokes danger for the main characters. In the conditions she created, the musketeers get the opportunity to demonstrate their fearlessness and endurance. Milady involves the musketeers in endless adventures; together with Richelieu, she forms the background against which the undoubted merits of these heroes stand out even more clearly.

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Milady is the former Countess de La Fère, the wife of Athos, whom he hanged after seeing the mark of a criminal on her shoulder. However, M. escaped and became a confidant of Cardinal Richelieu, that is, the mortal enemy of the musketeers. Throughout the novel, they successfully cope with her cunning plans, and in the end, after M. kills d’Artagnan’s beloved Constance Bonacieux, […]...
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The image and characteristics of Milady based on the novel The Three Musketeers (Dumas Alexander)

Alexandre Dumas's novel "The Three Musketeers" (French: Les trois mousquetaires), published in 1844, is the most popular novel all over the world. D'Artagnan is one of the most beloved heroes among a huge number of readers. In the Internet resource NKRYA (National Corpus of the Russian Language), I found that in Russian literature of the 19th and 20th centuries, the name of D. Artagnan only in the nominative and genitive case is mentioned 100 times, and the word “musketeer” - as many as 437 times!

The purpose of this work is to find out how Alexandre Dumas created the image of D'Artagnan, to find lines in the novel that indicate his character traits, and also, using some elements of linguistic analysis, to trace what linguistic means the author used when characterizing his hero.

Who are the musketeers?

First of all, let's talk about the title of the novel. The origin of the word "musketeer" is associated with the name of the weapon - "musket", which was invented in the 16th century in Spain, and the word "musket" (French mousquet) passed into Russian from French.

While the heavy artillery was just turning towards the enemy, the position was taken by mobile musketeers, they placed a musket in a stand with a fork, took aim, fired and ran forward to a new position, they only needed to reload the musket. In addition to the musket, the musketeers also used the sword and became famous as skilled fencers. They inflicted mostly piercing rather than chopping wounds.

In the 16th century, each infantry company had 10 musketeers, and by the 17th century, the kings of Europe almost completely replaced the infantry with them. Under the French king Louis 13, part of the guards cavalry, which consisted only of nobles and was the king's retinue, began to be called the royal musketeers. They differed in the color of their clothes: raincoats were gray, red, blue. It was about the musketeers in blue cloaks that A. Dumas wrote his novel.

In modern Russian, the word “musketeer” has not only the direct meaning that we discussed above, but also a figurative one. When someone is called a musketeer, they usually mean certain character traits of this person: courage, loyalty, nobility (that is, the main traits of D'Artagnan and his friends).

Historical sources of the novel. Prototypes of D'Artagnan

In the preface to his book, Dumas wrote that the novel was based on the events described in the memoirs published in 1700 in Cologne, “Memoirs of Monsieur D’Artagnan, Lieutenant-Commander of the First Company of the Royal Musketeers” (the author of this publication was the historian Gasien de Courtis de Sandra, his book was published 50 years after the death of the author of the memoirs, D'Artagnan). Dumas took this book from the Marseille Municipal Library and never returned it, despite letters from the library reminding him to return the book.

Port (valet of Anne of Austria), the collection “Political and gallant intrigues of the French court,” as well as many other memoirs of the 17th century.

Among the heroes of Dumas' novel there are people who actually lived at that time: King Louis

13, Queen Anne of Austria, Cardinal and First Minister of France Richelieu, the British Duke of Buckingham, Captain de Treville, Monsieur de La Porte, etc., as well as fictional characters, among whom the main character D'Artagnan, his friends the musketeers Athos, Porthos and Aramis stand out , as well as Milady Winter, Count Rochefort, Constance Bonacieux and others.

The image of D'Artagnan in the novel "The Three Musketeers" was created on the basis of three real people.

Firstly, it was Charles de Batz-Castelmare, Count D'Artagnan, who lived in 1613-1673, a Gascon and musketeer, a brave military man and a clever mediator in palace intrigues, who died during the siege of Maastricht, like the hero Dumas. (But he did not live in the era of Richelieu, as in the novel, but under Richelieu’s successor, Mazarin).

Another prototype is Pierre de Montesquiou, Count D'Artagnan, who died in 1725. He bore the title of Marshal of France, like the hero of the novel.

The third D Artagnan is Paul, the brother of Charles de Batz (the first prototype we mentioned).

It is interesting that all three prototypes lived at different times, and their fates could not be in contact with the events described in the novel.

The character of D'Artagnan in the novel by A. Dumas

First of all, D'Artagnan is brave: he offers a duel to almost everyone he meets, fighting with the highly experienced swordsman de Jussac, “he did not feel a shadow of fear”; he voluntarily participates in the battles of the musketeers with the cardinal’s guards; rushes to the aid of Madame Bonacieux, causing four people to flee; he is happy to go on dangerous reconnaissance (during the siege of La Rochelle), etc.

He is attentive and observant: “he caught with the speed of the subtlest observer”; “I looked with all my eyes and listened eagerly, just so as not to miss anything.”

Our hero is sometimes modest “he was held back by youthful modesty”; “modestly told me his name.” However, at the same time, he is also boastful: “Gascon boasting” (Rochfort’s words; “woe to the one who tries to steal it (the letter) from me! - this boasting brought a smile to de Treville’s lips."

The Gascon is sensitive: when saying goodbye to his mother, “he shed many tears, which he only managed to half hide.”

D'Artagnan is amorous: he is fascinated by Milady's beauty, falls in love with Constance Bonacieux, and begins an affair with Milady's maid Katie.

The young Gascon is an optimist, a self-confident person: “pleased with his behavior, unrepentant of the past, believing in the present and full of hope for the future,” “he was inclined to approve rather than condemn what was happening around him.” At the same time, he feels embarrassment, uncertainty, and fear of the powers that be: “smiling the pitiful smile of a provincial trying to hide his embarrassment,” “I felt awkward and funny”; “on the landing D’Artagnan blushed, and in the reception room (de Treville) he trembled.”

He is persistent and even stubborn: “with the persistence characteristic of a Gascon,” “the stranger did not yet know what kind of stubborn person he was dealing with.”

D'Artagnan "was by nature very curious."

However, in the character of D'Artagnan, I noticed several features that the author, I think, emphasizes.

He is ardent, everything he does, he does with passion: “this one is obsessed”; “This is a real devil!”; "ardent young man"; “his speech breathed with heat”; “he fought like an angry tiger.”

Of course, he is smart: “his gaze is open and intelligent”; “this smile showed M. de Treville that he was by no means a fool”; “He is undoubtedly smart,” thought Athos”; “I always said that D’Artagnan is the smartest of the four of us,” said Athos”; “This Gascon is unusually smart! - Porthos exclaimed with admiration.” In addition, he is also witty: he jokes about Porthos’ golden baldric, etc.

D'Artagnan admires the musketeers, he is a loyal friend: the famous motto of the musketeers is “All for one, one for all!” belongs to him; he “remained a most devoted friend”; together with his friends he stands guard, shares money and food with them, rushes to help in the battle with the guards, seeing that the musketeers are in the minority and Athos is wounded, etc. (there are many examples here).

He is honest and sincere: “his speech breathed with heat and sincerity, which charmed de Treville” (p. 42); “such sincerity evoked admiration”; “answered with complete directness.”

D'Artagnan is proud, sometimes this pride reaches the point of arrogance, arrogance: “he fixed his proud gaze on the stranger”; “gathering his last strength, he scolded and demanded satisfaction”; “D’Artagnan was not the type to ask for mercy”; "prince of blood in disguise"; “with the aplomb characteristic of a Gascon” (p. 24); “he stood up proudly, making it clear with his entire appearance that he was not asking for alms from anyone.”

In addition, D'Artagnan is quick-tempered and irritable: “he perceived every smile as an insult and every glance as a challenge”; “even a slight smile was enough to infuriate our hero”; “eyes that burned not so much with pride as with anger”; “unfortunately, anger blinded him more and more every minute”; “exclaimed the Gascon in rage”; “gesticulated furiously”; “made a furious attack”; "in the heat of anger"; “got into such a rage”; “the passionate hatred that the young man expressed”; “the young man suddenly shuddered and, flushed with anger, rushed out of the office with a furious cry”; “entered with a face distorted with anger.” In the novel, I often came across such keywords as anger, fury, fury, hatred.

As for D’Artagnan’s speech, he can be polite: “who bowed to him almost to the ground,” “he said with extreme courtesy,” often asks for an apology, in conversation he usually (even in relation to enemies) uses the expression “sir,” “dear sir”, “my dear friend”, “deign to say”, “I am deeply grateful to you”, “you have done me an honor”, etc. However, he also utters picturesque curses like: “a thousand devils!”, “damn take it!”, “be silent, you ass!”, “coward,” “scoundrel,” “self-proclaimed nobleman,” “scoundrel,” etc. D Artagnan is eloquent, uses comparisons and metaphors: “a name like yours should have serve as a shield for me on the way,” “he disappeared like a shadow, like a ghost.”

Linguistic analysis of some parts of speech used by Dumas in the first chapters of the novel to characterize D'Artagnan

Carefully re-reading Dumas's novel, I noticed that the author quite often uses such parts of speech as adjectives. I wrote down adjectives related to D'Artagnan (along with nouns) from the first two chapters of the novel, and this is what I came up with.

Long dark (face); open and intelligent (look); hooked but finely defined (nose); too tall (height); good (rider); (look) funny; heavy (sigh); iron (calves) and steel (grip); proud (look); subtlest (observer); proud and arrogant (phrases); rude words); mad (gestures); indignant (young man); impudent (boy) - my lady's words; ardent (youth); risky (answer); heroic (dream); kind (provincial); with a beating (heart); pathetic (smile); lively and bold (imagination); great (surprise), etc.

We see that to vividly characterize the main character of the novel, A. Dumas widely uses adjectives that help to better introduce D'Artagnan and thereby interest the reader in the personality of the main character.

In order to better understand by what linguistic means the author of the novel achieves his goal when characterizing the characters, I decided to count and compare the speaking verbs used by D'Artagnan and Rochefort in Chapter 1, where they are the main characters.

D'Artagnan (he speaks to Rochefort and the innkeeper):

Screamed, exclaimed, exclaimed, exclaimed, screaming, shouted, exclaimed, screamed, continuing to scream, whispered (before fainting), shouted, screamed, exclaimed, answered, continued, screamed, uttered, asked again, exclaimed - a total of 19 verbs.

Rochefort (he speaks to D'Artagnan, the innkeeper and my lady):

Answered, continued, said, asked again, exclaimed, added, muttered, murmured, asked, asked again, exclaimed, noticed, spoke, muttered through his teeth, said, continuing to whisper something to himself, asked again, said, shouted (to the servant) - in total 19 verbs.

As we can see, the verbs characterizing the emotionality of the characters’ speech turned out to be

D Artagnan and Rochefort 19 each, that is, the same number. This means that neither of them is more talkative (or more silent) than the other. Being in a situation of mutual hostility, they, however, react differently to the words and actions of each other and those around them.

If D'Artagnan in his speech uses only 26.3% of verbs that do not directly express feelings, then Rochefort uses as much as 89.5%. This most likely indicates that these people have opposite temperaments: D Artagnan is emotional and hot-tempered, while Rochefort is cold-blooded and does not show his feelings (although, of course, he experiences them). He shows his negative feelings towards the Gascon in irony and barbs and, but not in the volume of his voice and tone, while D'Artagnan, on the contrary, is not so much sarcastic and ironic as he shouts and exclaims indignantly.

The opposing speech behaviors exhibited by rivals show how different they are. The advantage in a collision is usually the one who has better control of himself (in this case it is Rochefort). And it’s more interesting for us to follow the fight between the main characters if they have approximately equal strength. Most likely, Dumas chose a strong and cold-blooded opponent for his main character not by chance, but so that it would not be too easy for D’Artagnan to win victories, so that readers would worry about their favorite hero and read the novel with enthusiasm.

From this short linguistic study we can conclude that not only the author’s text and the characters’ remarks indicate to us the character of the hero, but also the author’s use of certain linguistic means.

While researching the origins and modern usage of the word “musketeer,” I learned that today it has both a literal and figurative meaning.

Studying the history of the creation of Alexandre Dumas’s novel “The Three Musketeers,” I traced how the fate and character of a hero can be created from the combination of three destinies and three characters of real people.

After carefully reading Dumas's novel, I was able to find indications of certain character traits of D'Artagnan. Usually this was either the author’s speech, where these traits were directly named, or remarks (thoughts) of other characters, or the speech of D’Artagnan himself. By comparing the number of mentions of certain traits, I determined which traits the author wanted to make the main traits of his hero.

D'Artagnan has a complex and contradictory character; he appears before the reader as a person who has not only advantages, but also disadvantages (temper, stubbornness, bragging, arrogance), but this is precisely what makes our hero so lively and charming. His main qualities: intelligence and nobility, pride and the ability to be a leader, courage and loyalty to friendship, not only in the time of Alexandre Dumas, but even today, admire people and make them want to be like this hero.

Using some elements of linguistic analysis, I established what linguistic means the writer uses: so that we can more clearly imagine the character, he uses a large number of adjectives when describing his appearance, and so that we better understand the character of the characters, when characterizing them, he introduces a certain ratio of speaking verbs, with the help of which the heroes, by the will of the author, reveal themselves more clearly to us.

I recently read Alexandre Dumas' novel The Three Musketeers. The book turned out to be fascinating and exciting. In addition, it turned out that this novel was once read with pleasure not only by my parents, but even by my grandmother. It was written more than 150 years ago, but still for many people in the world, acquaintance with the history of France begins with the adventures of the musketeers.

I wanted to know which of the main characters in the novel actually existed, and whether the events that unfold on the pages of the book actually happened.

First of all, I was interested in the figure of Cardinal Richelieu. From the notes to the book, I learned that this man is a real historical figure. He is revered in French history as an outstanding politician and talented commander, patron of literature and art, who did a lot of useful things for his country. One of the cities of France, founded by the cardinal, is named after him. In the French Navy there was a type of warship-battleship Richelieu, also named after him. He also became the founder of the famous French Academy, which still exists today.

In the novel by Alexandre Dumas, the cardinal is the main negative character. At first glance, there is not much in common between the real cardinal and his literary image. And I wondered: is this really so or did it just seem to me? To answer this question, I needed to get acquainted in more detail with the life of the writer A. Dumas, with the biography of a real cardinal, and even compare the character traits and facts of the biography of the hero of the novel and a real historical figure (while I used elements of linguistic analysis).

Using the Internet resource NKRY (National Corpus of the Russian Language), I discovered that, despite the enormous popularity of the novel “The Three Musketeers,” Richelieu was not very lucky. And, although the cardinal’s name is widely known in connection with the novel, it apparently has not become a household name. In the literature of the 19th and 20th centuries, this name (in all cases) is mentioned only 18 times, while the name D'Artagnan appears 100 times only in the nominative and genitive cases.

The life story of Cardinal Richelieu - a real historical figure

Cardinal Richelieu's full name is Armand-Jean du Plessis de Richelieu. He was the youngest son in an impoverished noble family. His father, Francois du Plessis, died quite early, the family lived meagerly, so the boy dreamed of returning the former wealth of his family. As an adult, he strove for money, luxury and fame.

The boy grew up quiet and sickly, preferring books to games with friends, but secretly dreamed of becoming an officer in the royal cavalry. This dream did not come true. At the insistence of his family, in order to somehow improve his material affairs, the young man had to become a priest. However, Richelieu was able to reveal his military talents later, becoming a cardinal and first minister. The siege of the Huguenots at the fortress of La Rochelle was one of the cardinal's many successful military operations, thanks to which France became one of the most influential powers of the time.

The young man’s extraordinary abilities became noticeable very early. Richelieu was too young to be ordained a priest; for this he needed special permission from the Pope. During a conversation with the Pope, he hid his age, but after the ceremony he admitted to deception. The Pope's conclusion was: "It is fair that a young man who has discovered wisdom beyond his age should be promoted early." So, at the age of 22, Richelieu became a bishop. He will continue to resort to deception, bribery, forgery, and any methods when he needs to achieve his goals.

The church career at that time was very prestigious, and, having become a bishop, the young Richelieu was able to appear at the royal court. Very soon, thanks to his intelligence, education and eloquence, he charmed King Henry IV, and he began to call him “my bishop.” Some influential people did not like this, and Richelieu had to leave Paris; he spent several years in a monastery in the city of Lusson. The monastery was in a dilapidated state. In two years, Richelieu was able to completely restore it. The young bishop spent all his free time on self-education. He read a lot, wrote works on theology, and was fond of poetry and drama.

Richelieu served as first minister, and in fact ruler of France for 18 years. From the very beginning, the new minister found himself in a hostile environment among those close to the king. The aristocrats, dissatisfied with his harsh rule, organized numerous conspiracies, but the cardinal brutally suppressed them. He sent even the king's closest friends to execution

The attitude of the king himself towards his first minister was also ambiguous. The weak-willed Louis XIII was both afraid and listened to the cardinal. To avoid becoming a victim of betrayal, he did not trust anyone. “Anyone who knows my thoughts must die,” said the cardinal.

Cardinal Richelieu died in December 1642. Even being mortally ill, until the last day he dictated orders to the army, diplomatic instructions, and orders to provincial governors for several hours at a time. Some of the last words of the cardinal were: “I had no enemies except the enemies of the state. My first goal was the greatness of the king, my second goal was the power of the kingdom."

Cardinal Richelieu is buried in a church on the grounds of the Sorbonne University, in memory of the support that the cardinal provided to the famous University. Thanks to him, the Sorbonne was reconstructed and significantly expanded. He bequeathed to the University his huge library, one of the best in Europe at that time. The Cardinal supervised the construction of the famous Palais Royal in Paris, opened printing houses, published newspapers, and patronized artists and writers.

Artistic image of Cardinal Richelieu in the novel by A. Dumas “The Three Musketeers”

The bright and controversial figure of the cardinal occupies one of the key positions in the novel by A. Dumas. The writer accurately describes the main character traits of Richelieu, which basically coincide with the characteristics of the cardinal that we find in biographical materials.

In Dumas's novel, the cardinal appears to the reader as an extraordinary personality of his time. “This man was Armand-Jean du Plessis, Cardinal de Richelieu in those years, a dexterous and amiable gentleman, even then weak in body, but supported by an indomitable strength of spirit, which made him one of the most remarkable people of his time.”

“The cardinal did not want to yield to the king in anything. This second, and in fact the first ruler of France even acquired his own guard.”

Smart and perspicacious, Richelieu commands respect from both the author and the reader. “No one had such a penetrating, such searching gaze as Cardinal Richelieu”; “The cardinal fixed his penetrating gaze on the brave interlocutor (Athos).”

He was devoted to his friends: “If His Eminence was terrible for his enemies, then he was passionately attached to his friends.”

He respected a worthy opponent: “He is a daredevil,” he said about D’Artagnan. “I love people with brains and with hearts, and by people with hearts I mean courageous people.”

The Huguenot siege of the fortress of La Rochelle (and the cardinal's role in the victory) is vividly described in the novel about the musketeers. “The siege of La Rochelle was a major political event of the reign of Louis XIII and a major military enterprise of the cardinal.”

Richelieu was not afraid to take responsibility for his political enterprises. “All responsibility fell on the cardinal, for one cannot be a full minister without at the same time bearing responsibility. Therefore, straining all the powers of his versatile mind, he followed day and night the slightest changes taking place in any of the great states of Europe.”

The cardinal knows how to control himself, which we learn directly from the author: “-,” said the cardinal, maintaining perfect composure”; “- said the cardinal with the same composure.”

Finally, Dumas also notes the cardinal’s love for art, and the reader cannot help but like this. “He (D’Artagnan) realized that this was a poet in front of him. A minute later, the poet closed his manuscript and raised his head. D'Artagnan recognized the cardinal."

However, Cardinal Richelieu also has a bunch of negative qualities in Dumas.

This was a man who inspired those around him not only with respect, but also with fear: “the highest persons of the kingdom, starting with the king, trembled before him.” Even fearless musketeers sometimes become timid in front of the all-powerful minister. They are constantly faced with the intrigues of the cardinal, forged documents, and insidious hired killers. He weaves cunning intrigues, his spies and informers scurry around everywhere. If the cardinal counts someone among his enemies, then this person is doomed.

Even the queen cannot feel safe. In the novel, the cardinal takes revenge on her for her rejected love. He is ready to start a war with England in order to humiliate the queen and the Duke of Buckingham. According to the plot, by order of the cardinal, an assassin is sent to Buckingham. “For Richelieu, the point was not only to rid France of the enemy, but also to take revenge on his rival. (Today we do not know for sure whether such strong jealousy really motivated the cardinal, or whether he was guided by the political interests of his country).

King Louis 13 himself was afraid of his first minister. “The king obeyed him like a child and hated him like a child hates a strict teacher.” “The cardinal was for him (the king) an enchanting snake, and he (the king) himself was a bird that flutters from branch to branch, but cannot escape the snake.”

The Cardinal is proud and arrogant. “The cardinal’s arrogant gesture made him understand that the audience was over.”

Richelieu is hypocritical and treacherous. After denouncing the queen to the king, he declares to the king:

“I will always be proud and happy to sacrifice myself for the sake of peace and harmony between you and the Queen of France.

But the main features of the main enemy of the musketeers, from my point of view, are malice, vindictiveness and cruelty. We find confirmation of this in the words of the author, as well as in the remarks of Richelieu himself and other heroes of the novel. For example:

A simple count of such quotations shows that the cardinal’s malice and cruelty are not only noted by the author, like other negative traits, but are also highlighted.

So, the portrait of our hero is ready. We can begin to draw conclusions.

The character of Richelieu in Dumas' novel is contradictory; he contains both positive qualities: intelligence, insight, activity, respect for the enemy, composure, and negative ones: hypocrisy, cunning, arrogance, jealousy. And most importantly, the malice and cruelty that Dumas himself mentions or puts this confession into the mouths of other heroes. (We encountered such confessions on the pages of the novel many times!) Thus, although the literary hero Dumas has a certain resemblance to the real historical figure Richelieu, a shift in character in the negative direction is present and expressed quite strongly. Why did the author of the novel do this if it was his intention, or did it happen by accident due to some negligence in relation to historical facts and the testimony of contemporaries?

I think that this is exactly the kind of Richelieu the author needed, and this is not an accident. But why?

In order to convey to the reader the historical flavor of the time described in the novel (the situation in France in the 17th century, or rather, King Louis 13 himself, the royal court, the musketeers who are the main characters of the novel), it was necessary to do without the bright and powerful figure of Minister Richelieu it is forbidden. And we know that Alexander Dumas prepared very carefully for writing this novel; he read many literary and historical sources dating back to that time and, of course, among them were the memories of his contemporaries about the cardinal.

Most likely, the author needed a person of such caliber as the cardinal, so that D'Artagnan would have a worthy opponent, even superior to him in social status, intelligence and cunning, and who would direct other negative heroes to fight the brave Gascon, without taking direct participation himself in it. If Dumas had limited himself only to these enemies of the musketeers, then the daredevils and loyal friends of D'Artagnan (“one for all and all for one!”) would have easily won, but the reader needs to closely follow the action, worrying about his favorite heroes until the end of the book . And the author had to make the cardinal more cruel and cunning than he might have been in life.

In historical research, Cardinal Richelieu is, first of all, a statesman, a major historical figure. And for the writer, Dumas is a negative character, in the fight against which the positive hero D'Artagnan and his friends show their best qualities.

We do not know how a real cardinal could react to certain fictional events described in the novel, how he could be connected with simple musketeers. But if the cardinal had appeared in the novel as simply a dry politician, perhaps it would not have been so interesting to read. I think this book is precisely because it has been so popular for many years because historical truth and famous political figures live on the pages of the novel next to fictional characters. Together they participate in fictional adventures and real historical events, and this is much more interesting and exciting to read than just a history textbook.

How do you imagine my lady's character and appearance? Is this a romantic figure, or do you see real character traits in the way she is described?
Milady appears before the reader as a romantic villain, in whose character there is not a single bright trait. Although the qualities that are inherent in her are found in real people, the combination of them in my lady is frightening because of the concentration of anger and mercilessness, and the complete absence of good intentions.
Does an adventure-historical novel give an idea of the era depicted? How would you characterize its role in shaping your understanding of historical time?
The undoubted benefit of an adventure-historical novel is that it not only introduces the era, but also captivates it with its plot. The events and characters that such a novel introduces us to are usually emotionally perceived by readers, and in this their positive role is undeniable. Paying tribute to the cheerful talent of A. Dumas, we note his inexhaustible invention, humor and brilliance of dialogues. We must take into account that while skillfully describing the court life of the era and military actions, he is not very concerned about the historical accuracy of events. Much is depicted in a simplified manner, often explained by random reasons: intrigues of the courtiers, a happy coincidence of circumstances.
What century is depicted in the novel? What signs of the times can you identify in the novel?
The novel depicts the first half of the 17th century. The novel is filled with a wide variety of signs of the era. We not only learn about the events of a particular time, but also about the architecture of that time, about the fashion that reigned at court, about the manner of communication and even the rules for organizing fights. The author might make mistakes in reproducing the realities of the time, but they will live in our memory, since they are depicted by the writer very vividly and convincingly.
What role does landscape play in the novel?
In the novel “The Three Musketeers,” as in other historical and adventure novels by A. Dumas, the role of landscape is small. It often looks like a decoration of the era, as confirmation of the authenticity of the events depicted. Most often these are not pictures of wildlife, but the general outlines of the scene. Sometimes the description of a specific place also includes a story about how it has changed over time. Thus, describing the ruins of the castle, the author recalls the time of its heyday.
Which interiors do you particularly remember?
Among the interiors, the living quarters of the rulers are reproduced in the most detail. Their pomposity and their everyday (by the standards of our time) inconvenience. Dumas knows how and loves to draw with words not only portraits of heroes, but also the objective world that surrounds them. The reader observes the life of the characters in a familiar environment. It is worth noting the variety of interiors that the writer recreates: it could be the queen’s boudoir, the modest furnishings of Madame Bonacieux’s house, or the chambers of Cardinal Richelieu.
Most often, those interiors are remembered in which the most dramatic events took place, and the details of their descriptions help to imagine scenes important for the development of the plot.
What attracted you as readers to this novel: its fascinating adventure plot, the characters and actions of its heroes, the mastery of storytelling, the closeness of the author’s positions to your views on life?
Reading a novel is exciting. And, having completed this reading, we can try to determine what lies at the basis of our reader's interest. Reflecting on this, we usually call the fascination of the plot, the brightness of the characters, the amazing skill of the narration, which vividly depicts the actions of the heroes, as well as the clarity of expression of the author’s position, with which any reader wants to either agree or argue, it is so clearly expressed on the pages of the novel .

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How do you imagine the character and appearance of Milady

Milady is the former Countess de La Fère, the wife of Athos, whom he hanged after seeing the mark of a criminal on her shoulder. However, M. escaped and became a confidant of Cardinal Richelieu, that is, the mortal enemy of the musketeers. Throughout the novel, they successfully cope with her cunning plans, and in the end, after M. kills d'Artagnan's beloved Constance Bonacieux, the musketeers execute her in the remote town of Armentieres. Cunning, smart and heartless, M. stops at nothing in order to fulfill her plans and political intrigues of Richelieu. Without the slightest remorse, she, taking advantage of her angelic beauty, seduces and sends to certain death the fanatic Felton, because Richelieu needs him to kill the Duke of Buckingham (in exchange for this, the cardinal must give her the right to deal with with d'Artagnan). Without pity, she kills Constance with poison, who upset Richelieu's plans. Cleverly using the cardinal for his own purposes, M. knows how to cope with the most dangerous situations and invariably achieves his goal through dishonest intrigues and atrocities. M.'s image forms a sharp contrast to the main characters - the noble musketeers - and is endowed with exclusively negative qualities. In the system of the novel, M. plays the role of a heroine-villain, provoking danger for the main characters, who get an additional chance to demonstrate their impeccable courage and endurance. Involving the musketeers in endless adventures, M., together with Richelieu, forms the background against which the brilliant merits of these heroes appear even more clearly.

Do you agree that the novel is considered an adventure-historical novel?

Alexandre Dumas, his father, did not strive for documentary material in his works. His novels are considered adventure-historical. Adventurous, first of all, because their plots are based on a fascinating intrigue, which was invented by the author. Historical because they involve people who actually existed, and many events that actually happened are reproduced. But there is another reason for this name - the freedom of the author when using a variety of events to characterize the heroes of his story. That is why the reader always knows that when reading an adventure-historical novel, he becomes acquainted with a witty fiction that is only partly true to the historical truth. The novel “The Three Musketeers” can be accurately attributed to the first half of the 17th century; it describes the events that took place during the lifetime of Cardinal Richelieu and the Duke of Buckingham.

How do you explain the title of the novel? As you know, there were four friends whose adventures are described in it, not three.

Let's follow the fates of four friends. Three of them were already musketeers at the very beginning of the novel. D'Artagnan did not immediately achieve this honor. The Three Musketeers with D'Artagnan are an inseparable alliance, in which D'Artagnan was the most active force.

Is there a hero in the novel who can be considered the main character of the work? Who is he? Prove that he is at the center of the events of the novel.

No one doubts that the main character of the novel is D’Artagnan. His actions underlie all the most striking events of the novel, which begin with a formidable clash between future friends. Then the four heroes will be connected by exciting adventures, in which D’Artagnan will become the instigator and hero. He is the first to enter the battle, and he also finishes the battle.

What events seem to you the most striking, organizing the plot of the work? Are any of them genuine historical events? Which?

All the battle episodes of the novel speak about specific events. But the story with the pendants is especially memorable - a piece of jewelry that ended up in England in the hands of the Duke of Buckingham, who was in love with the French queen. All the numerous events of the intense plot take place in the first half of the 17th century. At the same time, the brave musketeers manage to prevent a number of military conflicts that were generated by the policies of Cardinal Richelieu and the Duke of Buckingham.

What is the code of honor of the characters in the novel? How applicable do you think it is in our time?

The code of honor that the musketeers profess is known to everyone. They did not invent it, but they religiously embodied it in their lives, which attracted numerous readers of many generations. Some phrases of this code sound like aphorisms: “One for all - all for one,” etc. Musketeers protect the weak, they punish meanness, are noble in relation to women, and are true to their word. A general code of honor for a noble man cannot be drawn up based on the deeds of each of the four heroes of the novel.

What qualities and actions are absolutely unacceptable for the heroes of the novel? How unacceptable are they to you?

The code of honor presupposes nobility of actions. By observing it, you cannot commit any unseemly act, not just meanness. Betrayal, deception, hypocrisy, denunciation - all this is excluded by the very fact of the existence of a code of honor. And of course, they should be unacceptable for each of us.

Are the exploits of the novel's heroes connected with serving a lady, or do these exploits have no inspiration?

High nobility towards women is characteristic of musketeers; they serve the lady, helping, for example, the queen, Madame Bonacieux. But these noble deeds have more to do with their code of honor than just the worship of a particular lady.

How do you imagine the character and appearance of my lady? Is this a romantic figure, or do you see real character traits in the way she is described?

Milady appears before the reader as a romantic villainess, in whose character there is not a single bright trait. Although the qualities that are inherent in her are found in real people, the combination of them in Milady is frightening due to the concentration of anger and mercilessness, the complete absence of good intentions.

Does an adventure-historical novel give an idea of the era depicted? How would you characterize his role in shaping your understanding of historical time?

The undoubted benefit of an adventure-historical novel is that it not only introduces the era, but also captivates it with the plot. The events and characters with which such a novel introduces us are usually emotionally perceived by readers, and in this their positive role is undeniable. Paying tribute to the cheerful talent of A. Dumas, we note his inexhaustible invention, humor and brilliance of dialogues. We must take into account that while skillfully describing the court life of the era and military actions, he is not very concerned about the historical accuracy of events. Much is depicted in a simplified manner, often explained by random reasons: intrigues of the courtiers, a happy coincidence of circumstances.

What century is depicted in the novel? What signs of the times can you identify in the novel?

The novel depicts the first half of the 17th century. The novel is filled with the most diverse signs of the era. We not only learn about the events of a particular time, but also about the architecture of that time, about the fashion that reigned at court, about the manner of communication and even the rules of organizing groups. The author might make mistakes in reproducing the realities of the time, but they will live in our memory, since they are depicted by the writer very vividly and convincingly.

In the novel “The Three Musketeers,” as in other historical and adventure novels by A. Dumas, the role of landscape is small. It often looks like the decoration of an era, as confirmation of the authenticity of the events depicted. Most often these are not pictures of wildlife, but the general outlines of the scene. Sometimes the description of a specific place also includes a story about how it has changed over time. Thus, describing the ruins of the castle, the author recalls the time of its heyday.

Which interiors do you particularly remember?

Among the interiors, the living quarters of the rulers are reproduced in the most detail. Their pomposity and their everyday (by the standards of our time) inconvenience. Dumas knows how and loves to draw with words not only portraits of heroes, but also the objective world that surrounds them. The reader observes the life of the characters in a familiar environment. It is worth noting the variety of interiors that the writer recreates: it could be the queen’s boudoir, the modest furnishings of Madame Bonacieux’s house, or the chambers of Cardinal Richelieu.

Most often, those interiors are remembered in which the most dramatic events took place, and the details of their descriptions help to imagine scenes important for the development of the plot.

What attracted you as readers to this novel: the fascinating adventure plot, the characters and actions of its heroes, the skill of storytelling, the closeness of the author’s positions to your views on life?

Reading a novel is exciting. And, having completed this reading, we can try to determine what lies at the basis of our reader's interest. When we think about this, we usually name the fascination of the plot, the vividness of the characters' characters, the amazing mastery of the narrative, which vividly depicts the actions of the heroes, as well as the clarity of expression of the author's position, with which any reader wants or agrees. to argue, or to argue, it is so clearly expressed on the pages of the novel.

Try to characterize the features of the author's skill.

A. Dumas in his adventure-historical novels actively uses the entire range of author’s techniques that can attract the reader. He turns to what interests every reader - to the past. Against such an interesting background, fascinating plots unfold, the development of which holds the reader’s attention, evokes his complicity and empathy. At the same time, it is necessary to note the mastery of the depiction of characters, the skillful use of all the details of the situation, which contribute to the active involvement of the reader in the course of events. If we try to characterize the author’s skill, we will note that we have before us a master of creating a plot, outlining human characters, creating a complex and unified picture of reproducing reality within the framework of a work of art. Material from the site

What thoughts and feelings arise when reading this novel?

Reading a novel is often perceived as entertainment, as a vacation, in which life around you begins to be perceived joyfully and optimistically, although the circumstances of the plot do not seem to suggest this. However, often when reading, questions arise that are no longer able to be resolved by the author, but by the reader himself. And these questions and motivations for action are often realized in actions that are not at all related to the characters and plot of the novel, but are simply prompted by its content. Thus, collective “Diaries of Musketeers” often appear, oaths are taken based on the code of honor of the musketeers, which largely determine the further behavior of student readers. Almost every reader can assess the extent and degree of the book’s impact on his spiritual world and further behavior after reading the book.

How can one explain the appearance of an endless number of dramatizations and film versions of the novel’s plot?

The fascination of the plot and the brightness of the characters' characters attracts readers. The features of a literary text, as well as its popularity, evoke a desire to use it to create works of other genres. You can try to name the genres in which “The Three Musketeers” were embodied - these are films, plays, parody novels, musicals, animated films, etc. Not all of them were successful, but always the reader and viewer first They peered with interest at new attempts to use favorite plots and characters.

Try to dramatize any episode of the novel with your classmates.

Any dialogue can turn into a small scene that will show some quality of the hero, for example, his ingenuity or speed of reaction. At the same time, the brightness of a specific dialogue can be considered as the use of artistic techniques of Dumas the playwright on the pages of a prose work. The novel “The Three Musketeers” is included in the school curriculum as extracurricular reading, and turning to voluntary creative work to create a dramatization will help all eighth-graders to engage in the process of discussing both the work of art with its features, and those problems which are especially important at this moment in this particular class.

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On which island did the hero of the novel The Three Musketeers serve his sentence?

What century is depicted in the novel? What signs of the times can you identify in the novel?

What role does landscape play in the novel?

Which interiors do you particularly remember?

In the novel “The Three Musketeers,” as in other historical and adventure novels by A. Dumas, the role of landscape is small. It often looks like a decoration of the era, as confirmation of the authenticity of the events depicted. Most often these are not pictures of wildlife, but the general outlines of the scene. Sometimes the description of a specific place also includes a story about how it has changed over time. Thus, describing the ruins of the castle, the author recalls the time of its heyday.

Which interiors do you particularly remember?

Most often, those interiors are remembered in which the most dramatic events took place, and the details of their descriptions help to imagine scenes important for the development of the plot.

What attracted you as readers to this novel: its fascinating adventure plot, the characters and actions of its heroes, the mastery of storytelling, the closeness of the author’s positions to your views on life?

Reading a novel is exciting. And, having completed this reading, we can try to determine what lies at the basis of our reader's interest. Reflecting on this, we usually call the fascination of the plot, the brightness of the characters, the amazing skill of the narration, which vividly depicts the actions of the heroes, as well as the clarity of expression of the author’s position, with which any reader wants to either agree or argue, it is so clearly expressed on the pages of the novel. Can you imagine my lady's character and appearance? Is this a romantic figure, or do you see real character traits in the way she is described?
Milady appears before the reader as a romantic villain, in whose character there is not a single bright trait. Although the qualities that are inherent in her are found in real people, the combination of them in my lady is frightening because of the concentration of anger and mercilessness, and the complete absence of good intentions.

Does an adventure-historical novel give an idea of the era depicted? How would you characterize its role in shaping your understanding of historical time?

The undoubted benefit of an adventure-historical novel is that it not only introduces the era, but also captivates it with its plot. The events and characters that such a novel introduces us to are usually emotionally perceived by readers, and in this their positive role is undeniable. Paying tribute to the cheerful talent of A. Dumas, we note his inexhaustible invention, humor and brilliance of dialogues. We must take into account that while skillfully describing the court life of the era and military actions, he is not very concerned about the historical accuracy of events. Much is depicted in a simplified manner, often explained by random reasons: intrigues of the courtiers, a happy coincidence of circumstances.

What century is depicted in the novel? What signs of the times can you identify in the novel?

The novel depicts the first half of the 17th century. The novel is filled with a wide variety of signs of the era. We not only learn about the events of a particular time, but also about the architecture of that time, about the fashion that reigned at court, about the manner of communication and even the rules for organizing fights. The author might make mistakes in reproducing the realities of the time, but they will live in our memory, since they are depicted by the writer very vividly and convincingly.

What role does landscape play in the novel?

The Three Musketeers character study. Character trait of the cunning Milady crossword clue

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