By Alexandre Dumas père
"We learn the 3 Musketeers to adventure a feeling of romance and for the sheer pleasure of the story," mirrored Clifton Fadiman. "In those violent pages all is motion, intrigue, suspense, surprise--an virtually unending chain of duels, murders, amorous affairs, unmaskings, ambushes, hairbreadth escapes, wild rides. it's all most unlikely and it's all magnificent."
First released in 1844, Alexandre Dumas's swashbuckling epic chronicles the adventures of D'Artagnan, a gallant younger nobleman who trips to Paris in 1625 hoping to affix the ranks of musketeers guarding Louis XIII. He quickly reveals himself combating along 3
heroic comrades--Athos, Porthos, and Aramis--who search to uphold the dignity of the king through foiling the depraved plots of Cardinal Richelieu and the attractive undercover agent "Milady."
"Dumas may be learn 100, nay, 300 years on," wrote John Galsworthy. "His maximum production is certainly D'Artagnan, sort immediately of the battling adventurer and of the trusty servant, whose wily blade is ever behind these whose hearts have neither his magnanimity nor his braveness. Few, if any, characters in fiction encourage one with such trust of their
individual existences. . . . to at least one who made D'Artagnan all might be forgiven." Clifton Fadiman agreed: "Dumas loved writing his tales. . . . The excitement he should have felt in
creating D'Artagnan's issues and triumphs
flashes out of those pages. . . . Dumas rampaged in the course of the heritage of France, inventing, altering, distorting--doing no matter what was once had to produce a story to carry the reader breathless."
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Additional resources for The Three Musketeers (Penguin Classics Deluxe Edition)
Example text
Unbreakable battens have yet to be developed, and if it is necessary to replace a broken batten at sea it is convenient to be able to shift a lower batten up into its place, or better still to bring out a spare batten that will fit in any position. A secondary advantage lies in simplifying the construction of the battens and the cutting of the sail. When furled, battens 1-5 show regular positive stagger at the leech, while the top batten and yard have little or no stagger. In Fig. 26, as in the preceding ones, the furled battens and yard are shown diagrammatically, lying on top of one another.
6 can be ignored, and it can be assumed that Fig. 4 shows the actual situation we have to deal with, namely with all battens lying as far forward as the diagonals of the sail panels will permit. STAGGER. The amount by which the ends of furled battens overlap each other is called the 'stagger', and is positive when the upper batten projects further and negative when the lower batten projects further. In Fig. 4 it will be seen that batten I (in relation to the boom) has positive stagger at both ends; batten 2 has very slight positive stagger at the leech and more positive stagger at the luff; batten 3 has negative stagger at the leech and very slight positive stagger at the luff; batten 4 and the yard both have negative stagger at both ends.
26 shows the form that we are currently using, as onPilmer(Fig. 10). It is simple to design and make, handles easily, and performs well. It is a combination of two of the basic shapes already described, having a double triangular head on top of a parallelogram lower part whose battens are equally spaced. It is designed to use single sheets but the top batten is usually left unsheeted. The yard, battens, and boom are all of the same length, or to be precise the net lengths of the sail along these different lines are the same.