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Alexandre Dumas' Writing Style

Alexandre Dumas was a famous French journalist and author. Identified as Alexandre

Dumas, he was born Dumas Davy de la Pailleterie and is better remembered for his strong

adventure work. Dumas was a brilliant author; it is claimed that if all of his written works were

combined, you would have over a hundred thousand pages on the hands. Short stories, plays,

essays, and non-fiction writings were among his many works. Even so, Dumas is somewhat best

known for his elevated novels. Almost every contemporary reader would be acquainted with

some of Dumas' works (Dumas et al., 46). The Three Musketeers, The Count of Monte Cristo,

and The Knight of Sainte-Hermine are among them. Several of these novels were first serialized

in literary journals, which was a fairly common occurrence in Europe.

A strong focus on the storyline distinguishes dumas' style of writing: his key talent as a

writer was his ability to envision and conduct tales of exciting adventures that elicit emotions of

awe in the audience (Michael, 114). Dumas has a tendency to compress a lot of plot detail into

simple sentences, which adds to the feeling of suspense and increases the plot's strength. The

great influence that Dumas had as a writer attests to the popularity of this writing style among

French audiences at the time. Dumas's strong emphasis on narrative may make him seem "un-

literary" at moments, but it is undeniably an important writing ability in and of itself. Alexander

Dumas was commissioned to write The Three Musketeers, a historical tale centered on a 17th
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century novel called Memoires de d'Artagnan. The actual D'Artagnan became Charles de Batz-

Castelmore, who was born in Gascony. Along with his parents' lands, he remained Sieur of

Artagnan and left Gascony, and not in 1625.

The setting, the sense wherein the plot is presented, is among the items that emphasize

the intensity of the entire story. Through that time, in the seventeenth century, France was

potentially facing a war against England. Dumas takes full advantage of all this and the

historically tense relationship between King Louis XIII and the Cardinal to create a plot all

around impending fight for freedom of religion between both the two countries as well as

between the two control leaders (Arrous, 552). He utilizes a forbidden romance between the

Queen and the English Duke of Buckingham to emphasize the case, making it even more

compelling. Alexander Dumas was not using good situations or great scenario explanations in

this novel. They aren't a part of its power. On the other hand, Dumas bases the intensity of his

writing on the characters' dialogues and relationships, as well as the world that surrounds and

characterizes those same actors (Michael, 120). As a result, the characters are still the center of

attention, and much of the activity revolves around them; activity is the keyword.

One illustration is the explanations of Milady's punishment, which are often quite

dramatic, with main elements like a hurricane as she's fleeing, the castle toward which she's

taken being on the edge of the cliff, the strong gothic depiction of her execution, with "stormy

and dark night, "a riverbank, links to the sword in the light of the moon Dumas seems to use the

gothic novelist tradition, introducing a combination of horror and love that keeps the audience's

attention, as well as an appealing to the sense of justice engendered by the men who murdered

such a horrible woman (Alptekin, 870). Moreover, the sword wars, the rescues of rescued

damsels in distress, near-death experiences, schemes and killings, forbidden affairs, and brutal
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murders continue to use intense feelings and actions all through the novel, forcing the readers to

become immersed in the thrilling plot of Alexander Dumas has developed, combining history

with supernatural happenings, and always with a lighthearted tone (Hidayati et al., 220). Since

the audiences might connect to the storyline because of its truthfulness aspect, sharing stories

about a past period in which everything changed so rapidly and was so necessary for the open

society's development and solitary life – the Revival – the combination of real facts and events

with imaginary stories enhances the whole novel and makes it so compelling.

Dumas also beautifully explores several novel conventions further to exploit the magic of

drama and strong emotions, which sets the book apart from others of its period by moving at a

quick, new, and accessible speed that everyone could understand and apply. Another

achievement of this novel was that it made literature available to a wide range of people rather

than over-dressing it with complex prose and description (Arrous, 560). It offered an exit to

another place and time while also providing a sense of unity and relation to the chaos in France

during the nineteenth century and a feeling of pride in the citizenship, which the book also

conveyed. Alexander Dumas cleverly combined all of these elements to create an enthusiastic

and quickly, open, and emotionally powerful novel. He captivated readers of all ages, from his

own to modern.

The Count of Monte Cristo is another book written by Alexandre Dumas that was first

released in 1844. Dumas collaborated with fiction writer Auguste Maquet to extend the plot of

the novel. This book, including the "Three Musketeers," is one of Dumas' widely appreciated

books, and critics believe it has become a permanent feature of World literature. In this book,

Dumas deals with the core theme of justice (Hidayati et al., 236). Despite the fact that the novel

follows a traditional vengeance story, Dumas reveals how Dantes' idea of justice shifts from
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punitive to restorative via the story of his protagonist. Dante begins by imposing his philosophy

of retributive justice on his enemies in retaliation for the suffering and destruction they have

brought him. The Justice system emerges from his restlessness and loneliness. He bequeaths his

fortune to Maximilien Morrel and Valentine and seeks shelter in Haydée's passion. 

The book was written as serial fiction to be released in periodicals, as were most novels.

To keep the audience guessing, the main plot is supplemented by many subplots that deal with a

range of topics such as lust, murder, and impersonation (Alptekin, 879). Although Dumas creates

Damntes as a fully formed essential part, the other actors are largely one-dimensional and

represent typical stereotypes. The book's women all cry, while the men stream and sweat.

Though as has provided thorough explanations of the aristocratic lifestyle and their lavish homes,

he has gone to greater lengths to describe and sympathize with the working class. Dantes is

depicted as an idealized protagonist at the start of the book, as a young, courageous, attractive,

moral, and successful young man betrothed to the beloved of his soul, Mercedes. He is about to

be the master of a prosperous ship, even though he is not an aristocracy relative. He is

uncomfortable about the feelings of happiness he is experiencing.

Dante’s personality and personality transform after he is released from jail. The great

hunter transforms into a vengeful, cautious, and friendly hunter. He spent a good part of his 14

years in jail, despising his bad luck and part of it honing his abilities to exact revenge on those

who had ruined his life (Marsans-Sakly, 15). Dantes discovers his wealth on the islands of Monte

Cristo and adopts the moniker "Count of Monte Cristo." Dantes' change, which began during his

time in jail, accelerates once he discovers the wealth. Dantes has been depicted by Dumas as the

representation of justice up until this point in the novel. The reader could feel empathy with his

pain, and his desire to bring his foes to their knees seems to be justified. Exit from jail, discovery
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of the wealth, and concealment of his identification are all part of his plan to exact vengeance on

those who have abused him. Dumas' plot moves steadily towards the foreshadowed conclusion

of good triumphing over bad. At this point in the novel, the hero has no regrets or doubts about

his moral obligation to exact vengeance.

Alexander Dumas has written a series of fascinating books, with the word "action" being

the best way to describe them. He primarily focused on great personalities with a lot of

information and interactions among them. He provided fast-paced stories with many dramatic

scenarios to elicit strong emotions and keep the readers' interest. To summarize, this novel is a

work of art in terms of literature, as well as a convincing work for anyone of any age, elevating

time, from Dumas' time to today.

Works Cited

ALPTEKİN. “Folk Medicine and Veterinary Medicine in Folk Narrations of Folk Storyteller

Behçet Mahir.” Gaziantep University Journal of Social Sciences, vol. 17, no. 3, 11 July

2018, pp. 879–893, 10.21547/jss.398355. Accessed 3 May 2020.

Arrous, Michel. “Alexandre Dumas, La Reine Margot. Drame.” Studi Francesi, no. 180 (LX |

III), 1 Dec. 2016, pp. 545–546, 10.4000/studifrancesi.5389.

Dumas, Alexandre, et al. The Three Musketeers. Oxford, Oxford University Press, 2016.

Hidayati, Hidayati, et al. “ANGUISH in ALEXANDER DUMAS’ NOVEL the COUNT of

MONTE CRISTO.” Language Literacy: Journal of Linguistics, Literature, and

Language Teaching, vol. 3, no. 2, 19 Dec. 2019, pp. 217–224, 10.30743/ll.v3i2.1994.

Accessed 12 May 2021.

Marsans-Sakly, Silvia. “Geographies of Vengeance: Orientalism in Alexandre Dumas’ the Count

of Monte Cristo.” The Journal of North African Studies, 21 June 2018, pp. 1–20,

10.1080/13629387.2018.1483873. Accessed 5 Mar. 2019.

Michael Wilson. “Some Thoughts on Storytelling, Science, and Dealing with a Post-Truth

World.” Storytelling, Self, Society, vol. 13, no. 1, 2017, p. 120,

10.13110/storselfsoci.13.1.0120. Accessed 7 Dec. 2019.