The Count of Monte Cristo · Chapter
Ghosts explained
The Count of Monte Cristo's newly furnished house at Auteuil is unveiled to his guests, including the Danglars, Villeforts, and the Cavalcantis.
What happens
The Count of Monte Cristo's newly furnished house at Auteuil is unveiled to his guests, including the Danglars, Villeforts, and the Cavalcantis. Bertuccio is horrified to recognize Madame Danglars and Villefort as the figures from his past, and later sees Andrea Cavalcanti as Benedetto. The chapter is filled with tension as past ghosts resurface.
Themes in this chapter
Betrayal and Deception
The chapter is steeped in deception as Monte Cristo orchestrates a gathering where past betrayals are hinted at, and Bertuccio's recognition of the guests reveals hidden histories.
Fate and Providence
Bertuccio's exclamation of 'fatality' upon seeing Andrea Cavalcanti underscores the theme of inescapable fate and the return of past actions.
Wealth and Corruption
The lavish furnishings and rare artifacts in Monte Cristo's house contrast with the moral corruption of the guests, such as Danglars' financial troubles and Villefort's hidden guilt.
Characters to notice
- Edmond Dantès
As the Count of Monte Cristo, he orchestrates the gathering at Auteuil, observing the reactions of his guests with calculated calm.
- Bertuccio
Overcome with terror upon recognizing Madame Danglars and Villefort, and later Andrea Cavalcanti, revealing his past connection to them.
- Baron Danglars
Present as a guest, he appears thoughtful and mechanically destroys an orange-tree, hinting at his financial worries.
- Madame Danglars
Recognized by Bertuccio as the pregnant woman from the garden; she shows unusual humility during the visit.
- Gérard de Villefort
Visibly affected and trembling upon entering, he is identified by Bertuccio as the man he once tried to kill.
- Andrea Cavalcanti
Introduced as the son of Major Cavalcanti, he is recognized by Bertuccio as Benedetto, adding to the chapter's sense of fatality.
- Maximilian Morrel
Among the guests, he observes the newcomers and engages in conversation with Debray and Château-Renaud.
- Lucien Debray
Present as a guest, he comments on the paintings and the appearance of the Cavalcantis.
Key passages
“At first sight, the exterior of the house at Auteuil gave no indications of splendor, nothing one would expect from the destined residence of the magnificent Count of Monte Cristo; but this simplicity was according to the will of its master, who positively ordered nothing to be altered outside.”
The outside of Monte Cristo's Auteuil house looked plain and unremarkable, exactly as the count had instructed, hiding the luxury within.
Highlights Monte Cristo's deliberate contrast between humble exterior and opulent interior.
“Bertuccio stood at the open door, with his eyes starting and his hair on end. 'The woman of the garden! — she that was enceinte — she who was walking while she waited for —' Bertuccio, without answering, pointed to Villefort with something of the gesture Macbeth uses to point out Banquo.”
Bertuccio was horrified, recognizing Madame Danglars as the pregnant woman from the garden and pointing at Villefort like Macbeth pointing at Banquo's ghost.
Shows Bertuccio's terror and the ghostly return of the past.
“This time Bertuccio would have uttered an exclamation, had not a look from Monte Cristo silenced him. 'Benedetto?' he muttered; 'fatality!'”
Bertuccio nearly cried out when he saw Andrea Cavalcanti, recognizing him as Benedetto, but Monte Cristo's glare stopped him; he whispered 'fatality.'
Reveals Andrea's true identity and the theme of inescapable fate.
