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You may copy it, give it away or re-use it under the terms +of the Project Gutenberg License included with this eBook or online +at <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you +are not located in the United States, you will have to check the laws of the +country where you are located before using this eBook. +</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: The Vicomte de Bragelonne<br /> + The End and Beginning of an Era</div> +<div style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Author: John Bursey</div> +<div style='display:block; margin:1em 0'>Release Date: June 10, 2001 [eBook #3010]<br /> +[Most recently updated: January 9, 2022]</div> +<div style='display:block; margin:1em 0'>Language: English</div> +<div style='display:block; margin:1em 0'>Character set encoding: UTF-8</div> +<div style='display:block; margin-left:2em; text-indent:-2em'>Produced by: Dudley P. Duck</div> +<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK THE VICOMTE DE BRAGELONNE ***</div> + +<h1>The Vicomte de Bragelonne</h1> + +<h3>The End and Beginning of an Era</h3> + +<h2 class="no-break">by John Bursey</h2> + +<hr /> + +<div class="chapter"> + +<p> +The Vicomte de Bragelonne is a different sort of novel from the preceding +volumes in the D’Artagnan Romances. In The Three Musketeers and Twenty +Years After, we find our four heroes battling against evil forces with a +combination of stunning swordplay, unmatched bravado, unbelievable ingenuity, +and several strokes of great fortune. Their famous cry, “All for one and +one for all!” has echoed throughout the imagination for 150 years. Movies +are still being made from the stories, they still appear in television +commercials, they have their own candy bar, and some current authors have even +lent their talents to filling in the gaps between the novels. The swashbuckling +exploits of the “four invincibles,” as they are referred to in the +novels, have made them sell consistently for a century and a half, a feat not +achieved by many authors. The popularity of the stories, first as magazine +serials and then as novels, made Dumas the most famous Frenchman of the age. +The heroes and villains are clearly defined, and it is never difficult for the +readers to know who to cheer for as the drama unfolds in the theater of the +mind. +</p> + +<p> +Dumas himself resembled, as much as one could in the 19th Century, his +swashbuckling heroes. Before he embarked on the series, he was already +considered one of, if not the, greatest dramatists in France. He had fought in +one of the many revolutions in France at that time, and would later run guns in +an Italian revolution. His unerring sense of drama had brought him theatrical +acclaim the world over, and when he switched to novels, that same sense never +steered him wrong. For the entirety of the D’Artagnan Romances, he had a +collaborator, named Maquet, who did much of the historical research. But the +many charges leveled against Dumas that he ran a literature +“factory” are blatantly false. Once he got his historical +framework, Dumas injected the story with his own energy and breathed life into +it, many times ignoring the strict dictates of historical fact for the +necessity of crafting the drama as he saw fit. Indeed, The Three Musketeers and +Twenty Years After bear many structural similarities. There are clear villains +(Milady, De Wardes, Richelieu, Mordaunt, Mazarin) and clear heroes and +heroines, great men destined for demise, despite our heroes’ efforts +(Buckingham, Charles I), and yet our four heroes must triumph against all odds, +united until the end. +</p> + +<p> +But the clearest difference in this third volume is that our heroes are no +longer united. Though inseparable in their youth, now Aramis, with the +unwitting Porthos in tow, is plotting against the king, who D’Artagnan +has sworn with his life to defend. Athos, once the most upright defender of +nobility, is now forced to break his sword before his monarch, and renounce the +sacred vow he pledged with his son in Twenty Years After to respect royalty in +all its forms. Never, even, do the four come face to face in the course of the +entire novel. Time has sent them in different directions, and managed to +separate them when constant villains in the course of forty years have failed. +</p> + +<p> +Dumas uses this division of his heroes to skillfully insert his own opinions on +that phase of French history, which in many ways paralleled the time he lived +in himself. Although Dumas’s distinct storytelling talents are as evident +as in the former novels, Dumas sets the twilight of his characters in the dawn +of a new age, exploiting the contrast as a form of social commentary. The four +former musketeers are now drawn to each represent a virtue. D’Artagnan is +Loyalty, Athos is Nobility, Porthos is Strength, and Aramis is Cunning. When +Louis XIV dishonors Raoul and casts off Athos, he sheds the ideal of Nobility +as he in reality broke the power of the French nobles and brought the entire +country under his control. When he tames D’Artagnan, as Aramis and +Porthos are fighting for their lives at Belle-Isle, he symbolically gains the +Loyalty of his servants, which he would keep during his long reign. When +Porthos meets his demise at Belle-Isle, Strength is no longer a virtue prized +in France, as Industry (in the form of Colbert) and Cunning (in Aramis) now +become the hallmarks of the time. When Fouquet falls, so does Generosity. When +Louis takes Louise as his mistress, condemning Raoul to his death, Fidelity +dies with the poor young cavalier as Innocence is corrupted. As +D’Artagnan, Raoul, Athos, and Porthos meet their ends, and only Aramis is +left alive, Dumas indicates the death of these noble virtues in France, virtues +that he urged his contemporaries to assume again in his own time. +</p> + +<p> +This new generation that comes with the ascension of Louis XIV is, indeed, pale +in comparison to the times in which the four musketeers had their great +exploits. D’Artagnan and Athos are endlessly commenting on these +youngsters, always unfavorably, and they are generally accurate. Raoul, the +true son of Athos, and the symbolic son of the four, is never as quick to draw +his sword as D’Artagnan would have been at that age, though he is equally +as skillful in its use. Although he loses his one true love, Louise, as +D’Artagnan did forty years ago, Constance, this loss kills the younger +hero. He is more thoughtful, more sensitive, and thereby weaker. The villains, +too, are watered down. De Wardes, certainly the most “evil” +character in the novel, pales in comparison with the great villains +D’Artagnan and his friends had to face. Colbert, though ugly, +ill-humored, and set to ruin the kind, generous, affable Fouquet, is actually a +blessing in disguise, and it is through his “great works” that +France is ready to rise to ever-greater glory in the coming reign. The +Chevalier de Lorraine, always a disruptive influence, is checked not through +confrontation or daring intrigue, but by artful court maneuvering. De Guiche, +Raoul’s loyal friend, and as consummate a nobleman of the new reign as +one might expect to find, is more concerned with his love affairs and his own +happiness than his role in safeguarding Raoul’s honor. Though he does +fight De Wardes in the only illegal duel in the novel, he loses, and does +nothing to help Raoul when the king’s treachery is discovered. And age +has affected the four heroes, too. D’Artagnan pulls off his masterstroke +in England not with his four friends by his side and sword drawn, as he did in +the former novels, but with stealth and cunning. He defeats De Wardes not by a +duel, which would be his ordinary mode of operation, but by outwitting him. The +only scenes that are reminiscent of the times of former glory are the riot at +the execution, where D’Artagnan, with Raoul by his side, defeats a whole +mob, and Aramis and Porthos’s desperate final stand in the grotto. But +even these are tainted; D’Artagnan’s action ends up going against +the values he would have prized, had he known the truth, and the events in the +grotto cost Porthos his life. +</p> + +<p> +But these differences in the times and the changes in our heroes as they age do +not detract from the work, but rather enrich it. It is a more mature novel than +its predecessors, richer in detail due to the slower pacing. The mood, too, is +much darker, especially towards the end, when we know that impending doom is +approaching for Raoul, as his love affair unravels, and for Aramis and Porthos +as their plot is detected. And, of course, the mystery of the man in the iron +mask, around which the latter portions of the book are based, is one of the +most dark and sinister mysteries in all history. The characters, though they +each defend an abstract ideal, are as rich and vivid as they ever were, if not +more so, and the depth of emotion that Dumas explores is much wider than in the +two earlier books. Porthos was modeled on Dumas’s own father, and legend +has it that the author wept for three days as he was writing the death of that +gentle giant. Many readers experience the same, no matter how many times they +may have read that passage. Even Aramis, according to Dumas, was moved to shed +his first and only tears. Anyone who has ever loved and lost can feel +Raoul’s pain, and any parent can understand Athos’s anguish as he +sees his son off to certain death. No longer are characters simply good or +simply evil, they are their own entities, sometimes good, sometimes evil. The +Duchesse de Chevreuse, once Aramis’s close friend and contact at court, +the mother of Raoul, now schemes against Aramis, hoping to bring about his +downfall. Queen Anne of Austria, once the beautiful, helpless heroine, is now +the ailing, sometimes imperial, matriarch of the royal household, tortured by +the son she was forced to forsake. In other words, they are human. The +refinement of the four principles, as age steals upon them, adds an element +that is somehow lacking from the former books. They now hail from different +spheres, which lends richness to their portrayal. Aramis is the man of God, +with a scheme always in the works. Athos is the dignified, retired nobleman, +whose only concerns are debts left unpaid and the launching of his son into the +world. Porthos is a great baron, ever ready to help, ever seeking another +title, ever seeking the noble airs that were not his birthright, but to which +he came upon his wife’s death. And D’Artagnan is a hardened +soldier, casting a cynical eye everywhere, still loyal, but somewhat +embittered, trading in his customary “mordioux!” for the +“bah!” more common to old men. +</p> + +<p> +The character of D’Artagnan is, of course, the focus of the Romances. +Dumas frequently admitted that D’Artagnan was the man he could never be. +In The Vicomte de Bragelonne, the character expands even further. Although his +primary symbolic representation is that of the virtue of Loyalty, he is not +devoid of other virtues. He has his share of Cunning, Nobility, and Strength, +as well as the virtues of the other characters. He’s a sort of Everyman, +superior in every respect, and the only man that can tame him is Louis, the +greatest French monarch of them all. The scene in which D’Artagnan goes +to the scene of the duel between De Wardes and De Guiche, and from the forensic +evidence manages to piece together the details exactly, predates the classic +detective fiction that was becoming popular in the States with Edgar Allen +Poe’s murders in the Rue Morgue. He has learned to maneuver in royal +circles with infinite grace and delicacy, and until the end he boasts that he +can always make the king do what he wants. Even outside the D’Artagnan +Romances, he has gotten around. He’s found his way onto the big screen +countless times, most recently in two major films in the 1990s. He’s +found his way onto the stage, not only in Dumas’s own adaptations of the +Musketeers saga, but as a walk-on character in Cyrano de Bergerac by Rostand, +for example. Many talented authors, in many different ages, have lent their +pens to continuations to the saga. Paul Feval and a M. Lassez wrote a series of +eight novels based on the adventures of D’Artagnan with a young Cyrano de +Bergerac. These are supposedly tales of Grimaud’s, Athos’s servant, +related to Athos, and Aramis even makes an appearance. Roger Nimier’s +last book was D’Artagnan amoureux, set shortly after The Three +Musketeers. He had planned more in the series, but unfortunately died in 1956. +The 1993 winner of le Prix Interallie was a novel entitled Le dernier amour +d’Aramis by Jean-Pierre Dufreigne, which focuses on Aramis, the most +mysterious of the four and the one whose past remains the greatest mystery. +Although Dumas’s portrayal of the character of D’Artagnan is the +most famous, it was not the first. Dumas got much of his initial material from +a book written by a soldier, Courtilz de Sandras, who supplemented his income +by writing historical fictions. He published his fictional Memoirs of M. +d’Artagnan in 1700, and Dumas, after reading the first volume, used much +of the material as his basis for the first part of The Three Musketeers. The +real D’Artagnan, although he was Captain-Lieutenant of the musketeers, +and he did arrest Fouquet and escort him to prison, was far from the dashing +hero Dumas made him. As for the other characters, particularly Athos, Porthos, +and Aramis, they also appeared in this fictional memoir, and lacking even the +scant details about them that subsequent historians have managed to bring to +the light of day, Dumas’s ever-fertile imagination made them three of the +most famous men in history. +</p> + +<p> +As a closing, instead of more of my thoughts on the novels, I instead quote +what Robert Louis Stevenson wrote about The Vicomte de Bragelonne: “My +acquaintance with the VICOMTE began, somewhat indirectly, in the year of grace +1863, when I had the advantage of studying certain illustrated dessert plates +in a hotel at Nice. The name of d’Artagnan in the legends I already +saluted like an old friend, for I had met it the year before in a work of Miss +Yonge’s. My first perusal was in one of those pirated editions that +swarmed at that time out of Brussels, and ran to such a troop of neat and +dwarfish volumes. I understood but little of the merits of the book; my +strongest memory is of the execution of d’Eymeric and Lyodot—a +strange testimony to the dulness of a boy, who could enjoy the rough-and-tumble +in the Place de Grêve, and forget d’Artagnan’s visits to the two +financiers. My next reading was in winter-time, when I lived alone upon the +Pentlands. I would return in the early night from one of my patrols with the +shepherd; a friendly face would meet me in the door, a friendly retriever +scurry upstairs to fetch my slippers; and I would sit down with the VICOMTE for +a long, silent, solitary lamp-light evening by the fire. And yet I know not why +I call it silent, when it was enlivened with such a clatter of horse-shoes, and +such a rattle of musketry, and such a stir of talk; or why I call those +evenings solitary in which I gained so many friends. I would rise from my book +and pull the blind aside, and see the snow and the glittering hollies chequer a +Scotch garden, and the winter moonlight brighten the white hills. Thence I +would turn again to that crowded and sunny field of life in which it was so +easy to forget myself, my cares, and my surroundings: a place busy as a city, +bright as a theatre, thronged with memorable faces, and sounding with +delightful speech. I carried the thread of that epic into my slumbers, I woke +with it unbroken, I rejoiced to plunge into the book again at breakfast, it was +with a pang that I must lay it down and turn to my own labours; for no part of +the world has ever seemed to me so charming as these pages, and not even my +friends are quite so real, perhaps quite so dear, as d’Artagnan. +</p> + +<p> +“Since then I have been going to and fro at very brief intervals in my +favourite book; and I have now just risen from my last (let me call it my +fifth) perusal, having liked it better and admired it more seriously than ever. +Perhaps I have a sense of ownership, being so well known in these six volumes. +Perhaps I think that d’Artagnan delights to have me read of him, and +Louis Quatorze is gratified, and Fouquet throws me a look, and Aramis, although +he knows I do not love him, yet plays to me with his best graces, as to an old +patron of the show. Perhaps, if I am not careful, something may befall me like +what befell George IV. about the battle of Waterloo, and I may come to fancy +the VICOMTE one of the first, and Heaven knows the best, of my own works. +“ +</p> + +<p> +So many readers have thought the same over the last century and a half, and +many more will in the times to come. Like Dumas itself, the work has many +flaws. There are errors in history, chronology, and in some places Dumas even +writes the wrong year or gets confused about a character’s age. Dumas +always cared more about the drama, the suspense, the history he was creating, +rather than the sometimes boring facts of actual history. He took his +historical sketch and filled it out from his own imagination, creating +characters whose actions changed history within the novels, and who have +enlivened history ever since. +</p> + +<hr /> + +<p> +There has been much confusion over the years as to which books form the +“Musketeers Series” or the D’Artagnan Romances, as they are +referred to by scholars. The greatest confusion lies in the manner in which +editors split the lengthy third volume of the series. The title of the whole +work is The Vicomte de Bragelonne, however, its subtitle is Ten Years Later, +and so some older editions use that as the title. Also, the novel is split into +three, four, or five volumes, depending on the edition. When split into three +volumes, the titles are: The Vicomte de Bragelonne, Louise de la Valliere, and +The Man in the Iron Mask. In four volumes the titles are: The Vicomte de +Bragelonne, Ten Years Later, Louise de la Valliere, and The Man in the Iron +Mask. The copies of The Man in the Iron Mask that are sold in bookstores today +correspond to the last volume of the four-volume edition. The five-volume +editions rarely give separate titles to the volumes. Also adding to the +confusion is the fact that Dumas considered The Three Musketeers to be two +books: The Three Musketeers and The Four Musketeers. The split occurs, +naturally, shortly after D’Artagnan is made a musketeer. Some older +editions split this book in this fashion. Also, there are two other books that +feature the characters of the D’Artagnan Romances that are, however, +falsely attributed to Dumas. These two titles are D’Artagnan and the +King-Maker and The Son of Porthos. Not only do these novels outright contradict +the earlier books in the series, but they were clearly not written by Alexandre +Dumas. Many catalogues, however, list them among Dumas’s works. Most +commonly, though, the entire D’Artagnan Romances are found in five books, +with The Vicomte de Bragelonne being split into three volumes. Here is a +listing of them in chronological order, with possible subdivisions listed in +parenthesis: +</p> + +<p class="letter"> +The Three Musketeers — serialized 1844<br/> +(The Four Musketeers)<br/> +Twenty Years After — serialized 1845<br/> +The Vicomte de Bragelonne — serialized 1847–1850<br/> +(Ten Years Later)<br/> +Louise de la Valliere<br/> +The Man in the Iron Mask +</p> + +<p> +For the purposes of the Project Gutenberg etexts, The Vicomte de Bragelonne was +split into four texts, using the same divisions as the four-volume editions. +However, another text exists, entitled Ten Years Later, which was published by +Project Gutenberg before Twenty Years After, even though it occurs later in the +story. While it is correct in claiming that it is a sequel to The Three +Musketeers, it neglects to acknowledge that Twenty Years After comes between +The Three Musketeers and that etext. This etext also, like some novel editions, +uses the title Ten Years Later to refer to The Vicomte de Bragelonne as a +whole, and it covers portions of the etexts The Vicomte de Bragelonne and the +newer Ten Years Later. +</p> + +<hr /> + +<p> +What follows are some short biographical details about the real personages +behind the characters created by Dumas. Although some of them do not appear in +The Vicomte de Bragelonne, they are referred to frequently, and so they were +included. +</p> + +<p class="p1"> +Anne of Austria: (1601-66) Anne was the daughter of Phillip III of Spain. She +married Louis XIII in 1615, and after his death, ruled as Regent from 1643–61 +with Mazarin as her prime minister. Modern historians reckon that she was +almost certainly Mazarin’s lover, but no evidence beyond rumor exists of +a secret marriage between the two, as Dumas suggests. She died of breast cancer +in 1666, though symptoms of her disease did not appear until 1664. She was +supposedly in love with the elder Buckingham in around 1646, but nothing +suggests that she was actually his mistress, though many thought so. She was, +though, in her youth, one of the greatest beauties of all Europe. +</p> + +<p class="p1"> +Aramis: Aramis’s real name was Henri d’Aramitz. Like his fictional +counterpart, he was a clergyman, a Bernais, and like D’Artagnan, he was a +Gascon. He joined the musketeers in 1640, married in 1654, had four children, +and died around 1674. He was a nephew to M. de Tréville, captain of the +musketeers from 1634–1642. He was never, so far as history can tell, involved +with the Jesuits. A German named Nickel was Vicar-General from 1652–1664 and +from 1664–1681 an Italian named Jean-Paul Oliva headed the order. +</p> + +<p class="p1"> +Athos: Athos was, in real life, Armand de Sillegue d’Athos +d’Auteville. He was born around 1615, joined the musketeers at the age of +twenty-five, and died in Paris in 1643. He was probably a nobleman, as Athos +was, and was a Gascon, as D’Artagnan was, and was also a cousin to M. de +Tréville, captain of the musketeers from 1634–1642. Dumas claimed, in the +preface to The Three Musketeers, to be nothing more than the editor of the +memoirs of the Comte de la Fere, presumably the same memoirs Athos is seen +working on during the course of The Vicomte de Bragelonne. +</p> + +<p class="p1"> +Baisemeaux: (1613?–97) Francois de Montlezun joined the musketeers in 1634 +where he served with our four heroes’ historical counterparts. He +purchased the post of governor of the Bastile in 1658 for forty thousand +livres, not one hundred and fifty thousand as Dumas claims, and held the post +until his death. He left a fortune of two million livres. +</p> + +<p class="p1"> +Beaufort: (1616–69) Francois de Vendome, the Duc de Beaufort, was a grandson of +Henry IV. and Gabrielle d’Estrees. He was jailed in Vincennes in 1643 for +plotting against Mazarin, and he escaped in 1648 (with the aid of Athos and +Grimaud according to Twenty Years After). After fighting against the king in +the Fronde, he reconciled with the throne in 1653. He died at the siege of +Candia. +</p> + +<p class="p1"> +Belliere: (1608–1705) Suzanne de Bruc, Marquis de Plessis-Belliere, called +Elise by Dumas, was widowed in 1654. She was very close to Fouquet, and it was +she who organized his social engagements, not Madame Fouquet. When Fouquet was +arrested in 1661, she was kept under house arrest until 1665. +</p> + +<p class="p1"> +Bragelonne: Dumas’s source for the character Raoul de Bragelonne comes +from a slight mention of a suitor of Louise de Valliere’s while she was +still at Blois. The most likely candidate is Jean de Bragelonne, who was an +obscure councilor at the parliament at Rennes. However, there were several +other Bragelonnes who were also in the area: Jerome, his son Francois, both +soldiers, and Jacques, Gaston d’Orleans’s chief steward. Jean was +more than likely related to one of these other Bragelonnes, but historians are +not certain as to which. +</p> + +<p class="p1"> +Buckingham: (1627–87) George Villiers, the second Duke of Buckingham, was the +son of the George Villiers, Duke of Buckingham, who figured so prominently in +The Three Musketeers, and Katherine Manners, then the richest heiress in +England. After his father’s assassination, he was raised alongside the +children of Charles I. He was one of the rakes of Charles II’s +court—hot-tempered, unpredictable, and bisexual. Though he had great +influence over the king, his disputes with the monarch landed him in the Tower +on four separate occasions. His love for Henrietta-Anne Stuart was +well-attested, and often drove him to extremities of behavior. +</p> + +<p class="p1"> +Charles II: (1630–85) Charles Stuart fled to France in 1646, returned briefly +to Scotland in 1651, where he was crowned, was routed by Cromwell in September, +and returned to France until Mazarin signed a treaty with Cromwell in 1655 +declaring the deposed monarch persona non grata in France. With Monk’s +support, he finally returned to London as a king in 1661. During his reign +there were two wars with the Dutch, the great plague occurred, the Habeas +Corpus Act was passed, and the Great Fire swept London. The visit to Mazarin +depicted at the beginning of The Vicomte de Bragelonne has its basis in an +actual visit paid by the deposed monarch to the Cardinal in Spain in 1659. It +was only one of many attempts to gain French support. +</p> + +<p class="p1"> +Chevreuse: (1600–79) Marie-Aime de Rohan Bazon married the Duc de Chevreuse in +1622. She was a close friend of Anne of Austria, and used many lovers in her +plots against Richelieu. Although regularly exiled by Louis XIII, she +constantly snuck back to court. She was imprisoned in 1628, escaped in 1637, +and fled to Spain, and then England, where she was again briefly imprisoned on +the Isle of Wight. She moved to Belgium, and was allowed to return to France by +Mazarin in 1643. She was quickly exiled again, but allowed to return under the +Amnesty of Reuil in 1649. She continued her intrigues during the Fronde and was +named as Raoul de Bragelonne’s mother in Twenty Years After. +</p> + +<p class="p1"> +Colbert: (1619–83) Jean-Baptiste Colbert was born in Reins, the son of a minor +official and an agent of Richelieu’s. He was employed first by the +Secretary of State for War, in 1640, and later became Mazarin’s intendant +in 1655. He purchased a barony in 1658 and entered the aristocracy. +Mazarin’s words on his deathbed, recommending Colbert to Louis XIV were +portrayed by Dumas with accuracy. Mazarin actually said, “I owe you +everything, but I pay my debt to your majesty in giving you Colbert.” He +became Louis’s chief minister in 1661 and immediately began administering +the reforms necessary after Fouquet’s regime. In a decade, he effectively +tripled the revenues. Although he did not personally care for him, +Dumas’s estimation of Colbert’s “glorious works” and +projects was fairly accurate—in addition to his building projects he also +supported many French industries and sent explorers and colonists to America. +Although he built the French navy, he eventually became opposed to the wars of +Louis XIV, as they thwarted his efforts to keep the budget balanced. +</p> + +<p class="p1"> +Conde: (1621–86) Louis de Bourbon, Duc d’Enghien, became Prince de Conde +in 1646, on the death of his father. During the 1640s he distinguished himself +in several battles and gained a name for his military skills. He believed, +however, that he had not been rewarded sufficiently, and alienated both the +queen and Mazarin to the extent that he was jailed for a year in 1650. In +retaliation he raised an army to take the king away from his advisors, failed, +and left France in 1653. He continued to fight in every campaign against France +until his rehabilitation in 1659, after which he retired to his estates. He +returned to service in 1668 and died in battle in 1674. +</p> + +<p class="p1"> +D’Artagnan: Charles de Batz-Castlemore, sieur d’Artagnan, was born +in Tarbes around 1615. He joined Richelieu’s Guards in 1635 and then the +musketeers in 1644. During the years 1646–1657, when the musketeers were +disbanded in actual history, Mazarin used him as a courier. He was appointed +second-in-command to the absentee Captain-Lieutenant of the musketeers (a +nephew of Mazarin’s who had no interest in the work) in 1657, when the +company was reformed. Although he only held the rank of Lieutenant, he was the +actual commander of the troops. He married in 1659, had two sons, and separated +from his wife in 1665. It was indeed the real D’Artagnan who, in 1661, +arrested Fouquet, though not nearly as dramatically as Dumas’s depiction, +and escorted him first to Angers, and later, after the former minister’s +trial, to Pignerol. He became Captain-Lieutenant of the musketeers in 1667, in +other words, the commander of the musketeers, as the rank of Captain-General +was reserved for the king himself. During Louis’s invasion of the Dutch +Republic, he was briefly governor of Lille in 1672. He was killed at the siege +of Maastricht in March of 1673. From his few surviving documents, he appears to +have been rather an unimaginative soldier with a great respect for authority. +He never lost his Gascon accent, which is detectable even in his letters. His +spelling was atrocious even by the standards of the time. Dumas bases his +character largely on his own imagination and from another fictional work from +1700 entitled The Memoirs of M. d’Artagnan by Courtilz de Sandras, from +which he got the basis for the first few chapters of The Three Musketeers. +Dumas never, however, read beyond the first volume of Sandras’s work, and +vastly altered the material he did read, making it uniquely his own. The +character of Milady also comes from Sandras’s writings, wherein +D’Artagnan encounters a mysterious English noblewoman known only as +Miledi. +</p> + +<p class="p1"> +Fouquet: (1615–80) Raised to power by Mazarin, Nicholas Fouquet was far from +the brilliant administrator portrayed by Dumas. He built a vast fortune through +blatant abuses of power during his tenure as superintendent of France’s +finances, and generally dispersed that fortune in the construction of his +mansion at Vaux and in his role as a famous patron of the arts. His generous +style of management won him admiration, but the members of the court generally +resented his obvious corruption. Louis XIV had Fouquet arrested in 1661, more +probably from fear of his influence rather than jealousy, though Fouquet did +possibly take some liberties with the king’s mistress during a royal +visit. Belle-Isle was never given to the king; Louis sent a garrison to occupy +it after Fouquet had been arrested. Fouquet sold his post of procureur-general +to Louis for 1.4 million livres, not Vanel. The real D’Artagnan, Charles +de Batz-Castlemore, arrested him in September and escorted him to Pignerol +after his three-year trial. Dumas largely altered the character of Fouquet from +his historical counterpart, turning him into a Romantic cavalier who had all +the qualities Dumas himself admired, and making him a foil for the somewhat +lackluster Colbert. +</p> + +<p class="p1"> +Guiche: (1637–73) Armand de Gramont, Comte de Guiche, was a soldier, +adventurer, and a bisexual. He was part of the entourage of the homosexual +Philippe d’Orleans, where many reckoned him the handsomest man at court. +He was known for being vain, overbearing, and somewhat contemptuous, but many +lovers of both genders often overlooked these flaws. It is generally accepted +that he became the lover of Henrietta d’Orleans, but for a time he also +paid court to Louise de la Valliere. Guiche was, however, not sufficiently +enamored with Louise to challenge the king’s affections, and, according +to Madame de La Fayette (whose memoirs were one of Dumas’s major +sources), he “gave her up and even quarreled with her, using her very +rudely.” He was exiled in 1662 for attempting to come between Louis and +Louise. He then fought against the Turks in Poland, against the English for the +Dutch, and eventually returned to France in 1669. He returned to court in 1671. +</p> + +<p class="p1"> +Gourville: (1625–1703) Jean Herault de Gourville participated in the Fronde +before coming to work for Fouquet. After Fouquet’s arrest he was +sentenced to death, but he escaped to Brussels, where he lived by less than +honest means. +</p> + +<p class="p1"> +Henrietta: (1644–1670) Henrietta-Anne Stuart, daughter of Charles I and +Henrietta-Maria (Henriette in the text), was left behind at Exeter when her +mother fled to France, but her governess smuggled her to France in 1646, where +she was raised Catholic. The “privations” which she supposedly +endured in France were greatly exaggerated by Dumas. With a reputation for +cleverness and beauty, she was married to Philippe d’Orleans in 1661. +Shortly afterwards, the obvious attentions of both Buckingham and De Guiche did +indeed arouse her husband’s jealousy, leading to both Buckingham and De +Guiche being persuaded to leave the court. Their marriage, due to +Philippe’s homosexuality and excessive jealousy, was far short of +successful. Before the king took La Valliere as his mistress, he was quite +captivated by Henrietta, and it wasn’t until the monarch’s +attentions shifted to La Valliere that she became receptive to De +Guiche’s advances. In 1670 she was sent to England to persuade Charles II +to sign the Treaty of Dover, which he did, and was poisoned to death on her +return. +</p> + +<p class="p1"> +Lambert: (1619–83) John Lambert, though trained as a lawyer, turned out to be +one of the greatest soldiers of the English Civil War. He played a large roll +in installing Cromwell as Lord Protector, but later turned against him. He led +disgruntled soldiers against Richard Cromwell, and in October 1659 he dismissed +the “Rump” Parliament, effectively taking control of the country +himself. Monk defeated him in 1661 and he was sent to the Tower in 1662. He was +later banished to Guernsey, where he lived out his life in confinement. +</p> + +<p class="p1"> +Laporte: (1603–80) Pierre de la Porte entered the queen’s service in +1621. He helped her carry on correspondence with the Spanish court and was +imprisoned for “treason” in 1637. When Anne of Austria assumed the +Regency in 1643 he was returned to favor. He became Louis XIV’s valet de +chambre in 1645. His memoirs were one of Dumas’s major sources of +historical research. +</p> + +<p class="p1"> +La Valliere: (1644–1710) Francoise-Louise de la Baume le Blanc, later the +Duchesse de la Valliere, was born near Amboise and became part of the entourage +of the Duchesse d’Orleans at Blois. There it was rumored that a young +man, later identified as Jean de Bragelonne, was in love with her. The affair +did not progress far, but Dumas used it as his basis for the character of Raoul +de Bragelonne. After the death of Gaston d’Orleans, she moved to Paris, +where the Duchesse de Choisy proposed her as lady of honor to the new Madame +(Henrietta). Soon afterwards the king took an interest in her, and she was his +mistress from 1661–67. They had four children together. She was not considered +terribly beautiful—she was slim, tall, and had blue eyes and bad teeth. +She limped slightly, due to a badly set broken leg, but was reported to dance +well. In 1670, after Madame de Montespan had replaced her, she retired from +court life. She took the veil in 1674. The Oxford World’s Classics +edition of Louise de la Valliere, 1998, has her portrait on the cover. Many of +the episodes between Louise and Louis, though perhaps chronologically displaced +or condensed, were portrayed very accurately by Dumas, including the flight to +the convent, the decision of the king and Madame to pretend that he was in love +with her, and the king riding beside her carriage during the promenades. +</p> + +<p class="p1"> +Lorraine: (1643–1702) Philippe de Lorraine was called the Chevalier de Lorraine +because he once intended to join the Order of Malta. He was the favorite of +Philippe d’Orleans for many years, and he received military and +ecclesiastical preference as a result. Like Philippe, he, too, was homosexual. +He was heir to the Duchy of Lorraine, but stripped of his title in 1662. He +protested, and was ordered to leave France. He assumed the title of Duke in +1675, and was recognized by every other European nation besides France. +</p> + +<p class="p1"> +Louis XIV: (1638–1715) Louis de Bourbon, “The Sun King,” assumed +the throne in 1643 after the death of Louis XIII. Anne of Austria ruled during +his infancy, with Gaston d’Orleans as her Lieutenant-Governor and Mazarin +as her first minister. Mazarin managed to not only preserve the monarchy +through the Fronde, but also strengthen it considerably. Upon Mazarin’s +death in March, 1661, Louis determined to rule personally. With Colbert’s +assistance, he removed the corrupt Fouquet and declared himself the Sun King +the following year. His rule of 72 years was the longest of any European +monarch. Later in his reign, his wars threatened to bankrupt the state, as well +as his legendary excesses, such as the great palace at Versailles. He is famous +for the quote, “Je suis l’etat,” meaning, “I am the +State.” +</p> + +<p class="p1"> +Madame: The title customarily given to the wife of the king’s brother. +Until 1660 it was given to Gaston d’Orleans’s wife, Marguerite. +After Gaston’s death, it fell to Henrietta of England, and Marguerite was +referred to as the “Dowager Madame.” See also +“Monsieur.” +</p> + +<p class="p1"> +Malicorne: (1626–94) Germain Texier was the Baron de Malicorne. Although Dumas +portrays him as the son of a syndic, he was in fact a squire of the Duc de +Guise by 1648. He was also the lover of Mademoiselle de Pons. He married, in +1665, not Montalais, but a daughter from the first marriage of Saint-Remy, +Louise de la Valliere’s step-father. +</p> + +<p class="p1"> +Mancini: (1640–1715) Marie de Mancini captured the young Louis XIV’s +heart in 1658, but he was forced to abandon her in favor of a political +marriage to the Spanish Infanta Maria-Theresa. Her sister, Olympe (1639–1708), +later became one of Louis’s mistresses. Dumas misplaces the chronology +slightly; Mazarin’s nieces were removed from court in 1659. The meeting +between Louis and Marie portrayed by Dumas was an amalgamation of two meetings, +both of which occurred in 1659. +</p> + +<p class="p1"> +Manicamp: (1628?–1708) Louis de Madallan de Lesparre was the Seigneur of +Manicamp, and later the Comte de Manicamp. He was a soldier, who fought with +Conde at Lens, and a few other battles. He lost an arm at Charenton in 1652. +Dumas took the name for one of his characters, but preserved nothing else. +</p> + +<p class="p1"> +Maria-Theresa: (1638–83) Maria-Theresa of Austria was the daughter of Philip IV +of Spain. She married Louis XIV on June 6, 1660, to promote a French-Spanish +alliance wrought by Mazarin. The king’s constant infidelities caused her +a great deal of anguish, as she was truly in love with Louis XIV. In real life +she was quite pious and preferred to devote most of her life to good works. +Dumas found her quite boring, and relegates her to a minor character. +</p> + +<p class="p1"> +Mazarin: (1602–61) Jules Mazarin was a diplomat in the service of the Pope when +he was sent to negotiate with Richelieu in 1630. He became Richelieu’s +protege, and was naturalized French in 1639. In 1641 Richelieu had him named a +cardinal as well as his own successor. It is generally accepted that he became +Anne of Austria’s lover, though not, as Dumas suggests, her secret +husband. He was not, actually, an ordained priest. He raised taxes, aroused the +jealousy of the nobles, and was an Italian—all of which made him +extremely unpopular with nearly every class of the French people. Most +considered him to be extremely self-serving and quite greedy. His private +fortune is estimated at between 13 and 40 million livres. His diplomatic +skills, however, were considerable. Abroad he furthered French interests in +southern Germany by ending the Thirty Years War in 1648 and allied France with +Cromwell in 1654. At home he maneuvered the monarchy through the Fronde, +leaving it stronger as a result. The priest who attended him on his deathbed +insisted that he died in the true faith, though he was reckoned during his life +more of a philosopher than a Christian. +</p> + +<p class="p1"> +Michon, Marie: The pseudonym of the Duchesse de Chevreuse in The Three +Musketeers. +</p> + +<p class="p1"> +Monk: (1608–70) George Monk was a career soldier who served under Cromwell and, +as a reward, was made governor of Scotland in 1654. In 1659, as disorder in +England was rising steadily, he decided to step into the fray, and marched +south in January, 1661, with 6,000 men. He arrived in London five weeks later, +unopposed, but without revealing his motives. His decision to reinstate the +Stuarts was probably influenced by popular opinion, though his true motives +still baffle historians, and he met the returning King Charles II at Dover on +May 23, 1661. Charles made him the Duke of Albermarle and gave him the highest +offices in the state. Monk then retired to private life, but served as a naval +commander in later wars with the Dutch. +</p> + +<p class="p1"> +Monsieur: The court title of the king’s brother. Gaston d’Orleans +held it until his death in 1660. The title fell to Philip d’Anjou, who +also assumed the title of Duc d’Orleans. +</p> + +<p class="p1"> +Montalais: Nicole-Anne-Constance de Montalais, called Aure by Dumas, was, like +La Valliere, a maid of honor at the court of Gaston d’Orleans. In 1661 +she entered the service of Henrietta d’Orleans, and shared an apartment +with La Valliere. She became La Valliere’s confidante, and used the +information thus garnered to her own ends. She was known as a notorious +schemer, and the historical record does indicate that she was in love, at least +for a time, with a man named Malicorne. +</p> + +<p class="p1"> +Montespan: (1641–1707) Francoise-Athenais de Rochechouart de Mortemart was born +at the Chateau de Tonnay-Charente. She was a maid of honor at the marriage of +Philip d’Orleans and Henrietta Stuart in March, 1661. In 1663 she married +the Duc de Montespan et d’Antin, and replaced La Valliere as the +king’s mistress in 1667. +</p> + +<p class="p1"> +Orleans, Gaston d’: (1608–60) Gaston-Jean-Baptiste de France, Duc +d’Orleans, was the younger brother of Louis XIII. He regularly plotted +against Richelieu, thereby indirectly against his brother, the king. He became +Lieutenant-Governor of the Kingdom when Anne of Austria assumed the Regency in +1643. He supported Anne during the first Fronde, but turned against her in the +second, for which he was exiled to Blois in 1652. He reconciled with the court +in 1659. Aramis judged him as a man “void of courage and honesty,” +a view shared by his contemporaries. The Cardinal de Retz said of him that he +had “everything a gentleman should have, except courage.” His +presence in the novel is entirely fictional; he died in February, 1660. +</p> + +<p class="p1"> +Orleans, Philippe d’: (1640–71) Philippe, called Philip by Dumas, was the +second son of Louis XIII and Anne of Austria, and Louis XIV’s younger +brother. He was Duc d’Anjou until 1660 when his uncle, Gaston +d’Orleans died, leaving the title of Duc d’Orleans and the court +title of “Monsieur” to him. He married Henrietta Stuart of England +in 1661, but his homosexuality and jealousy ensured that the marriage was less +than ideal, to say the least. +</p> + +<p class="p1"> +Pellisson: (1640–1701) Paul Pellisson (called Pelisson by Dumas) was part of +Fouquet’s literary circle and a member of the French Academy. Disfigured +by smallpox in his youth, his ugliness brought him a sort of fame. After +Fouquet’s arrest, Pellisson wrote quite spiritedly in the defense of the +former Superintendent of Finances. He was rewarded for his loyalty with five +years in the Bastile. He subsequently regained the royal favor, and became the +Historiographer Royal. +</p> + +<p class="p1"> +Richelieu: (1585–1642) Although he does not appear in The Vicomte de +Bragelonne, Armand-Jean du Plessis, Duc de Richelieu, is mentioned several +times. He was an admirer of Machiavelli and, under the reign of Louis XIII, he +became the most powerful man in France. He greatly strengthened France both at +home and abroad, and named Mazarin as his successor shortly before his death. +In The Three Musketeers, it is he who lays the snare for Anne of Austria +involving the famous diamond studs given to the Duke of Buckingham. +D’Artagnan and his three friends rescue the queen from this embarrassing +predicament. +</p> + +<p class="p1"> +Saint-Aignan: (1610–87) Francois de Beauvillier, the Comte de Saint-Aignan, was +a former governor of the Touraine. He finally realized his ambition, mentioned +by Dumas, of joining the French Academy in 1663. Before becoming First +Gentleman to the King’s Bedchamber, he was part of Gaston +d’Orleans’s military household. Though quite a few years Louis +XIV’s senior, he became the young king’s chief purveyor of +pleasures. +</p> + +<p class="p1"> +Saint-Remy: Francoise le Prevot de la Coutelaye became Madame de Saint-Remy +following her third marriage. Her first was to a man named Besnard, a councilor +of the Parliament at Rennes. Her second marriage was to Laurent de la Baume le +Blanc, lord of the manor of La Valliere. He was Louise de la Valliere’s +father. Laurent died in 1651, and in 1655 she married Jacques Couravel, Marquis +de Saint-Remy, First Chamberlain to Gaston d’Orleans. After +Gaston’s death, they both moved to Paris. +</p> + +<p class="p1"> +Tréville: (1598–1672) Arnaud-Jean du Peyrer, Comte de Troisvilles (written and +pronounced Tréville) does not appear in The Vicomte de Bragelonne, but he was +D’Artagnan’s (both the real and fictional) predecessor as Captain +of the Musketeers. He was a career soldier and, like D’Artagnan, a +Gascon. He was appointed Captain-Lieutenant of the Musketeers in 1634 (the rank +of Captain-General was reserved for the king), and was exiled in 1642 for +opposing Richelieu. Mazarin disbanded the musketeers in 1646 (an historical +fact ignored by Dumas), and Tréville retired to Foix as its governor. In The +Three Musketeers (which adds about 10 years to the ages of the historical +counterparts), it was in Tréville’s office that the first meeting between +D’Artagnan, Athos, Porthos, and Aramis occurred. +</p> + +<p class="p1"> +Vanel: (1644–1703) Anne-Marguerite Vanel was the daughter of Claude Vanel (a +magistrate in the Paris Parliament) and became the wife of Jean Coiffer (a +member of the Royal Audit Office) in 1654. Contemporaries described her as a +“dainty and extremely pretty young woman with a lively and very witty +turn of mind.” She was Fouquet’s mistress during the 1650s, and +later transferred her affections to Colbert. Her high spirits annoyed Colbert, +and he passed her off to his brother. +</p> + +<p class="p1"> +Wardes: (1620–88) Francois-Rene Crespin du Bec was the Marquis de Vardes, and a +noted schemer and bold liar. Some women, though, including Madame de +Motteville, found him charming. Dumas creates two characters out of the +historical De Vardes. The father plays a prominent part in The Three Musketeers +and Twenty Years After, and the son in The Vicomte de Bragelonne, though they +were, in reality, the same man. He was named Governor of Aigues-Mortes in 1660 +and was banished there a few years later following a court scandal. Although a +favorite of Louis XIV, he got entangled in a plot by Olympe Mancini (then the +Comtesse de Soissons) to avenge her sister, Marie, whom the king had abandoned +in favor of his political marriage to Maria-Theresa of Spain. He remained in +Aigues- Mortes for 17 years. +</p> + +<p class="p1"> +Much of the information for these biographies was taken from the David +Coward’s editions of the D’Artagnan Romances, published by Oxford +World’s Classics. Additional material came from the Fireblade +Coffeehouse’s web page on Alexandre Dumas at +www.hoboes.com/html/FireBlade/Dumas/. The quote from Robert Louis Stevenson +comes from his A Gossip on a Novel of Dumas’s from Memories and +Portraits. +</p> + +</div><!--end chapter--> + +<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK THE VICOMTE DE BRAGELONNE ***</div> +<div style='text-align:left'> + +<div style='display:block; margin:1em 0'> +Updated editions will replace the previous one—the old editions will +be renamed. +</div> + +<div style='display:block; margin:1em 0'> +Creating the works from print editions not protected by U.S. copyright +law means that no one owns a United States copyright in these works, +so the Foundation (and you!) can copy and distribute it in the United +States without permission and without paying copyright +royalties. 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