Σελίδες από το «Ο Κόμης Μοντεχρίστος» που στέκονται μόνες τους, διαλεγμένες για το πώς διαβάζονται σήμερα. Το κείμενο ανήκει στο κοινό κτήμα.
Το σώμα έχει σιωπήσει, μα ένα φως στέλνει ακόμη μήνυμα από μέσα.
Sight and hearing were the only senses remaining, and they, like two solitary sparks, remained to animate the miserable body which seemed fit for nothing but the grave; it was only, however, by means of one of these senses that he could reveal the thoughts and feelings that still occupied his mind, and the look by which he gave expression to his inner life was like the distant gleam of a candle which a traveller sees by night across some desert place, and knows that a living being dwells beyond the silence and obscurity.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Πόσο καιρό στο σκοτάδι πριν νιώσει κανείς πως είναι νεκρός;
A year after Louis XVIII.’s restoration, a visit was made by the inspector-general of prisons. Dantès in his cell heard the noise of preparation,—sounds that at the depth where he lay would have been inaudible to any but the ear of a prisoner, who could hear the splash of the drop of water that every hour fell from the roof of his dungeon. He guessed something uncommon was passing among the living; but he had so long ceased to have any intercourse with the world, that he looked upon himself as dead.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Η σκληρότητα ενός χορού που ακούς, αλλά δεν μπορείς να μπεις.
The prisoner’s first feeling was of joy at again breathing the pure air—for air is freedom; but he soon sighed, for he passed before La Réserve, where he had that morning been so happy, and now through the open windows came the laughter and revelry of a ball. Dantès folded his hands, raised his eyes to heaven, and prayed fervently.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Γιατί αυτό που δεν μπορείς να ονομάσεις σε φοβίζει περισσότερο;
Was there nothing to fear? was there not some snare laid for her? Her innocence had kept her in ignorance of the dangers that might assail a young girl of her age. But there is no need to know danger in order to fear it; indeed, it may be observed, that it is usually unknown perils that inspire the greatest terror.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Γιατί όσοι έχουν μια αποστολή περνούν συχνά για απλοί υπάλληλοι;
“I say, sir, that with the eyes fixed on the social organization of nations, you see only the springs of the machine, and lose sight of the sublime workman who makes them act; I say that you do not recognize before you and around you any but those office-holders whose commissions have been signed by a minister or king; and that the men whom God has put above those office-holders, ministers, and kings, by giving them a mission to follow out, instead of a post to fill—I say that they escape your narrow, limited field of observation. It is thus that human weakness fails, from its debilitated and imperfect organs. Tobias took the angel who restored him to light for an ordinary young man.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Περιμένουν τη δικαιοσύνη σε μια αυλή όπου μόλις φτάνει ο ήλιος.
The courtyard of this quarter is enclosed by enormous walls, over which the sun glances obliquely, when it deigns to penetrate into this gulf of moral and physical deformity. On this paved yard are to be seen,—pacing to and fro from morning till night, pale, careworn, and haggard, like so many shadows,—the men whom justice holds beneath the steel she is sharpening. There, crouched against the side of the wall which attracts and retains the most heat, they may be seen sometimes talking to one another, but more frequently alone, watching the door, which sometimes opens to call forth one from the gloomy assemblage, or to throw in another outcast from society.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Ο πιο απίθανος αγγελιοφόρος είναι ένας παλιός πύργος γεμάτος λουλούδια.
No one would have thought in looking at this old, weather-beaten, floral-decked tower (which might be likened to an elderly dame dressed up to receive her grandchildren at a birthday feast) that it would have been capable of telling strange things, if,—in addition to the menacing ears which the proverb says all walls are provided with,—it had also a voice.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Το μέτρημα των εχθρών αλλάζει όταν αρχίζεις να φοβάσαι.
Their number was formidable, now that he had begun to fear, and yet these names, powerful though they were, had often caused him to smile with the same kind of satisfaction experienced by a traveller who from the summit of a mountain beholds at his feet the craggy eminences, the almost impassable paths, and the fearful chasms, through which he has so perilously climbed. When he had run over all these names in his memory, again read and studied them, commenting meanwhile upon his lists, he shook his head.
— Ο Κόμης Μοντεχρίστος, Alexandre Dumas (1844)
Πώς τα χρήματα κάνουν ένα σπίτι να μοιάζει δεκαετιών μέσα σε μια μέρα.
On the other side of the house, to match with the library, was the conservatory, ornamented with rare flowers, that bloomed in china jars; and in the midst of the greenhouse, marvellous alike to sight and smell, was a billiard-table which looked as if it had been abandoned during the past hour by players who had left the balls on the cloth.
Ένας νεαρός ναυτικός προδίδεται την ημέρα του γάμου του και περνά δεκατέσσερα χρόνια στη φυλακή. Ύστερα επιστρέφει πλούσιος και αγνώριστος, αποφασισμένος να καταστρέψει τις ζωές των ανθρώπων που τον έκλεισαν εκεί.
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