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1001 Stories For The Road

Host Jon Hagadorn
1001 Stories For The Road
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  • THE COUNT OF MONTE CRISTO (CHAP 78) PANNINA
    The chapter opens with Fernand de Morcerf meeting Danglars at the latter's home. Morcerf is there, finally, to confirm what the two men have discussed between themselves for eight years: that Albert is to marry Eugenie. But Morcerf is shocked to find out from Danglars that the banker is asking for a pause on the betrothal; it seems that Danglars wishes to marry Eugenie to another man. Morcerf is flabbergasted by Danglars' claim and wonders if it has something to do with his daughter (the narrator notes that Morcerf does not consider it might have something to do with him). Morcerf agrees to a deferral of the engagement until Danglars is allowed time to think matters through. Up until this point, Morcerf and Danglars have had an uneasy truce in Parisian society. It is hard to imagine that, many years ago, both these men were involved in a plot against Dantes, back when Danglars was just a ship's manager and Fernand a mere fisherman. Now, both men have their own reputations in Parisian society to protect. Like the Count, they have come very far from their humble origins—but both men realize that their individual reputations are at stake in a potential marriage between their kin, and Danglars wants to be sure he guarantees what he perceives to be a high position in society for his daughter.     In parallel, Albert finds the Count at a shooting range and asks him to be his second for a duel with Beauchamp, his former friend and a newspaper editor. The Count asks what is the matter, and Albert shows the Count a blind item from a recent edition saying that an officer named Fernand betrayed the Ali Pasha to the Turks, thus ensuring that the Greeks would lose decisively in their battle for independence. Albert declares that this item refers to his father, that it cannot be true, and that he therefore needs the Count to support him in dueling Beauchamp. The Count, however, advises caution, and says that Albert should first meet with Beauchamp and see if there is any truth to the accusation. Albert has uncovered a piece of important information regarding his father. Albert believes it is his duty, out of an abundance of devotion to his father, to fight a duel on Fernand's behalf. But the Count demonstrates a shade of complexity in his plot – for he realizes that he does not want Albert to fight a duel under false pretenses. In other words, the Count doesn't want Albert to die defending the honor of a man whom the Count really does want to suffer. This is a wrinkle in the revenge plot, which the Count may or may not have intuited from the beginning, but which he attempts now to influence.     At the newspaper office, Albert finds Beauchamp and aggressively asks that he retract the item, which Beauchamp himself didn't write. The journalist asks for three weeks to check the facts: if the item is correct, Beauchamp will stand by the story and duel with Albert; and if it is incorrect, he will apologize to Albert and issue a full retraction. Albert leaves impatiently, and spots Maximilien on the street, walking very happily along. Beauchamp is pulled in two directions, by divided loyalties. On the one hand, as a newspaper editor he believes he must be devoted to the truth at all costs, even if that truth puts a friend in a difficult position. On the other, Beauchamp is a good friend to Albert, and both men wish to preserve their social standing.  
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  • THE COUNT OF MONTE CRISTO (CHAP 77) HAITEE
    Analysis Albert de Morcerf returns to the house of the Count of Monte Cristo, where, after some discussion, he says that he wishes to speak with Haydee, whose guzla-playing he hears in the other room. The Count warns Albert not to mention that his father, Fernand, served with Haydee's father, the Ali Pasha, in the Greek wars against the Turks—the Count intimates that this might cause Haydee to become upset. The Count repeats what he has told other characters throughout the novel to this point—that Haydee is his slave, and that he bought her to save her from another master in Constantinople after her father and mother died. Of course, Count the knows full well that by introducing Haydee and Albert he is setting in motion another stage of his plot. Once Albert realizes what his father has allegedly done to Haydee's father, he will begin to be curious about his family's lineage. The Count depends upon Albert's, and other citizens', investigations into the crimes Fernand has committed as a way of outing him as a fraud among Parisian high society. Active Themes Justice, Revenge, and God's Will Theme Icon Love, Devotion, and Redemption Theme Icon Debt and Gratitude Theme Icon The Domestic and the Foreign Theme Icon   The Count and Albert find Haydee in her chambers, where she is smoking her pipe and drinking coffee. Albert asks her about her life in Paris, but the Count directs Albert to ask instead about her childhood in the East. Haydee tells a story about fleeing with her mother from operatives who were spying on her father. These men, working for the Turks, wound up stabbing the Ali Pasha dead in front of Haydee, and eventually Haydee's mother died of grief from the ill treatment her husband received. This is another embedded narrative in the text. Here Haydee is the storyteller, and once again she supplies details of her life with which the characters in the room, and the reader, are not yet acquainted. Like Dantes, Haydee has suffered a great deal at a young age, and although the Count never states this directly, their misfortunes in youth are another bond linking these two figures together.     Haydee says that she is eternally grateful to the Count for saving her from whatever ill fate awaited her at the hands of the Turks in Constantinople. Albert apologizes for prompting so sad a tale as this, but the Count replies that Haydee likes to speak of her past, and that Albert, perhaps, has learned something about the Count's relationship to her. They finish their coffee and Albert departs. Now the Count has made sure that Albert knows just what happened to Haydee's family. All that is missing is the key link between Fernand and Haydee – which, the Count believes, will be supplied in short enough order. The Count understands that his plot against the Morcerfs has come close to fruition.
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    56:47
  • THE COUNT OF MONTE CRISTO (CHAP 76) PROGRESS OF CAVALCANTI THE YOUNGER
    One episode this week - voice bad due to pre-back surgery meds. Will be 100% next week. Danglers entertains the Count and tries to push young Cavalcanti on his daughter Eugenie even though he proised her to the patient Morcerf.
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    25:59
  • THE COUNT OF MONTE CRISTO (CHAPS 74-75)
    Afterward, Villefort finds Franz and asks him to come to the Villefort residence very shortly, where he will be briefed on the situation with Valentine. When Franz does arrive there, Villefort tells him that Valentine has no objections to the match, that it was the dying wish of both Villefort grandparents that Franz be married to Valentine, and that the marriage can take place that day, as soon as Franz brings along as witnesses Albert and Chauteau-Renaud. Franz agrees to all this, returns with his witnesses in thirty minutes, and the notary stands before Franz, Valentine, and the Villefort family, ready to read out the contract to be signed. Villefort's wife, present in the corner of the room, looks especially pale during the proceedings. Franz is ready to move forward in the marriage, and does not know that anything might be standing in his way. It is important to note that Franz and Valentine barely know one another, and that their "romance," therefore, has been almost entirely arranged, so as to benefit both families. Villefort is largely responsible for this. Such a marriage stands in sharp contrast to the genuine romance between Young Morrel and Valentine, and to the long-ago romance that Dantes and Mercedes once shared.
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    48:13
  • THE COUNT OF MONTE CRISTO (CHAPS 71-73) BREAD & SALT, MDME ST. MERAN, AND THE PROMISE
    CHAP 71 The Count and Mercedes walk outside together and into a greenhouse on the Morcerf property. There Mercedes asks the Count if he's suffered many "sorrows," and to this the Count assents, saying that he once loved a woman in Malta, that he went away to war and, when he returned, she was married to another—but that this is a "common story." Mercedes seems affected by this answer, but she says little. She also begs the Count to eat with her, some grapes from the greenhouse or other fruits, but he says no, that he cannot. Nevertheless, he says, they are and will remain friends. Here, Mercedes really does put into practice her avowed test, and indeed the Count claims there is nothing he can do about it—he cannot eat in front of her—but he wishes that they remain civil to one another. In a strange double twist of dramatic irony, the reader intuits that both Mercedes and the Count know each others' true identities, but neither is willing to speak this truth aloud in the context of the ball, thus adding to the tension of the conversation. CHAP 72  MDME DE VILLAFORT Villefort is at home when his family returns from the ball with the news that his former father in law, M. de Saint-Meran, has died of a stroke after taking his "normally prescribed" pills while en route to Paris with his wife. The couple had come to visit the Villeforts to bring about the marriage of Franz and Valentine, and Valentine, as ever, is as reluctant to carry out the wedding as Villefort is determined to make it final. The reader might remember Mme de Villefort's demonstrated interest in poisons, which she discussed with the Count many chapters earlier. The death here is also reminiscent of Noirtier's stroke, which occurred many years previously under mysterious circumstances. CHAP 73  THE ROMANCE When the lovers speak, Valentine relays that, though there is nothing she can do to help it, she will be forced to sign a marriage contract with Franz as soon as he enters Paris, since it is the wish of her grandmother. Maximilien replies that Franz has just that day arrived in Paris, and so the contract will be signed as quickly as possible, then. He asks that Valentine elope with him, but she says she cannot go against her father's and grandmother's wishes; that she must do as the family demands. At this, Maximilien says that the only honorable course for him is to commit suicide. Valentine loves Maximilien, but her loyalty to her father and family's wishes are also deeply important to her. In other words, she is being made to choose between these different devotions, and she is not sure to whom she should accord her utmost loyalty. It is striking that, as a response, Maximilien says exactly what his father said, many years ago – that, in order to avoid dishonor, he must take his own life. Active Themes Justice, Revenge, and God's Will Theme Icon Love, Devotion, and Redemption Theme Icon Debt and Gratitude Theme Icon   At this, however, Valentine says that she will in fact elope with Maximilien—that she cannot be responsible for his death, and that she is struck by his honor. She plans to meet with him at 9 pm the next night, by the garden wall, and he will escort her away in a carriage where they can be wed outside Paris. They part without even a kiss, and Morrel goes about the next day worrying that the plan will not in fact take place. Just as Old Morrel did not commit suicide and was saved from ruin, Maximilien is saved, too, this time by Valentine's kindness. Valentine believes that, though it will be terrible to disobey her father, it would be worse to force Maximilien to kill himself (although one might also argue that he is emotionally blackmailing her with his threat of suicide). Active Themes  
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    1:44:55

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Hosted by Jon Hagadorn, 1001 Stories For The Road is bringing back adventure with stories like "Treasure Island", "The Secret Adversary" by Agatha Christie, "The Hound of the Baskervilles", "Tarzan of the Apes", "King Solomon's Mines", "The 39 Steps", "The Call of the Wild"- and many more. These stories are classic for a reason- they are great! And they are family friendly. We appreciate reviews-thank you!
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