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    Nisida - 1825 (Celebrated Crimes Series)
    Nisida - 1825 (Celebrated Crimes Series)
    Nisida - 1825 (Celebrated Crimes Series)
    Ebook58 pages57 minutes

    Nisida - 1825 (Celebrated Crimes Series)

    By Alexandré Dumas

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    About this ebook

    This antiquarian book contains Alexandre Dumas's historical chronicle, "Nisida - 1825". One of the most notorious prisons in Italy, the Nisida was built on a small island just off the coast of Naples, and had a reputation for being a wretched place synonymous with cruelty and unbearable conditions. This semi-fictionalised but authentic portrayal of Nisida is highly recommended for those with an interest in the infamous prison, and would make for a worthy addition to collections of Dumas's works. Alexandre Dumas (1802-1870) was a famous French writer. He is best remembered for his exciting romantic sagas, including "The Three Musketeers" and "The Count of Monte Cristo". Despite making a great deal of money from his writing, Dumas was almost perpetually penniless thanks to his decidedly extravagant lifestyle. His novels have been translated into nearly a hundred different languages, and have inspired over 200 motion pictures. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing this antiquarian book in an affordable, modern, high-quality edition complete with a specially commissioned new biography of the author.
    LanguageEnglish
    PublisherWhite Press
    Release dateJun 29, 2015
    ISBN9781473376083
    Nisida - 1825 (Celebrated Crimes Series)
    Author

    Alexandré Dumas

    Alexandre Dumas (1802-1870) was a prolific French writer who is best known for his ever-popular classic novels The Count of Monte Cristo and The Three Musketeers.

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      Book preview

      Nisida - 1825 (Celebrated Crimes Series) - Alexandré Dumas

      NISIDA

      by

      Alexandre Dumas

      From the Eight Volume

      set Celebrated Crimes

      Copyright © 2012 Read Books Ltd.

      This book is copyright and may not be

      reproduced or copied in any way without

      the express permission of the publisher in writing

      British Library Cataloguing-in-Publication Data

      A catalogue record for this book is available from the British Library

      Alexandre Dumas

      Alexandre Dumas was born in Villers-Cotterêts, France in 1802. His parents were poor, but their heritage and good reputation – Alexandre’s father had been a general in Napoleon’s army – provided Alexandre with opportunities for good employment. In 1822, Dumas moved to Paris to work for future king Louis Philippe I in the Palais Royal. It was here that he began to write for magazines and the theatre.

      In 1829 and 1830 respectively, Dumas produced the plays Henry III and His Court and Christine, both of which met with critical acclaim and financial success. As a result, he was able to commit himself full-time to writing. Despite the turbulent economic times which followed the Revolution of 1830, Dumas turned out to have something of an entrepreneurial streak, and did well for himself in this decade. He founded a production studio that turned out hundreds of stories under his creative direction, and began to produce serialised novels for newspapers which were widely read by the French public. It was over the next two decades, as a now famous and much loved author of romantic and adventuring sagas, that Dumas produced his best-known works – the D’Artagnan romances, including The Three Musketeers, in 1844, and The Count of Monte Cristo, in 1846.

      Dumas made a lot of money from his writing, but he was almost constantly penniless as a result of his extravagant lifestyle and love of women. In 1851 he fled his creditors to Belgium, and then Russia, and then Italy, not returning to Paris until 1864. Dumas died in Puys, France, in 1870, at the age of 68. He is now enshrined in the Panthéon of Paris alongside fellow authors Victor Hugo and Emile Zola. Since his death, his fiction has been translated into almost a hundred languages, and has formed the basis for more than 200 motion pictures.

      NISIDA

      If our readers, tempted by the Italian proverb about seeing Naples and then dying, were to ask us what is the most favourable moment for visiting the enchanted city, we should advise them to land at the mole, or at Mergellina, on a fine summer day and at the hour when some solemn procession is moving out of the cathedral. Nothing can give an idea of the profound and simple-hearted emotion of this populace, which has enough poetry in its soul to believe in its own happiness. The whole town adorns herself and attires herself like a bride for her wedding; the dark facades of marble and granite disappear beneath hangings of silk and festoons of flowers; the wealthy display their dazzling luxury, the poor drape themselves proudly in their rags. Everything is light, harmony, and perfume; the sound is like the hum of an immense hive, interrupted by a thousandfold outcry of joy impossible to describe. The bells repeat their sonorous sequences in every key; the arcades echo afar with the triumphal marches of military bands; the sellers of sherbet and water-melons sing out their deafening flourish from throats of copper. People form into groups; they meet, question, gesticulate; there are gleaming looks, eloquent gestures, picturesque attitudes; there is a general animation, an unknown charm, an indefinable intoxication. Earth is very near to heaven, and it is easy to understand that, if God were to banish death from this delightful spot, the Neapolitans would desire no other paradise.

      The story that we are about to tell opens with one of these magical pictures. It was the Day of the Assumption in the year 1825; the sun had been up some four or five hours, and the long Via da Forcella, lighted from end to end by its slanting rays, cut the town in two, like a ribbon of watered silk. The lava pavement, carefully cleaned, shone like any mosaic, and the royal troops, with their proudly waving plumes, made a double living hedge on each side of the street. The balconies, windows, and terraces, the stands with their unsubstantial balustrades, and the wooden galleries set up during the night, were loaded with spectators, and looked not unlike the boxes of a theatre. An immense crowd, forming a medley of the brightest colours, invaded the reserved space and broke through the military barriers, here and there, like an overflowing torrent. These intrepid sightseers, nailed to their places, would have waited half their lives without giving the least sign of impatience.

      At

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