TL;DRAbstract
Alexandre Dumas’s The Count of Monte Cristo provided Joyce with some of the imaginative apparatus for his story, “The Sisters.” A careful comparison of the Chateau d’If episode with Joyce’s text shows that Dumas’s dramatization of the relationship between Edmond Dantès and l’Abbé Faria informs Joyce’s handling of that between the narrator and Father Flynn. Just as these relationships are spiritual and intellectual, they are depicted within similarly forbidding settings from which the respective heroes escape. The figure of the gnomon, the sin of simony, and the condition of paralysis mark each work. Thus, Joyce has converted melodramatic suspense into the tensions of a profound existential meditation.
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Alexandre Dumas’s The Count of Monte Cristo provided Joyce with some of the imaginative apparatus for his story, “The Sisters.” A careful comparison of the Chateau d’If episode with Joyce’s text shows that Dumas’s dramatization of the relationship between Edmond Dantès and l’Abbé Faria informs Joyce’s handling of that between the narrator and Father Flynn. Just as these relationships are spiritual and intellectual, they are depicted within similarly forbidding settings from which the respective heroes escape. The figure of the gnomon, the sin of simony, and the condition of paralysis mark each work. Thus, Joyce has converted melodramatic suspense into the tensions of a profound existential meditation.
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