n the course of Dantes' revenge plot against Mondego, Fernand is publicly vilified and humiliated, and Mercedes and her son Albert head to far-off lands where their names and pasts will not be known and they can begin new lives, away from the shame brought to them by Fernand Mondego as their husband and father. Both Mercedes and Albert are basically good people, and their shame at Fernand's actions shows this. Yet the fact that they must leave to start new lives is a very harsh punishment, and it is visited upon them through no fault of their own. Dumas seems to be making a subtle point about revenge and the fallout of any action that harms another person, even -- or perhaps especially -- if the harm is only done to their reputation. Regardless of the point he is making in the novel, however, it is clear that…...

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In the movie, however, tings end up drastically different for Mercedes and her son Albert, as well as for Dantes himself. Fernand Mondego is still shamed by some of is pas actions, but rather than flee Mercedes tells Dantes something very important -- Albert is actually Dantes' son, and the only reason Mercedes married Mondego was because she thought Dantes had died shortly after being imprisoned. This allows Dantes and Mercedes to form a new relationship, and Dantes is able to know Albert as his son. The movie ends with this new happy family starting a calmer life together, something that would have been utterly impossible in the book. In this way, the good aren't punished and in fact tings end up almost as happy -- perhaps happier, due to Dantes' riches -- as they would have had Dantes never been imprisoned. Balance is restored more effectively in the movie than it is in the book, making the story sharper.

One of the most interesting characters in the novel is Villefort, the inspector who falsely condemns Dantes for his own personal and political motives. Dantes plot to get revenge on Villefort is one of the most complex in Dumas' original novel, and ultimately Villefort is driven insane by the numerous crimes he ahs committed that Dantes makes sure will be brought to light. This novel does an excellent job of making him a well-rounded character; he comes across as a basically good man who did several horrible things out of desperation, and who ultimately is taken over by his internal guilt. Though there is some element of this in the 2002 film version, it is again more black-and-white when showing his character and his punishment. The only crime in the movie that Villefort is shown to be guilty of is imprisoning Dantes in exchange for the murder of his own father, but he is generally seen in a much more negative light than that in which he is presented in the novel. His eventual arrest signals that he is not at all good, and could never have hoped for a kinder fate.

Films simply cannot be as complex as many novels and still retain the power of emotional and dramatic sway over their audiences. If all of the character and plot twists of Dumas' the Count of Monte Cristo had been included in the film, it would have taken eight hours (or longer) to watch and would have been immensely boring and hard to follow. Even the book can be difficult to follow at times, but with careful consideration and the ability to take one's time, the reader is still able to enjoy the story. In a film, however, the pace has to remain relatively fast in order to keep everyone's interest. This film version does an excellent job of keeping the original impact while changing the story.

Without hope, The Count of Monte Cristo would fall apart and become a tragic novel of only vengeance, rather than a work of art that inspires readers to stay firm in their convictions and realize their dreams are attainable.
eferences

Bloom Harold, ed. Eugene O'Neill. Modern Critical Views. New York: Chelsea House

Publishers, 1987.

Coward, D. & Dumas, A. (1998). Twenty years after. Oxford: Oxford University Press.

Dumas, A. (1928). The Count of Monte Cristo. ahway, NJ: Mershon.

Elam, K. (1980). The Semiotics of Theatre and Drama. London: Methuen.

Enge, E.A. (1953) The Haunted Heroes of Eugene O'Neill. Cambridge, Mass.: Harvard

Floyd, V. (1979). Eugene O'Neill: A World View. New York: Frederick Ungar Publishing

Co.

Goldstein, Yael. SparkNote on The Count of Monte Cristo. 2 Nov. 2005 http://www.sparknotes.com/lit/montecristo/.

Grenier, C. (2002). "How he earned a place in Pantheon." The Washinton Times, Dec. 8,

B07.

Kaplan, J. (2003). "Treasure and vengeance." American Scholar, 72(2): 140.

Litrix eading oom. (2001). "The Count of Monte Cristo…...

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References

Bloom Harold, ed. Eugene O'Neill. Modern Critical Views. New York: Chelsea House

Publishers, 1987.

Coward, D. & Dumas, A. (1998). Twenty years after. Oxford: Oxford University Press.

Dumas, A. (1928). The Count of Monte Cristo. Rahway, NJ: Mershon.

Caderousse does nothing to prevent an innocent man from being accused. He has only a superficial role as part of the plot to frame the young man, and does not profit from it because of his incompetence and addiction. He even understands, however dimly, that Dantes will be able to take revenge, should the plot be discovered. When "one gets out of prison,' said Caderousse, who, with what sense was left him, listened eagerly to the conversation, 'and when one gets out and one's name is Edmond Dantes, one seeks revenge'" (Chapter 4). Caderousse eventually meets an untimely end, after murdering a man to whom he sold the jewel the Dantes deliberately gave to him, because Dantes knew that Caderousse's temper would result in the drunkard's destruction.
Villefort is perhaps the most complex character in The Count of Monte Cristo. At first, he states that he believes that Dantes is…...

Fernand demonstrates that hope can be an engine fueling acts of wanton and selfish cruelty as well. Ironically, this would also become a significant dimension of the hope harbored by the Dantes himself. hile there was a portion of his imprisonment in which the hope of young Dantes helped to sustain him with notions of escape and freedom, he still remained frustratingly uncertain about the factors which placed him in prison to begin with. It was not until the abbe Faria helped Dantes to unwind the details of the conspiracy against him that a transformation of his hope occurred. Here, the optimistic hope that guided the young Dantes to dream of freedom became a far more sinister hope, from which would be forged the Count of Monte Cristo himself.
Dumas cites the exact moment of transformation, engaging the abbe and Dantes in a conversation about the role played by Villefort…...

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Works Cited:

Dumas, A. (1998). The Count of Monte Cristo. Project Gutenberg.

If one views Dantes as a man who embodies a kind of Divine Retribution and acts according to the principles of justice, the novel appears in an entirely different light. One is willing to accept Dantes' actions, even if they do appear to be extreme (and murderous) at times. However, one is placated by Dantes' ability to show mercy to Danglars.
On the other hand, if one chooses to read the novel as Marinetti describes it -- as an attempt to illustrate modern man's reach for omniscience and power -- one may see it as a Romantic dream. In this sense, Dantes becomes a man fashioned after the principles of Rousseau, the French philosopher who wrote of accepting oneself on Nature's own terms. Rousseau did not accept the principal of original sin and thus did not accept the idea that man was fallen in nature. Viewed from this standpoint, Dantes…...

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Works Cited

Copes, Heith. "Social Control, Deviance, and Law." Contemporary Sociology, vol. 36,

no. 4, 362-3. Print.

Dumas, Alexandre. The Count of Monte Cristo. Boston: Little, Brown and Company,

1904. Print.

Though of questionable morality, Dantes' eventual desire to succeed in achieving revenge is instilled and made feasible by his mentor's guiding hand and by the hope which is introduces into him.

And it is only in Faria's death that his teachings begin to manifest as aspects of a real future, not for the impertinently youthful Dante's, now dead after year's of captivity, but for the inexorably patient and newly emergent Count of Monte Cristo. After an isolation from society, and in particular from those to whom he owed retribution, the Count returns to France with an iconoclastic knowledge of mathematics, science, philosophy and politics, all underscored by a stony and almost inhuman patiencee. In addition, he has the money with which to accomplish all of his aims in each of these disciplines. It is the steady precision and calculating patience which his mentor has given to him in order to re-establish…...

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Works Cited

Dumas, a, "The Count of Monte Cristo," Scholastic Classics, 2004.

MA in HRM
He was a practitioner of medicine, skilled in the arts of weaponry of virtually any variety. He spoke at least five different languages, and was familiar with customs and practices throughout Europe and the Mediterranean. During all of his daring exploits for revenge, he somehow never lost the essence of his personality and his humble beginnings as a French sailor, nor his innate knack for studying and learning the characters of men and applying that to his adventures.

Of all the works of literature I studied while earning my Bachelor's degree at King Saud's University in Saudi Arabia and at __ (insert University name) in Paris, The Count of Monte Cristo and its quintessential hero, Edmond Dantes, had the most impact on my life. I have patterned myself after the protagonist of Dumas' classic work of literature and am ready to apply my knowledge of literature, history, and…...

Charterhouse of Parma Hero, Fabrizio Del Dongo
It is exceedingly difficult to label Fabrizio de Dongo, the protagonist of Stendhal's The Charterhouse of Parma, a hero in the conventional sense. Heroes conventionally are imbued with heroic qualities including great courage, physical prowess, a discerning intellect, and other superlatives that make them better than most men (who are not heroes). There are many characteristics of Fabrizio that make him more of an anti-hero -- he is excessively idyllic and is plague by misfortune (which the author satirizes in a comical way). However, there is a similarity with conventional heroes that Fabrizio unequivocally shares: he is a starkly shining idealist and, whether or not he can actually fulfill them, he is motivated by some of the purest and most heroic motives.

One of the aspects of Stendhal's novel which helps to prove the veracity of the previous thesis is the fact that Fabrizio is…...

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Works Cited

Stendhal. The Charterhouse of Parma. www.ebooks.adelaide.edu. 1839. Web.  http://ebooks.adelaide.edu.au/s/stendhal/charter/index.html

Marketing Communication for Subway Restaurant
Marketing for any product or any service depends on the inherent reasons for the demand of that product or service. Thus the relative importance of different aspects is not the same for the marketing of different products or services. A restaurant is a place all of us go for a meal, bit, in our own minds, the rationale for going to different types or classes of restaurants are different. This determines the people who will go to that particular restaurant and what is the level of prices that he expects to pay. Some high class restaurants may get a crowd who just want to be seen there to improve their social status. ut, subway restaurants are for the hoi polloi.

A product for the general public is viewed in marketing terms more as a sales exercise than a publicity exercise. (uttle, 1996) Marketing is generally considered as…...

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Bibliography

Buttle, Francis. (1996). Relationship Marketing. In Francis Buttle (Ed.), Relationship Marketing: Theory and Practice (pp. 1-16). London: Paul Chapman Publishing Ltd.

Manning, Gerald, L. & Reece, Barry L. (1997). Selling Today (7th Ed.). Upper Saddle River, NJ: Prentice Hall.

Dainow, Sheila & Bailey, Caroline. (1988). Developing Skills with People: Training for Person to Person Client Contact. New York: John Wiley & Sons Ltd.

Scholtes, Peter, R. (1988). The Team Handbook: How to use Teams to Improve Quality. Madison, WI: Joiner Associates, Inc.

An escape story refers to a story where a person is getting away from some type of negative situation.  The escape story can be a literal escape from something or an imagined escape.  Kate Chopin’s Story of an Hour is a famous escape story, because the protagonist imagines all of the freedoms that she has now that her husband has been declared dead, only to discover he is not really dead.  The Secret Life of Walter Mitty is another popular escape story, even though his escapism is in his head.  However, escape stories....