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Definition of Motif
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the central themes of a book... read full definition
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of related symbols, help develop the... read full definition
A motif is an element or idea that recurs throughout a work of literature. Motifs, which are often collections of... read full definition
Chapter 31 – Italy – Sinbad the Sailor
Explanation and Analysis—Identity Crisis:
From Sinbad the Sailor to the Abbé to the Count of Monte Cristo himself, Edmond Dantès assumes a great many names throughout The Count of Monte Cristo. Naming—as a form of masking or revealing oneself—is a major motif in the novel, in service of the pervasive theme of identity. Each new name that the Count chooses comes with an entirely new identity with a new backstory and a new sense of ambition. A reputation precedes each new name that the Count chooses, along with a sense of mystery. In Chapter 31, Franz and one of Sinbad's sailors discuss the character of Sinbad:
‘Come now,’ Franz thought to himself. ‘This man is becoming more and more mysterious, since the stories differ.’ Then he said aloud: ‘What is his name?’
‘When asked, he replies that he is called Sinbad the Sailor. But I suspect this may not be his true name.’
‘Sinbad the Sailor?’
‘Yes.’
‘Where does this gentleman live?’
‘At sea.’
‘What country does he come from?’
‘I don’t know.’
‘Have you seen him?’
‘A few times.’
‘What is he like?’
‘Your Excellency can judge for himself.’
Unlike other characters in the book, the Count never shares a flashback or recites his own backstory in its entirety in any of his assumed identities. Dumas himself is careful to avoid explicitly stating whether or not a new name might be the Count under a new identity, instead leaving the reader to determine this for themselves. By the end of the novel, however, a number of grand reveals finally occur. Before Danglars, who grows increasingly destitute in prison, the Count reveals himself as Dantès in Chapter 116:
‘You are mistaken. I am not the Count of Monte Cristo.’
‘Who are you then?’
‘I am the one whom you sold, betrayed and dishonoured. I am the one whose fiancée you prostituted. I am the one on whom you trampled in order to attain a fortune. I am the one whose father you condemned to starvation, and the one who condemned you to starvation, but who none the less forgives you, because he himself needs forgiveness. I am Edmond Dantès!’
Though names may be markers of identity in The Count of Monte Cristo, they never tell the full story about who someone is. The Count's manipulation of his names, and Dumas's manipulation of the reader, fills the entire adventure with an air of ambiguity.
Related Themes:
Chapter 116 – The Pardon
Explanation and Analysis—Identity Crisis:
From Sinbad the Sailor to the Abbé to the Count of Monte Cristo himself, Edmond Dantès assumes a great many names throughout The Count of Monte Cristo. Naming—as a form of masking or revealing oneself—is a major motif in the novel, in service of the pervasive theme of identity. Each new name that the Count chooses comes with an entirely new identity with a new backstory and a new sense of ambition. A reputation precedes each new name that the Count chooses, along with a sense of mystery. In Chapter 31, Franz and one of Sinbad's sailors discuss the character of Sinbad:
‘Come now,’ Franz thought to himself. ‘This man is becoming more and more mysterious, since the stories differ.’ Then he said aloud: ‘What is his name?’
‘When asked, he replies that he is called Sinbad the Sailor. But I suspect this may not be his true name.’
‘Sinbad the Sailor?’
‘Yes.’
‘Where does this gentleman live?’
‘At sea.’
‘What country does he come from?’
‘I don’t know.’
‘Have you seen him?’
‘A few times.’
‘What is he like?’
‘Your Excellency can judge for himself.’
Unlike other characters in the book, the Count never shares a flashback or recites his own backstory in its entirety in any of his assumed identities. Dumas himself is careful to avoid explicitly stating whether or not a new name might be the Count under a new identity, instead leaving the reader to determine this for themselves. By the end of the novel, however, a number of grand reveals finally occur. Before Danglars, who grows increasingly destitute in prison, the Count reveals himself as Dantès in Chapter 116:
‘You are mistaken. I am not the Count of Monte Cristo.’
‘Who are you then?’
‘I am the one whom you sold, betrayed and dishonoured. I am the one whose fiancée you prostituted. I am the one on whom you trampled in order to attain a fortune. I am the one whose father you condemned to starvation, and the one who condemned you to starvation, but who none the less forgives you, because he himself needs forgiveness. I am Edmond Dantès!’
Though names may be markers of identity in The Count of Monte Cristo, they never tell the full story about who someone is. The Count's manipulation of his names, and Dumas's manipulation of the reader, fills the entire adventure with an air of ambiguity.
Related Themes:
