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The Three Musketeers: (Penguin Classics Deluxe Edition) [Paperback]

Alexandre Dumas , Tom Gauld , Richard Pevear
5.0 out of 5 stars  See all reviews (2 customer reviews)
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Book Description

Aug. 28 2007 Penguin Classics Deluxe
A major new translation of one of the most enduring works of literature, from the award- winning, bestselling co-translator of Anna Karenina-with a spectacular, specially illustrated cover

The Three Musketeers is the most famous of Alexandre Dumas's historical novels and one of the most popular adventure stories ever written. Now in a bracing new translation, this swashbuckling epic chronicles the adventures of d'Artagnan, a brash young man from the countryside who journeys to Paris in 1625 hoping to become a musketeer and guard to King Louis XIII. Before long he finds treachery and court intrigue-and also three boon companions: the daring swordsmen Athos, Porthos, and Aramis. Together they strive heroically to defend the honor of their queen against the powerful Cardinal Richelieu and the seductive spy Milady.

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"Brisk, agile . . . a heady mix of intrigue, action, and laughing-in-the-face- of-death badinage [all superbly rendered in this translation]."
-The New York Times Book Review

About the Author

Alexandre Dumas was born July 24, 1802, at Villiers-Cotterets, France, the son of Napoleon's famous mulatto general, Dumas. Alexandre Dumas began writing at an early age and saw his first success in a play he wrote entitled Henri III et sa Cour (1829). A prolific author, Dumas was also an adventurer and took part in the Revolution of 1830. Dumas is most famous for his brilliant historical novels, which he wrote with collaborators, mainly Auguste Maquet, and which were serialized in the popular press of the day. His most popular works are The Three Musketeers(1844), The Count of Monte Cristo (1844-45), and The Man in Iron Mask (1848-50). Dumas made and lost several fortunes, and died penniless on on December 5, 1870.
Richard Pevear and Larissa Volokhonsky have produced acclaimed translations of Tolstoy, Dostoevsky, Gogol, and Bulgakov. Their translation of The Brothers Karamazov won the 1991 PEN/Book-of-the-Month Club Translation Prize. They are married and live in Paris, France.

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2 of 2 people found the following review helpful
5.0 out of 5 stars On wings of elation July 23 2007
This Pevear translation Of The Three Musketeers evokes the thought, "such a good damn read; why did I wait so long to get through it." I award another plume added the chapeau of Mr. Pevear. Oh, this is wonderful!
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5.0 out of 5 stars A great translation of a classic. July 18 2009
If you're going to read The Three Musketeers, which you should, this is definitely the translation to get. Stay far away from the Lowell Blair version, which saps much of the fun from the novel. I had read the Blair version twice before reading this and Pevear injects new life into an old favorite; he really brings out the boisterous and joyful tone.

Other than issues of translation what else can be said? The Three Musketeers is probably the best adventure ever told and remains one of my favorite books of all time. This version also has the cute cover art going for it, which is much less dreary than the drab portraits on many other editions.
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Most Helpful Customer Reviews on (beta) 4.2 out of 5 stars  28 reviews
104 of 112 people found the following review helpful
5.0 out of 5 stars Huzzah! Sept. 7 2006
By Stephen Balbach - Published on
Format:Hardcover|Verified Purchase
An "endless adventure" breathlessly moving from one scene to the next: sword-fighting, court espionage, sex scandals, poisonings, assassinations, undying love and so on.

'Les Trois Mousquetaires', first published in 1844, was soon translated into three English versions by 1846. One of these, by William Barrow, is still in print and fairly faithful to the original, available in the Oxford World's Classics 1999 edition. However all of the explicit and many of the implicit references to sexuality had been removed to conform to 19th century English standards of morality, thus making the scenes between d'Aragnan and Milady, for example, confusing and strange. The most recent and new standard English translation is by award-winning translator Richard Pevear (2006). Pevear says in his translation notes that most of the modern translations available today are "textbook examples of bad translation practices" which "give their readers an extremely distorted notion of Dumas's writing." Thankfully we have high quality translations like this one now available.
25 of 25 people found the following review helpful
5.0 out of 5 stars Both entertaining and insightful. May 14 2009
By Michael J. Skarpelos - Published on
Format:Hardcover|Verified Purchase
All translators must struggle with two competing goals: 1) being faithful to the original author and 2) making the translated text accessible to the reader. In this translation of _The Three Musketeers_, the translator, Richard Pevear, generally gravitates towards the first goal. His vocabulary choices almost always favor the original French usage rather than modern English usage. For example, early in the book, Pevear refers to Milady as Rochefort's "interlocutrix". Now I don't know about you, but I grew up going to California public schools, and if I ever used a word like "interlocutrix", I'd get my face bashed into a locker. My background notwithstanding, I think it's clear what's going on here. The word "interlocutrix" is an uncommon yet legitimate English word with French roots. Pevear has chosen to use the uncommon word in order to remain faithful to Dumas' original French text which presumably used the French cognate for "interlocutrix" whatever that is.

I could come up with literally dozens of such examples, and eventually I just started keeping a separate list of obscure words and definitions so I only needed to refer to a short list rather than slog through the dictionary every time I came upon one of those recurring obscure words. By the time I finished the book, I had a five page (12 pt. Times New Roman type, single-spaced) list of obscure words. They range from 17th century French clothing ("tabard", "doublet", "jerkin") to horse-related terminology ("caparison", "sorrel", "croup") to 17th century military terminology ("counterscarp", "revetments", "circumvallation") and many others. In all these cases, I'm convinced that Pevear chose to use the English cognates of original French words rather than more modern English equivalents.

In fairness to Pevear, he does provide extensive notes explaining the historical references made by Dumas, which is extremely reader-friendly, and I profited from them greatly. Even in these notes, however, he leaves out some obvious choices such as "Rosinante" and "Circe".

In short, if you're an English speaker with no knowledge of French but would like to get a feel for Dumas' prose style and usage, this is the book for you. It is a remarkably faithful translation that really gives you a feel for the nuances of the original text. If you're unfamiliar with the obscure words chosen for the translation but are willing to make repeated trips to the dictionary (or keep a side list as I did), you'll be richly rewarded with keener understanding of life in 17th century France as well as a greater appreciation of Dumas' prose style.

For what it's worth, a doublet is close fitting jacket worn by European men in the 16th and 17th centuries; a jerken is a hip-length collarless and sleeveless jacket worn over a doublet, and a tabard is a tunic or cape-like garment emblazoned with a coat of arms. A caparison is an ornamental covering for a horse or for its saddle or harness; a sorrel is a brownish-orange colored horse, and a croup is the rump of a beast of burden, especially a horse. A counterscarp is the outer side of a ditch used in fortifications; revetments is a barricade against explosives, and circumvallation is the act of surrounding with a rampart. Rosinante is the name of Don Quixote's horse, and Circe is the goddess of Greek mythology who turned Odysseus's men temporarily into pigs but later gave him directions for their journey home. And an interlocutrix is simply a woman who is participating in a conversation.

I'll close with my favorite quote from the book, spoken by Cardinal Richelieu. He was musing about finding someone to assassinate the Duke of Buckingham, but Milady argued that potential assassins would be afraid to proceed for fear of "torture and death". Le Cardinal replied, "In all times and in all countries, especially if those countries are divided by religion, there will always be fanatics who ask for nothing better than to be made martyrs." It's as true today as it was when Dumas' wrote it more than 160 years ago.
21 of 22 people found the following review helpful
5.0 out of 5 stars Pevear's Translation is the Best!! July 22 2007
By Christina Paul - Published on
Richard Pevear's translation of the Three Musketeers is without a doubt the best I have ever seen. His translation makes the story flow much easier and makes the language much more intelligible to modern readers. My hope is that he continues to translate Dumas' other works where the Musketeers also make an appearance. I would recommend this book to those who have already read previous translations and those who are new to the works of Alexandre Dumas.
11 of 11 people found the following review helpful
5.0 out of 5 stars A Classic Translation for a Classic Adventure June 11 2008
By Sharon Gollman - Published on
The Pevear/Volokhonsky team has been responsible for a minor Russian revolution (hoo-ha) in literature. Their brisk, highly accurate, wonderfully readable translations of Crime and Punishment, The Bros. Karamazov, Chekhov, and War and Peace make these tomes seem exciting and new , especially since most have made do with translations from the early 20th or even 19th centuries!

Now, Richard Pevear takes a crack at one of the most sheerly enjoyable books ever written, The Three Musketeers. I'd tried to read a version of this book some years back. It was pretty good, but it seemed to be one of those adventure stories trapped in another time, where what was once considered bold and exciting had slowly become covered in sepia and dust. But this translation makes everything seem bright, bold, and (because this is a French novel) wonderfully risque.

Political backstabbing, sex-as-revenge, noblemen hiding under assumed names, poisoned wine, battlefield fact, I was surprised how much romance and history are intertwined in this novel. The main villain, Milady, (Quasi-SPOILER!)

managers to seduce an English Puritan who is guarding her through a combination of pious prayer and that sort of faux-naivete that involves low-cut dresses and heaving bosoms. Porthos is after a woman for her money, and D'artagnan falls in love with his landlord's wife. Hilarity typically ensues, though there is the occasional kidnapping and the old "hide 'em in a convent".

(End Quasi-Spoiler)

I highly recommend this book to anyone who has a bit of a swashbuckler in them, or who likes their thrillers to have some actual literary merit (which this book does in spades).

I only ask that Mr. Pevear PLEASE turn his pen to the sequel to the Three Musketeers, the bluntly titled "Twenty Years Later". Who knows what we are missing?
36 of 44 people found the following review helpful
2.0 out of 5 stars strange choices Feb. 3 2008
By CBH - Published on
I loved the Pevear-Volokhonsky translation of Anna Karenina. Loved it! And so I was very, very happy to see a Pevear version of The Three Musketeers, especially one with a fun cover like this new Penguin Classics Deluxe edition has. I bought it and was ready to replace my Modern Library Classics edition --until I started reading it.

Now, I admit I don't have a French version on hand, but I am honestly confused by Pevear's choices in this translation. For example, when the keeper of seals searches the queen's papers, he refers to it as a "perquisition." When the landlord is questioned in the Bastille, Pevear's text refers to the "beagles" who run the place and the "commissary" who is in charge. I held the book at arm's length --I work in a prison, am fluent in French, and have read this book before-- why don't the words match up to those people actually use in English? My old translation refers to the "commissioner" in charge of the prison. That makes sense to me; where I work the "commissary" is the service where inmates can order packaged food or hygiene products using their personal funds.

Pevear's version is still readable, but it's readable in a strange way, like a thesaurus when you're used to a dictionary. I found his choices somewhat distracting.
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