116. The Pardon - 117. October the Fifth

---

 This chapter from The Count of Monte Cristo depicts a critical moment in the story where Danglars, once a wealthy banker, is now a prisoner in a dungeon controlled by Luigi Vampa, a bandit. Over the course of the chapter, Danglars is subjected to a psychological and physical torment that forces him to confront his past crimes and the consequences of his greed.

The day begins with Danglars feeling hungry again, though he had tried to ration his food from the previous day. However, he soon finds himself desperately thirsty and calls for Peppino, a bandit. When Peppino arrives, Danglars requests water, but Peppino informs him that water is scarce and expensive. Danglars, trying to negotiate, asks for wine instead, but Peppino demands an exorbitant price—25,000 francs for a bottle. Danglars, realizing the absurdity of the situation, becomes increasingly desperate.

He is then confronted by Luigi Vampa, the leader of the bandits. Vampa demands that Danglars pay 5,000,000 francs for his release, which is all the money Danglars has left. Danglars tries to negotiate, offering smaller amounts, but Vampa coldly refuses, insisting on the full amount. Danglars, in a state of panic and despair, offers all his money and even his life, but Vampa remains unmoved, simply advising Danglars to be economical, as he might have to endure hunger if his money runs out.

Over the next twelve days, Danglars, in his desperation, gives up his fortune bit by bit, paying exorbitant amounts for basic food and drink. He becomes increasingly weak, both physically and mentally, as his resources dwindle. Despite having only 50,000 francs left, he tries to hold onto the money, driven by a mad hope that he might still be saved.

As the days pass, Danglars' situation worsens. He becomes delirious and begins to hallucinate, seeing visions of an old man dying of hunger—a reflection of his own fear of starvation. On the fourth day, he is reduced to begging Peppino for a piece of bread, offering his last 1,000 francs. Peppino ignores him, and Danglars, in utter despair, calls out for the "chief," who immediately appears.

This chief is revealed to be Edmond Dantès, the Count of Monte Cristo, who has been orchestrating Danglars' suffering as a form of retribution for the wrongs committed against him. Danglars finally recognizes Dantès, who reveals his true identity and recounts the ways in which Danglars betrayed him, leading to Dantès' wrongful imprisonment and the suffering of his loved ones.

Despite Danglars' pleas for mercy, Dantès does not kill him. Instead, he forgives him and allows him to keep the remaining 50,000 francs, though he informs Danglars that the 5,000,000 francs he stole have been returned to their rightful place. Dantès then orders Vampa to release Danglars once he is fed.

Danglars, now completely broken and destitute, is released into the wilderness. As he makes his way to a stream to drink, he sees his reflection and realizes that his hair has turned completely white, a symbol of the profound impact of his ordeal.

This chapter highlights the themes of justice, retribution, and the psychological toll of guilt and fear. It also serves as the climax of Danglars' downfall, showing how his greed and betrayal ultimately led to his ruin.

 This chapter of The Count of Monte Cristo describes a dramatic and emotional encounter between Maximilian Morrel and the Count of Monte Cristo, set against the picturesque backdrop of the Mediterranean Sea near the island of Monte Cristo. The chapter begins with a vivid description of a serene evening, as the sun sets over the sea and a light breeze stirs the air. A yacht glides smoothly across the water, carrying a melancholic traveler—Maximilian—toward the island.

As the yacht approaches the island, Maximilian, standing at the prow, identifies the destination and expresses a profound sadness. Upon reaching the island, the crew signals their arrival with a gunshot, and Maximilian is rowed ashore by the sailors, who silently depart after their task, leaving him alone in the dark.

He is soon met by the Count of Monte Cristo, who greets him warmly, although he quickly perceives Maximilian's deep sorrow. The conversation that follows reveals Maximilian's despair and his desire to end his life. He speaks of his grief and how he has lost all hope despite trying to find solace in the Count's earlier advice to "wait and hope." The Count, in turn, probes the depth of Maximilian's sorrow, trying to understand whether he has truly lost all hope or if there remains something to live for.

Maximilian confirms that he has no desire to live, except to die in the arms of a friend. The Count, troubled by this, offers Maximilian a painless and peaceful death, presenting him with a mysterious substance that would allow him to die without suffering. Maximilian accepts, but before he can take the substance, the Count hesitates and offers to join him in death, which Maximilian refuses, stating that the Count still has reasons to live.

As Maximilian prepares to die, he begins to feel the effects of the substance, slipping into unconsciousness. However, just as he believes he is about to die, a brilliant light floods the room, and a figure he recognizes as Valentine—whom he believed dead—appears before him. Overcome with emotion, Maximilian realizes that he has been saved, and that the Count has orchestrated this reunion to restore his hope and will to live.

The chapter concludes with Valentine and Maximilian walking along the shore the next morning, discussing the events that led to their reunion and the Count's role in saving them both. They receive a letter from the Count, who has departed with Haydée, leaving them to live their lives together in happiness. The Count's letter reflects on the nature of happiness and suffering, emphasizing the importance of patience and hope. The final words of the chapter echo this sentiment, as the characters are left to "wait and hope" for the future.

This chapter is a powerful exploration of despair, hope, and the transformative power of love and friendship, set within the grand, romantic framework of Dumas's narrative.