The Mesmerist's Victim — Context and Discussion

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Dumas, Alexandre, 1802-1870, Williams, Henry Llewellyn, 1842- [Translator] Project Gutenberg 2013 Not confirmed
Marie Antoinette, Queen, consort of Louis XVI, King of France, 1755-1793 -- Fiction; Cagliostro, Alessandro, conte di, 1743-1795 -- Fiction; Du Barry, Jeanne Bécu, comtesse, 1743-1793 -- Fiction; France -- History -- Louis XV, 1715-1774 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 91,881
Reading time 400 min
Text sections 10

For The Mesmerist's Victim — Context and Discussion, the stored edition analysis reports 91,881 words, 6 hr 40 min estimated reading time, and 10 detected text sections.

The text analysis averages about 15.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Marie Antoinette, Queen, consort of Louis XVI, King of France, 1755-1793 -- Fiction,” connecting these edition facts with the source record’s subject description.

This historical romance by Alexandre Dumas, translated by Henry Llewellyn Williams, centers on court intrigue around Louis XV and Madame Dubarry, with the title figure Cagliostro appearing as a mesmerist. The excerpts reveal a focus on cynical dialogue and power games rather than supernatural elements.
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On the thirteenth of May, 1770, Paris celebrated the wedding of the Dauphin or Prince Royal Louis Aguste, grandson of Louis XV. still reigning, with Marie-Antoinette, Archduchess of Austria.

The entire population flocked towards Louis XV. Place, where fireworks were to be let off. A pyrotechnical display was the finish to all grand public ceremonies, and the Parisians were fond of them although they might make fun.

The ground was happily chosen, as it would hold six thousand spectators. Around the equestrian statue of the King, stands were built circularly to give a view of the fireworks, to be set off at ten or twelve feet elevation.

The townsfolk began to assemble long before seven o’clock when the City Guard arrived to keep order. This duty rather belonged to the French Guards, but the Municipal government had refused the extra pay their Commander, Colonel, the Marshal Duke Biron, demanded, and these warriors in a huff were scattered in the mob, vexed and quarrelsome. They sneered loudly at the tumult, which they boasted they would have quelled with the pike-stock or the musket-butt if they had the ruling of the gathering.

The shrieks of the women, squeezed in the press, the wailing of the children, the swearing of the troopers, the grumbling of the fat citizens, the protests of the cake and candy merchants whose goods were stolen, all prepared a petty uproar preceding the deafening one which six hundred thousand souls were sure to create when collected. At eight at evening, they produced a vast picture, like one after Teniers, but with French faces.

About half past eight nearly all eyes were fastened on the scaffold where the famous Ruggieri and his assistants were putting the final touches to the matches and fuses of the old pieces. Many large compositions were on the frames. The grand bouquet, or shower of stars, girandoles and squibs, with which such shows always conclude, was to go off from a rampart, near the Seine River, on a raised bank.

As the men carried their lanterns to the places where the pieces would be fired, a lively sensation was raised in the throng, and some of the timid drew back, which made the whole waver in line.

Carriages with the better class still arrived but they could not reach the stand to deposit their passengers. The mob hemmed them in and some persons objected to having the horses lay their heads on their shoulder.

Behind the horses and vehicles the crowd continued to increase, so that the conveyances could not move one way or another. Then were seen with the audacity of the city-bred, the boys and the rougher men climb upon the wheels and finally swarm upon the footman’s board and the coachman’s box.

The illumination of the main streets threw a red glare on the sea of faces, and flashed from the bayonets of the city guardsmen, as conspicuous as a blade of wheat in a reaped field.

About nine o’clock one of these coaches came up, but three rows of carriages were before the stand, all wedged in and covered with the sightseers. Hanging onto the springs was a young man, who kicked away those who tried to share with him the use of this locomotive to cleave a path in the concourse. When it stopped, however, he dropped down but without letting go of the friendly spring with one hand. Thus he was able to hear the excited talk of the passengers.

Out of the window was thrust the head of a young and beautiful girl, wearing white and having lace on her sunny head.

“Come, come, Andrea,” said a testy voice of an elderly man within to her, “do not lean out so, or you will have some rough fellow snatch a kiss. Do you not see that our coach is stuck in this mass like a boat in a mudflat? we are in the water, and dirty water at that; do not let us be fouled.”

“We can’t see anything, father,” said the girl, drawing in her head: “if the horse turned half round we could have a look through the window, and would see as well as in the places reserved for us at the governor’s.”

“Turn a bit, coachman,” said the man.

“Can’t be did, my lord baron,” said the driver; “it would crush a dozen people.”

“Go on and crush them, then!”

“Oh, sir,” said Andrea.

“No, no, father,” said a young gentleman beside the old baron inside.

“Hello, what baron is this who wants to crush the poor?” cried several threatening voices.

“The Baron of Taverney Redcastle--I,” replied the old noble, leaning out and showing that he wore a red sash crosswise.

The excerpts from The Mesmerist's Victim reveal a novel more concerned with courtly manipulation than with mesmerism itself. The title figure, Cagliostro, is barely present in the provided passages; instead, the narrative dwells on the cynical maneuvers of Louis XV, the Duc de Richelieu, and Madame Dubarry. The opening chapter sets the story on May 13, 1770, during the wedding of the Dauphin and Marie Antoinette, but the later excerpts shift to private suppers and whispered deals. The catalog subjects list Marie Antoinette, Cagliostro, and Madame Dubarry as fiction subjects, yet the excerpts show Dubarry as a central figure, while Cagliostro remains offstage.

Courtly Cynicism and the King’s Voice

The dialogue attributed to Louis XV in Chapter XXI is strikingly informal and self-deprecating. He complains of being “fagged” and “in brown studies,” and jokes that women “lead us by the nose.” This portrayal contrasts with the formal image of a monarch. The King’s exchange with Richelieu reveals a ruler who is weary of court life and suspicious of his mistress’s motives. When Richelieu suggests sending his man Rafté to check on Dubarry, the King’s concern is less about jealousy than about ensuring she does not “drop in at the Trianon.” The language is blunt: “Dash me if I know how you manage it, duke.” Such phrasing gives the King a colloquial, almost vulgar voice, emphasizing the novel’s focus on behind-the-scenes power struggles rather than regal dignity.

The Dubarry Faction and the Baron’s Fortune

In the earlier excerpt, the Baron de Taverney receives a gift of jewels from the King, delivered by Richelieu. The baron is warned to keep the news from “the Dubarry’s friends,” as she might “quit the King and run away.” This scene establishes a factional divide: the Dubarry party versus those who seek the King’s favor independently. The baron’s daughter, Andrea de Taverney, is mentioned as the subject of a conversation about “virtue,” but her role is not developed in the excerpts. The gift is described with a simile: the baron is “like a child waking up and finding what Santa Claus left in his sock.” This homely comparison undercuts the courtly setting, suggesting a tone of ironic detachment. The focus remains on the transactional nature of royal favor, with jewels as a tangible reward for discretion.

Structural Gaps: The Missing Mesmerist

Despite the title, the excerpts contain no direct reference to mesmerism or Cagliostro’s actions. The catalog lists Cagliostro as a fiction subject, but the provided text does not include him. This discrepancy suggests that the mesmerist plot may be confined to later chapters or subplots. The novel’s full title includes “Andrea de Taverney,” and the excerpts focus on her father’s dealings, but Andrea herself appears only as a topic of discussion. Readers should expect a narrative that intertwines court intrigue with a separate thread involving Cagliostro’s influence. The translation by Henry Llewellyn Williams, published in 1894 as part of “The Sunset Series,” preserves archaic spellings (“courteseyed,” “gallopped”) that may affect readability. The text’s origin as a cheap edition is evident from the appended advertisements for house plans.

Readers approaching The Mesmerist’s Victim should be prepared for a historical romance that foregrounds political maneuvering over the occult. The excerpts offer a vivid portrait of Louis XV’s court, but the promised mesmerist remains elusive. Pay attention to the dynamics between the King, Richelieu, and Dubarry, as these relationships drive the plot. The translation’s period flavor and the novel’s serialized origins may require patience with stylistic quirks. The full work likely balances the courtly drama with Cagliostro’s schemes, but the excerpts alone do not reveal how these threads connect.

There’s something a little sad in watching Cagliostro trade wonder for wit, all those courtiers jostling for a king’s glance. It makes me think of quieter afternoons spent with Bob White, where cunning means something gentler. That old Dumas sharpness lingers, yet the countryside feels like remembering sunshine after rain. The Adventures of Bob White — A Reader’s Guide holds that warmth.

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