A word on Benedettoâs father figures
Because Iâve been thinking about it all week. Have some parallels and contrasts, my friends:
Villefort:
Starts off Benedettoâs story extremely strongly by literally burying him alive within minutes of his birth. No one has ever failed their son harder.
Might have been onto something when he said crime spread around him and from him like a disease. Seriously, look at this family! Itâs so dysfunctional in so many ways!!! If youâre a nature-over-nurture person, itâs not that far-fetched to suppose Benedetto got the Criminal Geneâą from him.
Literally changed his name to hide his compromising origins (as much as humanly possible in the spheres he frequents).
Burnt Edmondâs denunciation letter. Guess who else likes to burn things?
Is brought down by the literal unearthing of his biggest secret, which in turn concludes Benedettoâs arc.
Bertuccio:
Is, literally, the one who gave Benedetto life, and the emissary of Providenceâą who shows up to bestow blessings upon him at semi-regular intervals.
Unfortunately, those gifts are always cursed. Surprise salvation from the grave in the garden? Only happens because Bertuccio tried to murder the kidâs father first, and results in what is functionally a kidnapping. Surprise adoption? Results in Benedetto being raised by a literal criminal, who is #shocked when his protege starts hanging out with ill-intentioned older boys and disciplines him with what we can reasonably assume from the unreliable narration is the good old belt. Surprise life-changing information about his origins that Bertuccio held onto all these years? Only revealed to cement Benedettoâs status as Monte-Cristoâs puppet.
Crumbled the second Benedetto questioned his ascendance, therefore drawing a clear link between authority and paternity and reinforcing the kidâs desire to defy both.
âMajor Cavalcantiâ:
Is just Some Guyâą.
And yet, they have so much in common: both are impostors trapped in Monte-Cristoâs web, both are passionate about scamming rich people. Thereâs a quasi-instantaneous recognition between the two and, because they share the same goal, they develop a strangely wholesome understandingâŠ? Itâs forced coexistence as much as it is respect, but itâs not deprived of a weird sort of warmth, and Monte-Cristo himself comments on how much it looks like actual familial love. The contrast with Caderousse could not be harsher.
In virtue of his fake wealth and fake fatherhood, the Major becomes the Ultimate Authorityâą âAndreaâ name-drops every time he wants to advance in society.
Caderousse:
Outwardly, he adopts all the attributes of a good father. He taught Benedetto most of his tricks! He feeds him! He talks of all the hardships theyâve been through together, like a family would!
But, of course, what heâs really doing is blackmailing Benedetto. Caderousse wants money, and itâs taken him a while to actually get his hands dirty, but heâs finally graduating to murder! And his silly young friend should help him if he doesnât want his blood spilled on Place de GrĂšve.
Anyway Benedetto stabs that guy real bad. I thought it was hilarious of him.
Danglars:
As Andreaâs future father-in-law, Danglars is his ticket towards the life of luxury without effort he has always wanted.
Of course, Danglars is using Andrea for the same reason Caderousse uses Benedetto: for money. Both of them lie about what they own, ergo about who they are, to get their hands on what they think the other has. This is especially interesting when put in perspective with the brutal honesty Danglars employs when talking to Eugénie, who he treats like a son and almost business partner rather than like a daughter (Transmasc Eugénie Truthers, rise up!).
⊠But of course, he still wants people to think of he and Andrea as family to strengthen his own nobility: if his son (in-law) is a prince, a title Danglars repeats ad nauseam, doesnât that make him a king?
All things considered, despite losing their freedom (temporarily in Danglarsâ case), money and status, both of them get a relatively happy ending compared to most of the cast.
Monte-Cristo:
BUCKLE UP THIS IS THE MOST INTERESTING.
Twice Benedetto raises the possibility of Monte-Cristo being his biological father, a perfectly logical conclusion in light of what he has done for him; in turn, Monte-Cristo recognises Benedetto as one of Godâs punishers, a title he otherwise only attributes to himself.
Both of them went through a symbolic rebirth after being buried alive.
Both of them were wrongly accused of being evil incarnate, but eventually graduated to Full-On Criminals. Talk about self-fulfilling prophecies.
Escape Artistsâą
Both had to completely reinvent themselves, down to their names and origins, to achieve their ambitions.
Ruined engagement ceremony!!! This also draws parallels to Villefort and, interestingly, to Valentine and Franz.
THIS:
đ«đ· « Ce calme, cette parfaite aisance firent comprendre Ă Andrea quâil Ă©tait pour le moment Ă©treint par une main plus musculeuse que la sienne, et que lâĂ©treinte nâen pouvait ĂȘtre facilement brisĂ©e. »
đŹđ§ « This calm, this perfect poise told Andrea that he was presently held by a hand far stronger than his, whose grip could not be escaped easily. »
Both Edmond and Benedetto know they are prisoners of people more powerful than they are, of the narrative, of a superior power that wields them like knives; both Monte-Cristo and Andrea accept their role as knives in the hope of eventually slicing through their ties. Whether or not they succeeded in the end is up to the readerâs interpretation.
