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    Vaninka (Celebrated Crimes Series)
    Vaninka (Celebrated Crimes Series)
    Vaninka (Celebrated Crimes Series)
    Ebook78 pages1 hour

    Vaninka (Celebrated Crimes Series)

    By Alexandre Dumas

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    About this ebook

    This antiquarian book contains Alexandre Dumas's work "Vaninka". It was first published as part of his eight-volume series "Celebrated Crimes" (1839-40), and recounts the true story of brutal torture and execution in the city of St. Petersburg. A thrilling and authentic retelling of the notorious case, "Vaninka" is not to be missed by fans of the true-crime genre, and constitutes a must-have for collectors of Dumas's work. Alexandre Dumas (1802-1870) was a famous French writer. He is best remembered for his exciting romantic sagas, including "The Three Musketeers" and "The Count of Monte Cristo". Despite making a great deal of money from his writing, Dumas was almost perpetually penniless thanks to his lavish lifestyle. His novels have been translated into nearly a hundred different languages, and have inspired over 200 motion pictures. Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. We are republishing this antiquarian book in an affordable, modern, high-quality edition complete with a specially commissioned new biography of the author.
    LanguageEnglish
    PublisherWhite Press
    Release dateJun 29, 2015
    ISBN9781473376359
    Vaninka (Celebrated Crimes Series)
    Author

    Alexandre Dumas

    Frequently imitated but rarely surpassed, Dumas is one of the best known French writers and a master of ripping yarns full of fearless heroes, poisonous ladies and swashbuckling adventurers. his other novels include The Three Musketeers and The Man in the Iron Mask, which have sold millions of copies and been made into countless TV and film adaptions.

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      Book preview

      Vaninka (Celebrated Crimes Series) - Alexandre Dumas

      VANINKA

      by

      Alexandre Dumas

      Copyright © 2012 Read Books Ltd.

      This book is copyright and may not be

      reproduced or copied in any way without

      the express permission of the publisher in writing

      British Library Cataloguing-in-Publication Data

      A catalogue record for this book is available from the British Library

      Alexandre Dumas

      Alexandre Dumas was born in Villers-Cotterêts, France in 1802. His parents were poor, but their heritage and good reputation – Alexandre’s father had been a general in Napoleon’s army – provided Alexandre with opportunities for good employment. In 1822, Dumas moved to Paris to work for future king Louis Philippe I in the Palais Royal. It was here that he began to write for magazines and the theatre.

      In 1829 and 1830 respectively, Dumas produced the plays Henry III and His Court and Christine, both of which met with critical acclaim and financial success. As a result, he was able to commit himself full-time to writing. Despite the turbulent economic times which followed the Revolution of 1830, Dumas turned out to have something of an entrepreneurial streak, and did well for himself in this decade. He founded a production studio that turned out hundreds of stories under his creative direction, and began to produce serialised novels for newspapers which were widely read by the French public. It was over the next two decades, as a now famous and much loved author of romantic and adventuring sagas, that Dumas produced his best-known works – the D’Artagnan romances, including The Three Musketeers, in 1844, and The Count of Monte Cristo, in 1846.

      Dumas made a lot of money from his writing, but he was almost constantly penniless as a result of his extravagant lifestyle and love of women. In 1851 he fled his creditors to Belgium, and then Russia, and then Italy, not returning to Paris until 1864. Dumas died in Puys, France, in 1870, at the age of 68. He is now enshrined in the Panthéon of Paris alongside fellow authors Victor Hugo and Emile Zola. Since his death, his fiction has been translated into almost a hundred languages, and has formed the basis for more than 200 motion pictures.

      VANINKA

      About the end of the reign of the Emperor Paul I—that is to say, towards the middle of the first year of the nineteenth century—just as four o’clock in the afternoon was sounding from the church of St. Peter and St. Paul, whose gilded vane overlooks the ramparts of the fortress, a crowd, composed of all sorts and conditions of people, began to gather in front of a house which belonged to General Count Tchermayloff, formerly military governor of a fair-sized town in the government of Pultava. The first spectators had been attracted by the preparations which they saw had been made in the middle of the courtyard for administering torture with the knout. One of the general’s serfs, he who acted as barber, was to be the victim.

      Although this kind of punishment was a common enough sight in St. Petersburg, it nevertheless attracted all passers-by when it was publicly administered. This was the occurrence which had caused a crowd, as just mentioned, before General Tchermayloff’s house.

      The spectators, even had they been in a hurry, would have had no cause to complain of being kept waiting, for at half-past four a young man of about five-and-twenty, in the handsome uniform of an aide-de-camp, his breast covered with decorations, appeared on the steps at the farther end of the court-yard in front of the house. These steps faced the large gateway, and led to the general’s apartments.

      Arrived on the steps, the young aide-de-camp stopped a moment and fixed his eyes on a window, the closely drawn curtains of which did not allow him the least chance of satisfying his curiosity, whatever may have been its cause. Seeing that it was useless and that he was only wasting time in gazing in that direction, he made a sign to a bearded man who was standing near a door which led to the servants’ quarters. The door was immediately opened, and the culprit was seen advancing in the middle of a body of serfs and followed by the executioner. The serfs were forced to attend the spectacle, that it might serve as an example to them. The culprit was the general’s barber, as we have said, and the executioner was merely the coachman, who, being used to the handling of a whip, was raised or degraded, which you will, to the office of executioner every time punishment with the knout was ordered. This duty did not deprive him of either the esteem or even the friendship of his comrades, for they well knew that it was his arm alone that punished them and that his heart was not in his work. As Ivan’s arm as well as the rest of his body was the property of the general, and the latter could do as he pleased with it, no one was astonished that it should be used for this purpose. More than that, correction administered by Ivan was nearly always gentler than that meted out by another; for it often happened that Ivan, who was a good-natured fellow, juggled away one or two strokes of the knout in a dozen, or if he were forced by those assisting at the punishment to keep a strict calculation, he manoeuvred so that the tip of the lash struck the deal plank on which the culprit was lying, thus taking much of the sting out of the stroke. Accordingly, when it was Ivan’s turn to be stretched upon the fatal plank and to receive the correction he was in the habit of administering, on his own account, those who momentarily played his part as executioner adopted the same expedients, remembering only the strokes spared and not the strokes received. This exchange of mutual benefits, therefore, was productive of an excellent understanding between Ivan and his comrades, which was never so firmly knit as at the moment when a fresh execution was about to take place. It is true that the first hour after the punishment was generally so full of suffering that the knouted was sometimes

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