The Hero of the People: A Historical Romance of Love, Liberty and Loyalty — Themes and Context

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Dumas, Alexandre, 1802-1870, Williams, Henry Llewellyn, 1842- [Translator] Project Gutenberg 2013 Not confirmed
Historical fiction; France -- History -- Revolution, 1789-1799 -- Fiction; Marie Antoinette, Queen, consort of Louis XVI, King of France, 1755-1793 -- Fiction Readers of public-domain and historical texts
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Edition facts

Words 83,238
Reading time 362 min
Text sections 9

Before opening The Hero of the People: A Historical Romance of Love, Liberty and Loyalty — Themes and Context, the edition data offers a quick orientation: 83,238 words, 6 hr 2 min estimated reading time, and 9 detected text sections.

The text analysis averages about 17.3 words per sentence, while the detected sections provide another way to judge how the source is divided.

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This editorial note examines how the opening, middle, and later excerpts of Dumas's historical romance guide a first reading, focusing on the king's secret council, the locksmith-gunsmith contrast, and the flight plot's development.
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The French Revolution had begun by the Taking of the Bastile by the people of Paris on the Fourteenth of July, 1789, but it seemed to have reached the high tide by King Louis XVI, with his Queen Marie Antoinette and others of the Royal Family, leaving Versailles, after some sanguinary rioting, for the Capital, Paris.

But those who think, in such lulls of popular tempests, that all the mischief has blown over, make a mistake.

Behind the men who make the first onset, are those who planned it and who wait for the rush to be made and, then, while others are tried or satisfied, glide into the crowds to stir them up.

Mysterious agents of secret, fatal passions, they push on the movement from where it paused, and having urged it to its farthest limit, those who opened the way are horrified, at awakening to see that others attained the end.

At the doorway of a wine saloon at Sevres by the bridge, over the Seine, a man was standing who had played the main part, though unseen, in the riots which compelled the Royal Family to renounce an attempt to escape out of the kingdom like many of their sycophants, and go from Versailles Palace to the Tuileries.

This man was in the prime of life: he was dressed like a workingman, wearing velveteen breeches shielded by a leather apron with pockets such as shinglers wear to carry nailes in, or blacksmith-farriers or locksmiths. His stockings were grey, and his shoes had brass buckles; on his head was a fur cap like a grenadier’s cut in half or what is called nowadays an artillerist’s busby. Grey locks came straggling from under its hair and mingled with shaggy eyebrows; they shaded large bulging eyes, keen and sharp, quick, with such rapid changes that it was hard to tell their true color. His nose was rather thick than medium, the lips full, the teeth white, and his complexion sunburnt.

Without being largely built, this man was well formed: his joints were not course and his hands were small and might have seemed delicate but for their being swart like those of workers in metal.

Despite the vigor of the biceps muscle shown from his having rolled up his shirt sleeves, the skin was remarkable for its whiteness, and almost aristocratically fine.

Within his reach was a richly gold-inlaid double-barrelled fowling piece, branded with the name of Leclere, the fashionable gunsmith of Paris. You may ask how could such a costly firearm come into the hands of a common artisan? In times of riot it is not always the whitest hands which grasp the finest weapons.

This man had only arrived from Versailles since an hour, and perfectly well knew what had happened there: for to the landlord’s questions as he supplied him with a bottle of wine which he did not touch, he had answered as follows:

“The Queen is coming along with the King and the Dauphin. They had started at half afternoon, having at last decided to live at the Tuileries; in consequence of which for the future Paris would no longer want for bread, as it would have in her midst, the Baker, the Baker’s Wife and the Baker’s Boy, as the popular slang dubbed the three ‘Royals'.”

As for himself, he was going to hang round to see the procession go by.

This last assertion might be true, although it was easy to tell that his glance was more often bent on the side towards Paris than Versailles, which led one to surmise that he did not feel obliged to tell Boniface exactly what his intentions were.

In a few seconds his attraction seemed gratified, for he spied a man, garbed much like himself, and appearing of the same trade, outlined on the ridge of the road. He walked heavily like one who had journeyed from afar.

His age appeared to be like his awaiter’s, that is, what is called the wrong side of forty. His features were those of a common fellow with low inclinations and vulgar instincts.

The stranger’s eye was fastened on him with an odd expression as if he wished with a single scrutiny to measure the gold, if any, and the alloy in his composition.

When the wayfarer from the town was within twenty steps of this man lounging in the doorway, the latter stepped inside, poured the wine from the bottle into two glasses and returning to the doorstep with one tumbler held up, he hailed him:

“Hello, mate! it is pretty cold weather, and the road is a long one. What do you say to our having a drop of the red to cheer us up and warm us?”

The novel opens not with a battle or a crowd but with a king confiding in a trusted subject. Louis XVI’s speech to the Count of Charny, excerpted here, reveals a monarch who dissects his own political traps—Austrian influence, the Favras plan, his brother’s ambitions—with a bitterness that undercuts any romanticized view of royalty. The king’s voice is precise, weary, and calculating: he speaks of “the hand of Austria beckoning me into a trap” and dismisses his wife’s hairdresser and dressmaker as pensioned counselors. This early scene establishes a pattern of intimate political negotiation that will likely recur throughout the novel.

The King’s Unburdening as a Structural Anchor

The excerpt from Chapter I is dominated by Louis XVI’s monologue to Charny. The king lists grievances—Austria’s extortions, the Archbishop of Toulouse, the hairdresser Léonard—in a tone that blends self-pity with sharp analysis. He admits he has “thought of this flight before” but recoiled from Austrian overtures. This confession serves as a concentrated dose of the novel’s political context: the monarchy’s isolation, the queen’s contested loyalty, and the threat of a regency under the king’s brother. Dumas uses the scene to plant key names (Favras, Breteuil, Necker) and to foreshadow the central dilemma of escape versus entrapment. For a first reader, this passage functions as a compressed briefing on the historical moment, delivered through character rather than exposition.

The Locksmith and the Gunsmith: A Contrast in Craft

The chapter title “Locksmith and Gunsmith” hints at a symbolic pairing that the excerpt does not fully develop. The opening pages describe the taking of the Bastille on July 14, 1789, but quickly shift to the king’s private council. The two trades—one associated with securing doors, the other with opening fire—may represent opposing forces within the revolution: containment versus violence. Dumas’s habit of using professional contrasts (as in The Three Musketeers) suggests that these figures will reappear as embodiments of different revolutionary paths. The reader should watch for how the locksmith’s skill (perhaps literal lock-picking or key-making) and the gunsmith’s trade intersect with the plot of flight and pursuit.

The Queen’s Absence and the King’s Emphasis

Marie Antoinette is a catalog subject but barely appears in the excerpt. The king mentions her only indirectly, stressing that he has told Charny things he has not told “even the Queen.” He lays stress on the words “not even the Queen,” signaling a rift or a protective silence. The queen’s hairdresser and dressmaker are named as conduits of Austrian influence, yet she herself is absent from the conversation. This lacuna may be deliberate: Dumas may be reserving her voice for later scenes, or using her as a figure whose loyalty is questioned by others. A first reader should note that the queen’s role is defined by others’ perceptions—Austrian, frivolous, or manipulated—rather than by her own actions in this opening.

The Flight Plot: Plans Within Plans

The king outlines two escape schemes: the Austrian proposal and the Favras plan, the latter backed by his brother, the Count of Provence. He dismisses the Austrian route as a trap and characterizes Favras as “a brave soldier and a loyal gentleman” but “fit for mad projects.” The count of Charny is given the scissors and thread—to “disentangle or cut” as he sees fit. This metaphor of tailoring suggests that the plot will involve intricate adjustments, false leads, and last-minute alterations. The reader is primed for a narrative of conspiracy where no plan is straightforward, and where trust is parceled out sparingly. The king’s warning that “all know” about the possibility of a regency adds a layer of public knowledge that complicates any secret maneuver.

These excerpts offer a narrow but dense window into Dumas’s method: he embeds historical exposition in tense dialogue, uses craft titles as thematic clues, and withholds key characters to build suspense. A first reader will benefit from tracking the king’s shifting alliances, the symbolic weight of trades, and the gradual emergence of the queen’s perspective. The novel’s title promises a hero, but the opening suggests that heroism may be a matter of loyalty tested by conspiracy rather than battlefield glory.

There’s something comforting in watching a plot unfold slowly, the way Dumas lets secrets breathe—and I found that same patient hand in Dreadnoughts of the Dogger: A Story of the War on the North Sea — Edition Insights, where the sea waits too, quietly. Both feel less like stories and more like old friends recounting things they’ve carried a long time.

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