While Operation Anvil/Dragoon did not have the titanic struggles present in Operation Overlord or the Battle of the Bulge, it has many valuable lessons and fascinating stories for those interested in the war to evaluate. Each thread of the story about Anvil/Dragoon unravels the neat, straightforward narrative that the Allies advanced harmoniously straight from the beaches of Normandy into the heart of Germany in nine months. Rather, it shows how the opinions of individuals and the alteration of carefully laid plans can test the bonds of alliance.
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The historical setting is a fundamental element of the book, an adventure story primarily concerned with themes of hope, justice, vengeance, mercy, and forgiveness. It centers on a man who is wrongfully imprisoned, escapes from jail, acquires a fortune, and sets about exacting revenge on those responsible for his imprisonment.
The first Japanese translation by Kuroiwa Shūroku was entitled "Shigai Shiden Gankutsu-ou" (史外史伝巌窟王, "a historical story from outside history, the King of the Cavern"), and serialized from 1901 to 1902 in the Yorozu Chouhou newspaper, and released in book form in four volumes by publisher Aoki Suusandou in 1905. Though later translations use the title "Monte Cristo-haku" (モンテクリスト伯, the Count of Monte Cristo), the "Gankutsu-ou" title remains highly associated with the novel and is often used as an alternative. As of March 2016, all movie adaptations of the novel brought to Japan used the title "Gankutsu-ou", with the exception of the 2002 film, which has it as a subtitle (with the title itself simply being "Monte Cristo").
Alexandre Dumas and Auguste Maquet wrote a set of four plays that collectively told the story of The Count of Monte Cristo: Monte Cristo Part I (1848); Monte Cristo Part II (1848); Le Comte de Morcerf (1851) and Villefort (1851). The first two plays were first performed at Dumas' own Théâtre Historique in February 1848, with the performance spread over two nights, each with a long duration (the first evening ran from 18:00 until 00:00). The play was also unsuccessfully performed at Drury Lane in London later that year where rioting erupted in protest against French companies performing in England.
Two English adaptations of the novel were published in 1868. The first, by Hailes Lacy, differs only slightly from Dumas' version with the main change being that Fernand Mondego is killed in a duel with the Count rather than committing suicide. Much more radical was the version by Charles Fechter, a notable French-Anglo actor. The play faithfully follows the first part of the novel, omits the Rome section and makes several sweeping changes to the third part, among the most significant being that Albert is actually the son of Dantès. The fates of the three main antagonists are also altered: Villefort, whose fate is dealt with quite early on in the play, kills himself after being foiled by the Count trying to kill Noirtier (Villefort's half brother in this version); Mondego kills himself after being confronted by Mercedes; Danglars is killed by the Count in a duel. The ending sees Dantès and Mercedes reunited and the character of Haydee is not featured at all. The play was first performed at the Adelphi in London in October 1868. The original duration was five hours, resulting in Fechter abridging the play, which, despite negative reviews, had a respectable sixteen-week run. Fechter moved to the United States in 1869 and Monte Cristo was chosen for the inaugural play at the opening of the Globe Theatre, Boston in 1870. Fechter last performed the role in 1878.
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The German war plan called for the swiftest possible capture of Paris, hoping to knock France out of the war before Russia could fully mobilize its large but low-tech military. The fastest route to the French capital happens to run through Belgium, so the first battle of the war was a German attack on the Belgian city of Liège. Belgium was not part of any pre-war alliances and attempted to stay neutral in the war. The attack on Belgium brought the British Empire into the war, with British politicians citing their country's obligation to uphold Belgian neutrality. This was a risky move on Germany's part, but German war-planning long regarded a quick, decisive blow against France as the best possible hope of winning a two-front war. Right from the outset things did not go Germany's way. Liège (and other Belgian towns and fortifications near the Meuse River) fell, but the Belgians' determination to resist in the face of impossible odds did delay Germany's operations against France substantially, giving France and Britain critical extra days to prepare the defense of Paris. 2ff7e9595c