The Count of Monte Cristo

Awakening to the Carnival

Franz regains consciousness to find Albert drinking water (pale from shock) and the count donning his masquerade costume. The piazza is now full of noisy, excited crowds, and the bell of Monte Citorio rings to announce the start of the Carnival. Franz asks what transpired, and the count explains the execution was a nightmare, Peppino escaped in the confusion, and urges the two young men to dress and join the festivities. Albert admits he is glad to have witnessed the execution but is ready to participate in the Carnival.

Preparing for the Revels

Franz decides to follow his companions’ lead, puts on his Carnival costume and mask, and the three descend to find their carriage waiting at the door, filled with sweetmeats and bouquets, ready to join the procession of carriages on the Corso.

The Corso in Full Festivity

The chapter describes the total transformation of the Corso from the grim execution site to a riot of Carnival joy: crowds of masks in fantastical costumes (clowns, harlequins, peasants, knights, etc.) fill the streets and carriages, throwing confetti, flour-filled eggs, sweetmeats and flowers at passersby indiscriminately. Franz and Albert are quickly caught up in the festive chaos, their memories of the execution fading as they join in the fun, throwing treats from their own carriage. The count remains completely unmoved by the revelry, and the grand spectacle of the Corso is detailed: palaces lined with 300,000 spectators showering confetti and bouquets down to the street, fantastical costumed figures parading, and a lively, chaotic atmosphere.

Albert and the Mysterious Peasants

At the second turn of the Corso, the count exits the carriage, leaving it and his servants (dressed in a bear-skin coat and green monkey costumes, respectively) at Franz and Albert’s disposal, and invites them to use his box at the Argentina Theatre when they tire of the Carnival. Franz spots a blue domino at a white-damask window of the Rospoli Palace, which he assumes belongs to the beautiful Greek woman he saw the previous night. Albert becomes fixated on a passing carriage full of Roman peasants, convinced the occupants are charming women in disguise. During a subsequent encounter, Albert’s mask falls off, and he throws the remaining bouquets from his carriage into the peasant carriage; one occupant throws a bunch of violets back to him, which he keeps as a token.

The Bunch of Violets

Albert treasures the bunch of violets as a sign the mysterious peasant woman is interested in him. The pair encounter the peasant carriage several more times, and the woman claps her hands when she sees Albert wearing the violets in his buttonhole. Albert insists they should not pursue her further that day, waiting for her to make a sign the next day if she wishes to continue their acquaintance, and Franz teases him about his romantic caution. When they return to the Rospoli Palace later, the count and blue domino have disappeared, and the bell signaling the end of the Carnival procession rings, ending the day’s events on the Corso.

The Count’s Offerings

The carriage drives Franz and Albert back to their hotel, where Signor Pastrini informs them the count has arranged a separate carriage for his own use, and has gifted them the key to his private box at the Argentina Theatre for the evening. The two friends are hesitant to impose on the count’s generosity, but his servant reassures them the carriage is at their full disposal for the day, so they accept the offer.

An Evening at the Theatre

Franz and Albert change into evening wear and head to the Argentina Theatre, where they take their seats in the count’s private box. During the first act, the Countess G—— enters, immediately spots Franz and Albert in the box, and fixes her opera glass on them. Franz invites Albert to join him in paying their respects to the countess, and they go to her box to greet her.