In The Count of Monte Cristo, Dumas sets up Villefort and Dantès as foils for each other. This much is clear from their first interaction, when Dantès reveals that he was arrested at his own betrothal feast:
‘You were at your betrothal feast?’ said the deputy, shuddering in spite of himself.
‘Yes, Monsieur. I am about to marry a woman whom I have loved for the past three years.’
Though usually impassive, nevertheless Villefort was struck by this coincidence; and the emotion in the voice of Dantès, whose happiness had been interrupted, sounded a sympathetic chord with him: he too was to be married, he too was happy, and his own felicity had been disturbed so that he might help to destroy that of a man who, like himself, was on the very brink of happiness.
In Chapter 33, the reader discovers a story within a story—the tale of a legendary bandit named Luigi Vampa, as told by Signor Pastrini:
Unlock with LitCharts A+You could not have a better informant than I, Excellency, if you want to have the full story, because I knew Luigi Vampa as a young child. One day when I myself fell into his hands while traveling from Ferentino to Alatri, he remembered our earlier acquaintance, luckily for me. He let me go, not only without making me pay a ransom, but even making me a present of a very fine watch, and telling me his life story.
[...]
The hotelier sat down, after bowing respectfully to his future listeners, with the intention of letting them know that he was ready to give them any information about Luigi Vampa that they might require.
In The Count of Monte Cristo, Dumas sets up Mercédès and Haydée as foils for each other. As the two primary love interests of the Count throughout the novel, the qualities of both characters serve to emphasize their differences—particularly in the eyes of the Count. From the Count's perspective, Mercédès's decision to marry Fernand in his absence constitutes a betrayal—whereas Haydée, over the course of her relationship to the Count, stays decidedly loyal. Dumas does not directly juxtapose these traits; the reader comes to understand their narrative function as foils through dialogue with the Count. This is especially clear at the end of the book, when the Count bids a final farewell to Mercédès and a rapturous greeting to Haydée. The final interaction between the Count and Mercédès comes in Chapter 112:
Unlock with LitCharts A+If I were to tell you that I should live in this place as Mercédès once did, that is to say by working, you would not believe me. I can no longer do anything except pray, but I do not need to work. The little treasure that you buried was still in the place that you mentioned. People will wonder who I am, and ask what I do, and have no idea how I live; but that is of no significance! It is between God, yourself and me.
In The Count of Monte Cristo, Dumas sets up Mercédès and Haydée as foils for each other. As the two primary love interests of the Count throughout the novel, the qualities of both characters serve to emphasize their differences—particularly in the eyes of the Count. From the Count's perspective, Mercédès's decision to marry Fernand in his absence constitutes a betrayal—whereas Haydée, over the course of her relationship to the Count, stays decidedly loyal. Dumas does not directly juxtapose these traits; the reader comes to understand their narrative function as foils through dialogue with the Count. This is especially clear at the end of the book, when the Count bids a final farewell to Mercédès and a rapturous greeting to Haydée. The final interaction between the Count and Mercédès comes in Chapter 112:
Unlock with LitCharts A+If I were to tell you that I should live in this place as Mercédès once did, that is to say by working, you would not believe me. I can no longer do anything except pray, but I do not need to work. The little treasure that you buried was still in the place that you mentioned. People will wonder who I am, and ask what I do, and have no idea how I live; but that is of no significance! It is between God, yourself and me.