Definition of Hyperbole
In Chapter 30, The Count of Monte Cristo takes an important turn: Dantès, calling himself Sinbad the Sailor, has just rewarded Morrel and the rest of the crew of the Pharaon—the ship that he should have captained—for helping him. Now, he determines to seek revenge on those who have done him wrong. His announcement of this shift in intentions is rife with hyperbole:
‘And now,’ said the stranger, ‘farewell, goodness, humanity, gratitude … Farewell all those feelings that nourish and illuminate the heart! I have taken the place of Providence to reward the good; now let the avenging God make way for me to punish the wrongdoer!’
In Chapter 58, Dumas invites the reader into a conversation with Noirtier, the old Monsieur de Villefort himself—an apparently ancient man who has lost the power of speech and movement but nonetheless retains his presence of mind. Dumas introduces Noirtier with a slew of literary devices, including hyperbole, metaphor, simile, and the imagery of light and darkness:
Unlock with LitCharts A+Motionless as a corpse, he greeted his children with bright, intelligent eyes .... Sight and hearing were the only two senses which, like two sparks, still lit up this human matter, already three-quarters remoulded for the tomb. Moreover, only one of these two senses could reveal to the outside world the inner life which animated this statue, and the look which disclosed that inner life was like one of those distant lights which shine at night, to tell a traveller in the desert that another being watches in the silence and the darkness.
In Chapter 68, Albert discusses his mother, Mercédès, with the Count. As Albert gushes about his fondness for his mother, he makes an allusion to Shakespeare's plays:
Unlock with LitCharts A+You know how I feel about my mother, Count: she is an angel, still beautiful, still witty, finer than ever. I have just come back from Le Tréport. Now, for any other son, just imagine: travelling with his mother would be an act of kindness or an unavoidable burden. Yet I have just spent four days with mine in Le Tréport and I can tell you they were more satisfying, more relaxing and more poetical than if I had been with Queen Mab or Titania.
In Chapter 89, Mercédès finally declares the Count to be Edmond Dantès, her betrothed from all those years ago. In a flourish of hyperbole, the Count can finally reveal the extent of his quest for revenge:
Unlock with LitCharts A+What would you say if you knew the extent of the sacrifice I am making for you? Suppose that the Lord God, after creating the world, after fertilizing the void, had stopped one-third of the way through His creation to spare an angel the tears that our crimes would one day bring to His immortal eyes. Suppose that [...] God had extinguished the sun and with His foot dashed the world into eternal night [...]
In Chapter 111, Villefort arrives home to find a horrifying scene—his wife has killed their son and herself. Rising to the dramatic grandeur of the moment, Dumas caches his description of this scene in a network of allusion and hyperbole in order to make it as affecting as possible:
Unlock with LitCharts A+A moment before, he had been sustained by fury, that huge resource for a strong man; and by despair, the supreme virtue of grief, which drove the Titans to climb the heavens and Ajax to brandish his fist at the gods.
Villefort bent his head under the weight of sorrows, rose up on his knees, shook his hair, which was damp with sweat and standing on end with horror, and this man, who had never had pity on anyone, went to seek out the old man, his father, just so that in his weakness he might have someone to whom to tell his misfortune and someone with whom to weep.