The Three Musketeers
The idea of the mind, body, and spirit characters is not
something new. I am currently reading "A Wrinkle in Time," and the
characters are unbelievably clear. Even clearer, though, are the Three
Musketeers, but here we see a twist - the addition of a fourth
character. In "The Three Musketeers," D'Artagnan is outside the mind,
body, and spirit circle. In fact, the mind, body, and spirit characters work
to mature the fourth character, D'Artagnan, into a true Musketeer.
This happens elsewhere in literature, as well. For example, in "The Lion, the Witch, and the Wardrobe," C.S. Lewis 'matures' Peter into the High King of Narnia through interactions with Edward (the body), Lucy (the spirit), and Susan (the mind), but I'll address that story another day. For now, we'll look at "The Three Musketeers."
Athos' introduction is not much, but it is a clear example of 'mind over matter.' Dumas writes, "...Athos, whatever might be his self-command, allowed a slight murmur of pain." Athos is injured, but hides it from the others and from his mentor, M. Treville.
When he encounters D'Artagnan, D'Artagnan has collided with him and brushed it off as being in a hurry. Athos responds, "Under that pretense you run against me! You say 'Excuse me,' and you believe that is sufficient? Not at all, my young man. Do you fancy because you heard M. Treville speak to us a little cavalierly today that other people are to treat us as he speaks to us? Undeceive yourself, comrade, you are not M. Treville."
Notice the bolded words in that last passage. All of them are 'thought' words. When given this conflict, his natural respose is to try to make D'Artagnan think.
Anyone introduced with "...great height and haughty countenance..." is bound to be a body character. His introduction also makes his vanity very clear. He is "dressed in a costume" that is designed to "attract general attention" including a "magnificent baldric" and a "gigantic rapier."
When telling others about his costume, Porthos says, "This fashion is coming in. It is folly, I admit, but still it is the fashion." In other words, "I don't care if it looks stupid, people will think I'm cool." Porthos expands his presence by pointing out how expensive the baldric was, and that he's received an inheritance that paid for it - all of which turns out to be a lie.
When D'Artagnan collides with Porthos, Porthos chastises him and suggests D'Artagnan should use his eyes, as opposed using his mind, as Athos suggested.
Porthos also covers himself when the others ask why he is to fight D'Artagnan. To save face, he says, "Faith! I'm going to fight - because I am going to fight."
Aramis' introduction focuses on his relational capacity. He has an "open, ingenuous countenance" and "a black, mild eye." Dumas isn't talking about a physical description - notice 'eye' is in the singular. Aramis also " appeared to dread lowering his hands...spoke little and slowly, bowed frequently, laughed without noise..." From his introduction, the reader does not get any idea of Aramis' physical appearance or of what he thinks. Instead, Dumas lets the reader know how he feels, and feeling is the realm of the spirit character.
Another identifier of the spirit character is religion, especially devout religion. Aramis is not dedicated to the Musketeers except the dedication to protect the queen until an heir is born. He is very clear that he intends to return to the abbey when that happens. One Musketeer says, "He only waits for one thing to determine him to resume his cassock, which hangs behind his uniform."
Aramis will only fight for a cause. "I only fight when I am forced to do so." When he confronts D'Artagnan, he only want to defend his own code of gallantry. "...to kill you quietly in a snug, remote place, where you will not be able to boast of your death to anybody."
D'Artagnan comes into the picture as a talented country boy, desiring to become a Musketeer. Through conflict and interaction with the body, mind, and spirit characters, D'Artagnan gains the knowledge and experience to become a true Musketeer.
This happens elsewhere in literature, as well. For example, in "The Lion, the Witch, and the Wardrobe," C.S. Lewis 'matures' Peter into the High King of Narnia through interactions with Edward (the body), Lucy (the spirit), and Susan (the mind), but I'll address that story another day. For now, we'll look at "The Three Musketeers."
The Mind Character: Athos
Athos' introduction is not much, but it is a clear example of 'mind over matter.' Dumas writes, "...Athos, whatever might be his self-command, allowed a slight murmur of pain." Athos is injured, but hides it from the others and from his mentor, M. Treville.
When he encounters D'Artagnan, D'Artagnan has collided with him and brushed it off as being in a hurry. Athos responds, "Under that pretense you run against me! You say 'Excuse me,' and you believe that is sufficient? Not at all, my young man. Do you fancy because you heard M. Treville speak to us a little cavalierly today that other people are to treat us as he speaks to us? Undeceive yourself, comrade, you are not M. Treville."
Notice the bolded words in that last passage. All of them are 'thought' words. When given this conflict, his natural respose is to try to make D'Artagnan think.
The Body Character: Porthos
Anyone introduced with "...great height and haughty countenance..." is bound to be a body character. His introduction also makes his vanity very clear. He is "dressed in a costume" that is designed to "attract general attention" including a "magnificent baldric" and a "gigantic rapier."
When telling others about his costume, Porthos says, "This fashion is coming in. It is folly, I admit, but still it is the fashion." In other words, "I don't care if it looks stupid, people will think I'm cool." Porthos expands his presence by pointing out how expensive the baldric was, and that he's received an inheritance that paid for it - all of which turns out to be a lie.
When D'Artagnan collides with Porthos, Porthos chastises him and suggests D'Artagnan should use his eyes, as opposed using his mind, as Athos suggested.
Porthos also covers himself when the others ask why he is to fight D'Artagnan. To save face, he says, "Faith! I'm going to fight - because I am going to fight."
The Spirit Character: Aramis
Aramis' introduction focuses on his relational capacity. He has an "open, ingenuous countenance" and "a black, mild eye." Dumas isn't talking about a physical description - notice 'eye' is in the singular. Aramis also " appeared to dread lowering his hands...spoke little and slowly, bowed frequently, laughed without noise..." From his introduction, the reader does not get any idea of Aramis' physical appearance or of what he thinks. Instead, Dumas lets the reader know how he feels, and feeling is the realm of the spirit character.
Another identifier of the spirit character is religion, especially devout religion. Aramis is not dedicated to the Musketeers except the dedication to protect the queen until an heir is born. He is very clear that he intends to return to the abbey when that happens. One Musketeer says, "He only waits for one thing to determine him to resume his cassock, which hangs behind his uniform."
Aramis will only fight for a cause. "I only fight when I am forced to do so." When he confronts D'Artagnan, he only want to defend his own code of gallantry. "...to kill you quietly in a snug, remote place, where you will not be able to boast of your death to anybody."
D'Artagnan
D'Artagnan comes into the picture as a talented country boy, desiring to become a Musketeer. Through conflict and interaction with the body, mind, and spirit characters, D'Artagnan gains the knowledge and experience to become a true Musketeer.
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