THE COUNT OF MONTE CRISTO ALEXANDRE DUMAS CHAPTER 95 Đây là một tác phẩm anh ngữ nổi tiếng với những từ vựng nâng cao chuyên ngành văn chương. Nhằm giúp các bạn yêu thich tiếng anh luyện tập và củng cố thêm kỹ năng đọc tiếng anh . | THE COUNT OF MONTE CRISTO ALEXANDRE DUMAS CHAPTER 95 Father and Daughter. We saw in a preceding chapter how Madame Danglars went formally to announce to Madame de Villefort the approaching marriage of Eugenie Danglars and M. Andrea Cavalcanti. This announcement which implied or appeared to imply the approval of all the persons concerned in this momentous affair had been preceded by a scene to which our readers must be admitted. We beg them to take one step backward and to transport themselves the morning of that day of great catastrophes into the showy gilded salon we have before shown them and which was the pride of its owner Baron Danglars. In this room at about ten o clock in the morning the banker himself had been walking to and fro for some minutes thoughtfully and in evident uneasiness watching both doors and listening to every sound. When his patience was exhausted he called his valet. Etienne said he see why Mademoiselle Eugenie has asked me to meet her in the drawing-room and why she makes me wait so long. Having given this vent to his ill-humor the baron became more calm Mademoiselle Danglars had that morning requested an interview with her father and had fixed on the gilded drawing-room as the spot. The singularity of this step and above all its formality had not a little surprised the banker who had immediately obeyed his daughter by repairing first to the drawing-room. Etienne soon returned from his errand. Mademoiselle s lady s maid says sir that mademoiselle is finishing her toilette and will be here shortly. Danglars nodded to signify that he was satisfied. To the world and to his servants Danglars assumed the character of the good-natured man and the indulgent father. This was one of his parts in the popular comedy he was performing -- a make-up he had adopted and which suited him about as well as the masks worn on the classic stage by paternal actors who seen from one side were the image of geniality and from the other showed lips drawn down in .
