Alessandro Manzoni

Professor Alessandro Manzoni

Alessandro Manzoni was a giant of nineteenth-century European literature whose I promessi sposi (The Betrothed, 1928) is ranked with War and Peace as marking the summit of the historical novel. Manzoni wrote “Del romanzo storico” (“On the Historical Novel”) during the twenty years he spent revising I promessi sposi. This first English translation of On the Historical Novel reflects the insights of a great craftsman and the misgivings of a profound thinker. It brings up to the nineteenth century the long war between poetry and history, tracing the idea of the historical novel from its origins in classical antiquity. It declares the historical novel—and presumably I promessi sposi itself—dead as a genre. Or perhaps it justifies I promessi sposi as the climax of a genre and the end of a stage of human consciousness. Its importance lies both in its prospective and in its retrospective contributions to literary debate.

On the Historical Novel

"Now, translator Federica Brunori Deigan presents lyrical English-language versions of these two tragedies which, taken together, dramatize the first two epochs in Manzoni's "history of Italy." (The Betrothed completes the triptych, illustrating the period of Spanish domination.) Long unavailable in English, The Count of Carmagnola and Adelchis are distinguished by their dramatic power and thematic gravity. Manzoni considers the interactions of Christian morals and Machiavellian politics through deft psychological portraiture, ultimately revealing the course of history as a fabric woven by individuals free will according to a logical pattern of actions and reactions, within the vaster providential plan, that human eyes can only dimly perceive."--BOOK JACKET.

Alessandro Manzoni's The Count of Carmagnola and Adelchis

This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1845 edition. Excerpt: ... the shifting of a scene, Renzo and Lucia stood between them. Don Abbondio saw indistinctly--saw clearly--was terrified, astonished, enraged, buried in thought, came to a resolution; and all this, while I enzo uttered the words; " Signor Curate, in the presence of these witnesses, this is my wife." Before, however, Lucia's lips could form the reply, Don Abbondio dropped the receipt, seized the lamp with his left hand, and raised it in the air, caught hold of the cloth with his right, and dragged it furiously off the table, bringing to the ground in its fall, book, paper, inkstand, and sandbox; and, springing between the chair and the table, advanced towards Lucia. The poor girl, with her sweet gentle voice, trembling violently, had scarcely uttered the words, "And this...." when Don Abbondio threw the cloth rudely over her head and face, to prevent her pronouncing the entire formula. Then, letting the light fall from his other hand, he employed both to wrap the cloth round her face, till she was well nigh smothered, shouting in the meanwhile, at the stretch of his voice, like a wounded bull; " Perpetua ! Perpetua !-- treachery--help !" The light, just glimmering on the ground, threw a dim and flickering ray upon Lucia, who, in utter consternation, made no attempt to disengage herself, and might be compared to a statue sculptured in chalk, over which the artificer had thrown a wet cloth. When the light died away, Don Abbondio quitted the poor girl, and went groping about to find the door that opened into an inner room; and having reached it, he entered and shut himself in, unceasingly exclaiming, " Perpetua! treachery, help! Out of the house! out of the house!" In the other room all was confusion: Renzo, seeking to lay hold of the Curate, ...

I Promessi Sposi Volume 1-2

George William Featherstonhaugh

This is a reproduction of a book published before 1923. This book may have occasional imperfections such as missing or blurred pages, poor pictures, errant marks, etc. that were either part of the original artifact, or were introduced by the scanning process. We believe this work is culturally important, and despite the imperfections, have elected to bring it back into print as part of our continuing commitment to the preservation of printed works worldwide. We appreciate your understanding of the imperfections in the preservation process, and hope you enjoy this valuable book.

Professor Alessandro Manzoni

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