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The Betrothed (1842)

af Alessandro Manzoni

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3,092504,326 (3.99)1 / 191
En romantisk kærlighedshistorie fra det 17. århundredes Norditalien.
  1. 10
    De elendige af Victor Hugo (chrisharpe)
  2. 00
    Sotto il nome del cardinale af Edgardo Franzosini (Oct326)
    Oct326: Questo piccolo saggio parla di Giuseppe Ripamonti (storico le cui opere furono una delle fonti dei "Promessi Sposi") e di Federico Borromeo (uno, com'è noto, dei personaggi principali del romanzo). Protetto del Borromeo, il Ripamonti a un certo punto cadde misteriosamente in disgrazia e finì in carcere, e altrettanto misteriosamente fu poi riabilitato. Franzosini racconta (bene) come e perché, ed è un racconto che non può non essere interessante anche per i lettori del gran romanzo di Manzoni.… (mere)
  3. 00
    Salammbô af Gustave Flaubert (rahkan)
    rahkan: Another sumptuous historical tale, featuring scenes of wild emotion and excess
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Engelsk (28)  Italiensk (13)  Catalansk (4)  Spansk (2)  Tysk (1)  Fransk (1)  Hollandsk (1)  Alle sprog (50)
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An amazing read! Written in the early 1800's, and set in the 1620's around Milan, mostly in small villages and inns. A story of young love, cowards, ruthless aristocrats, the plague, class structure and the role of the church in the everyday lives of that time. Funny, moving, engaging, it flows along at a very steady pace. The story cuts between a couple of storylines as our friends and enemies follow their diverging and remerging paths, but is always lively. The tale of the pandemic, based on historical documents, is just amazing. One could swap the names of the heros and villans of the covid pandemic with those in this tale of a 17th century plague outbreak with little effort, and see just how timeless human folly is. This has been on my TBR shelf for years, and I'm so happy it made it to the top. ( )
  diveteamzissou | Nov 28, 2023 |
Pensare di recensire o commentare i “Promessi Sposi” è un po’ come andare a cercarsela. E come se passando davanti alla finestra del domenicano Tomás de Torquemada, che fu a capo dell'inquisizione spagnola dal 1483 al 1492, uno si mettesse a declamare «così infinitamente rendo grazie a Dio che si sia compiaciuto di far me solo primo osservatore di cosa ammiranda e tenuta a tutti i secoli occulta» ovvero il sole sta fermo e noi gli giriamo intorno.

Chiarito quindi che nessun ardire porrò nel commentare la storia di Alessandro Manzoni, forse l’opera italiana tra le più celebrate teatralmente e televisivamente, oltre che tra le più citate insieme alla Divina Commedia del Sommo poeta, mi limiterò ad un invito alla rilettura di un’edizione molto particolare. Manzoni iniziò a dedicarsi alla scrittura del romanzo a partire dall'autunno del 1821, anche se per la prima originaria versione, di cui parlerò in altra sede, ci è suggerito che l’autore già dall’inizio dell’anno cominciò ad abbozzare trama e personaggi. La seconda fase di stesura del romanzo terminò nel novembre 1823 e il manoscritto fu edito nel 1825. Non nella sua forma definitiva però, perché l’autore, il cui ingegno era ormai cosa nota ed apprezzata nei circoli letterari, sentì il bisogno, avendone pure l’occasione, di approfondire la sua indagine linguistica, grazie al contatto diretto sia con la nobiltà fiorentina, che con il popolo, approccio che lo spinse a preferire quell’idioma di Firenze al posto del generico toscano come lingua letteraria del suo romanzo.

E ci pare di sentirli chiacchierare tra le pagine, discutere animatamente Don Abbondio e Fra Cristoforo, Agnese e Perpetua, Don Rodrigo e Renzo, Gertrude e Lucia. Anche se la storia che Manzoni ci racconta nulla ci azzecca con la bella Toscana, essendo essa ambientata tra Lecco e Milano, al tempo della dominazione spagnola, in un’epoca piuttosto turbolenta tra carestia e tumulti popolari, contese territoriali e la terribile epidemia di peste. La vicenda personale e sentimentale dei due promessi sposi, Renzo e Lucia, s’intreccia dunque con eventi che segnano la storia d’Italia come la sommossa per il pane di Milano, la discesa dei lanzichenecchi e la disputa per salire a capo del Ducato di Mantova.

Manzoni è prodigo di ingredienti nel suo intreccio letterario, vivace e stimolante, epidemia permettendo, infilando tra le righe striature di nazionalismo, tradizioni popolari, fede e speranza, psicologia, sociologia, filosofia, l’eterna lotta tra bene e male, tra luce e oscurità e amore. Tanto amore. Un vero capolavoro romantico, che trova conferma anche nelle scenografie che egli ci porta del lago di Como.

Ma sto divagando e me ne rendo conto. Perché raccontare questo libro che hanno letto tutti, studiato tutti, amato quasi tutti? Tornerò quindi all’edizione di cui volevo parlare, quella potremmo dire definitiva che fu pubblicata nel 1840 dalla Tipografia Guglielmini e Redaelli di Milano con il titolo “I promessi sposi. Storia della colonna infame, inedita: storia milanese del secolo 17. Scoperta e rifatta da Alessandro Manzoni”.

Nel momento in cui sto scrivendo queste righe si celebrano i 150 anni della morte di Manzoni e Mondadori ha rieditato una copia anastatica di questa edizione del 1840. Lo ha fatto perché l’autore volle che ad illustrare la sua opera fosse il pittore ed incisore ottocentesco Francesco Gonin. Ora, per chi non volesse sfogliare l’edizione cartacea, va detto che LiberLiber, una biblioteca digitale ad accesso gratuito, rende disponibile legalmente la stessa edizione ebook completa delle medesime illustrazioni.
Francesco Gonin (Torino, 16 dicembre 1808 – Giaveno, 14 settembre 1889), intorno al 1830, conobbe Massimo d'Azeglio (per cui illustro alcune opere) e proprio grazie a lui, durante un soggiorno milanese, fece la conoscenza di alcuni scrittori emergenti del mondo contemporaneo, tra questi Alessandro Manzoni, che lo chiamò per illustrare la sua edizione dei Promessi Sposi tra il 1839 e il 1842. Un’opera nell’opera, perché Gonin ebbe la possibilità di illustrare con le sue xilografie un intero romanzo, alternando dettagli, figure intere, scorci paesaggistici, vedute e scene corali.

La versione di Gonin comprende un frontespizio e le trentasei illustrazioni di apertura di capitolo, oltre a 300 vignette cui si aggiungono le 56 xilografie della Storia della Colonna Infame. Sarà comunque Manzoni a sovrintendere al lavoro, sia per la collocazione delle vignette che per la loro dimensione, oltre che per il soggetto da rappresentare, tanto che a Gonin giungevano in bottega le tavolette di bosso già belle che tagliate e della giusta misura, con tanto di annotazioni del Manzoni circa cosa rappresentare. ( )
  Sagitta61 | May 22, 2023 |
"The Betrothed" (in Italian, "I Promessi Sposi") is a historical novel written by the Italian author Alessandro Manzoni. It was first published in 1827 and is considered one of the most important works of Italian literature.

Set in 17th-century Lombardy, the novel tells the story of two young lovers, Renzo and Lucia, who are prevented from getting married by the machinations of the local tyrant, Don Rodrigo. The couple is separated and forced to flee their village, with Renzo seeking refuge in Milan and Lucia taken to a convent. Along the way, they encounter a range of characters, including a group of plague-stricken refugees and a heroic cardinal who helps them in their quest to be reunited.

The novel is not just a love story, but also a sweeping historical epic that explores the complex social and political landscape of 17th-century Italy. Manzoni uses the story of Renzo and Lucia to explore themes such as the abuse of power, the role of religion in society, and the struggle for freedom and justice.

Manzoni's writing style is characterized by its clarity, simplicity, and realism. He uses vivid descriptions and dialogue to create a richly detailed and engaging world that draws the reader in. The novel is also notable for its use of regional dialects, which adds to its authenticity and realism.

"The Betrothed" had a significant impact on Italian literature and culture, and is considered a masterpieceof the Romantic movement. It was one of the first works of Italian literature to be written in the vernacular, rather than in the formal language of the educated elite, and helped to establish Italian as a national language. The novel also influenced the development of Italian nationalism, and is regarded as a key work in the cultural and political history of Italy.

Today, "The Betrothed" is still widely read and studied in Italy, and is considered a classic of world literature. It has been translated into many languages, and has been adapted for film, television, and the stage. The novel's themes of love, justice, and social injustice continue to resonate with readers today, making it a timeless masterpiece of Italian literature.

---

"The Betrothed" had a significant impact on the development of Italian nationalism, particularly in the 19th century when Italy was still a collection of small states and territories under foreign rule. The novel's portrayal of the struggle for freedom and justice against tyranny and oppression resonated with many Italians who were seeking to unify their country and establish a national identity.

One of the ways in which "The Betrothed" influenced the development of Italian nationalism was through its use of a common language. Manzoni wrote the novel in the vernacular, rather than in the formal language of the educated elite, which helped to establish Italian as a national language. This was significant because, at the time, Italian was still a relatively new language that had only recently been standardized.

Another way in which "The Betrothed" influenced the development of Italian nationalism was through its portrayal of regional differences and the need for national unity. The novel is set in Lombardy, but it includes characters from other parts of Italy and explores the differences and similarities between them. This helped to promote a sense of national identity among Italians and to emphasize the need for national unity, despite regional differences.

"The Betrothed" also influenced the development of Italian nationalism through its themes of social justice and the struggle against tyranny. The novel portrays the struggle of ordinary people against the abuses of power and the oppression of the ruling class, which resonated with many Italians who were seeking to overthrow their foreign rulers and establish a democratic government. The novel's depiction of the struggle for freedom and justice helped to inspire and mobilize Italians who were fighting for their independence and for a better future.

"The Betrothed" had a significant impact on the development of Italian nationalism. Its use of a common language, portrayal of regional differences, and themes of social justice and national unity helped to promote a sense of national identity among Italians and to inspire them to fight for their independence and a better future. The novel remains an important work in the cultural and political history of Italy and continues to be studied and celebrated today. ( )
  AntonioGallo | May 21, 2023 |
La vida del noble milanés Alessandro Manzoni (1785-1873) abarca las etapas fundamentales de la historia italiana del XIX. Su obra más importante, Los novios, ilumina por sí sola toda la literatura del período. Esta novela histórica brota del hallazgo de un antiguo manuscrito y se expande en un entramado lingüístico cuidadosamente modelado en el que el lector de nuestros días aprecia el juego irónico y de perspectivas.
  Natt90 | Feb 9, 2023 |
Mettendo da parte i brutti ricordi legati alla scuola, la storia in sé non mi ha mai trasmesso nulla.. Chissà, magari se lo rileggessi ora cambierei opinione? ( )
  XSassyPants | Jun 11, 2022 |
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Anyone who planned to compile a plague anthology during the Covid pandemic must have turned to Alessandro Manzoni’s masterly historical novel I promessi sposi (literally “The betrothed couple”), written between 1821 and 1842, in which five chapters recreate the experience of bubonic plague in Milan in 1630. Manzoni conjures up the bumbling bureaucracy (the authorities broke their own rules), the claustrophobia, the silence, the little bell of the monatti (corpse carriers), the fear and hysteria, the stench, the looting, the teeming lazzaretto (isolation hospital), the humbling of the mighty and the rampant urban myths. The whole work – Manzoni’s only novel – is informed by deep historical research and a dedication to reality and truth.

Appearing a century after Defoe’s A Journal of the Plague Year, and today revered as the greatest Italian novel, this was one of Italy’s first: in previous centuries long narratives had normally been in verse. Writing in the 1955 preface to his classic translation (of 1951), Archibald Colquhoun asserted that “for Italy it is all Scott, Dickens, and Thackeray rolled into one volume; though … its spirit is perhaps nearer Tolstoy”. As to its reception, “it has gone into over 500 editions, and been translated into every modern language, including Chinese; two operas, three films, a ballet, and at least seven plays have been based on it” (a tally long since exceeded); moreover, it was “quoted by Cavour in the Turin Parliament”, and nowadays remains familiar at all levels of Italian society.

Alessandro Manzoni (1785–1873), a member of the Milanese landed gentry, began his literary career as a poet; his corpus includes two historical tragedies and philosophical, religious, social, linguistic and literary essays. Lombardy, with its capital Milan, was part of the Austrian empire, but from 1805 to 1810 the young writer lived in Paris, where a religious crisis led to his conversion to Catholicism; there too he encountered Romanticism, never prominent in Italian culture, though Manzoni became its leading representative. The historical novels of Walter Scott were sweeping through the salons of France, Germany and Russia, and Manzoni’s admiration for Scott is usually seen as crucial to the conception of I promessi sposi. It also buttressed his sympathies in the pivotal culture war that exploded in 1816 in Milan (then the heart of progressive politico-literary thinking), pitting the new Romanticism against the Enlightenment and the old classicizing world. This inflammatory journalism was suppressed by the Austrian authorities.

Inspired by Goethe’s The Sorrows of Young Werther (1774), the poet Ugo Foscolo had already written his epistolary novelUltime lettere di Jacopo Ortis (Last letters of Jacopo Ortis, Milan, 1802), as an expression of Italian nationalism and protest, while Silvio Pellico, in 1816 a noted figure in Milan’s great polemic, would publish his memoir of political imprisonment, Le mie prigioni (My prisons), in 1832. These exemplify the beginnings of Risorgimento literature, the writings that stimulated the growing movement for Italian independence and unification. I promessi sposi, a literary monument for all time and any place, also promoted Risorgimento thought and emotion. With its political, moral and religious commitment, the novel is almost an allegory. Manzoni’s choice of the Duchy of Milan in the early seventeenth century went beyond the emulation of Scott: the overlords then governing that territory had been Spanish, not Austrian, but their incompetence, venality and brutality prefigured aspects of nineteenth-century experience. The novel was a coded commentary for Manzoni’s own times, but, despite the censorship, he could describe the iniquities of Spanish colonial rule with relative impunity.

Life in the late 1620s was conditioned by the Counter-Reformation and the Thirty Years War: times of famine, riots and pandemic. Manzoni’s research prompted the use of a device already employed by Cervantes and Scott: he claimed to have discovered a seventeenth-century manuscript, and “quotes” its archaic language in the novel’s text, where the author is ever-present as the interpreter of his sources. His young protagonists, Renzo and Lucia, embody an influential literary innovation. Of peasant stock, they are silk weavers from Lake Como: not of elite status, they signal the beginnings of modern realism and a new vision of society in which the lives of the poor are valued. The novel is peopled by characters, both secular and religious, in all sectors of a society harshly divided between the ruling, feudal Spanish nobility and the humble Lombard population, with – in between – those burghers and lawyers who accommodated their lives to colonial servility. All shades of morality are evidenced also in the religious figures who help or hinder the young couple in their extremity.

Manzoni created some of the most memorable characters in Italian literature. Almost unwaveringly good and sensible, Lucia (from lux, light) is mature beyond her years and secure in her faith in Providence (a recurring theme), whereas fallible Renzo’s good heart is often betrayed by his volatile emotions: this is his Bildungsroman. In a situation analogous to that of Zerlina and Masetto in Mozart’s opera Don Giovanni (1787), their marriage is impeded by the local overlord, Don Rodrigo; they flee their native territory and encounter adventures, perils and separation. Their parish priest, Don Abbondio, is known in Italy as the proverbial symbol of comic cowardice. Gertrude, the nun of Monza, based on a historical figure, personifies cruel maleficence – and yet her sins are explained psychoanalytically, avanti lettera, by her own sufferings at the hands of her aristocrat father: the seeds of a feminist argument are couched in her hellish life. Intense fear is associated with the tyrant known only as L’Innominato (the Unnamed or Nameless One): the aura of threat evaporates only after his religious conversion and the climactic release of Lucia from his castle. Despite a guilty past, the Capuchin friar, Cristoforo, is the true Christian, a self-sacrificing humanitarian. One might describe The Betrothed as a tragedy with a happy ending, but from the first page its gravity is alleviated by Manzoni’s witty irony, a sharp weapon in the implied social critique: the town of Lecco had the “benefit” of a garrison of Spanish soldiers, who “never failed to spread out into the vineyards, to thin the grapes and relieve the peasants of the trouble of harvesting them” (Michael F. Moore’s translation).

The novel had two early versions, in 1821–3 and 1825–7, before the definitive edition of 1840–2. Originally Manzoni’s style was inflected by his Lombard roots, but in 1827 he visited the literary circles of Florence (since Dante’s day the cultural capital of a notional Italy), expressly to study Florentine parlance; so began the famous process of “rinsing his rags” (the novel) in the waters of the River Arno (“nelle cui acque risciacquai i miei cenci”). Manzoni aimed to unify the Italian language, and indeed the Tuscanized text exerted a transformative influence on the development of modern literary Italian.

Moore’s fluent, accessible and sometimes lyrical translation (the first for many years) has numerous felicities. He used the Italian text edited in 2003 by the distinguished scholar Enrico Ghidetti, and Moore’s interesting introduction describes his painstaking method; yet in dialogue he occasionally strays too far into colloquial modernization: “this marriage ain’t gonna happen” smacks of Hollywood, and “buddies” won’t do for a Spanish noble’s cronies in 1630. Elsewhere, “divvy up” is too slangy for “divider le spoglie” (“to share the spoils”), while “his uncle, the Count” should replace “the Count Uncle” and “vinaigrette” is the technical term for “ampolla d’aceto”. This handsome volume, with its useful map and bibliography, its explanatory list of characters and historiography, is marred by some misprints and oddities – “States of the Church” instead of “Papal States”, “Adelchis” for “Adelchi” – and an endnote, not mindful of Dante, Petrarch and Boccaccio, strangely declares that Manzoni “is Italy’s most celebrated writer”.

In his later years Manzoni received many honours, including a senatorship from the king of the now united nation. Verdi’s “Requiem” was composed as a profound tribute after the author’s death on May 22, 1873, and Verdi himself conducted the first performance in Milan on the first anniversary. This year Italy will be marking the 150th anniversary of Manzoni’s death in innumerable ways, both scholarly and popular. Plays about Renzo and Lucia will be performed at Lake Como’s primary schools. The writer Pierfranco Bruni will lead celebrations sponsored by parliament. Under the aegis of the Centro Nazionale di Studi Manzoniani, in a project planned by the eminent scholar Dante Isella, a trilogy of critical editions of the novel’s different versions has just been completed. Many other editions and studies will follow, while in Milan’s Duomo the public will enjoy a series of readings from the national masterpiece.

tilføjet af AntonioGallo | RedigerTLS, Ann Lawson Lucas
 

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Manzoni, AlessandroForfatterprimær forfatteralle udgaverbekræftet
Angelini, CesareRedaktørmedforfatternogle udgaverbekræftet
Aster, GentilisOversættermedforfatternogle udgaverbekræftet
Boeke, YondOversættermedforfatternogle udgaverbekræftet
Bottoni, LucianoRedaktørmedforfatternogle udgaverbekræftet
Colquhoun, ArchibaldOversættermedforfatternogle udgaverbekræftet
Eliot, Charles WilliamRedaktørmedforfatternogle udgaverbekræftet
Gallego, Juan NicasioOversættermedforfatternogle udgaverbekræftet
Gonin, FrancescoIllustratormedforfatternogle udgaverbekræftet
Keates, JonathanIntroduktionmedforfatternogle udgaverbekræftet
Kroeber, BurkhartOversættermedforfatternogle udgaverbekræftet
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Marchese, AngeloRedaktørmedforfatternogle udgaverbekræftet
Penman, BruceOversættermedforfatternogle udgaverbekræftet
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Salvà, Maria AntòniaOversættermedforfatternogle udgaverbekræftet
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Spinazzola, VittorioRedaktørmedforfatternogle udgaverbekræftet
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