What has changed since the Betrothed Fermo and Lucia?
something very substantial. Not only does the characters change their name (Fermo bobbin becomes Renzo Tramaglino, silk spinner, as indicated by the last name, is called Lucia Lucia Zarella Mondella; between Galdino, cappuccino, which protects the engaged couple, took the name of Father Christopher, the Earl of Churchyard receives the mysterious name of the Unnamed, Marianna De Leyva becomes the anonymous nun of Monza), but decided cuts are introduced to the narrative. The stories of two historical figures par excellence (because they are the result of a fussy consultation chronicles of the time), that the nameless and the nun of Monza, are shaded and small. Of these figures the reader does not know all the facts, but only the basic information: in-depth consideration is the sounder psychological, to the benefit of the poetry and charm of their personalities. In fact, the story of the girl nun for strength in Fermo and Lucia is so vast as to constitute indeed "a novel in the novel, which displaces the reader and makes him forget the central thread of the narrative. In addition, immediately after the endless odyssey of the nun, there appeared the dark count of the Churchyard, who was also behind a long biography, true digression in which the reader is immersed in the violent world of seventeenth-century assassins. But the result is a big drawback: when, after pages and pages, returns to the poor Fermo, then that is the main character, seems almost an intruder does not know where it rained. In addition, as noted by the Friends of Manzoni, which shows an excessive welcomed aspects truculent, turbulent, violent characters. For example, the author illustrates the exaggerated realism of the Count in an enemy ambush in the churchyard, or dwells in describing the murder of the nun in the accomplice within the walls of the convent. Speaking no word
the murky background of the nun and leaving only imagine the past of the Unnamed, the novel acquires a greater elegance and stylistic consistency, and the characters are more mysterious, inwardly rich, multifaceted, credible and strong with an incredible ability to recreate the suspense. Only Don Rodrigo
remains unchanged, in fact, is worse. It seems that Manzoni really wants to make him the embodiment of evil for a whole century. In Fermo and Lucia, in fact, he is shaken by a passion for the girl and lives a tremendous crisis of jealousy of Fermo. His persecution, after all, stems from a feeling that could, if not justify, make humanly understandable. In preparing the next, however, the obstacles that stand in the way to the wedding come from a futile challenge concluded with his cousin Attilio, shallow and arrogant like him. Some scenes
effect, as the death of Don Rodrigo, who is crazy about the contagion of the plague and throws himself into a furious ride through the hospital, are rebalanced, muffled in suspense, to the benefit of the harmony of the narrative.
Even from a structural standpoint The Betrothed are partly modified by the movement of some blocks of narrative: the two episodes of the nun of Monza of the Unnamed and are separated by the insertion of the adventures of Renzo in riots in Milan. Twenty-seven
edition of Manzoni also implements the cuts agreed in the more specific methodological and historiographical: dissertation, abolish the problem of the language of the novel and takes away all the documentation of the processes and spreaders (allegedly responsible for the spread of the plague in Milan) that found in the acts reported by the press in Milan. This documentation, which is of great interest, will be enucleated and elaborated in the History of the column infamous, published in 1842 as an appendix to the last and definitive edition of the novel.
There are, finally, the additions: a few, but useful to infuse the novel that tone of realism, enhanced by a subtle humor that tempers the drama of some episodes. For example, the author invented the soliloquy of Renzo in flight to Bergamo, is looking for an easy to ford the Adda. It is a masterpiece of psychological insight: those who have never talked about himself, in an agitated and aggressive when he concocted himself suffered an injury?
One of the first reviewers of the novel is excited Wolfgang Goethe, but quickly follow very positive reviews of French writers such as Stendhal (1783-1842), Alphonse de Lamartine and authors who are languishing in prisons in Austria, as Pellico ("As the consoles see Manzoni's Christian without hesitation, servility, without transaction co 'prejudices of ignorance," writes by Spielberg in 1829).
The years between 1827 and 1840 are dedicated to a careful language revision of the work. The author has long been interested in the language issue that is debated in Italy since the thirteenth century is dealing with Dante Alighieri (1265-1321) in De vulgari eloquentia if they occupy important treatises of the sixteenth century. In fact, the Italians, divided politically, they feel united in culture and in the nineteenth century aspired to a literary language that is national. Tradition additives in the Florentine idiom's finest peninsula. So
Manzoni, who wants to make his novel an Italian opera, and Lombard, mobilizing the family to move to Florence for some time. He needs to "ears" the Tuscan spoken by the educated classes, and determinants for frequent adjustments to the language of the narrative.
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