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Betrothed The first draft of the edition is very different final

which will see the light almost two decades later, in 1840. The author, in two years writing the novel in four volumes, tentatively titled Fermo and Lucia, by the name of the protagonists. The composition began in 1821 and ending in 1823, with some interruptions. In addition to novels circulating in those years and that are published around 1820, like that of Walter Scott, Manzoni chronicles and draws on the works of historians of the seventeenth century. Remember: De fever Mediolani quae Fuit years MDCXXX (The plague which broke out in Milan in 1630), and Historiae Patriae (The stories of the country, in 23 books) by Giuseppe Ripamonti (1573-1643), the Raguaglio of Alessandro Tadini (1580 - 1661), Milan doctor who diagnosed the plague and its causes as well as works of the economist Melchiorre Gioia, a contemporary of Manzoni.
The news that the eye is immediately struck by the fact that characters are the protagonists of humble origin and the setting is in rural. No riders or bridesmaids, tournaments, ambushes and battles to the death, but only situations which, transposed in different eras, they could see anyone involved. Of course there are exceptional events, such as plague, war, the kidnapping of the protagonist, a sensational conversion, however, Manzoni presents with extreme realism. In fact he believes in the need to recast in the novel, the true historical and poetic invention: the writer thinks that literature, to have an educational, can not give itself as a moment of awareness and stimulate reflection. So must envisage the characters, events, situations, circumstances, scenes, dialogues and soliloquies in which the reader can identify. Why
the choice of the humble as heroes? And why a historical novel? Certainly no stranger to the Christian concept of Manzoni and his opinion that history is made by ordinary people, from the mass people, rather than the elites in power. Of course it is a narrative in which a story of love is shown inserted in a precise and on which the author is documented with meticulous care. At this point we return once again to the happy combination of truth and fantasy that gives the novel realism and universality.
Explanation: the environment and human types studied rigorously selected by the author refer to reality. The protagonists are not exceptional creatures, but ordinary people as it is everywhere and in every age. The characters 'historical', ie those generated from the chronicles, are never to be reproduced without distorting (or "novel") to historical sources, but it is these characters take on a special charm when the author tries to illuminate their psychology and imagine what that the news can not say, that their inner drama, the bundle of restlessness, fears, contradictions, reflections, the compromises that lead them to choices and decisions they have suffered. The author reconstructs them from inside, he invented the spiritual process that made them who passed historians. To this must appeal to his literary art of poetry, his sensitivity, and, why not, even to his personal experience: those who would deny that, to rebuild the hard conversion of the Unnamed, Manzoni has rethought "his" conversion?
Another question: why the seventeenth century? You can answer, remembering the deep patriotism of Manzoni. In the century of English rule in the Milanese, he sees many similarities with his time, which is subject to the Austrians in Lombardy and still appear bullying and violence. As in those days were the humble at the mercy of political forces, so now the rights of citizens are violated and their just demands of freedom are suppressed. The story is set in the territory of the Duchy of Milan and lasts for two years, from 1628 to 1630. The protagonists are two young villagers who can not marry because the squire of the area has infatuated the bride. After a long journey (the engaged couple are separated but can be found, then, in dramatic circumstances) the marriage is celebrated.

The novel is not at all satisfactory to the author who gives it to friends in reading and Fauriel Visconti. This suggests some substantial cuts, to change a structure unbalanced in parts of lengthy and confusing. At this point, however, the author understands that this is not just writing a good story happened in the past, to compose a novel that knows how to amuse and entertain the reader feels within himself the urgent need to convey a universal message and to give to his work as an educational function, already above target of his masterpieces. It should, therefore, gain in simplicity and clarity, giving this particular character that allows people to tell the story of a life experience.
In 1825 the four volumes have been reduced to three, more agile and organic interweaving. In the 1827 edition here (called "ventisettana) The Betrothed - History of the seventeenth century Milanese discovered and restored by Alessandro Manzoni, two thousand copies were sold out within two months. The title is particularly striking: the author, in fact, is in the role of discoverer and rifacitore in Milan in use in his day, an old seventeenth-century manuscript, composed by a mysterious anonymous: not a very original trick, if we already used it to Ludovico Ariosto's Orlando furioso (1532) and Miguel de Cervantes if they have served for the Don Quixote (1605-16015).