The Betrothed
The BetrothedI Promessi SposiAlessandro ManzoniAlessandro Francesco Tommaso Manzoni; 7 March 1785 - 22 May 1873, was an Italian poet and novelist. He is famous for the novel The Betrothed (1827), generally ranked among the masterpieces of world literature. The novel is also a symbol of the Italian Risorgimento, both for its patriotic message and because it was a fundamental milestone in the development of the modern, unified Italian language.The Betrothed is an Italian historical novel by Alessandro Manzoni, first published in 1827, in three volumes. It has been called the most famous and widely read novel of the Italian language.COUNT ALESSANDRO MANZONI was born at Milan, Italy, March 7, 1785. He was educated at Lugano, Milan, and Pavia, and after taking his degree he joined his mother in Paris, where he found her in the circle of Mme. Condorcet and the surviving rationalists of the eighteenth century. These associations led him for a time into scepticism, but he was later converted to Catholicism, and remained a steadfast adherent of that faith till his death, defending it in his writings against the Protestant historian Sismondi. Manzoni was a warm sympathizer with the aspirations of his country toward political independence, but he took no very active part in public agitation. When Italy was at last free, he was made a Senator and awarded a pension. He died at Milan, May 22, 1873.Manzoni's most important literary productions are in poetry, drama, and the novel. In the first group he wrote some hymns notable for the warmth of their religious sentiment, and two odes, "Il cinque maggio" and "Marzo 1821." The former of these, on the death of Napoleon, first brought him fame. His dramatic compositions, "Il Conte di Carmagnola" and "Adelchi," represent an attempt to free Italian drama from the restraints of the classical conventions, but neither met with general approval in Italy. Goethe, however, reviewed the earlier in the most favorable terms. In a prefatory essay Manzoni made an important contribution to the romantic protest against the restrictions of the dramatic "unities" of the classical drama. But the Italians were not yet prepared to accept truth in the treatment of human nature in place of stylistic polish and conventional form.