Manzoni’s most important literary productions are in poetry, drama, and the novel. In the first group he wrote some hymns5 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 restrictions7 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.
The reception given to Manzoni’s masterpiece, “I Promessi Sposi” (1825–26) was very different. In form a historical novel, written at a time when the vogue8 of the Waverley Novels had stimulated9 the production of this form of fiction throughout Europe, the interest of “The Betrothed,” as it is usually called in England, is rather psychological and sentimental10 than external. The scene is laid in Lombardy between 1628 and 1631, and the plot deals with the thwarting11 of the love of two peasants by a local tyrant12. The manners of the time are presented with great vividness and picturesqueness13; one of the most notable elements being the elaborate description of the plague which devastated14 Milan in 1630 (see Chaps. xxxi-xxxvii). The novel has taken a place as the most distinguished15 novel of modern Italy, and has been translated into nearly all the literary languages.
The age-long dispute as to which dialect should be used as the standard language of Italian prose engaged the interest of Manzoni in his later years; and, becoming convinced of the claims of Tuscan, he rewrote the entire novel in order to remove all traces of non-Tuscan idiom, and published it in 1840. This proceeding16 had the effect of rekindling17 the discussion on the question of a national Italian literary language — a discussion which still goes on. Along with the revised edition of “I Promessi Sposi,” he published a kind of sequel, “La Storia della Colonna infame,” written more than ten years before; but this work, overloaded18 with didacticism, is universally regarded as inferior. Both at home and abroad, Manzoni’s fame rests mainly on the novel here printed, a work which has taken its place among the great novels of the world, not merely for its admirable descriptions of Italian life in the seventeenth century, but still more for its faithful and moving presentation of human experience and emotion.
Mention has been made above of a so-called sequel to “I Promessi Sposi”; and since this publication is less easily accessible than Manzoni’s more famous works, being properly regarded as unworthy of a place beside his great novel, it may interest the reader to have some account of its contents.
At the end of Chapter xxxii of “I Promessi Sposi,” Manzoni refers to the affair of the anointers of Milan, men who were suspected of smearing19 the walls of the houses with poison intended to spread the pestilence20; but he relegates21 to another place a full account of the incident. It is this matter which he takes up in “La Storia della Colonna infame.”
One morning in June, 1630, a woman standing22 at a window in Milan saw a man enter the street della Vetra de Cittadini. He carried a paper on which he appeared to be writing, and from time to time he drew his hands along the walls. It occurred to her that he was perhaps an “anointer,” and she proceeded to spread her suspicion, with the result that the man was arrested. He was found to be one Piazza23, a Commissioner24 of the Tribunal of Health, who was able to give such an account of himself as, in ordinary times, would have led to his immediate25 acquittal. Both the populace and the judges, however, were panic-stricken, and eager to vent6 on any victim the fear and anguish26 into which the ravages27 of the plague had plunged28 them. Piazza was accordingly tortured, and after repeated and horrible sufferings was induced to make a false confession29 and to implicate30 an innocent barber, who, he said, had given him the ointment31 and promised him money if he spread it on the houses. Mora, the barber, was next arrested and submitted to a similar illegal and infamous32 process, until he also confessed, throwing the burden of blame in turn upon Piazza. Under false promises of immunity33 and suggestions of what was wanted from them, they alleged34 that several other persons were their accomplices35 or principals, and these also were thrown into jail. The evidence of Mora and Piazza was mutually contradictory36 on many points and was several times retracted37, but the judges ignored these matters, broke their promise of immunity, and condemned38 both to death. They were placed on a car to be carried to the place of execution; as they proceeded, their bodies were gashed39 with a hot iron; their right hands were struck off as they passed Mora’s shop; their bones were broken on the wheel; they were bound alive to the wheel and raised from the ground, and after six hours were put to death. This they bore with fortitude40, having previously41 declared their innocence42, retracted their confessions43, and absolved44 their alleged accomplices. Mora’s house was demolished45, and a pillar, called the Column of Infamy46, was erected47 on the spot, where it stood till 1778.
After the murder of these two miserable48 men, the judges proceeded to press the cases against the others whose names had been dragged into the matter, one of whom was an officer called Padilla, son of the Commandant of the Castle of Milan. Several of these suffered the same tortures and death as Mora and Piazza; but Padilla’s case dragged on for two years, at the end of which he was acquitted49.
The story of this terrible example of judicial50 cruelty had been to some extent cleared up by Verri in his book on Torture, but Manzoni was anxious to show that, evil as were the laws which permitted the use of the rack, it was not they but the judges who were responsible. For even the laws of torture prohibited the methods by which these men were made to inculpate51 themselves, and the illegality and monstrosity of the whole proceeding were attributable to a court eager for a conviction at all costs to gratify the thirst for blood of a maddened and ignorant populace.
The incident is related by Manzoni with considerable diffuseness52 and much technical argument; but the frightful53 nature of the events and the exhibition of the psychology54 of a panic-stricken mob give the production a gruesome interest.
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1 steadfast | |
adj.固定的,不变的,不动摇的;忠实的;坚贞不移的 | |
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2 adherent | |
n.信徒,追随者,拥护者 | |
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3 aspirations | |
强烈的愿望( aspiration的名词复数 ); 志向; 发送气音; 发 h 音 | |
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4 agitation | |
n.搅动;搅拌;鼓动,煽动 | |
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5 hymns | |
n.赞美诗,圣歌,颂歌( hymn的名词复数 ) | |
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6 vent | |
n.通风口,排放口;开衩;vt.表达,发泄 | |
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7 restrictions | |
约束( restriction的名词复数 ); 管制; 制约因素; 带限制性的条件(或规则) | |
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8 Vogue | |
n.时髦,时尚;adj.流行的 | |
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9 stimulated | |
a.刺激的 | |
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10 sentimental | |
adj.多愁善感的,感伤的 | |
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11 thwarting | |
阻挠( thwart的现在分词 ); 使受挫折; 挫败; 横过 | |
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12 tyrant | |
n.暴君,专制的君主,残暴的人 | |
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13 picturesqueness | |
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14 devastated | |
v.彻底破坏( devastate的过去式和过去分词);摧毁;毁灭;在感情上(精神上、财务上等)压垮adj.毁坏的;极为震惊的 | |
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15 distinguished | |
adj.卓越的,杰出的,著名的 | |
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16 proceeding | |
n.行动,进行,(pl.)会议录,学报 | |
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17 rekindling | |
v.使再燃( rekindle的现在分词 ) | |
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18 overloaded | |
a.超载的,超负荷的 | |
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19 smearing | |
污点,拖尾效应 | |
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20 pestilence | |
n.瘟疫 | |
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21 relegates | |
v.使降级( relegate的第三人称单数 );使降职;转移;把…归类 | |
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22 standing | |
n.持续,地位;adj.永久的,不动的,直立的,不流动的 | |
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23 piazza | |
n.广场;走廊 | |
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24 commissioner | |
n.(政府厅、局、处等部门)专员,长官,委员 | |
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25 immediate | |
adj.立即的;直接的,最接近的;紧靠的 | |
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26 anguish | |
n.(尤指心灵上的)极度痛苦,烦恼 | |
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27 ravages | |
劫掠后的残迹,破坏的结果,毁坏后的残迹 | |
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28 plunged | |
v.颠簸( plunge的过去式和过去分词 );暴跌;骤降;突降 | |
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29 confession | |
n.自白,供认,承认 | |
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30 implicate | |
vt.使牵连其中,涉嫌 | |
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31 ointment | |
n.药膏,油膏,软膏 | |
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32 infamous | |
adj.声名狼藉的,臭名昭著的,邪恶的 | |
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33 immunity | |
n.优惠;免除;豁免,豁免权 | |
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34 alleged | |
a.被指控的,嫌疑的 | |
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35 accomplices | |
从犯,帮凶,同谋( accomplice的名词复数 ) | |
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36 contradictory | |
adj.反驳的,反对的,抗辩的;n.正反对,矛盾对立 | |
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37 retracted | |
v.撤回或撤消( retract的过去式和过去分词 );拒绝执行或遵守;缩回;拉回 | |
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38 condemned | |
adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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39 gashed | |
v.划伤,割破( gash的过去式和过去分词 ) | |
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40 fortitude | |
n.坚忍不拔;刚毅 | |
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41 previously | |
adv.以前,先前(地) | |
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42 innocence | |
n.无罪;天真;无害 | |
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43 confessions | |
n.承认( confession的名词复数 );自首;声明;(向神父的)忏悔 | |
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44 absolved | |
宣告…无罪,赦免…的罪行,宽恕…的罪行( absolve的过去式和过去分词 ); 不受责难,免除责任 [义务] ,开脱(罪责) | |
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45 demolished | |
v.摧毁( demolish的过去式和过去分词 );推翻;拆毁(尤指大建筑物);吃光 | |
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46 infamy | |
n.声名狼藉,出丑,恶行 | |
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47 ERECTED | |
adj. 直立的,竖立的,笔直的 vt. 使 ... 直立,建立 | |
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48 miserable | |
adj.悲惨的,痛苦的;可怜的,糟糕的 | |
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49 acquitted | |
宣判…无罪( acquit的过去式和过去分词 ); 使(自己)作出某种表现 | |
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50 judicial | |
adj.司法的,法庭的,审判的,明断的,公正的 | |
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51 inculpate | |
v.使负罪;控告;使连累 | |
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52 diffuseness | |
漫射,扩散 | |
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53 frightful | |
adj.可怕的;讨厌的 | |
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54 psychology | |
n.心理,心理学,心理状态 | |
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