HARVARD -THE FIVE-FOOT SHELFOFBCOKS PRO ME SSI SPOSI MANZONI COLLI' suss Biiai Gim 01110 THE HARVARD CLASSICS The Five-Foot Shelf of Books I i THE HARVARD CLASSICS EDITED BY CHARLES W. ELIOT, LL.D. I Promessi Sposi (the betrothed) By Alessandro Manzoni Vfith Introduction and Notes \olume 21 P. F. Collier & Son Corporation NEW YORK Copyright. 1909 By p. F. CoLLiBg & SoH MANUTACTURKO IN U. S. A. CONTENTS PAGE Chapter I 7 Chapter II 25 Chapter III 38 Chapter IV 53 Chapter V 68 Chapter VI 83 Chapter VII 97 Chapter VIII 115 Chapter IX 136 Chapter X 156 Chapter XI 178 Chapter XII 196 Chapter XIII 210 Chapter XIV 225 Chapter XV 241 Chapter XVI 257 Chapter XVII 273 Chapter XVIII 289 Chapter XIX 304 Chapter XX 3'8 Chapter XXI 333 Chapter XXII 348 Chapter XXIII 361 Chapter XXIV 380 Chapter XXV 405 Chapter XXVI 419 Chapter XXVII 434 Chapter XXVIII 450 Chapter XXIX 47^ I 2 CONTENTS Chapter XXX A^ Chapter XXXI -oo Chapter XXXII -,8 Chapter XXXIII 536 Chapter XXXIV 55^ Chapter XXXV 578 Chapter XXXVI 5^,2 Chapter XXXVII 6,2 Chapter XXXVIII 626 INTRODUCTORY NOTE 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. Condorcct 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, "II cinque maggio" and "Marzo 1821." The former of these, on the death of Napoleon, first brought him fame. His dramatic compositions, "II Conte di Carmag- nola" 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 con- tribution 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. 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 vogue of the Waverley Novels had stimulated the pro- duction of this form of fiction throughout Europe, the interest of "The Betrothed," as it is usually called in England, is rather psychological and sentimental than external. The scene is laid in Lombardy between 1628 and 1631, and the plot deals with the thwarting of the love of two peasants by a local tyrant. The manners of the time are presented with great vividness and picturesqueness; one of the most notable elements being the elaborate description of the plague which devastated Milan in 1630 (see Chaps, xxxi-xxxvii). The novel has taken a place as the most 3 4 INTRODUCTION distinguished 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 proceeding had the e.lect of rekindling the discussion on the question of a national Italian literary language — a dis- cussion 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, overloaded 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 smearing the walls of the houses with poison intended to spread the pestilence; but he relegates 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 standing 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 Piazza, a Commis- sioner of the Tribunal of Health, who was able to give such an account of himself as, in ordinary times, would have led to his immediate ac- quittal. Both the populace and the judges, however, were panic-stricken, and eager to vent on any victim the fear and anguish into which the ravages of the plague had plunged them. Piazza was accordingly tor- tured, and after repeated and horrible sufferings was induced to make INTRODUCTION 5 a false confession and to implicate an innocent barber, who, he said, had given him the ointment and promised him money if he spread it on the houses. Mora, the barber, was next arrested and submitted to a similar illegal and infamous process, until he also confessed, throwing the burden of blame in turn upon Piazza. Under false promises of immunity and suggestions of what was wanted from them, they alleged that several other persons were their accomplices or principals, and these also were thrown into jail. The evidence of Mora and Piazza was mutually con- tradictory on many points and was several times retracted, but the judges ignored these matters, broke their promise of immunity, and condemned both to death. They were placed on a car to Ix; carried to the place of execution; as they proceeded, their bodies were gashed 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 fortitude, having previously declared their innocence, retracted their confessions, and absolved their alleged accomplices. Mora's house was demolished, and a pillar, called the Column of Infamy, was erected on the spot, where it stood till 1778. After the murder of these two miserable 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 Com- mandant 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 acquitted. The story of this terrible example of judicial 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 inculpate 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 diffuscness and much technical argument; but the frightful nature of the events and the exhibition of the psychology of a panic-stricken mob give the production a gruesome interest. I PROMESSI SPOSI CHAPTER I THAT branch of the lake of Como, which extends towards the south, is enclosed by two unbroken chains of mountains, which, as they advance and recede, diversify its shores with numerous bays and inlets. Suddenly the lake contracts itself, and takes the course and form of a river, between a promontory on the right, and a wide open shore on the opposite side. The bridge which there joins the two banks seems to render this transformation more sensible to the eye, and marks the point where the lake ends, and the Adda again begins — soon to resume the name of the lake, where the banks receding afresh, allow the water to extend and spread itself in new gulfs and bays. The open country, bordering the lake, formed of the alluvial deposits of three great torrents, reclines upon the roots of two con- tiguous mountains, one named San Martino, the other, in the Lom- bard dialect, // Resegone, because of its many f)eaks seen in profile, which in truth resemble the teeth of a saw so much so, that no one at first sight, viewing it in front (as, for example, from the northern bastions of Milan), could fail to distinguish it by this simple de- scription, from the other mountains of more obscure name and ordinary form in that long and vast chain. For a considerable distance the country rises with a gentle and continuous ascent; after- wards it is broken into hill and dale, terraces and elevated plains, formed by the intertwining of the roots of the two mountains, and the action of the waters. The shore itself, intersected by the torrents, consists for the most part of gravel and large flints; the rest of the plain, of fields and vineyards, interspersed with towns, villages, and hamlets: other parts are clothed with woods, extending far up the mountain. 7 8 ALESSANDRO MANZONI Lecco, the principal of these towns, giving its name to the terri- tory, is at a short distance from the bridge, and so close upon the shore, that, when the waters are high, it seems to stand in the lake itself. A large town even now, it promises soon to become a city. At the time the events happened which we undertake to recount, this town, already of considerable importance, was also a place of defence, and for that reason had the honour of lodging a com- mander, and the advantage of possessing a fixed garrison of Spanish soldiers, who taught modesty to the damsels and matrons of the country; bestowed from time to time marks of their favour on the shoulder of a husband or a father; and never failed, in autumn, to disperse themselves in the vineyards, to thin the grapes, and lighten for the peasant the labours of the vintage. From one to the other of these towns, from the heights to the lake, from one height to another, down through the little valleys which lay between, there ran many narrow lanes or mule-paths, (and they still exist,) one while abrupt and steep, another level, another pleasantly sloping, in most places enclosed by walls built of large flints, and clothed here and there with ancient ivy, which, eating with its roots into the cement, usurps its place, and binds together the wall it renders verdant. For some distance these lanes are hidden, and as it were buried between the walls, so that the passenger, looking upwards, can see nothing but the sky and the peaks of some neighbouring mountain: in other places they are terraced: sometimes they skirt the edge of a plain, or project from the face of a declivity, like a long staircase, upheld by walls which flank the hillsides like bastions, but in the pathway rise only the height of a parapet — and here the eye of the traveller can range over varied and most beautiful prospects. On one side he commands the azure surface of the lake, and the inverted image of the rural banks reflected in the placid wave; on the other, the Adda, scarcely escaped from the arches of the bridge, expands itself anew into a little lake, then is again contracted, and prolongs to the horizon its bright wind- ings; upward, — the massive piles of the mountains, overhanging the head of the gazer; below, — the cultivated terrace, the champaign, the bridge; opposite, — ^the further bank of the lake, and, rising from it, the mountain boundary. I PROMESSI SPOSI 9 Along one of these narrow lanes, in the evening of the 7th of November, in the year 1628, Don Abbondio . . . , curate of one of the towns alluded to above, was leisurely returning home from a walk, (our author does not mention the name of the town — two blanks already!) He was quietly repeating his office, and now and then, between one psalm and another, he would shut the breviary upon the fore-finger of his right hand, keeping it there for a mark; then, putting both his hands behind his back, the right (with the closed book) in the palm of the left, he pursued his way with down- cast eyes, kicking, from time to time, towards the wall the flints which lay as stumbling-blocks in the path. Thus he gave more un- disturbed audience to the idle thoughts which had come to tempt his spirit, while his lips repeated, of their own accord, his evening prayers. Escaping from these thoughts, he raised his eyes to the mountain which rose opposite; and mechanically gazed on the gleaming of the scarcely set sun, which, making its way through the clefts of the opposite mountain, was thrown upon the projecting peaks in large unequal masses of rose-coloured light. The breviary open again, and another portion recited, he reached a turn, where he always used to raise his eyes and look forward; and so he did to-day. After the turn, the road ran straight forward about sixty yards, and then divided into two lanes, Y fashion — the right hand path ascended towards the mountain, and led to the parsonage: the left branch descended through the valley to a torrent: and on this side the walls were not higher than about two feet. The inner walls of the two ways, instead of meeting so as to form an angle, ended in a little chapel, on which were depicted certain figures, long, waving, and terminating in a point. These, in the intention of the artist, and to the eyes of the neighbouring inhabitants, represented flames. Alternately with the flames were other figures — .ndescribable, meant for souls in purgatory, souls and flames of brick