The Project Gutenberg eBook, The Betrothed, by Alessandro Manzoni, et al

Title: The Betrothed

From the Italian of Alessandro Manzoni

Author: Alessandro Manzoni

Release Date: February 3, 2011 [eBook #35155]
Most recently updated: January 14, 2012

Language: English

Character set encoding: ISO-8859-1

***START OF THE PROJECT GUTENBERG EBOOK THE BETROTHED***

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[Text of cover page]

THE BETROTHED.

So saying, he passed his arm around the neck of the Unknown, who after resisting a moment, yielded, quite vanquished by this impulse of kindness, and fell on the neck of the Cardinal in an agony of repentance.

STANDARD
NOVELS.

Nº XLIII.

“No kind of literature is so generally attractive as Fiction. Pictures of life and manners, and Stories of adventure, are more eagerly received by the many than graver productions, however important these latter may be. Apuleius is better remembered by his fable of Cupid and Psyche than by his abstruser Platonic writings; and the Decameron of Boccaccio has outlived the Latin Treatises, and other learned works of that author.”

To publish a novel, to analyse, to eulogise it, and recommend its perusal to the good and pious, will appear no doubt very extraordinary, and offend the prejudices of many who have agreed among themselves to consider a novel, whoever may be its author, and whatever may be its subject, form, and design, as a pestilent production. If you ask them why? “Because,” they will reply—“because it is a novel!” The answer is as wise as it is peremptory and decisive, and we will spare ourselves the useless trouble of replying to arguments so profound and powerful. We will, however, submit a few serious reflections to minds of a less elevated order, were it only to prove that we can talk reasonably, even on the subject of novels.

Certainly, if we are understood to designate by the appellation of Novel, the written dreams and extravagant imaginations of a corrupt mind and depraved heart, where illusions are substituted for realities, vice transformed into virtue, crime justified by the passions that lead to its perpetration, and fallacious pictures presented of an ideal world, or criminal apologies for a world too real; if, we say, such are the novels to be condemned and proscribed, none more than ourselves will be disposed to confirm the sentence. The unhappy influence which productions like these have exerted over the minds of youth, and above all, the ravages which their multiplication has within a few years produced, is a fact acknowledged by all, by those who have escaped the contagion of their perusal, as well as by those whom that perusal has injured. With respect to this, the wise and the good are unanimous in their testimony and their anathemas; it is one of those self-evident truths, about which an Englishman or a German might still elaborate many a learned dissertation, but of which we shall take no further notice, certain that we should only repeat much less forcibly and eloquently, that which a thousand writers or orators have said before us.

But there is another point of view under which we must consider novels, or rather the works so called, but which bear, to those which morals and good taste reprobate, no other resemblance than the name. These are, it is true, unhappily few in number, and therefore have not been classed by themselves, but have been comprehended in the common appellation, and included in the general proscription; like an honest man, who, bearing the same name as a rogue, partakes with him the odium of his reputation. But this is an injustice for which we are disposed to claim reparation.

Every work of imagination, in which the author causes ideal personages to speak, think, and act, according to his pleasure, has been stigmatised as a Novel. But, if we allow this rigorous definition, the apologue, so dear to the moralist, is a Novel, and deserving of proscription. We will go further; the parable, which also creates its characters and invents their words and actions, is a novel! But who would dare to call them so? Who would dare profane by this name, those profound allegories, those holy fables, so excellent in truth, and so replete with instruction, which God himself has related to man? Finally, if we peruse the works of the most austere philosophers, and the most severe moralists, without excepting ecclesiastical writers, we shall find among them all, pictures of fancy or ideal histories of imaginary persons, fiction serving as a veil, or rather (we must acknowledge it) as an apology for truth.

Now, we ask, by what unjust caprice would we condemn in the novelist that which we admire and applaud in the moralist and philosopher; or rather, by what title do we interdict to the former the right of being equally philosophical and moral with the latter? If man were without weaknesses and society without imperfections, truth would prevail of itself, and in order to be loved and obeyed, it would need only to be shown in its unadorned purity and undisguised nakedness. But, from the beginning of the world, pride has precipitated man into darkness. Corrupt and blind, a jealous susceptibility is developed in his character, which continually increases in proportion to his blindness and corruptions,—that is to say, the deeper he is plunged in darkness, the more he dreads the light, and it is but by degrees, and under various disguises, that we can hope ultimately to make him endure its full blaze.

Besides, fiction, under divers forms, such as fables, apologues, novels, allegories, and tales, constitutes a large portion of the literature of every nation; to this we may add the utility, nay, even the necessity of disguising truth, in order to