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Betrothed (version 2 Dramatic Reading)

<h1>THE BETROTHED.</h1> COMPLETE IN ONE VOLUME. <hr class="mid" /> CRITICAL REMARKS on MANZONI'S BETROTHED: BY THE COUNT O'MAHONY. [Translated from the Italian.] 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 make it acceptable to our imperfection; and more than all, the good frequently resulting from these modest productions ought to stimulate those on whom Heaven has bestowed the same kind of talent, to employ it in exposing vice and reforming the corruptions of society. But if the imperfection and weakness of our hearts render fiction necessary to us, a similar necessity results from the languor and inaction of our minds: for in proportion to the extent of public corruption, individual application of the mind to severe and serious study diminishes. Insensibly all continued exercise of the powers of his understanding becomes irksome to man, and he finally considers thought and ennui to be synonymous terms. This is, without doubt, a deplorable and alarming symptom of the decline of society; but we are obliged to confess its existence, and, not possessing the power of changing, we must submit to its caprices and satisfy its necessities. Now, whether from instinct or observation, writers appear for some years past to have generally understood the demands of the age; and throughout Europe, men of distinguished talents have employed themselves in answering them. It might be said that Germany, England, Switzerland, and Italy, have formed as it were a literary alliance, which will probably endure longer than their political alliance. As to France, her attention has for fifteen years been attracted to literature as well as to politics; but she has thought it sufficient for her glory to translate foreign books, and for her prosperity to translate foreign constitutions.[1] However this may be, the new taste for foreign literature is remarkable. Numerous works of imagination have appeared simultaneously of an elevated style and uncommon erudition. The choice, and we may add the gravity, of the subjects, the importance of the action, the extent of the developements, and the fidelity of the descriptions, stamp them with a peculiar character, and oblige us to assign to their authors a distinct rank among novel writers. Although unequal in merit, they may be arranged into two classes. The one, beholding how history was neglected, has endeavoured to restore its influence by reviving our ancient chronicles, and presenting to us in an elegant undress, the same characters from whom we avert our eyes, in the magnificent and stiff accompaniments of their historical costume. The other, less numerous, but, in our opinion, much more happily inspired, afflicted by the cold indifference with which the most excellent works on morals and politics are received, or by the insulting contempt which discards them altogether, has undertaken to allure and amuse the prejudices of the age, in order to correct them. In an imaginary picture, they have specially devoted themselves to describe the great springs of human action, and to bring prominently forward those traits of character, those inflexible criticisms on society, which under such a form will attract attention, when every direct and serious admonition would be rejected. Now, it is to this class of novel writers that Alessandro Manzoni essentially belongs. And here, a great difficulty presents itself; a work of which the action is so simple, that an analysis of it might be given in half a page, and yet so rich in beauties, that a volume might be written in its praise; between these two extremes, the middle path is not easy to find. For, if we should content ourselves with stating that two villagers, who were betrothed, and about to be united, had been separated by the menaces of a rich and titled robber, calumniated, betrayed by a seeming friend, and aided by the unlooked-for benevolence of an enemy; again persecuted by the tyranny of the great, and then almost immolated by the tyranny of the people, and finally delivered by the pestilence itself; if, we repeat, we confine ourselves to this exposition, we shall have presented to our readers the abstract of the work; but shall we have given them a single idea of its beauties? If, on the contrary, we would enter on an examination of the characters, and follow them in their developement, what a task we impose on ourselves! For here, what beauty! what truth! what originality! The character of Don Abbondio alone would furnish matter for extensive remark, as it is assuredly one of the most profoundly comic creations of the genius of romance. A coward by nature, and selfish from habit, entering the ecclesiastical order only to find in it powerful protection against future enemies, and a refuge against present terrors, during his whole life he pursues, without a single deviation, the tyrannical vocation of fear. Ever disturbed by the apprehension of being disturbed, and giving himself prodigious trouble in order to secure his tranquillity, the care of his repose takes from him all repose. “A friend to all,” is his device, and “Be quiet,” his habitual reply. For him, the evil committed in secret is preferable to the good which might excite dangerous remark. However, at the bottom of his heart, he still esteems the good and virtuous; as to the wicked, he caresses, and where there is necessity, flatters them; in every controversy, he deems the strongest party to be in the right, but his fear of mistake often prevents him from deciding which is the strongest. In discussions where he is personally involved, he acts not less prudently; he does not grant concessions, he does more, he freely offers them, as by so doing he saves the honour of his authority. Indeed, he does not drop a word nor risk a gesture, of which he has not previously weighed the consequences. So that by calculation and foresight, he is prepared for all, except the performance of duty under circumstances of peril and difficulty; to this he closes his ears and his eyes, and thus compromises with the world and his conscience. And here, let us add, that if any of our readers discover, in this character, the intention, or even the possibility, of an application injurious to religion, they understand but little the mind of the author, which is constantly animated by the most ardent faith, and imbued, we may say, with its highest inspirations. The curate Abbondio appears before us chiefly to give greater relief to the sublime figures of the friar Christopher, and the holy archbishop of Milan, and to furnish materials for scenes between these three characters, where the weakness, the cowardice, and the selfishness of the one serves to brighten, by contrast, the courage, devotion, and heroism of the others. It is an eminently philosophical conception to portray three men entering the priesthood from such different motives, in the course of their long lives, disclosing faithfully in their actions, the sources of their primitive choice. A lesson indeed! from which we may learn what religion can do with men, when they obey its laws and devote themselves to its service, and what men can do with religion, when they subject it to their caprices, or prostitute it to their interests. But it is in the conversion of the formidable Unknown, that religion appears in all its power, and its pontiff in all the majesty of his benevolence. The interview between these two persons, the one the terror, the other the beloved of his country; the proud criminal humbling himself before the most humble of the just; the former preserving in his profound humiliation the traces of his habitual wickedness and pride, and the latter, with humility equally profound, the majestic authority of unsullied virtue. This scene, conceived and executed with equal genius, combines within itself the deepest interest, and the highest beauty. As an illustration of the ingenuity and discernment of the author, we will offer one remark further; he has placed before us two wicked men; the one a subaltern robber, a libertine of the second rank, a swaggerer in debauch, vainer of his vices than jealous of his pleasures. The other a superior genius, who has measured how far man could descend in crime, and himself reached its depths, where he governs human corruption as its sovereign, committing no act of violence without leaving the impression of his unlimited power and inexorable will. One of these is to be converted; which will it be? The least guilty? No; coward in vice, where would he find courage to repent? He will die hardened and impenitent. It is the grand criminal who will be drawn from the abyss, for he has descended into it with all his power, and it will need a repentance proportioned to the measure of his iniquities to restore him to the favour of his God. There is evinced in this developement, great knowledge of the human heart, and a very striking revelation of the mysterious dealings of a just and compassionate God. We find the same sagacity of observation in other parts of the work; it appears under an altogether original form in the episode of Gertrude; irresistibly conducted to the cloister, notwithstanding her insurmountable repugnance, when she could by a single word free herself from such a condemnation, dooming her own self to a sacrifice she detests; yielding without having been conquered; the slave of her very liberty, and the victim to a voluntary fatality! It is not in a rapid sketch that we can give an idea of this singular and altogether novel character. To appreciate its excellence, we must give an attentive perusal. But Alessandro Manzoni is not only a skilful painter of individual portraits, he excels also in grand historical representations. In that of the plague at Milan, and the famine preceding it, his manner becomes bolder, his touch more free and majestic, without, however, losing any of its exquisite delicacy. When he represents an entire people rebelling against hunger, or vanquished by disease and death, we deeply feel the horror of the picture, at the same time that an occasional smile is elicited by the comic genius of the artist, which exercises itself even amidst the agonies of famine and pestilence, so that, through the grand design of the exhibition, the delicate touches of the pencil are still visible, and individual character perceptible through the very depths of bold and general description; it is Van Dyck painting on the reverse of one of Michael Angelo's pictures. We will not take leave of this interesting production without indulging ourselves in one more observation, which is, that in this succession of adventures, where appear, by turns or simultaneously, two robber chiefs and their followers, an unbridled soldiery, a people in rebellion, famine, and pestilence, all the evil specially resulting to the virtuous, is the consequence of the cowardice of a single man! What a lesson may we derive from such a Novel!     <hr /> <div style="break-after:column;"></div>

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