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Alessandro Manzoni, Two Plays: Translated by Michael J. Curley
«I would have gone down on my knee before him if we were allowed to worship men.» With these words Giuseppe Verdi described his first impulse upon meeting Alessandro Manzoni in Milan in June 1868. Many readers are familiar with Manzoni’s great novel, The Betrothed (I Promessi Sposi) , the work that elicited Verdi’s extravagant reverence for its author. Before turning to write a novel, however, Manzoni composed two plays, The Count of Carmagnola (1820) and Adelchi (1822). Both plays broke free of the constraints of the neo-classical stage, and embraced the spirit of the new Romantic drama. Alessandro Manzoni, Two Plays makes these tragedies available in a fresh English translation.
233 pages, Hardcover
First published January 1, 1987
About the author
Alessandro Manzoni
705 books225 followersAlessandro Francesco Tommaso Antonio Manzoni, meglio noto semplicemente come Alessandro Manzoni (Milano, 7 marzo 1785 – Milano, 22 maggio 1873), è stato uno scrittore, poeta e drammaturgo italiano.
Considerato uno dei maggiori romanzieri italiani di tutti i tempi per il suo celebre romanzo I promessi sposi, caposaldo della letteratura italiana, Manzoni ebbe il merito principale di aver gettato le basi per il romanzo moderno e di aver così patrocinato l'unità linguistica italiana, sulla scia di quella letteratura moralmente e civilmente impegnata propria dell'Illuminismo italiano.
Alessandro Manzoni was an Italian poet, novelist and philosopher. He is famous for the novel The Betrothed (orig. Italian: I promessi sposi) (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.
Considerato uno dei maggiori romanzieri italiani di tutti i tempi per il suo celebre romanzo I promessi sposi, caposaldo della letteratura italiana, Manzoni ebbe il merito principale di aver gettato le basi per il romanzo moderno e di aver così patrocinato l'unità linguistica italiana, sulla scia di quella letteratura moralmente e civilmente impegnata propria dell'Illuminismo italiano.
Alessandro Manzoni was an Italian poet, novelist and philosopher. He is famous for the novel The Betrothed (orig. Italian: I promessi sposi) (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.
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March 13, 2019
The Count of Carmagnola *** ½ – This is an elegant closet drama that approaches greatness, but does not quite achieve it. The translation presents a simple but beautiful poetry, and Manzoni depicts a complex political environment of betrayal.
It’s very similar to Shakespeare’s problem play, Coriolanus. A great general changes sides due to lack of respect and ends up being taken down by his new benefactors. The Count does not switch sides to his arch enemy, but similarities abound.
The Count, though, never achieves the depth of personality nor the heights of poetry of Coriolanus. The morals are pretty black and white – the Count good, the senators bad. It would have been more interesting if the Count was more ambiguous. Was he a threat to the nation? What should be done with successful generals in a republic? How do a free people prevent their own successful army from being turned against their republic? Instead the play focuses on the pettiness of politics and the ending is more pathetic than tragic – the great man brought low by scheming inferiors.
(I often write about the importance of authors having sympathy for all their characters. This play would have benefited greatly if Manzoni had more sympathy for the senators.)
It is an impressive work. It possesses elegance and the poetry is crisp and clear. The translation reads very well. I can’t recommend it to everyone, but I think it would be very compelling to those interested in Italian drama and history.
Adelchi *** – This is a rather strange, meandering tale. I’m not really sure of the point of it all. It is the story of the downfall of Desiderius and Adelchi, but it’s not like some tragic flaw takes them down. I guess you’d call it a historical drama, but, again, what is the point? I wasn’t sure why we should care more for Adelchi than we do for Charles.
It does have some memorable scenes like Act I scene 7 featuring Svarto, Act IV scene 1 featuring Ermengarda’s death, and Adelchi’s speeches in Act V scene 2 and 8. But these are not enough to make the play a must read.
It’s very similar to Shakespeare’s problem play, Coriolanus. A great general changes sides due to lack of respect and ends up being taken down by his new benefactors. The Count does not switch sides to his arch enemy, but similarities abound.
The Count, though, never achieves the depth of personality nor the heights of poetry of Coriolanus. The morals are pretty black and white – the Count good, the senators bad. It would have been more interesting if the Count was more ambiguous. Was he a threat to the nation? What should be done with successful generals in a republic? How do a free people prevent their own successful army from being turned against their republic? Instead the play focuses on the pettiness of politics and the ending is more pathetic than tragic – the great man brought low by scheming inferiors.
(I often write about the importance of authors having sympathy for all their characters. This play would have benefited greatly if Manzoni had more sympathy for the senators.)
It is an impressive work. It possesses elegance and the poetry is crisp and clear. The translation reads very well. I can’t recommend it to everyone, but I think it would be very compelling to those interested in Italian drama and history.
Adelchi *** – This is a rather strange, meandering tale. I’m not really sure of the point of it all. It is the story of the downfall of Desiderius and Adelchi, but it’s not like some tragic flaw takes them down. I guess you’d call it a historical drama, but, again, what is the point? I wasn’t sure why we should care more for Adelchi than we do for Charles.
It does have some memorable scenes like Act I scene 7 featuring Svarto, Act IV scene 1 featuring Ermengarda’s death, and Adelchi’s speeches in Act V scene 2 and 8. But these are not enough to make the play a must read.
Displaying 1 of 1 review