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Tragedie
Il Conte di Carmagnola e Adelchi sono senza dubbio il prodotto eletto della più intelligente cultura romantica italiana e costituiscono una sfaccettatura primaria del lavoro creativo del loro autore. Al lettore moderno le due tragedie possono, forse, apparire chiuse in un'immagine tradizionale ideologicamente stereotipata, invece l'attività che Manzoni vi dedicò fu seconda solo al ben più complesso romanzo, caratterizzata altresì da intraprendenza e da vivacità di riflessione come di polemica. Due opere, dunque, del più rigoroso e intransigente autore dell'Ottocento, alle quali (insieme e più che ai coevi Inni sacri) egli veniva affidando quella visione della letteratura così altamente morale che resta la sua incontrovertibile lezione alla cultura non solo del suo tempo, non solo della sua nazione.
269 pages, Paperback
First published January 1, 1987
About the author
Alessandro Manzoni
703 books224 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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Displaying 1 of 1 review
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