Historical and literary situation of I promessi sposi
In this article ” Historical and literary situation of I promessi sposi ” We will see in detail in what historical and literary period is the work of Alessandro Manzoni “I promessi sposi” and what are its key features.
The betrothed are designed and written in the 1920s 1800.
A few years before the Congress of Vienna had decided to restore the political situation prior to the French Revolution and Napoleonic conquests and put Europe under the strict control of the holy alliance between Austria, Prussia and Russia to which, Finally joined the France.
The attempt to restore and maintain the old order but clashed with the demands of the new middle class which tended to political liberalism and was fighting for national independence italiana, Belgian and Polish. In fact they sprung a series of uprisings that occurred between 1820-21, the 1830-31 and the 1848-49.
The Italy was then divided into various States, most controlled or dominated by Austria, who ruled the Kingdom of Lombardy-Venetia.
The Kingdom of Lombardy-Venetia was the richest, the more modern and a great cultural development center. The Kingdom broke in fact, fairly quickly and the new literary poetry which drew German romanticism as well as the positions liberals who supported the Italian freedom and independence.
Milan Meanwhile became the most important center of the Romantic movement and liberal and Manzoni is inseparable from the history of literature this city's climate.
The betrothed they fit well into what is called Romance lombardo, born around 1816 with three posters written by Ludovico di Breme, Peter Borsieri and Giovanni Berchet. Romance lombardo is distinguished by the fact that only accept some positions of Nordic Romanticism including the primacy of originality on intimidation and modern samples on the ancient Canon, the refusal of Latin and Greek mythology for modern themes, the return to Christianity and the enhancement of the national element. Romance lombardo lives the contrast I-world as contradiction between ideal and real and tip so in realistic results, to a concrete dimension. The final condition is to be able to create a wider audience than the one that turned the Neoclassicism, the audience of small and middle bourgeoisie that romantics called “people”. Hence the tendency to choose characters starring in the popular classes and to support several times the opportunity of dialect. The historical and literary situation de the betrothed is then a period full of innovations and features that lie ahead as essential for the manzonian literature.