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Manzoni looked at life steadily, across the centuries and in his novel, The Betrothed, set down in detail what he saw. But not in the manner of a modern realist. The modern is interested in the exhibition of human nature, in its psychology, in its intimate behavior. Passion, love, hate, the conflicts of motive, the story of the relation of motive and action, the discovery, that is to say, of personality, all this is the theme of modern realism. Or it may go farther and strive to trace, as in Tolstoy, the search of the personality for a motive for life, and thus be the story of bewilderment and faith, of disillusion and enthusiasm. In all these the heights and depths, the lights and shadows of human nature, or its background, will be described with scientific accuracy. But there is none of this in Manzoni. He gives no palpitating love story, nor, though there are adventures and hair-breadth escapes, does he ever leave us in alarmed suspense. From all these points of view Manzoni is decidedly disappointing.
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For in such adventures he is quite uninterested. He is neither a raconteur, like Scott or Dumas, nor a psychologist like Dostoevsky, nor an exploiter of poignant melodrama like Hugo, nor a scientist like Zola. He is a moralist, seeking in history for a moral pattern, and yet an artist, but one who never allows his story to be other than true to the formula he discovers. He clips off all excess when the story begins to be interesting for its own sake. For his like we must turn back to the narratives of the Bible, with their direct simplicity, and moral convincingness.
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For again, like Scott, Manzoni belonged both to the eighteenth and the nineteenth centuries. As the great Italian critic Croce remarks, he had at once the scientific interest in history and human life of the encyclopedists, the irony of Voltaire, and the faith in Christian morals of the Catholic reaction of the early nineteenth century-the reaction whose romantic exaggeration one can see in Chateaubriand Spirit of Christianity. Just so Scott was an eighteenth-century Tory gentleman with the glowing nineteenth-century trust in good, loyal, and honest, hardworking people of every rank. Like Scott again he had a paragon; with the British Tory, it was that of downright heroic manhood, with the Italian patriot, that of the moral worth of the Christian virtues. He will, therefore, have the historical sense that can recreate the past vividly and accurately and ironically, and at the same time illuminate it in the moral spectrum of human nature.
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