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The Betrothed begins with a short excerpt from a 17th-century manuscript. This, the narrator claims, is an original story so enthralling and fascinating that the “heroic effort of transcribing [it]” (4) was necessary. The narrator investigated the story and now presents this manuscript, plus many edifying and elucidating historical references and footnotes, to the reader as The Betrothed.
The main narrative of The Betrothed begins in November 1628, in a small village near Lecco in Lombardy, Italy. A fretful priest named Don Abbondio walks home along a country path. He encounters two bravi, hired brutes who “attach themselves to some member of the nobility or the gentry” (10). Bravi intimidate, attack, and enforce the will of their employers. Despite numerous attempts to outlaw their behavior, they are commonplace. The armed bravi know that Don Abbondio’s intention is “to marry Renzo Tramaglino and Lucia Mondella” (14) the following day. On the orders of their employer, a powerful local baron named Don Rodrigo, the bravi warn Don Abbondio not to go through with this wedding, otherwise they will kill him. Don Abbondio “was not born with the heart of a lion” (16). He agrees to their demands, hurries home, and anxiously complains to his maid, Perpetua, that he does not know what to do. Typically, he sides with the more powerful party. He begs Perpetua not to tell anyone and he hurries to bed.
Don Abbondio spends a night wracked with anxiety. Renzo, an orphaned silk worker, comes to Don Abbondio to discuss the wedding. Nervously, Don Abbondio insists that there have been “complications” (27). He delays the wedding, much to Renzo’s outrage. Reluctantly, Renzo agrees to wait a week. As he leaves, however, he speaks to Perpetua, which compels him to return to Don Abbondio, who confesses that Don Rodrigo has demanded that the wedding be stopped. Don Abbondio retires to bed with a fever while Renzo visits Lucia to deliver the bad news. When she hears about Don Rodrigo, Lucia is “filled with anguish” (38) but unsurprised.
Lucia explains the situation to Renzo and her “equally distressed” (39) mother, Agnese. Some days earlier, Don Rodrigo spotted her while out with his cousin, Count Attilio. He was attracted to her and made a bet with Attilio that he could sleep with her. Lucia visited a local friar named Padre Cristoforo, who advised her to avoid the baron and marry Renzo as quickly as possible. Renzo is furious. Agnese suggests that he visit a lawyer named Azzeccagarbugli, but more commonly known as Professor Argle-Bargle. Renzo is shown into the lawyer’s office by a maid and, the meeting starts well. Professor Argle-Bargle, however, mistakenly believes that Renzo is one of the bravi who threatened a priest to delay a marriage. When he hears the name Don Rodrigo, he angrily chases Renzo from his office. While Renzo returns to Lucia’s home, she arranges for a local friar named Fra Galdino to ask Fra Cristoforo to visit her. Renzo returns and insists that he will triumph because “there is justice in this world” (53).
Fra Cristoforo is the son of a wealthy merchant. During childhood, he was known as Lodovico. His father was obsessed with his own reputation, thus raising his son like a noble. Ludovico had a steward named Cristoforo, who was noted for his loyalty and devotion to his family. In the small town, a rival gentleman challenged Lodovico to a fight due to a supposed infringement of honor and chivalry. Ludovico fought and won. He killed the rival, but Cristoforo was killed in the process. Ludovico sought sanctuary in a nearby Capuchin church. When sanctuary is sought in a church or monastery, tradition dictates, it “cannot be breached by the police or by the complex of things and people known as the justice system” (61). Ludovico is treated for his wounds and, noting the faith of the Capuchin friars, decides to become a friar, too. He left his wealth to Cristoforo’s family and took the name of his dead friend in tribute. He sought out the rival gentleman’s family and, when they saw the “humble, deep contrition for his sin” (67), they forgave him. Fra Cristoforo has since dedicated his life to protecting “the oppressed” (69). Fra Cristoforo arrives at Lucia’s home.
Fra Cristoforo listens to Lucia’s problem. He encourages the couple to keep their faith in God and leaves to visit Don Rodrigo. The fortress-like palace of Don Rodrigo is situated on a hilltop. The entrance is decorated with two dead vultures and guarded by two bravi. Recognizing Fra Cristoforo as a Capuchin friar, they allow him inside. Don Rodrigo is eating dinner with Count Attilio, the Mayor, Professor Argle-Bargle, and two others. They argue about “a question of chivalry” (77), the code which governs the behavior of knights and gentlemen. Fra Cristoforo listens politely as he waits for a private audience with Don Rodrigo, who he senses is “trying to get under [Fra Cristoforo’s] skin” (79). When they toast, they collectively agree that there is no famine in the country, blaming “the hoarders” (83) for any food shortages. Don Rodrigo grants a private audience to Fra Cristoforo.
Fra Cristoforo struggles to maintain his composure as Don Rodrigo insists on his right to pursue Lucia. When Don Rodrigo begins to accuse Fra Cristoforo of wasting his time and suggests he is also interested in Lucia, Fra Cristoforo grows angry. The men argue, and Don Rodrigo dismisses the friar. As Fra Cristoforo exits, however, an elderly servant says that he may be able to help the friar. He promises to find out whatever “hellish things” (90) Don Rodrigo is planning and pass this information along. In the meantime, Agnese has hatched a plan. She suggests that Renzo and Lucia trick Don Abbondio into marrying them: If they present themselves to him and announce that they are man and wife in front of two witnesses, then they will be legally married. Though Lucia is concerned that this is “too sneaky” (95), the enthusiastic Renzo suggests that his friends, Tonio and Gervaso, stand as witnesses. Renzo’s friends agree to be witnesses if Renzo settles Tonio’s debt to the priest.
Fra Cristoforo returns to Lucia and Renzo, describing the unproductive meeting with Don Rodrigo. He invites them to “trust in God” (100) and to visit him the following day to make further plans. Renzo is outraged with Don Rodrigo. They do not tell Fra Cristoforo about the plan for a surprise wedding, which Lucia still does not approve of but, to calm Renzo’s anger, she agrees. She notices a “beggar who was neither as emaciated nor as ragged as his peers” (106) near her house. Don Rodrigo summoned the leader of his bravi, Griso—who is the suspicious “beggar”—and ordered him to kidnap Lucia. Don Rodrigo also offered to “double the bet” (109) with Count Attilio. As Renzo prepares for the surprise wedding, he fails to notice three bravi sitting in a tavern. Renzo, Lucia, Agnese, Tonio, and Gervaso go to visit Don Abbondio.
The introduction of The Betrothed establishes the theme of Framing History Through Literature. The narrator presents a recovered text from 200 years ago, making minor modifications to adapt the story for a modern audience. The influence of the narrator is palpable through the occasional interjections with supporting documents or references, which add validity to an old story. The narrator plays an important character-like role in the novel, buffeting the claims of truthfulness in the text by drawing the audience’s attention to events that actually happened and documents that can actually be read. While the story of The Betrothed is fictional, the narrator’s presence in the text makes the story feel more realistic, especially as people like the bravi and their domineering overlords existed, and the famine of the 1630s is foreshadowed during Don Rodrigo’s dinner discussion. Even though the narrator is as distant from the original story as the modern audience is from the narrator, the narrator’s perceived presence in the text directs the narrative, creating a sense of historical authenticity.
The novel begins with the story of a priest, Don Abbondio, who fears for his safety and emphasizes his own self-interest. When he is threatened by the bravi and told that Don Rodrigo does not want Renzo and Lucia to marry, his concern is his own well-being. This creates a point of contrast between Don Abbondio and Fra Cristoforo. Fra Cristoforo is a reformed sinner. He killed a man and cradled his own dying friend in his arms, then took his name as a tribute when he joined the Capuchin order. While Don Abbondio has never done anything as serious as killing a person, he is presented as the negative point of contrast to Fra Cristoforo. Fra Cristoforo embodies the good qualities of the priesthood: He is sincere, self-sacrificing, and constantly affirming his belief in the importance of providence. To the young couple, he verbally reiterates The Importance of Faith and even comes to embody it. In contrast, Don Abbondio is concerned more about himself than God: He lies and muddles the truth for his own preservation rather than providing spiritual counseling to those in his congregation. These two priests represent the diametric poles of the clergy, with Fra Cristoforo acting as the idealized priest should act, and Don Abbondio functioning as a satirical criticism of the self-indulgent, self-concerned local priests who fail to provide their congregation with the requisite spiritual guidance. This contrast pairs strongly with the theme of Framing History Through Literature, as the social disruption of both war and famine led to doubt in The Importance of Faith, which the clergy was not immune to.
The novel positions Don Abbondio as an important figure by introducing him first. However, the bravi are introduced shortly after, creating tension and introducing the theme of Navigating Injustice. Don Abbondio’s reaction to the presence of the two bravi in the road illustrates the role they play in society: As part of Don Rodrigo’s “petty gang of thugs” (89), they are lawless. Indeed, Don Rodrigo likes to keep Griso, a wanted criminal, in his employ specifically as an example of his impunity. Griso and the bravi function as living examples of the imbalance of the law in 17th-century Italy, offering the main conflict between characters who will work toward Navigating Injustice. Characters like Renzo and Lucia do everything they can to live ethically, but they are failed by institutions which are beholden to the rich and powerful. Since Don Rodrigo has money and the bravi at his disposal, he does not need to care about the law. The bravi are introduced early to the audience, with their reputation alone enough to intimidate Don Abbondio, as a means of illustrating the true balance of power in 17th-century Lombardy: The law is inconsequential for those who have money, and the young lovers, who are also both religious and law-abiding, embody opposite values. Lucia is uncomfortable with the idea of a roundabout marriage even though it is legal, demonstrating her strong ethics and foreshadowing her choice to join a convent. Lucia ultimately agrees because she loves Renzo, and this relationship is the primary driving force in the novel.
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