Great line by the “good woman” regarding Don Abbondio: “I’d heard he wasn’t much of a man, and now I can see with my own two eyes that he’s as tangled as a cat in a ball of yarn.” Very graphic and funny and so true. But the self-centered Abbondio does get Lucia out the door of her prison with a good scold, “Come now, head up, stop acting like a baby so we can leave quickly.” Just what she needed. And now Lucia struggling with her rash vow...”her heart was on the verge of regret,” uses prayer as a weapon (as well as the rosary) which only offer momentary relief. She’s “like a tired, wounded victor over a vanquished (but not killed) enemy.” The poor woman has been in spiritual struggle since beginning of novel. Can’t wait to see how she emerges from this latest trial.
This is one of the most modulated and interesting chapters in the novel. In a way, it comes as a relief to leave Don Abbondio for a while, with his forever troubled mind, and move to the domestic harmony of the home of the tailor and his wife and children. The tailor is serene and welcoming. After coming home from Mass and after hearing the Cardinal's sermon he is positive and exuberant, in contrast to the always gloomy and negative Don Abbondio. This section in the tailor's house reminded me strongly of Ermanno Olmi's lovely film L'albero degli zoccoli (The Tree of Wooden Clogs"), also set in the Lombardy region of Italy.
At one level perhaps Manzoni is implying that everyone has a choice, be it for good or evil or happiness or unhappiness. Poor Don Abbondio's default position for example is worry and anxiety. The tailor and his family have chosen contentment and peace of mind. The Nameless One choses to leave evil behind him and embrace goodness.
Perhaps the psychological key to Don Abbondio's discontent is revealed in the sentence: "And so, grumbling with aggravation and fear, he let himself be led, as usual, by the pleasure of others".
The cat and yarn description made me laugh as did the point as they were leaving the valley and “He pulled his head out from between his shoulders”. It made me think of an old black and white cartoon or even the character of a turtle. Loved it.
I appreciated the cat in yarn, and knowing the original as well. I also enjoyed The Good Woman's (I wish she were named, but then, maybe her goodness contrasts w the Nameless one?) Comment that she was glad she had more on the hearth than just the cat. Lots of good metaphors today, like the upturned tree and weeds!
I did not see any sign that Lucia was fearful or distrusting of Don Abbondio when he presented himself to rescue her. That was surprising to me as Don Abbondio, operating under instructions/ threat from Don Rodrigo, previously was not a friend to Lucia and Renzo.
Whatever the translation, and however Lucia may have felt, Don Abbondio is as much a mess as ever:
- “as tangled as a cat in a ball of yarn”
- “more mixed up than a chick in the tow”
- “a real wet hen” (a different flavor from the Penman translation)
I am moved (and surprised) by Lucia’s recollection of her vow. She takes a moral promise with the utmost seriousness, and is prepared to accept its consequences. Yet she knows this acceptance will not always come easily; she may have to fight again and again to renew her commitment. She gains greatly in stature in this chapter.
I agree. Her vow and her prayers are actions in themselves, not merely words. They have utmost consequences for her. It's not a matter of trust in them, it's an experience of them as realities.
I am appreciating the different characters within the clergy; their temperaments, the way they act in the world, the way they perceive differently the same event... the person makes the priest, the priest does not make the person. Also appreciate the shifting focus on these characters. We go from the description of the Cardinal's path to his priesthood - an external view - right into the Cardinal's lived experience of his faith - an internal view. Manzoni gives us a picture with both the big outside view and the intimate inside view. So rich!
For me, Don Abbondio is comic relief from the start (whatever worry and anxiety he brings along) -- never missing a moment to express his own self-concern, his "I've come here for you" incomplete until he adds what we know to be a complaint, and now perhaps a source of pride, "on muleback."
For all his self-centered foolishness, Don A. gets a great (possibly forewarning but certainly still timely) observation: "Sometimes these do-gooders leave things even more tangled up than before. They only see the big picture; once they feel a little satisfaction, they move on, and don't want the trouble of dealing with the consequences. But the evildoers are much more diligent. They're relentless; they follow everything to the bitter end..."
I also loved the cat and yarn and was almost sad to learn it was originally other, since it connects so nicely to other tangled images (like the one above), and to the old woman's gratitude that there's more on the hearth than just the cat.
Also loved her keen understated comment on him that precedes the cat/chick image -- that "he hasn't been much help" and finally the variations on the role of gossip and storytelling in the making of legends.
And I confess I went ahead and finished the chapter ... for tomorrow.
I was interested in the narrator's observation that the "good matron's" husband, the tailor, was "a peach of a man" (p. 395). Michael, I'm curious to know if this is an Italian phrase that you directly translated!
Great line by the “good woman” regarding Don Abbondio: “I’d heard he wasn’t much of a man, and now I can see with my own two eyes that he’s as tangled as a cat in a ball of yarn.” Very graphic and funny and so true. But the self-centered Abbondio does get Lucia out the door of her prison with a good scold, “Come now, head up, stop acting like a baby so we can leave quickly.” Just what she needed. And now Lucia struggling with her rash vow...”her heart was on the verge of regret,” uses prayer as a weapon (as well as the rosary) which only offer momentary relief. She’s “like a tired, wounded victor over a vanquished (but not killed) enemy.” The poor woman has been in spiritual struggle since beginning of novel. Can’t wait to see how she emerges from this latest trial.
I love the “tangled as a cat in a ball of yarn” simile. So vivid.
This is one of the most modulated and interesting chapters in the novel. In a way, it comes as a relief to leave Don Abbondio for a while, with his forever troubled mind, and move to the domestic harmony of the home of the tailor and his wife and children. The tailor is serene and welcoming. After coming home from Mass and after hearing the Cardinal's sermon he is positive and exuberant, in contrast to the always gloomy and negative Don Abbondio. This section in the tailor's house reminded me strongly of Ermanno Olmi's lovely film L'albero degli zoccoli (The Tree of Wooden Clogs"), also set in the Lombardy region of Italy.
At one level perhaps Manzoni is implying that everyone has a choice, be it for good or evil or happiness or unhappiness. Poor Don Abbondio's default position for example is worry and anxiety. The tailor and his family have chosen contentment and peace of mind. The Nameless One choses to leave evil behind him and embrace goodness.
Perhaps the psychological key to Don Abbondio's discontent is revealed in the sentence: "And so, grumbling with aggravation and fear, he let himself be led, as usual, by the pleasure of others".
Wonderful insights about Don Abbondio!
i like how when we leave don abbondio, the verdict's not in yet.
The cat and yarn description made me laugh as did the point as they were leaving the valley and “He pulled his head out from between his shoulders”. It made me think of an old black and white cartoon or even the character of a turtle. Loved it.
I appreciated the cat in yarn, and knowing the original as well. I also enjoyed The Good Woman's (I wish she were named, but then, maybe her goodness contrasts w the Nameless one?) Comment that she was glad she had more on the hearth than just the cat. Lots of good metaphors today, like the upturned tree and weeds!
I did not see any sign that Lucia was fearful or distrusting of Don Abbondio when he presented himself to rescue her. That was surprising to me as Don Abbondio, operating under instructions/ threat from Don Rodrigo, previously was not a friend to Lucia and Renzo.
Whatever the translation, and however Lucia may have felt, Don Abbondio is as much a mess as ever:
- “as tangled as a cat in a ball of yarn”
- “more mixed up than a chick in the tow”
- “a real wet hen” (a different flavor from the Penman translation)
"'What if they think I came here to play the missionary? Poor me! They'll turn me into a martyr!" Oh, Don Abbondio, you really are getting tiresome.
I am moved (and surprised) by Lucia’s recollection of her vow. She takes a moral promise with the utmost seriousness, and is prepared to accept its consequences. Yet she knows this acceptance will not always come easily; she may have to fight again and again to renew her commitment. She gains greatly in stature in this chapter.
I agree. Her vow and her prayers are actions in themselves, not merely words. They have utmost consequences for her. It's not a matter of trust in them, it's an experience of them as realities.
I am appreciating the different characters within the clergy; their temperaments, the way they act in the world, the way they perceive differently the same event... the person makes the priest, the priest does not make the person. Also appreciate the shifting focus on these characters. We go from the description of the Cardinal's path to his priesthood - an external view - right into the Cardinal's lived experience of his faith - an internal view. Manzoni gives us a picture with both the big outside view and the intimate inside view. So rich!
Agreed! Very hard to stereotype positions/professions/class origins in this book. Each is presented as an individual.
For me, Don Abbondio is comic relief from the start (whatever worry and anxiety he brings along) -- never missing a moment to express his own self-concern, his "I've come here for you" incomplete until he adds what we know to be a complaint, and now perhaps a source of pride, "on muleback."
For all his self-centered foolishness, Don A. gets a great (possibly forewarning but certainly still timely) observation: "Sometimes these do-gooders leave things even more tangled up than before. They only see the big picture; once they feel a little satisfaction, they move on, and don't want the trouble of dealing with the consequences. But the evildoers are much more diligent. They're relentless; they follow everything to the bitter end..."
I also loved the cat and yarn and was almost sad to learn it was originally other, since it connects so nicely to other tangled images (like the one above), and to the old woman's gratitude that there's more on the hearth than just the cat.
Also loved her keen understated comment on him that precedes the cat/chick image -- that "he hasn't been much help" and finally the variations on the role of gossip and storytelling in the making of legends.
And I confess I went ahead and finished the chapter ... for tomorrow.
I also enjoyed Don A's observation about "do-gooders," Catherine!
I was interested in the narrator's observation that the "good matron's" husband, the tailor, was "a peach of a man" (p. 395). Michael, I'm curious to know if this is an Italian phrase that you directly translated!