Chapter 5
Chapter Summary
In Chapter 5, Father Cristoforo first comes to visit Lucia, Agnese, and Renzo. They tell him of their predicament with Don Rodrigo and ask for help. Trying to do his best to lessen the suffering of his "children," Fra Cristoforo sets out for Don Rodrigo's castle. He travels there in an attempt to convince Don Rodrigo to change his mind and let Lucia and Renzo marry, but he stumbles upon a rather boisterous feast when he arrives. Cristoforo must sit through drunken arguments about gentlemanly behavior and famines before he can proceed with his mission.
Header photo credit: http://archivio.mensamagazine.it/articolo.asp?id=766 Word Cloud Breakdown
We are first introduced to Don Rodrigo and his home in Chapter 5 of I Promessi Sposi. He is the ruler of the area in which Renzo, Lucia, and the others live, so I thought it best that he was represented by a crown-shaped word cloud. This was done by creating the cloud in Tagxedo and then uploading that image into SpeakingImage, where the extra links and comments were added.
To narrow down the words shown in this cloud and to represent the most important event of Chapter 5, I used only the section of the chapter in which Fra Cristoforo visits Don Rodrigo's castle. I then kept the words that were only used 4 or more times in the chapter and pared it down further to include only nouns, verbs and adjectives. I also combined variations of the same verb (but with different gender/number/conjugation/tense) into their infinitive forms to better represent their actual count in the chapter. The result of this selectivity is what you see below: a collection of the most meaningful words in Chapter 5. Note that most of the words and their size (corresponding with the amount of times used in the sample text) are directly related to Don Rodrigo, but that "Padre" dominates the center of the image, showing that Fra Cristoforo also has a substantial role in this chapter. Note: The digital text used to create this image is an anonymous 1834 translation available at Project Gutenberg.
Translation Comparison
Word clouds, in this case from Voyant, can be used for more than just the cloud itself. I imported both the digital English and Italian texts of Chapter 5 into the program, which compared them and calculated lists of word frequencies.
When comparing the English and original Italian versions of my chapter, it was interesting to note the differences in the number of times an Italian word was present in comparison to its English counterpart. Some are the same or incredibly close in word count at first glance, but when the alternate word options for "padre" were counted (frate: 12, fra: 4), the total count for the Italian version is 52 - almost 10 more than the English version, which only uses "father." It is also interesting that words such as "Don" and "Podestà" were not translated in the English text, most likely because they have no direct translation. However, their word count between texts was still unequal. |
The question here became: "what makes these word frequencies so disproportionate?" Is it that one language includes more adjectives and emotions, while the other simply uses the noun/verb as is? Or is it a play on syntax, rhyme, or repetition which the other version simply can not translate? If so, what does that do to the reader's impression of the text? A closer look is taken by selecting only the dinner conversation at Don Rodrigo's home.
Most of what I found were differences between pronoun and verb usage. The English used more pronouns, while the Italian used a wider selection of verbs, such as "esclamò" instead of "disse" (said) or synonyms for "know," such as "conoscere" and "capire," which accommodates for the lesser use of "sa." This would explain the discrepancies between specific word count.
Most of what I found were differences between pronoun and verb usage. The English used more pronouns, while the Italian used a wider selection of verbs, such as "esclamò" instead of "disse" (said) or synonyms for "know," such as "conoscere" and "capire," which accommodates for the lesser use of "sa." This would explain the discrepancies between specific word count.
However, while closely comparing the instances where some words were used more often in the Italian version than the English version and vice versa, I discovered that some entire phrases of Italian were missing from the novel's digital English translation. I found several inconsistencies between the digital version, translated in 1834, the original text, and the printed translation that our class read. Here is one example:
All in all, the Italian version is wordier, more descriptive, and uses a wider variety of verbs than the digital English version. The implications of this are clear for the reader: the original language and its closer translation provide a more complete picture of literary themes. The appearance of the proverb comment in both Manzoni and Penman's editions illustrate the intelligence and education of the podestà and his ability to reason and logically argue a point. The entire discussion may seem trivial, but their inclusion of reason proves that the noblemen at that dinner table were completely capable of reigning fairly and sensibly. Although some of the points brought up in the conversation in Chapter 5 show that the people of Italy were not being cared for, Manzoni emphasized the noblemen's ability to change those issues if they so chose.
By cutting this phrase from the 1834 translation, the podestà's argument becomes void and Manzoni's concerns about class segregation and disparities between the education of aristocrats and laymen are also elminated. While the 1834 version offers more succinct prose, it also detracts from the full essence of the scene that Manzoni was undoubtedly trying to portray.
By cutting this phrase from the 1834 translation, the podestà's argument becomes void and Manzoni's concerns about class segregation and disparities between the education of aristocrats and laymen are also elminated. While the 1834 version offers more succinct prose, it also detracts from the full essence of the scene that Manzoni was undoubtedly trying to portray.
Note: The charts and word cloud in this section were created using the digital 1834 translation available at Project Gutenberg.
Connections
Within the Chapter
Chapter 5 is bookended with the notion of justice in private conversation. Lucia, Renzo, and Agnese's simple plea for the permission of two people to marry safely takes place in Agnese's small, comfortable cottage at the very beginning of the chapter. Father Cristoforo is present for this intimate conversation as well as the one that takes place at the end of the chapter; in Don Rodrigo's large, cold castle, the noblemen have a heated discussion about whether it is appropriate and just to beat a messenger who does not carry out the proper protocol for delivering a challenge to a man in power. The juxtaposition of these two scenes depicts the variances in opinion of what constitutes a justified action.
With the rest of I Promessi Sposi
Photo credit: http://love-of-history.tumblr.com/page/57
By viewing the conversation at Don Rodrigo's dinner table in the greater context of the novel, it is plain to see that public opinion/outrage was easily spread by noblemen and those in power, even if it was unfounded. One of the topics at Don Rodrigo's dinner was about the famine that was ravaging Italy. The men came to the consensus that there was no famine, but that profiteers were cornering the market and the bakers were hiding their grain. Hanging was the only solution.
In Chapter 12, the bread riots in Milan exemplify how quickly off-hand remarks like this can escalate. People truly began to believe that the bakeries were hoarding bread whilst the people were starving and they decided to do something about it. Citizens plundered bakeries all over the city, taking every morsel that they could and destroying equipment. Next, they stormed toward the home of Ferrer, the Commissioner of Provisions, in order to make an example of him by murdering him in public view. This plan was unsuccessful, but the adamance for vengeance of the so-called "wicked deceit" of the bakers and businessmen had clearly spiraled out of control.
In Chapter 12, the bread riots in Milan exemplify how quickly off-hand remarks like this can escalate. People truly began to believe that the bakeries were hoarding bread whilst the people were starving and they decided to do something about it. Citizens plundered bakeries all over the city, taking every morsel that they could and destroying equipment. Next, they stormed toward the home of Ferrer, the Commissioner of Provisions, in order to make an example of him by murdering him in public view. This plan was unsuccessful, but the adamance for vengeance of the so-called "wicked deceit" of the bakers and businessmen had clearly spiraled out of control.
With the Historical Context in which I Promessi Sposi was Written
Manzoni's novel was first published in 1827, a few years after the end of Napoleonic rule in Italy. However, control over Italy soon became a struggle between the Habsburgs and the Austrian Empire. Similarly enough, Italy was under Spanish rule during the time in which I Promessi Sposi is set. Another segment of the conversation between Don Rodrigo's dinner guests depicts the instability in citizens' lives and loyalties that opportunism and frequent regime change causes.
In the case of Chapter 5, the guests deliberate the issue that the Duchy of Mantua has no successor due to the recent death of the reigning Duke, who had no heirs. This caused royalty from France, Spain, and Germany to scramble for the title. The group weighs their options between competing leaders and conclude that they should remain in support of Spain, because they are Spanish themselves. However, even a faint notion that noblemen are willing to switch loyalties so easily is not incredibly reassuring for the people over which they are ruling.
Manzoni was undoubtedly commenting on the topics of Italian occupation and unification that were still surging through the country in the 19th century. Everyone, especially the noblemen, was so incredibly concerned with who would be the next ruler, and in turn, who they would have to support in order to maintain their way of life, that no one seemed to recognize the absurdity that accompanied foreign rule.
Photo credit: http://www1.american.edu/initeb/mg0970a/introduction.htm
In the case of Chapter 5, the guests deliberate the issue that the Duchy of Mantua has no successor due to the recent death of the reigning Duke, who had no heirs. This caused royalty from France, Spain, and Germany to scramble for the title. The group weighs their options between competing leaders and conclude that they should remain in support of Spain, because they are Spanish themselves. However, even a faint notion that noblemen are willing to switch loyalties so easily is not incredibly reassuring for the people over which they are ruling.
Manzoni was undoubtedly commenting on the topics of Italian occupation and unification that were still surging through the country in the 19th century. Everyone, especially the noblemen, was so incredibly concerned with who would be the next ruler, and in turn, who they would have to support in order to maintain their way of life, that no one seemed to recognize the absurdity that accompanied foreign rule.
Photo credit: http://www1.american.edu/initeb/mg0970a/introduction.htm
With the Visit to the Spencer Research Library
During our visit to the Spencer Research Library, we were presented a book written by Ranuccio Pico. It was entitled, Specchio de'prencipi, and was intended to act as a "mirror for princes," much like Machiavelli's The Prince. Essentially, it is a collection of biographies of princes that Pico believed to be good examples for future royalty.
In Chapter 5, the dinner party has a lively discussion of the "law of chivalry" and how one should behave toward messengers that bring challenges from opposing leaders, as mentioned in the "Within the Chapter" section above. It would be incredibly interesting to investigate what Pico would have to say about "gentlemanly" dilemmas such as this and what recommendations/references to other, historical, princes he would give.
Photo credit: http://www.internetculturale.it/opencms/viewItemMag.jsp?case=&id=oai%3Abncf.firenze.sbn.it%3A21%3AFI0098%3AMagliabechi%3ATO0E001629
In Chapter 5, the dinner party has a lively discussion of the "law of chivalry" and how one should behave toward messengers that bring challenges from opposing leaders, as mentioned in the "Within the Chapter" section above. It would be incredibly interesting to investigate what Pico would have to say about "gentlemanly" dilemmas such as this and what recommendations/references to other, historical, princes he would give.
Photo credit: http://www.internetculturale.it/opencms/viewItemMag.jsp?case=&id=oai%3Abncf.firenze.sbn.it%3A21%3AFI0098%3AMagliabechi%3ATO0E001629
With the Visit to the Spencer Museum of Art
Photo credit: Spencer Museum of Art. Accession Number: 0000.1706.114
At the Spencer Museum of Art, I came across one piece in particular that connects perfectly with the events in Chapter 5. It is called Domus famae (The House of Famine) and was etched by Johann Wilhelm Baur between 1639 and 1641.
The etching depicts an angel flying toward a beautiful mansion set atop of a set of jagged cliffs. The house itself can easily be associated with Don Rodrigo's home because his also "[stands] in isolation like a watch tower, on top of one of the small peaks which add height and variety to the view" (Penman 1972, 95). What is more interesting, however, is the symbolism that the two share.
The etching is called The House of Famine because the mansion is so beautiful and elaborate on the outside but its interior has nothing to offer those who seek refuge or salvation. A conversation specifically about famine takes place in Chapter 5 and a further detailed description of Don Rodrigo's castle can confirm its internal emptiness as well. Additionally, the people around Don Rodrigo's table are all empty themselves - save Father Cristoforo; they debate topics that hold very little direct consequence and speak of very crucial matters while consuming entirely too much wine, as if it was all a joke. In essence, they are only elaborately decorated shells, just like The House of Famine.
The etching depicts an angel flying toward a beautiful mansion set atop of a set of jagged cliffs. The house itself can easily be associated with Don Rodrigo's home because his also "[stands] in isolation like a watch tower, on top of one of the small peaks which add height and variety to the view" (Penman 1972, 95). What is more interesting, however, is the symbolism that the two share.
The etching is called The House of Famine because the mansion is so beautiful and elaborate on the outside but its interior has nothing to offer those who seek refuge or salvation. A conversation specifically about famine takes place in Chapter 5 and a further detailed description of Don Rodrigo's castle can confirm its internal emptiness as well. Additionally, the people around Don Rodrigo's table are all empty themselves - save Father Cristoforo; they debate topics that hold very little direct consequence and speak of very crucial matters while consuming entirely too much wine, as if it was all a joke. In essence, they are only elaborately decorated shells, just like The House of Famine.
Conclusion
The part we have all been waiting for - here is where I am supposed to summarize whether the digital humanities have succeeded in pulling Manzoni into the 21st century or whether it was all for naught. Unfortunately, dear reader, I have to tell you that it just isn't that simple. Life is never Manichean, and neither is literature. Throughout the semester, we have encountered countless frustrations, "aha!" moments, and some eye rolling/yawning while waiting for those enlightening moments. Some digital formats have proven to be up to the task - our group has excelled at using word clouds, charts, and VoiceThread (not shown on this chapter page) - while others have fallen a little short of the mark (timelines, video clips, etc), although they are still useful for other projects. It is always the most frustrating when we think, "this program/tool would be perfect if only it could do ___!"
What these formats have truly succeeded in doing is challenging our class to decide how we want something to be represented, and how we can manipulate and analyze them in order to teach someone else, like yourself, about them. Much introspection and digging down deep into the multilayered world of Manzoni's thought processes has taken place here. But after asking, "What do you think he really meant?!" so many times, I have decided that it's more important to ask, "What do we make of this?"
All of the work you see on this page has come down to one student's representation of what her semester with Manzoni has been. All of the other pages will be different, and that is exactly the point. The connections each person makes between this (or any) novel and previous pieces they have read, art they have seen, or history they have learned about will portray a culmination of various life experiences. We do not all share the same insight or explore various resources while reading a novel in order to grasp the "big picture" - although if anyone wants to take a field trip to visit the Spencer Research Library at the illustrious University of Kansas, I highly recommend doing so. As a lit major who LOVES old books, there was an overload of geeking out happening in that room.
Anyway, the digital humanities help us to investigate our own interests and what we as individuals find exciting about literature. It is a far cry from simply summarizing key points of a book - sorry readers, the digital humanities will not become the new SparkNotes. I personally think that there is no journey quite like that which is within a good novel, and that merely looking at word clouds and pictures will not give the reader the full comprehension that accompanies actually reading the book. However, I am not discrediting the digital humanities - quite the opposite, actually. They are tools with which to develop the intellect and methods in which a reader can be free to create something new or point out an aspect of a reading that no one has ever previously pondered. Helpful guides along their journey through a novel, if you will. So, my readers, go forth and create. You won't regret it.
Over and out.
What these formats have truly succeeded in doing is challenging our class to decide how we want something to be represented, and how we can manipulate and analyze them in order to teach someone else, like yourself, about them. Much introspection and digging down deep into the multilayered world of Manzoni's thought processes has taken place here. But after asking, "What do you think he really meant?!" so many times, I have decided that it's more important to ask, "What do we make of this?"
All of the work you see on this page has come down to one student's representation of what her semester with Manzoni has been. All of the other pages will be different, and that is exactly the point. The connections each person makes between this (or any) novel and previous pieces they have read, art they have seen, or history they have learned about will portray a culmination of various life experiences. We do not all share the same insight or explore various resources while reading a novel in order to grasp the "big picture" - although if anyone wants to take a field trip to visit the Spencer Research Library at the illustrious University of Kansas, I highly recommend doing so. As a lit major who LOVES old books, there was an overload of geeking out happening in that room.
Anyway, the digital humanities help us to investigate our own interests and what we as individuals find exciting about literature. It is a far cry from simply summarizing key points of a book - sorry readers, the digital humanities will not become the new SparkNotes. I personally think that there is no journey quite like that which is within a good novel, and that merely looking at word clouds and pictures will not give the reader the full comprehension that accompanies actually reading the book. However, I am not discrediting the digital humanities - quite the opposite, actually. They are tools with which to develop the intellect and methods in which a reader can be free to create something new or point out an aspect of a reading that no one has ever previously pondered. Helpful guides along their journey through a novel, if you will. So, my readers, go forth and create. You won't regret it.
Over and out.
Created by Sondra Moore
2013
2013