Alessandro Manzoni

Signore di Moncucco di Mirasole
Alessandro Manzoni
Senator of the Kingdom of Italy
In office
29 February 1860 – 22 May 1873
MonarchVictor Emmanuel II
Deputy of the Kingdom of Sardinia
In office
17 October 1848 – 21 October 1848
Personal details
BornAlessandro Francesco Tommaso Manzoni
(1785-03-07)7 March 1785
Died22 May 1873(1873-05-22) (aged 88)
Resting placeMonumental Cemetery, Milan
PartyHistorical Right
Spouse(s)
Enrichetta Blondel
(m. 1808; died 1833)

Teresa Borri
(m. 1837; died 1861)
ChildrenGiulia Claudia (1808–1834)
Pietro Luigi (1813–1873)
Cristina (1815–1841)
Sofia (1817–1845)
Enrico (1819–1881)
Clara (1821–1823)
Vittoria (1822–1892)
Filippo (1826–1868)
Matilde (1830–1856)
Parents
RelativesCesare Beccaria (grandfather)
Massimo d'Azeglio (son-in-law)
Occupation
  • Writer
  • poet
  • dramatist
Writing career
Period19th century
Genre
Subject
  • Religion
  • politics
  • history
Literary movementEnlightenment
Romanticism
Years active1801–1873
Notable works
Signature

Alessandro Francesco Tommaso Antonio Manzoni (UK: /mænˈzni/, US: /mɑːn(d)ˈzni/, Italian: [alesˈsandro manˈdzoːni]; 7 March 1785 – 22 May 1873) was an Italian philosopher, poet, playwright, and novelist. He is best known for the novel The Betrothed (Italian: I promessi sposi), generally ranked among the masterpieces of world literature. The novel, published in 1827, is a symbol of the Italian Risorgimento for its patriotic message, and also because it was a fundamental milestone in the development of the modern and unified Italian language.

Manzoni contributed to the stabilization of the modern Italian language and helped to ensure linguistic unity throughout Italy. He was an influential proponent of Liberal Catholicism in Italy. He is also considered one of the three crowns of Romanticism in Italy, along with Ugo Foscolo and Giacomo Leopardi, despite their differences. He is often associated as the moral and cultural leader of the Italian unification with his younger contemporary Leopardi, although his work and thinking often contrast with the latter.