Books & Reviews Archive

The novel is set in England and Italy. Isabel is a young American woman who, having been left an orphan, moves to England to live with her aunt and the latter's husband, an exceedingly wealthy banker. She befriends her cousin, Ralph, who is, however, an invalid; she also receives two marriage proposals—one from a very wealthy lord and another from a young, promising American entrepreneur—both of which she rejects, surprising everyone, as she intends to remain independent and free in order to discover the world and herself. At Ralph's urging, the uncle leaves Isabel a substantial fortune, which makes her rich and allows her to travel and live with considerable financial autonomy. Upon her uncle's death, she follows her aunt to Italy, first to Sanremo and then to Florence, where she once again meets Madame Merle, a brilliant and well-connected woman who arranges for the young woman to meet and spend time with Gilbert Osmond, an American living in Florence, collecting and studying works of art. Isabel is captivated by Gilbert Osmond, by his culture and refinement, and after a long journey with Madame Merle, she decides to marry him, despite the opposition of Ralph, her aunt, and her best friend, a brilliant American journalist. The marriage proves to be a failure, as Osmond turns out to be a selfish, conventional, and duplicitous man who married Isabel solely for her money. Isabel feels crushed by this man, who seeks to bend her to his will and to his view of life—one founded on hypocrisy and formalism, in stark contrast to Isabel's independent, pragmatic spirit. The latter lives in profound conflict, torn between the commitment she undertook by marrying (conventions, societal rules, etc. ) and her pursuit of happiness and autonomy. Her cousin’s grave illness, bringing him to the point of death, prompts her to return to England, even in defiance of her husband's wishes. Meanwhile, she learns that Madame Merle is the mother of her husband's daughter and that, to secure the girl a prosperous future, she orchestrated Isabel's marriage to Osmond. Isabel realizes she has been betrayed and that her true friends are those from her youth—the American journalist and the young entrepreneur—as well as her cousin. Having returned to England, she attends to her cousin until his death, and then, following a dramatic confrontation with the American entrepreneur, who tries to persuade her to leave her husband, she returns to the latter in their Roman home. Isabel, the central figure, is a disconcerting character, poised between the desire for independence and social duty to such a degree that she sacrifices her own happiness for the sake of the latter: beneath an appearance of strength and autonomy, there emerges a weak character, incapable not only of making vigorous decisions and taking decisive action, but also of truly knowing herself, of being able to admit to herself and to others that she was wrong. Isabel is a defeated figure, moving among strong personalities who seek to control her and impose their will upon her, with the sole exception of her cousin, who, even when mistaken, wishes to help and listen to her until the very end. In truth, all the characters operate within this tension between modernity and tradition: the brilliant American journalist, who champions American society and female independence, ultimately marries an English nobleman; Osmond's daughter is obedient to her father's wishes, despite longing to live with the young man she loves; Madame Merle, who seemed so independent of men, is in fact revealed to be a pathetic woman who commits a series of ignoble acts for the love of a man, Osmond, who does not want her and holds her in contempt. The book's message ultimately appears conservative: a woman cannot find her path without a man and without accepting social rules. In this sense, though very different in setting and style, the novel shares many affinities with *Madame Bovary* and *Anna Karenina*. Another theme of the book is undoubtedly the contrast between American society—full of energy and attentive to essentials—and European society, decadent and frivolous. This contrast is expressed, admirably and with great insight, in the depiction of landscapes and settings, such as the novel’s opening pages (the description of the English estate’s garden), the introduction to the Florentine episodes, and above all, the Roman backdrop. Isabel's house in Rome, with its vast, cold rooms, its relics and antique furniture, and Isabel’s walk among the ruins of Roman antiquity are magnificent pages, clearly revealing the decadence and ruin of a society destined to succumb and destroy, rather than to create. Italy is a simulacrum for Isabel and for American vitality. It remains unclear whether the author intended to grant the relationship between Ralph and Isabel a broader and deeper significance than mere cousinly affection; one is left with the impression that the two failed to express their mutual love, thus introducing another theme of profound interest: the difficulty of communicating genuine feelings and expressing what one thinks and feels with sincerity. Only in the face of death do Ralph and Isabel fully express their love for one another. The author's style is circuitous and complex, demanding intense concentration to follow the trajectory of sentences and paragraphs: it is therefore not an easy read, although one must acknowledge that the narrative structure is profoundly effective and produces, at times, striking impressions and almost pictorial imagery. The character analysis never achieves psychological depth, remaining ever on the surface; yet, in truth, they are symptomatic of a social role rather than fully realized individuals. The themes of feminism, social change, and the clash between societies seem to take precedence over the autonomous life of the characters. The revelation of Madame Merle's motherhood and her affair with Osmond is a lapse in style, bringing the novel close to modern melodrama and providing Isabel’s behavior (the decision to go to England against her husband’s will) with an external motive that weakens her resolve.

In early nineteenth-century English society, what matters are the rules of polite society: courteous and amiable manners, marriageable young women of moderate education, and advantageous marriages that offer the prospect of stability and prosperity. Appearance, much like money, reigns supreme. Two characters stand as exceptions to these two golden rules: Elizabeth, the second of five sisters from a modest family, and Darcy, a wealthy young man of high lineage. Elizabeth is a proud and independent young woman who refuses to let her destiny be determined by others: “I am only resolved to act in that manner, which will, in my own opinion, constitute my happiness.” Darcy is a taciturn, blunt, and disagreeable man, concerned only with acting according to his own convictions without answering to anyone. Yet, a society built upon appearances can prove a trap for a proud young woman. The rumours circulating about Darcy are disparaging, driving Elizabeth to reject his marriage proposal with disdain: wealth cannot compensate for the poor opinion she has formed of him! Yet pride can lead to prejudice when substance is overlooked. It is the unfolding of events, the account of the young man’s childhood, and the visit to the estate where he grew up—in short, a deeper acquaintance—that lead Elizabeth to perceive Darcy’s true character and allow her love for him to mature slowly. Yet it will be Elizabeth’s strength of character that enables her to overcome the resistance and pressure of Darcy’s relatives, who refuse to accept an alliance deemed far too modest. Pride and prejudice are two sides of the same problem: wrapped up in oneself, confined within one's own world, one is incapable of understanding others. > She was ashamed of herself. She could not think of Darcy without feeling that she had been blind, partial, prejudiced, absurd. “How despicably have I acted!” she cried; “I, who have prided myself on my discernment! I, who have valued myself on my abilities! who have often disdained the generous candour of my sister, and gratified my vanity, in useless and blameable distrust. How humiliating is this discovery!” It is an exceedingly modern book, one that invites deeper understanding and open, unprejudiced judgment. Written in elegant English, it is nonetheless weighed down by the complexity of its syntactic structure, demanding a close and not always effortless reading. The narrative pace is slow and ultimately predictable. With the exception of Elizabeth, the characters are often stereotypical, flat, and devoid of vitality. Why read it? The book’s charm resides in the figure of Elizabeth: an already modern woman in pursuit of self-affirmation.