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We define a "telescopic" structure of the Betrothed for the expansion of perspectives, from the early chapters closed in the small village of the characters, spaces always involves broader and more historical facts on a European scale. - The first eight chapters (I-VIII) are the section of villagers because of the place is the village where they live Renzo and Lucia. Here the story begins with the non-celebration the wedding, here counts the characters of fiction, which are present throughout the course of history: the betrothed, the girl's mother, Agnes, the parish priest, Fr abundance and, of course, the persecutor Don Rodrigo, who lives in a building just distante.Cronologicamente villagers section presents a narrative very slow and a large number of facts, concentrated in four days, 7 to 10 November 1628. - The second and third sections of the novel, including in particular the chapters IX-XVII and XVIII-XXVI. The stories of engaged diverge: Lucia comes into contact with the characters "historical" (the nun of Monza, the Nameless, Cardinal Borromeo, after his release). She performs, the completely unconscious, the role of instrument of Providence, because it has a significant part in the conversion of the Unnamed. The scenes that take place the protagonist in a confined space (the convent, the castle, the tailor's house where he stays after the liberation). The time in which he lives his adventures is definitely known. Lorenzo, however, moves in open space: Milan, Lombardy countryside, the Adda, the territory of Bergamo. He remains involved in riots against the high cost of living in Milan, where, over two days (11 and November 12) participate in the revolt, he gets drunk, fights with a guest, you believe an insurgent, he falls into the trap of a spy , you stop, but manages to escape. On 13 November, here it is free in the Bergamo area, at the time of his cousin Bortolo, at which it stops a lot of time not specified. - The fourth and fifth sections are made in Chapters XXVII-XXXII and XXXIII-XXXVIII. There are described, following the chronicles of the time, sparing no details and the famine in the Milanese, the war for the possession of Mantua (episode "Italian" of the thirty-year war that has bloodied Europe) and fever that Imperial soldiers (the notorious mercenaries) spread in the duchy and surrounding areas. Renzo was cured from the disease and returned to Milan in search of Lucy. After he found it, goes to the country. Their fates are finally here and join the celebrated wedding. The characters are all essential to the story: the engaged, first, his mother Agnes and then Don Abbondio. The wide-ranging narrative is made and also appears a long ellipse (that is not told anything about what happens to our heroes in the year 1629) which is skim the story. But the parties that demonstrate the causes of the three scourges are very dense and dry, real historiographical accounts that weigh down the pace and led the critic and philosopher Benedetto Croce (1866-1952) to consider it absolutely free pages of poetry, if not superfluous (Benedetto Croce, in an essay of 1952, vehemently denies the poetic character of the novel, arguing that it is too rigid and uncompromising moralism Manzoni, while indulging style oratory and historic parts are heavy). We define a "telescopic" structure of the Betrothed, the prospects for the expansion, the early chapters closed in the small village of the characters, spaces always involves broader and more historical facts on a European scale. As you can see the plot (ie the provision of events chosen by the author) is quite complex, because it takes into account the need to develop flash-back to illustrate to the reader some background. So do not always coincide with the natural sequence of events, called fabula. We see, for example, the points where the author recounts the life of some characters. In the fourth chapter focuses on the youth's father Christopher and a tragic episode, which is essential to understand the character and the important choices that lie at the basis of his attitude in defense of the humble. Similarly two chapters (the X and XI) tell the large number of riding schools that are able to force Gertrude in the cloistered convent of Monza, the history of the Unnamed is synthesized (Chapter XIX) to better illustrate the scope of its "conversion", while the life of Cardinal Borromeo is proposed (Chapter XXII) almost as the model of Christian behavior. You add the digressions about the conditions of the Milanese in the seventeenth century, the social situation, the classes and the system of government. Still narrative is interrupted to explain the cause of the riots for the high price of bread, the cause of the descent of the mercenaries, the spread of the plague of ignorance, superstition and incompetence of both the population of those involved in protecting public health. Against the author of the story itself as omniscient narrator, which is above the story, already aware of "how it will end," and then in a position to make judgments, play down with soft tones, ironic take on the emotional reactions of the characters . Its focus is a zero, because, being outside of events, and critical remarks, as a director who directs the staging of a scene, it takes the point of view of any character, but currency with impartiality. Sometimes the author is directly involved, addressing the audience: "think now my twenty-five readers ..." (Chapter I) or with a clear moral judgments: "The prince (no holding him in the heart of this moment the title of father )...". (Chapter X), or as when it introduces irony (which corresponds to an opinion, while nuanced and tempered) to emphasize the complaint of the Archbishop of Agnes by Don Abbondio excuses to postpone the wedding: "Do not leave out the pretext of 'over which he had brought into play (ah, Agnes!) "(chapter XXIV). That author, however, is not the only narrator of the novel: do not forget the fiction of the manuscript. Indeed Manzoni Imagine transcribing a book prepared by an anonymous and occasionally hiding behind the responsibilities of that. For example, when you do not want to disclose the name of the Unnamed (which, thus, is more mysterious and beautiful), he said, referring also to the place where the castle stands: "This is the description of the place is that the anonymous : the name, nothing, indeed, not to put on the road to find out, says nothing of the journey of Don Rodrigo ...". In fact, the gentleman is going to ask him to kidnap Lucia dall'innominato the convent at Monza. It happens, however, that the author falls into the characters, taking the point of view is not the position prevalent, but sometimes it happens that the narrator adopts a domestic focus. We notice it in the monologues of Renzo fleeing: "I do the devil I kill all the gentlemen! A bundle of letters, I !..." (Chapter XVII).