now literally owns the ancient palace of the Catholic Orobonis and is getting ready, as the novel closes, to renovate it according to his nouveau riche taste), it is unclear, by the end, who has conquered whom: are the Moncalvos still the Moncalvos, now that they have given up their Jewish identity? Or, to put it more broadly, what did it mean, in Liberal Italy, for an Italian Jew to succeed? Did success come only at the price of conversion, as in Mariannina and Rachele’s case, or did it mean that one had to look for one’s purpose elsewhere, as Giorgio ultimately did, by leaving for India to heal the sick? It is a testament to Castelnuovo’s talent that the plot does not ultimately solve any of these contradictions, and that the vitality, and the struggle, of these characters remains as relevant and as dramatic for twenty-first century readers as it was at the time the novel was written. It is for these reasons, together with the sheer pleasure afforded by this impressively crafted novel, that the translation of The Moncalvos is a wonderful opportunity for students, scholars, and fans of the European Ottocento to discover and appreciate Castelnuovo’s work.

中文翻译：

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安东尼奥·葛兰西 (Antonio Gramsci) 对马泰奥·巴托利 (Matteo Bartoli) 1912-1913 年的 Appunti di glottologia 的转录

现在确实拥有天主教奥罗博尼斯的古老宫殿，并准备在小说结束时根据他的暴发户品味对其进行翻新），但最终谁征服了谁还不清楚：Moncalvos 仍然是 Moncalvos ，既然他们已经放弃了他们的犹太人身份？或者，更广泛地说，在自由意大利，意大利犹太人成功意味着什么？成功只是以皈依为代价，就像玛丽安娜和雷切尔的情况一样，还是意味着一个人必须到别处寻找自己的目标，就像乔治最终所做的那样，前往印度治愈病人？剧情并没有最终解决这些矛盾中的任何一个，而生命力和斗争，恰恰证明了卡斯泰尔诺沃的才华。对 21 世纪的读者来说，这些角色仍然像小说写作时一样具有相关性和戏剧性。正是由于这些原因，再加上这部精心制作的小说所带来的纯粹乐趣，《蒙卡尔沃斯》的翻译是欧洲 Ottocento 的学生、学者和粉丝发现和欣赏 Castelnuovo 作品的绝佳机会。