Mattia Pascal, lives in the imaginary country of Liguria of Miragno, with her mother and brother. The father left their legacy in a considerable fortune, consisting of homes, lands and vineyards. The young widow, totally unable to administer, but the entire estate in trust Malagna Batta, who had previously received many favors from her husband and being rewarded handsomely for his services today, would your opinion, honest administrator. Batta Malagna however, with the passage of years, takes possession of all their assets and is the main cause of the decline of the Pascal family. The two brothers Matt and Robert are living happy and free from all moral thought, or religious school, and when they grow up, do not take care of the family property, pay to live with no apparent problems and so wealthy. The fact Malagna had the ability not to make him miss anything and to hide the hole in debt that soon would make them fall.
Forced to marry Romilda, which is expecting a baby, Matthew is to live with the widowed mother-in-law who despises him and considers him as an incompetent, a lazy, good for nothing rich only in debt. From this moment life becomes a hell of Matthew. Now without riches, he moved into a humble home, the wife loses its original beauty and does not seem to love him more, and two daughters are dying one after another because of their frailty. And also his beloved mother dies after enduring the abuses of the witch-mother-in-law la quale continua per il carattere di Mattia, ma soprattutto per la povertà di Mattia a odiare il genero e a rovinare la già precaria tranquillità della casa. Per la prima volta in vita sua il protagonista si ritrova a cercare lavoro, e grazie all’amico Pomino, ne trova uno come bibliotecario. Ma un giorno Mattia, angustiato dai dissidi coniugali e dai debiti, esasperato dalla noia e dalla inutilità del suo lavoro, decide di fuggire. Arriva a Montecarlo e grazie ad una serie di vincite fortunate si ritrova in tasca la somma di 82.000 lire. E’ quasi ricco! Decide di ritornare a casa per riscattare le sue proprietà e per godere di una rivincita sulla suocera; sogna finalmente una vita serena, un avvenire tranquillo al riparo della miseria. Ma proprio mentre questi pensieri occupano la sua mente, in treno durante il viaggio di ritorno a casa, legge su un giornale che a Miragno, nella roggia di un mulino, è stato ritrovato il cadavere di Mattia Pascal.
Legge e rilegge il trafiletto scritto in minutissimi caratteri e lo ripete tra se quasi sillabando, fermandosi ad ogni parola. Egli si sarebbe suicidato nella gora del molino alla Stia, una sua vecchia proprietà, a causa dei dissesti finanziari e dei lutti familiari. Ed era stato prontamente o forse frettolosamente riconosciuto dalla moglie disperata e dalla suocera. Dapprima sconvolto, comprende presto che può crearsi una nuova vita, una vita libera da ogni legame con il passato, senza problemi e senza responsabilità, proprio like when he was young. And 'rich and no longer Mattia Pascal no longer has any creditor. So with the name of Adriano Meis first began traveling in Italy and then abroad, until he decides to settle in Rome, in a furnished room on the Tiber. He falls in love, in return, Adriana, sweet daughter of the landlord Anselmo Paleari. Matt wants to marry her and start all over again. But Adriano Meis does not exist, has a social reality, has none of the rights that citizens have officially registered. Can not buy anything, can not report a theft if stolen can be much less marry. He can not do any of those things of daily life that require an identity. He understands the impossibility of living outside the laws and conventions that men are given. His freedom is an illusion.
discovers that playing dead is not a good profession . Mattia no choice but to do away with the new identity of Adriano Meis simulating suicide in the waters of the Tiber. It had been only two years after its supposed death. Yet many things had changed. Romilda the wife was widowed very little. It was in fact married his Pomino with his friend and had a child. How ironic was the fate ... He, who was thought to be reborn and finally free to do what he wanted, he could not fully live his new life, but it was obvious that others had done. The others had gone ahead without him. Others, Miragno, were slow to recognize him and his return was not, at least initially, caused havoc that it was imagined. Matt, come back with thoughts of revenge, he soon abandons them and leaves his wife and his friend to continue to live their conjugal menage. Mattia no choice but to return to the librarian in the damp church desecrated and turned into a public library in a country where nobody reads and go from time to time to visit her own grave ...
Mattia Pascal is an exemplary witness of 'absurd human condition of the prisoner "social masks" of husband, father, son, brother etc. that cover our true identity. Expresses the suffering of this man, distressed by the inability to escape the conventions and constraints of society that is a chain, and inhibitions which are perhaps the only way to exist.
outside the law and out of those special, happy and sad as they are for us ... we can not live . Loneliness and defeat in a society created by man, but that is not on a human scale. Pirandello in this novel is all the historical and existential crisis of modern man. And this performance, replete with the contrast between reality e illusione, consapevole dell’incapacità di essere totalmente artefici del proprio destino e del sopravvento del caso è inscenata con straordinaria semplicità in un misto di gioia e di sofferenza, di umorismo e amarezza, di comico e di tragico.
Narratore
La narrazione è condotta in prima persona; è Mattia Pascal, il protagonista, che raccontando ci fornisce il suo punto di vista interno con focalizzazione 0 (zero/onnisciente). L'onniscienza del narratore è dovuta dal fatto che lui racconta la sua storia a posteriori, quando questa è già successa; questo permette che al lettore vengano fornite anticipazioni degli avvenimenti che ne stimolano la curiosità.
Mattia Pascal writes, at the invitation of Don Eligio, his biography in the form of diary, directly addressing the reader, even talking with him.
The chronological order is regressive, that is, the writer recalls events that occurred earlier and goes back in time, return to this subject at the end of the story.
Type text
Published in 1904, was in full Giolitti, "Il Fu Mattia Pascal" is the first novel written in Italian as "autobiographical," that is written in first person, with the presentation therefore only a subjective vision of the story, a vision that denies the reality if not caught with that particular perception: the realist rationality no longer exists, for every person there is thus a very personal vision of reality . This situation forces the reader to a personification of the protagonist, and the subsequent effort to get out of this state of "symbiosis".
The novel has a circular structure , it starts from the conclusion, claiming the special condition of Mattia Pascal, believed dead, who assumes a new identity, it also kills notionally, and then returns to itself, but outside the above its normal life, the condition of those who are out of time and then out of life (this particolare tipologia di narrazione è estremamente innovativa).
Fabula e intreccio
Fabula e intreccio, ne "Il fu Mattia Pascal", non coincidono, se non nelle ultime pagine del romanzo. Il narratore, per il resto, racconta le vicende che gli sono capitate a posteriori, dopo che queste si sono verificate.
Tempo
In tutta la vicenda mancano del tutto riferimenti cronologici precisi ed espliciti. Pirandello non ci dà date o altre precisazioni a riguardo. Dalle notizie che Mattia legge in treno su un giornale ( Lessi che l'imperatore di Germania aveva ricevuto a Potsdam, a mezzodì; l'ambasciata marocchina e che al ricevimento aveva assistito anche il segretario di Stato, barone Richtofen. La missione presentata poi all'imperatrice, era stata trattenuta a colazione… Anche lo Zar e la Zarina avevano ricevuto a Peterhof una speciale missione tibetana, che aveva presentato alle LL. MM. I doni del Lama. ) possiamo però capire che la vicenda si svolge tra la fine del ‘800 e gli inizi del ‘900. Sono riferimenti di fatti politici accaduti in Germania ed in Russia. Quindi per quanto riguarda la collocazione storica della vicenda, si limita a fare da semplice scenario: per Pirandello non sono fondamentali collocazioni spaziali e temporali precise, ciò che più conta sono i personaggi, i loro pensieri e le loro azioni. Così facendo la storia diventa assoluta perché la lezione di vita di Mattia è valida in ogni tempo ed in ogni luogo.
Durata
La narrazione dell'autore inizia dalla giovinezza di Mattia Pascal anche se in realtà il racconto vero e proprio ha la durata di due anni. Per quanto riguarda la durata dell’azione va considerato il tipo di narrazione utilizzato da Pirandello per la sua opera: è in prima persona attraverso il punto di vista di Mattia. L’intera vicenda è un enorme flashback, visto che Mattia racconta i fatti attraverso un diario su invito di don Eligio. Sono presenti anticipazioni che preparano il lettore agli eventi successivi o che aumentano l’attesa dello svolgersi della vicenda. Perciò l’opera inizia con il Mattia maturo che ha già affrontato la vicenda ed in seguito viene ricordata tutto la sua vita: l ’infanzia, il matrimonio, la fuga dal paese verso Montecarlo, il lungo viaggio lungo l’Italia e la Germania, il soggiorno a Roma ed il ritorno a Mirano. La fine della storia si collega all’inizio dell’opera.
Spazio
L’incredibile avventura di Mattia-Adriano si svolge principalmente in due località e cioè a Miragno, il paesino Liguria where Matt was born and in Rome, where Adriano rents a room to a family. These two locations may be considered the homeland of the two lives of the character. After the absolute freedom of choice and the second life Mattia traveled extensively, visiting Italy and Germany. It cites countries such as Turin, Milan, Venice, Florence and even Monte Carlo, Cologne, Worms and Mainz. Despite the variety of places named Pirandello never pauses to describe, perhaps because it would be useless to the story entirely focused on the multiplicity of characters, character analysis and the maturation of Matt.
narrative techniques
The novel "The Late Mattia Pascal" is divided into eighteen chapters numbered and titled as a further warning about the scruples of the imagination , outside the story but added to his novel by Pirandello himself a few years after the first draft to show how the influence Mattia Pascal, albeit extraordinary, almost inexplicable, could really happen.
The narrative structure of "The Late Mattia Pascal" is not the traditional novels in which the protagonist tells his own story. The work begins with two premises: the first in which we are introduced to the protagonist-narrator and his strange case, and the second, "philosophical", in which the author considers it necessary to explain his conception about man and life. After the two began a long analepsis premise that sometimes is interrupted by a preview of the author, often very short.
narrative sequences within the novel, are, together with those of the dominant reflective and interactive. Those reflective often lead the author to real philosophical considerations, while the dialogues are characterized mostly by indirect discourse, free from the direct and interior monologues of the same narrator. The presence of sequences in dialogue and narrative makes the rhythm of history is always fast paced.
The tone used by Pirandello for his type of novel is conversational, because it is often the same author who interacts with the reader, the style is clear, simple and smooth.
Style
vocabulary and syntax and vocabulary of "The Late Mattia Pascal" are functional in terms of the narrative that follows the thoughts, projects, reasoning of the protagonist, through whom are mediated among other descriptions of all the other characters. Consequently, the analysis of the style is more or less equivalent to the reasoning of Mattia Pascal. For example we can see that Matthew's thoughts are never too articulate, but they are following the trail of feelings, impressions, memories that come without a precise logic, the rest of the elaboration of decisions, when it does not follow the impetuous nature, meets the practical needs and often unexpected, so the final resolution is rarely result of a complex and intricate balance. It is when meditation becomes more prolonged, however, that the protagonist is slow to find a way out.
Beyond this, however, we must say that linearity and synthesis are intrinsic characteristics of the style of Pirandello, along with that colloquialism that makes the same philosophical reflections, illustrated and translated into familiar images.
In modo analogo, il lessico appare improntato alla quotidianità, pur essendo arricchito da quella coloritura di termini ed espressioni tipiche del parlato, oppure ottenuti con invenzioni talvolta bizzarre o con l'uso di diminutivi e accrescitivi. Questi contributi lessicali permettono allo stile di Pirandello di non essere monotono, e consentono al discorso ora di accelerare, ora di rallentare, ora di distendersi, ora di agitarsi, il tutto sempre in risposta allo stato d'animo del soggetto narrante.
Personaggi
L’opera pirandelliana è caratterizzata da una grande quantità di personaggi (almeno una trentina) tutti differenti tra loro e tutti con una diversa importanza nella vicenda. Se alcuni sono fondamentali, altri potrebbero essere considerati quasi superflui ma servono ugualmente a creare un piccolo e verosimile mondo, fatto di sfaccettature e di personaggi molto eterogenei tra loro, per rappresentare quanto più possibile il reale. Ogni personaggio viene presentato da Mattia in modi diversi ma la descrizione iniziale è minima, spesso senza un accenno di aspetto fisico. Il carattere del personaggio che entra in scena si presenta da sé, indirettamente, attraverso lo sviluppo della vicenda. Dalle sue azioni e dai dialoghi è possibile capire anche il suo modo di pensare. Infine si nota che alla fine della storia l’unico che veramente è cambiato e maturato than the initial state is the protagonist Mattia Pascal. Then all the other characters apart from him have the function of the frame.
Mattia Pascal - Adriano Meis
The protagonist of the work, which means a huge flashback tells us about his remarkable life, which formally could die twice.
Mattia Pascal comes from a wealthy family whose finances, however, had been distorted by the death of his father because of the mismanagement of assets by Batta Malagna. Matt is not particularly attractive: it has a placid face and snappy, it is minute, his nose was very small, such as the chin, the rest, and is forced to wear a pair of round spectacles to treat strabismus of one of his eyes, but it was full of health, and that was enough. worries about her appearance only during the processing Mattia-Adriano, for a specific purpose. With the operation of the eye understand love more themselves.
Among the protagonist of the story and the mother is a very good relationship of respect, respect and tenderness. Matt and Robert, his brother, the ratio is more than complicity.
Romilda, the wife does not seem to be very important to him and the only doubt is his great love Adriana, who with his kindness has done in a moment of moral transformation.
Matt and his brother Roberto has been growing concern and even in the most difficult plays a quiet and sarcastic attitude. She cares for her freedom, to have fewer problems and can have fun, at least when young. The first place that tries to turn his life is marrying Romilda. Through marriage and the difficult conditions in the home begins to feel too attached to material things, money that can never have enough and look for an escape, a return to simple life and fun that he could do little.
Escape unknown to all in Monaco, to escape from their problems and be alone.
roulette the fate and fortune have a lot of money, along with the incredible news of his death offered him the opportunity to leave a life of problems and begin a new, perfect. So it becomes Adriano Meis, but during his travels he discovers what life is meaningless without ties, without responsibility and affection. All this prompts him to go crazy, but it is too late. His passing has allowed the family and the wife to replace them, creating a new and unknown harmony. With his experience has matured and grown up and discovered to be referred to the ideals in life, but can not get a second chance. For a man like him, a victim of fate and of his will to change the only thing left to do but pity in front of his tomb, the tomb of the late Mattia Pascal.
mother Mattia Pascal
Mattia Pascal has a true devotion toward his holy (Chapter III) mother, the relationship between the two is tender and consideration.
is very calm, placid, almost childish. He has a nasal voice and a laugh that seems to face the shame. It is very frail and often sick after her husband's death, though never complains of its evils. What is probably more concerned about the fate of two children, remained virtually nothing after his father's death and after that it Mrs. Pascal had left all his wealth and property under the administration of Batta Malagna as inept at this kind of affairs: it is not able to manage alone the wealth left by her husband to leave the entire administration of its affairs and its property to Malagna. Not to notice the cheating behind his back can only help his downfall.
when Matt marries Romilda can not stand the closeness of the violent and shrewish widow Pescatore and ends up becoming a victim. He flees home with her sister's death but shortly after the strikes, because of the fierce quarrels and troubles suffered previously.
Roberto Pascal
È il fratello maggiore di due anni di Mattia Pascal. Viene presentato inizialmente, quando il protagonista parla della sua infanzia. I due hanno un ottimo rapporto di complicità, soprattutto durante l'infanzia e la prima giovinezza. Sono due amici e insieme a Mino Gerolamo formano un gruppo inseparabile.
Berto, questo è il suo soprannome, al contrario di Mattia, è bello di volto e di corpo (cap. III), molto vanitoso e curato nell'aspetto. Da adolescente non combina tutti i guai sentimentali del fratello e lo ritroviamo verso la fine della vicenda un uomo maturo, serio ed abbastanza fortunato, capace di compensare il dissesto finanziario subito in gioventù: Grazie alla sua avvenenza riesce a contrarre un matrimonio felice con una giovane più ricca di lui e vive con lei e la famiglia di questa ad Oneglia.
Zia Scolastica
È la sorella del padre di Mattia, è completamente differente dalla sorella e Mattia se ne accorge fin da piccolo. Aveva molta più paura di lei che dei leggeri rimproveri della madre. Spesso apre gli occhi alla sorella su ciò che avviene attorno al lei ed è l’unica donna capace di vincere una lite contro la vedova Pescatore, perché ha un carattere ancora più forte e duro di lei e sicuramente più saggio.
Scolastica nutre a really big grudge against the administrator of the assets of his brother and sees the destruction as the only solution that fulfills Malagna remarriage in-law, but rather with Pomino Jerome, an old suitor. Matt's mother, however, refuses the proposal, so the School welcomes Zia at her home to remove it from the oppression of consuocera and daughter, and does the same with his nephew Matt Miragno returned after years everyone thought was dead.
Batta Malagna
The dishonest administrator of the wealth of the family of Matthew. Taking advantage of the innocence and good faith of the deceased wife of Pascal, and can act undisturbed and to become a little by little, very rich. It has no respect for the dead friend and his family, has no scruples to conduct its business in the wrong way, forcing Pascal, one after another to sell all their property and then purchase it at a bargain price and enjoy fruits. Matthew, who grew up in total due to carelessness of the mother does not care and not surprised when it gets poverty.
He had a long face framed by silly mustache and lace, the belly was languid (Chapter I) that seem to come down to the ground, the short, stubby legs: in short, according to Matthew, his face and the body more not appropriate for a thief as Malagna. This character
sembra punito dal destino per le sue azioni disoneste: è continuamente afflitto perché non riesce ad avere un figlio. Anche in famiglia non si comporta in maniera corretta. La sua prima moglie era malata e non poteva bere vino a mangiare i cibi più gustosi. Ma lui non si cura di questo ed a tavola sembra provocarla, mangiando e bevendo con gusto ed in modo plateale ciò che per la moglie lì presente è veleno.
Si inserisce negativamente anche nella vita sentimentale di Mattia, come se averlo rovinato economicamente non fosse stato abbastanza. Una volta morta la prima moglie decide di sposarsi con la bella Oliva, rovinando il primo amore di Mattia. Infatti i due ragazzi si amavano e da lui Oliva aspettava un bambino. Ciò nonostante Malagna decide di accettare quel figlio di Mattia come suo. Così finalmente potrà diventare padre. Mattia su questo fatto ironizza arrivando a definire Malagna in un certo senso onesto. In fondo tutte le ricchezze accumulate da quell’amministratore a forza di rubare e truffare i Pascal sarebbero un giorno passate a suo figlio, così tutto sarebbe stato restituito. Mattia ama scherzare in questo modo sarcastico e pungente.
Marianna Dondi – vedova Pescatore
Madre di Romilda e cugina di Batta Malagna, è una vera strega secondo Mattia Pascal, cui cerca di impedire di mantenere una relazione con la figlia poiché lo ritiene uno sfaccendato and inept. Despite prefer the "application" of Batta Malagna as daughter's husband, surrenders to the choice of marrying Matt. However do not accept his poor living conditions due to the marriage of her daughter with Matthew, now poor. So does everything to get revenge and, as a good mother-in-law, is the leading cause of quarrels in the house Pascal, too often violent. His character certainly expresses dislike and it's fun to see Matt's behavior toward him, how little is considered and respected.
Romilda Fishermen
is the daughter of Marianna Dondi, is very polite and kind towards Matt when they meet for the first Once in the house where she lives with her mother. Mattia Pascal immediately falls in love with those beautiful eyes, of that nose, that mouth of (Chapter IV). Romilda, during a meeting with the novel's protagonist comes even asking him to elope with her to be able to leave the oppressive presence of the mother. The marriage between the two is imposed and created just for fun. In fact, Matthew had approached her on behalf of his only Pomino and remove it from the clutches of Malagna.
But soon the attitude of the young radical change: pregnant with Matthew wants the paternity of the child is attributed to the enrichment of the mother's cousin, Batta Malagna, but when it decides to go back to Oliva, the moglie, rimasta a sua volta incinta (di Mattia), Romilda accetta di sposarsi con Pascal. I nove mesi della gravidanza sono vissuti dalla giovane in una maniera tremenda e riversa la sua sofferenza sul marito che stenta a sopportarla.
Soffre della condizione in casa Pascal, dei continui litigi e non può fare a meno di seguire le scelte della madre. E’ di carattere debole e tutto ciò si trasmette alla sua salute: perde la bellezza giovanile e i due figli che mette al mondo, essendo troppo gracili per sopravvivere, muoiono entrambi.
Quando Mattia Pascal torna a Miragno dopo anni di assenza, Romilda si è risposata con Mino Pomino e i due hanno avuto una bambina la cui purezza e innocenza convincono lo stesso Pascal a non make claims about the mother.
faints at the sight of Matthew for the thrill. Seems to be really well with rich new husband has once again become the beautiful Romilda of youth and the son was born healthy and Pomino's fine.
Adriana Paleari
is the daughter of Anselmo Paleari, owner of the retirement Ripetta way to Rome where Mattia Pascal, under the identity of Adriano Meis, staying during his stay in the capital.
When the protagonist of the novel, for the first time she appears Adriana all confused, signorinetta a tiny, blonde, pale, sky-blue eyes, sweet, sad, as the entire face (Chapter X) and is also very young. Wears black because of the recent death of his elder sister.
It 's a pure girl, kind, polite, soft and gentle but at the same time is responsible for itself and the whole family.
Adriana is very religious detests his father's passion for what Anselm is hidden and often involving séances, is always very calm and quiet at all times, only once during the novel has a violent reaction when Mattia Pascal -Adriano Meis, discovered the theft of money committed by the brother of the same Adriana confesses not want to report it. The reaction, so unusual for his character, is due to the fact that Terence Papiano wants to marry her to get the money from her dowry, and theft that these tasks against Matt-Adriano would be the best way to get rid of the greed-in-law.
Anselmo Paleari
Father of Adriana, is the owner of the board of sixty Ripetta way to Rome.
When Matt meets him for the first time, noticed his bare-chested rosy ciccioso, without a hair (Chapter X).
Paleari, in the eyes of that novel's protagonist is a man utterly alien to reality around him because of his troublesome reflections that continually exposes the poor-Pascal Meis. I no longer work and his life is devoted to reading, philosophy and reflections on his favorite theme: the occult. The occult is the topic that most interests to Anselm, who often organizes séances in order to call back the souls of the dead.
Terence Papiano
He was the husband of his sister Adriana, who died without having children.
is a man in his forties, with gray eyes acute and restless (Chapter XII) bald, tall, strong and clear with graying mustache.
Papiano non ha scrupoli: dovendo restituire ad Anselmo Paleari la dote della moglie morta, cerca piuttosto di indurre Adriana a sposarlo in modo di non dover più consegnare al padre il denaro che gli doveva, e sfrutta l'aiuto di Silvia Caporale, un'altra ospite della pensione rimasta impoverita dopo avere affidato ogni suo avere allo stesso Papiano. Notando però l'interesse di Pascal-Meis per la giovane che ha preso di mira, Terenzio cerca di avvicinarlo a Pepita Pantogada, nipote del Marchese di Auletta presso cui lo stesso Papiano lavora come segretario, ma non riesce nel suo intento. Papiano, allora, con l'aiuto del fratello, sottrae a Mattia-Adriano una forte somma di denaro (dodicimila lire )come ricompensa del suo interessamento per Adriana.
Miss Corporal
A minor character, tenant house in Palermo. It 'an ugly woman and an old maid, who consoles himself with the alcohol of their misery. He had a relationship with Terence vulgar but it was only used. And 'she who suggested to Adrian the operation against the eye and becomes more and more curious and intrusive. The Company and the chats with the curious roommate the fall in love but his feelings will never be reciprocated. He has a great complicity with Adriana, but often ends only to anger or embarrass the young girl.
Pinzone
It 's the mediocre teacher and Matthew Robert, capable only of boring and useless lessons. It is often an accomplice of the two lively boys and make them fun instead of performing his duty in exchange for some 'wine. It 's a funny character and is also suffering from the jokes of the two children if their mother telling them to betray their birbanterie.
It 's a second important character, a character with mediocre when compared to that of the protagonist. Friend of Matthew, appeared for the first time in the work during the youth of Pascal. It has no economic problems in the country and has several properties left by his father. Falls in love with Romilda and calls Pascal Young to help him win, given his shyness and weak character. Is disappointed and hurt when he realizes that his friend, forced to go to find the girl he fell in love, but then never showed openly his contempt. Indeed, it is willing to help Matt when looking for work, offered him money and he will find the post of librarian. N The fund is good-natured but is a victim of others, unable to react.
When Matthias is believed to be dead from all over the country Miragno he married the widow Pascal and this attitude is seen by Mattia almost a betrayal, particularly of the wife "vendutasi" to him because it is rich, even though in his youth had despised. Criticism of Matthew raises the question that is not loved by Pomino Romilda, but only exploited to obtain a comfortable life.
At the sight of Matthew does not know how to react, failing to find a solution to prevent the annulment of his marriage. E 'relieved when he learns that Matt does not want to meddle in his new family but his happiness and stability of his condition is not due to his actions: it is a result of the courageous decisions of Matthias.
Themes
"The Late Mattia Pascal" has many themes that can be debated even today after almost a century after its completion.
mask
_E 'extreme by the need man to give himself a mask to live in society, as well as being that, according to the author, is also difficult to replace as necessary that the individual , or rather its form, from the moment they are born to be part of a large mechanism that can break and for that, everyone is forced to play the part without even asking why. If this immense game you try to "bluff" is doomed to fail and at best should go back to being one of many pieces, the only way to estrangement is no longer useful for the continuation of the game, in other words or die or go mad, the only conditions under which we may, perhaps, be considered free. The
mask, as well as belonging to a group, the dive into a trap is seen as necessary because man as an individual has no value if not for himself, and no chance of being truly free to decide arbitrarily or almost all their lives. The
reality is conceived only as a formality : it is not so important that something is true but it must be and can you take advantage of this until someone proves the opposite, eg nel racconto, a nessuno importa se Mattia sia morto veramente, l'importante è che lui non torni (potrebbe anche essere morto davvero o no è uguale!) in modo che il nuovo matrimonio di Romilda non desti scandali, e quando lui torna, nessuno si meraviglia perché a questo punto che lui sia morto davvero o no non è più importante, dato che ha deciso di non riprendersi la moglie. Adesso potrebbe anche morire veramente che sicuramente nessuno lo farebbe scrivere su un giornale dato che tutte le apparenze sono salve ed il grande mosaico della vita sociale non subirebbe contraccolpi.
L’identità e la morte
La prima frase : ” Una delle poche cose, anzi forse la sola che io sapessi di certo era questa: che mi chiamavo Mattia Pascal ” e l'ultima: “ Io sono il fu Mattia Pascal ” del romanzo affrontano il tema dell' identità , molto presente all'interno di tutta la narrazione, durante la quale vengono prese in esame via via altre tematiche; tra queste la morte ( dopo la mia terza , ultima e definitiva morte ) che non solo riguarda quella molteplice di Mattia Pascal, ma anche quella del padre, della madre e delle figlie dello stesso protagonista, ma anche quella del pallidissimo giovane suicidatosi dopo avere perso tutto ciò che had at the Casino of Monte Carlo. The death puts an end to unnecessary where everyone lives labors to achieve targets altogether unnecessary and for which it barely remember their loved ones, if it ever had.
Love
Even the ' love is seen as absurd feeling, in fact, Matt does not cover what is owed and for what purpose Pomino for Romilda has such a feeling, and also his relationship with Hadrian, lived by the protagonist in key very selfish and personal.
The game and the fortune
The game ( I did not know, or better, I could not stop in time ) is another of the themes of the novel that should be assigned also to the luck ( I had no more, no way no time to amaze me the favor, then, that the most fabulous extraordinary luck ).
Solitude
Another important theme of the novel is loneliness ( found me here alone, eating out of boredom ). Two defects, one physical and one of a more manual, administrative, Mattia Pascal poses are often raised his strabismus (an eye , who do not know why, he tended to look on his own, elsewhere) and its failure (I was inept at everything ). It is squinting his eye that allows him to follow as a spectator, his "let live", this physical defect, after an operation, is removed to Rome, and from that very moment, Pascal manages to put some 'order in his life beginning to clarify the reality of life around him, given that it is not a spectator, eliminated the cross-eyed. Another feature of Mattia Pascal is its perpetual wanderings ( I continued for some time to travel ), he travels to escape from a reality that is not well defined, clear, and then scares him.
The message of the author
Pirandello with his work he tried to get something new and difficult to achieve. After all, given the dialogues and reflections present in the work, the author is a philosopher who is a comedian at the same time and by this strange merger created something unique.
The deliberate lack of temporal and spatial descriptions allow the reader to focus their vision on a story characterized by a continuous pace, take as an example and lesson of life. The story of Matthias is completely based on an astonishing fact, but not impossible.
And here lies the gist of the news Pirandello: Events narrated exceptional and may even seem impossible but they are not. Facts and figures are not the work of an invention based on the author's imagination, but they are the most strange and unexpected reality. Pirandello creates an unreal world and not even real, because the bottom is always a written work. Her story, the facts, the dialogue and the characters are so lifelike, able to become a reality.
In the first part of a premise to the story Pirandello criticism of Copernicus, who with his discovery has shaken the thinking man. The earth is not the center of the universe and men only an infinitesimal part of it. So all glory or overestimation is in vain.
The story of Matthew also has an important background and pessimistic: in just two years, all the inhabitants of Miragno forget it, the family does not seem to mourn his death his wife remarried and replacing it with richest man. Although his death was a fake, Matt has lost everything and can not hope to get it back. Our company soon forget, replacing those lost and go forward.
Pirandello's work can be considered a long story through a story, a multitude of characters the reader wants to convey a moral. Man can not fight against his fate, although sadly adverse and even create them with his hands as he does making Mattia Pascal Adriano Meis. We are all the puppets with a mask, ready to adapt to the huge variety of situations that involve us.
