Moscarda Genge's story begins with a detail.
I. My wife and my nose.
"What are you doing?" Midomi my wife, seeing unusually delay at the mirror.
"Nothing," I replied, "I look here, in ilnaso in this nostril. Press, I feel a certain ache. "
My wife smiled and said
" I thought you looked which way you hanging. "
I looked like a dog that someone had pestatola tail
" I'm hanging? Me? The nose? "
And my wife, placidly:
"Yes, dear. Look good: you hanging versodestra. "
twenty-eight years and I always felt then hn Ilmio nose, if not exactly beautiful, at least very decent, like all the other partidella me. To which I had been easy to accept and support what solitoammettono and support of all those who have not had the misfortune to exert a corpodeforme: that is to be foolish in vain for his own features. The scopertaimprovvisa and unexpected failure of that so annoyed me as an undeserved punishment.
perhaps my wife saw me inquella much deeper into my irritation and immediately added that, if rested on the certainty of being in tuttosenza Mende, I levassi well, perché, come il naso mi pendeva verso destra, cosí...
«Che altro?»
Eh, altro! altro! Le mie sopracciglia parevano sugliocchi due accenti circonflessi, ^ ^ , le mie orecchie erano attaccate male, una piúsporgente dell'altra; e altri difetti......."
L'ultimo romanzo di Pirandello, il romanzo "più amaro di tutti, profondamente umoristico, di scomposizione della vita" come affermò lo stesso autore. La filosofia pirandelliana trova qui il suo totale compimento attraverso il protagonista, il "pazzo" Vitangelo Moscarda, che assorbe in sé e supera tutti i personaggi presenti nelle opere precedenti dello scrittore siciliano. Moscarda, partendo dalla scoperta di avere il naso lievemente storto, si avventura in una serie di ricerche speculative ed esistenziali che lo porteranno prima alla rovina e poi alla successiva rinascita tramite l'autoesclusione dalla vita sociale e dalla visione comune degli uomini. La voce del narratore dà forma e concretezza vivente ad un monologo ricco di interrogazioni ed esclamazioni proprio come fosse un'opera teatrale ma in realtà si rivolge, al di là del palcoscenico, direttamente all'orecchio dell'ascoltatore e alla sua coscienza.
IL ROMANZO HA UNA DIVISIONE INTERNA?
Si, il romanzo presenta una divisione interna piuttosto articolata: sisuddivide in eight books that include chapters identified, each with ilproprio title. The unity of their arguments and nominal significazionecomplessiva are, thus, guaranteed. But if you look inside, iltaglio and the extent of individual chapters is more rapid and effective. The book I
is a kind of necessary prelude to the development delromanzo whole. The main character finds out in fact, thanks to un'osservazionedella wife, his nose tilted to the right, it makes it so nonconoscere account of his own body, things that belonged to him more closely: the nose, ears, hands, legs .
Book II introduces another element of reflection announced manon developed in the previous year. It covers the nickname used by Dida at perrivolgersi Vitangelo: Genge.
On this tone continues the third book: the continued refusal of the name, this time it's also the last name Moscarda. It is called into question, then, lastoria the family and the life of his father, a banker who was in the money-lenders whose activities Vitangelo continues to enjoy.
IV The book talks about the first "insanity" committed dalprotagonista: initially seems to want to evict a sculptor ridottoin not poverty, but in the end decided to give him a house there for everyone, but instead of getting recognition, is branded as CRAZY.
Book V tuck attention earlier to escape the stigma of tuttoalla usurer, names and withdrawing money from the bank managed by amici.Siffatta decision has matured, though, especially against his wife, until alpunto to grab and slam it on a chair.
Book VI, which records the abandonment of the house by Dida, a useless Vitangelo dialogue between the father and the will of the protagonist dilaurate, demonstrates the impossibility of free gingival.
Book VII contains a kind of romance interval, doveVitangelo is grappling with a friend of his wife, Anna Rosa, who Reveal family members want to prohibit.
Book VIII leads where the main character is headed for a long time: unospizio Mende, built as penance for his sins, dietrointervento Church.
text types?:
novel dicarattere (philosophical - humor).
PLOT:
from a mirror surface ambiguous and disturbing, perVitangelo Moscarda emerge one day, a face so far ignored self: a nose sloping versodestra. This event aroused in him a deep crisis that led him ascoprire that others will make him a different picture from what is eglise created for himself, he discovers that "not a" comeaveva believed until then, but to be "hundred thousand", nelriflesso the perspectives of others, and then "no." Questapresa of consciousness blows the whole system of certainty and results in a crisisconvolgente. Vitangelo has a horror of the "forms" in which the close glialtri and there can be recognized, but also the horror of solitude in which piombalo learn not to be "none." Decides therefore distruggeretutte images that others have of him, especially quelladell'usuraio "(in fact his father's legacy has left a bank), to try to be" one for all. "Begins so ribellarsifacendo things, in the eyes of around him, so incomprensibili.Ricorre appear in a series of crazy gestures, like giving a home to unvagabondo. He wants to sell the bank and was never busy and gliassicura a certain affluence, and when he reveals that his wife eall'amico Quantorzo want to delete the reputation of a money lender, they break out dry without restraint. So impressed in the soul, already strongly opposed, the wife pulls rebelling against the puppet, named Genge, of cuiella had always welcomed. The madness intensifies: daun'amica seriously wounded his wife, inexplicably seized by a fit of madness in order dievitare scandal sells all his possessions to build a hospice for the poor, and he himself I do admit, totally estranged from society.
Precisely this choice is a kind of healing from his obsession, finally giving up any identity and by complete Alpuro flow of life, refusing to set in some "form", reborn anew in every moment, living it all out himself and identificandosidi time to time in the things around him, trees, wind and clouds. Lacittà far away. I come sometimes in the calm of evening, sound dellecampane. But now those bells I hear no more of me inside, but outside, Sesona, maybe they quiver with joy in their hollow whirring in a sunny blue belcielo between the chirping of the swallows in the wind or clouds, heavy and so high the towers planes. Think of death, pray. C'èpure who still needs this, and if they are heading to the bells. I did not hopiù this need, because I die every moment, I am reborn again and senzaricordi: alive and whole, no longer in me, but everything out.
TIME:
fabula and plot are fundamentally the same since the events seguonol'ordine chronologically. We must, however, stressed that primaparte in the novel there is no story, just the smashing obsessive delprotagonista, monologue on topics fictitious identity, inconsistency the person. Only in the second part of the wire unintreccio begins to unravel, but even here the organic nature of the story, laconcatenazione logical and consistent application of the causes and effects, Jumping: gestiinconsulti the protagonist is the denial of a common logic, only within sonocoerenti of his madness, and so the gesture of Annarita's friend's wife who shot Vitangelo, remains completely free, unmotivated, inexplicable.
be emphasized, moreover, the presence of some digressions (the raccontodella father's house, the car ran into a boy), engraved philosophical (clouds and wind, the bird, country and city), as well as advances, miamoglie, not was never my wife, but the wife of the man, you ritrovòsubito, horrified, as in the arms of a stranger, a stranger, and I could not dichiaròdi more bitter, he could no longer live with me even a minute he ran away.
Yes, sir, as you will see, he ran away.
is not explicitly mentioned in the text when the events occur, mae plausible to think that the novel is set in the early delnovecento, we can infer from the descriptions of the environments, characters by occupation. There is no mention of historical events of rilievotali make us infer the historical context of the novel, which looks like INESC plan. Nor do we know how long do the events, presumibilmentequalche month.
time of the story is certainly less than the time of the narrative, there are in fact summaries, but only breaks, descriptions and dialogue, and philosophical analisisoprattutto. The pace is slow, especially in primaparte of the story.
In light of this, it appears, in the first place, the insignificance of the facts, very few and the absence of time references, this is because the events are not important perPiarandello spite of the fact that sipossono draw. The same applies to the temporal aspect: the author tentatodi create a novel out of time "that could adapt aqualsiasi that time, in fact, the arguments Treaties are modern, riguardanoanche ourselves, causing in this way, a real historical deltempo cancellation.
AREA:
events taking place in the noble city of Richieri, invented and chepotrebbe refer as much to Agrigento to Palermo, and articulate inambienti both internal and external: the home of the protagonist, banks, viedella city, etc. Great Abbey. etc.. the author of these places there fornisceparticolari descriptions: the square and looked like a lake with all that glitter Distell a cheerful sunburst, and in the race, God jumble of things, the pool, then stand by newspapers, who slipped the tram exchange and stridevaspietatamente the turn, the dog running away ... - That Badia, giàcastello feudal Chiaramonte, with that door down all rotten, and dishwashers in the middle of the courtyard with the tank, and the worn staircase, dark erintronante, who had the drive of the caves, and that wide and long corridoiocon many doors from either side and red brick pavimentoavvallato light luster to the bottom of the window to open delcielo silence, so many stories of cases and aspects of life itself accepted in the environment ...
prevails is a citizen, and the crowd is important perchéalimenta rumors about madness Vitangelo who feels continuamenteosservato and judged by all as a usurer. The sites are presented dalpunto di vista del protagonista e nelle sue descrizioni prevalgonosostanzialmente elementi visivi.
PERSONAGGI:
il protagonista assoluto di questo romanzo è Vitangelo Moscarda, di luil’autore ci offre anche una descrizione fisica in diversi punti dellanarrazione, e in particolare mentre analizza i suoi difetti fisici, avevoventotto anni e sempre fino allora ritenuto il mio naso, se non proprio bello,almeno molto decente, come insieme tutte le altre parti della mia persona- lemie sopracciglia parevano sugli occhi due accenti circonflessi ^ ^, le mieorecchie erano attaccate male, una più sporgente dell’altra; e altri difetti. Ancora più interessante è la descrizione Vitangelo that you guardandosiallo mirror, I looked at the reddish hair, his forehead still, hard and pale, with those eyebrows caret; occhiverdastri's almost here and there in the cornea perforated by yellowish spots, speechless, sightless; that nose hanging to the right, but nice taglioaquilino, reddish mustache that hid his mouth, the chin firm, a po'rilevato. But I do not think the author wanted soffermarsiparticolarmente the physical portrait of the protagonist because nelladescrizione emerge irrelevant whether the appearance, even if the "crisis" of Vitangelo bursts with the realization of a difettofisico, what made you want to talk? The fact that I I was born, this year, this month, this day, in noble city of Richieri, send it to the house, such and such, so and so Mr. and Mrs. Tal Italian network ... tall one meter and sixty-eight, red fur , etc.etc? Ela his mind that concerns us and that is carefully scrutinized and see Cheil protagonist is deep thinking, lose sleep just to find an answer to suoiquesiti, ultimately to see more clearly. It does not just confess nonsapere who, but says it no longer wants to be deliberately anyone, totally dirifiutare each individual identity. Vitangelo need to live in diattimo moment, perpetually changing, and this condition is a thrilling, joyful. But to reach this conclusion had to deal with the company edistruggere those images that people had created him, I did not piùguardato in a mirror, and I do not even go to the boss what siaavvenuto of my face and my whole wait ... no name. Nessunricordo name today than yesterday.
as I have often felt that it was not a Vitangelo veropersonaggio, but a kind of voice of conscience that is responsible diredarguirci and let us understand the reality of things and, in this context, the events are not important in which the protagonist is involved quantociò telling us and what we want to communicate.
The other characters that appear in the account can be cosìsuddivisi:
those who consider Genge:
· Dida's wife, in love with the puppet reputavasciocca, shy, that his Genge there, and I do not esistevoaffatto for her, I had never existed ... when the protagonist pulls in disbelief that this man could be his Genge, abandons him. Vitangelone was still in love.
· Dida's father, very nice, but not in the shoes anchenell'acconciatura hair and mustache until the last hair, blond, blond; ed'aspetto not say vulgar, but common anyway. Even perlui Vitangelo was a stupid man who was always pleased with himself
· Anna Rose, a friend of Dida, present in most romanzatadel story orphan of father and mother, lived with an aunt in quellacasa who seems overwhelmed by the high walls of the Great Abbey. It seems pazzaquando is injured accidentally and then it hurts Vitangelo same.
Those who see him as an usurer
· Firbo and Quintorzo, friends as well as lidefinisce Vitangelo trusted him, loved by all the subsidiaries, by Quantorzo, comefigliuolo from Firbo, as a brother, who everyone knew that with me erainutile talk business and that was enough to call me from time to time to sign ... in fact these two members of the protagonist had him alcunaconsiderazione, operated the business not the opinion of the GP padronedella bank: Vitangelo which in fact was all a usurer. When Vitangeloassume an unusual attitudes and commit the "crazies", the protagonist of duecari friends do not bother to find out the cause, but silimitano to find the best solution to not see the damaged lorointeressi. There is so treacherous, without compassion, concerned only aldenaro.
· The crowd, the people of the country are real characters, masono important because they contribute to increase the crisis of the protagonist, Chesa sees from all branded as a usurer.
· Partanna Bishop, was elected bishop and maliuffici instances of powerful prelates in Rome. Sclepis Don Antonio, was a priest lungoe thin, almost diaphanous, as if all the air and the light of the rise doveviveva they had not only faded but also rarefied.
STYLE:
the novel takes the form of soliloquy or not convertible into a dialogocon called a public listening to the narrator, and wanted to present, almost like the first embodiment of a reading public. I like to teatroovviamente not exist, and even in the novel should for Pirandello, usciredalla their passive condition and be affected by those responsible.
Regarding the syntax, why does everything Piandello soliloquiodi Vitangelo Moscarda lose the stamp of protest and complaint on behalf of human deivalori generally shared. Must resonate, rather than as a single voice pronounced john, socially, and even before familiarly emarginata.Comunque Pirandello does not use heated and desperate, as it was in avevafatto Mattia Pascal. Are frequent exclamatory sentences nellequali expresses all the desire to escape from the world and of canceling dellanatura that animates Vitangelo Moscarda, my, then, that it was not for me, tuttoquel body that there was nothing for me, here it is: nothing!
The lexicon is full of adjectives, there are many statements incidental, leinterrogative rhetorical exhortative or imperative verb forms, but in attesadi that him? To see me? No. he could be seen, but not see me - lacampagna! What other peace, eh? You feel untied. Yes, but if I know diredov'è? I say peace. No, fear not, fear not! There seems to be peace here chec?. However all these modes of speaking, in a one hundred thousand nessunoe gradually become loose and run down.
is interesting step in the story that comes to Pirandello chiederescusa wink to his readers for which he is forced to resort nonpotendo know how they appear at that time, excuse me, all questiammiccamenti, but I need to wink, wink of this because, as v'appaio nonpotendo know at this time, also shot with questiammiccamenti to guess.
Pirandello has used an original language, direct the reader can dicomunicare the anguish of the character more or less explicit senzafiltri hypocritical and misleading. Pirandello has given rise to a sperimentalismostraordinario thanks to a sophisticated vocabulary and literary elements egergali dialect, jargon, trite and banal expressions, the discorsoindiretto free and above all the dialogue, used with great frequency esegnalatore a scenic quality of the writing that Pirandello simanifesta with the immediacy of the visual gesti e delle parole.
Ne risulta una lingua parlata, intessuta di movimenti, drammatica, cheriflette la propensione di Pirandello perla scrittura teatrale: una scritturache è il risultato di un sapiente impasto di parole, silenzi, gesti,espressioni e rapporti spaziali.
TEMI:
ALCUNE INFORMAZIONI SULLA FORMAZIONE DEL ROMANZO:
Uno, nessuno, centomila, l’ultimo romanzo di Pirandello, fu pubblicato apuntate sul settimanale "La fiera letteraria" nel 1926. L’idea delromanzo era già nella mente di Pirandello nel 1910, come si capisce dallalettera a Botempelli. La previsione di Pirandello non si realizzò e il romanzonon comparve nel 1913. Un testo che anticipa la stampa del romanzo appare nelgennaio del 1915, il lavoro di scrittura procederà poi fra alti e bassi neglianni successivi: " sto ora ultimando un romanzo che avrebbe dovutouscire prima di tutte le mie commedie. In questo romanzo c’è la sintesicompleta di tutto ciò che ha fatto e la sorgente di quello che farò", questauna delle dichiarazioni di Pirandello. Il libro appare quasi ultimato nel 1922,ma vedrà la luce solo quattro anni più tardi.
Un lungo processo che abbraccia trasversalmente non solo la vita, mal’opera stessa di Pirandello, in questo romanzo si ritrovano infatti leprincipali tematiche trattate dallo stesso:
1. La presa di coscienza della prigionia delle "forme":
il problema dell’identità era già presente nelFu Mattia Pascal e viene affrontato da Vitangelo Moscarda che parla in modoretrospettivo: il protagonista conclusosi un ciclo della sua vita, si volgeindietro a rievocarlo. Dopo la scoperta che il naso gli pende da una parte egli,che non se ne era ami avveduto, scopre così che l’immagine che si è creatodi sé non corrisponde a quella che gli altri hanno di lui. Si rende conto delfatto che esistono infiniti "Moscarda", l’uno diverso dall’altro,a seconda della visione delle tante persone che lo conoscono, in primo luogo lamoglie. In lui nasce pertanto un vero orrore per la prigionia delle"forme" in cui gli altri lo costringono; ma scopre anche di non essere"nessuno" per sé, e questo genera in lui un’altra forma di orrore,un senso angoscioso di assoluta solitudine.
2. La rivolta e la distruzione delle forme: la pazzia:
la pazzia è un modo caro agli eroi pirandellianiper scardinare il meccanismo delle forme, delle convezioni e degli istitutisociali che imprigionano la vita nel suo fluire. Viene quindi vistapositivamente.
3. Loss and Healing:
Moscarda has tried, with its follies, diribellarsi iron to the system of social conventions, to undermine, but èrimasto defeated. Yet precisely in this defeat is a
form of healing from the anguish that loossessionavano, alienated from themselves, reject their name, perabbandonarsi joyfully to the flow of life, dying at any moment and without erinascendo new memories, to identify with all the things out.
4. Humor:
it is based on fiction, for cuil'individuo, to avoid being marginalized by his peers, it must turn acontinue lies and hypocrisy, in short, must wear a mask chesolo humorous reflection to detect and denounce. Laconsapevolezza deception of life inevitably leads to rotturadei traditional bourgeois values \u200b\u200band above all a vision of the human eframmentaria torn and no deeper identity, which sirispecchia in uncoordinated and transgressive art, deformed and criticism.
5. Identification man - nature
at the end of the story creates an identification between man and Naturasia deep, this tree, tremulous breath difoglie new. I am this tree. Trees, clouds, almost mystical, èproposta as a model for every man who can break the social mechanism delleconvenzioni.
6. Mirror:
but when he stands before the mirror in the moment that we behold, she Care is hardly more alive, why should you stop for a moment in life itself pervedersi . She s'atteggia. It is becoming a statue pose for unmomento. Life moves constantly and can never really see lifetime ok stick ... she is so close to mirarsi Codest in the mirror, in all mirrors, why not live ... you can not live in front of a mirror. Vitangelo się realized that none of us can see and even if one could already familiar, in fact, could never know what others think.
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