After graduating philology in Bonn, Pirandello lived in Rome since 1892, and here, in 1901, he published, between June and ' August, except on the novel The columns of "La Tribuna" (the novel will be published later in volume in 1908).
Attrici o semplici madri, mogli o amanti… le donne in Pirandello sono comunque portatrici per eccellenza del marchio della dissonanza fra quello che appare nella quotidianità sociale e quello che la persona vive interiormente. Costretta in ruoli sempre troppo restrittivi, combattuta fra diverse tensioni e desideri di segno opposto, umiliata dalle convenzioni sociali, sacrificata a portare senza fine una maschera che s’identifica con il suo stesso destino, la donna appare, nei testi dello scrittore siciliano, ostinatamente tesa a incontrare quell’altra, quella sconosciuta a sé e alla società, che in fondo è lei stessa.La menzogna, il sospetto, l’interiorità sono gli ingredienti che fanno vacillare un’esistenza.La Reality is a mirror that breaks into a thousand pieces and stops to reflect a unique shape, an objective and realistic.
The story of Pirandello Marta Ajala touches a theme that in the early twentieth century is the focus of critical debate: the value of the study for self-determination of every person, man or donna.Quando Marta decides to redeem himself and assert its dignity, it closes in a room to study and challenge the bad moods and made the sister, who at first interpreted his isolation with sospetto.Marta practice, with the obstinacy of the pioneer, the prospect that in the same years was unavoidable given how the story of Lina, the protagonist of the first Italian feminist novel, A Life of Sibilla.
" (...) It was clear! Marta Ajala would have held the post of deputy master of the college preparatory classes in first, only because "protected" Member's Alvignani.
And there was, in the early days, a procession of heads of families to the college they wanted to speak with the Director. Ah, it was a scandal! Their girls would refuse to go to school. And it ssun father, in good conscience, would compel them know. He must find, at any cost and now, a remedy. The old Chief Inspector fathers sent the school, After defending the future with an alternate proof of good tests. If any other had done better, would be taken to make up for that class in addition. No injustice, no feature ...
- Yes! -. The Cavalier Claudio Torchiara, school inspector, was in the country and close friend of Gregory Alvignani. He claims boomerangs back in another form and under another aspect. He wanted the Alvignani become unpopular with the outrageous protection? And in vain to protest that the Torchiara busily Alvignani not centered or point or just, than that of the teacher Ajala was not appointed by the government. Come on, now! Asserted that what the Director of the College, TRANSEAT!, But him, Torchiara, who was in the country, eh via! You had to have lost the memory of the recent scandals ... She had come from the air so that the appointment dellAjala? And if the consciousness Torchiara had a daughter, would be happy to send her to school by a woman who had to speak so badly of him? What a fine teacher for the girls!
(...) He began the war from the very first GI
homo school. Already other teachers of the College, honest, ugly old maids, went immediately if in defiance. Jesus, Jesus! a brief greeting in the morning, his lips tight, and away, a cold, slight nod, and it was too! Disgrace for the class of teachers! Shame for the Institute! The world, yes, intrigue: to succeed, hands and feet! but honestly, oh! Indeed, honorably. And underneath it all, commented with bitter malice the way the director and other professors of the College since the first day they were made to treat the Ajala, and regretted that beloved teacher Flori who could no longer be reviewed. Flora: what pain! Successful new rooms and more bitter complaints from families, the girls (assentatesi from school for a few days the announcement of the appointment Marta) began gradually to resume classes, but evil, hateful, apparently put up by the parents against the new teacher. Is not helpful to the kindness with which Martha welcomed them to disarm them from the beginning, nothing in the prudence and patience. It took away rudely to caresses, showed themselves deaf to the warnings benevolent, shrugging a rare threat, and the most evil, the hour of recreation in the garden, gossiping about her to be heard or for her defiance, ran to encircle the old masters and caressing, full of caresses and kindness, leaving her alone to walk the sidelines.
Returning home after six hours of pain, Marta had to do uno sforzo violento su se stessa per nascondere alla madre e alla sorella il suo animo esasperato. Ma un giorno, ritornando più presto dal Collegio, accesa in volto, vibrante d’ira contenuta a stento, appena la madre e Anna Veronica le domandarono che le fosse avvenuto, ella, ancora col cappellino in capo, scoppiò in un pianto convulso.
Esaurita finalmente la pazienza, vedendo che con le buone maniere non riusciva a nulla, per consiglio del Direttore s’era messa a malincuore a trattare con un po’ di severità le alunne. Da una settimana usava prudenza con una di esse, ch’era appunto la figlia del consigliere Breganze, una magrolina bionda, stizzosa, tutta nervi, la quale, messa su dalle compagne, had come to tell you even some strong impertinence. - And I pretended not to hear today ... But in the end, just before the lesson ended, I could not longer tolerate. The rebuke. She responds, laughing and looking at me with insolence. You had to hear it! "Get out!" "I do not want to get out!" "Ah! no! "
get off the chair to chase them away from class, but she clings to the bench and yells at me:" Do not touch me! I do not want his hands on him. " "You do not want? Away, then, go! Get out! "and do for tearing off the bench. She then starts to scream, to stamp her feet, writhing. All the girls are raised by benches and come around, and she, threatening, out of the class, followed by her companions. There 's been the Director. This gives me no wrong in their presence, left alone, tells me that I was a bit 'exceeded; who should not be, he says, lifting up their hands on the students ... I, your hands? If I have not touched! But in the end accept my reasons ... But God, God, how to go on like this? I can not take it anymore! The next day, meanwhile, the girl's father, the knight official adviser Ippolito Breganze Honorius, he went to make a scene in the office of the Director. He was furious. The obesity of the body really did not allow him to manage as he wanted. Short arms short legs, wore the bacon globulenta here and there around the room, laboriously, by screaming the soles of your shoes with every step. Raise your hands in the face of his daughter? Not God, not even God had to afford it!
He, who was the father, had never dared to do so! It was perhaps back to the blessed time of Jesus, when shots were taught to splint on the palm or the back? He wanted quick and total satisfaction! Ah yes, perrrdio! If Mrs. Ajala had good protection and valuable friendships, he, consiglierrr Breganze, would claim reparation and justice higher, higher (and tried in vain to raise for the arm) - yes sir, more up! on behalf of the Institute not only hurt morale, but the entire country. And
DRI DRI DRI - screaming his shoes. "(... From the exclusive Pirandello
This is the first literary expression, not yet fully mature, in which the influence of naturalist drama, based on models made by Giovanni Verga, or close to an author Luigi Pirandello as Capuana, manifests itself in a tone chronicle, sometimes cold and detached, compared to a story that, however, already has the character of the more mature plots Pirandello.
The novel is divided into two sections, each of which segments, respectively in 14 and 15 macrosequenze narrative. The figure stands with Marta Ajala evidence within a narrative structure that does not fail to make room for other characters and a socio-economic and environmental framework defined with absolute precision. The recall some episodes of the novel, will serve to better outline the context in which the mature drama of the protagonist.
this tragedy, followed by the author in ' given careful articulation of the psychological is made possible, fed, and finally exasperated by the blind prejudices of a culture and an environment that Pirandello considers it its duty to study and represent in all its manifestations. Not only that: the drama of Martha is also the tragedy of other characters, which are found to be victims and at the same time producers of alienation and self-destructive fool. If Marta is the "excluded" for excellence, those who foment bitterness, a spirit of revenge, those who judge without knowing, who rejects the comparison and reporting excludes itself from any form of freedom and happiness, it destroys foolishly.
play of a life is lost in multiple frammenti. La realtà appare un caleidoscopio che rifrange ogni volta una sua forma eventuale.
la vicenda di Marta Ajala ci dà modo di cogliere alcune problematiche relative alla famiglia ed alla s ocietà della Sicilia dell’Ottocento con le sue tipiche connotazioni ( chiusura del nucleo familiare di fronte alla comunità, obbedienza a pregiudizi, mancata solidarietà dei congiunti verso chi è vittima di un malinteso senso dell’onore, d ifficile identification and recognition of the female roles in socially useful ). From that point of view "exclusivity" seems to be a typically realist novel, centered around the examination of a "human document" and simple a well-defined social context. Moreover, the novel, if well analyzed, and abstracts from such rigid determinations opens to a wider possible line of argument.
Es know enlightens us on deepest reasons that create irreconcilable contradictions within the pair bond generally understood , critical institution with a clear family in his co mplesso, alienated as the seat of human relationships. Although the analysis is still strongly influenced by specific cultural and historical factors (the Sicily of the century) can be seen in fact, implicitly romazo between the lines of a wider problem typical of mature works.
The scenario is that of the Sicilian province: Rocco drives his wife Marta, believing that she has an affair with Gregory Alvignani, parliamentary and local intellectual. In reality there is no relationship between the two, apart from a few passionate letters dell'Alvignani the woman. Even Francis Ajala, father of Martha, the daughter believes guilty for the pain, is allowed to die, autorecludendosi at home and ruining their business. After attempting to procure a living in the country, to herself and her mother, Martha takes a job as a teacher in Palermo:
in the big city, the beautiful young star has made the subject of the court and attention of my colleagues, and his heart reawakened love gives dell'Alvignani hour approaches, which had not sold before. Her husband Rocco, meanwhile, convinced of the innocence his wife wants to call it with him, and finds an unexpected ally nell'Alvignani own. Begins to manifest a taste for Pirandello stories in which the case dominates the existence of the characters, the second unexpected and paradoxical twists. Marta can not now do without her husband to confess that, although the first innocent, now she really has surrendered to the court dell'Alvignani, but Rocco, in a grotesque scene, at the funeral of his mother, even though I feel contempt for his wife can not now throw them out again, and resigned to live with her. The effectiveness of the plot and the various situations that quickly follow one another in virtue of the dry prose the narrator, it is useful to draw a picture of Sicilian society in the late nineteenth century and lets have a glimpse of what will be the key issues in the production dramaturgy.
Marta is also the tragedy of the drama of other characters, which are found to be victims and at the same time producers of alienation and self-destructive fool, slaves of prejudice and without any critical perspective - If Martha is " 'excluded' par excellence, those who foment bitterness, a spirit of revenge, those who judge without knowing, who rejects the comparison and reporting excludes itself from any form of freedom and happiness, it destroys foolishly, in short anche gli ”Inclusi” vivono una condizione assurda forse peggiore di Marta che invece è colei che è fuori dalla norma..anormale…per Pirandello la norma non è un qualcosa di positivo
L’aspetto più avvilente della situazione consiste nel fatto che Marta è in balia delle decisioni di un potere cieco , quello della burocrazia ministeriale- cooperante con il potere politico e mosso, in ultima analisi, dai pregiudizi locali- contro il quale essa nulla può fare.
Burocrazia Giolittiana e pregiudizi piccolo -borghesi ne sono in pratica il sottofondo-elemento questo tipico del decadentismo Europeo-(ruolo della Burocrazia nella seconda rivoluzione industriale)
Vediamo come descrive Pirandello il peso che ha su Marta ciò che è avvenuto:
Sempre quel nodo, sempre, irritante, opprimente, alla gola. Vedeva addensarsi, concretarsi intorno a lei una sorte iniqua, ch’era ombra prima, vana ombra, nebbia che con un soffio si sarebbe potuta disperdere: diventava macigno e la schiacciava, schiacciava la casa, tutto; e lei non poteva più far nulla contro di essa. Il fatto. C’era un fatto. qualcosa ch’ella non poteva più rimuovere; enorme per tutti, per lei stessa enorme, che pur lo sentiva nella propria coscienza inconsistente, ombra, nebbia, divenuta macigno; e il father who could scroll with proud disdain, had instead left for the first crush. It was perhaps another, she, after the fact? It was the same, felt the same, so much so that it seemed true, speshttp: / / percorsi.blog.kataweb.it / wp-admin / post.php? Action = edit & post = 1470so which the disaster occurred.
The fact and its consequences as a boulder crushes the characters, even when it is inconsistent, and forces them to live in a certain way, to make decisions accepted by the mass (in a society 'is always the male' man who decides, for women): Marta is driven out of the house, after being was discovered while reading a letter sent by Gregory Alvignani and is forced to return to his father, his family is inexorably mired and marginalized by the 'society' civil ', which can not be' the most part until the very fact will not be 'erased in a credible and likely for the mass to be the one who had taken the first major decision by her husband Rocco Pentàgora.
Pirandello is aware from the very beginning of his literary output that the fact could not be firmly established, but should be analyzed in its causes and proposed, especially in its consequences. A female character then from a historical point of view also "symbolic" attention-feminist is no sympathy in Pirandello pietas only for an attempt to discover the truth by a woman in what is excluded ... ... .... more true of the other still- loser.
Maria At
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