File Name: one none and a hundred thousand luigi pirandello .zip
This seemingly unimportant ocurrence triggers a chain of events that cause the protagonist to go on a quest chasing the elusive nature of self-knowledge. Luigi Pirandello — was an Italian dramatist, novelist, poet, and short story writer, awarded the Nobel Prize in Literature. This translation translates words literally as much as possible, sometimes even where the English word order would sound a bit unusual because of this.
- One, None and a Hundred Thousand
- One, No One and One Hundred Thousand
- One, no one, and one hundred thousand
Skip to search form Skip to main content You are currently offline. Some features of the site may not work correctly. DOI: Published in , it recounts the tragedy of Vitangelo Moscarda, a man who struggles to reclaim a coherent and unitary identity for himself in the face of an inherently social and multi-faceted world.
One, None and a Hundred Thousand
The novel had a rather long and difficult period of gestation. Pirandello began writing it in In an autobiographical letter, published in , the author refers to this work as the " Vitangelo Moscarda discovers by way of a completely irrelevant question that his wife poses to him that everyone he knows, everyone he has ever met, has constructed a Vitangelo persona in their own imagination and that none of these personas corresponds to the image of Vitangelo that he himself has constructed and believes himself to be.
The reader is immediately immersed in a cruel game of falsifying projections, mirroring the reality of social existence itself, which imperiously dictate their rules. As a result, the first, ironic "awareness" of Vitangelo consists in the knowledge of that which he definitely is not; the preliminary operation must therefore consist in the spiteful destruction of all of these fictitious masks.
Only after this radical step toward madness and folly in the eyes of the world can Vitangelo finally begin to follow the path toward his true self. He discovers, though, that if his body can be one, his spirit certainly is not. And this Faustian duplicity gradually develops into a disconcerting and extremely complex multiplicity.
How can one come to know the true foundation, the substate of the self? Vitangelo seeks to catch it by surprise as it shows itself in a brief flash on the surface of consciousness.
But this attempt at revealing the secret self, chasing after it as if it were an enemy that must be forced to surrender, does not give the desired results. Just as soon as it appears, the unknown self evaporates and recomposes itself into the familiar attitudes of the superficial self. In this extremely modern Secretum where there is no Saint Augustine to indicate, with the profound voice of conscience, the absolute truth to desire, where desperation is entrusted to a bitter humour, corrosive and healing at the same time, the unity of the self disintegrates into diverse stratifications.
Vitangelo is one of those " Vitangelo's extremely lucid reflections seek out the possible objections, confine them into an increasingly restricted space and, finally, kill them with the weapons of rigorous and stringent argumentation. The imaginary interlocutors, "Dear sirs, excuse me" Oh my God, you are turning pale" The plural you "voi" which punctuates like a returning counterpoint all of the initial part of the novel is much different from the "tu" of Eugenio Montale , which is almost always charged with desperate expectations or improbable alternatives to existence; it represents, rather, the barrier of the conformist conceptions which the lengthy ratiocinations of Vitangelo nullify with the overwhelming evidence of implacable reflections.
Vitangelo's "thinking out loud", definitely intentional and rigorous, is, however, paradoxically projected toward a completely different epilogue in which the spiral of reasoning gives way to a liberating irrationalism. Liberation for Vitangelo cannot happen through instinct or Eros, as happens in the case of Harry Haller, the steppenwolf, who realises his metamorphosis through an encounter with the transgressively vital Hermine. Vitangelo's liberation must follow other avenues; he must realise his salvation and the salvation of his reason precisely through an excess of reason.
He seems to say to us: "Even reason, dear sirs, if it is alleviated of its role as a faculty of good sense which counsels adaptation to historical, social and existential "reality", can become a precious instrument of liberation. The total detachment of Vitangelo from false certainties is fully realised during a period of convalescence from illness.
Sickness, in Pirandello as in many other great writers, is experienced as a situation in which all automatic behaviour is suspended and the perceptive faculties, outside of the normal rules, seem to expand and see "with other eyes.
The episode of the woollen blanket signals the unbridgeable distance which now separates Vitangelo from the rules of reality in which the judge who has come to interrogate him appears to be completely enmeshed.
While the scrupulous functionary, completely absorbed in his role, collects the useful elements for his sentencing, Vitangelo contemplates with "ineffable delight" the woollen blanket covering his legs: "I saw the countryside: as if it were all an endless carpet of wheat; and, hugging it, I was beatified, feeling myself truly, in the midst of all that wheat, with a sense of immemorial distance that almost cause me anguish, a sweet anguish.
Ah, to lose oneself there, lay down and abandon oneself, just like that among the grass, in the silence of the skies: to fill one's soul with all that useless blue, sinking into it every thought, every memory! Once cured of his illness, Vitangelo has a completely new perspective, completely "foreign".
He no longer desires anything and seeks to follow moment by moment the evolution of life in him and the things that surround him. He no longer has any history or past, he is no longer in himself but in everything around and outside of him. From Wikipedia, the free encyclopedia. This article does not cite any sources.
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One, No One and One Hundred Thousand
By Luigi Pirandello. What are you doing? Nothing, I told her. I am just having a look here, in my nose, in this nostril. It hurts me a little, when I take hold of it. I thought, she said, that you were looking to see which side it is hangs down the lower.
The novel had a rather long and difficult period of gestation. Pirandello began writing it in In an autobiographical letter, published in , the author refers to this work as the " Vitangelo Moscarda discovers by way of a completely irrelevant question that his wife poses to him that everyone he knows, everyone he has ever met, has constructed a Vitangelo persona in their own imagination and that none of these personas corresponds to the image of Vitangelo that he himself has constructed and believes himself to be. The reader is immediately immersed in a cruel game of falsifying projections, mirroring the reality of social existence itself, which imperiously dictate their rules. As a result, the first, ironic "awareness" of Vitangelo consists in the knowledge of that which he definitely is not; the preliminary operation must therefore consist in the spiteful destruction of all of these fictitious masks.
LUIGI PIRANDELLO. ONE, NO ONE ONE, NO ONE, AND ONE HUNDRED THOUSAND. 5 in the final analysis, my nose was obvious and common, proving.
One, no one, and one hundred thousand
Enter your mobile number or email address below and we'll send you a link to download the free Kindle App. Then you can start reading Kindle books on your smartphone, tablet, or computer - no Kindle device required. To get the free app, enter your mobile phone number. The novel had a rather long and difficult period of gestation.
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