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Pirandello received his elementary education at home but was much more fascinated by the fables and legends, somewhere between popular and magic, that his elderly servant Maria Stella used to recount to him than by anything scholastic or academic. By the age of twelve he had already written his first tragedy. At the insistence of his father, he was registered at a technical school but eventually switched to the study of the humanities at the ginnasio , something which had always attracted him.

In , the Pirandello family moved to Palermo. It was here, in the capital of Sicily, that Luigi completed his high school education. He then started writing his first poems and fell in love with his cousin Lina. During this period the first signs of serious contrast between Luigi and his father began to develop; Luigi had discovered some notes revealing the existence of Stefano's extramarital relations.

As a reaction to the ever-increasing distrust and disharmony that Luigi was developing toward his father, a man of a robust physique and crude manners, his attachment to his mother would continue growing to the point of profound veneration. This later expressed itself, after her death, in the moving pages of the novella Colloqui con i personaggi in His romantic feelings for his cousin, initially looked upon with disfavour , were suddenly taken very seriously by Lina's family. They demanded that Luigi abandon his studies and dedicate himself to the sulphur business so that he could immediately marry her.

In , during a vacation from school, Luigi went to visit the sulphur mines of Porto Empedocle and started working with his father. The marriage, which seemed imminent, was postponed. Pirandello then registered at the University of Palermo in the departments of Law and of Letters. The campus at Palermo, and above all the Department of Law, was the centre in those years of the vast movement which would eventually evolve into the Fasci Siciliani.

In , having definitively chosen the Department of Letters, he moved to Rome in order to continue his studies. But the encounter with the city, centre of the struggle for unification to which the families of his parents had participated with generous enthusiasm, was disappointing and nothing close to what he had expected. Pirandello, who was an extremely sensitive moralist, finally had a chance to see for himself the irreducible decadence of the so-called heroes of the Risorgimento in the person of his uncle Rocco, now a greying and exhausted functionary of the prefecture who provided him with temporary lodgings in Rome.

The "desperate laugh", the only manifestation of revenge for the disappointment undergone, inspired the bitter verses of his first collection of poems, Mal Giocondo But not all was negative; this first visit to Rome provided him with the opportunity to assiduously visit the many theatres of the capital: Il Nazionale, Il Valle, il Manzoni. I will conquer it. I cannot enter into one without experiencing a strange sensation, an excitement of the blood through all my veins Because of a conflict with a Latin professor, he was forced to leave the University of Rome and went to Bonn with a letter of presentation from one of his other professors.

The stay in Bonn, which lasted two years, was fervid with cultural life. He began translating the Roman Elegies of Goethe, composed the Elegie Boreali in imitation of the style of the Roman Elegies , and he began to meditate on the topic of humorism by way of the works of Cecco Angiolieri. In March he received his doctorate in Romance Philology [5] with a dissertation on the dialect of Agrigento: Sounds and Developments of Sounds in the Speech of Craperallis.

Annali d'Italianistica

After a brief sojourn in Sicily, during which the planned marriage with his cousin was finally called off, he returned to Rome, where he became friends with a group of writer-journalists including Ugo Fleres, Tomaso Gnoli, Giustino Ferri and Luigi Capuana. Capuana encouraged Pirandello to dedicate himself to narrative writing. In he wrote his first important work, Marta Ajala , which was published in as l'Esclusa. In he published his first collection of short stories, Amori senza Amore. He married in as well.

Following his father's suggestion he married a shy, withdrawn girl of a good family of Agrigentine origin educated by the nuns of San Vincenzo: Maria Antonietta Portulano. The first years of matrimony brought on in him a new fervour for his studies and writings: his encounters with his friends and the discussions on art continued, more vivacious and stimulating than ever, while his family life, despite the complete incomprehension of his wife with respect to the artistic vocation of her husband, [4] proceeded relatively tranquilly with the birth of two sons Stefano and Fausto and a daughter Rosalia "Lietta".

In the meantime, Pirandello intensified his collaborations with newspaper editors and other journalists in magazines such as La Critica and La Tavola Rotonda in which he published, in , the first part of the Dialoghi tra Il Gran Me e Il Piccolo Me. In he accepted an offer to teach Italian at the Istituto Superiore di Magistero di Roma, and in the magazine Marzocco he published several more pages of the Dialoghi.

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The end of the 19th century and the beginnings of the 20th were a period of extreme productivity for Pirandello. In he published the first series of Beffe della Morte e della Vita and his second novel, Il Turno. The year was fundamental to the life of Pirandello. Quale dei due? Which one of the two? What is particularly interesting about the portrayal of the members of the community is how, in contrast to the novella, they are more intrusive in their dealings with the protagonists: the minor characters on stage seem to go one step further than they do in the narrative plot.

In fact, even the way in which the play is staged resembles an interrogation in a court of law: the prefect acts as judge, the minor characters act as the jury members, the two protagonists are cross-examined and key witnesses such as Signora Ponza are summoned to give evidence. In this performance, it seems to me that De Lullo replaced the Nazi element in his previous production with one rooted in Italian Fascism. Lauretta Pesaro, Metauro, , pp. Borsellino and P. Puppa Milan, Garzanti, , pp.

Berghaus New York, Rodopi, The plots of both feature an apparently complaisant husband named Memmo in the narrative and Leone on stage who foils the attempt of his unfaithful wife called Cristina in the novella and Silia in the play to manipulate him into participating in a potentially fatal duel. As a result, the reader of the novella is left thinking that his attack is an ambiguous punishment for a husband who has appeared so apathetic throughout the plot. Verde o gialla, la Charteuse? Pausa Silia? Mn II, Green or yellow, your Charteuse?

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What are you saying? It is the effect of drinking liquors some time after your meal. By using the stage directions to reveal what is covered up, Pirandello subtly prepares the audience for the explosive moment when Leone reveals the truth about his revenge. Not believing herself: Dead? You thought you were playing me, with my life? You missed your mark, my dears! It was I who played you! War of Words 37 for his wife hinted at throughout the play. Both develop the characterization of the archetypal unknowingly betrayed husband, Lori, who for approximately two decades has been playing the part of a cuckolded husband, submissive father and naive friend.

As with the two pairs of texts discussed so far, Pirandello gives voice to his characters on stage in a way he did not previously in the narrative.

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It is at this moment that he works out the truth about their affair. Is it possible? Perhaps she suspected he knew and meanly feigned oblivion to her advantage. E come? Mn II, 27 Through the use of dialogue on stage, Lori is now able to voice his despair to Palma for himself: his interior monologue in the narrative is animated on stage through dialogue. Come no? Se ti disse che sei sua figlia! But how? I call him that because I have to. What do you mean by no? If she told you that you are his daughter! Is this true or not, if she could have said it, it is certain that she… Oh God… oh God… Is it possible?

She… It is not possible!