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Publication date1926Media typePrint (hardback and paperback)Pages81 ppOne, No One and One Hundred Thousand (: Uno, Nessuno e Centomila ) is a 1926 novel by the Italian writer. The novel had a rather long and difficult period of gestation. Pirandello began writing it in 1909. In an autobiographical letter, published in 1924, the author refers to this work as the '.bitterest of all, profoundly humoristic, about the decomposition of life:Moscarda one, no one and one hundred thousand.' The pages of the unfinished novel remained on Pirandello's desk for years and he would occasionally take out extracts and insert them into other works only to return, later, to the novel in a sort of uninterrupted compositive circle.
Pirandello Uno Nessuno Centomila
Finally finished, Uno, Nessuno e Centomila came out in episodes between December 1925 and June 1926 in the magazine Fiera Letteraria. Contents.Plot 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 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 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 its 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 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 '.particularly intelligent souls.who break through the illusion of the unity of the self and feel themselves to be multiform, a league of many Is.'
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As notes in the Dissertation chapter of.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'.' Be honest now'.' You are shocked? Oh my God, you are turning pale'.), which incarnate these objections rather than opening up Vitangelo's monologue into a dialogue fracture it into two levels: one external and falsely reassuring, the other internal and disquieting, but surely more true.