Read il fu mattia pascal by Luigi Pirandello Online

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Mattia Pascal endures a life of drudgery in a provincial town. Then, providentially, he discovers that he has been declared dead. Realizing he has a chance to start over, to do it right this time, he moves to a new city, adopts a new name, and a new course of life—only to find that this new existence is as insufferable as the old one. But when he returns to the world he leMattia Pascal endures a life of drudgery in a provincial town. Then, providentially, he discovers that he has been declared dead. Realizing he has a chance to start over, to do it right this time, he moves to a new city, adopts a new name, and a new course of life—only to find that this new existence is as insufferable as the old one. But when he returns to the world he left behind, it's too late: his job is gone, his wife has remarried. Mattia Pascal's fate is to live on as the ghost of the man he was.An explorer of identity and its mysteries, a connoisseur of black humor, Nobel Prize winner Luigi Pirandello is among the most teasing and profound of modern masters. The Late Mattia Pascal, here rendered into English by the outstanding translator William Weaver, offers an irresistible introduction to this great writer's work...

Title : il fu mattia pascal
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ISBN : 11364953
Format Type : Hardcover
Number of Pages : 240 Pages
Status : Available For Download
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il fu mattia pascal Reviews

  • Helen Ροζουλί Εωσφόρος Vernus Portitor Arcanus Ταμετούρο Αμούν Arnum
    2018-11-24 16:54

    Η πρώτη φορά που πέθανα..."Τίποτα ή πολύ λίγα συγκράτησα από εκείνα που αρχικά είχα φανταστεί. Είναι αλήθεια πως τίποτα δεν είναι δυνατόν να επινοηθεί, που να μην έχει κάποια ρίζα, λίγο-πολύ βαθιά, στην πραγματικότητα∙ ακόμη και τα πιο παράξενα πράγματα μπορούν να είναι αληθινά, αντιθέτως καμία φαντασία δεν φτάνει να συλλάβει κάποιες τρέλες, κάποιες μη αληθοφανείς περιπέτειες που ελευθερώνονται από τα δεσμά και εκρήγνυνται απ’ την ανήσυχη ψυχή της ζωής∙ παρ’ όλ’ αυτά, όμως, πώς και πόσο διαφορετική φαίνεται η ολοζώντανη πραγματικότητα από τα επινοήματα που μπορούμε να δημιουργήσουμε εμείς από αυτήν! Πόσα ουσιώδη, ασήμαντα, ασύλληπτα πράγματα έχει ανάγκη το επινόημά μας, για να γίνει και πάλι εκείνη η ίδια η πραγματικότητα απ’ την οποία δημιουργήθηκε, πόσα νήματα που να το συνδέουν με το περιπλοκότατο μπλέξιμο της ζωής, νήματα που έχουμε κόψει εμείς, για να το κάνουμε να γίνει κάτι ξεχωριστό!Τι ήμουν τώρα εγώ, αν όχι ένας επινοημένος άνθρωπος; Ένα περιφερόμενο επινόημα που ήθελε και, εξάλλου, έπρεπε αναγκαστικά να ζει για τον εαυτό του, αφού είχε ριχτεί στην πραγματικότητα". Ο μακαρίτης Ματίας Πασκάλ είναι ένας "διανοητικός" μάρτυρας του θανάτου του. Είναι στην ουσία τα "μάτια και οι σκέψεις του πεθαμένου" που έμαθε απο τις εφημερίδες για το θάνατο του και περιγράφει τα γεγονότα που συνέβησαν στη ζωή του μετά την αυτοκτονία του...Ο αναγνώστης ταυτισμένος με τον "πνευματικό" θεατή-μακαρίτη, παρακολουθεί όλη την ιστορία της προ και μεταθανάτιας μοίρας του. Ο Πασκάλ γίνεται αναχωρητής απο την ίδια του τη ζωή που δεν τον χωράει. Είναι καταδικασμένος σε έναν δυστυχισμένο γάμο, κατεστραμμένος οικονομικά,εργάζεται σε μια άσκοπη δουλειά ως βιβλιοθηκάριος και έχει τραγικές αναμνήσεις απο το χαμό αγαπημένων του ανθρώπων. Όταν ανακαλύπτει πως τον θεωρούν νεκρό και τον διαγράφουν όλοι, αποφασίζει να επινοήσει μια καινούργια ταυτότητα,ένα ψεύτικο όνομα,μια απολύτως ελεύθερη νέα ζωή. Μετά απο πολλές περιπέτειες έρχεται αντιμέτωπος με τον ίδιο του τον εαυτό και διαπιστώνει με πόνο πως πρέπει να γνωρίσει την αληθινή του ύπαρξη. Είχε αποφασίσει να παραμείνει άγνωστος απο τον επινοημένο του εαυτό και απο όλους γύρω του. Αρχικά χαίρεται και απολαμβάνει αυτό το παιχνίδι της μακάβριας ελευθερίας. Καταλήγει όμως βαθιά δυστυχισμένος. Με δραματικό τρόπο ο συγγραφέας απεικονίζει την πολυδιάστατη ανθρώπινη προσωπικότητα που είναι κυρίως μεταβλητή και σχετικά αληθινή. Αμφισβητεί με αξιοθαύμαστη μομφή την πραγματικότητα. Φέρνει το άτομο αντιμέτωπο με τον εαυτό του για να γνωρίσει την ουσία της ύπαρξης του. Ερχόμενοι κατά πρόσωπο με την αμφίσημη ταυτότητα μας ίσως γνωρίσουμε τους εαυτούς μας και ζήσουμε. Ως "ζωντανοί" νεκροί ή ως "νεκροί"ζωντανοί σε μια γνήσια,ελεύθερη και αληθινή ύπαρξη κατ'επιλογή μας. 🗝🔔🔚🔙Καλή ανάγνωση!Πολλούς ασπασμούς!

  • Ahmad Sharabiani
    2018-11-16 18:08

    Il fu Mattia Pascal, Luigi Pirandelloتاریخ نخستین خوانش: سوم ماه ژانویه سال 1974 میلادیعنوان: مرحوم ماتيا پاسكال؛ اثر: لوئیجی پیراندللو؛ مترجم: بهمن محصص؛ تهران، امیرکبیر؛ 1348؛ در 424 ص؛ چاپ دوم: تهران، امیرکبیر، 1394، در 247 ص، شابک: 9789640016992؛ چاپ دیگر: تهران، انتشارات علمی فرهنگی؛ 1394، در 292 ص؛ شابک: 9786001217548؛ موضوع: داستانهای نویسندگان ایتالیایی قرن 20 ماز بهترینهای کلاسیک است؛ داستان مردی ست که از زندگی خود دل خوشی ندارد. او دور از خانه، در روزنامه خبر مرگ خودش را میخواند، نخست جا میخورد، سپس تصمیم میگیرد با ترک شهر خود، با هویتی تازه، زندگی دیگری را آغاز کند. با این همه سرانجام در زندگی تازه نیز به جایی نمی‌رسد و بازمی‌گردد تا با گذشته ی خود روبرو شود... این اثر هرچند یکی از اثار داستانی پیراندلو به شمار میرود، اما بیانگر بخشی از زندگی نویسنده نیز هست. گویند: پیراندللو این رمان را به شکلی فی البداهه و بر بالین همسرش نوشته است. ا. شربیانی

  • FeReSHte
    2018-12-03 18:49

    شده با خودتون گهگاه آرزو کنین کاش میشد به جایی برم بدون آدم هایی که منو بشناسند و اون وقت همه چیز رو از نو شروع کنم؟خودم ، زندگی و حتی گذشته مو دوباره بسازم؟ تا حالا آرزو یا تصور همچین آزادی رو در ذهن داشتین؟پیراندلو با این اثرش به این موضوع پرداخته. ماتیا زندگی خانوادگی چندان خوشایندی نداره. به مرور زمان گرفتار فقر شده و از بخت بد ازدواج زجردهنده و ناموفقی هم داشته و در نهایت مرگ چند عزیزش باعث میشه به سیم آخر بزنه و همه چیز رو رها کنه و بی خبر بره. بعد از بردهای پی در پی تو قمارخانه های مونت کارلو قصد بازگشت داره که با خبر خودکشی خودش تو روزنامه مواجه میشه. و بدون ثانیه ای درنگ با خودش فکر میکنه "آزادی" با پای خودش اومده سراغش چرا بهش جواب رد بده؟ در پی آزادی روانه میشه و شروع میکنه به بریدن همه ریشه ها، پاک کردن همه خاطرات و تجربه ها و از نو ساختن گذشته ای خیالی و هویتی نو، شاید همون کسی که همواره آرزوی بودنش رو داشتکم کم این سوال پیش میاد که ماتیا زندگی دلخواهش رو یافته؟ آزادی ای که دنبالش بود رو پیدا کرده؟ اصلا دیگه می تونه ادعا کنه که وجود داره وقتی از ریزترین لذت های زندگی محروم شده؟ ماتیا گرفتار گذشته خیالی و ناقص خودش و ناچار به دروغ گویی، بریده شده از همه ریشه هایی که داشته، نه می تونه دوستی پیدا کنه که باهاش همصحبت باشه و نه وقتی عشق با همه قدرتش به سراغش میاد می تونه با خوشحالی قبولش کنه..اینجا فقط توهمی از آزادی سایه ای از یه مرد مرده رو گرفتار خودش کرده و تنهایی و بی هدفی رو به ارمغان آورده و دیگر هیچپیراندلو هم برای خواننده معمولی داستانی جذاب نوشته و هم برای خواننده سخت پسند تر درطول این داستان پرکشش، کلی سوال فلسفی مطرح کرده. طنز پنهان لابلای سطور هم این جذابیت رو دوچندان می کنه. تا قبل از فرار ماتیا شرح بدبختی های خانوادگی منو به شدت یاد خانواده پاسکال دوآرته مینداخت و بعد از فرار، ماتیا، تنهایی وتفکرات و پرسش های درونیش منو یاد ترس ها و تردیدهای قهرمان کتاب جنایت و مکافات مینداختاز بهترین هایی بود که خوندم. با این که به نظر نمی رسه همچین داستانی بتونه فضای غمباری نداشته باشه ولی نثر شوخ و شنگ پیراندلو، کتاب رو به اثری دلچسب تبدیل کرده.

  • Lea
    2018-12-03 11:56

    Central questions of Pirandello’s novel are “Who am I” and “What is freedom”.One of the few things, in fact about the only thing I was sure of wasmy name: Mattia Pascal. The last time I read Pirandello I was in high school, and I think I read some plays that I have to re-read because I don’t remember them very well. This is his most-famous novel that has some autobiographical features and is exploring themes of identity, self, freedom, and death that were the most obvious and prominent, spiced up with a humorous note that made this novel relatively light read. Mattia was full of deep introspective philosophical questions, with a little bit of hopeless, nihilistic world-view. I would say that death and mourning really accompanied him through his childhood and adolescence and shaped his perspective on himself and the world. First the early death of his father, that became a distant, unfamiliar and unrememberable figure, and then death his two baby daughters and his mother, that was a living shadow, without any initiative or authority in her life, that could handle her own life issues and was over-sensitive about Mattia and his brother. Without an example of how to handle maturely the problems that he was facing in his life, Mattia started to escape into solitude with books and deep abstract thoughts. He felt pretty empty and alone in the world with questions of meaning and direction he should take in his life. I could certainly relate to this type of defense mechanism of avoiding problems and conflicts with other people as I believe many people who adore books and are intellectual types could.So I read and read, a little of everything, haphazard, but books of philosophy especially. Heavy stuff, I grant you; but when you get a little of it inside you, you grow light as a feather and begin to touch the clouds. I believe I was always a bit queer in my head. But these readings quite finished me. When I no longer knew what I was about, I would shut up the Library, and go off along a little path that led down a steep incline to a solitary strip of seashore.His own financial and marital situations became a cage that he associated with his own sense of self, and that was the beginning of his longing to escape not only his situation, but his own self. The idea of a suicide as in killing his former identity rises and he does, helped by the series of the events, he becomes Adriano Meis, the man that travels the world with any obligations to anyone except himself.What could possibly happen to me anywhereworse than what I had been through? Perhaps beyond the horizon ahead anew slavery awaited me--but with heavier chains, I asked myself, thanthose I had just snapped from my feet?In time he learns through the pain that there is excruciating loneliness in the absolute freedom, and our longing for connectedness makes us dependant on others and the quest for absolute freedom impossible. Freedom is the dream we dream but never achieve, and even if we could achieve it, as Mattia, we wouldn’t be happy or fulfilled. We can crave solitude only to get it and learn that we cannot live alone. I was so absolutely free that it was difficult for me to bring myself to any particular kind of life.Fear of being caught again by the tentacles of life would keep me more thanever aloof from men. Alone! Alone! Utterly alone!I'm worse than dead: as old Anselmo reminded me--the dead are through with dying, while I have to die again. Alive as regards the dead, dead asregards the living! What kind of a life can I live, after all? Againalone, all by myself--solitude!"The only ultimate liberation that we have on this earth is death.Supposing, in a word, that there were no such thing as thisdeath which fills us with such terror, that death should prove to benot the extinction of life but a gust of wind, merely, which blows outthe light in our lantern, extinguishes this dolorous, painful,terrifying sense of life we have--terrifying, because it is limited,narrowed, fenced in by the circle of fictitious darkness that beginsjust where the light from our lantern stops. Very mind-provoking read with themes that deeply interest me, but for some reason, I didn’t connect with the novel as well as I thought I would. Maybe I read it at the wrong time and might change the rating in the future, but for now, 4 stars, even though I would highly recommend this novel to all the people who have a need to think about themselves and the world in a deeper way.

  • Megha
    2018-11-27 16:02

    Have you ever thought about going to a place where nobody knows you and starting a new life as an entirely new person?Luigi Pirandello makes Mattia Pascal live out this fantasy. Great misery has befallen Mattia Pascal and there is no silver lining in sight. Unable to think of anything else to do, he runs away leaving everyone and everything behind. A few days later on his way back home, he discovers that while he was away a dead body was mistaken for his and he has been declared dead in his town. Out of the confusion this caused emerged one thought: FREEDOM!! All the ties of his past life were now broken and Mattia could now re-invent himself and live a new, better life.And then follows the tragi-comic tale of the late Mattia Pascal. Life experiences have a great say in shaping a person. In trying to erase his past, Mattia Pascal had to lose a great part of himself. His roots were cut-off and he was empty, a mere shadow of a person. He found himself struggling with the questions of self-identity and his purpose in life. The people he had left behind, the ones who thought he was dead were indeed free of him, in a true sense. He, on the other hand, could not escape the past life he had lived. Poor Mattia's miserable adventure at living a new life reminds me of something Fyodor Dostoevsky said in Crime and Punishment:"If you ran away, you’d come back to yourself."Mattia never found real freedom, it was only an illusion. The question of whether free will really exists has been a long standing debate. And Pirandello's take on this is in the negative. What Mattia was living was tyranny masked as freedom. How could he ever hope for a true friendship or relationship when he was not free to reveal the real himself to anyone. His freedom tied him in the chains of solitude, complete solitude. The only life left for Mattia Pascal was that of the ghost of himself.Pirandello's writing is very accessible and easy to read. It is flavored with wit, irony and subtle humor. For casual readers, he gives a compelling and well-crafted story. For more serious readers, it is interspersed with intriguing thoughts, reflections on life and some beautiful passages. The novel is a little treat for those who love existential themes and paradoxes.My copy of the book has a brief beautiful post-script by the author where he talks about art, reality vs. illusion and how very realistic human significance can sometimes be found in imaginary fables. This was in response to critics who had denounced his work for being unrealistic and far from normal life.The postscript is followed by another one which reports a *real life* case similar to the life of Mattia Pascal in this novel, which happened several years after the novel was first published. Fiction is real, after all!

  • peiman-mir5 rezakhani
    2018-12-06 12:57

    ‎دوستانِ گرانقدر، داستانِ "مرحوم ماتیا پاسکال" با هنر و فرهوشی <لوئیجی پیراندلو> به گونه ای نگارش یافته است که هم از نکته هایِ غم انگیزِ زندگیِ انسانها سخن به میان آمده و هم دارایِ جستارهایِ خنده دار و خوش مزه است-------------------------------------------‎داستان در موردِ مردی به نامِ <ماتیا پاسکال> میباشد .. ماتیا در دهکده ای کوچک زندگی میکند و زندگی خوب و خشنود کننده ای ندارد.. بنابراین به اندازه ای زیرِ فشارِ زندگیست که زن و مادر زنِ خویش را رها کرده و از دهکده گریخته و ناپدید میشود... ماتیا به قمارخانه و میکدهٔ "مونت کارلو" رفته و پس از بازی قمار، پولِ زیادی برنده میشود... در همان گیر و دار، پیکرِ بی جانِ مردی بیچاره و ندار را پیدا میکنند و به اشتباه گمان میبرند که آن پیکرِ بی جان همان ماتیا پاسکال میباشد‎ماتیا زمانی که از این خبر آگاه میشود، برای دست یافتن به آزادی، برآن میشود تا از این پیش آمدِ بادآورده بهره جسته و به زندگیِ پنهانی ادامه دهد.. از این رو، نامِ <آدرین مِیس> را برایِ خود برگزیده و زندگیِ رهایی بخشِ خویش را با نام و نشانی نو، آغاز میکند‎او به شهرِ رُم رفته و در مهمانسرایِ خانوادگی اتاقی کرایه میکند... سرپرستِ آنجا <آنسلم پالئاری> نام دارد که به همراهِ دخترش آنجا را میگرداند... در این مهمانسرا (پانسیون) شخصیت های دیگری نیز زندگی میکنند که هر یک داستانِ جالب توجهی داشته و داستان به آنها نیز میپردازد.... <ترنس پاپیانو> به همراه برادرش <سیپیون> و خانمِ <سیلویا کابورال> نیز در داستان نقش دارند‎ترنس پیش از این با دخترِ دومِ پالئاری ازدواج کرده است و از او جدا شده است... برادرش سیپیون نیز دزد و بزهکار است که با وی در مهمانسرا زندگی میکند .. ترنس هوایِ او را دارد، چراکه وی به بیماری صرع دچار شده است‎سیلویا دیگر شخصیتِ داستان، هنرمند بوده و آموزگارِ موسیقی است و از بامداد تا شامگاه پیانو مینوازد‎ماتیا پاسکال، چند سالی در آنجا زندگی میکند، ولی از آنجایی بیمِ آن را دارد که مبادا نام و نشانش آشکار شود، کمتر با دیگران نشست و برخاست میکند و سرانجام آنجا را ترک گفته و به دهکده باز میگردد... ولی در میابد که همسرش در این سالها و در نبودِ او، دوباره پیوندِ زناشویی بسته و بچه دار نیز شده است‎عزیزانم، بهتر است خودتان این داستان را خوانده و از سرانجامِ غمبارِ داستانِ زندگیِ <ماتیا پاسکال> آگاه شوید--------------------------------------------‎امیدوارم این ریویو در جهتِ شناختِ این کتاب، کافی و مفید بوده باشه‎<پیروز باشید و ایرانی>

  • Carmine
    2018-12-02 19:51

    Vivere fuori dalla vita "Il fu Mattia Pascal" è incentrato sul tema della maschera e dell'identità, elementi che sono ricorrenti nelle opere pirandelliane.Come nel racconto "la carriola", nella quale uno stimato avvocato ha come unica valvola di sfogo il poter far fare la carriola al cane, anche qui abbiamo un protagonista ingabbiato nelle convenzioni sociali e con l'ossessivo desiderio di allontanarle.Se la maschera è considerata un peso per noi insostenibile - quasi decisivo nel nostro alienamento dalla realtà -, allo stesso tempo risulta l'unico modo per uniformarsi a un sistema impossibile da controllare: la nostra grigia e fastidiosa esistenza, perlomeno, viene convalidata.Il gettare la maschera - sconfinare nella realtà vera - esalta l'identità, ma al prezzo di non essere più riconosciuto da quel meccanismo: l'esistenza cessa.

  • Simona Bartolotta
    2018-12-07 12:14

    «Io?... Scomparso... riconosciuto... Mattia Pascal...»Rilessi con piglio feroce e col cuore in tumulto non so più quante volte quelle poche righe. Nel primo impeto, tutte le mie energie vitali insorsero violentemente per protestare: come se quella notizia, così irritante nella sua impassibile laconicità, potesse anche per me esser vera. Ma, se non per me, era pur vera per gli altri; e la certezza che questi altri avevano fin da jeri della mia morte era su me come una insopportabile sopraffazione, permanente, schiacciante...Come ogni maturando che si rispetti («Individuo appartenente alla specie homo sapiens di età compresa tra i diciotto e i diciannove anni, subordinato alle arbitrarie bizze di una razza dominante detta "corpo docente"; la sua peculiarità risiede nel fatto che, in accordo con le teorie bergsoniane e con i risvolti più oscuri della relatività einsteiniana, probabilmente ibridati con i più reconditi e sadici corollari della legge di Murphy, per il tapino maturando tempo scorre diversamente: in breve, non ne ha neppure per respirare» -così si legge nel Glossario dello scolaro); come ogni maturando, dicevo, ho dedicato le notti del mese di maggio alla redazione della mia tesina. Il metodo che ho adottato per scegliere gli argomenti è stato semplice: ho scelto le materie che mi piacciono di più e ho seguito lo stesso criterio per gli specifici moduli, poi mi sono messa alla ricerca del legame che li univa e, una volta trovatolo, ho avuto la mia mappa. Ecco, una delle prime voci comparse su questa mia lista è stata proprio la dicitura Pirandello, con aggiunto, tra parentesi, un timido possibilmente la buon'anima del bibliotecario. E sì, infine il mio progetto si è realizzato e io ho avuto la fortuna di unire piacere e dovere e rileggermi con bell'agio questo Fu Mattia Pascal senza dovermi rimproverare di togliere tempo allo studio. Così nella tesina ho potuto sproloquiare a piacere (sotto il beffardo titolo di "Chi non muore si rivede": dovevo pur introdurre il motivo dell'umorismo) della tappa che questo romanzo rappresenta nella poetica pirandelliana, come essa viene espressa, quale sarà il passo successivo e di innumerevoli altre cose per me sempre interessantissime ma più marcatamente accademiche. In questo recensione, invece, voglio fare quello che nelle mie recensioni faccio sempre: voglio cosa è stato questo libro per me e per me soltanto, lasciando stare il vitalismo, la trappola, la lanterninosofia, o meglio reinterpretandoli su misura per una lettura che si proponeva, oltre ai fini didattici, anche quelli propri di una degustazione dell'opera che sia individuale, solitaria, indipendente e deliziosamente soggettiva.Il drammaturgo girgentino dal puntuto pizzetto bianco è sempre stato uno dei miei pilastri letterari, e con "sempre" intendo proprio dal principio, quando ero ancora una bambinetta imberbe e il mio numero di libri letti non superava la cinquantina, compreso Geronimo Stilton. Se adesso dovessi cercare di mettere nero su bianco quel che ci capii alla mia prima lettura il risultato sarebbe una parola di cinque lettere che comincia con n e finisce con a, ma non importa, perché, anche se avevo solo undici anni e mi pareva di leggere un'altra lingua, anche così questo libro mi lasciò qualcosa. Ora, a distanza di anni, a colpirmi è soprattutto la forte umanità di Pascal, un'umanità che è in primis debolezza; un'umanità che non si desume da caratteristiche morali o spirituali, ma che è piuttosto condizione comune a qualunque persona viva, attributo terreno, che non presume né elargisce meriti, che è anzi un peso, una zavorra. Mattia Pascal è convinto di potersene liberare, e con essa liberarsi anche di quelle disgrazie che la appesantiscono, la moglie, la suocera, il lutto per le morti della madre e della figlioletta, quando il caso lo uccide annegandolo nella gora del mulino del suo stesso terreno, la Stìa, ma lasciandolo vivo e vegeto e gettando al suo posto, in quel canale, il cadavere di uno sconosciuto. Pascal si gode la sua libertà, girovaga, fa il vagabondo, vede tante città da perderne il conto; ma eccola, eccola l'umanità, quella bestia ferina che Mattia non è abbastanza «forestiere» da seminare, non abbastanza «filosofo» da stordire a pensieri o a parole, che lo fa stabilire, lo fa diventare Adriano Meis, lo fa innamorare penosamente, teneramente, della creatura più dolce che esista. Lei, però è viva, viva mentre Mattia Pascal è morto e Adriano peggio che morto, perché vivo ma tale da dover vivere da morto. Tutti gli svantaggi dell'esser stato trovato cadavere e nessuno dei privilegi, aver liberato dalla propria presenza la moglie ma non poter a sua volta voltare pagina, non dover pagare le tasse ed essere derubato senza possibilità di denunciare il fatto: sfuggire ad una trappola e gettarsi di propria sponte, quasi con voluttà, tra le maglie dell'altra. Quale incubo peggiore di questo?Credo che chiunque di noi abbia sognato almeno una volta di essere Mattia Pascal, di ritrovarsi di colpo con un bel gruzzolo in tasca e sgravato da qualunque incombenza, libero di poter fare della propria vita quel che meglio crede. Forse il problema non sono le costrizioni sociali ma il modo in cui noi le viviamo, o forse ha ragione Pirandello e nessuna serenità quantomeno apparente potrà essere raggiunta fino a che il mondo e i suoi tranelli continueranno a ipnotizzare l'uomo col loro canto della sirena riconducendolo sempre punto e a capo; sinceramente non lo so, e temo che la risposta sia troppo cruda per essere sopportata. Solo che, mano nella mano con Pirandello, la sua ricerca, seppur spaventosa, è anche incredibilmente, paradossalmente piacevole.

  • Donato
    2018-11-23 17:16

    Before you read another book (or finish the one you're reading), before you see another movie, before you contemplate any work of art, get yourself to the nearest bookstore or library or wherever you prefer to look at books, and find Pirandello's Il fu Mattia Pascal (The Late Mattia Pascal), wherein you will find "Avvertenza sugli scrupoli della fantasia" ("A Warning on the Scruples of the Imagination"). Just read those 4 or 5 pages, which are not actually part of the novel, and you will begin to see (perhaps) that Art is True.Here's a taste:"...quei tali signori che, giudicando un romanzo..., condannano questo o quel personaggio, questa o quella rappresentazione di fatti o di sentimenti, non già in nome dell'arte come sarebbe giusto, ma in nome d'una _umanità_ che sembra essi conoscano a perfezione, come se realmente in astratto esistesse, fuori cioè di quell'infinita varietà d'uomini capaci di commettere tutte quelle sullodate assurdità _che non hanno bisogno di parer verosimili, perché sono vere_.""...those gentlemen that, in judging a novel..., condemn this or that character, this or that representation of facts or feelings, not in the name of art as would be right, but in the name of a _humanity_ that they seem to know perfectly, as if it actually existed, but is in fact separate from that infinite variety of men and women who are capable of committing all those above-mentioned absurdities _that don't need to seem verisimilar, because they are real_." (my translation)Oh yeah, what about the novel itself? A philosophical romp into what it means to to be Alive. So good I wanted to read it again right away, but of course there's more literature to be consumed........

  • Eu amo a lua do lado que eu nunca vi
    2018-12-07 18:02

    Os mistérios da identidade individual num livro cheio de saber e sabor. Gostei do assunto, apreciei a escrita, rendi-me ao sentido de humor.Pirandello conseguiu a proeza de me fazer rir às gargalhadas; na verdade, eu sou daquelas que apenas sorriem, mesmo nas situações mais hilariantes e absurdas.Inesquecível este Mattia Pascal, que nasce, morre duas vezes e renasce para se tornar no eterno falecido Mattia Pascal.

  • میعاد
    2018-11-22 12:17

    امان، اماااان از ترجمه ى بد كه ميل آدمو به خوندن از بين ميبره! اصلن ميخواين از كتابخونى زده شين اين ترجمه هاى نامفهوم وديكشنرى وار رو بخونيد... داستان كتاب خوب بود ولى ترجمه بد بود و خسته ميكرد ذهن رو!!

  • Parastoo
    2018-11-21 17:50

    رمانِ جذابی در مورد رابطهٔ آدمی با هویتش. هویتت را دوست نداری و می‌خواهی از بندش خلاص شوی ولی وقتی به حادثه‌ای مجبور می‌شوی هویت جدیدی بسازی، همچنان گرفتارِ هویتِ پیشینت با خودت مبارزه می‌کنی. خلاصی نداری؛ چه با هویتِ واقعی چه با هویتِ ساختگی. نثر شوخ و شنگ پیراندلّو عالی است. و طنزش بی‌نظیر. خلاصه که خواندنِ زندگی ماتّیا پاسکال لذت فراوان داشت.

  • Reza Mardani
    2018-12-12 19:10

    در این که من عاشق پیراندلو و خلاقیتش و ذهن مریضش شدم هیچ شکی نیستدر این که ترجمه کتاب با این که اسم بهمن محصص عزیز روشه ولی خوب نیست هم هیچ شکی نیستولی جالب ترین نکته کتاب اینه که نویسنده داستان رو کاملا با استفاده از تخیلش نوشته و به خاطر غیر واقعی بودنش مورد هجمه منتقدین قرار گرفته ولی چند سال بعد نمونه عینی و واقعیه داستانش رو تو روزنامه ها پیدا کرده !!

  • Praj
    2018-12-05 13:58

    R.I.P. Mattia Pascal.Mattia Pascal was a man born to endure adversities in every walk of life. He was a dutiful son who saw his family affluence ruined by a benefactor after his father’s death and his mother’s existence fading into rueful shadows. He was a concerned husband and a doting father even in the thorniest situations that brought demoralizing repercussions in his marital life. The only thing Mattia was ever sure about in his burdensome life was his name-Mattia Pascal. It was his solitary possession that he found solace in. May God bless his soul and hope that he ultimately finds peace for he truly needs it.Remember you until the end of time – Adriano Meis.------------------------------------------------------R.I.P. Adriano MeisAdriano Meis cradled in boundless freedom. He was an architect of his own life. Adriano lived a cheerful life with no obligatory relations. Free as a bird; he traveled places, embraced a new world with open arms where imagination had no boundaries. He was a self-made man justly born to be free. Yet, he died in solitude being caged in his own individuality; a man whose existence was in itself a nothingness.Thanking you for an ephemeral bliss -- Anonymous.----------------------------------------------------------Late Mattia Pascal is indisputably Pirandello’s masterpiece. Written in a biographical form it deals with the facet of personal identity and the calamitous dilemma of its mutability. The plot runs through familiarizing the reader with the fateful life of a young Italian man- Mattia Pascal, to whom happiness is a rare commodity. Troubled by a miserable marriage, penurious livelihood and utter condemnation of his survival; Mattia leaves his native land in search of a unsullied liberated self. Compelled by his rebellious mind-set, he finds an opportunity in a miscalculation when a newspaper reports his fallacious death. Finally, an escape to a freer life and thus an alter-ego unchained to societal obligation is created. Adriano Meis was a specter of broken ties who would be distressed by the humanness of Mattia Pascal.Unmasking a phantom.The famous Pirandellian epistemology of post-modernism/existentialism questioning the foundation of distinguishable identity and its significance to human existence illuminates through the minute details of Mattia’s life. Was Mattia legit in his actions of concealing the truth and using the passage to live an entirely different life? Would it have been better if he had braved his unfortunate situations rather than living like a ghost? Is a specified identity essential to individual to acquire a civil status that may sometimes become burdensome? Is identity purely mechanical or is there a human trait to its implication? The manuscript undeniably rattles your grey cells and makes you ponder on the limits of unconsciously self-constructing a new identity without acquiring a legit civil status. Freedom is what everyone craves to escape the harsh conditions of misfortune. But with limitless freedom comes the human aspect of excruciating seclusion and constraints of legitimacy. Death was seen as a liberating prospect by Mattia from his entire monetary and emotional burden. His newly altered appearance and name bestowed him contentment, until his past caught up overwhelming him with nostalgic reminiscences, thus gradually transmuting his new persona into a dense prison in itself. Pirandello justifies the legitimacy of society and reality that forms convinced “shadows” of which individuals can never liberate themselves, except when death overtakes mind, body and soul. In the end, whether it was Mattia or his alter-ego (Adriano), they were merely trying to unmask a self-created phantom as neither both could entirely break away from from each other.

  • Marco Tamborrino
    2018-11-19 12:57

    «Se noi riconosciamo,» pensavo, «che errare è dell'uomo, non è crudeltà sovrumana la giustizia?»Discutendo riguardo "Il diavolo in corpo" di Raymond Radiguet, l'altro giorno, è saltato fuori, detto da qualcuno, che si trattava di un libro con una trama tutto sottomato banale, ma scritta con uno stile talmente sublime da renderlo un piccolo gioiello. Ora, io sono d'accordo in parte. Ma lasciamo stare. Credo che sia una definizione che si potrebbe appioppare anche a questo romanzo pirandelliano. A detta di alcuni miei amici la trama è geniale. A me ha comunicato solo tanta, tantissima noia, e lo stile pesante e farraginoso non rendono piacevole la lettura. Ma, ecco, se uno va a vedersi lo stile e l'approfondimento psicologico, eh! Che roba! Mi sembra di tornare al periodo in cui lessi "La coscienza di zeno". C'è anche una situazione pressoché identica.Mattia Pascal è morto.Allegria.Addio moglie.Addio suocera.Addio creditori.Addio debiti.Libero!Un'improbabile coincidenza porta al ritrovamento di un cadavere con le stesse fattezze del protagonista, che al momento si trova a Nizza a fare soldi giocando al Casinò. Tutti prendono lo sconosciuto morto per lui. Così Mattia Pascal si ritrova, per due anni e qualche mese, a condurre una vita alternativa sotto il nome di Adriano Meis, ma non potendo né amare la donna che lo ama, né avere amici, né denunciare un furto e così via, perché per fare queste cose avrebbe bisogno di un nome reale, cosa che lui non ha, capisce dunque che il prezzo della sua libertà supera la libertà stessa.Mattia Pascal è morto.Alle... no.Lib.. no, direi di no.Allora, sotto sotto, forse Mattia Pascal non è morto per davvero. Ha continuato a vivere in lui, e chi va ucciso è Adriano Meis, che si era impadronito della sua identità! Che guazzabuglio! Ma dato che poi dite che uso parole troppo difficili, dirò: troiaio.È tutto un giochino psicologico. Pirandello gioca sulla morte, sulla vita e sulla libertà. Ma, a parer mio, il pratogonista nuota, anzi annega, nelle seghe mentali. Insomma, c'hai i soldi, fattela veramente questa nuova vita! Registra il tuo nuovo nome! E ma questo di qua, quello di là... insomma, tutta 'na scusa per scrivere pagine e pagine di trattato psicologico che, pur essendo estremamente interessanti, non riscontrano la mia approvazione. Come a dire: bello, ne riconosco il valore, ma mi tengo bel lontano dal giudicarlo "appassionante". Libri scritti dieci anni dopo lo erano dieci volte di più. Non cerco un romanzo d'avventura, per carità. Solo un po' di amor per la varietà nella trama. Cosa che qui è totalmente assente.Alcune battute sono velate da un'esplicita ironia che mi ha fatto sorridere e anche ridere, ma ciò non compensa la carenza di spunti narrativi nelle varie scene descritte. C'è quasi da dire che "non succede niente".Mattia Pascal è vivo.Vivo?Di più! Resuscita!Come già detto, si rende conto che la sua libertà è tutta finta, non esiste. È in realtà incatenato alla sua vecchia vita e alle leggi del mondo che lo vorrebbero reale, mentre lui è come se restasse sospeso tra vita e morte, e le riflessioni legate a questo argomento sono molto acute e introspettive. In generale ho trovato meglio scritto il romanzo di Svevo, ma alla fine sono gusti. Non penso che diventerò un amante di Pirandello. Almeno, a differenza di Calvino, lui riesco a leggerlo. Poi va be', c'è Pavese, ma Pavese è amore e basta. Lo spunto di partenza di questo romanzo è ottimo, mancano le idee centrali, qualcosa che dia più movimento all'architettura narrativa. Non lo dico tanto per criticare. Penso che, leggendo tre romanzi in contemporanea (ed essendo uno "Le Voyage" di Céline), mi renda conto di cosa provochi noia e di cosa non la provochi. E non c'entra lo spessore psicologico. Semplicemente, ne "Il fu Mattia Pascal", a volte il sonno ha il sopravvento.

  • Paula M.
    2018-11-28 16:10

    O que somos sem identidade? E o que fazemos com a nossa vida se a vivermos como uma sombra de nós mesmos? Mattia Pascalle, o homem que morreu duas vezes e ressuscitou para afinal voltar a morrer (metaforicamente falando, é claro ), vai respondendo com o seu exemplo a estas questões. Fiquei a pensar que se ele fosse aquele agente secreto ao serviço de Sua Majestade as preocupações e conclusões registadas não se aplicariam. Ressalta deste livro o humor: apesar de tudo e de todos, Mattia conta-nos a sua história com uma grande dose de humor. Não fosse isso e esta seria uma história insuportável de se ler.

  • Jim Fonseca
    2018-11-26 19:00

    Right in the first few pages the author tells us this is the story of a man who “died twice." Our hero, or anti-hero, is going nowhere in late 1800’s Italy. He earns a pittance as the librarian in backwater Italian town. He lives with screaming kids, a wife who has lost interest in him and a viscous mother-in-law who hates him. One day while out of town, he learns from newspapers that the decomposed body of a suicide victim down by the watermill in his home town was mistaken for him. He is free! He goes on a gambling spree and actually makes money and creates a new life for himself in a distant town. But living a second life is far from easy and the plot turns into a farcical soap opera (or a real opera, since the work is translated from the Italian). The book was published in 1904, and like other novels of that era, such as Dostoyevsky’s Crime and Punishment or Unamuno’s Abel Sanchez, there is a lot of exploring of the psychology of the main character dues to the newly developing field of psychology. The author won the Nobel Prize for Literature in 1934. It kept my attention and I found the plot fast-paced and with a bit of a mystery to it.

  • Tyler Jones
    2018-11-26 18:17

    Even in so-called literary circles, the name of Luigi Pirandello is connected primarily with his innovative work as a playwright. Almost entirely forgotten, at least outside of the Italian speaking world, are the early novels which launched his literary career. The Late Mattia Pascal, published in 1904 could certainly lay claim to being one of the most unjustly under-appreciated books of the Twentieth Century. It is a psychological meditation grafted on to a rollicking comic adventure. Perhaps these very comic elements are what has doomed the book to be taken less seriously than it deserves.Mattia Pascal is born into a family of modest wealth, but whose fortune has all but vanished while Mattia is still in his teens. Through his own misadventures (though Mattia would certainly lay the blame on others) he finds himself trapped in an unbearable marriage and deeply in debt. Then an incredible turn of events presents Mattia with the opportunity to escape his dreary life and start fresh with enough money that he need never work again.Pirandello brilliantly layers a novel with insight and philosophical weight on top of a plot that is escapist fantasy-fulfillment; for who hasn't dreamed of starting life over with a clean slate and pile of cash? Then, in "A Warning on the Scruples of the Imagination", Pirandello successfully argues that his outrageous plot is not at all far-fetched - that in fact just such events are more common place than we suspect. Thus, through art, Pirandello opens our eyes to the magic of everyday life. Kudos again to New York Review Books for bringing important works such as this back into print.

  • IlariaAlways
    2018-12-12 11:56

    Ho letto questo libro per scuola, e immaginavo che, non dico mi facesse schifo, ma quasi. E invece mi è piaciuto! E' stato un libro molto divertente anche se per niente superficiale, ho adorato il personaggio di Mattia che, nonostante anche lui faccia scelte sbagliate, sono molto umane e mai completamente stupide. Per fortuna, a differenza di altri, non l'ho trovato lento e, anzi, mi sono piaciute molto le riflessioni che ci sono all'interno. Consiglio assolutamente questa lettura: anche se non è tra i miei libri preferiti in assoluto, senza subbio ne serberò un piacevole ricordo.

  • Davide
    2018-12-07 20:07

    Un uomo, creduto morto dai suoi concittadini, dalla moglie e da tutti i suoi conoscenti, fugge cercando di ricrearsi una vita sotto falso nome.[Commento del 1988. Evidentemente, non avevo molta voglia di commentare! :)]

  • Maryam
    2018-12-09 18:15

    به خاطر بدیع بودن داستان بهش چهار ستاره می دم

  • Fede
    2018-11-22 16:12

    Ho sempre avuto -e probabilmente sempre avrò- un rapporto particolare con le opere di Pirandello.Mi piacciono le tematiche che tratta, il modo in cui le sviluppa in particolare, ma quando poi arrivo al momento della lettura della vera e propria opera, non posso fare altro che sbadigliare per una buona parte del tempo. Non so perché ho sempre trovato più interessante studiare Pirandello, piuttosto che leggerlo. È abbastanza strano, lo so.Tuttavia, questa rilettura de Il Fu Mattia Pascal ha portato più sorprese di quanto immaginassi. Premettiamo che avevo ricordi vaghi della trama, ma, avendo ancora fresca in mente la lezione scolastica, pensavo di sapere cosa aspettarmi. E invece no: la prima parte del romanzo (quando è ancora Mattia Pascal e il periodo del peregrinare) era come la ricordavo, abbastanza noiosa (per i miei standard, almeno); la seconda parte, al contrario, mi è piaciuta e l'ho letta addirittura volentieri, ed è per questo che ho deciso di assegnare tre stelle a questo libro. Un aspetto che avevo sottovalutato era l'umorismo: Mattia/Adriano è stato davvero in grado di farmi ridere in più punti.Sicuramente conserverò un ricordo migliore di questo libro negli anni a venire. Magari, se e quando lo rileggerò, potrebbe addirittura piacermi un po' di più.

  • Silvia Sirea
    2018-12-04 15:57

    Ho terminato la lettura di questo pilastro della letteratura italiana pochi minuti fa e non potrei essere più soddisfatta. Amavo Pirandello a scuola, quando all'ultimo anno ho studiato le sue opere, e lo amo oggi, quando finalmente mi sono decisa a leggere i suoi romanzi.Il fu Mattia Pascal è la storia di un uomo, un uomo come tanti a cui però capita di vivere un'avventura un po' assurda, oserei dire. Ed è in questa assurdità che il lettore riesce "scovare" la realtà, la sua realtà. Pirandello ci mette di fronte ad una verità: ognuno di noi indossa delle maschere. Ad un certo punto possiamo provare a liberarcene, ma esse ci continueranno a perseguitare durante tutta la vita. E il tormento, le preoccupazioni e tutto ciò che deriva dall'indossare una maschera è descritto e raccontato mirabilmente in questo romanzo.Pirandello ha uno stile particolare che, ad un primo impatto, può risultare ostico; ma, nel momento in cui ci si adagia al flusso della narrazione, diventa godibilissimo. Durante la lettura ci sono dei passaggi veramente esilaranti e sono molto spesso questi stessi passaggi a regalare al lettore una sensazione di compassione che lo accompagna fino alle ultime righe del romanzo, quando si chiudono le pagine e un sorriso dolce e insieme amaro nasce sulle labbra.

  • Sinem A.
    2018-12-07 15:11

    Yazarın 1904 yılında adli gazete haberlerinden etkilenerek yazdığı bu romanının içinde, 1924 yılında yazdığı "biri, hiçbiri binlercesi" adlı kitabının izleri çok rahat görülüyor. Her iki kitabın da ortak sorunu kimlik, kararakter ve sosyal yaşamın trajikomik tarafları ama özellikle insanın benliğinde varolan kimlikleri hakkında.Yazarın sosyal hukuk düzenine de ince dokundurmaları yer yer keyifle tebessüm ettirir nitelikte ama yazarın derdi ve düşüncesini özetleyen konu kitabın sonunda yeralan şu sözlerde gizli sanırım;"Yaşamdaki saçmalıkların, inandırıcı görünmesi gerekmez, çünkü onlar gerçektirler. Sanatın gerçekmiş gibi görünmek için inandırıcı olması gereken saçmalıklarının aksine. Sonra inandırıcı olduklarında artık saçma değildirler. Hayattaki bir olay saçma olabilir, bir sanat eseri, eğer gerçek bir sanat eseriyse saçma olamaz. Dolayısıyla bir sanat eserini saçma ve inanılmaz olduğu gerekçesiyle hayat adına eleştirmek düpedüz aptallıktır.Sanat adına evet. Ama hayat adına değil."

  • Raquel
    2018-11-11 12:16

    Foi daqueles livros totalmente desconhecidos que encontramos por acaso numa livraria, com um desconto apelativo, e não conseguimos resistir a comprar. Sabem? Apaixonei-me pela sinopse, pelo título interessante e a capa peculiar, e tive de o ler logo de seguida. 'O Falecido Mattia Pascal' talvez não me tenha apaixonado tanto como este momento inicial da nossa relação, mas não deixa de ser um excelente exemplar de literatura!crítica em http://leiturasmarginais.blogspot.pt/...

  • Elisa
    2018-11-29 16:13

    Een eerste belangrijk element in dit boek, is de humor. Pirandello neemt de rauwe realiteit en beschrijft die op een ironische manier, soms op het randje van zwarte humor. In dit boek vind je de humor terug in het kluwen van verwarde situaties waarin de personages terecht komen, maar ook in de vaak zeer plastische beschrijvingen van de personages. Sommige scènes worden door die humor bijna volkstoneel, wat verklaart dat Pirandello zijn latere toneelstukken vaak baseert op zijn romans.Maar het belangrijkste in dit boek, zijn de onderliggende, grote thema’s.Het centrale thema is het verlangen naar vrijheid. Mattia wordt zich met een klap bewust van die vrijheid wanneer hij van de trein springt, en dat gevoel wordt eerst alleen maar groter. Maar al vrij snel wordt hij geconfronteerd met de grenzen van die vrijheid, en het besef van die grenzen wordt alsmaar sterker.Het thema van de vrijheid is ook nauw verbonden met de angst voor de dood en de vraag wat er komt na de dood. Zo beseft Mattia dat zijn schijndood hem niet verlost van de echte dood. Daarnaast zijn er de lange filosofische discussies met signor Anselmo, die ervan uit gaat dat de mens het enige wezen is dat zichzelf voelt leven, en dat gevoel vergelijkt met een lampje dat iedereen in zich draagt en dat een kring van licht verspreid. De dood bestaat volgens hem niet, de grens tussen leven en dood "is illusoir, hij houdt verband met het zwakke lampje van onze persoonlijkheid: in de realiteit van de natuur bestaat hij niet".Een derde groot thema is het zoeken naar identiteit¸ wat bij Mattia Pascal ook letterlijk het geval is: hij moet op zoek naar een nieuwe naam, maar hij wil zichzelf ook heropvoeden. Bij die zoektocht naar zijn identiteit, botst hij voortdurend op de nietigheid van de mens en de zinloosheid van het bestaan. Die zinloosheid lijkt nog te worden versterkt door de moderne maatschappij en de tirannie van het materiële.Gelukkig zijn er ook nog positieve elementen in het leven, en die vindt Mattia terug in de liefde, enerzijds de liefde voor zijn dochtertjes, hoe kort ook, anderzijds zijn liefde voor Adriana. Tussendoor verwijst Pirandello ook af en toe naar het creatieve proces van het schrijven en naar de fantasie, waarvan hij vaststelt dat die het echte leven nooit kan overtreffen blz. 281.Of Mattia Pascal een antwoord vindt op zijn vragen, laat ik jullie zelf ontdekken, maar ik wil nog wel de raad meegeven die Signor Anselmo aan Mattia, of beter Adriano, geeft: “Lachen, meneer Meis, om al de nutteloze, stompzinnige kwellingen die het (leven) ons heeft bezorgd, om alle spookbeelden, om alle eerzuchtige en vreemde hersenschimmen die het voor en rondom ons heeft opgeroepen, om de angst die het ons heeft ingeboezemd”.

  • Jill
    2018-12-05 18:53

    Enjoyable, if not exceptional. Pirandello is witty & amusing, and even when the book shifts into its more blatantly philosophical segments, it's still a pleasure to read. That said, it's dated -- not in content, necessarily, but in impetus -- but not so badly that it completely detracts from the reading experience. A dark but fun meditation on identity & faith/fulness -- and worth it, mostly.

  • Mohamed Omran
    2018-11-17 12:00

    الرواية من النوع الجيونفسي ويصعب تصنيفها في مذهب أدبي واحد لأنها بين البراجماتيه والواقعية. تناقش علاقة الفرد بالمجتمع وعلاقة الحياة بالشكل فليس كل ما يظهر لنا يعبر عن الحقيقة. وان عصر المعجزات والصدف لم ينتهي وكيف تتم المواعيد واللقاء بدون ترتيب بعفويه والابهار في الفاظ برانديللو المبهجه المحيره بشكل ارتباكي يعطي انطباعين في نفس الوقت ويبقى أجمل ما في الرواية هو بساطة الأسلوب وروح الفكاهة التي تضيف لمسة ساخرة بالرغم من جدية المواضيع وفلسفتها العميقة. إنها رواية عن الهوية، العائلة، النفاق، حقيقة الزواج، الاندماج في المجتمع، القيود الاجتماعية، الجنون والتطلع نحو الحرية. حينما قرأتها تمنيت لو تمنحني الحياة فرصة للبدء من جديد، لكن بعدما أعدت قراءتها بدأت أفكر في تغيير فلسفتي للحياة ومحاولة اكتشاف سر الموت بين ثناياها.

  • asdewi
    2018-11-23 18:12

    "Because we can’t understand life, if we don’t explain death in some way. The motive, the direction of our actions, the thread to lead us out of the maze, dear Signor Meis, the light must come from beyond, from death." (Page 122)Seandainya kamu diberi kesempatan kedua untuk menjalani hidup dari awal, akankah kamu bersedia?Tidak?Well...gimana kalo gini : Seandainya kamu terikat dalam pernikahan tanpa cinta, punya mertua yang rese, dan berada dalam kondisi nyaris bangkrut. Lalu saat pulang dari bermain judi di Monte Carlo, kamu liat pengumuman di koran telah ditemukan sebuah jenazah yang dikira adalah dirimu. Di kantongmu penuh uang hasil kemenangan judi.Tidakkah kamu berpikir untuk kabur aja dengan uang di tangan? Pergi ke tempat yang jauh dan membangun hidup yang baru?Saya sih mungkin kepikiran gitu. Nggak tahu juga sih, secara saya belum pernah mengalami kondisi di atas, tapi running away memang tampak pilihan yang lebih mudah sih.Yang pasti, itulah yang dilakukan Mattia Pascal. Sewaktu mengetahui kalo dia sudah dianggap meninggal, Mattia malah kegirangan dan merasa (akhirnya) dia mendapat kebebasan. Setelah membuat identitas palsu, dengan serunya dia berkeliling Eropa, lalu memutuskan menetap di Roma. Di sana dia berkenalan dengan banyak orang baru dan bahkan jatuh cinta lagi. Mattia begitu cinta pada gadis barunya sampai dia berpikir untuk membeli rumah di Roma dan mulai menetap.Masalahnya, dia adalah pria dengan identitas palsu. Dia gak punya surat resmi yang dibutuhkan untuk membeli rumah. Dia bahkan gak bisa membuka tabungan di bank, apalagi membuka bisnis yang bisa dibanggakan kepada keluarga kekasihnya. Dan segera Mattia menyadari kalo kebebasan yang selama ini didapatnya hanyalah kebebasan semu.Lalu apa yang sebaiknya Mattia lakukan? Bertahankah? Atau memalsukan kematian (lagi) dan mulai hidup baru (lagi)? Atau malah kembali ke kehidupan lama?Kalo dia memalsukan kematian lagi, kapan masalahnya selesai?Kalo dia mau kembali ke kehidupan lama, emangnya segampang itu buat balik? Keluarganya sudah move on dengan kepergian dia. He can't just pick where he left off. So...what to do now?Saya sudah membaca beberapa karya Pirandello dan sepertinya topik tentang eksistensi diri adalah topik favorit beliau.Di novelnya ini, Pirandello gak menegaskan pilihan mana yang sebaiknya diambil. Dia hanya menunjukkan konsekuensi setiap pilihan tersebut dan membiarkan pembaca yang menilai apakah pilihan tersebut tepat.Mengenai novel ini, walopun tokoh Mattia Pascal itu sebenarnya ngeselin dan terkesan tidak bertanggung jawab, tapi saya bisa bersimpati sama dia. As I said, can't blame him for the decision. Sometimes in the past (reeeeeeeaaaallllllyyyyy really sometimes), I wish to move to another galaxy and start everything from the scratch.Jelas saya gak bisa melakukan itu. Yang bisa saya lakukan hanyalah menyelesaikan ato berkompromi dengan apapun kondisi saat ini. Tapi toh saya gak bisa menghilangkan pertanyaan macam "apa-jadinya-kalo-gw-bisa-pindah-planet-lain-ya".Melalui Mattia, Pirandello menjawab pertanyaan saya. Pirandello melihat konsekuensi dari berganti identitas yang tidak pernah saya bayangkan sebelumnya. Dan sejak membaca buku ini, saya menghapus keinginan konyol itu. I prefer to stay in this kind of life. Untuk satu alasan ini aja, saya sudah merasa suka sama Mattia Pascal. Belum lagi ditambah dengan dark humour dan sinisme Mattia Pascal yang diselipkan Pirandello di berbagai bagian buku ini."The country air would certainly do my wife good. Perhaps some of the trees would lose their leaves at the sight of her, and the birds will fall silent; I only hope that the spring doesn’t go dry." (page 70)Pirandello juga mengungkit soal absolute freedom di buku ini. Seperti yang kita tahu, sudah lama ada perdebatan apakah absolute freedom itu benaran ada ato nggak. Bahkan definisi absolute freedom pun masih diperdebatkan. Beberapa beranggapan bahwa absolute freedom itu sama dengan fundamental freedom yang ada di pidato Presiden Roosevelt, yaitu "freedom from fear, freedom from want, freedom of speech, dan freedom to worship". Beberapa berpegang pada pendapat yang sangat populer tentang absolute freedom yang ini: "the ability or freedom to make a choice and act on it completely detached from the input, control or otherwise influence of external forces such as society, people etc". Tentu saja kalo anda beranggapan absolute freedom adalah seperti definisi di atas, then it is unattainable. Mereka yang romantis dan optimis mengamini pendapat Stephen Covey yang ini mengenai absolute freedom : “Our ultimate freedom is the right and power to decide how anybody or anything outside ourselves will affect us.” Saya tidak akan memulai diskusi mengenai absolute freedom di sini, pun memaparkan pendapat saya tentang itu. But for sure, The Late Mattia Pascal is Luigi Pirandello's opinion to absolute freedom.What's his opinion?Ah...that's something you have to find out by yourself :)"But at a certain point we realize that all life is stupidity; so tell me yourself what it means never to have done anything foolish. At the very least it means you have never lived."(page 105)

  • Caroline
    2018-11-19 14:49

    This is an interesting contrast with 'Sheppard Lee, Written by Himself', which I read a short time ago. In Sheppard Lee a man flees debts and a generally unsatisfactory, pointless life by magic. That is, dying in an accident, he finds he can magically inhabit another body whose ‘owner’ has just died. However, he takes on the character and life circumstances of said dead man, which in time, for each of the sequence of bodies he adapts, becomes intolerable.Mattia Pascal, in contrast, doesn’t die but is released when his wife and his harridan mother-in-law identify someone else’s dead body as his. Mattia has run away a few days before and takes the misidentification as a godsend; Pascal too flees debts as well as a miserable home life. But he suddenly finds equal misery in having no identity at all in his un-dead state. Both he and Sheppard Lee avoided any kind of serious education or training, and they have no inner resources to support them when adversity and boredom strike. Both have lost their inherited lands to devious business managers, and thus as gentlemen have no way to earn a living.Pirandello investigates authenticity, asking how much of our identity is dependent on external definition: heritage, relationships, position, law. Not an innovative subject for a novel now, but in 1904 this must have been a fairly unusual work. Mattia tries to live without any home or relationships for a while, then gradually becomes enmeshed in a new set of relationships which he cannot sustain in his inauthentic, unrecognizable (legal) state. He both takes advantage of others and is taken advantage of, without a ‘self’ of recognized responsibility and integrity.The following quote is interesting in the context of other WWI era reading:‘ This feeling about life, for Signor Anselmo, was exactly like a lantern which makes us see ourselves scattered over the earth, and makes us perceive good and evil; a lantern which projecs all around us a more or less extensive circle of light, beyond which lies the blank shadow, a fearful shadow, which would not exist if the lantern was not lit in us, but which we must unfortunately beiieve to be real as long as the lantern is alight within us. When at the end it is snuffed out, perpetual night will greet us after the misty daylight of our illusion, or rather, we will be left to the mercy of Being, which will only have shattered the vain forms of our reasoning.…In each period, in fact, a certain agreement about feelings tends to establish itself among men, which gives light and color to those lanterns which are represented by the abstract terms : Truth, Virtue, Beauty, Honour and so on…Don’t you think, for example, that the lantern of pagan Virtue must have been red? Christian Virtue must have been violet, a depressing color. The light of a common idea is fed by a collective feeling; if however , this feeling stops being general, the lantern of the abstract term stays standing, but the flame of the idea crackles, flickers, and dips, as usually happens in all periods of so-called transition. Then there are periods in history, not altogether rare, when proud gusts of wind suddenly extinguish all the lanterns. Wonderful! In the unexpected darkness there is an indescribable sense of disorientation amongst the smaller lanterns: some go hither, some thither, some turn back, some falter; no-one knows the way any longer: they bump into one another, perhaps make groups for a while of ten or twenty, but cannot come to any agreement and go back to being scattered about in a state of confusion and anguish and fury, like ants that can’t find the entrance to the anthill when some cruel child has blocked it up just for fun. I think, Signor Meis, that we are at one such time at this very moment. It is very dark and confused. All the great lanterns have gone out. Who should we turn to? Should we turn back perhaps? Should we go back to the surviving lanterns which great men now dead have left burning on their tombs?…The weak, but constant light of these little lanterns [re: lanterns of men who get their lantern oil from the church] of course awakens a painful envy in many of us; whilst certain others, who think they are armed, like so many Jupiters, with the tame thunderbolts of science and who, in place of the little lanterns, carry triumphantly electric torches, feel disdain and pity….