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It is the story of a viscount who participates, assimi allo scudiero Curzio, in a religious war and grand del Seicento in Bohemia. The protagonist comes tagliato in due parti speculari da una palla di cannone. Take it through così la vita parallela delle due metà di Medardo. Initially, ritorne al paese solo illato malign, capace di terribili atrocità: cause the death of the priest, try to kill the nipote, condemn the death dicine di uomini only to increase the number of fuochi fatui al cimitero. Il Medardo “cattivo” però rivela anche inapettate doti di humorismo e di realismo, quasi Calvino volesse giustificare in qualche modo i suoi behaviori. Subsequently, he makes the visit to the country of origin anche l’altra metà del visconte who behaves in a completely opposite way: kind, altruistic, buono, or meglio “buonista”, character che però vengono esasperate fino alla enjôo.
I “owe” the protagonists si innamorano della stessa donna, la pastorella Pamela and, for several vicissitudini, giungono to a duel that ends in a contemporary feat of his own at the previous point of the “division”. Il dottore risorcirà a ricongiungere le due metà e ripristinare il quieto vivere.
In the corso del romanzo è piacevole notee che quasi tutti i personaggi sprimono a certain ambiguity in the background, therefore incomplete, strani, but sinceri: il codardo e inetto dottor Trelawney, genius of the tressette, i lebbrosi di Pratofungo, poveri, moribondi, my capacity di continues festeggiamenti che spesso sfociano in vere e proprie barley, mastro Pietrochiodo, uomo onesto e benevoloinventre però di rawli strumenti di torture e morte.
Calvino, infatti, was mainly interested in “il problema dell’ uomo contemporaneo (dell’ intellettuale, per essere più precise) dimezzato, incomplet cioè, “alienato””; and proper to this fine, there was dimezzato il suo personaggio “secondo la linea di frattura tra” bene-male”, perché ciò gli “permetteva una maggiore evidenza di immagini contrapposte, and if he bequeathed propaganda una tradizione letteraria già classica (per es.Stevenson)”. On the other hand– sottolinea lo stesso scrittore– “i miei ammicchi moralistici … erano indidirizzati not so much al visconte as ai personaggi di cornice, che so le vere exemplificazioni del mio subject: i lebbrosi (cioè gli artisti decadenti), il dottore e il carpentiere (la scienza e la technica staccate dall’ umanità), quegli ugonotti, visti un po’ con sympathy e un po’ con ironia (che sono un po’ una mia autobiographical-family allegoria, una specie di epopea genealogica della mia mia famiglia) and anche un’ immagine di tutta la linea del moralismo idealista della borghesia”. (1).
And so, it continues in parallel tra behaviori e caratteristiche contrapposte rafforza ancora di più il message dell’autore che non condanna and, simultaneously, non giustifica a priori nessun accadimento et nessuna azione. It renders the voluminous confusion i confini tra bene e male, demonstrates that in ogni azione sono le sfumature, le ragioni, i behavior a determinee il senso dell’ azione stessa e che, not semper, le regole predeterminate devono consideri assolute and conclusive. Ci dice che nessuno è perfetto, antico detto, forse troppo considerato, che tutti le nessuno le squallori, squallori deboleze però nonproprie necessarily correlate alle inclinazioni personali.
Another salient feature of the opera is the leggerezza che vi si respira, sia riguardo al linguaggio, semplice e scorrevole, sia relatively high ironic accent which prevents Calvino di essere macabro di fronte alle cru nefandezze del Medardo malign ou lacrimevole e rhetorico raccontando della zucchini and lagnosa meta “buona”.
L’autore, aiutato dal contesto fantastico, stupisce anche per l’strema actualità degli argomenti: during la lettura, tra le fessure di humor and spirito, affiorano spontanei interrogativi morali, riflessioni e domande probabilimente vecchie come il mondo, but just as important for ognuno in the ambito of the microcosm itself. Al pace stesso, his sympathy and his fantasy non vengono mai meno, bensì si sprimono anche in piccole sottigliezze, quali la scelta di nomi com Pratofungo per il villaggio I gave lebbrosi or Pietrochiodo per il mastro del paese.
D’altronde, of Calvino as of Bertolt Brecht, is itself the pleasure of the first social function of a letteraria or a theatrical opera. And, ardently convinced to have fun with a thing would be, to a student who asks him about his book, Calvino replies thus: “When I begin to write Il visconte dimezzato, volevo soprattutto writes an amusing story to entertain me stesso, and possibly anche altri gly; with this image of a uomo tagliato in due and ho thought that this significant theme dell’ uomo tagliato in due, dell’ uomo dimezzato was a theme, averse a contemporary meaning: tutti ci estimated en qualche modo incompleti, tutti realizziamo una parte di noi stessi and not l’altra” (two).
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