Luigi Pirandello

Henry IV is an Italian play (Enrico IV) by Luigi Pirandello written in 1921 and premiered to general acclaim at the Teatro Manzoni in Milan on 24 February 1922. A study on madness with comic and tragic elements, it is about a man who believes himself to be Henry IV, Holy Roman Emperor. It has been translated into English by Tom Stoppard, among others. Rex Harrison starred in a noted British production which went to Broadway in 1973, though the Stoppard translation was not used in the production. In 2019, it was ranked by The Independent as one of the 40 greatest plays ever written.

Il fu Mattia Pascal (1904) es una de las novelas m s importantes de Luigi Pirandello y del siglo XX. Cuenta la historia de un hombre atrapado, prisionero de un matrimonio infeliz y de una existencia provinciana y sin perspectivas. Todo cambia cuando la suerte le regala una gran ganancia en el casino de Montecarlo, justo en el momento en que un ahogado en su finca es confundido con l. En Roma, bajo el falso nombre de Adriano Meis, Mattia intentar empezar de nuevo, experimentando, sin embargo, las dificultades insuperables de una vida llevada fuera del registro civil y de la legalidad. Obra filos fica, novela de tesis, obra maestra del humorismo literario, Il fu Mattia Pascal es un texto que pone al descubierto las paradojas de la condici n humana dentro de la civilizaci n moderna.

Three Plays, a classical book, has been considered important throughout the human history, and so that this work is never forgotten we at Alpha Editions have made efforts in its preservation by republishing this book in a modern format for present and future generations. This whole book has been reformatted, retyped and designed. These books are not made of scanned copies of their original work and hence the text is clear and readable.

A young wife in a nineteenth-century Sicilian village, Marta is deeply in love with her husband Rocco and pregnant with his child. But when Rocco discovers a letter written to Marta by a would-be suitor, he falsely accuses her of infidelity and banishes her from their home. Soon the whole village turns against the supposed adulteress, setting in motion a series of tragic events that culminates in the loss of Marta’s family home and business, as well as the deaths of her father and newborn child. Plunged into poverty and treated as a social leper, with practically nothing else to lose, Marta is determined to claw her way back into a society bent on excluding her. The Outcast is an early masterwork from Nobel Prize–winning Italian author Luigi Pirandello that combines elements of Zolaesque naturalism with emerging modernist aesthetics. This fresh English translation, the first in nearly one hundred years, showcases Pirandello’s deft play with language and his use of irony. This book was translated thanks to a grant awarded by the Italian Ministry of Foreign Affairs and International Cooperation.

A young wife in a nineteenth-century Sicilian village, Marta is deeply in love with her husband Rocco and pregnant with his child. But when Rocco discovers a letter written to Marta by a would-be suitor, he falsely accuses her of infidelity and banishes her from their home. Soon the whole village turns against the supposed adulteress, setting in motion a series of tragic events that culminates in the loss of Marta’s family home and business, as well as the deaths of her father and newborn child. Plunged into poverty and treated as a social leper, with practically nothing else to lose, Marta is determined to claw her way back into a society bent on excluding her. The Outcast is an early masterwork from Nobel Prize–winning Italian author Luigi Pirandello that combines elements of Zolaesque naturalism with emerging modernist aesthetics. This fresh English translation, the first in nearly one hundred years, showcases Pirandello’s deft play with language and his use of irony. This book was translated thanks to a grant awarded by the Italian Ministry of Foreign Affairs and International Cooperation.

Mitä sinä teet? vaimoni kysyi, kun näki että tapojeni vastaisesti viivyttelin peilin edessä. En mitään, vastasin hänelle, katson nenäni sisään, tänne sieraimeen. Kun painan sitä, tunnen pientä kipua. Vaimoni hymyili ja sanoi: Luulin että katsoit, kumpaan suuntaan se on vinossa. Käännyin kuin koira, jonka hännälle on tallattu: Vinossa? Minunko? Nenänikö? Ja vaimoni, tyynesti: Kyllä vain, kulta. Katsohan tarkkaan. Se on vinossa oikealle. Tästä alkoi sairauteni. Sairaus, joka nopeasti saattaisi minut niin surkeaan ja epätoivoiseen ruumiin- ja mielentilaan, että olisin varmaankin kuollut tai tullut hulluksi, ellen olisi löytänyt siitä itsestään (kuten myöhemmin kerron) lääkettä, joka parantaisi minut. Näin käynnistyy Luigi Pirandellon romaani Vino nenä (Uno, nessuno e centomila, 1926) ja päähenkilö Vitangelo Moscardan eksistentiaalinen kriisi. Tässä Pirandellon seitsemännessä ja viimeiseksi jääneessä romaanissa tiivistyvät hänen monipuolisen kirjallisen tuotantonsa johtavat teemat, minuuden sirpaloituminen, kommunikaation mahdottomuus, todellisuuden suhteellisuus, ja ne puhuttelevat lukijaa edelleen, vaikka kirjan ilmestymisestä on kulunut kohta vuosisata.