1890. Italian Trad F. Francavilla, our hearts, Milan, Rizzoli, 1963
André Mariolle, an idler "Rich enough to live in his talent, which acted cautiously so far, it being" always on the defensive in life, [...] preserved by the passions "(p. 45), content" to enjoy life as a spectator, or better as an amateur "(p. 12), estimated by his friends, back to the mundane environments," loyal, devoted, of pleasant company, very nice "(p. 13), yields little time to the lure of Michèle de Burne, widow a marriage without love, "owl," salon, "independent in nature, cheerful, even exuberant, sweet and amiable" as well as beautiful and elegant (p. 15), discreet and not talk in company, not less able to ensnare the number of suitors. The report
entertained by these two characters see André increasingly in love, eager to absolute and exclusive, and Michael, while remaining true to history and granting secret with him, remains somewhat distant, continuing, albeit platonic, flirting with the other patrons of the lounge and not be able to get a more intense level of passion. André grieves and moves away, breaking the relationship. A
Fontanebleau, where Andre takes refuge, a maid, Elizabeth falls in love with him, so you start a new relationship. When Michèle reappears, while remaining attached to her heart, André holds a closer link with Elisabeth, promising to be his lover even when they moved to Paris, choosing to be loved than loving as a source of minor pain.
If this story is outlined with varied psychological traits, which express the alternation of suffering and pleasantness of love, is both a historical context, literary discussions with urban as well as gossip and not entirely successful attempt to take refuge nature and authenticity with the parties acclimatized to Mont St Michel and Fontanebleau.
More intimate than other novels by Maupassant, in part (even if only indirectly) and directed by autobiographical stories written shortly before the last tragic years of malattia e di ricovero nell'ospedale psichiatrico, si dota, come si legge en abyme , di "un occhio atto a captare le immagini, le attitudini, i gesti con la rapidità e la precisione di una macchina fotografica" per rappresentare "un brano dell'esistenza umana strappato alla realtà" e "il movimento della vita stessa" (pp. 21-22).
"Guardiamo tutto attraverso il sentimento", dichiara nel romanzo Michèle, "non dico attraverso l'amore - no - attraverso il sentimento, che ha ogni sorta di espressioni, di manifestazioni, di sfumature" (p. 29), sebbene il vero personaggio sentimentale sia qui non tanto lei quanto André.
Michèle rappresenta, come viene più volte repeated in the novel, the woman of "modern casual" than the second Mariolle, another character from the "old women of the novels", or "spiritual" and "heart" (p. 32).
Funny, reading some criticism, as the figure of Elizabeth, a man so sensitive, it is often simply the "home" instead of having a name that deserves to be recorded, as this girl from humble beginnings in love and is able to demonstrate genuine attention to the fiance, unlike the worldly woman protagonist and representatives of social class Michèle, although ultimately Elisabeth is very flattered by the prospect of climbing the social ladder to become the friend a rich, but this aspiration is confused about her feelings with authentic to André and instead emerges as we come to his conscience.
[Roberto Bertoni]
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