Even with all the importance of his nose, which can serve as scrivania, that of portagioielli and maybe even from sign of great perfumeryCyrano certainly cannot compete with the most famous nose in world literature: that of Pinocchio. The numbers of the fame of the puppet created by Collodi are impressive: the most translated Italian book in the world, the second most translated book of universal literature, after the Bible: two hundred and forty languages!
Most kids know the story thanks to Walt Disney’s interpretation, as always beautiful but also, as always, a great taming of a book which, as we will see, is at times dark, complex, even disturbing. As with Don Quixote (and perhaps even more so) the character has become iconic, he has separated himself from the narrative, like a puppet that can be used in a thousand adventures, even very far from the intentions of his creator who – ironically! — perhaps finds himself a bit like Geppetto wondering where that piece of wood that he had helped to shape with such skill ended up.
The original intentions of Collodi (born Carlo Lorenzini, born in Florence in 1826 and died in the same city in 1890) were complex, certainly intertwined with the Risorgimento spirit that had fascinated him and pushed him to participate in the First and Second Wars of Independence (1848, 1859). And, since once Italy was made, it was a question of making Italians, a simple story for children was a political act: the construction of a common language (obviously inspired by Tuscan) and of a shared conscience. Thus, after having collaborated with the Ministry of Education on the drafting of the first Italian dictionary, Collodi, a journalist by profession, dedicated himself to the little ones. Yet, it is said, it was not only noble reasons that pushed Carlo to publish in installments the adventures of the most famous puppet in the world: gambling debts (perhaps contracted with some Gatto o Volpe of the time) pushed him to send once a week to the director of the Giornale per i bambinistarting from 1881, the first episodes of the story entitled, at the time, Story of a puppet. A “little girl”, as he introduced her, who however should have at least allowed him to make ends meet.
On the other hand, great stories are often born this way: in a mix between heroic ideals and the tangled and complex practices of everyday life, which the highest projects always have to deal with, just as Pinocchio has to deal with the distractions that, step by step, take him away from the great project of becoming a child from a puppet.
The unexpected turns of his character, on the other hand, made the novel little by little, since the author probably did not start with a precise plan. Indeed, if there was a plan, he soon had to give it up: after having the puppet hanged in October 1881 after about ten episodes, in February 1882, given the protests of the young readers who had literally fallen in love with the character, he resumed the story, entrusting the little girl with blue hair (who had become a fairy on occasion) with the task of resurrecting him.
The novel, in single form, came out in 1883, with the version we all know. Or, it would be better to say, that we all think we know, because nothing is as it seems. This is to be expected, in that fiction of fictions which is a puppet: if the theater already pretends, the puppet theater pretends to the second, pretends a fiction, pretends a theatre.
Here, then, is that Geppetto (apparently the embodiment of the good man, docile and victim of the whims of his beloved son) in reality does not seem to be pursuing, at least at the beginning, a desire for fatherhood, but a new business idea. And Mangiafuoco, who has terrified generations of children, is actually a big, tender man who, when he gets emotional, instead of crying, sneezes; he is the one who gives five gold coins to the puppet for his poor dad, instead of burning him as he had threatened to do.
And what about the little girl with blue hair who, although always ready to do good for Pinocchio, at every appearance does nothing but talk about death, to the point of faking her own, throwing the poor puppet into profound and useless despair? Of course, in the 19th century children’s literature did not yet exist and what today appears completely disturbing and unsuitable for young minds perhaps did not arouse the concern of adults.
«Once upon a time… there was a king, my little readers will immediately say…» Collodi begins, to instead present us with a piece of wood which, well before being a puppet, already speaks, complains and makes fun of adults. Mastro Ciliegia is the first to have it in his hands, but he doesn’t know how to give it shape. Thus the piece of wood reaches Geppetto, already addressing him as “Polendina”, by virtue of that blond toupee that covers the carpenter’s baldness and that Pinocchio, despite having neither a name nor eyes, already recognizes.
The carpenter gets to work with a very specific project in mind: to make a puppet and travel the world to make money. Yet, something alive, as always, messes up the projects…
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