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In an attempt to reconstruct the tortuous path that Pirandello embarked upon in order to become the writer he became, this article introduces us into the writer’s workshop by means of a stratigraphic analysis of the novella Il «no» di Anna (1895), which was subsequently reworked and published under the title Lillina e Mita (1906) with major changes to the narrative structure. The dates of the two editions can also be read symbolically, the former anchored in the narrative models of the Ottocento and the latter representing the dawn of a new epoch, following the breakthrough marked by Il fu Mattia Pascal, a work which incorporated his peculiar humoristic vein. Moreover, the essay adds new tesserae to the complex mosaic regarding the circular nature of the material that characterises Pirandello’s work. Some fragments from Il «no» di Anna indeed reappear unchanged in the first edition of the novella Lontano (1902), whereas fragments from the latter re-emerge in Lillina e Mita, thus establishing a triangular relationship among the texts. Lastly, by rewriting the explicit of a story penned eleven years earlier, Pirandello confirms that terrible law that keeps individuals in check in the modern world.
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