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Il gattopardo Edizione conforme al manoscritto del 1957 Giuseppe Tomasi Di Lampedusa 9788807013089 Books

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Il gattopardo Edizione conforme al manoscritto del 1957 Giuseppe Tomasi Di Lampedusa 9788807013089 Books

Published first in 1957, the year of Giuseppe di Lampedusa's death! That was only six years before the acclaimed film by Luchino Visconti was released. But Il Gattopardo is ineluctably a 20th C novel masquerading as a 19th C Romance, in style as much as in setting. I insist on telling you this because, if you didn't read the preface or look at the back of the title page, you might well be dangerously startled when Lampedusa first breaks the frame and refers to events of his own lifetime. That doesn't happen until a third of the book is finished; until then there is no 'narrator' in sight. Thereafter, however, Lampedusa inserts his "I" at judicious intervals, calling the reader away from the Sicily of the 1860s with metaphors of modernity. Eventually he even mentions the atomic bomb.

Possibly some readers will be annoyed by Lampedusa's occasional first-person anachronism, but I don't think they were an accident or an error of style. They're a significant clue as to the intention of the novel, which isn't simple nostalgia. Lampedusa doesn't whitewash his setting or his characters; Sicily in the 1860s was a land of grievous poverty and economic stagnation, a society still bogged in feudalism, and the aristocratic families that supply nearly all the characters in Il Gattopardo were decadent, besotted with themselves and their possessions, reactionary, indifferent to the misery of their society. Their highest aspiration was to hang on to their luxury and privilege as long as they could, at least their own lifetimes, and let the next generation fend for itself. Only the central figure, Prince Fabrizio Salina, gets much respect from his 'creator' Lampedusa. His flaws and follies are the same as any other of his class, but his vitality and his inward perceptions of his milieu exalt him above the stagnant morass of his insular society. It's not mere words, on Lampedusa's part, to depict the Prince's fascination with astronomy. Salina is, for this author who might be his great-grandson, as genuine a hero as historical reality allows.

The plot of Il Gattopardo is rather loose. It's the era of the Risorgimento, the unification of Italy with Garibaldi as the charismatic revolutionary. Prince Salina imagines himself, correctly as it turns out, as "above the fray". His preeminence will remain untouchable and his Sicily, with all its failures and inequities, will remain eternally the same. His wealth is being eroded by energetic and unscrupulous lower-class parvenus, but he disdains to resist them; such has always been the case, a process of revitalization. The Prince's nephew, a charming and talented fellow whom we see only as the Prince sees him, is an enthusiastic Garibaldino and an avatar of the Sicily-to-be, but his uncle's affection for him is stronger than any political discord. Eventually a love story unfolds, between the nephew and the beautiful daughter of the Prince's polar opposite, the up-and-coming parvenu "Don" Calogero. That romance is in effect the structure of the novel, but the heart and soul of Lampedusa's tale is the complex depiction of the personhood of Fabrizio Salina.

If it's not nostalgia, then what is it? I think it's a celebration of "tempo perso" -- temps perdus/lost times -- a monument of their beauty as well as their infamy, intended to rescue them from oblivion. In that mode, it reminds me of the extraordinary Squarcialupi Codex of 15th Century Florence, an opulent illuminated volume containing the best music of Tuscany's distinctive indigenous composers, whose style was already utterly out of fashion, displaced by the arrival of the Franco-Flemish polyphonists in Italy. The redactors of the Squarcialupi Codex had no expectation of reviving the music of their greatest native composers like Francesco Landini, nor even to encourage performance of it. They meant forthrightly to immortalize the accomplishment by wrapping it sumptuously in museum shrouds. Il Gattopardo strikes me as having the same intention, not to replay the 'music' of pre-modern Sicily but actually to inscribe it in the museum of literature before its image faded from human memory.


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Il gattopardo Edizione conforme al manoscritto del 1957 Giuseppe Tomasi Di Lampedusa 9788807013089 Books Reviews

A great book! I'm so glad to have been able to buy it.
And a phenomenal read. Newcomers to the Italian language should read this volume alongside an English translation . . . but be careful! Some translators take liberties with the Italian!
È stato un enorme piacere leggere questo romanzo. L'universalità di questa opera, che illustra come si svolgono gli interessi di classe di una società in cambiamento, è una realtà atemporale e applicabile al di là di Donnafugata, della Sicilia, e dell'Italia.
...and it won't be easy. But this is magnificent prose and a lapidary account of the end of the ancien regime in Italy. Better to read Lampedusa than a boatload of so-called professional historians who write for each other with all the style of processed cheese. I keep coming back to Lampedusa to understand the nineteenth century--one of the best in ANY language.
A masterpiece of Italian prose, with brilliant descriptions and
characterizations. However, for those not completely versed in Italian,
have a good Italian-English dictionary nearby.
The availability of this important piece of Italian literature in its native language is a significant event, bringing this classic to readers outside of Italy for their enjoyment and appreciation without the intermediary translation. Adding to the excitement of having this novel in electronic format is the informative and insightful preface written by his nephew and adopted son which details the history of the writing and publication of this classic, including editing of the first editions. This version presented in e-format is a welcome addition to the library of literature available to readers who wish to experience it in this format and a superb classic for readers of the Italian language everywhere
A classic of Italian Literature. I read it in school, I lived it in my youth in my family's crumbling Italian estate. It is a book that expects a certain amount of knowledge from the reader and if 19th century Italian politics of the Risorgimento are unknown to you much of the plot will be baffling. The book also chronicles the passage of time,, change and decay, universal themes made melodramatic in 19th century Sicily. I love this book, de Lampedusa's only novel and thus a homage to his family and his Sicilian world, gorgeously evoked.
Published first in 1957, the year of Giuseppe di Lampedusa's death! That was only six years before the acclaimed film by Luchino Visconti was released. But Il Gattopardo is ineluctably a 20th C novel masquerading as a 19th C Romance, in style as much as in setting. I insist on telling you this because, if you didn't read the preface or look at the back of the title page, you might well be dangerously startled when Lampedusa first breaks the frame and refers to events of his own lifetime. That doesn't happen until a third of the book is finished; until then there is no 'narrator' in sight. Thereafter, however, Lampedusa inserts his "I" at judicious intervals, calling the reader away from the Sicily of the 1860s with metaphors of modernity. Eventually he even mentions the atomic bomb.

Possibly some readers will be annoyed by Lampedusa's occasional first-person anachronism, but I don't think they were an accident or an error of style. They're a significant clue as to the intention of the novel, which isn't simple nostalgia. Lampedusa doesn't whitewash his setting or his characters; Sicily in the 1860s was a land of grievous poverty and economic stagnation, a society still bogged in feudalism, and the aristocratic families that supply nearly all the characters in Il Gattopardo were decadent, besotted with themselves and their possessions, reactionary, indifferent to the misery of their society. Their highest aspiration was to hang on to their luxury and privilege as long as they could, at least their own lifetimes, and let the next generation fend for itself. Only the central figure, Prince Fabrizio Salina, gets much respect from his 'creator' Lampedusa. His flaws and follies are the same as any other of his class, but his vitality and his inward perceptions of his milieu exalt him above the stagnant morass of his insular society. It's not mere words, on Lampedusa's part, to depict the Prince's fascination with astronomy. Salina is, for this author who might be his great-grandson, as genuine a hero as historical reality allows.

The plot of Il Gattopardo is rather loose. It's the era of the Risorgimento, the unification of Italy with Garibaldi as the charismatic revolutionary. Prince Salina imagines himself, correctly as it turns out, as "above the fray". His preeminence will remain untouchable and his Sicily, with all its failures and inequities, will remain eternally the same. His wealth is being eroded by energetic and unscrupulous lower-class parvenus, but he disdains to resist them; such has always been the case, a process of revitalization. The Prince's nephew, a charming and talented fellow whom we see only as the Prince sees him, is an enthusiastic Garibaldino and an avatar of the Sicily-to-be, but his uncle's affection for him is stronger than any political discord. Eventually a love story unfolds, between the nephew and the beautiful daughter of the Prince's polar opposite, the up-and-coming parvenu "Don" Calogero. That romance is in effect the structure of the novel, but the heart and soul of Lampedusa's tale is the complex depiction of the personhood of Fabrizio Salina.

If it's not nostalgia, then what is it? I think it's a celebration of "tempo perso" -- temps perdus/lost times -- a monument of their beauty as well as their infamy, intended to rescue them from oblivion. In that mode, it reminds me of the extraordinary Squarcialupi Codex of 15th Century Florence, an opulent illuminated volume containing the best music of Tuscany's distinctive indigenous composers, whose style was already utterly out of fashion, displaced by the arrival of the Franco-Flemish polyphonists in Italy. The redactors of the Squarcialupi Codex had no expectation of reviving the music of their greatest native composers like Francesco Landini, nor even to encourage performance of it. They meant forthrightly to immortalize the accomplishment by wrapping it sumptuously in museum shrouds. Il Gattopardo strikes me as having the same intention, not to replay the 'music' of pre-modern Sicily but actually to inscribe it in the museum of literature before its image faded from human memory.