ANSA/Pandemic e day after, da Machiavelli a Marquez
(by Paolo Petroni) If one thing reminds us of this pandemic, it’s that nature is always stronger, stronger than man. Not for nothing have many writers (and then playwrights, film directors and artists different artists) always told and created exemplary stories, between chronicle and metaphor, about pestilences, epidemics and other cataclysms. So these novels, these day after chronicles, these assumptions of arrival to the limit and salvation in extremis, with which we live some consonance, can be something that helps us understand and reflect on what is happening to us and maybe to metabolize it in some way, managing to know a little more who we are. Sometimes, in order to succeed and not be afraid, it is necessary to see the paradoxical of things, how funny there can be even in some grotesque aspects of a tragedy. That’s what He did, recounting the plague of 1348 to introduce a series of comic tales. Two centuries later, it was no coincidence that Niccolò Machiavelli was in a long letter to his friend LorenzoStrozzi. It is the marigoldness of 1523, the day when in abnormal times, we celebrate in Florence the return of spring tracanti, dances, tournaments, but now the plague rages. The ‘death’, as it was called, had broken out in ’22, reaching its very beginning in the spring of ’23. The rich citizens, and Lorenzo is among them, had taken refuge in the villas of the surrounding area, so it was necessary to create a guard of 50-strong ”so that the drums and houses were not stolen’. To the friend in the villa, the author of the ‘Prince’ writes about how the city lives that marigold and along the lines of the beginning of theDecamerone, describes the dead everywhere, the suspended activities, the unministered justice, the absence of human solidarity and familiarpersino, and in the streets of rags of rags, thefts and murders. After this general description, the narrator, which is a literary work, describes what he has been around and entering the churches, alternating precisely with tragic comic facts with a grotesque flavor, in a gameally parodic towards precisely the registers of the Boccaccio, as pasquale Stoppelli, curator of the “Epistola ofpeste” (Ed.History and Literature, pp.80 – 17.10). In St. Mary Reparata here is a confessor friar with emani feet tied up so as not to fall into temptation. In front of Palazzodella Signoria, among coffins and stretchers, he finds the auctioneer of the Comune who, having not the necessary living, summons to have datestimoni at the entrance of the Magistrates also of the dead. In Santa Croce there are undertakers who dance in the round singing ”Ben come the disease’ in parody of the ”Ben come May” ofPolice.And so on, even meeting a man in St. Trinitaperso next to a lady, who. as in love. She is immunized by all evil and insists on convincing him to truly love himself too, until the arrival at St. MaryNovella where, perhaps on the wave of the previous meeting, she is methimplled by a young woman dressed in mourning, who approaches, offended the assault of a friete and manages to accompany home. From that moment he thinks only of her, made evening and returning from themoglie, where to distract him awaits the writing of a comedy. Stoppelli finds witty comparisons between atmospheres and somepersonalities with the world of the ‘Mandragola’, and then demonstrates with a plethet of comparisons, data and intuitions the authorship ofMachiavelli of this epistolary long attributed to aStrozzi. A similar, if more polite, game is proposed by GabrielGarcia Marquez in that passionate story of love long a life and with inevitable ironic sides, between the telegrapherFlorentino Ariza “‘scared-eyed’ and Fermina Daza with her “deer gait” in ”Love at the time of cholera’, set in 1985 and in Colombia in the 1920s. “The cholera epidemic, whose first victims fell fulminalle in the puddles of the market, had caused the greatest death in our history.” The corpses piled up and found no more place and the cathedral, with the ‘effluvi of the poorly sealed cracks, whose doors reopened only three years later, at the time when Firmina saw up close for the first timeFlorentino at midnight mass’. At the time, dr. Urbino was a hero and then a victim, having devised the “official decision” of the health strategy, butfind to intervene in all social affairs at the point that, in the most critical moments of the plague, did not seem to have existed authority beyond him’, as virologists and epiepidemiologists today. Firmina is the wife of Urbino’s son, a doctor who is also a doctor, and when she is widowed she is approached by her conflicted and ancient love, Florentino, who confesses, after “fifty-three years, seven months and eleven days, nights understood” to be still in love with her. In the face of this there are those who are ‘troubled by the belated prospect that it is life, rather than death, that has nolimity’. At the time, her father had dragged Firmina away and she was able to stay in touch with her beloved thanks to the solidarity of her telegraph colleagues along the route. Over the years, when he, for example, gets drunk on Acquadi Cologne one day to find the scents and flavors of his beloved, only cold random encounters on official occasions. In the end, she resists a year after the new statement, until she accepts a cross-section on a boat on the river in the middle of a forest and cholera-infested villages, but in the splendid isolation of the suite next to that of the captain, who pay to spin on the river without ever docking to avoid the cloud, the two over-70s finally make love, laughing young: ‘He too began to undress in the river without ever docking to avoid the cloud, the two over-70-year-olds finally make love, laughing young: ‘He too began to undress in the river without ever docking to avoid the cloud, the two over-70s finally make love, laughing young: ‘He too began to undress in the river without ever docking to avoid the cloud, the two over-sevens finally make love, laughing young: ‘He too began to undress in the river without ever docking to avoid the fire. , throwing every garment she took off on her, and she threw them back dead and laughed.’ (ANSA).