Pirandello's Henry IV
May 2011 · Grove/Atlantic, Inc.
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The Italian playwright's masterful comedy interrogating the meaning of madness is reimagined in this translation by the author of Leopoldstadt.
In this meeting of two of the twentieth century's greatest playwrights, Tom Stoppard has reinvigorated Luigi Pirandello's masterpiece exploring the nature of madness and the limits of sanity.
After a fall from his horse, an Italian aristocrat believes he is the obscure medieval German emperor Henry IV. After twenty years of living this royal illusion, his beloved appears with a noted psychiatrist to shock the madman back to sanity. Their efforts expose that for the past twelve years the nobleman has in fact been sane.
With his mask of madness unveiled, the aristocrat launches an offensive to deflect their unwanted attention. While Pirandello's characters verbally spar in Stoppardian flourishes, battling for the upper hand—and the greatest laughs—one question emerges: What constitutes sanity?
In this meeting of two of the twentieth century's greatest playwrights, Tom Stoppard has reinvigorated Luigi Pirandello's masterpiece exploring the nature of madness and the limits of sanity.
After a fall from his horse, an Italian aristocrat believes he is the obscure medieval German emperor Henry IV. After twenty years of living this royal illusion, his beloved appears with a noted psychiatrist to shock the madman back to sanity. Their efforts expose that for the past twelve years the nobleman has in fact been sane.
With his mask of madness unveiled, the aristocrat launches an offensive to deflect their unwanted attention. While Pirandello's characters verbally spar in Stoppardian flourishes, battling for the upper hand—and the greatest laughs—one question emerges: What constitutes sanity?
The Italian playwright's masterful comedy interrogating the meaning of madness is reimagined in this translation by the author of Leopoldstadt.
In this meeting of two of the twentieth century's greatest playwrights, Tom Stoppard has reinvigorated Luigi Pirandello's masterpiece exploring the natu...
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About the author
Born in Sicily, Pirandello attended the universities of Palermo, Rome, and Bonn. He obtained his doctorate in philology with a thesis on the dialect of his native town, Agrigento before settling in Rome to teach and write. In 1894, he married a Sicilian girl, Antonietta Portulano, who bore him three children before she went mad and afterwards provided the inspiration for many of his stories and plays. In all, Pirandello wrote 6 novels, some 250 short stories, and about 50 plays. It was a novel, Il fu Mattia Pascal (1904), that first brought him fame. Only in 1920, when he was past 50, did he turn seriously to playwriting. His first stage success had been a comedy, Liola (1917), written in the Agrigento dialect. It took its theme, if not its mood, from the Mandragola of Machiavelli (see Vols. 3 and 4). In 1921, Pirandello presented his most famous play Six Characters in Search of an Author. Here he seeks to confuse his spectators, who are forced into a paradox of reality and illusion when six "characters" search out the actors of a theatrical troupe to play out their inexorable story. The play exemplifies the Pirandellian conflict between art, which is unchanging and constant, and life, which is a continuous succession of mutations. Pirandello deliberately destroyed the traditional boundaries between audience and spectacle, reflecting the relativity and subjectivity of human existence. The play's unconventional format, which resulted in a riot, established Pirandello as Europe's leading avant-garde dramatist. The main body of Pirandello's plays falls into three overlapping categories, the first exploring the nature of the theater, the second the complexities of personality in the etymological or dramatic sense of the term, and the third rising to dramatic representation of the categorical imperatives of social, religious, and artistic community. Besides the world-famous Six Characters in Search of an Author (1918), his best plays in the three categories include Each in His Own Way (1924), It Is So (If You Think So) (1917), Henry IV (1922), The New Colony (1925), Lazarus, As You Desire Me (1930), and The Mountain Giants (1937), written after he had been awarded the Nobel Prize in 1934 and left incomplete. Pirandello is the forerunner of much modern theater and literature; among the figures who owe their roots to the innovations of Pirandello are Bertolt Brecht, Jean Genet, Jean-Paul Sartre, and Samuel Beckett (see Vol. 1).
When the National Theatre needed a last-minute substitute for a canceled production of As You Like It, Kenneth Tynan decided to stage Rosencrantz and Guildenstern Are Dead, a work by an unfamiliar author that had received discouraging notices from provincial critics at its Edinburgh Festival debut. Of course, the play, when it opened in April 1967, met with universal acclaim. In New York the next year, it was chosen best play by the Drama Critics Circle. In such an unlikely way, Tom Stoppard came to light. Born in Czechoslovakia, a country he left (for Singapore) when he was an infant, he began his literary career as a journalist in Bristol, where play reviewing led to playwriting. After Rosencrantz and Guildenstern, Stoppard's reputation suffered through the production of a number of minor works, whose intellectual preoccupations were shrugged off by reviewers: Enter a Free Man (1968; "an adolescent twinge of a play," N.Y. Times), The Real Inspector Hound (1968; "lightweight," N.Y. Times), and After Magritte. But in the 1970s, the initial enthusiasms aroused by Rosencrantz and Guildenstern were more than vindicated by the production of two full-length plays, Jumpers (1974) and the antiwar play Travesties (1975), whose immense verbal and theatrical inventiveness made them absolute successes on both sides of the Atlantic. Stoppard's method from the start has been to contrive explanations for highly unlikely encounters---of objects (the ironing board, old lady, and bowler hat of After Magritte), characters (Joyce, Lenin, and Tzara in Travesties), and even plays (Hamlet, Rosencrantz and Guildenstern, The Importance of Being Earnest, Travesties, and The Real Thing, 1982). In the 1970s, Tynan called for Stoppard---as a Czech and as an artist---to engage himself politically. But although political subjects have since found their way into pieces from Every Good Boy Deserves Favor (1977) to Squaring the Circle (1985), politics and art seem to have become just two more of the playwright's irreconcilables, which meet, but never join, in the logical frames of his comedy. The presence of political material---such as the Lenin sections that nearly ruin the second part of Travesties---has occasionally strained the structure of the plays. But in The Real Thing Stoppard is comfortable enough with the satire on art and activism to bring a third subject, love, into the mix. Stoppard has acknowledged his Eastern European heritage nonpolitically, in a series of adaptations of plays by Arthur Schnitzler (see Vol. 2), Johann Nestroy, and Ferenc Molnar.
Born in Sicily, Pirandello attended the universities of Palermo, Rome, and Bonn. He obtained his doctorate in philology with a thesis on the dialect of his native town, Agrigento before settling in Rome to teach and write. In 1894, he married a Sicilian girl, Antonietta Portulano, who bore him th...
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