The starting hypothesis of this article focuses on the existence of a substantial literary connection between Tristram Shandy, by Laurence Sterne, and Uno, Nessuno e Centomila, by Luigi Pirandello. It is postulated that Pirandello’s novel takes up thematic, structural and stylistic elements of the 18th century work, especially in the construction of the character of Vitangelo Moscarda and his exploration of identity and reality.
The main objective of the research is to verify and analyze the Sterne-Pirandello literary descent, highlighting the specific influences of Tristram Shandy on later work. It seeks to demonstrate that Pirandell’s resumption of the 18th century archetype leads to a substantial and original reconversion of the model, enriching the narrative with new layers of meaning and complexity.
The methodology used is based on a rigorous comparative analysis between the two novels. Structural similarities, such as typographical arrangement and chapter organization, are examined, highlighting the Sternian influence on the external form of Pirandello’s work. Likewise, recurring themes are explored, such as reflection on the “nose”, to reveal deeper connections at a thematic level. Furthermore, narrative destructuring and the narrator-reader relationship are addressed as key elements to understand Pirandello’s narrative reconversion.
As conclusions, the research reveals a substantive literary connection between Tristram Shandy and Uno, Nessuno e Centomila. The typographical arrangement, the recurring theme of the “nose” and the narrative destructuring demonstrate a direct influence of Sterne on Pirandello’s work. However, the narrative reconversion carried out by Pirandello introduces more bitter and corrosive elements, infusing the narrative with the “culture of crisis” from Schopenhauer to Nietzsche. The identity and decomposition of the subject, especially through the character of Vitangelo Moscarda, are explored in a unique way, taking the narrative beyond mere imitation towards a profound reinterpretation of the original themes. The narrator-reader relationship, although reminiscent of Sterne, takes on a more pronounced dialectical nuance in Pirandello’s hands, involving the reader in an active and critical way. Ultimately, Pirandello’s work, while recognisably descended from Sterne, reveals itself as an autonomous and original literary entity, enriched by the complexities of its cultural and existential context of the 20th century.