Virginia construction liens

Emilio Salgari is born, like writer, on hangs us of newspapers; they are in fact very the five its novels that have seen the light on the pages of the daily paper. The first novel to exit, on the "New Arena" of Verona, was Tay-See in 1883, followed from the tiger of Malaysia (1883) and the favorite of Mahdi (1883/84), always on the same daily paper. The Strangolatori of Gange (1887), will exit to Livorno on the "Telephone", and the Vergine of the pagoda of East (1891/92) on the "Gazette of Treviso". Draft of witnesses remained for along time practically disowned and that only of recent, to leave from years ' 90, they have been riproposti to the attention of the readers and the students. The riscoperta one of this "lost" Salgari has carried a remarkable contribution to the acquaintance of this writer, still a lot partially studied, but that much weight has had in the history of the popular literature, at least in Italy. All the novels escapes in appendix have been, later, published in volume, often with a title various it; and all have, in varied measure, endured of the rimaneggiamenti. In the 1887 we have the volume of the favorite of the Mahdi, in the 1895 mysteries of the black Jungla (the Strangolatori of the Gange), in the 1896 pirati ones of Malaysia (the Vergine of the pagoda of East), in the 1897 rose of the Dong-Giang (Tay-See) and, in 1900, Tigris of Mompracem (the tiger of Malaysia). On the metamorphosis that these witnesses endure in the passage from the columns of the daily paper to the volumes, it has spoken for first Giuseppe Zaccaria1, but it is above all thanks to the precious work of Roberto Fioraso2 that has been possible to analyze it in complete and deepened way. The cited students, also with various shadings, substantially are convinced that there is a considerable lessening of the rough "and violent elements", in the passage from hang to the volumes (attenuation to us). Such attenuation would have been induced from external conditionings, from the infantile public which they were assigns the volumes to you - according to Zaccaria - or from the will to adapt itself to canoni "bourgeois", according to Fioraso. In other words one asserts that the author has operated of the "censorships" to the own writing. The consequences of these affirmations are, clearly, of remarkable capacity. In the first place it is asserted that, beginning from a sure date, Salgari would have become, substantially and mostly, one writer for boys. It writes, in fact, Fioraso: Salgari, that it has its original nucleus in the veronese period, and then, also with attenuations and reorganizations, will last (...), until the moment in which, rinunciando to own the velleità, it will above all accept of being one writer for ragazzi3. Fioraso seems to place the moment of the passage of Salgari to narrator for infancy around 1898, in how much asserts that the last example of the Salgari originates them would be had with the Black Corsaro: with the Black Corsaro we are in 1898 when already a yielding has happened towards the more common values and accepted and the protagonist it represents the conclusive part of the parabola of the Salgariano hero, that it begins with the Sandokan of you hang to us veronesi.4 "Yielding" of Salgari and the parabola of its writing that is concluded already to the end of XIX the century therefore! The Salgariana production would turn out, therefore, uniform in two is made: before characterized from one strongly presence of elements macabri, from the blood, the violence and the defeat of the hero in the tragic end; and a second one in which these elements they turn out edulcora you, eventually replaces from others (violence to you on and between animals) and the ends are made lieti. It turns out obvious as this vision cannot that to carry to one devaluation of the successive production to 1898. "true" the Salgari is considered that first way, while the late works are in majority relegated in the moralistico educational within; edulcorate, censured and moralizzate works. (..) the apex of what we could call "Salgarismo Salgariano" is the Tigredi Verona, with its two meant antecedent ones the wild ones to you of the Papuasia and Tay-See (...). Endured after is proceeded in reduction towards canoni narrated and ideological more bourgeois to you and perbenisti"5 The issue me seems of extreme interest is for the acquaintance of Salgari, is for the study of the relationships between author and public. To here of the personal considerations on the superiority of this or the that period of the Salgariana activity, they are reached the conclusion that these affirmations are altogether from rejecting. It will be well to examine the issue point for point. Fioraso asserts that: Synthetizing, therefore, the first Salgari, the veronese Salgari, is identified for the presence in its novels of: blood and violence, love and erotismo, tears, defeat, follia.6 Draft therefore to look at itself if these features characterize truly only the first Salgariana production and not finds again, instead, in the jobs succeeded to you. In other words draft to settle down itself if Salgari puts into effect or not, to a sure point of its career of narrator, one aware modification of the own writing turns to eliminate or to moderate the presence of these elements. The elements up to now capacities to support of the attenuation consist substantially in the elimination of some violent, raccapriccianti or sensuali scenes, and the introduction of the lieto fine in the Rose and the Mysteries. As far as the first point, it can easy be verified that scenes of that type are found again abundantly also in novels succeeded to you, until the end of the life of Salgari. Indeed, to times they possess a advanced truculenza to those present ones in first hang to us. Fioraso mark it like, in the passage to the volumes, come cassate of the bloody-thirsty scenes, references to the anthropophagy, witness cracked with the cervella that they are poured. But these topics can, in truth, to find again very well also in novels succeeded to you: When not there was in feet more nobody, Sitting Bull, armed of a tomahawak, only come down in the cañon, s' was left over through to that extended one of ADAVERI, caught up the general who had fallen in means to its last officials, cracked it the chest and levato of the heart that were still warm divorò coll' the greed of a cannibal, between urla to them entusiastiche of its four thousand guerrieri.7 (Scotennatrice- 1909) On the Frontiers of Far-West, 1909, Cover of Loved Gennaro It was not a combat; it was a slaughter. Gl' Indian, surprises, nearly fell without to fight. The women sventrate, the murdered children without misericordia, crushing they the head against pietre.(Sulle the frontiers of Far-West - 1908) The axe of war of Minnehaha had been detached increasing the wound, and from the gash they exited entirety fiotti of blood and brani of brain. (the burning Forests, 1910) The fist of the sturdy Portuguese how much nearly that one of the rajaputo, come down express, hit the wretch in full face and it made it schizzar via an eye. - You will pay to me, Height, this fist! - I scream the pariah, that she lost blood in abundance from the empty one occhiaia. (the Brahman of Assam - 1911) The rajah, like the cruel Teodoro emperor of Abyssinia, he had gone off himself in mouth making oneself to jump the cervella. - Unfortunate! - I scream the rhani.(...) The ace was all sfracellato, the eyes had been tear to you and from the ears they exited it of pieces of cerebral matter. (the Rivincita di Yanez - posthumous, 1913) The directory could continue, the raccapriccianti scenes of cannibalism of the festivity of the customs could be remembered some the ivory coast (1898), and scenes of the sort are present also in the Solitary ones of the ocean (1904), the fire man (1904) and other novels. The Fire Man, 1904, (Publishing Telatura) As it tries of the attenuation cites the fact that in the Strangolatori a ship comes made to explode killing all the crew, while that does not happen in the Mysteries; that to say then of the ships that jump, with massacre of you respect crews to you, in Naufraghi of the Poplador (1895, therefore contemporary one to the Mysteries!), The heroin of Port-Arthur (1904) or the Solitary ones of the ocean (1904)? The orrifici and raccapriccianti elements can themselves be found again, then, not only in novels, but quite in storys and the express destined production to the boys! Where, that is, the pressure of the supposed "censorships" would have had to be maximum. Here to return the topic of the anthropophagy in an entitled story, exactly, the antropofaghi of the sea of the Coral: Many are the crews fallen in the hands of those feracious inhabitants and all finished to the spit or in the pentoloni to bubble glue green sauce. The American Morrell perdette fourteen of its sailors who were slaughters to you under its eyes, braced and divorati, but returned little months after with new companions, of it made one shocking vendetta, mitragliando villages and inhabitants in great number. (the antropofaghi of the sea of the Coral, 1897-98) Before but that they lost sight the spiagge cursed of the Guadalcanar, the survivors could still notice giganteschi fires on which braced the wretches similar they. (Ibidem) Of it the Bloody Mocassino we find instead an interesting scene where, on the model of "the black" novel a pronounced sexiness is joined to taste suggestions macabro: A night, while all the tribe slept, Wallalka tightened to the chest the spouse and after to have kissed passionately it, it said to it point-blank: "I love to You equally. T' I love therefore a lot that all perdono!"Il mocassino had made a gesture you in order to escape to that grip, while a pallor ADAVERICO had been diffused on the ace (...) The Bloody Mocassino was remained like fulminato. It tried to get rid from the arms of the spouse, but those arms tightened it with greater energy. "You, the slid night, in dream, have spoken about the capigliature of Dark Broken and to Agile Foot" Wallalka resumptions with voice carezzevole. (...) "You know all therefore" churches the Bloody Mocassino shaking. "Yes, nevertheless I love to you equally" exclaimed Wallalka coprendogli the ace of burning kisses. "Dimmi: six you therefore that you have killed it " "Yes, Wallalka; I have killed your father because... because I am the son of Agile Foot the head of the Shoshoni scuoiato from Dark Broken " "just Six you that you have killed it" churches with accent still shaking the giovine spouse. "Yes: I have maintained my oath. While you sleep you to my flank I you have entered in its you stretch and I have killed it; but I love you Wallalka, t' I love to the follia"(...) A moment after, before that the Bloody Mocassino had been able to get rid from the grip, twelve guerrieri were fall to you in stretch and it they had landed and legacy (...) An Indian was jumped on the river holding in fist the bloody capigliatura of the assassin. _ what succeed after? I me the memory vaguely. Pears to have seen to me of the numerous caymans to bristle themselves on the raft and to bite the Bloody Mocassino. The show was orrendo and I svenni. I know that when I returned in me, the small lake was ridiventato calm. Only the raft, gross of blood, went to the drift. (The Bloody Mocassino, 1905) Also in this production we find again, moreover, the reference to the "cerebral matter" that fuoriesce from the skull: My uncle had stopped itself of blow jumping quickly to earth. He raised my father premurosamente and s' he noticed that it had been killed on the blow. From the forehead, cracked, together to the blood they exited of the brani of cerebral matter. (One terrible adventure on the Congo, 1905) The antropofaghi of the sea of the Coral it was published on "the Thursday" of catholic publisher Speirani of Turin; and then in small volume in the necklace "Juvenile Library Illustrata", always for Speirani. The Bloody Mocassino was published on "Psiche", review of the Blond publisher of Palermo, publisher of the "Illustrated Gold Bibliotechina". A terrible adventure on the Congo was published, in the necklace "Small Adventures of Earth and Sea - Illustrated Bibliotechina" of Speirani. The destination to the juvenile public is, therefore, explicit already in the titles them of the necklaces; moreover he is Blond man who Speirani was editori specializes to you in infantile literature and, in any case, attention to the moral content of their banns, sure much more than Donath or Bemporad - near which the author published the greater part of its novels. Roberto Antonetto filler that the program of published periodicals from Speirani was testualmente: " All, also articoletti the more the pleasanter spiritosi and storys, must be able to scatter the good seed of the vituous feelings and to instill therefore in the chaste hearts thoughts, kind affections, I proposed to you generosi"8. Tigris di Mompracem, (and.) 1900, Cover of Giuseppe Leg If Salgari did not make scrupolo to insert "the rough" elements, that we have seen, in their banns, not there is reason to think that it has been behaved various when it wrote for other editori. We have inasmuch as the late production of Salgari appears tutt' other that edulcorata. But also the affirmation that, in five novels cited in opening, the version in appendix is more and more violent, bloody-thirsty and sensuale of that one in volume me seems debatable much. In the first place, to support that the topic of the violence is attenuation object, that is that Salgari sights to eliminate it or to render it rare in the volumes, me seems a little defensible hypothesis; place that its personages kill abundantly, and completes true and own massacres also in Tigris of Mompracem and the pirati ones of Malaysia. In the same way, also in you hang to us, as an example in the Tiger of Malaysia, we find episodes of generosity and enemies save to you: the Willis petty officer first class, comes legacy and not victim of a murder, a captured English corporal comes saved and will receive as well as hung gold how much, Lord Guillonk will be saved in virtue of the promise fattagli from Sandokan. Moreover, to the attenuation examples if of others of accentuation could contrapporre: of the Tiger of Malaysia, Sandokan, during a boarding, orders to save the screw of the sailors: "Ago so that your balls do not have to bite that of the wood" (pag.17)9; of Tigris of Mompracem, in the same episode, Sandokan does not give no order of the sort and, in fact, the incolpevoli sailors come killed: "(...) uccidendogli the sailors who defended themselves disperatamente to rifle shots." (pp. 18, 20). The description begins them of Marianna that appears in the Tigreviene rifared with "more sensuali" features in Tigris where the "shapes arrogant modeled" of the girl appear: It was of medium stature, of white woman-rose-colored ink, with an admirable testolina, blue occhioni like the water of the sea, with a forehead of incomparable precision under which they enunciated leggiadramente sopracciglia arch of a clear chestnut tree, a nasino whose nari furnitures had to dilate in the temper and the passions and two labbra coralline, that they seemed mature cherries. Long hats, thin, perfume to you, undulate to you, of a lucente Blond man that seemed gold threads, came down in colorful scollacciato disorder on the busticino in means to which they detached white women roses and spilloni from the capocchia of silver. (the Tiger of Malaysia, pag. 69)Era a child of sixteen or seventeen years, from the ransom small, but snella and elegant, from the shapes arrogant modeled, the tightened belt therefore that a single hand would have been enough in order to encircle it, from the rose-colored and fresh skin like a flower hardly sbocciato.Aveva an admirable testolina with two blue eyes like the water of the sea, a forehead of incomparable precision, under which they detached two sopracciglia leggiadramente arch and that nearly toccavano.Una blond capigliatura was come down to them in colorful disorder, like a rain of gold, on the white man busticino that covered them the breast. (Tigris of Mompracem, pag. 41) Tigris di Mompracem, (III and.) 1911, Cover of L.Dalmonte Analogous, a idealizzante "forces of the love" (Tiger, pag. 75) becomes one more violent "passion that divorava the blood" (Tigris, pag. 44). To pag. 120 of Tigris, Sandokan kills three soldiers who, in the Tiger, put themselves instead in but with escape (pag. 208). In Tigris, we always find pirata that it comes clearly beheaded from one cannonata (pag. 161), particular that does not appear in the correspondent episode of Tiger (pag. 265). To pag. 254 of the Tiger, there is a wounded soldier "and all insanguinato", than, in Tigris, with expression remarkablly rawer, will have instead the "ace cracked from a blow of dark" (pag. 157). To pages 177 and 178 of Tigris, Spanish gunboat comes completely exterminated the crew of one; in the Tiger, to its place a praho appeared that, also losing half of the crew, it came then drawn in but from the participation of one Dutch gunboat (pag. 299). The Pirati of Malaysia, 1896, Cover of Giuseppe Leg Analogous, in the passage from Tay-See to the Rose of the Dong-Giang, "God" in Tay-See (pag. 204 prayed) transforms itself in "meditated the suicide" in Rose (pag. 205), a chaste kiss on gote (pag. the 260) transforms itself in a sensuale kiss on labbra (pag. the 261), "raised itself and it was put to cover the room staggering, glue you make hidden between the hands, mugolando as a wild" (pag. 282) goes "raised itself and it was put to turn for the room, mugolando like one wild animal, being torn itself the garments and the meats, crying and swearing" (pag. 283) - and one of the cited examples of attenuation from Fioraso is just the elimination of the blasphemies! Without to count that, if in you hang the protagonist made its appearance to us dressed from "five or six overlapped silk shirts", in the volume we find its "shapes admirable, seeds hidden in one long blue silk shirt". Also in Mysteries (pp. 376-77) we find of the not present killings in the Strangolatori. While other raccapriccianti scenes, can be found again in the understood one them added in the edition of 1903, like the description of fachiro the orribilmente deformed (pag. 393), moreover in these understood them the blasphemies and the blood return abundantly. Finally, in the passage from the Vergine to the Pirati, we can notice the phrase of you hang to us: "the pirati ones unloaded a last time the guns and salted on the blanket block of route to me" (pag. 131), where the "route to me" becomes "died" in the edition in volume (pag. 55). But it is above all in the understood one added them in 1902 that one is found strongly "accentuation" with scenes remarkablly more violent than those present ones in the text of 1896: we find again witness cracked, corpse descriptions macabre that float in the blood, beyond that the topic of the anthropophagy. With the added one of such scenes, between the most violent presents in Salgari, the Pirati of 1902, assumes a truculenza that it exceeds, to my warning, not only that one, modest, of hangs us of Treviso, but also that present in the Tiger of 1883. It could be continued with other examples of this type, but it seems that how much said end to me pack-saddles to deny the hypothesis of a found progressive attenuation in the writing of Salgari.Ma here, if the attenuation is excluded, which explanation to find, then, to the changes elapsed between the versions? The elimination of sure elements, like the anthropophagy of Sandokan - proclamata but of fact never put in practical in the Tiger of Malaysia - and of expressions like: "to succiare the cervella", and of other particular, objective of bad taste, he is easy explicable in virtue of that regolarizzazione of the Salgariana writing about which it speaks to Mario Tropea.10 and draft about a regolarizzazione and not about an attenuation, giacché it does not comprise only the aspects "more exasperates to you and rough, it characterizes from one primitiva ferocity" of which Giuseppe Zaccaria speaks, 11 but draft to you of one wider and general riscrittura, of a stilistico ripensamento face to render the text, except redundant pletorico and. As an example, it can be observed that the killings of the Tiger, appear to little coherent times, with how much say the same protagonists. To pag. 178, Yanez clearly seems intenzionato to only tie, and not to kill, the lookouts: "Crossed the palissades, we will crawl (sic) as snakes and we will come near to the red jackets: ten fingers around the throat, a gag waves do not have urlare, one rope in order to render them impotent, and then to the work."; and such intention seems confirmed to pag. 184: "I have my ropes, you I have the gag." He turns out, therefore, incomprensibile because, little lines after, Yanez daggers the lookout, much more than this he had not emitted no outcry. In any case, draft of killings of all the useless ones, against enemies already defeats. These scenes turn out therefore a po' forced, that is little coherent with the characterization of the personages in the rest of the novel, where they follow, of usual, they cavalleresco code; therefore, also here, simply the regolarizzazione is taken part, of which it was said before, to confer greater coherence to the text. In the same way, in the Strangolatori, we have the murder of the father of Ada, and the killing of the crew of the Cornwall, sets in action little vile and online with a Salgariano hero, that they come eliminated in the Mysteries. While a nearly identical scene to that one of the Cornwall - the sinking of the Helgoland in the Vergine - comes maintained in the Pirati, in how much draft of one loyal action of war. The Mysteries of the Black Jungla, (III and.) 1903, Cover of Alberto Of Goes them Of five novels taken in consideration, the only case in which a meaningful reduction of the macabro is had in the passage to the volume is that one of the Strangolatori of the Gange/Misteri of the jungla black. But it goes said that the Strangolatori is a text in which the macabro it assumes truly ipertrofiche dimensions, than does not find echo in other works of the writer, a lot that sure scenes often turn out ridicules or of bad taste; draft moreover of scenes that remain superficial, nearly stuck lì in order to make blow on the readers of the newspaper. Salgari, solar writer, do not seem to find themselves to its comfort with these descriptions lugubri, than they are not sure between its happier pages. Than more comprehensible, therefore, that it has intentional to eliminate them from successive editions. An analogous speech can be worth also for the lieto fine: in truth, considering the period of appendicista Salgari (1883-92), of true and own tragic ends (dead women of the protagonists), we find two alone: in Tay-See (1883) and Two thousand alloys under America (1888); while they are, without doubt, ends lieti (union of the sweethearts) those of the favorite of Mahdi (1884) and the Tiger of Malaysia (1883-84); substantially lieto it is also the end of the Vergine of the pagoda of East (1891-92), with the rescue of Tremal-Naik and its final union with the reorganized Ada. However, as it observes Roberto Fioraso just, this text concludes with the capture and the imprisonment of Sandokan; but me he seems obvious who, in this case, features of a typical "open" end that leaves to catch a glimpse one next continuation of the vicissitude: "(...) saldamente chained, the four Tigris of Mompracem condemned to the perpetual deportation in the island of Nordfolk. We will see again a day? Perhaps." And, in effects, the liberation of Sandokan will not be made to attend too much: it will arrive four years after in the Pirati of Malaysia (1896). But, very to watch, already in the Vergine prefigure the happy conclusion of the vicissitude, with the references to Muda Hassin and to the fall of Brooke. An ulterior confirmation of "the open" nature of the story of the Vergine can be found, then, in the understood one added them to the Pirati in 1902, you figure the episode of the protagonists who get rid from the imprisonment on the ship of force to you, triggering one turned to edge. The scene, maldestramente becomes part a po' in the weft of the Pirati, and is, instead, more coherent with the vicissitude of the Vergine. In fact, in the Pirati of 1896, it is not spoken about the deportation; moreover, in the version of 1902, we find Sambigliong that Tremal-Naik meets on the ship of the lord, while Tremal-Naik would have to be found captive to Sarawak! It turns out clearly that these understood constitute them the continuation of the Vergine - where in fact Tremal-Naik comes freed - and have been written probably before 1896 and later on recovers to you and inserted in the definitive version of the novel. And, in the end, "an open" end could very well be also that one of the Strangolatori of the Gange, than it is not concluded with the dead women of the protagonists, as also it would be more logical in the history, but with the madness and the imprisonment. Considering that between the Strangolatori and the Vergine that four years, it is not improbable that Salgari, already in 1887, meditated of giving a continuation to the vicissitude, fusing it with that one narrated in the Tiger, as it seems to indicate the fact that, in the Strangolatori, it is made I point out to Sandokan and the relationship of Ada with Marianna. Totally to reject, me it seems, instead, the hypothesis, that it seems to attribute to the Black Corsaro a closed "and definitive end" of character tragico12. In fact Salgari, in 1898, has already begun to write of the novel cycles, and the abandonment of Honorata on a sloop in means to the sea seems just a typical espediente from feuilleton in order preparing a continuation; that, indeed, it will reach short distance of time with the Queen of Caribbeanses (1901). The tragic end cannot be asserted, therefore, that characterizes in particular way the first Salgariana production, neither that it scompaia of all in the successive production: tragic ends "defined you" (dead women or madness of the protagonists) are found, in fact, as an example, in the Heroin of Port Arthur (1904); in the Wonders of Two thousand (1907); or, between storys, in To the conquest of Moon (1901). The Scimitarra di Budda, 1892, Cover of Gaetano Colantonio As far as, instead, the violence against the animals, that it would have to act as from substitute to that one against the humans in the late works, we find examples already many forts in the Tiger (the scene of the killing of the Tiger from part of Sandokan), in you hang us of the Favorite and in Tay-See (where there are two scenes, identical and nearly remarkablly truculente, of the sevizie and the killing of a horse from part of Notis and José). But, above all, than Salgari it was already from principle become attached to the topic of the fight with the animals, is understood clearly from the notes of the first drawing up of the Tiger, brought back from Antonetto and Arpino in their biography. On this topic, it marks itself that, in the Tiger, Sandokan and Giro Batoë they kill "a dozen of parrots and a small pig-deer", and always is from noticing that such killings, with the exception of how much it happens for the cases of the dog, of the orango and of the zigaena in Tigris, they are of all useless and the free ones. To signal then that, in the Tiger, Sandokan delivers, without appearing reason, a powerful soccer to a dog; while the episode does not appear in Tigris. In the light of when said up to now, me it does not seem sussistano valid reasons in order to support neanche that Salgari, from a sure moment in then fundamentalally, can be considered one writer for boys. To the beginning, with novels escapes in appendix on newspapers, one sure does not address the infantile public. We know then that, to a sure point - with the Scimitarra di Budda, published, in 1891, on "the Newspaper of the Children" - Salgari begins to write novels express addresses you to the public of young, and equips you of one they very recognizable appearance: they come eliminates to you, as an example, the sentimentali elements, and the history turns out only centralized on an adventure from the remarkablly simplified vicissitude. It goes however noticed that, also these last works tied to the juvenile public, constitute however one large innovation in the panorama of the Italian literature for boys. In this kind, in fact, they were dominant, to the age, of the more traditional shapes, like the fiaba with novels of the Grandmother of Emma Perodi, or Memories of a chick of Ida Baccini - and to which the Pinocchio di Collodi is riconducibile substantially also - or the story with didactic purposes, as Giannettino or Minuzzuolo di Collodi, or, edifying and still patriotic as the Heart of De Amicis. Also in Enrico Bertelli (Vamba), the umoristico system of base alloy to didactic topics us, in Ciondolino, or patriotic-nationalistic, in books like Or Native land mine! and the children of Italy chiaman Balilla. And also in Old Vittorio Augusto (Jack the Bolina), that it shares with Salgari the topic of the adventure on the sea, the educational and patriotic purposes end with prevailing. While Enrico Novels (Yambo) is novel author originates them, in which the adventurous or fantascientifica vicissitude it is, most times, a pretest in order to construct to umoristiche history pervase from one shining parodistica irony. Also Capuana perhaps - than he is the author where they make more vanished the differences between literature for boys and literature tout court - with Scurpiddu and several other novels, it chooses, in order to address to the boys, the outline classic of the infantile novel, with protagonists many young people and a diffused sentimentalismo of bottom. The particularitity of Salgari, instead, is just that one to detach from the didactic model and edifying, and is for that to assume worries moralistiche or attenuations in this author edulcorate me seem a large one dazzle. The personages and the situations are adult, also in the works dedicated to young. In the panorama of the Italian literature for boys, they come made to enter topics and reasons drawn from the feuilleton and the foreign adventurous literature; and, to times, as we have seen, even "decidedly strong" suggestions like those drafts from "the black" novel. Watching to the European example and American, Salgari it reaches, therefore, substantially to pull down the barrier between popular literature and literature for boys. Its work, explicitly dedicate to you to young, they are not other that a version leggermente simplified and private of the vicissitude loving (according to the model of Verne) of its wefts accustoms them. Considered that, the problem to establish if works like Tigris of Mompracem or the Black Corsaro (than they do not introduce however no element that the monster as explicitly addressed to the boys) was or less, in the mind of the author, thoughts for a juvenile public - that they were read effectively from that type of public is, in fact, outside argument - me it then seems to have a large one not meant. In order to conclude, it totally seems to reject also the assertion to me that "the more true" Salgari is that one of the debuts, that "veronese"; while that most mature one would be in some private way of its originality from the participation of external factors. But, based on this interpretation, they would have to appear more coherent and unitary you hang to them to us and more "it forces" the volumes and the jobs to you succeeded to you, while me the contrary exactly seems true: true "musa" the Salgariana will be that one of the known and loved jobs more; that in fact they have known to conquer an immensest consent of public, while they are you hang to them to us to risentire of external factors (inexperience, will to astonish, necessity "to swell" the witnesses, not caught up maturity of style, etc.) In the light of said how much, goes reconsidered also the defeat concept which, to said of some, the Salgariani heroes would go encounter. Roberto Fioraso illustrates its outline of the Salgariane wefts: the hero would be born "to the apex of a pyramid", then as a result of the experience of the love is forced to one chosen between the love and the war, if of it it deduces that it will have by force to renounce to one of the two. He will be, therefore, however one defeated, or from the point of view loving or that war one. Sights these premises, cannot astonish that to Marianna (but in a generalized manner to the Salgariane heroins) come attributed "characteristic castratorie quite" since clearly prevent continuing of the piratesche enterprises of Sandokan, determining therefore its sconfitta.E' that here Fioraso thinks that the true nature of Sandokan is only that one of the "tiger", of the man-wild animal. But would represent one indeed Victoria to continue to the infinite one life of incubi and one totally sterile and useless series of massacres? In Sandokan she perceives themselves, in fact, a deep fracture, cause of incubi and torments until the limits of the madness; we see, in fact, often preda of left visions, than it they remember the much blood that she has poured. (...) the voices of the victims from me immolated that m' they lugubremente accompanied in my dreams urlando me behind: assassino!... (La Tiger of Malaysia, pag. 257) Because you watch to me with those eyes of fuoco?... Because you come to dance intorno?... Also you to me Patan you come to deridermi?... Also Spider of Sea... Cursed, ricaccerò to you in hell from which you are usciti!... and you Kimperlain, what vuoi?... has not been enough therefore mine scimitarra to kill to you... Via all, the earth abysses of or returned in bottom to the sea... in the reign of the darknesses... in will still kill you all!... (Tigris of Mompracem, pag. 38) I will give one new island to you, the more gaia, more laughing, where I will not hear more the roar of the guns, where I will not see more to the night folleggiarmi around that corteo of victims from me immolated that urlano to me always: assassin (Ibidem, pag. 158) Sandokan reaches more times reaches to curse its life of pirata and, in the Tiger, it nearly seems rallegrar of the defeat that places you aim: Ruggiva in Heart to the idea of having to lose its island, but in bottom perhaps blessed the fleet that placed aim to the pirateria. (the Tiger of Malaysia, pag. 301)Quest' truly strange and terrible man who made itself to call Tiger of Malaysia, quantunque defeated, quantunque had lost its island (...) conserved in that one withdrawn a truly admirable calm. One would nearly have said that it, that a time to its reputation held us so much, was nearly content, perhaps and who knows, in bottom in bottom could be true. (Ibidem, pag. 303) Ah! - it with anger continued feraciously biting itself the fingers. - Because I called the Tiger of Malaysia, because divenni vendicatore, pirata and murderous, attracting to me I lean ire of the people whom frappongono like orribile phantom between me and she? If not the pits never be, I would not find myself in chains to edge of this ship cursed and dragged towards the scaffold. If not the pits be, giammai I would not have been divided to this being that idolatro. Cursed it is the day in which the fatality it fell to me from the throne on the spiagge of Mompracem! Cursed it is the dì that I appealled the scimitarra in order to complete my terrible one vendetta!... (Ibidem, pag. 331) - Cursed it is the dì that I called the Tiger of Malaysia, cursed is the day in which divenni vendicatore and pirata, triggering on me hatred of the people who frappone, like orribile phantom, between me and this divine child!... If not pits never be the bloody-thirsty man, I would at least not have been chained to edge of this wood, neither dragged towards the scaffold, neither never divided from this woman that therefore immensely I love! (Tigris of Mompracem, pag. 192) Hatred and the obsession of the vendetta had provoked in he - that she was a refined prince - one regression to the beastly state (tasks to the references to the anthropophagy). And, in fact, in the novel the innamoramento of Sandokan comes explicitly seen in the terms of one found again umanizzazione: "Marianna! - it exclaimed to a feature. - Marianna! - To that adored name those trabocco of ira and hatred vanished like fog to the sun. The Tigretornava man and for more lover!... " (Tigris of Mompracem, pag. 46).Qui the woman, therefore, succeeds to gain the effects of the trauma that the hero has disumanizzato and to "redimerlo". Of the rest the redentrice feminine figure, than ago to conquer one full humanity to a before beastly man, has of the ancient roots. To the beginning of the history of the human literature, in the Epic of Gilgamesh, we already find a man-wild animal that full single humanity obtains one thanks to the participation of the woman: (...) standard to he, to the wild man, your the wild art of woman, since when love mormorerà you, beasts that shared with he the life in hills will reject it (...). and by now they were all escaped the wild creatures; Enkidu had become weak person since the wisdom was in he and the thoughts of a man were in its Cuore.13 In Salgari but, it is always the Love to allow the umanizzazione, also when we have one woman-wild animal and, consequently, a "redentore" of male sex. In fact, in the Favorite, Fathma will follow the same distance thanks to the love for a man. E' to notice but that, while in the case of male protagonists "the redentrici" women are alive personages and a lot very delineates to you, in this case, Abd-el-Kerim appears one enough figure scialba and little incisive. Me it seems, therefore, than the Salgariano hero pyramid is not born at all "in top to one", but rather on the bottom than an abyss. The distance of the Salgariano hero can be reassumed in this way: from a happy past (which single it is pointed out in the narration) is passes to you, with a trauma violent, to the loss of the family and the removal from the native land, which the construction of one is continuation new native land, than but it has involved one substantial solitUdine and closing in if same, when not quite one regression to one be seeds beastly. A freedom that has for price the isolation and that therefore it ends in order to transform itself in one risen of imprisonment. To the fine ones it will be the Love to break off this isolation and, after to have gained hatred, the vendetta begins them them resistances (), allows the construction of a new and happier space than freedom. The Love, therefore, is connoted like a liberatrice force. In fact, just in the conclusive struck ones of the Tiger, Giava, where Sandokan and Marianna go to begin their life together are defined "earth of the freedom". (pag. 364) This dialectic and this distance are found again in the vicissitudes of Fathma, Tay-See and Sandokan and will return from there the Black Corsaro, where the protagonist endures the loss of the relatives as a result of a tradimento, knows the obsession of the vendetta, the solitUdine and the "titanismo", and, to the end, the redenzione through the love for Honorata, the daughter of its enemy, that she happily concludes its vicissitude in the Queen of the Caribbeanses (and also Marianna will come proclamata Queen of Mompracem). In Tremal-Naik, the story lacks the past, therefore, we do not know which reasons have pushed it to living in the maleodoranti swamps of the gangetico delta, but to part that the rest of the distance turns out analogous to the others. Moreover also Marianna and Ada, riusciranno, thanks to the love, to exceed theirs traumi and their isolation. From a part the Love from the other the trauma, the loss, the suffering. Copy to this purpose how much happens in the Vergine/I Pirati where the trauma it provokes the madness of Ada quite and must be removed from the "psichiatria" somewhat originates them of Sandokan. One of the points to put in relief is that, while the violence of Sandokan in the Tigreè totally without sense and aim to if same, - it is not time, as an example, to reconquer the throne that it has been embezzled, and therefore solo is shaped as a mere ossessiva repetition of violent actions of which the pirata one it appears captive - in Tigris, will be Marianna to throw the seed of the future return of Sandokan to its throne. The child, in fact, operates the transformation of Mompracem, redimendola, from broods of bandit to native land. Therefore Sandokan will be only equipped of an ideal that will transform its sterile vendetta in one fight for a objective. This aspect me does not seem still has been evidenced, but not secondary importance seems to me, a lot that Salgari in Tigris has changed totally the sense of a step for introdurlo: - Sandokan - diss' she with voice that did not shake. - and if I remained between these prodi to Mompracem? And if I by now broke the invisibile tie that me alloy to Labuan? If I became one enemy of that derisoria native land that I do not love more, and from which I did not have that one blood drop? And if I finally became as they are they one announced publicly, dillo, Sandokan, dillo, Tiger of Malaysia, I would love me you equally? - You, Marianna, to remain to Mompracem! - Sandokan exclaimed precipitateing itself towards of delirious she. - and you would be able to make it, amor mine - I want! - the giovanetta exclaimed fiercely. (the Tiger of Malaysia, pag. 291) - Sandokan, - it said with an accent that it did not shake. - If you said renunciation to you to yours sold and to the pirateria and if I broke in order always to the weak person tie that me alloy to mine compatriotti and adopted for native land this island, would accept you? - You, Marianna, to remain on my island? - you want? - Yes and I swear to you that I will not take to the crews that in defense of my earth. - Mompracem is adunque my native land and here I remain! - (Tigris of Mompracem, pag. 173) As one looks at, if in the Tiger there is the pirata one by now tired with its life obsessed from the violence, in Tigris is already the Sandokan of novels succeeded to you, what it runs in aid of the others and its reign is resumed. Oltretutto, an epilogue that saw Sandokan to remain pirata like before with solo, in adding, the possession of the woman - nearly a preda to put together to the treasures already accumulates to you - would presuppose a totally passive Marianna, that it cancels its personality in order To adapt itself to the wishes of the man; but this would betray the feminine personage Salgariano totally, rendering it flat and convenzionale.Non me it seems founded, neanche the assertion that the love is seen in antite to the male friendship. It will be in fact Yanez that will render the union of Marianna and Sandokan possible, finding the way of sottrarla to the lord and saving them the life. Moreover a Portuguese, to the end of the vicissitude, accompanies Sandokan to Giava, neither looks at some element that she indicates one fine of the friendship between the two. As far as the relationship between Sandokan and its men, of friendship the case does not seem to speak to me, and in any case, the survivors of the men of Sandokan, equally follow their ancient head and their "Queen". Also that "the love excludes the war", is not then therefore pacific, if Marianna, become Queen di Mompracem, participates actively to the defense of its new native land and, in the Tiger, door quite personally the bombs and tip the spingarde: The entire day was last around the trenches and to earthwork and the batteries, where the same Marianna was striven helped from Ladgia, one true guerriera, to place in battery one small spingarda. (Tiger, pag. 287) Queen di Mompracem, beautiful and sparkling of gold and pearls as the previous evening was here in order to animate them. She encouraged the uni, with a smile that made them to rave vieppiù, stimulated the other glue voice, salted intrepida on the batteries to aim same she together to Ladgia the guns and carried with those its delicate small hands the bombs giving the example to all. (Ibidem, pag. 292) In kind, in the Salgariani witnesses, we find the protagonist that she combines the loved woman after to have defeated the enemies who hindered it and to have old the own ones traumi. Therefore, in so far as, I do not see the reason to speak about one defeat of the hero. Other thing is if, with defeat, s' it means something thinner. In the first place we have inasmuch as there is a defeat that does not appear in the novel but of it is presupposed (clearly here the model represented from the Conte di Montecristo). There is then also an other defeat, plus hidden, sottintesa, that one, so to speak, "historical". The heroes of Salgari fight a rearguard battle, and from this point of view they are aware of the ineluttabilità of their defeat. The conflict is that one of the antichi values (loyalty, courage, generosity, cavalry...) against a more and more technological, eager world of dominion, impersonal, where these values scompaiono. It appears clearly that this ancient world, of the prodi, is destined soccombere to the force. Sandokan, in fact, fallen Mompracem exclaims: "the forts have won crushing the prodi. The fatality was inexorable." (Tiger, pag. 304) The space of the adventure seems, therefore, to disappear, every Victoria cannot that to have a temporary character, one attended truce in of a new attack. True a Victoria becomes, therefore, possible to achieve itself single on a personal plan: Sandokan will not be able to defeat English, but it will be able to marry Marianna and, subsequently, to save the friends Ada and Tremal-Naik.