Caielli Roberto Manzoni's famous novel of the plague is lucid example of the significance of the relationship between theater and sacred ritual, symbols of life and death, aided by the carnival. And even in the intertwining of the Betrothed, whose central drama is the love hindered Renzo and Lucia, the plague, along with other macro-reasons of the crisis, or famine and war, serves as the propulsion for the performance of the action, the crisis is the sacrificial atonement which is equivalent to having learned from the causes Manzoni recent history. The episode has repeatedly denounced the Monatti analogies with medieval characters of the show, which is the carnival, festive time of origin of the ritual performance, and jesters, the primary vehicle of extension and dissemination of such material performative. A more detailed study of their primitive origins justifies the insistent allusion to Monatti and Apparitori The Betrothed: from the latter and their inherent quality liminal the relationship between living and dead has agreed to take steps to try to trace back the origin of these dynamics. In the aforementioned book "The Origins of the Italian theater, P. Toschi richly documented paves the way for a symbolic interpretation of the Carnival. Toschi, after satisfactory evidence that the Carnival "... that is what for centuries has been in Italy's main New Year's party, is to recognize the cradle of our comedy" using ethnographic and literary evidence varied and abundant, leaves lodge under carefully drawn by the prospect ethnological doubt, locum where the circle closes:
the more difficult it succeeds, however, to recognize the Italian masks the elements that go back specifically to the souls of the dead. But those factors exist.
doubt Toschi The proposed changes in the interpretation and fascinating insight into hermeneutics. Referring to the "Origins of the Italian theater" for general news and documentation about the carnival, let's assume that information useful to explore the 'seemingly unfathomable relationship between masks and souls of the dead, starting with the more general relationship between death and Carnival.
In a step to the introduction of the Ship fools Brant, F. Saba Sardi try to summarize the contents of this analogy without the need for socio-anthropological liminality and rites of passage, but by proposing a number of interesting points:
... medieval carnivals were gruesome: the vehicles are exhibited, masked by death, fools, and the wagons themselves were decorated with representations of death. The festum fatuorum ... it was a combination of disorder, a journey made by chthonic droppings, dead things, rotten, orgy that is con-fusion: in-famia, that is to say the unspeakable, the unutterable, the metaphor par excellence, source of all revelation and every taboo ... And 'maybe known that the current term carnival has a double origin: carrus navalis carnem and upbeat, but the former is certainly the oldest, the second is an overlap, a rationalization, since the carnival "leverage" is, since the meat before Lent, but does so only at the eleventh-twelfth century. in Italy, when the Church fails to overlap with their pagan customs in which up to that point had to be an interpreter and translator.
The initial idea came from the original date etymology above passage, or by Carnival Carrum Navalis , with reference to the whole mythology that uses large the ship and the chariot as a symbol of death, evidence provided to indicate the transport of the souls of the dead in the afterlife. In particular, the water is said to travel in the ancient myths of origin disparate, but the idea still persists in the accounts of older fishermen who in some lakes of northern Italy, for which, as noted by the Lanternari, is the usual 'relevance between the "other side" el'aldilà. The traveling carnival tradition of iconographic and literary renaissance, but demonstrated medieval ship of fools, for example, is in fact a journey of the dead: mad folly comes from , bellows, everything to full of wind, empty. Fool "from late Latin Matus, drunk, similar to the greek mate, vain, empty, to Sican mattabus , dejected, to the Provencal mat, sad, dejected, to the mat the French ... Catalan mat ... to English - Portuguese mate, Romanian amet, stun.. " In the game of etymologies recall the world of the dead is, in terms as madness, as in the word carnival evident. But the etymology itself, known as the Saba Sardi, has nothing to do with archeology, but rather with the poetry. Though it is precisely for this witness of some hidden truth, but there seems a limit to trust "Isidorian" dell'etimo embroidery maybe baroque conjectures: the name hints at a rather indicative track, a possible way forward, but is not in itself sufficient for a comprehensive interpretation of the phenomenon that the name represents. In our case, the etymology of Carnival proposal converges attention to the fundamental model of the carnival ritual: the passage in which, with the dynamics of liminal spaces, this represents the socio-institutional symbol of the overthrow. To define the Carnival this point of view we must explore its historical origins and its timing: it is a party, heir of the Roman Saturnalia and the Lupercalia, connected, as is also the most famous comprede etymology (from Carnival carnem raise ), the period of Lent. Easter and the timetable for the meaning of the feast of Easter Carnival is, as we shall see, closely connected for centuries Christians of the Middle Ages. It is, as noted V. Turner, a movable feast that is part of an cosmological calendar separate from ordinary historical time. " Each party, in fact, there is the category of time in the fundamental relationship. The carnival, "sort of temporary liberation from the dominant regime of truth exists, the temporary abolition of all hierarchical relationships ... it was authentic Time of becoming the party, and the movements of renewal. "The medieval carnival is like all those parties that" in all stages of historical development have been linked to periods of crisis, a turning point in the life of nature, society and the 'man. The die, revive, and renew the succession has always been the dominant elements in the festive perception of the world. "
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