10.13125/2039-6597/366
  This article considers the transposition from short story into play of Giovanni Verga&rsquo;s&nbsp;La caccia al lupo. This pair of texts has been studied less than&nbsp;Cavalleria rusticana&nbsp;and&nbsp;La Lupa,and therefore the present discussion aims to contribute to existing critical literature by concentrating on Verga&rsquo;s methods of presenting the female character (Lollo&rsquo;s wife, Mariangela) in the two genres, assessing what occurs when the voice of the narrator is replaced by the exchanges of the characters on stage. The textual analysis shows how, although Mariangela takes a subsidiary position in the triangular relationship in which she is involved, she nonetheless remains the key catalyst of the plot. It will be suggested here that it is not until Verga reworks&nbsp;La caccia al lupo&nbsp;for the stage (the last work he transposes &lsquo;from page to stage&rsquo;) that he experiments with the theatre in order to take the action one step further. Each of the modifications introduced into the dramatic version (such as the extra scenes, the &lsquo;coda&rsquo;, and the use of stage directions) not only enhances the original plot, but develops Mariangela&rsquo;s characterization. Consequently, unlike the reader of the novella, the audience of the play gains an insight into the different roles that she &lsquo;performs&rsquo;, and how she exploits her reasoning to save herself from the &lsquo;wolf hunt&rsquo;.&nbsp; 
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Enza De Francisci
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Mariangela in Verga’s <i>La caccia al lupo</i>: From Page to Stage
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2013-01-06
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Mariangela in Verga’s <i>La caccia al lupo</i>: From Page to Stage
https://ojs.unica.it/index.php/between/article/download/366/606
2
Mariangela in Verga’s La caccia al lupo:
        From Page to Stage1
                            Enza De Francisci

                  La caccia al lupo: An Overview
      The present investigation offers a systematic assessment of
Giovanni Verga’s La caccia al lupo from novella to play2. Through a
close textual analysis, I will explore what happens when authorial
intervention is withdrawn in the narrative and the author has largely
to rely on the use of dialogue on stage, as well as examine why certain
aspects of the novella are altered for its introduction into the theatrical
adaptation. The narrative version was initially published in the journal
Le Grazie in Catania on January 1st 1897, then republished in Siciliana in
1923, and now is part of the collection, Novelle sparse. The production
(alongside the similar play, La caccia alla volpe) premièred at the Teatro
Manzoni in Milan on November 15th 1901, and was staged by Virginia
Reiter and Francesco Pasta. The same evening, both plays were
performed at the Teatro Alfieri in Turin, this time by Tina Di Lorenzo
and Flavio Andò.
      The novella and play, set in Sicily, are based on the triangular
relationship involving husband (Lollo), wife (who remains nameless in
the novella but is called Mariangela in the play) and lover
(Michelangelo in the novella and Bellamà in the play). In both versions,
Lollo unexpectedly returns home early in order to prepare for a wolf
hunt. In his dialogue, full of double meanings, the wolf is turned into a
euphemism for his wife’s lover and the lamb is used to represent her,
subsequently turning the triangle into a metaphorical one involving
     1
         This article has been adapted from Chapter Six of my PhD Thesis,
Women in Verga and Pirandello: From Page to Stage, at University College
London (2012). I would like to thank Anna Laura Lepschy and Shirley Vinall
for all their support, and the peer-reviewers for their helpful suggestions.
      2
         The novella will be quoted from Verga 1982: 451-456, and the page
numbers will be cited in the main text with the following abbreviation: [Tn
II]. The stage version will be cited from Verga, Tutto il teatro 1980: 129-142,
and abbreviated to [Tt] in the main text.


Between, vol. II, n. 4 (Novembre/ November 2012)
Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage



hunter, lamb and wolf. As Lollo exits, he locks his wife indoors, and
Michelangelo / Bellamà subsequently comes out of hiding. Both are
aware that in the Sicilian unwritten code of honour it is the husband’s
role to kill the wife’s lover. Whereas the novella closes during their
confrontation, the play ends as Lollo re-enters the house, accompanied
by two men, and catches his wife with her lover.
     Even though the narrative and theatrical action develops in a
similar way, this assessment will investigate whether the changes
Verga introduces into the dramatic version cohere with his ‘verist’
poetics. According to Verga’s ‘verist’ manifesto in the prelude to
L’amante di Gramigna (1880), he removes «la mano dell’artista» (Tn: I,
192) from his works, allowing the characters to recount their stories in
their own words (their «parole semplici» (Tn: I, 191)). Hence, instead of
elaborating on the characters’ thoughts and feelings, the ‘veristi’ break
away from this Romantic trend by focussing on the characters’ external
actions («[i]l semplice fatto umano» (Tn: I, 191)) to infer their inner
suffering – usually a logical train of actions which, inescapably, leads
to tragedy. Indeed, in an interview with Ugo Ojetti in 1894, Verga
maintains that «un pensiero può essere scritto, in tanto quanto può
essere descritto, cioè in tanto quanto giunge a un atto, a una parola
esterna: esso deve essere esternato» (Ibid.: 66). So whereas the Romantics
elaborate on their characters’ inner turmoil, building up to their
tragedies, the ‘veristi’ avoid this kind of ‘crescendo’, as Verga boldly
states: «sacrifichiamo volentieri l’effetto della catastrofe» (Tn: I, 191).
From this, it will be interesting to explore whether these principles can
be applied equally well when Verga transposes the narrative action to
the stage.
     Although this pair of texts is one of Verga’s less popular works, it
has nonetheless been considered by several scholars, including Siro
Ferrone (1972: 253-306), Anna Barsotti (1974: 139-148), Francesca
Malara (2000: 107-160), and Marianne Fallon (2002: 81-98). None,
however, has been devoted to the portrayal of the female protagonist –
Lollo’s wife, Mariangela. Whereas Romano Luperini briefly mentions
that «[n]el bozzetto scenico […] il personaggio [di Mariangela], appena
abbozzato nel racconto, ha maggior rilievo e ne sono accentuati gli
aspetti negativi» (1974: 117), this study aims to show exactly how this
alteration comes about. Indeed, this analysis will attempt to challenge
the critical view that women in the work of Verga are the ‘weaker
vessel’. Critics generally argue that Lollo «domina la scena perché
padrone della situazione» (Oliva 1992: 36), and that Mariangela
appears as a sexual object: «[l]’infedeltà della donna, comunque
motivata [...] è la risposta [...] a una condizione femminile sentita come


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                                   Between, vol. II, n. 4 (Novembre/November 2012)



schiavitù» (Malara 2000: 145). However, what I will endeavour to
demonstrate is how, although Mariangela takes a subsidiary position
in the triangle in which she is involved, she is the main catalyst of the
narrative and theatrical plots. According to the Oxford English
Dictionary, a catalyst is «a person or thing that precipitates an event»3,
and it will be suggested here that Lollo is, in fact, the ‘passive’
character: it is Mariangela’s act of adultery in both versions that
precipitates his rage, sending him on a metaphorical wolf hunt, which
ultimately causes the inevitable death of her lover.
      Finally, the close reading of the changes from page to stage will
shed light on Verga’s evolving theatrical technique. La caccia al lupo is
the last novella that Verga transposes to the stage. Overall, Cavalleria
rusticana (1884) and La Lupa (1896), were received more positively than
In portineria (1885) and La caccia al lupo (1901). As a result, by the time
Verga staged La caccia al lupo, his career as a playwright was coming to
an end. Despite this decline in popularity, I hope to show how La caccia
al lupo was ‘ahead of its time.’ Indeed, what has been overlooked in
recent scholarship is the experimental quality in La caccia al lupo. It will
be argued here that Verga in this play is, in fact, treading on grounds
which will later be developed by his successor, Luigi Pirandello,
particularly through the portrayal of the ‘different’ character Verga
introduces into his theatre: Mariangela.

                   The (Anti-) Romantic Play?
      Despite developing the events in the novella and play in a similar
way, Verga introduces differences of emphasis and focus. Both
versions begin with Lollo’s unexpected return home and his wife’s
nervous response as she continues to hide her lover. In the narrative,
this moment is recounted in a traditional way: «Lollo capitò
all’improvviso a casa sua, come la mala nuova. Picchiò prima pian
piano, sporse dall’uscio la faccetta inquieta, e infine si decise ad
entrare» (Tn: II, 451). The narrative continues to describe the «vero
tempo da lupi» (Tn: II, 451) and stresses the reaction of Lollo’s wife to
his unexpected arrival: «sua moglie, poveretta, cominciò a tremare
come una foglia, ed ebbe appena il fiato di biascicare: - Che fu?... che
avvenne?» (Tn: II, 451). Following the description, her affair is hinted at
through the description of the bed «bell’e rifatto» (Tn: II, 451).
     3
       Oxford English Dictionary,
http://oxforddictionaries.com/definition/english/catalyst?q=catalyst (web
last accessed 04/12/2012).



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Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage



Similarly, the terminology used in the novella is also employed in the
stage directions of the play. The stormy night is described as a «vero
tempo da lupi» (Tt: 131) and as Lollo enters the house, this time
holding a «fucile» (Tt: 131), the «povera donna» (Tt: 131) «comincia a
tremare come una foglia, ed ha appena il fiato di balbettare – Che fu?
Che avvenne?... » (Tt: 131). The bed is also described as «bell’e rifatto»
(Tt: 131). However, unlike the novella, Mariangela’s first sentence in
the play is directly linked to the assumption that she is hiding her
lover: «(tutta sossopra, ancora mezzo discinta, chiudendo in fretta
l’uscio della cucina in fondo). Vengo!... Vengo!... Sono in letto… mi
vesto…» (Tt: 131). Whereas her affair is only suggested in the opening
of the narrative, her entrance on stage leaves no doubt among the
audience that she is being unfaithful. It would seem that once the
drama is transposed to the stage, Verga felt the need to be explicit
about her adultery.
     In fact, as well as alluding to Mariangela’s affair more explicitly in
the dramatic version, Verga employs the use of dialogue on stage to
elaborate on her reaction to her husband’s early return. In both
versions Mariangela performs the role of the archetypal ‘good wife’ by
preparing her husband some bread to eat, some wine to drink and a
pipe to smoke. While in the novella she then pushes him to tell her
what he is looking for in a concise way: «– Ma che volete fare? Parlate
almeno!» (Tn: II, 452), the use of dialogue introduced on stage enables
Verga to develop Mariangela’s reaction to the unexpected arrival more
fully: «Ditemi che cercate?» (Tt: 132); «Vedete, qui non c’è niente» (Tt:
132); «(quasi perdendo la testa, buttandoglisi dinanzi colle braccia
protese, pallida come un cencio). Ma che cercate?... Non me lo potete
dire?» (Tt: 132); «(tutta tremante). Ditemi che vi abbisogna… Vi servo
io… Non sono vostra moglie?» (Tt: 132).
     Moreover, once Mariangela relies on dialogue on stage, she is also
able to use the tones of her voice to emphasize her fear of being caught
with her lover. In the novella, Mariangela acts suspiciously when Lollo
asks her whether she has seen Bellamà, responding in a short and
hesitant way: «- No… no… - balbettò sua moglie, che fu ad un pelo di
lasciarsi cader di mano la grazia di Dio» (Tn: II, 452). In the play, on the
other hand, her fragmented speech and the stage directions depict her
reaction in an exaggerated way: «(si lascia cadere la roba di mano,
mentre sta servendo, e balbetta). No… Perchè… Non s’è visto…» (Tt:
133). Even though the use of suspension marks and choice of words in
both versions trigger the reader of the novella and the audience of the
play to associate this man with her lover, it is the added importance
weighed on the use of dialogue and body language in the dramatic
version which conveys her affair more openly on stage.


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                                  Between, vol. II, n. 4 (Novembre/November 2012)



      A further example of this tendency to overstate the events occurs
when Mariangela continues her act as a ‘good wife’ this time by falling
to the ground and removing her husband’s drenched shoes. In the
novella it is simply narrated that «la povera donna smarrivasi sempre
più, e a un tratto si buttò ginocchioni per slacciargli le ciocie fradice»
(Tn: II, 452). Likewise, the stage directions in the theatrical adaptation
describe how «la povera donna si smarrisce sempre più, e a un tratto
gli cade ginocchioni dinanzi, per slacciargli le ciocie fradicie. Egli la
respinge col piede, borbottando» (Tt: 133). However, instead of simply
removing his shoes as she does in the narrative, she explains why it is
that she is doing so: «Voglio asciugarvi i piedi… Siete tutto bagnato…»
(Tt: 133). Even though it is understandable that Mariangela should
verbalize her emotions on stage for the benefit of the audience, this
does not account for why she is so overt and explicit. Indeed, whereas
the novella avoids exaggerated dialogues of this sort, the style of
language adopted on stage appears to move in the direction of a
melodrama.
      The same melodramatic effect is employed further on in the play
when Lollo invites her to join him for some wine and she refuses,
stating: «Ho lo stomaco chiuso per cent’anni» (Tt: 134). Later, as her
husband continues to provoke her by speaking about Bellamà,
Mariangela, in the stage directions, «[s]i butta ginocchioni ai suoi piedi
e cerca d’afferrargli la mano» (Tt: 138), stating: «Lasciatevi baciare la
mano… come Gesù misercordioso!» (Tt: 138) – two rhetorical
statements which are not included in the novella.
       Moreover, once the novella is transposed to the stage, it would
seem that Verga also felt the need to add suspense to the drama.
Although the novella and play are designed to highlight the female
protagonist’s fear of being caught with her lover, it is the stage version
that creates a sort of crescendo leading up to this moment. After Lollo
questions her about Michelangelo / Bellamà, whereas Lollo in the
narrative proceeds to describe his hunt – bringing in an actual lamb to
tempt the wolf (an aspect inevitably overlooked in the dramatic
version) – on stage a noise is heard from the kitchen, which Mariangela
attempts to disguise: «(più morta che viva). Saranno le galline… che le
ho chiuse in cucina… pel temporale che faceva…» (Tt: 134).
      The conventions of the theatre continue to enable Verga to
increase the dramatic tension when Lollo explains how he is going to
trap the wolf. In both versions a gust of wind suddenly blows out the
lamp which frightens his wife. In the narrative she exclaims «- Santa
Barbara! Santa Barbara!... Aspettate… Cerco gli zolfanelli… Dove
siete?» (Tn: II, 454). The same occurs in the play: «Una ventata soffia
sul lume e lo spegne […] (strillando, per maggior confusione, e


                                                                               5
Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage



brancolando verso l’uscio in fondo). Santa Barbara! Santa Barbara!...
Aspettate… Cerco gli zolfanelli… Dove siete» (Tt: 136). Even though
her reaction is identical in the two versions, it is the spectators of the
play who are presented with a more threatening image as they watch
Mariangela alone, centre stage, in complete darkness beside her angry
husband holding a rifle. Again, it is this more exaggerated image of
Lollo on stage which supports the notion that as soon as Verga adapts
the novella into a play, he seems to transform his narrative into a sort
of a pièce bien faite, despite claiming to sacrifice «l’effetto della
catastrofe» (Tn: I, 191). However, it could be argued that Verga felt the
need to ‘add more drama’ to his stage version in order to satisfy his
audience’s expectations. As Verga puts it to Ojetti, he is no longer
writing for «un lettore ideale come avviene nel romanzo, ma per un
pubblico radunato a farla così da dover pensare a una media di
intelligenza e di gusto, a un average reader, come dicono gli inglesi» (70-
71).
      So as the above analysis has illustrated, whereas the reader of the
novella can infer Mariangela’s feelings through an account of her
external actions provided by narrator, once the narrator is withdrawn
on stage, Mariangela now needs to convey her sense of fear for herself,
which she does mainly through her dialogue and use of body
language. Verga thus extends her dialogues on stage and emphasizes
in the stage direction how the lead actress should externalise her
emotions. However, by developing Mariangela’s responses on stage,
Verga risks overstating the action and, as a result, seems to
(inadvertently?) turn his play into a melodrama – contradicting his
own ‘verist’ principles. Verga may therefore claim to base his works,
composed of «parole semplici» (Tn: I, 191), on «[i]l semplice fatto
umano» (Tn: I, 191), placing importance on his characters’ exterior
behaviour to suggest their moods and dispositions, but once he shifts
La caccia al lupo from the narrative genre to the theatrical, this new
choice of genre (and audience) makes his poetics more challenging to
‘translate’.

                         Or the Experimental Play?
     Although Verga appears to steer the first part of the play into the
direction of a melodrama, it would seem that as the action develops, he
shows signs of experimenting with a ‘different’ kind of drama where
what is seen on the outside does not necessarily correspond with what
is concealed in the inside. This ‘new’ tendency is conveyed in
particular through his characterization of Mariangela. Indeed, despite


6
                                     Between, vol. II, n. 4 (Novembre/November 2012)



appearing as the most defenceless character, she eventually reveals
herself as the strongest protagonist. To build up to this moment, Verga
chooses to portray her as a vulnerable woman at the outset – constantly
referring to her as a «poveretta» (Tn: II, 451 and Tn: II, 455), «la povera
donna» (Tn: II, 452 and Tn: II, 455), «la povera moglie» (repeated twice
in Tn: II, 454), and «la povera donna» (Tt: 131) – so that the contrast is
more startling at the end, above all in the drama.
        This so-called ‘poor woman’ in both versions is nonetheless a
somewhat cunning one. As she continues to ask Lollo what he is
looking for, she exposes a different, sexual side to her personality.
Indeed, she uses her feline-like sensuality as a way of luring him into
telling her the truth. The narrator describes how: «gli si strusciava
adosso, proprio come una gatta, col seno palpitante, e il sorriso pallido
in bocca» (Tn: II, 454), and similarly in the stage directions: «gli si
struscia addosso, proprio come una gatta, col seno palpitante, e il
sorriso pallido in bocca» (Tt: 135). However, unlike in the novella,
Mariangela continues to exploit her sexuality later in the theatrical plot
in order to prevent her husband from locking her in the house:
«(stringendosi a lui, carezzevole). Non mi lasciate!... Non mi lasciate
così!... Ho paura!... Venite a letto piuttosto… con questo freddo!...
sentite?... (Tt: 137)».
      What further differentiates the short story from the play is
Mariangela’s reaction when she realizes that she cannot use her body
to manipulate her husband. In the novella she demands to know the
cause of his rage: «– Ma che avete infine? Parlate!» (Tn: II, 455), while in
the play she continues to distract him by performing a further role,
only this time that of the servant wife – a role which is not developed
in the novella: «(timidamente). Voi siete il padrone… (Accennando col
capo) Il mio padrone siete!...» (Tt: 135).
      These extra scenes and dialogues are included in the theatrical
adaptation in order to expose her varying personas and thereby to
enhance the audience’s understanding of her. Interestingly, whereas
the previous characters that Verga transposes to the stage tended to
remain the same throughout the narrative and theatrical plots (Santa /
Santuzza is a betrayed woman in Cavalleria rusticana, Màlia is a broken-
hearted and poorly girl in Il canarino del n. 15 and In portineria, and La
Lupa is portrayed as a she-wolf throughout La Lupa), Mariangela in
this pair of texts, particularly in the theatrical adaptation, is a ‘different’
character with various sides to her personality.
      Moreover, while the feelings the above characters have for their
lovers are undoubtedly clear, Mariangela’s feelings for Michelangelo/
Bellamà are more ambiguous, particularly in the play where it is left it
is unclear whether she was aware of her lover’s involvement with


                                                                                  7
Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage



another married woman – an area which is omitted in the closing of the
novella. At the end of both versions, the reader of the novella and the
audience of the play are led up to the episode where Lollo traps his
wife in the house. In the narrative, Lollo simply leaves his home in
order to meet the other hunters, informing his wife: «Ho già avvisato
Zango e Buonocore» (Tn: II, 453), without clarifying who exactly these
two men are and why «[c]i hanno il loro interesse pure» (Tn: II, 453).
On stage, however, the men are called Musarra and his son Neli, and
as Lollo exits, he reveals why they are keen to assist him in the hunt:
«Sai, il figlio Musarra, che chiamano il matto perchè sua moglie gli è
fuggita con Bellamà, quello che fa il gallo colle donne altrui…» (Tt:
137). What is striking about this passage is how Lollo suggests
Mariangela’s awareness of Bellamà’s affair with Neli Musarra’s wife.
Her body language and tone of voice leave the audience wondering
whether she is lying or not:

         Lollo: […] Lo sai anche tu.
         Mariangela: (confusa balbettando). Io?... (Tt: 137)


      Lollo continues to inform the audience of the antecedent events,
outlining how Bellamà seduced Neli’s wife and then abandoned her in
the streets. He ends his dialogue by referring to the pain Bellamà has
caused Neli when, in reality, the audience is made to understand that
he is actually talking about his own suffering: «Ah Gesù! Avere una
donna ch’è tutto per un pover’uomo […] vedersi poi cambiare pel
primo che la vuole!» (Tt: 137).
      Once Lollo leaves, Michelangelo / Bellamà comes out of hiding.
This episode is crucial in continuing to reveal the different sides to
Mariangela’s personality. Unlike in the novella, once he comes out of
hiding, she is initially portrayed as being playful and affectionate
towards her lover (whose first name is Mariano), «(abbracciandolo,
piangendo). Mariano! Mariano mio! Non ho che te al mondo!» (Tt:
140). What is significant about her line here, however, is how earlier in
the plot, in order to distract her husband from the hunt, she utters
virtually the same words to him: «che non ho altro al mondo!...» (Tt:
135).
      As well as being portrayed as an affectionate lover, Mariangela is
also portrayed as an angry lover. Even though in the novella she
reproaches Michelangelo for all the trouble their affair has caused («–
Doveva cogliermi un accidente, quando mi siete venuto fra i piedi!»
(Tn: II, 456)), by introducing his involvement with Compare Neli’s wife



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                                     Between, vol. II, n. 4 (Novembre/November 2012)



into the play through Lollo’s dialogue, Verga gives Mariangela more
motivation for anger. At first, she mentions that her husband is in the
company of Neli and his father Musarra and this inevitably makes
Bellamà fear for his life: «(facendo sforzi disperati per arrivare al tetto).
Si è messo d’accordo coi Musarra perchè ce l’hanno con me anche
loro!» (Tt: 140). She then berates him about his involvement with Neli’s
wife: «Lo so! A causa della moglie di compare Neli Musarra…
scomunicato che siete!» (Tt: 140-141), which leads to a confrontation:

        Mariangela: […]. M’avete rovinata come la moglie di Musarra,
     scellerato!
        Bellamà: Adesso mi rinfacci la moglie di Musarra? Quando mi
     correvi dietro per farmela lasciare, no!
        Mariangela: Io vi correvo dietro, scomunicato?
        Bellamà: Tu, sfacciata! Ti mettevi sulla porta, e mi ridevi!... Con
     un marito che non te lo meritavi, e lo cambiavi pel primo che
     passava! (Tt: 141).


      What emerges from these passages is the suggestion that
Mariangela pursued Bellamà despite knowing about this affair. Indeed,
earlier on in the theatrical plot Lollo also implies that Mariangela was
already aware of Bellamà’s involvement with Neli’s wife. Mariangela,
however, denies all the accusations, leaving the spectators to make up
their own minds.
       Significantly, it is the closing of the play, as opposed to the
novella, which emphasizes a side of Mariangela’s personality which
continues to set her apart from Verga’s characters. Whereas in the short
story Lollo never returns home once he has locked up his wife, in the
play, he does come back, but in the company of the angry Neli and
Musarra. What is particularly striking about the last scene on stage is
Mariangela’s reaction to her husband’s return. As she is caught with
her lover, she pretends that Bellamà has broken into the house while
she was undressing: «(al marito che appare sulla soglia, guardingo, e
col fucile spianato). Aiuto! C’è un uomo! Lì dentro!... Mentre stavo
spogliandomi!...» (Tt: 141). Whereas the reader of the novella is left
wondering what will happen to the lovers when Lollo returns, the
audience of the play ‘knows’ that Mariangela exploits her play-acting
in order to try to save her own life. Throughout the theatrical action
Verga has exposed various aspects of Mariangela’s personality and it is
this final act which encapsulates the essence of her character.
      Although Mariangela’s survival is a possibility and not a
certainty, she is nonetheless bold enough to protect herself by


                                                                                  9
Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage



manipulating the circumstances to her benefit. Mariangela effectively
takes advantage of Lollo’s rage by inciting him to kill Bellamà,
ultimately turning Lollo into a means of obtaining ‘her’ ends. Even
though in both versions she has been compared to the lamb in the
allegorical triangle, what is striking here is how the lamb uses the
hunter as a means of destroying her potential predator. Indeed, it
could be argued that in this triangular relationship it is no longer the
husband who takes revenge on his wife’s lover, as exemplified in
Cavalleria rusticana, but the wife who attempts to take vengeance on her
lover by using her husband as a tool.
      What continues to make Mariangela stand apart from Verga’s
characters is how her final actions are based upon her ability to ‘think
for herself’. While Nanni in both versions of La Lupa, Jeli in Jeli il
pastore, and the protagonist in Pentolaccia (each published in Vita dei
campi) end the triangular relationship in which they are involved
through instinct – Nanni kills Gnà Pina in a passionate rage, Jeli
impulsively slits Don Alfonoso’s throat «proprio come un capretto»
(Tn: I, 161), and similarly Pentolaccia kills Don Liborio «come un bue»
(Tn: I, 213) – Mariangela’s attempt at survival is devised through her
capacity to think: she calculates a way out of the trap by purposely
putting on a pretence before leaving her lover to perish.
      Indeed, by the time Verga came to write La caccia al lupo, it seems
as if he had gone beyond portraying the basic nature of human
relationships (such as the women’s uncontrollable desire for their
lovers, portrayed above all in La Lupa, and the men’s spontaneous
violent acts of revenge against their rivals) and chosen to focus on the
rational, rather contrived, aspect of relationships. Luigi Russo actually
maintains that in this play «sono intellettualmente tipizzate le passioni
del mondo rusticano» (1995: 190).
      In fact, both the reader of the novella and the audience of the play
are presented with a more problematic triangular relationship. In both
versions of La caccia al lupo all three protagonists are trying to deceive
each other. Lollo’s vengeance has been disguised by what appears to
be a wolf hunt. Mariangela pretends not to understand the
implications of the hunt when in reality she is very much aware that he
has discovered the truth about her adultery and intends to kill her
lover. In the novella she tells Michelangelo: «È certo! È certo che
sapeva!» (Tn: II, 456), and, similarly, on stage: «Mio marito sa tutto!... È
venuto apposta, per sorprenderci!» (Tt: 139). As for the lover, he gives
the impression that he has no intention of being faithful to her,
particularly in the stage version where his involvement with other
women is revealed.



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      What is more, in the passage from short story to play, Verga is
able to strengthen the element of pretence mainly through the use of
stage directions. Before Lollo exits to prepare for the hunt, it is stressed
in the stage directions that Mariangela is putting on a performance of
her own: «fingendo di stare a vedere attentamente per nascondere la
sua inquietudine» (Tt: 134). In fact, this element of play-acting within
the drama has led critics such as Paolo Mario Sipala to conclude that «i
personaggi sono partecipi di una finzione; recitano due volte, tra loro e
per il pubblico. Se non temessimo di scomodare una formula
pirandelliana, potremo dire che fanno Teatro nel teatro» (1985: 45).
Sipala, however, does not point out how Mariangela is perhaps the
most talented ‘actor’, particularly at the end of the ‘play-within-a-play’
when she exploits her multifaceted nature by performing the role of
the offended wife. From this, it would seem that by the time Verga
adapted La caccia al lupo into a play, he starts to develop his use of stage
directions in his dramatic works – in this case, in order to allude to the
duplicity of drama: how the characters behave on the surface and their
true intentions hidden underneath, strengthened by Mariangela, the
most skilful ‘performer’.
     There are also several critics who have associated the characters’
play-acting with the topic of the mask. Romano Luperini maintains
that «i personaggi [...] recitano tutti una parte, portano tutti una
maschera o si sforzano sino all’ultimo di portarla» (1974: 115). Gino
Tellini, in fact, considers the stage adaptation a kind of conclusion to
Verga’s ‘rustic’ plays and hence, a kind of opening to a new type of
theatre where the characters disguise themselves with their various
masks, concluding that «i tre personaggi del classico triangolo si
attengono ognuno ad un falso repertorio di gesti e di parole: dietro non
è dato intravedere che i segni di una medesima ferina disumanità»
(1980: 488). Both of these critics, however, neglect to emphasize how
Mariangela is the character with the greatest number of masks. Indeed,
what has mainly come to light in this analysis is how, in the passage
from short story to stage, she is exposed as the biggest game-player in
the triangle. Although this aspect is conveyed in the narrative through
the role of the narrator, it is the means of the theatre which draws
attention to the multiple sides to her personality: she alters her ‘masks’
from being the meek woman, to the sexual lover, to the offended wife,
and lastly, to the cold avenger.




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Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage




           The ‘Pre-Pirandellian’ Protagonist and Play
      To conclude, although the general view among critics is that in the
work of Verga, «non c’è posto per l’automonia femminile»
(Madrignani 2007: 69), it has been argued here that Mariangela is, in
fact, the key catalyst in La caccia al lupo, whose ability to think for
herself enables her to break away from women’s traditional
representation as emotion and instinct, and to reveal herself to be more
autonomous than meets the eye – pulling the strings for her benefit.
      Moreover, the close reading has shed light on how Mariangela is
crucial in indicating the ‘new’ direction in which Verga’s theatre
appears to be moving towards. Although Verga risks turning the first
part of the play into a melodrama, he nevertheless exploits the
conventions of the theatre in order to take the original action one step
further on stage, particularly at the end. Through the additional use of
dialogue, body language and stage directions, Verga is able to develop
the different sides of Mariangela’s personality, and the different levels
of reality: how she behaves on the ‘exterior’, and her true intentions in
the ‘interior’ – no longer the kind of character whose actions are
logically consistent with her feelings. This duplicity gives the
impression that Mariangela is putting on a performance, thus turning
the play into a kind of ‘play-within-a-play’. Indeed, it has been argued
here that Mariangela is the main ‘performer’ of the play with the most
numbers of ‘masks’ – a concept through which Verga seems to
anticipate what will later become known as ‘Pirandellismo’. As a result
of this ‘Pre-Pirandellian’ tendency, it could be argued that audiences
were perhaps unprepared for such a play ‘ahead of its time’, and
subsequently, this could explain why it is that Verga prematurely
ended the phase in which he transposed novelle onto the stage, ‘before
his time’.




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                              Works cited
Barsotti, Anna, Verga drammaturgo: tra commedia borghese e teatro verista
     siciliano, Firenze, La nuova Italia, 1974.
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De Roberto, Federico, Casa Verga e altri saggi verghiani, Ed. Carmelo
     Musumarra, Firenze, Le Monnier, 1964.
Fallon, Marianne, “La caccia al lupo di Verga fra novella e teatro:
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     italiana, XX (2002): 81-98.
Ferrone, Siro, Il teatro di Verga, Roma, Bulzoni, 1972.
Levi, Cesare, “Il teatro di Giovanni Verga”, Nuova Antologia di lettere,
     scienze ed arti, 6th series, July-August 1920: 141-7.
Luperini, Romano, “La maschera e la realtà nell’ultimo Verga”, Id.,
     L’orgoglio e la disperata rassegnazione. Natura e società, maschera e
     realtà nell’ultimo Verga, Roma, Savelli, 1974: 83-126.
Id., Verga moderno, Roma-Bari, Laterza, 2005.
Madrignani, Carlo Alberto, “L’altro’ femminile e la golosità”, Id.,
     Effetto Sicilia, Roma, Grafica editrice romana, 2007: 63-72.
Malara, Francesca, Copioni e drammaturgie di fine Ottocento, Milano,
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     europeo, Firenze, Le Monnier, 2004.
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     Manzoni e altri saggi, Bari, Laterza, 1961: 271-6.
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     1954.



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Enza De Francisci, Mariangela in Verga’s La caccia al lupo: From Page to Stage



Id., Lettere sparse, Ed. Giovanna Finocchiaro Chimirri, Roma, Bulzoni,
     1980.
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                                      The Author
Enza De Francisci

Enza De Francisci has recently completed her PhD thesis, Women in
Verga and Pirandello: From Page to Stage, at University College London
(UCL), supervised by Prof. Anna Laura Lepschy and Dr. Shirley Vinall.
She is a Postgraduate Teaching Assistant in the Italian department at
UCL, as well as a member of the Society of Pirandello Studies,
organising the last Annual General Conference at the Bloomsbury
Theatre. She has been on research scholarships to the Scuola Normale
(Pisa), the Pirandellian Institute (Rome), and the University of Bologna
(DAMS), as well as delivered conference papers at the University of
Toronto, Cambridge, and Reading. She is currently working on a
research project based on the reception of Italy’s turn-of-the-century
‘grandi attori’ on the London Stage. Recent publications include:
Pirandello Studies (2012) and Shaping an Identity: Adapting, Rewriting and
Remaking Italian Literature (2012).

        Email: e.francisci@ucl.ac.uk



                                       The paper
Date sent: 09/08/2012
Date accepted: 12/11/2012
Date published: 30/11/2012




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                                 Between, vol. II, n. 4 (Novembre/November 2012)




                    How to quote this paper
De Francisci, Enza, “Mariangela in Verga’s La caccia al lupo: From Page
to Stage”, Between, II.4 (2012), http://www.Between-journal.it/




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