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• W43917229 abstract "While The Baron in Trees has something of texture of fairy tale or legend --the initial premise, Cosimo's blood initiation by killing the most savage wild cat in woods, Robin Hood-like colliers, and so on-- yet it is also every inch sophisticated writer's work. All together, there are references to some nineteen literary figures, either classical or Enlightenment, ranging from Ovid (43 B.C.) to Bernardin de St. Pierre (1734-1814). Further, two of characters, Orbecche, Jewish book-dealer, and deracinated Russian Prince Andrei, are named after other writers' characters; Giraldi's Orbecche (1541) and Tolstoy's Andrei Bolkonski (1869), respectively. The hero of Calvino's work is himself writer of eighteenth century projector/didactic school, with four publications and one newspaper, The Biped's Monitor, later The Reasonable Vertebrate, to his credit. On yet another literary plane, Generalessa Konradine, Cosimo' mother, is as obsessed with all things military as Tristram Shandy's Uncle Toby was, while many characters' names, exotic Turks, and wily Jesuit are all reminiscent of Voltaire's Candide (1759). The narrator, Biagio, concludes story with reflections on relationship between his tale and very act of writing, whereas Sian dei Brughi episode (Chapter 12) reveals effects of literature on life. The Baron in Trees would then seem to be critic's, or literary historian's, paradise, though, as we shall see, it often proves to be something of Baron's nest, as it were, since so many of these motifs and metafictional techniques are humorous throwaways and subtle indirections though never simply such. A review of literary allusions and their implications will shed light on Calvino's continued investigation of fit between and as this is traced throughout foliated text. The seminal chapter to consult for relationship between literature and its effects on in The Baron in Trees might be considered to be Chapter 12. Here, Gian dei Brughi, feared brigand whose name strikes terror into valley-dwellers, and makes real experts laugh, meets with Cosimo while latter is reading Lesage's Gil Bias. Gian subsequently, and as direct result, becomes addicted to perusal of literature, develops bourgeois airs through Richardson's Clarissa and, in quite literal fashion, enacts Oscar Wilde's dictum that follows art by being hanged in imitation of Fielding's Jonathan Wild, novel Cosimo reads to him while he is imprisoned, and whose ending he narrates to Gian from hanging tree. As Gian becomes perfect literature consumer, he ceases to have any valid function in society. Previously, underworld fraternity had enjoyed immunity from law since Gian was held responsible for all misdemeanors. While reading Clarissa bandit develops a yearning for cozy habits of family life (93), and finds it impossible to take himself seriously as an outlaw, when forced to carry out one last raid, under threat of Clarissa-withdrawal. So addicted is he indeed that he resists rack just so that he might listen to Cosimo terminate novel. In this satirical spoof, Calvino seems to imply that literature may in fact induce virtue, as Lesage, Richardson and Fielding, each in their way, had claimed that it could and should, but only at price of total otiosity of reader. (1) Literature does not fit Gian for but rather becomes his whole life. The effects are similar to those experienced by Enea Silvio Carrega -- waterworks supervisor, Cosimo's natural uncle-- in previous chapter; specialism, absorption leading to separating one's fate from that of others, can only result in fragmented, crippled existence. The Gian chapter serves as warning to all literary critics, more especially ivory-tower modernists obsessed by autotelic texts. A curious self-irony underlies Chapter 12. …" @default.
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• W43917229 date "1998-09-22" @default.
• W43917229 modified "2023-09-22" @default.
• W43917229 title "A Senseless Cluster: A Note on Literary Allusion and Literacy in the Baron in the Trees" @default.
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