Amusing: Dialectical journal for a separate peace
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Part Four. With this fog we already find ourselves in an Italy unlike the Italy of our myths. A good thirty characters who come and go in this empty space, waiting for who knows what, for something to happen, the show perhaps? They wait. A girl, Nina, stands transfixed by the lights of the circus, staring with all her heart through a rent in the canvas at the clown performing his perilous act. Night has fallen.
For one moment, time is in suspense. But she is already being watched by the Togasso, the good-for-nothing who hopes to seduce her. A quick defiance, retreat, departure. Something has taken shape, which might turn into a tragedy. A tragedy?
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It is completely forgotten in the second act. It is broad day in the spacious premises of a cheap eating-house. Here again we find a whole crowd of poor people, the same people but dialectcal characters: the same poverty and unemployment, the flotsam of the past, the tragedies and comedies of the present: small craftsmen, beggars, a cabman, a Garibaldian veteran, some women, etc.
Also a few workers who are building a factory, in sharp contrast with their lumpen-proletarian surroundings: they are already discussing industry, politics, and, almost, the future, but only just and with difficulty.
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This is Milan from below, twenty years after the conquest of Rome and the deeds of the Risorgimento: King and Pope are on their thrones, the masses are in poverty. Yes, the day of the second act is indeed the truth of the night dialectical journal for a separate peace the first: these people have no more history in their lives than they had in their dreams. They survive, that is all: they cialectical only the workers depart, called by the factory hooterthey eat and wait. A continue reading in which nothing happens.
Then, just at the end of the act, Nina reappears on the stage, for no apparent reason, and with her the tragedy.
We learn that the clown is dead. The men and women leave the stage little by little. The Togasso appears, he forces the girl to kiss him and give him what little money she has. Hardly more than a few gestures. Her father arrives. Nina is weeping at the end of the long table. He does not eat: he drinks. After a terrible struggle he succeeds in killing the Togasso with a knife and diaoectical flees, haggard, overwhelmed by what he has done. Once again a lightning flash after a long grind.]
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