storia di un burattio (13. 415)

Originally a satirist poking fun at the Italian state of disunity and fractured governance, that is until his newspaper, Il Lampione, was censored at shutdown by the Grand Duke of Tuscany after the Italian Wars of Independence, Carlo Collodi turned to authoring children’s stories as the newly unified Italian state was subsidising school readers and the commissions, now serialised in another publication he founded in 1853, Lo Scaramuccia, provided a steady source of income whilst also being a vehicle for continued lampooning under cover of allegory. Pinocchio, originally published in fifteen instalments ending in 1881 with the puppet dead, strung up in the branches of an oak tree, by Fox and Cat—far weirder than the Disney version and akin to a more classical fairy tale with his cricket conscious killed with a hammer by his own hand but returning as a Force ghost, the puppet’s feet burned away, the transformed protagonist in asinine form, injured and rendered useless to his owner, drowned, devoured by a shark, disgorged and skinned so his hide can be used to fashion a drum, the corpse Blue Fairy, etc, etc—and fine. Due to overwhelming demand by his readership, Collodi is compelled to continue the story with more volumes. Whilst united, only a small vanishingly small percentage of the population spoke standard Italian, the diglossia of dialects mutually unintelligible, Pinocchio written in the language of the central region of Toscana and championed as the standard, with simple sentence structure and vocabulary, widely popular and accessible, the motivation behind commissioning children’s reading material, helped to a large and under-appreciated extent to create a common tongue.