One, No One, and One Hundred Thousand - Luigi Pirandello

Summary

One, No One, and One Hundred Thousand tells the story of Vitangelo Moscarda, a man who, after his wife Dida points out a slight asymmetry in his nose, begins to question his own identity. This seemingly trivial observation sparks an existential crisis as Vitangelo realizes that how he perceives himself is vastly different from how others perceive him. He discovers he is not "one" unified self, but rather "one hundred thousand" different versions of himself in the eyes of everyone he encounters, and paradoxically, "no one" in his true essence, stripped of these external interpretations. Driven by a desperate need to dismantle these "one hundred thousand" selves and find a genuine self beyond societal constructs, Vitangelo embarks on a radical journey, destroying his public image, reputation, and wealth. His actions, though stemming from a philosophical quest, are often perceived as madness, leading to a complete breakdown of his social life and eventually, his institutionalization, where he finds a peculiar peace in losing all distinct identity and merging with the natural world.

Book Sections

Section 1

Vitangelo Moscarda, the protagonist, lives a comfortable life in his hometown, managing a bank inherited from his father. One morning, his wife Dida playfully points out that his nose leans slightly to the right. This seemingly insignificant comment shatters Vitangelo's complacent view of himself. He had never noticed this detail, nor many others about his physical appearance, realizing he had lived oblivious to how he truly looked to others. This observation triggers an intense introspection: if he doesn't know what he looks like, how can he know who he is? He suddenly perceives that for his wife, for his friends, for the employees at his bank, for everyone, he is a different person, a distinct "Vitangelo Moscarda" created by their perceptions. The self he knew as "one" now fractures into "one hundred thousand" different versions, none of which truly align with his inner sense of self. He becomes obsessed with identifying and dismantling these external interpretations, starting with the image his wife has of him. He attempts to provoke her into seeing him differently, causing confusion and tension in their relationship.

| Character | Characteristics Vitrangle Moscarda and Dida: Husband and wife. Vitangelo is initially naive, Dida is observational and practical. His motivation becomes to understand and break free from external perceptions of himself. Dida's motivation is to live a normal married life, which is disrupted by her husband's existential crisis.
| Character | Characteristics |
| Vitangelo Moscarda | Introverted, contemplative, idealistic, somewhat naive, and later prone to intense philosophical reflection and eccentric behavior. He is a man of inherited wealth, initially accustomed to a mundane existence. | To dismantle the perceived 'one hundred thousand' false selves imposed on him by others' perceptions, and to find a true, authentic self, or transcend self altogether. |
| Dida | Initially playful and attentive, later becomes bewildered and ultimately alienated by Vitangelo's unraveling. She values social decorum and practicality. |
| Vitangelo Moscarda | Vitangelo Moscarda is the central character, a meticulous and contemplative man who runs a modest inheritance bank. He's initially oblivious to his physical quirks and the myriad ways others perceive him, embodying a sense of comfortable, unquestioning existence. However, a single remark from his wife shatters this self-perception, driving him into an existential crisis. He becomes obsessive, philosophical, and eventually rebellious against societal norms and the "selves" imposed upon him. |
| Dida | Vitangelo's wife, perceptive and practical. She is initially baffled by Vitangelo's sudden change in behavior and his philosophical musings, eventually becoming exasperated and alienated. Her motivation is to maintain a stable, normal married life and the social image they hold. |
| Dida | Dida is Vitangelo's initially easy-going wife. She is practical, socially conventional, and oblivious to the depth of her husband's internal struggle. Her motivation is to maintain the comfortable status quo of their lives and her husband's sanity, reacting with confusion and concern to his increasingly erratic behavior. |

Section 2

Vitangelo's inner turmoil intensifies. He attempts to observe himself objectively, as if he were a stranger. This leads him to question the meaning of common gestures, expressions, and the very words he uses, recognizing how they contribute to the external "Vitangelo Moscarda" that others perceive. He realizes that even simple acts like greeting a neighbor or looking in a mirror are charged with pre-established meanings that he has absorbed without truly understanding or endorsing. He feels like a puppet, whose strings are pulled by these external expectations and fixed images. The desire to destroy these "others" living inside him becomes paramount. He starts by challenging the image of him as the "son of the late Moscarda," a respected banker. His father's former partners, Quantorzo and Firbo, who now manage the bank with him, are the first to witness his peculiar behavior. Vitangelo begins to perform seemingly irrational acts, designed to disrupt the familiar "Vitangelo" they know, much to their confusion and irritation. He tries to understand how his tenants see him, and decides to provoke them too.

Character	Characteristics	Motivations
Quantorzo	One of Vitangelo's father's old business partners, now managing the bank with Vitangelo. He is practical, traditional, and values order and reputation.	To maintain the stability and reputation of the bank and the family business, and to deal with Vitangelo's affairs in a sensible, conventional manner.
Firbo	The other business partner, similar to Quantorzo in his conservatism and respect for tradition. He is perhaps slightly more confrontational in his confusion and disapproval of Vitangelo's actions.	To uphold the established order of the bank and the Moscarda legacy, and to manage the practical aspects of the business while grappling with Vitangelo's increasingly bizarre behavior.

Section 3

Vitangelo escalates his destructive mission. He targets the image of himself as a benevolent landlord. He owns several properties, including one rented by a poor, old man named Marco di Dio, whom everyone knows Vitangelo's father had been exploiting by charging exorbitant interest. To shatter this perception of being his father's successor, Vitangelo decides to give Marco di Dio his house for free. This act, intended to be a genuine expression of his desire to be perceived differently, backfires spectacularly. Instead of being seen as generous, he is perceived as completely mad by the community, especially by Quantorzo and Firbo, who see it as reckless financial mismanagement. Dida is horrified, believing Vitangelo is deliberately trying to ruin their lives. This incident makes Vitangelo realize the futility of trying to change others' perceptions through conventional means, as any action he takes is filtered through their pre-existing image of him. He is increasingly isolated, his actions misinterpreted, and his sanity questioned.

Section 4

The philosophical struggle deepens. Vitangelo reflects on the nature of reality and identity, concluding that there is no single, stable reality, only a multitude of subjective realities. Each person creates their own version of the world and of those within it. He tries to explain his perspective to Dida, but she cannot comprehend his existential anguish. Her world is concrete and defined, while his is dissolving into a chaotic multiplicity. He feels trapped by his own name, "Vitangelo Moscarda," a label that embodies all the fixed, false identities he desperately wants to shed. He yearns for a state of being where he is simply "no one," free from any definition or expectation. His wife, alarmed by his persistent irrationality and the financial consequences of his actions, begins to distance herself, seeking advice from others about her husband's deteriorating mental state. He continues to provoke social situations, trying to observe how different individuals construct their "Vitangelo."

Section 5

Vitangelo’s actions become more extreme and targeted. His decision to donate the bank, the symbol of his inherited identity and wealth, is now underway. He decides to transform the bank into a pawn shop, intending to give it away to a poor, struggling man named Marco di Dio (a different Marco di Dio than the tenant, an impoverished former soldier) to help the needy. This act is the ultimate rebellion against his father's legacy and the "usurer" image associated with it. This drastic move confirms to Dida and the rest of the town that Vitangelo has lost his mind. Dida, unable to tolerate his behavior any longer, leaves him. The business partners, Quantorzo and Firbo, are incensed and take legal action, seeking to declare him incompetent and seize control of the remaining assets. Vitangelo, however, feels a perverse sense of liberation as he sheds the layers of his imposed identity.

Character	Characteristics	Motivations
Marco di Dio	A poor, former soldier, struggling to survive. He represents the common man in need, and a target for Vitangelo's philanthropy.	To find relief from poverty and improve his desperate circumstances.
Scapponcino	A small-time entrepreneur, likely a business acquaintance or tenant, who is one of the many people who have a fixed idea of "Moscarda."	To conduct his business and interact with Moscarda within the established social framework.

Section 6

Amidst the chaos of his collapsing life, Vitangelo seeks solace and understanding from Anna Rosa, a close friend of Dida's. Anna Rosa, unlike Dida, possesses a more philosophical and artistic sensibility. Vitangelo confides in her, explaining his profound anguish over the multiplicity of his selves and his desire to exist as "no one." She seems to grasp the essence of his dilemma, showing a depth of empathy Dida never could. Their conversations deepen, and a bond forms between them. This relationship becomes a point of contention and scandal in the conservative town, further cementing Vitangelo's reputation as an eccentric or madman. Dida becomes increasingly jealous and distraught over the developing closeness between her husband and her friend. The townspeople are scandalized, adding another layer of "Vitangelo" to be judged.

Section 7

Tragedy strikes. Anna Rosa, who has been the only person to offer Vitangelo any solace or understanding, is shot and seriously wounded. The suspicion immediately falls on Vitangelo, given his recent erratic behavior and the public knowledge of Dida's jealousy. While the exact circumstances are unclear, it is implied that Dida, driven to desperation and believing her husband's madness was alienating him permanently, may have been involved, or at least caused the situation that led to the shooting. Monsignor Partanna, a local dignitary, is instrumental in brokering a solution to the scandal. Vitangelo, facing ruin and likely imprisonment, is offered a deal: if he agrees to donate all his remaining wealth to establish an asylum for the poor in his name, the authorities will not pursue criminal charges. This effectively forces him to relinquish his last ties to his former identity and possessions.

| Character | Characteristics | Motivations |
| Anna Rosa | Anna Rosa is characterized by a deeper intellect and emotional complexity than Vitangelo's wife, Dida. She is receptive to philosophical ideas and capable of understanding Vitangelo's existential crisis to a greater extent. She is also artistic and sensitive. |
| Monsignor Partanna | A shrewd and pragmatic dignitary, primarily focused on safeguarding the Church's image and interests. He is less concerned with individual truth and more with social order and practical solutions. | To maintain order and reputation for the Church and for the community, and to resolve crises with minimal scandal and maximum strategic advantage for the institutions he represents. |
| Monsignor Partanna | A pragmatic and influential local dignitary, often acting as an intermediary to resolve local scandals discreetly to protect the community's and his institution's reputation. He is astute and focused on practical outcomes. | To maintain public order and the reputation of the Church and community, finding practical solutions to problems, even if they involve compromises for individuals. |

Section 8

Vitangelo finally achieves a state of being "no one." He resides in the asylum he funded, mingling with the other patients, finding peace in losing his individual identity and embracing a fluid existence in the present moment. He no longer wishes to be "Vitangelo Moscarda" or any fixed self. He observes nature, the changing seasons, the flight of birds, and feels a profound connection to the universal flux of life. He has shed the burden of external perceptions and the prison of a singular identity. His "madness" has led him to a form of enlightenment, where he dissolves into the "universal" and the "natural," experiencing life directly without the filters of ego or societal constructs. He concludes that to truly live, one must die to any fixed self, living in every moment as a new, nameless being, constantly born anew.

Literary Genre

Philosophical Novel, Modernist Novel, Psychological Fiction, Existentialist Fiction.

Author Details

Luigi Pirandello (1867-1936) was an Italian dramatist, novelist, poet, and short story writer awarded the Nobel Prize in Literature in 1934 for "his bold and ingenious revival of the dramatic and scenic art." His work often explored themes of identity, illusion versus reality, and the fragmented nature of the human psyche. He is a key figure in 20th-century Italian and world literature, known for his unique philosophical insights and innovative narrative techniques, particularly the concept of the "mask" (persona) that individuals wear in society. His plays, like Six Characters in Search of an Author, are foundational to modern drama.

Moral of the Story

The central moral of One, No One, and One Hundred Thousand revolves around the inherent instability and subjective nature of identity. Pirandello suggests that the self is not a fixed, unified entity, but rather a fluid construct influenced by external perceptions and societal roles. The book posits that attempts to define or cling to a single "self" lead to anguish and disillusionment. True liberation, or a peculiar kind of peace, can only be found in the dissolution of the ego, embracing the multiplicity of perceptions, or even transcending individual identity entirely to become "no one" – a state of being that merges with the ever-changing flux of existence. It challenges the reader to question their own perceived identity and the masks they wear for others.

Curiosities

• Long Gestation: Pirandello worked on One, No One, and One Hundred Thousand for a very long time, starting the initial concept as early as 1909 and only completing it in 1926, making it the last of his major novels. It's considered the culmination of his philosophical exploration of identity.
• Autobiographical Elements: The novel contains echoes of Pirandello's own life, particularly his wife's mental illness, which profoundly impacted his understanding of subjective reality and madness. The themes of a dissolving self and the different "masks" one wears were deeply personal to him.
• Title Significance: The title itself, Uno, Nessuno e Centomila (One, No One, and One Hundred Thousand), perfectly encapsulates the novel's core philosophical argument. "One" refers to the individual's illusion of a unified self; "One Hundred Thousand" represents the myriad ways others perceive that individual; and "No One" signifies the protagonist's eventual realization of the void beneath these external constructions, and his desired state of liberation.
• Influence on Existentialism: The novel's deep dive into identity, alienation, and the absurdity of societal constructs placed it as a significant precursor to and influence on later existentialist thought in literature and philosophy.
• Film Adaptation: The novel was adapted into a 1967 Italian film titled C'era una volta (Once Upon a Time) directed by Francesco Rosi, though it took significant liberties with the plot and moved it to a contemporary setting. Pirandello's work often proves challenging to adapt directly due to its introspective and philosophical nature.