Identity as a Myth in Pirandello’s Works

Ali Jamalinesari


The most useful key words to understand Pirandello and at the same time the major recurring ideas and motifs, on which his novelty and greatness depend, include reality, illusion, art and identity. Pirandello seems to have raised several deep questions about identity, truth, the importance of paradox, contradiction and opposition in understanding the truth about the things as well as the significance of point of view and the position of the one who judges in the judgment process which are going to be discussed in this article. Pirandello is polyphonic in so far as to him there is no absolute truth with capital; rather truth is significant only when it is the direct outcome of a particular point of view. Therefore, there are as many truths and identities as there are many points of view.


Identity, Pirandello, Truth, illusion, Reality, Art

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Bentley, E. (Ed.). (1952). Naked Masks: Five Plays by Pirandello. New York: Dutton.

Pirandello, Luigi. (1979). Six Characters in Search of an Author, Methuen Drama.

Pirandello, Luigi. (1933). One, None, and a Hundred Thousand (S. Putnam, Trans.). New York: Dutton.

Pirandello, Luigi. (1974). On Humor (A. Illiano and D. P. Testa, Trans.). Chapel Hill: University of North Carolina Press.

Pirandello, Luigi. (1923). The Late Mattia Pascal (A. Livingston, Trans.). New York: Dutton.

Pirandello, Luigi. (1925). The Outcast (L. Ongley, Trans.). New York: Dutton.



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