In the vast musical history of Sicily has Andrea Camilleri dug a little interlude that has not changed the world, but still moderns can give a lesson to us. The special skill of the author is that he gives several levels of telling episode: There are first and foremost human stories that touch us (good or evil); because we captivates an exciting plot (is good or evil prevail?); because policy is made, the challenge to compare with current events; and as we identify in the distant past delicate roots of our more fortunate states.
Since the “Sicilian Vespers” (1282) was one of the island the Spanish. They had only one thing in mind: possible to press a lot of capital from the region; Nothing invested or modernized. From 1,517 to 1,707 governed “viceroys” as the representative of the Spanish crown on site. The incredibly lavish royal household in Palermo devoured what had earned farmers, artisans and laborers weary and go through the dark channels from which managers, landowners, tax collectors and courtiers drew. Laws and morality included little; who had sinecures, made use of restraint and provided first of all, even himself and his family. All this was theologically legitimized by a clergy, the temporal power and earthly pleasures were more important than the pure doctrine of the New Testament.
Camilleri leads us into the midst of the vast machinery of the Palermo court in which the nobility and clergy to the Viceroy circuits such as in a miniature model of the solar system. In the inner world this apparatus each interact with each – by co intriguing, rivalry, Katz bosses laws breaking, Austricksen, plunder; for the spice of hypocritical everyday care stabbings, abuse and unrestrained debauchery.
1677 sits in the center of this bustle of the Viceroy Marqués Don Angel de Guzman. When he came two years earlier to Palermo, he was not yet thirty and spindly. Two months later he began inexorably to deform and is now mutated into a monstrous appearance. Fat, sluggish, sick and weak, he leaves the political daily business his courtiers and advisers in the Holy Royal Council, he should be reigning chairman. Its proximal end realizing he meets wise precaution, by using his wife as successor in office. Then he retires during a council meeting to go
Donna Eleonora is equipped with crystal clear mind and iron will -. And with unparalleled, irresistible beauty. In their veins Sicilian blood flows. The age of ten she was sent to the convent, where she learned Italian and other useful things, until she left again marriageable age. 1675 Don Angel took her to wife, and since then she lived quietly at the court. Now she is twenty-seven, the first Vice-Queen and as powerful as no other woman of her time. She is determined to provide with their wide-ranging powers to soggy laws reassert and have long happened to their battered country’s children withheld justice.
You will not lose any time. It lowers the price of bread. She founded convents for the protection of abused and vulnerable women. You are a hundred daughters of poor families a “Royal dowry” to allow them a decent marriage. She donates to finance these projects, the lush “inaugural gift” Sicily each new viceroy pay must. It supports families who limit their number of children. It introduces a modern business management. And she feels personal transgressions after, regardless of the rank of the offender.
My people, they cheered, but the reins hold another in his hand. At court one sees his skins swim away and intrigued eagerly. The resistance leads to Bishop Don Rutilio Turro Mendoza, who would like to have climbed the throne of the Viceroy himself. He writes letters to the pope and to King Charles II. In Madrid, that they dismissed the machinations of this woman who obviously undermines the divine order on diabolical way. His strongest argument is that the Sicilian Viceroy of its own motion at the same time “born legate of the Pope,” and, of course, could a woman not his papal dignitary
Stylistically varied -. Reports, scenic dialogues, narrative passages – we learn by events. It is understood that vain pomp and hollow facades are a godsend for a mocker and satirist like Camilleri.
His storytelling manages to merge time, space and movement at the Palermo court in a coherent concept. The rotation of the moon accompanies the course of earthly events, it reflects the rigid mechanics of homages that stooped circles pale courtiers to the Viceroy, the blackouts and revelations in the palace and the Council before the eyes of the ruler and behind his back, and she is beginning and the end of the action to Eleonora
After just 28 days -. a moon phase – the King of Spain ended the regency of Eleonora di Mora
In reality, little is recorded by the revolutionary four. weeks. Camilleri has foamed the bare facts and, as a figure of the character she might never was. Who cares? . Undoubtedly
was Eleonora di Mora an extraordinary, courageous woman who has earned the respect of her contemporaries and posterity One essential quality of Camilleri originals all translations must renounce necessity: the Sicilian dialect ( or Camilleri special variant, the “Vigatese”). This book raises a second insoluble problem: Eleonora di Mora, half-Sicilian, half Spanish, parlierte in a mishmash of Italian and Spanish, the author specially researched and reconstructed has (taste of the original ” La rivoluzione della luna < "Andrea Camilleri: "La rivoluzione della luna" at"