As a Man Grows Older: Analysis of Major Characters
"As a Man Grows Older: Analysis of Major Characters" explores the complex relationships and psychological nuances of a group of characters primarily centered around Emilio Brentani, a thirty-five-year-old insurance clerk. Despite his youth, Emilio exhibits traits of senility, characterized by a lack of vitality and a retreat into a mundane life filled with unfulfilled desires. His significant relationship with Angiolina Zarri, a beautiful yet morally ambiguous woman, reveals his struggles with self-deception and disappointment, particularly when he faces her infidelities. Angiolina, who is engaged to another man, embodies the tensions of desire and betrayal, ultimately eloping with someone else.
Emilio's sister, Amalia, serves as a poignant contrast; her unremarkable existence and suppressed romantic aspirations become evident through her interactions with Emilio and their shared companion, Stephano Balli. Balli, a sculptor and friend, provides a sympathetic viewpoint, navigating his own romantic entanglements while attempting to guide Emilio. Other characters, like the widow Elena Chierici and the gossip Sorniani, enrich the narrative, revealing layers of societal dynamics and personal struggles. Through these characters, the work delves into themes of love, loss, and the passage of time, offering insights into the human condition as individuals grapple with their desires and the inevitability of aging.
As a Man Grows Older: Analysis of Major Characters
Author: Italo Svevo
First published: Senilità, 1898 (English translation, 1932)
Genre: Novel
Locale: Trieste, Austria
Plot: Psychological realism
Time: The 1890's
Emilio Brentani (eh-MIHL-ih-oh brehn-TAH-nee), a clerk in an insurance office. The Italian title Senilità (senility) must refer to him but cannot be taken literally, for he is only thirty-five years old; metaphorically, it seems not inappropriate, because his lack of energy and enterprise suits a much older man. He is content to live in a shabby apartment with his pale sister and “to go cautiously through life, avoiding all its perils, but also renouncing all its pleasures.” He neither pursues a literary career (he has published one novel) nor translates his liberal political opinions into action. He might seem to be pursuing life's pleasures in his affair with Angiolina Zarri, but his irresolution and capacity for self-deception bring defeat in the end. Although he is unwilling to marry, he expects fidelity from Angiolina and blinds himself to evidence of her promiscuity. After she deserts him and his sister Amalia dies, he yields to senility, looking back with “enchanted wonder” to the period of his affair and blending Angiolina and Amalia into one splendid symbol.
Angiolina Zarri (ahn-gee-oh-LEE-nah ZAH-ree), a lower-class girl of striking beauty and vibrant health. She treats Emilio with warmth and affection, but from the first her conduct is disquieting. Aside from her engagement to Volpini, there is evidence of other affairs, not only during the past but also during her relationship with Emilio. Angiolina usually is adept at covering up, but sometimes the ruse is too transparent. She is perhaps self-deceived as well as deceitful; she gets little in return for her youth and beauty and in the end elopes with an embezzler.
Amalia Brentani (ah-MAHL-ee-ah), Emilio's sister and housekeeper. Thin and colorless, she seems to Balli to have been born gray. Her attitude toward Emilio seems almost maternal. Her suppressed romantic longings are brought to the surface by Emilio's tales of Angiolina and by Balli's visits; when she falls ill and becomes delirious, her love for Balli becomes obvious. When she dies, Emilio learns that she has been taking ether.
Stephano Balli, a sculptor, Emilio's friend and confidant. Though not without talent, he has had more success with women than with sculpture. He accepts Emilio because, like the women, he is easily dominated. He attempts to advise Emilio about Angiolina but ends up falling under her spell. He behaves decently with Amalia, however, and attends her during her last illness.
Margherita, Balli's mistress. She appears meek and submissive but turns out to have cuckolded Balli; in fact, she supports her family by prostitution.
Elena Chierici (kee-ehr-EE-chee), a widow with an unhappy past. She is a neighbor of Emilio and unselfishly volunteers to nurse Amalia in her final illness.
Volpini (vohl-PEE-nee), a middle-aged tailor to whom Angiolina becomes engaged, perhaps to cover a possible pregnancy.
Sorniani (sohr-nee-AH-nee), a shriveled little creature, a ladies' man and a malicious gossip who gives Emilio information about Angiolina.