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"I have noticed that sometimes I frighten people; what they really fear is themselves. They think it is I who scare them, but it is the dwarf within them, the ape-faced manlike being who sticks up his head from the depths of their souls." Pär Lagerkvist's richly philosophical novelThe Dwarf is an exploration of individual and social identity. The novel, set in a time when Italian towns feuded over the outcome of the last feud, centers on a social outcast, the court dwarf PIccoline. From his special vantage point Piccoline comments on the court's prurience and on political intrigue as the town is gripped by a siege. Gradually, Piccoline is drawn deeper and deeper into the conflict, and he inspires fear and hate around him as he grows to represent the fascination of the masses with violence.… (more)
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The dwarf sets himself above humans, declaring many times that he is not like them and comes from a much older race of beings. At the same time, he calls his fellow dwarves buffoons and can't stand being around them because "they have to make jokes and play tricks to make their masters and the guests laugh." Only he can make real sense of what is going on around the palace, and only he knows what truly lies in the hearts of those at court -- especially that of the Prince. In that respect, I think the author makes him more human than he would like to believe. We all sometimes think we know more than we actually will let on, getting us into trouble. When he takes his "intuition" of the Prince's needs a step too far, though, he holds onto that sense of being above everyone like a liferaft, keeping him safe from the world around him.
With "The Dwarf", author Pär Lagerkvist has created a truly ugly character, filling him with all the evils within the human heart -- he lusts for war and battle, feels no remorse for killing another human (or dwarf), and has a superiority complex like no other. This makes for an interesting character study and is definitely worth a read.
The Dwarf is an allegory set in Renaissance Italy. I don't think the Dwarf is actually even a character in the novel despite that he is the narrator. He's the impulse to power, to avenge, to destroy, that lurks in humanity. When it's unleashed, all hell breaks loose. At the end of the novel, he's chained to an underground cell, but he knows that he'll be freed at some point, because he is needed.
In The Sibyl, the Wandering Jew, cursed with eternal life because he refused to let Jesus, on his way to be crucified, rest his head against his wall, has come to Delphi to seek wisdom from the Oracle. As an alien, he is driven away from the temple, but he discovers an ancient sybil high in the hills who recounts her tale of divine possession to him. She does not understand the divine possession that had taken hold of her, but she has borne the son of the god -- a mute idiot. Her life has been spent ostracized from the common life of humanity, except for a brief passionate love.
One interesting grace note that the novels share is that enigmatic smile -- the one that the painter Bernardo (Da Vinci) gives to his portrait of the Princess in The Dwarf and that an ancient statue of the god bears in The Sibyl:
"Suddenly he knew of what that perpetual smile reminded him. It was the image of a god which he had seen yesterday, down in the temple at Delphi: an ancient image standing somewhat apart as if to make room for newer, finer images. It had the same smile, enigmatic and remote, at once meaningless and inscrutable. A smile neither good nor evil, yet for that very reason frightening."
The characters in Lagerkvist's novels seem to be god-struck -- at once inspired and scapegoats for the common run of humanity (I couldn't help but to think of Ursula LeGuin's story, "The Ones Who Walk Away from Omelas").
Lagerkvist's other two famous novels, Barrabas about the thief who is freed by Pontius Pilate in exchange for Jesus, and The Death of Ahasuerus, who is the wandering Jew, undoubtedly deal with a similar theme.
"The Dwarf" takes place in Italy during the Medici period. This particular dwarf does not consider himself human. He despises humans, and does nothing but plot against them. As the dwarf to a reigning prince he has the capability to destroy--perhaps in the Shakespearean fashion of an Iago, or a Richard III. The only "human" he has respect for is an artist, Maestro Bernardo, who comes to live at the castle to design weapons of war for the prince, while he paints a portrait of the princess, while at the same time works on his painting of the Last Supper. Remind you of anyone? Bernardo-Leonardo.
Read the first paragraph of this book and you'll be hooked. I have the first English printing of the paperback, which I had originally read decades ago. Rereading it now was an absolute treat.
Piccoline, the dwarf, is the Id of the prince he worships, the child of the family, and in a deeper sense the embodiment of the evil that stirs in the human culture again and again. I'm not sure if the author intends this to be a cautionary tale or, in a strange way, a comfort for the inevitable upheavals to come, the fable that proves our evil can be chained but never fully escaped.
The exact locations are unclear, but since the character named Bernardo, which is unmistakably modeled on Leonardo da Vinci, appears in the novel and it is full of political inrigue that is truly Machiavellian the setting is not in doubt. In addition it is considered his most important novel and the most artistically innovative. If you are interested in Renaissance history or the politics of Machiavelli you are sure to find this novel a great read.
Historical fiction, set in Renaissance-era Italy, with squabbling city-states and courtly intrigues as the backdrop. The narrator, a dwarf kept as a curiosity by a local lord, has rejected all connections to humanity, and views everything and everyone else with
The narrator is unapologetically and just so delightfully evil. Early on in the book, to establish his character, Lagerkvist has him kill a kitten, just to hurt the child whose pet it is. As the novel progresses, and his lord’s ambitions soar, he delights in wreaking underhanded havoc, revels vicariously in crude bloodshed, and spews his indiscriminate revulsion at any and all.
It’s one of those books where the main character would be an awesome villain in someone else’s story, and where the story is one of