The Original Pinocchio
As one might expect, the novel Pinocchio is quite different from other picture-book and animated versions, such as the Disney film of 1940. It was originally published in 1883 as The Adventures of Pinocchio and was written in Italian, by the children’s author Carlo Collodi.
Collodi’s imaginings are very akin to those of the English author Lewis Carroll, who published Alice in Wonderland in 1865 and Through the Looking Glass in 1871. Both writers indulge in ever more weird and wonderful meanderings, aware that they have given themselves license to write whatever comes into their minds by the nature of the genre they have chosen. The 18th century was a curious time for children’s literature in this respect, as it was the style to take children into imaginary realms filled with anthropomorphic animals and mythical entities, as if realism were the preserve of adult literature.
In Pinocchio, Collodi conjured up a rather unfeeling and spiteful character in the eponymous protagonist, whom he devised as a manifestation of his own counter-conventional views on Italian society. Pinocchio is born as a boy, but – like a baby – without a moral compass, so he is disrespectful, selfish and lacking in both sympathy and empathy.
The tale begins with a rather violent slapstick routine between two characters named Maestro Cherry and Geppetto, who manage to break into verbal and then physical fights before the former gives the latter the piece of wood that will soon be carved to become Pinocchio. This sets the tone for the book in general, which is rather at odds with the traditionally accepted view of the story, which has been tamed to present Pinocchio as naughty rather than nasty.
For example, Jiminy Cricket, the much-loved companion and advisor to Pinocchio in the Disney film, is killed by Pinocchio in the original. In the novel, he is simply called the Talking Cricket and is struck by a hammer thrown by Pinocchio when he tells the wooden boy that a life of idleness will land him in the hospital or prison.
Geppetto has a reputation for being unpleasant before he creates the marionette, but he is put in his place by the demanding Pinocchio, whom he sees as his son. He tries to discipline the wooden boy and to teach him the value of selflessness. Thus, a peculiar love-hate relationship is established through their codependence. Geppetto needs Pinocchio because he is lonely and needs someone to love. Pinocchio needs Geppetto because he needs food and repair.
Having run away to the theatre, nearly been burned alive and then been swindled by a fox and a cat, Pinocchio is revisited by the Talking Cricket as a ghost. The cricket tries to give Pinocchio guidance but is rebuffed once again when he remarks that the wooden boy will come to grief if he always insists on having things his own way. Pinocchio then embarks on a fantastic and disturbing adventure, where he is pursued by assassins and left for dead, but is then rescued and revived by taking animals and fairies.
In chapter 17, we witness Pinocchio tell three lies, resulting in his nose growing enormously long, so that he becomes trapped in a cottage. His nose is then reduced in size by woodpeckers, enabling Pinocchio to escape and continue on his bizarre journey.
The climax of the Pinocchio story comes when the marionette is transformed into a real boy. After more than two years of struggle, he has finally learned enough lessons in life to know how to behave properly and to show kindness. His reward is to become flesh and blood, along with 50 gold coins. This happens after he has rescued Geppetto from incarceration in the stomach of a monstrous shark and they have returned home.
Morals from the Marionette
The allegory in Pinocchio is a matter of interpretation, in many respects. The story is so filled with fanciful nonsense that the core theme becomes rather obscured for much of the book. Collodi’s main objective seems to be a tale with a moral attached. The moral is that a happy life is more likely to come to those children who behave well and think of others before themselves. Additionally, that children only have themselves to blame for their unhappiness if they fail.
It may seem a little harsh, but that was very much the established view of fate at that time. Succeeding in life was hard work, so it was generally felt that failure resulted from weakness. Darwin had published On the Origin of Species in 1859, and people misapprehended his ‘survival of the fittest’ concept. They dismissed the notion of any disadvantage that came as a consequence of social-cultural environment and nurture, instead putting the onus entirely on the self. The message was black and white: learn to be the fittest you can be and everything else will fall into place because you’ll deserve it.
In his early adulthood, Collodi had fought for the Tuscan army in the Italian Wars of Independence, against the Austrian Empire. He had a very keen sense of right and wrong in the world and his forays into literature began with satirical sketches designed to express and disseminate his political views. He was already in his mid-fifties when he began work on Pinocchio. He died in his mid-sixties, before the story had had sufficient time to burgeon in popularity and begin to show signs of becoming the classic that we know today.
Pinocchio undoubtedly owes a lot of its mass appeal to Disney; not just for taking the story to a global audience, but also for editing and abridging the story, as well as making the characters more appealing. In the original illustrations, by Italian cartoonist Enrico Mazzanti, Pinocchio is a rather unattractive stick man, with a downward-pointing nose like that of a proboscis monkey. The Disney version is a cute little boy with an upward-pointing, fingerlike nose. Similarly, the Talking Cricket is transformed into Jiminy Cricket, dressed in tails and top hat and with four human limbs instead of an insect’s six. Disney took the basic story and used its successful formula to make Pinocchio conform to the rest of the portfolio. Some may dislike the ‘saccharin treatment’ of Disney, but one cannot deny that knew what they were doing.
In chapter 3, when Geppetto is carving Pinocchio from the piece of wood, the nose begins to grow and Geppetto is unable to prevent it from growing, no matter how much he cuts away. In chapter 17, Pinocchio’s nose grows because he tells lies. This contrast has led scholars to conclude that Collodi’s intention was that Pinocchio’s nose actually grows when he is feeling anxious, rather than simply telling lies. So the ubiquitous interpretation of Pinocchio’s nose growth as an indicator of untruths is incorrect. It just so happens that telling lies makes Pinocchio feel uneasy, which is why his nose grows. But why quibble over such a detail? The moral that telling lies will show on your face is good advice for children, which is partly why the Pinocchio tale has persisted.
The overriding message from Pinocchio is that people can change. Pinocchio himself finds compassion and consideration for others after being mistreated by other characters in the story until he realizes what he has run away from was what many children yearn for – a stable and loving home. Geppetto discovers his kindliness by learning to care for someone else apart from himself. Collodi seems to imply that the good in all of us will appear in the right circumstances and that cannot be a bad comment on the human condition in a world where the bad in many people dominates.
How it happened that Mr Cherry, the carpenter, found a piece of wood that laughed and cried like a child
There was once upon a time …
‘A king!’ my little readers will shout together.
No, children, you make a mistake. Once upon a time there was a piece of wood.
It was not the best, but just a common piece of wood, such as is used in stoves and fireplaces to kindle the fire and warm the rooms in winter.
How it happened I cannot tell, but the fact is that one fine day this piece of wood just happened to be there in the shop of an old carpenter whose real name was Mr Antonio, but