Pozdrav Goranu Pavliću!

Goran Pavlić is a name that might hold significance for many. It could be a friend, a colleague, or someone dear.

When we say "pozdrav," which means hello in Serbian, it is a simple yet warm gesture to reach out and connect with Goran Pavlić.

Maybe we have shared memories with him, or perhaps we are looking forward to creating new ones.

Whether it's a casual greeting or a more meaningful conversation, the act of saying "pozdrav" can bring a smile to Goran Pavlić's face and strengthen the bond between us.

So, let's continue to greet Goran Pavlić with kindness and warmth, and keep the connection alive.

Enrico IV.

Yes, a betrayal, to make it spring and make me fall!

Donna Matilde
(immediately, with horror).

But this I know now, I!

Enrico IV.

It may also have been this for a joke!

Donna Matilde.

But who was it? Who was behind our couple?

Enrico IV.

It doesn't matter to know! All those who continued to banquet and who by now would have made me find their leftovers, Marchesa, of meager or soft pity, or in the soiled plate some scale of remorse, attached. Thank you! (Turning suddenly to the doctor) And so, doctor, see if the case is not really new in the annals of madness! — I preferred to remain crazy — finding everything here ready and arranged for this new kind of delight: to live it — with the clearest conscience — my madness and thus take revenge for the brutality of a stone that had crushed my head! Solitude — this — so squalid and empty as it appeared to me when I reopened my eyes — to clothe myself in it immediately, better, in all the colors and splendors of that distant Carnival day, when you (looks at Donna Matilde and points to Frida) there you are, Marchesa, triumphant! — and oblige all those who presented themselves to me, to follow it, damn it, in my footsteps, now, that ancient famous masquerade that had been — for you and not for me — the joke of a day! To make it become forever — no longer a joke, no; but a reality, the reality of a true madness: here, all masked, and the throne room, and these four of my counselors: secret, and — of course — traitors! (Turns immediately towards them) I would like to know what you have gained by revealing that I was cured! — If I am cured, there is no longer any need for you, and you will be dismissed! — To confide in someone.... but it is truly crazy! — Ah, but I accuse you now, in turn! — Do you know? — They thought they could also start making the joke now, with me, behind your backs. (Bursts out laughing. The others also laugh but are disconcerted, except Donna Matilde).

Belcredi
(to Di Nolli).

Ah, listen.... it's not bad....

Di Nolli
(to the four young men).

You?

Enrico IV.

We must forgive them! This (shakes the clothes on himself) this which for me is the evident and voluntary caricature of that other masquerade, continuous, every minute, of which we are the involuntary puppets (points to Belcredi) when without knowing it we mask ourselves in what we think we are — the clothes, their clothes, forgive them, they still don't see it as their own person. (Turning again to Belcredi) Do you know? One gets used easily. And one walks just like that, from a tragic character — (performs) — in a room like this! — Look, doctor! — I remember a priest — surely Irish — handsome — who was sleeping in the sun, one November day, leaning with his arm on the back of the seat, in a public garden: drowned in the golden delight of that warmth, which for him must have been almost summer. One can be sure that at that moment he no longer knew he was a priest, nor where he was. He was dreaming! And who knows what he was dreaming! — A boy passed by, who had torn a flower with the whole stem. Passing, he tickled him, here at the neck. I saw him open his laughing eyes; and all his mouth laughing with the blessed joy of his dream; oblivious: but I can tell you immediately that he composed himself rigidly in his priest's clothes and that the same seriousness returned to his eyes that you have already seen in mine; because Irish priests defend the seriousness of their Catholic faith with the same zeal with which I defend the sacred rights of the hereditary monarchy. — I am cured, gentlemen: because I know perfectly well how to act crazy, here; and I do it, calmly! — The trouble is for you who live it agitatedly, without knowing it and without seeing it, your madness.

Belcredi.

We have come, look! to the conclusion that now we are the crazy ones!

Enrique IV está loco? O los locos son todos los demás?

It is a work that plays with the concept of madness and the so-called "madmen". As the character says, "Bless them! The madmen build without logic, or with a logic of their own that flies like a feather...".

This is a fun and fascinating work where reality turns into a real madness. Pirandello asserts a phrase of Lewis Carroll for us: "He is mad, but I will tell you a secret: the best people are."

We are led to question what is truly madness and who the real madmen are. In this story, the boundaries between sanity and insanity become blurred, and we are left to wonder if the so-called "madmen" might actually have a different kind of wisdom or perspective.

The work challenges our preconceived notions and makes us look at the world from a new and unexpected angle. It is a thought-provoking exploration of the human mind and the nature of reality.

Overall, it is a captivating piece that leaves a lasting impression on the reader.

This could’ve been an email

**Title: A Review on a Book**

I recently came across a very interesting book. The story within its pages took me on a thrilling journey. The characters were well-developed, each with their own unique personalities and motives. The plot was engaging and full of twists and turns that kept me on the edge of my seat from start to finish.

The author's writing style was also quite captivating. The descriptions were vivid, allowing me to easily picture the scenes and settings in my mind. It was as if I was actually a part of the story.

Overall, I would highly recommend this book to anyone looking for an exciting read. It's a book that will stay with you long after you've turned the last page. https://www.goodreads.com/review/show...

A: We have to play as if everything were real, don't you understand?

H: Exactly! Because only in this way, reality is no longer a farce.

Playing as if everything were real can bring a whole new level of experience. It allows us to immerse ourselves completely in the situation, feel the emotions, and make decisions as if they had real consequences.

When we approach things with this mindset, we are more likely to give our best effort and discover our true potential. It helps us to break free from the limitations of pretending and embrace the authenticity of the moment.

Moreover, by treating everything as real, we can learn valuable lessons and gain a deeper understanding of ourselves and the world around us. So, let's play with all our hearts and make every moment count.

Quasi un giallo...

It's almost like a mystery. I read it after seeing it several times in the theater.

The story seemed to unfold in a rather peculiar way, with elements that kept me on the edge of my seat.

The characters were complex and their actions and motives were not always clear, which added to the overall sense of mystery.

As I delved deeper into the pages, I found myself trying to piece together the clues and figure out what was really going on.

The author did a great job of creating an atmosphere of suspense and intrigue, making it difficult for me to put the book down.

Overall, it was an engaging and thought-provoking read that left me with a sense of satisfaction once I reached the end.

I would highly recommend this book to anyone who enjoys a good mystery or thriller.

Ei, vedeţi?

Vă daţi seama că poate să se preschimbe şi în teroare, această spaimă?

Este ca şi cum v-aţi pomeni că vi se surpă pămîntul sub picioare, sau că vi se ia aerul pe care-l respiraţi!

Nu se poate altfel, domnilor!

Pentru că, a le afla în faţa unui nebun, ştiţi ce înseamnă?

Inseamnă să te afli în faţa unuia care-ţi dărîmă din temelii tot ce ai construit în tine şi în jurul tău, logica, logica tuturor construcţiilor tale!

Imaginează-vă că vă găsiţi într-o situaţie în care nu puteţi să vă bazaţi pe ceea ce cunoaşteţi, pe ceea ce vă este familiar.

Un nebun poate să vă arunce în ceaţa aceea de nedumerire şi îngrijorare, să vă facă să vă îndoiţi de orice.

Logica noastră este ceea ce ne împiedică să cădem într-un univers de haos şi de nedumerire.

Dar când întâlnim un nebun, această logică se dovedeşte a fi fragilă şi poate fi uşor distrusă.

Este o experienţă îngrozitoare, dar poate să ne facă să ne dăm seama cât de mult depindem de logica noastră pentru a înţelege lumea înconjurătoare.

I have particularly appreciated the reflection on the madmen in the second act (pages 103, 104) that Enrico IV makes to the other characters who accuse him of madness.

His words seem to cut through the surface and touch upon the essence of what it means to be considered mad. It makes one wonder if the line between sanity and insanity is as clear as we often assume.

The description of the moon on page 105 also deeply impressed me.

The author uses such vivid language to paint a picture of the moon that it almost feels as if I can see it shining in the night sky myself.

The moon is described in a way that gives it a certain mystery and allure, making it more than just a celestial body.

It becomes a symbol of something greater, perhaps of the unknown or of the hidden aspects of our own selves.

Overall, these two elements in the text have added a great deal of depth and interest to my reading experience.

Chi è pazzo? E chi può dirlo? This is a profound question that makes us stop and think. Madness is a complex concept that can be difficult to define. Is it someone who behaves irrationally, has delusions, or acts in a way that is considered abnormal by society? But who gets to decide what is normal and what is not?

Our perception of madness is often influenced by our cultural, social, and personal biases. What may seem crazy to one person might be perfectly understandable to another. Moreover, mental illness is not always easy to diagnose, and there are many different types and degrees of it.

We should be careful not to label people as crazy too quickly. Instead, we should try to understand their behavior and experiences, and offer them support and help if needed. After all, everyone has their own struggles and challenges, and we never know what might be going on in someone else's mind.

I am reading a Pirandello play for the first time, and I have lost count of how many times I have read Stoppard. However, I can understand the fascination that the latter has for the former. The way Stoppard blends mental states on stage, with his sly commentary that points out the stagecraft and just enough insight to see beyond the illusion held for the audience, is truly remarkable. It is almost like a soap opera, but dressed in medieval trappings.

Admittedly, I was in the same position as the newcomer Bertold, having studied the wrong Henry IV. But during the play, I got enough of a history lesson to know that it didn't really matter. The twist in the story revealed the lengths that some people will go to in order to avoid confronting their true selves. As the Archbishop from that other Henry proclaims: "With grant of our most just and right desires, And true obedience, of this madness cured, Stoop tamely to the foot of majesty." (2H4, IV.ii) But then, just before chaos erupts again, we are reminded of the fragile nature of our illusions and the difficulty of facing the truth.

Escaping from the past and its failures, isolating oneself, feigning madness as a way to flee from a painful reality of a friend's betrayal and a beloved's deceit. And after more than twenty years, the past comes back on its feet to face you, and your ghosts and fears emerge... The vengeance is realized, and continuing the madness becomes a means and a way to escape the punishment for the crime...

The hero lived, pretending to be the personality of King Henry IV. His friends and close ones insisted on treating his madness with shocks to revive and restore his memory... Only to discover that all these years he had been playing the role of the madman for them, and he reveals to them that more than twenty years ago, when they were on the Cranefield journey, he was wearing the clothes of King Henry, beside him was the woman he loved, and behind them was his friend and rival for her love, and they were riding horses... Because of the friend's envy of the hero's horse, which made the horse throw him and he lost consciousness. His fall was not an accidental incident but a plot to get rid of him... And in the end of the play, the hero kills his friend because of the daughter of their beloved...