Giraldi e la teoria del personaggio 'mezzano' tra teatro e novellistica

Giraldi’s ways of applying the aristotelian theory of the ‘persona mezzana’ (neither good nor guilty), not only in all his dramatic production, but also in his narrative, are analysed. It is demonstrated how Giraldi, rather than distancing himself from such theory, strongly supported in all his critical writings, redefines instead in a more flexible and modern way the principles of ‘medianity’, interpreting them, mainly in the happy-ending tragedies, according to the coeval ideological and ethical requirements, with the aim of achieving the cathartic and edifying functions of literature.