Reading Group Guide
1. What understanding does Pelagia have of love as a young girl? How do her ideas come to change during the course of the novel? What is Carlo Guercio's definition of love? How does it guide his actions throughout the story? What is the difference between the love he feels for Francisco and that which he feels for Corelli? How might the other characters define love? Which of them lives up to his or her conception of it?
2. Why do you think de Bernieres chose to make his romantic hero a musician? Why is music, of all the arts, a potential healer of international folly and strife? What significance does Corelli's composition "Pelagia's March" carry within the narrative?
3. After Mandras tries to rape Pelagia, he is very decisively rejected not only by Pelagia but by his own mother. Does Drosoula's rejection of her son strike you as reasonable or heartless? As natural or unnatural? Was Mandras irredeemably lost at this point, or might he perhaps have been saved?
4. What is the role of the Church in Cephallonian life? What does pragmatic toleration of the drunken Arsenios say about the islanders' culture, their character, and their religion? How does Arsenios repay their tolerance? Does the palpable presence of the ancient deities alongside the Orthodox ceremonial enrich the Greeks' faith or dilute it? What importance does the cult of Saint Gerasimos have for the islanders? What interpretation do individual characters such as Dr. Iannis and Pelagia give to the saint's miraculous "cures"?
5. Dr. Iannis writes that the island of Cephallonia is "so immense in antiquity that the very rocks themselves exhale nostalgia and the red earth lies stupefied not only by thesun, but by the impossible weight of memory" [p. 5]. How does their awareness of the island's history and prehistory color the way the Cephallonians see themselves? Does it help them to come to terms with their traditional roles in life? What attitude does it give them toward their recent conquerors?
6. "Honour and common sense; in the light of the other, both of them are ridiculous" [p. 320]. What does de Bernieres mean by this? How do the novel's events confirm or illustrate this statement? Do you find that in certain of the novel's characters these two qualities are not, in fact, mutually exclusive?
7. Carlo Guercio memorably describes the war as "frivolous" [p. 116]. What does he mean by this? How is the quality of frivolity exemplified in the actions of the military leaders and those who follow them? Do you find the adjective an appropriate one for the war described in these pages?
8. What message does this book deliver on the nature of political ideology and political passion? What is the role of political ideology in the lives of Mandras, Kokolias, Stamatis, Hector, Weber, Alexi? How do their actions support or refute their stated political creeds? What political or antipolitical ideals inspire the novel's most noble characters, Carlo and Dr. Iannis?
9. During World War II, atrocities and betrayals were committed on an unprecedented scale. De Bernieres explores the psychology of those who committed those atrocities through several of his characters. Mandras's justification that "it was Hector who was the executioner and he was only the hand" [p. 193] was a common one among Nazi, Fascist, and Communist executioners. How does this justification differ from Gunter Weber's traumatic decision to obey Hitler's order for the massacre of Italian soldiers? Why is Gunter characterized as a "good Nazi"? Is this appellation entirely ironic?
10. Do you find de Bernieres's use of national stereotypes to be effective within his fictional scheme? To what degree can Dr. Iannis be seen as the personification of Greece, Corelli as the spirit of Italy? Do they succeed as three-dimensional characters as well? Do Pelagia's and Corelli's guilt-induced decisions to refute their own nationalities make them any the less "Greek" or "Italian"?
11. Dr. Iannis finds that in writing his history, "objectivity seemed to be quite unattainable" [p. 4]. Carlo says that history tends to be "the propaganda of the victors" when it should consist "only of the anecdotes of the little people who are caught up in it" [p. 33]. Does de Bernieres confront these problems in the way he writes his own historical novel? What narrative techniques does he employ in telling his story? In his Author's Note, de Bernieres describes history as "hearsay tempered with myth and hazy memory" [p. 436], yet he himself has in fact remained very faithful to the historical facts as we know them. Why, then, does he offer this apology? Are myth and history significantly differentiated by de Bernieres? By Iannis? By Pelagia?
12. Did Pelagia believe that Corelli died during the war? If not, why does she not leave Cephallonia and try to find him? Does her remaining at home denote passivity or ambivalence about their relationship? What about Pelagia's initial rage at Corelli when they meet again--do you feel that her anger is excessive, or that possibly she is not angry enough?
13. In Pelagia's youth no woman was allowed to enter a kapheneia; thirty years later, the elderly Drosoula runs her own taverna and young Antonia is a successful businesswoman. Changes in social mores might not have manifested themselves as dramatically on Cephallonia during the postwar years as they did in more cosmopolitan areas, but they were in fact radical and profound. How does everyday life on Cephallonia reflect these changes? What role, if any, did the 1953 earthquake play in changing the island, and in the shift in generations? Does de Bernieres imply that the changes are for the better, or for the worse? Or, perhaps, that in essence life has not changed very much at all?
14. Does the happy ending conform with the plot and spirit of the entire novel, or does it represent a shift into a more fantastic, less realistic mode? Do you find it to be an appropriate or an inappropriate conclusion to Pelagia's and Corelli's story?
15. In what way are the novel's characters directly or indirectly compared with figures from Greek mythology? Among the Cephallonians, what modern manifestations do we find of Apollo, Aphrodite, Penelope, Odysseus, Hercules, and other mythological figures? What message about time and change does de Bernieres convey through these parallels?
16. De Bernieres chooses his characters' names with care. What significance can you ascribe to particular names, such as Pelagia, Mandras, Hector, Corelli, Weber?
17. Why do you think de Bernieres has chosen the Humbert Wolfe poem "The Soldier" to launch his narrative? Which themes in the poem are explored in the novel itself? Perhaps the most famous war poem in the English language, by Rupert Brooke, is also called "The Soldier." How does Wolfe's poem comment upon Brooke's? How might the various soldiers in Corelli's Mandolin respond to the assertions made by both poets? Is the kind of idealism glorified by Brooke finally meaningless, as many of his contemporaries, physically and emotionally crushed by World War I, came to find it? Or is it in fact a valuable characteristic, at least within de Bernieres's moral scheme?
Forewords & Introductions
The questions, discussion topics, and author biography that follow are intended to enhance your group's reading of Louis de Bernieres's Corelli's Mandolin. We hope they will give you a number of angles from which to look at this rich and exciting novel.
Read an Excerpt
Excerpt from Corelli's Mandolin
Dr. Iannis Commences his History and is Frustrated
Dr. Iannis had enjoyed a satisfactory day in which none of his patients had died or got any worse. He had attended a surprisingly easy calving, lanced one abscess, extracted a molar, dosed one lady of easy virtue with Salvarsan, performed an unpleasant but spectacularly fruitful enema, and had produced a miracle by a feat of medical prestidigitation.
He chuckled to himself, for no doubt this miracle was already being touted as worthy of St Gerasimos himself. He had gone to old man Stamatis' house, having been summoned to deal with an earache, and had found himself gazing down into an aural orifice more dank, be-lichened, and stalagmitic even than the Dr.ogarati cave. He had set about cleaning the lichen away with the aid of a little cotton, soaked in alcohol, and wrapped about the end of a long matchstick. He was aware that old man Stamatis had been deaf in that ear since childhood, and that it had been a constant source of pain, but was nonetheless surprised when, deep in that hairy recess, the tip of his matchstick seemed to encounter something hard and unyielding; something, that is to say, which had no physiological or anatomical excuse for its presence. He took the old man over to the window, threw open the shutters, and an explosion of midday heat and light instantaneously threw the room into an effulgent dazzle, as though some importunate and unduly luminous angel had misguidedly picked that place for an epiphany. Old Stamatis' wife tutted; it was simply bad housekeeping to allow that much light into the house at such an hour. She was sure that it stirred up the dust; she could clearly see the motes rising up from the surfaces.
Dr. Iannis tilted the old man's head and peered into the ear. With his long matchstick he pressed aside the undergrowth of stiff grey hairs embellished with flakes of exfoliated scurf. There was something spherical within. He scraped its surface to remove the hard brown cankerous coating of wax, and beheld a pea. It was undoubtedly a pea; it was light green, its surface was slightly wrinkled, and there could not be any doubt in the matter. 'Have you ever stuck anything down your ear?' he demanded.
'Only my finger,' replied Stamatis.
'And how long have you been deaf in this ear?'
'Since as long as I can remember.'
Dr. Iannis found an absurd picture rising up before his imagination. It was Stamatis as a toddler, with the same gnarled face, the same stoop, the same overmeasure of aural hair, reaching up to the kitchen table and taking a Dr.ied pea from a wooden bowl. He stuck it into his mouth, found it too hard to bite, and crammed it into his ear. The doctor chuckled, 'You must have been a very annoying little boy.'
'He was a devil.'
'Be quiet, woman, you didn't even know me in those days.'
'I have your mother's word, God rest her soul,' replied the old woman, pursing her lips and folding her arms, 'and I have the word of your sisters.'
Dr. Iannis considered the problem. It was undoubtedly an obdurate and recalcitrant pea, and it was too tightly packed to lever it out. 'Do you have a fishhook, about the right size for a mullet, with a long shank? And do you have a light hammer?'
The couple looked at each other with the single thought that their doctor must have lost his mind. 'What does this have to do with my earache?' asked Stamatis suspiciously.
'You have an exorbitant auditory impediment,' replied the doctor, ever conscious of the necessity for maintaining a certain iatric mystique, and fully aware that 'a pea in the ear' was unlikely to earn him any kudos. 'I can remove it with a fishhook and a small hammer; it's the ideal way of overcoming un embarras de petit pois.' He spoke the French words in a mincingly Parisian accent, even though his irony was apparent only to himself.
A hook and a hammer were duly fetched, and the doctor carefully straightened the hook on the stone flags of the floor. He then summoned the old man and told him to lay his head on the sill in the light. Stamatis lay there rolling his eyes, and the old lady put her hands over hers, watching through her fingers. 'Hurry up, Doctor,' exclaimed Stamatis, 'this sill is hotter than hell.'
The doctor carefully inserted the straightened hook into the hirsute orifice and raised the hammer, only to be deflected from his course by a hoarse shriek very reminiscent of that of a raven. Perplexed and horrified, the old wife was wringing her hands and keening, 'O, o, o, you are going to Dr.ive a fishhook into his brain. Christ have mercy, all the saints and Mary protect us.'
This interjection gave the doctor pause; he reflected that if the pea was very hard, there was a good chance that the barb would not penetrate, but would Dr.ive the pea deeper into its recess. The Dr.um might even be broken. He straightened up and twirled his white moustache reflectively with one forefinger. 'Change of plan,' he announced. 'I have decided upon further thought that it would be better to fill his ear up with water and mollify the supererogatory occlusion. Kyria, you must keep this ear filled with warm water until I return this evening. Do not allow the patient to move, keep him lying on his side with his ear full. Is that understood?'
Dr. Iannis returned at six o'clock and hooked the softened pea successfully without the aid of a hammer, small or otherwise. He worked it out deftly enough, and presented it to the couple for their inspection. Encrusted with thick dark wax, rank and malodorous, it was recognisable to neither of them as anything leguminous. 'It's very papilionaceous, is it not?' enquired the doctor.
The old woman nodded with every semblance of having understood, which she had not, but with an expression of wonder alight in her eyes. Stamatis clapped his hand to the side of his head and exclaimed, 'It's cold in there. My God, it's loud. I mean everything is loud. My own voice is loud.'
'Your deafness is cured,' announced Dr. Iannis. 'A very satisfactory operation, I think.'
'I've had an operation,' said Stamatis complacently. 'I'm the only person I know who's had an operation. And now I can hear. It's a miracle, that's what it is. My head feels empty, it feels hollow, it feels as though my whole head has filled up with spring water, all cold and clear.'
'Well, is it empty, or is it full?' demanded the old lady. 'Talk some sense when the doctor has been kind enough to cure you.' She took Iannis' hand in both of her own and kissed it, and shortly afterwards he found himself walking home with a fat pullet under each arm, a shiny dark aubergine stuffed into each pocket of his jacket, and an ancient pea wrapped up in his handkerchief, to be added to his private medical museum.
It had been a good day for payments; he had also earned two very large and fine crayfish, a pot of whitebait, a basil plant, and an offer of sexual intercourse (to be redeemed at his convenience). He had resolved that he would not be taking up that particular offer, even if the Salvarsan were effective. He was left with a whole evening in which to write his history of Cephallonia, as long as Pelagia had remembered to purchase some more oil for the lamps.
'The New History of Cephallonia' was proving to be a problem; it seemed to be impossible to write it without the intrusion of his own feelings and prejudices. Objectivity seemed to be quite unattainable, and he felt that his false starts must have wasted more paper than was normally used on the island in the space of a year. The voice that emerged in his account was intractably his own; it was never historical. It lacked grandeur and impartiality. It was not Olympian.
He sat down and wrote: 'Cephallonia is a factory that breeds babies for export. There are more Cephallonians abroad or at sea than there are at home. There is no indigenous industry that keeps families together, there is not enough arable land, there is an insufficiency of fish in the ocean. Our men go abroad and return here to die, and so we are an island of chilDr.en, spinsters, priests, and the very old. The only good thing about it is that only the beautiful women find husbands amongst those men that are left, and so the pressure of natural selection has ensured that we have the most beautiful women in all of Greece, and perhaps in the whole region of the Mediterranean. The unhappy thing about this is that we have beautiful and spirited women married to the most grotesque and inappropriate husbands, who are good for nothing and never could be, and we have some sad and ugly women that nobody wants, who are born to be widows without ever having had a husband.'
The doctor refilled his pipe and read this through. He listened to Pelagia clattering outdoors in the yard, preparing to boil the crayfish. He read what he had written about beautiful women, and remembered his wife, as lovely as her daughter had become, and dead from tuberculosis despite everything he had been able to do. 'This island betrays its own people in the mere act of existing,' he wrote, and then he crumpled the sheet of paper and flung it into the corner of the room. This would never do; why could he not write like a writer of histories? Why could he not write without passion? Without anger? Without the sense of betrayal and oppression? He picked up the sheet, already bent at the corners, that he had written first. It was the title page: 'The New History of Cephallonia'. He crossed out the first two words and substituted 'A Personal'. Now he could forget about leaving out the loaded adjectives and the ancient historical grudges, now he could be vitriolic about the Romans, the Normans, the Venetians, the Turks, the British, and even the islanders themselves. He wrote:
'The half-forgotten island of Cephallonia rises improvidently and inadvisedly from the Ionian Sea; it is an island so immense in antiquity that the very rocks themselves exhale nostalgia and the red earth lies stupefied not only by the sun, but by the impossible weight of memory. The ships of Odysseus were built of Cephallonian pine, his bodyguards were Cephallonian giants, and some maintain that his palace was not in Ithaca but in Cephallonia.
'But even before that wily and itinerant king was favoured by Athene or set aDr.ift through the implacable malice of Poseidon, Mesolithic and Neolithic peoples were chipping knives from obsidian and casting nets for fish. The Mycenean Hellenes arrived, leaving behind the shards of their amphorae and their breastshaped tombs, bequeathing progeny who, long after the departure of Odysseus, would fight for Athens, be tyrannised by Sparta, and then defeat even the megalomaniac Philip of Macedon, father of Alexander, curiously known as "the Great" and a more preposterous megalomaniac still.
'It was an island filled with gods. On the summit of Mt Aenos there was a shrine to Zeus, and another upon the tiny islet of Thios. Demeter was worshipped for making the island the breadbasket of Ionia, as was Poseidon, the god who had raped her whilst disguised as a stallion, leaving her to give birth to a black horse and a mystical daughter whose name was lost when the Eleusinian mysteries were suppressed by the Christians. Here was Apollo, slayer of the Python, guardian of the navel of the earth, beautiful, youthful, wise, just, strong, hyperbolically bisexual, and the only god to have had a temple made for him by bees out of wax and feathers. Here Dionysus was worshipped also, the god of wine, pleasure, civilisation, and vegetation, father by Aphrodite of a little boy attached to the most gargantuan penis that ever encumbered man or god. Artemis had her worshippers here, too, the many-breasted virgin huntress, a goddess of such radically feminist convictions that she had Actaeon torn to pieces by dogs for accidentally seeing her naked, and had her paramour Orion stung to death by scorpions for touching her fortuitously. She was such a fastidious stickler for etiquette and summary chastisement that entire dynasties could be disposed of for one word out of place or an oblation five minutes late. There were temples to Athene, too, the perpetual virgin who (with great forbearance, compared to Artemis) blinded Tiresias for seeing her naked, was formidably gifted in those crafts which are indispensable to economic and domestic life, and who was the patron of oxen, horses, and olives.
'In their choice of gods the people of the island displayed the immense and intransigent common sense that has been the secret of their survival throughout the centuries; it is obvious that the king of the deities should be worshipped, obvious that a seafaring people should placate the god of the sea, obvious that vintners should honour Dionisios (it is still the most common name on the island), obvious that Demeter should be honoured for keeping the island self-sufficient, obvious that Athene should be worshipped for her gifts of wisdom and skill in the tasks of daily life, just as it also fell to her to oversee innumerable military emergencies. Nor should it be wondered at that Artemis should have had her cult, for this was the equivalent of an infallible insurance policy; she was a troublesome gadfly whose mischief should in preference have been made to occur elsewhere.
'The choice of Apollo as a Cephallonian cult is both the most and the least mysterious. It is the most inexplicable to those who have never been to the island, and the most inevitable to those who know it, for Apollo is a god associated with the power of light. Strangers who land here are blinded for two days.
'It is a light that seems unmediated either by the air or by the stratosphere. It is completely virgin, it produces overwhelming clarity of focus, it has heroic strength and brilliance. It exposes colours in their original prelapsarian state, as though straight from the imagination of God in His youngest days, when He still believed that all was good. The dark green of the pines is unfathomably and retreatingly deep, the ocean viewed from the top of a cliff is platonic in its presentation of azure and turquoise, emerald, viridian, and lapis lazuli. The eye of a goat is a living semi-precious stone half way between amber and arylide, and the crickets are the fluorescent green of the youngest shoots of grass in the original Eden. Once the eyes have adjusted to the extreme vestal chastity of this light, the light of any other place is miserable and dank by comparison; it is nothing more than something to see by, a disappointment, a blemish. Even the seawater of Cephallonia is easier to see through than the air of any other place; a man may float in the water watching the distant sea bed, and clearly see lugubrious rays that for some reason are always accompanied by diminutive flatfish.'...
Loading...