I want to thank Lucia Dell’Aia for putting together the PAN Group, which she describes as a natural garden composed of different voices already constituted and dispersed around the world. The group’s initial inspiration springs from Giorgio Agamben’s Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), a beautiful and important book. Pulcinella is, prima facie, a book about a puppet (the famous Napolitan puppet that I remember first encountering years ago in an Italian pizzeria in New York Upper West Side without knowing much about him), but it is also something else. As it is already common to Agamben’s thought, these figures are depositary of arcanii of the western tradition, and Pulcinella is no exception. I want to suggest to all of you something obvious: Pulcinella stands for the arcana of blissful and happy life in the wake of a catastrophic civilization. It should be obvious that the thematics of happiness have always occupied a central place in the Italian philosopher’s work, and every book is a way to measure up to this latent sensibility proper to the mystery of anthropogenesis. In a way, then, Pulcinella rehearses an idea that has been present since the early books, although restated in new garments that have remained unsaid. In this short intervention I want to address these two dimensions, and perhaps contribute to the already rich discussion on Pulcinella in the intersection between philosophy, poetry, ethics and politics, which Lucia suggests it should be the way that we approach the field of forces of thought.
As early as in the gloss “Idea of Happiness” in Idea of Prose (1985), Agamben thematizes the problem of happiness inscribed in the relationship between character and destiny that will reappear in a central way in Pulcinella: “In every life there remains something unlived just a s in every word there remains something unexpressed…The comedy of character: at the point when death snatches from the hand of character what they tenacious hide, it but grasps a mask. At this point character disappears: in the face of the dead there is no longer any trace of what has never been lived…” . Against the metaphysics of eudaimonia and the theological tribulation of happiness as a reflection of property (“in pursuit of happiness”, Thomas Jefferson will define civic life within the organization of the goods of the res publica); the idea of character is what traces the unlived in every life; and, more importantly, what neutralizes the tragic dimension of the narrative of destiny. Narration is the point of fixation and representation transcendence; it creates order and irreversibility, it hold us accountable. This is why character is a parabasis of destiny, thus its comic axis: “Character is the comic aspect of every destiny, and destiny is the tragic shadow of character. Pulcinella is beyond destiny and character, and tragedy and destiny” . Pulcinella breaks aways from the prison of the metaphysics of destiny and character posited as “substance” for action. This is why, radicalizing the relation to death in the gloss on happiness, Agamben will introduce the theatrical figure of the parabasis to define the desertion from the conditions of fixation and historical time . In other words, there is happiness when there is a possibility of parabasis in the face of catastrophe. And catastrophe is nothing but the integral adaptive operation between character and destiny that regulates legal fictions, political mediations, and ultimately the opposition between life and death. If Søren Kierkegaard understood Pulcinella as a figure of privation in opposition to the knight of faith; for Agamben, on the contrary, Pulcinella does not depend on fides or the persona, but rather on a comic intensification that allows “life itself” to move beyond the theological conditions dispensed by sin, guilty, or fear of death – all guarantees of the economy of salvation . Pulcinella heresy is to move within and beyond the world, as Agamben writes in a remarkable orphic moment of the book:
“Che Pulcinella abbia una speciale relazione con la morte, è evidente dal suo costume spettrale: come l’homo sacer, egli appartiene agli dei interi, ma appartiene loro così esageratamente, da saltare tutt’intero al di là della morte. Ciò è provato dal fatto che ucciderlo è inutile, se lo fucilano o impiccano, immancabilmente risorge. E come è al di là o al di qua della morte, cosí è in qualche modo al di qua o al di là della vita, almeno nel senso in cui questa non può essere separata dalla morte. Decisivo è, in ogni caso, che una figura infera e mortuaria abbia a che fare essenzialmente col riso.” .
The comic dimension in Pulcinella’s expressive character, then, has little to do with an anthropological laughter automatism that would reveal the species proximity to animality (but also its outermost distance and alienation). More specifically, Pulcinella’s character is a lazzo or medial relation that exceeds life and death fixation. At the same time, Pulcinella (like Hölderlin, Pinocchio, to recall the other figures in Agamben’s most recent books) irradiates a new type of existence; in fact, an existence against all reductions of subjectivity and personalism, which could very well defined by the pícaro motto “vivir desviviéndose” . If we grant this, we are in a better position to grasp that death is not finality to “a life”, but rather a limit of caducity of experience that those in possession of character can breach in order to affirm the releasement of happiness. In a fundamental way, life is always unto death, so it is through his character that one could accomplish resurrection and become eternal. It is obvious that Pulcinella’s character has important consequences for a novel characterization of freedom; a freedom beyond the attributes of the person (be the ‘harm principle’ or the ‘non-intervention’) and the modern legitimation through the rise of interests as a way to suppress the passions. One could say that the politico-civil conception of freedom always stood on the firm ground of the fiction of the person, which Pulcinella destitutes by emphasizing the unlived reminder: the soul. And it is the soul that renders – this is not explicit in Giorgio Agamben’s book, and could perhaps be a theme of discussion – a new principle of differentiation within the logic of immanence of nature. Towards the end of the book, Agamben appeals to Plato’s Myth of Er, which speaks to the penumbra or zone of indetermination between life and death, character and destiny; while preparing the ground for a different conception of freedom. A freedom defined through a very important term: “adéspoton” or virtue – which he designs as without masters and beyond adaptation, and it has been taken as one of the earliest affirmations of the notion of freedom as a separate intellect (a rendition elaborated by Plotinus’s Enneads VIII) – but this, I think, could be fully assessed in another ocassion. This is what Agamben writes:
“Nel racconto di Er il Panfilio alla fine della Repubblica, Platone ha rappresentato le anime che, giungendo dal cielo o dal mondo sotterraneo “in un luogo demonico” davanti al fuso che sta sulle ginocchia di Ananke, scelgono la vita in cui dovranno reincarnarsi. Un araldo le mette in fila e, dopo aver preso in mano le sorti e i paradigmi di vita, proclama che sta per cominciare per esse un nuovo ciclo di vita mortale: “Non sarà un demone a scegliere, ma voi sceglierete il vostro demone. Chi è stato sorteggiato per primo, scelga la forma di vita [bios] a cui sarà unito per necessità. La virtù invece è libera [adespoton, “senza padrone”, “inassegnabile”] e ciascuno ne avrà in misura maggiore o minore a seconda che la’- miola disprezzi. La colpa è di chi sceglie, dio è innocente” (617e).” 
The adéspoton is a strange and sui generis virtue, since it does not appeal to a moral conception of the good. Of course, this allows for something very subtle: retreating from the tribune of morality, the adéspoton belongs to the access of a life in happiness. I think this complicates the picture of Agamben’s insistence through his work on “beatitude”, since the adéspoton is not a form of absolute immanence, but rather of a soul that is always inadequate in relation to the assigned life. In other words, the adéspoton is the intensity that allows for a relation between interiority and exteriority through an acoustic attunement with the world. The adéspoton refuses the conditions of possibility for “freedom”; since it conceives freedom as emanating from the non-objective conditions of the contact with the outside.
At this point I will reach a preliminary conclusion in my intervention picking up on this last problem: the outside. Of course, to speak of the outside – the “transmigration of souls” as in Plato’s quintessential myth – already announces an imaginary of flight. And it is no coincidence that Pulcinella is a sort of half-bird creature: a chicken that cannot flight, but nonetheless experiences the outside thanks to its adéspoton. Agamben reminds us of the etymological proximity of Pulcinella with “pullecino” or chicken like creature like the Donald Duck . It is also no coincidence that Agamben closes the book recalling how Giandomenico during his last years of life was fascinated with all kinds of birds that he painted in the Palazzo Caragiani in an effort to radically dissolve the human form . I think that birdly nature of Pulcinella is to be taken seriously, given that in the mythical register of the Hebrew bible, the large bird, the Ziz, is the third mythic creature along with the Leviathan and the Behemoth, the creates of the sea and the land that have marked the world historical opposition of appropriation. And it is more strange that, in The Open, Agamben mentions the Ziz without thematizing its potentiality for the flight from the nomos of the earth that today expresses itself as a civilizational conflagration. The Ziz, very much like Pulcinella, prefers “not to” to participate in the geopolitical confrontation between land and sea undertaking a flight of its own from life towards freedom.
The arcana of Pulcinella resonates with the Ziz mythic figure, but it is not dependent on myth or allegorical substitution. The parabasis is the exposition of every life here and now. Although the figure of the bird disappeared from Agamben’s mature work, one should not dismiss his first publication, the poetic short-story “Decadenza” (1964), which he wrote while a law student at Sapienza, and which tells the story of a depressed community of birds with eggs that do not hatch and species that have lost the contact with the external world . I think it’s fair to say that Agamben’s Pulcinella finds the ‘exit’ to the oblique and impoverished world of “Decadenza” through Pulcinella’s adéspoton: a new capability is imagined to flee from the catastrophe of the world, against nihilism and the global conflagration (think of the fetichistic avatar of political destruction), but rather to dwell in the non-event of happiness in the mystery of every life. If as Agamben writes, metaphysics is always the production of a dead-end – always arousing a feeling of “being-stuck”, always in need of “catching up” at the expense of suppressing our ethical freedom – one could very well see how Pulcinella’s flight of freedom is the path against metaphysics par excellence . As Agamben writes at the closing of Pulcinella: “Il segreto di Pulcinella è che, nella commedia della vita, non vi è un segreto, ma solo, in ogni istante, una via d’uscita” . One can imagine him being a truly unforgettable anti-Sisyphus.
1. Giorgio Agamben. Idea della prosa (Quodlibet, 2002), 93.
2. Giorgio Agamben. Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), 4
3. Ibild., 35
4. Søren Kierkegaard. Fear and Trembling (Penguin Classics, 1985), 79.
5. Giorgio Agamben. Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), 65.
6. Gerardo Muñoz. “La existencia pícara. Sobre Pinocchio: Le avventure di un burattino (2021) de Giorgio Agamben“, Infrapolitical Reflections, 2022: https://infrapoliticalreflections.org/2022/01/03/la-existencia-picara-sobre-pinocchio-le-avventure-di-un-burattino-2021-de-giorgio-agamben-por-gerardo-munoz/
7. Giorgio Agamben. Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), 105.
8. Ibid., 47.
9. Ibid., 122-123.
10. Giorgio Agamben. “Decadenza” (Futuro, 1964). I thank Philippe Theophanidis for bringing to my attention this early text.
11. Giorgio Agamben. Filosofia prima filosofia ultima: Il sapere dell’Occidente fra metafisica e scienze (Einaudi editore, 2023), 103.
12. Giorgio Agamben. Pulcinella ovvero divertimento per li regazzi (Nottetempo, 2015), 130.