"'Henry IV.,'" an equally strong and original variation of the insanity motive, is the first of two plays by Pirandello dealing with a special aspect of the problem of reality and unreality. The second, not yet given to the public, is Vestire gli ingnudi ("... And ye clothed me!"). In the former Pirandello studies a situation where an individual finds a world of unreality thrust upon him, voluntarily reassuming it later on, when tragedy springs from the deeper reality. In "And ye clothed me!" we have a girl who, to fill an empty life of no importance, creates a fiction for herself, only to find it torn violently from her and to be left in a naked reality that is, after all, so unreal.
These two plays indicate the present tendency of Pirandello's rapid production—a tendency that promises even richer results as this interesting author delves more extensively into the mysteries of individual psychology.
"'Henry IV.,'" meanwhile, is before us. It can speak for itself.
All of Pirandello's plays are built for acting, and only incidentally for reading. We make this observation with "Right You Are" especially in mind, since that play, above all, is a test for the actor. It is typical of Pirandello for its rapidity, its harshness and its violence—the skill with which the tense tableau is drawn out of pure dialectic, pure "conversation." Moreover, it states a fundamental preoccupation of Pirandello in peculiarly lucid and striking fashion. Perhaps a better rendering of the title Così è (se vi pare) will occur to many. Ludwig Lewisohn (happily, I thought) suggested "As You Like It," no less. A possibility, quite in the spirit of Pirandello's title in general, would have been another Shakespearean reminiscence: "... and Thinking Makes It So." We have kept something approximating the literal, which would be: "So it is (if you think so)."
The text of the "Six Characters" is that of the translation designated by the author and which was used in the sensational productions of the play given in London and New York.
A.L.