Bread and Wine (novel)

Bread and wine are anti-fascists and anti-Stalin novels written by Ignazio Silone. When the author exiled in Italy of Benito Mussolini, it was completed. It was originally published in German as German in 1936 as Brot und Wein and was published in English in London later that year. The Italian version of Pane e vino did not appear until 1937

After the war, Silone completely revised the text and released a completely different version from Italy (1955). Vino e pane ('Wine and Bread') with the title reversed. This update also provides English translation

Pietro Spina is a young revolutionary that the authorities are asked for. He is disguising an old priest named Don Paolo Spada.

Pietro lived in Abruzzo in the village of Pietrasecca (Marsica) and pretended to be a pastor to avoid doubt. You can rely solely on Pietro, Fascist police in his way. At the same time, young people come into contact with the tragic reality of ignorant farmers in the village of Pietrasecca. He realized that the revolution against fascism is always difficult as the revolution itself was the root cause. In Abruzzo there are many retreating countries such as Pietrasseka, the law of nature, the inviolability of farmers. At the same time, Pietro Spina fell in love with the girl, but she could not reveal her true identity.

German communist composer Hans Eisler written in 1937 made seven carols using bread and wine [1], but Siren was expelled from the church by the official communist movement. The second Moscow trial has only been left to Bethel Brecht during exile in Svenborg. Happened. Eisler did not use the words of Silone verbally, but he extracted his poems from the prose of Silone. When these Contata were published in East Germany in the 1950s, the novel was only published in 1936, but Eisler set up the foundation date in 1935.

I like your comment very much, but there are some very important novels that are missing from your analysis. The central image of the bread and wine of the whole novel is not a symbol of unity. It is a symbol of the Eucharist and the power of Jesus' salvation. Pietro pretended to be a pastor. When he returned to Italy he never thought about accepting this disguise, but in the case of his hiding he began to remember his secondary education at a religious school. At the beginning of the novel, we met with Peter's tutor and old pastor Don Benedetto. Pietro's journey in the novel is a return from his party's dogmatic position to his early youth's idealism, which is not just a materialistic view.

In addition to information on struggle and self-responsibility (even within Pietro's party) there is bread and wine. That image is consistent with the whole novel, it is a required unified image, the amount and unity of power dominates the view of resistance of Petro. Bread and wine is a match between two equally unified ones. Since he is immersing the black bread in the red wine, he can always make the same choice by fighting fascism with equal people in his life. Unlike Uliva, Pietro is less concerned about what he is seeking; his struggle is against the rise of fascism.

Just a few months ago, I read and commented on Ignazio Silone's novel FONTAMARA. In that novel he will explore in detail the farmer's life in the rise of Italian fascism in the early 1930s. Currently, in the bread and wine, the same theme was adopted in 1935, but this time, emphasis is placed on resistance and intellectual class of Communists. Spina / Sparta was initially a tough doctrinal communist. However, he was obliged to sign a document that fully supported Russian political issues. This brought about that Spina was no longer an illusion from doctrine and threatened to bring him out of the party with Roman party leaders. I thought that this conflict was very beneficial.