Antonio Corelli is an Italian captain that is chivalrous, musical and bold. Always looking on the bright side of life and is an inspiration to his men in the army. De Bernieres had chosen to stereotype Antonio Corelli in this manner to convey a series of different connotations and messages to us, the reader.
Although de Bernieres’s novel was named ‘Captain Corelli’s Mandolin’, it wasn’t until chapter 24 was the captain introduced to the reader. To achieve this, de Bernieres had chosen to present Corelli through the eyes of Carlo, as the reader knows Carlo has been the only character to express any intimate emotion or explain and so explicitly describe his feelings, and up to this point Carlo had been a tragic figure, who gains the sympathy and liking of the reader. To use Carlo to introduce Captain Corelli, de Bernieres had been able to achieve a “handing-over-of-the-spotlight” effect; where one significant character is stepping out of the reader’s attention for another. Corelli was first introduced as “a small miracle” and “my source of optimism, a clear fountain, a kind of saint who had no repellent taste of piety…” all illustrating to the reader an uplifting and chivalrous character, who looks on the bright side of life and always making those around him comfortable and happy. This very much is a stereotype of Italians, for they have been said to be gallant, dynamic and, at the same time, respectful.
Another interesting point made by de Bernieres is when he had written Corelli to be a musician. Italians are notorious for being musical and romantic. Antonio Corelli had been used to depict this stereotype as a mandolin player; he had used his music to charm and woe Pelagia “…followed the rhetorical question with the same two notes, ritardando, played four quaver chords, then a bar which disrupted one’s expectations by the introduction of a rest and a pair of semi-quavers, and very shortly broke into cascades of chorded and unchorded semiquavers that left Pelagia open-mouthed.” And with this quotation, displayed his charisma and flamboyant attitude. Corelli’s music had also been the source of unification, either it be the boys in ‘La Scala’; bringing people together in times of harsh realities as well as helping them look on the bright side of life; that war shouldn’t bring a person’s spirits down “singing their hearts out, hammering at their steel helmets with spoons.” Or entertaining those around him “That evening the doctor himself demanded a concert, and he and Pelagia found themselves outdoors whilst the captain spread a sheet of music upon the table…” showing that Corelli has managed to fulfil his role as a typical Italian as being loud, bold and, to an extent, heroic.
Corelli had also depicted a dedicated, charming and brave soldier; de Bernieres had allowed Antonio Corelli to carry out this role fulfilment when, being a courageous character that he is, had risked his own life in the place of his division to blow up the mine himself while everyone was ordered to safety “‘…so when the time comes I want you all to go back to the top of the cliff and watch from there, because otherwise there would be a serious accidental massacre.’”. This again shows charisma and optimism; that in times of danger Corelli had not backed down nor appear cynical. This further emphasises the role fulfilment of an Italian. A person usually said to be strong-willed and valiant.
Of all of the above, when it comes to role fulfilment, Corelli best of all, fulfils a caring and insightful person; “‘Tell Lemoni that if she ever finds anything, anywhere, that is made of metal and she doesn’t know what it is, then she mustn’t ever, ever, touch it, and she’s got to run and [tell me] it straight away...” Here, Corelli is concerned for the well-being of those in Cephallonia, a trait not usually associated with when someone had been named an ‘invader’. The contradiction here would have only been made possible through the use of stereotype; this is a clear example to one of the reasons why de Bernieres had chosen to use stereotype quite frequently throughout the novel; to allow the reader to make their own assumptions and realise the irony in his work.
An additional point made by de Bernieres to illustrate a more vivid portrait of a “typical Italian” was the use of Antonio’s dialogue. The manner in which Corelli speaks and presents himself is very bold, confident and out right, “The captain sprang to his feet. ‘I am Captain Antonio Corelli, but you may call me maestro if you wish, and this…’ he took Carlo by the arm ‘…is one of our heroes. He has a hundred medals for saving life, and non for taking it.’” This quotation signifies poise a very strong association with Italians. Corelli is also polite and endearing, “In addition he did not want to cause her any [embarrassment] that might arise from being in his presence in her night clothes…” showing that Corelli is distinguished and respectful, that he knows etiquette which thence relates to a gentlemen.
To conclude, de Bernieres had chosen to present Captain Antonio Corelli in this approach because it allows the reader to have a closer and more personal relationship with the character. Throughout his novel, de Bernieres had used stereotype frequently, and all achieving different effects. The chivalrous and boisterous stance of Corelli allows a more vivid image of the character, bringing him more to life. As well as allowing de Bernieres the leverage for irony and humour, making the novel more engaging.
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