MAQ Magazine n. 14 / September 2019
The romantic writers of the nineteenth century, and many of the current ones are managed with a conceptual and dictatorial absolutism, where things are as they describe them and there is no possibility whatsoever, that they be otherwise. The "yes ... then" of a syllogism is handled where one and only one effect occurs at a given cause. Seen this way, the world curls up into an absolute reality: it is what the writer describes exhaustively. What if the reader thinks differently? What if you don't share the adjective used? It is the Universe of opposites, where you can only be at the binary extremes. It is horrible "or" beautiful, victim "or" victimizer, white "or" black. Never middle terms, never a "y", never horribly haired, wolf and Easter lamb, or black and white. Always the absolute certainty of the past and the future. All of the above contributes to the will and free will not really exist. The writer is categorical, with an impiate adjectivation conditioned on the interpretation of reality, which must be as it is.