Theatre Monologue 'I Decide' - Alessandra Cestaro

‘I Decide’

           

                           ‘Bye mother, I have made my choice, I hope that for once you’ll be understanding. This is what I love, this is what I want to make out of my life.

                              Unfortunately what you have taught me and what I do believe is that each of us must always know how to live alone, and through his own ambition reach his goal. I am scared mother, I fear I am not independent still. This is why I need to go away, this is why I need to leave. So here, I go with all my hopes and dreams. I hope you believe in me, or you’ll learn to do this, because I do. I believe I can. Maybe you have not been so close to me these last years, which have been the most important ones of my life.

                                  Here I am, now, the end and beginning of it all. I am a child, I am your daughter but before anything else I am myself, I decide. So why for once, now that I am gone don’t you try to understand that I am the one who knows what’s good for me. I want to do this out of my life. I am now leaving, to go elsewhere, where I will really be useful, where I will really be able to make a change.

                                  I am not that far from you, because obviously I’ll have pleasure in seeing you, I love you, I am your daughter anyhow. I am your daughter, but I am not yours, from a while now, and now forget holding me down. I’m bright, I know that and I hope you trust me as you have always done. I’m ready and I feel I have to go for this life experience, I have to learn the whole rest on my own, I’m sorry, you have done enough, it’s my turn.

                                 

                                    There’s nothing you can do, I am sure of what I’m doing. There’s no more telling me ‘you don’t know what there is out there’, because I am sorry to tell you I know much more than you do, because this is my time, these are our days and ‘what’s out there’ is our world, the world I am aiming to change. I want to make this a better world, I have this opportunity and I want to make the best out of it, as you have done your best to give me the best possible, and now you are here stopping me from getting the best I can.  Has this got any sense?

                     

                                        Why? You are jealous of that world, that now is calling me, and that world where I desire so bad to be part of, me , myself, alone. You gave me life and now you are trying to steal my independence, does it make any sense? I am not following the man I love, don’t worry I am not that naïve.

                          I want to see the world, not only from my bedroom window anymore. There are people out there that need help. That is what I want to do, and I don’t care honestly about the whole lot of people you know and the distant members of my family that can give me a job as soon as I come out of university, easy easy, straight away, I don’t want that. I want to work through it hard, my life I mean.. I want to live at top speed, I want to give up everything I need to, to become who I want to become, I’ll be the best, I promise, and sorry mother, I don’t want to remain the best for you and father, I want to be the best I can become, I have potential and believe me when I say I know it best than you do.

                       

                                       This is not where I want to be right now, I don’t belong here now, don’t think you are ever going to hold me down, I am kicking down all the fences, I am going to do it all, even if it’s too much and if I mess the whole thing up, well you know what? It’s my life. I’m running it, and my heart and mind tell me that my ambition is far from here, and where to achieve it is even more distant.

                          Thank you for the love you have given me the last 17 years, thank you for making me the person I am now, and thank you for teaching me all this ambition, this determination, for teaching me what risk is, for educating me to always wanting the best, thank you for opening my eyes, because trust me, you might not know, but my parents, you, have made me the way I am right now, and here I am, determined as ever, I am sorry I am going.

                I will miss you, no doubt, I’ll miss the city that raised me, my hometown, I’ll miss the friends that have been with me all my life. I don’t believe people when they say ‘Don’t worry, you lose your old friends, you make new ones’. I am sorry father, I don’t believe that although I’ve always smiled back when you said that. I believe lots of the things you said, and I don’t believe many of the rest of the words you spoke.

                     

                                 You might be right, but I’m just like you, I’m stubborn, and yes daddy, me and you are the two most obstinate people in this world. You should know, that until I don’t get hurt myself, until I don’t fall myself, until I don’t miss it myself, until I don’t fail myself I won’t believe in what others say. I know I can do it, I’ll live by myself and I’ll become a woman by myself, I’ll find my man. I’ll decide how to live, I’ll decide who I love. Choice is mine and no one gets to make my mind up, you know this more than anyone else, right?

                         This is the end of the little girl, and here a tear rolls down my face, but it won’t stop me, I’ll drown my sorrow and here I’ll go, with a smile on my face, because this is certainly, the only thing I want to do, this is the only road that I am going to take, I am going to make my own mistakes and so it is, your daughter is now no longer your girl, but right the moment you’ll hear this tape, there will be a girl, with a mother and a father behind her and in her heart.

            

                        She will be catching a plane towards her future, with a smile on her face, her memories in her heart and blank space to write her life that’s about to start in her eyes. The little girl has grown, I’ll always smile as that little girl, full of happiness, because I know what I want to do, and I know that you agree, because you do love me like I do and respect all I’ll do.

                      From this moment on, I’m alone, and then I won’t come back, I’ll have my own house, I’ll fight for what I believe is right and for what I have worked tough for all this time, I’ll have the man I love besides me, my sons that will leave me only 17 years after they are born if they wish to, and I’ll be who I want to be. I’ll come over with all the family, just wait for me, I’ll knock at this door and demonstrate to you, mother what wonderful woman you gave birth to.

                    It is time for me to go to sleep, or I won’t wake up tomorrow, right daddy? I’ll go to sleep for one last time in the bed of my childhood and that bed that you made yourself daddy, and that bed where mom, you always tucked me in. And for the last time your daughter will sleep in that bed you made yourself daddy, that bed where for the past 17 years you tucked me in, right mom?

Goodnight mom, goodnight Dad. I love you.

The theme of love and sex in 'Eleven Minutes' (Paulo Coelho) and in 'One Hundred Strokes of the Brush Before Bed' (Melissa P.) - Alessandra Cestaro

Guiding Question: ‘The two novels I will discuss both take in consideration the theme of love and sex, obviously each independently from the other. How is the theme exposed to the reader through the stories of the two female protagonists? How do the two authors contrast each other in portraying and concerning the topic, and also how do the two different ways of illustrating the argument remind of each other?

     The aspect of the two books I would like to discuss is the theme of love and sex and the particular shadings regarding the two which surprised me during the reading of ‘Eleven Minutes’ by Paulo Coelho and subsequently ‘ One Hundred Strokes of the Brush Before Bed’ by Melissa P.

     The two novels are similar since the minds of the two female characters have no secrets to the reader. This last experiences the growth of the two girls into women. I felt this effect both within Coelho’s elaborate descriptions of  Maria’s feelings and similarly through the confessions of Melissa’s diary which has been published into an autobiography and it is the second novel I will now be concerning. Both books mainly resume a couple of years of the two women-to-become protagonists who see and reflect upon their change due to new experiences.

     These experiences include the living through of love and sex. These two elements and the relation to each other contribute to building the issue that guides both narratives. Moreover, in both ‘adventures’, the final installment of the girls’ personalities happens only after the long period of ‘mutation’ that shows both girls quarrelling with the same fear inside them: of not finding love. In both the growing adolescents’ lives this agitation turns into anxiety of  inevitably ‘destroying’ themselves by actually falling in love. However in both cases, the two women find the strength to say ‘yes’ to the change, sick of being ‘addicted’ to sex, embarrassed of dressing the role of prostitutes.

     Even the role, within which the two female protagonist identify themselves is the same one, demonstrating once again that the similarities concerning the two novels are multiple. Above all these similarities, however the two narratives deal with the girls’ panic, frenetic and desperate searches for love (to escape their filthy habit and their ‘addiction’ to it) in great depth. Also, different narrative methods and literary techniques are applied to the narrative’s construction; these greatly personalize the different styles. This is what creates the differences in the two writer’s representation of the theme.

     When studying the theme and the way the authors present it, what  I noticed straight away and I thought would be interesting to discuss and reflect upon, was the presentation of the same identical theme. Not simply that, but how this happens through two narratives which both re-call each other being very similar for what concerns the plot, but so different for what concerns the narrative techniques and writing style. In order to go more in depth with this argument, the two novels have to firstly be individually summarized and briefly analyzed. Before comparing them, it is essential to have an overview of both.

     Paulo Coelho’s narrative is clear, but at the same time extremely based upon reflection, always extremely delicate in treating the main subject of the story. As Paulo Coelho himself states: “I knew that my novel, Eleven Minutes, dealt with a subject that was harsh, difficult and shocking.”.

     Coelho’s comment is in my opinion a perfect summary of what the majority of people feel. For what regards me, I was greatly surprised by the novel when I came to discover the main theme of it. Love and sex are not so much taboo in our society nowadays but the topic must still be discussed with extreme care as Coelho does amazingly. Eleven minutes invites the reader to join Maria’s voyage to Switzerland as well as the one to becoming a woman and finding love.

     The way these contemporaneous voyages start is through the reader being introduced to this Brazilian girl. The first image of her is a youngster who right away looses self-esteem in herself as well as trust in love in a failure that causes her a heart-break during her child-hood. From that moment, through her adolescence and onwards she has a great ‘desire’ to experience sex, lead by her curiosity and the fear of being left as an ‘outsider’ between her friends. She lives through love and sex many times and is always left heart-broken loosing her dignity and left disappointed and irreversibly upset by love. As a consequence she asks herself why ‘When we meet someone and fall in love, we have a sense that the whole universe is on our side […]How is it possible for the beauty that was there only minutes before to vanish so quickly.” Maria is then casually and to her surprise invited to get involved in a modeling career in Switzerland. The young girl afraid of making another mistake: ‘I made my first mistake when I was eleven years old, when that boy asked me if I could lend him a pencil...” and finds the courage to say “Yes to life.” However, life puts Maria on trial and she finds herself trapped in a fraud of which she had not been advised and had never minded about really in advance. She is left with no choice but to remain in Switzerland with no job because of a mischief-maker that cheated on her, taking advantage of her naïve and inexperienced personality. She will therefore have to find her own way through difficulties and try to confront the challenge of life. She desperately tries all she can figure out to earn a decent amount of money for a living with no success. One night, fortune knocks at her door and she casually finds herself in the Copacabana  , a nightclub and is promised a great fortune in the eventuality she engages as a prostitute for the most famous bar of ‘Rue de Berne’, well-known centre of illegality in Geneva. Brought to a decision by a complete situation of desperation and loneliness within her, she accepts and is dragged in the world of prostitution. However, she doesn’t mind selling her body as it earns her a living and she believes that as long as she keeps up writing in her diary (which is the only thing she manages to love) to keep ‘the purity of her soul alive’ she will never end up becoming someone else and loosing her virtues. She goes through tough confusion and does not even recognize herself anymore. She confesses, against her will, that she becomes incapable of feeling love although she is dying to find “the man for her”. Totally unexpected it happens, and he saves her, creating a relationship where these two extremely similar souls teach each other how to build up trust for love again, falling together in the “pool of passion”. Maria however, is convinced she will be able to say “no” to love and go back to Brazil as she promised herself before her departure for Europe. She is in fact strong enough to catch the airplane back to her hometown maintaining the target she set herself, but when Ralf Hart, shows up once again at the airport in Paris (scalo aereo) she decided that this time it will not be a mistake, she would risk, fate has just decided for her and there is no way to fight against love, true love this time. “ Nevertheless, as always happened when fate took decisions for her, she thought, once again, that she would take the risk [...] she kissed him utterly indifferent to what happens after the words ‘the end’ appear on the cinema screen.”

     What expresses the theme of love and sex at its best in this novel is the contradiction between the two elements of the theme, that for Maria seems to be obvious, one is pleasurable and causes no harm whilst the other only leads to weakness and sufferance. She cannot accept the idea of love causing herself to be possession of someone else, neither does she want to possess any other person. This is why sex, as she says “makes you free, it is only  a question of eleven minutes and neither of the two have obligations to respect.” However, the theme will soon be reviewed by Maria when she decides that she does want to love Ralf Hart, the painter as with him she wants to stay a lifetime knowing she will not be free, she is happy this way and wants to stay with him for more than eleven purposeless minutes. “Someone was looking at her not as an object, not even as a woman, but as something she could not even comprehend[…] he’s seeing my soul, my fears, my fragility, my inability to deal with a world which I pretend to master, but about which I know nothing.”[1]

     The continous contradiction of the two elements of the theme (love and sex) is accentuated and underlined by Maria’s emotions which she delivers and explains in her diary which with the development of the book shows the growth of Maria, who full of experience and freed of the confusion finally understands that Ralf Hart has taught her to love again and she can combine love and ‘sacred’ sex which belongs to the soul, making them appear with no contradiction between the two anymore as they both leave her freedom and she is no more slave to sex instead. Maria reflects on how she feels about love and sex and this is the conclusion she reaches and the conclusion of the book achieves for the discussion of the theme “Everyone knows how to love, because we are all born with that gift […]but the majority of us have to re-learn, to remember how to love […] and then our bodies learn to speak the language of the soul, known as sex, and this is what I can give to the man who gave me back my soul.”[2]

     Melissa P. writes about her own growth and experiences which brought her from (as in Maria’s case in Coelho’s novel) the heartbreak and mistrust, disappointment in love to the relieve of this lack of emotions through sex that instead caused no suffering, back to the re-discovery of love which did instead make her really happy and made her feel desired as she’s always longed to feel.

     Melissa writes a diary from the age of fourteen to that of sixteen. Contained in it are narrations of the Sicilian schoolgirl’s experiences and the contradiction once again between her need to love, her desperate search for it and her fear and incapability to do so. “I want to love, Diary” is what she continuously writes before her fifteenths birthday. “ I want to feel my heart melt, want to see my icy stalactites shatter and plunge into a river of passion and beauty.”[3]

     Melissa experiences a great variety of men, but none of them suit her except Daniele who has managed to make her suffer. She is therefore convinced that love is suffering whilst she adores feeling desired by the numerous men, many times much older than her who make her feel important and it is the only way she can achieve attention and therefore happiness.

      The two novels remind much of each other through the narrative of the confessions of two young girls (women-to-become protagonists) who through negative and harsh experiences of life finally grasp love after numerous misadventures and key events through which they manage to become young women gaining peace with themselves and acquiring maturity which helps them deal with love. Moreover, although they had always denied it, that was what they had always desperately searched for. Love and sex are two extremely frightening experiences perhaps although common of the everyday life, however in both the two books the fear of the first brings both girls to insecurity after being left heartbroken and in both Melissa and Maria grows the need for self-esteem and the need to re-gain the lost security which they find in sex.

     In the ruined world in which we do unfortunately live in and which is underlined and maybe represented exaggeratedly , the two protagonists of the novels achieve success against a great challenge, to grow up in such a harsh and virtue-lacking setting. However their greatest challenge comes when it is time to overcome fear and risk what gave them the security they acquired in order to change once again and find purity in love exiting the unworthy world they had got lost in.

   

The authors’ messages are pretty much similar. The contradiction between love and sex in the lives of the two girls is in my opinion especially designated to show that sex is not a game, it is quite dangerous. In fact when it comes without love, as not always, as happens to Melissa with Roberto or Maria with Terence who want to drag them further leaving no chance for the girls to recover love and faith in love and the man loving them.   

     In both cases the most important element is the diary the two girls keep which helps them to reflect and therefore understand they have reached a limit and have to make an inversion for what concerns their habits. “The right way is the other way , light of love help me take a change.”

     Both authors choose to write inserts of the girls diaries (One hundred strokes of the brush before bed is an autobiography, completely written in diary-form to exaggerate this first person effect to convey emotions, and the message through these , most effectively.) creating the opportunity to reach the reader’s mind and feelings more directly and create a reader-protagonist relation in order to make the reader perceive the numerous reflections and same contradictions on the brutality of the two women’s lives from which they are trying to escape unconsciously and finally manage to do so, thanks to love. “A real eye-opener of a book to those who think that kids couldn’t possibly think or know about sex until they are firmly up the aisle. But maybe more striking is the way in which Melissa P. shows us how the need to be loved and accepted can manifest when there is nobody to trust but yourself.”[4]

     “Finally, I must thank Maria, who during various meetings with myself, told me her story, on which this book is based.”[5] It is striking to know that these are both true stories and through the protagonists’ reflections and confessions which occur and illustrate both novels the authors manage to shock the reader both through the effective use of the diary-narrative form, that in first person allows the theme to be seen as even more brutal and perceived directly. The two novels, could also be considered in my opinion two great elements that represent reality. The books are two allegories that indirectly describe and comment the world and society we live in as well as discussing issues that are sometimes taken for granted nowadays but that are causing our society’s values to drop dramatically. Moreover the contradictions built around the two elements of the theme and the re-conjunction of these two give much the idea of how delicate the lives of two young women can become in a world of such danger and brutality. Both authors re able to achieve this effect magnificently.

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[1] Pg. 99, Eleven Minutes P. Coelho

[2] pg. 139, Eleven Minutes, P. Coelho.

[3] Pg.2, A hundred strokes of the brush before bed, Melissa P.

[4] Comment by Bookmunch on ‘One Hundred Strokes of the Brush Before Bed’, Melissa P.

[5] Afterword, pg.273, Eleven Minutes, P. Coelho.

Commento e Analisi de 'La Roba' di Verga - Alessandra Cestaro

I temi che possono essere identificati all’interno di questo brano sono molteplici. In primo piano è evidente l’esposizione del concetto ‘dell’apparenza che inganna’. La presentazione di questo argomento è proposta in due tempi. Prima, introducendo il personaggio (che è poi anche il protagonista) di Mazzarò indirettamente. Questo accade attraverso una lunga ed ‘interminabile’ sequenza descrittiva; proprio come la ‘roba’ del protagonista (i suoi possedimenti), che è infatti il soggetto della descrizione con cui si apre la narrazione. In secondo luogo, viene immesso al racconto il medesimo personaggio per mezzo di una descrizione diretta , riguardo l’apparenza fisica, la personalità, le esperienze passate ed i modi di fare relativi a Mazzarò. Il porre in contrasto le due rappresentazioni del personaggio principale nell’ordine particolare in cui sono riportate (prima l’esibizione indiretta e a seguire quella diretta) crea una reazione inaspettata quando si viene a conoscenza con la persona ‘reale’ di Mazzarò nella seconda descrizione. Questo succede a causa dell’effetto prodotto dalla ripetizione insistente, nella prima parte del racconto, del nome di Mazzarò che accompagna la vastità dello spazio presentato e del suo contenuto. La vastità dello spazio descritto è posto in evidenza dal continuo cambiamento del punto di vista del narratore. Essendo onnisciente e avente focalizzazione zero il punto di vista del narratore si muove prima al viandante (quando la narrazione avviene in terza persona) e conseguentemente passa al lettore (come è facile identificare dall’utilizzo del indicizzazione ‘vi’, significando ‘a voi). In questo modo il continuo cambiamento del punto di vista fa si che il narratore appaia ovunque, facendo accrescere la grandezza dello spazio trattato. Inoltre, l’infinità della ‘roba’ è sottolineata dall’uso dell’enumerazione nell’elencare gli oggetti presenti in questo termine. Il soffermarsi della narrazione continuamente sui particolari, la presentazione di nuovi oggetti che va sempre rinnovandosi, l’uso di espressioni che allungano la durata temporale:  ‘una vigna che non finiva più’, ‘e cammina e cammina’, ‘passavano il guado lentamente’ danno al ritmo e alla scorrevolezza della narrazione un’incredibile ‘assopimento’, un senso di calma esagerata. La lentezza pronunciata delinea maggiormente la vastità indecifrabile della ‘roba’. ‘L’uliveto folto come un bosco’. L’uso di similitudini per paragonare delle parti della ‘roba’ ad elementi più ‘espansi’ incrementa l’idea di enormità dei possedimenti di Mazzarò. La relazione che è creata tra il nome del personaggio e l’infinità di ‘roba’ che viene descritta fornisce un’immagine negativa del protagonista; una figura soprastante chiunque altro con tanto di superbia a caratterizzarla. Quest’immagine viene però smentita per mezzo della descrizione diretta del protagonista che appare invece come un uomo a cui è stata ripagata la sua enorme fatica lavorativa con l’acquisizione di tutta la sua ‘roba’ che lo soddisfa moltissimo. Inoltre Mazzarò viene presentato come un uomo modesto, ed un personaggio rispettato da coloro che gli sottostanno per via del suo compatimento verso di loro (essendo stato anche lui un umile contadino). Numerosi sono quindi i temi che vengono presentati attraverso la figura del protagonista ed il suo sviluppo: ‘l’ottenimento di buon risultati grazie alla fatica e all’umiltà’, ‘la modestia che compra il rispetto e l’ammirazione al contrario della superbia’, ‘l’importanza di avere una dedizione individuale nella vita spinta dall’ambizione’.

“ …e sì ch’era ricco come un maiale; ma aveva la testa ch’era un brillante, quell’uomo. Infatti, colla testa come un brillante, aveva accumulato tutta quella roba, dove prima veniva da mattina a sera a zappare…”

“La sua bocca mangiava meno di tutte, e si contentava di due soldi di pane e un pezzo di formaggio, ingozzato in fretta e furia all’impiedi”. La presentazione di Mazzarò come due persone diverse lo fa apparire come un uomo allo stesso tempo ricco, ma umile, che avendo vissuto le difficoltà e le fatiche dei contadini ora, pur essendo ricco si accontenta del minimo che gli è indispensabile e questa sua umiltà e modestia gli compra l’ammirazione ed il rispetto da parte dei suoi sottostanti. 

Il tema finale con cui si conclude il brano è quello della ‘dedizione per un interesse, guidato dall’ambizione’. Nel caso di Mazzarò è evidente che l’interesse in questione è ‘la roba’ che lui possiede e che ha lavorato duro per arrivare ad ottenere. L’ambizione di Mazzarò però, eccede e la sua ‘ingordigia’, la sua ‘fame’ per la ‘roba’, per averne sempre di più lo porta a trovarsi in uno stato di dipendenza da questa sua dedizione. ‘Questa è un’ingiustizia di Dio, che dopo di essersi logorata la vita ad acquistare della roba, quando arrivate ad averla, che ne vorreste ancora, dovete lasciarla!” Mazzarò infine impazzisce quasi, nel realizzare per la prima volta (non avendo avuto tempo prima, data la completa devozione del suo tempo all’aumentare la sua roba) che la ‘roba’ ormai non gli è più di nessun uso. Il ricco siciliano ha dedicato tutta la sua vita ad accumulare ‘roba’, giungendo a possedere numerosissimi terreni, che sono tutti però possessi materiali temporanei, come la vita. Quando Mazzarò, si ritrova privo di affetti, a causa della poca devozione nel coltivarne, al contrario di quella impiegata nella sua roba, viene prevalso da un senso di egoismo spinto dalla rabbia e dal senso di essere vittima d’ingiustizia. Questo improvvisa ‘esplosione interna’ in un personaggio che sembrava una figura ammirevole è l’incarnazione del risultato di troppa ambizione che nella porta a prevalere valori precari e superficiali che non danno mai la possibilità di raggiungere un’affermata soddisfazione poiché spingono sempre a ‘volerne di più’. Anche Mazzarò realizza che purtroppo l’invidia verso chi invece, pur non possedendo niente ha ancora davanti la possibilità di non sbagliare l’importanza da attribuire a certi valori nella vita, che è l’esatto errore che invece ha commesso lui: “E se un ragazzo seminudo gli passava dinanzi[…] gli lanciava il suo bastone fra le gambe, per invidia, e borbottava: - Guardate chi ha i giorni lunghi!costui che non ha niente!”

L’egoismo, è risultato della mancanza di affetto ricevuto e di conseguenza dimostrato verso gli altri. Mazzarò che “egli solo non si logorava, pensando alla sua roba, ch’era tutto quello ch’ei avesse al mondo; perché non aveva né figli, né nipoti, né parenti, non aveva altro che la sua roba”, dimostra di essere l’egoismo in persona data la mancanza di affetti e la perdita di tutto ciò ch’era la sua ragione di vita (la sua roba e l’aumentare di questa non rendendolo mai sazio).

‘Sicchè quando gli dissero che era tempo di lasciare la sua roba, per pensare all’anima, uscì nel cortile come un pazzo […] e strillava – Roba mia, vientene con me!.” E’ evidente la rappresentazione di quest’ultimo tema nella reazione di Mazzarò che fa da chiusura al brano; quest’uomo non sapendo nemmeno cosa s’intenda per ‘pensare all’anima’ (avendo scelto di non avere esperienze affettuose) non accetta di lasciare la sua roba ritenendo ingiusta l’impiego di tutta la sua fatica ed il tempo perso per un ‘qualcosa’ d’indefinito che ora terminerà senza avergli mai dato una soddisfazione concreta. In questo suo ‘raptus’ d’egoismo decide di portare quello che può via con sé, quando morirà. “– Roba mia, vientene con me!.”

Il termine ‘la roba’ è il titolo del brano perché significando come termine generale: ‘un ammucchio di cose qualsiasi’ da generalità ai possedimenti di Mazzarò che vengono narrati nel brano, ma sofferma l’attenzione sulle conseguenze che la troppa ambizione per una dedizione precaria in particolare possono portare su una persona e sulla vita di questa privando di significato e di valori ‘validi’ quest’ultima. La vaghezza e la genericità del termine ‘la roba’ fa si che  i temi contenuti nel brano possano essere interpretati da ciascun individuo singolarmente ed individualmente per contenere la propria ambizione e la propria univoca dedizione per la propria ‘roba’ qualunque essa sia.