Laura Nuti's "Storia di Melusina"

The legend of Melusina, half woman and half snake (or perhaps siren), dates back to ancient Celtic myths and has come down to us in different versions, all aimed at exalting remote European families, especially that of the Lusignano. Her figure is mainly present in French folklore, in the version written by Jean D ‘Arras and in the subsequent version by Coudrette, but is then taken up by many modern authors, among which Goethe stands out.

Melusina has fairy origins, she is supernaturally beautiful, with a lithe body and iridescent eyes. She meets Reymund in the forest and the two like each other. She is the only one able to console him from his despair. They decide to get married, but he will never have to look for her on a Saturday, on pain of the end of their marriage. He accepts because he is immediately subjugated, Melusina turns out to be fascinating, competent, splendid. She gives birth to many children, only two of which are normal, the others have some animal-like appearance: claws, fangs, hairy muzzles, Cyclops eyes. But they are still strong, daring, handsome young men. The strangeness of the offspring does not diminish the love and harmony of the family. Melusina and Reymund love each other, she, intelligent and wise, helps her husband to carry out brilliant enterprises, to govern with justice. Together they raise their children in the sign of dedication and love.

In Laura Nuti’s version, Melusina represents an erotic, fertile and maternal feminine at the same time, which scares men who are unable to understand and accept it. Melusina is the ancient divinity that merges with the new medieval Christian concept, where the woman is linked to witchcraft and descends from the first sinner. And Reymund is torn between this medieval mentality and his own instinct that tells him to trust his wife, to love her without reservations, suspicions or fears. But the others get in the way, the couple must necessarily get out of the enchanted bubble in which they live and collide with the wickedness and prejudices of the outside world. The bubble bursts, the marriage ends, only the maternal instinct survives, the last to die, the only one accepted by society. Yet, we are aware that the sentiment of the spouses, so deep and tenacious, will still be able to challenge distance and division. Reymund and Melusina will continue to love each other, from a distance, beyond all time, any place and any diversity.

With this beautiful legend, Laura Nuti confirms herself as an expert scholar of mythology and fairy tales but also and above all a good storyteller. Reading her, the atmospheres of Gianbattista Basile come to mind. She tells us a story that flows like spring water. Her words slip easily and happily and have the flavor of ancient narratives, those of Cantafiabe in “The sonorous fairy tales” by the Fabbri publishers, those of the yellowed books in the attics, which belonged to who knows what ancient child. This lightness, this storytelling ability, is the result of a painstaking effort of polishing, of a work of reduction to the bone, to an essential never devoid of romanticism and arcane mystery.