In a myriad of her theatrical works, Ginzburg delves into the intricacies of women's journeys through the labyrinths of contemporary relationships and matrimony. In "The Advertisement," Teresa recounts the evolution of her bond with Lorenzo, unfolding in a distinctly unconventional manner. This narrative aligns with the cultural metamorphosis of the 1960s, when Italy was embracing modernity and shedding its secular shackles. Shortly after their initial encounter, Teresa and Lorenzo find themselves entwined in a passionate liaison, spending three uninterrupted days together. Half a year later, they cross paths once more and decide to cohabit, marriage notwithstanding.

The duo eventually ties the knot, driven by the belief that Teresa is expecting a child. Yet, post-nuptials, it is unveiled that no pregnancy exists. Although the text doesn't explicitly accuse Teresa of deceit, there lingers a hint that she may have fabricated the pregnancy to secure Lorenzo's hand in marriage. Considering "The Advertisement" was penned three years before contraceptives became widely accessible in Italy, it's plausible Teresa genuinely believed she was with child.

Despite their avant-garde lifestyle and relationship, Teresa and Lorenzo remain tethered to traditional marital ideals. Each blames the other for failing to embody these conventional roles. Teresa laments about Lorenzo's constant remarks on her deficiencies as a wife, yearning for her to have been the spouse he imagined, while she equally berates him for not being the husband she desired.

After a five-year matrimonial voyage, they part ways. Although Lorenzo has no desire to mend their fractured bond, the absence of divorce legislation until 1970 in Italy traps them in their marital ties. Their choices are limited to a "legal separation" or annulment. Lorenzo's mother advocates for a separation "with guilt," aiming to absolve him from alimony responsibilities. However, Lorenzo opts for a more amicable "mutual consent" separation, assisting Teresa in finding accommodation and continuing monetary support, though she contends it is insufficient.

When Elena confesses her love for Lorenzo, Teresa magnanimously offers to annul their marriage, allowing Lorenzo and Elena to wed. At the time, legal divorce evaded Italy's grasp, but the Roman Catholic Church permitted annulments under stringent conditions. "The Advertisement" emerged shortly before a wave of reform swept through Italy, relaxing or abolishing many church-imposed marital laws in favor of more secular, modern principles.

Ginzburg's "The Advertisement" penetrates the heart of modern relationships and marriage during a transformative epoch in Italian history. Here, men and women found themselves ensnared between the allure of contemporary lifestyles and the gravity of age-old expectations and legalities governing marital unions.

Teresa's Obsessive Love

Teresa's character in The Advertisement serves as a poignant exploration of obsessive love. From the outset, she is acutely aware of the irrationality of her feelings for Lorenzo, yet she is ensnared in a love she cannot resist. Their initial encounter spirals into an immediate tryst, a departure from her history of numerous, yet emotionally detached, relationships. For the first time, Teresa experiences the tumultuous waves of genuine affection. However, Lorenzo vanishes without a trace, only to reappear six months later, dismissively indifferent as though their passionate beginning had been a mere mirage. Despite knowing that Lorenzo's reasons for disappearing are deceitful, Teresa finds herself pleading for his renewed affection.

An Unstable Union

In a whirlwind of five years marked by a volatile marriage, Teresa is so engulfed by her affection for Lorenzo that she convinces herself she is content in what seems an unbearable relationship. Lorenzo's relentless criticism and domination over Teresa are palpable, yet she continues to capitulate to his whims. "He was able to bully me because I loved him," she confides to Elena, revealing the...