Il furore della vita

The afterword reads Mauro’s criminal adventures through a “liminal” moral lens, like the old Adso recalling youthful transgression without either celebrating or repudiating it. It argues that Law can measure and judge, but it cannot fully contain the surplus of life, desire, and meaning that animates action. Mauro’s driving triad is framed as freedom, beauty, and community, intertwined rather than separable motives. The tone is linked to a Nietzschean register and, even more, to Bataille’s idea of excess and dissipation as a sublime proof of human freedom, with Eros shadowed by death. Under the crime, the text ultimately identifies a religious longing for totality, graspable only from the mature narrator’s affectionate distance.