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Pinocchio is a fictitious character and the protagonist of Carlo Collodi of Florence, Tuscany’s children’s novel The Adventures of Pinocchio (1883). In a Tuscan hamlet, a woodcarver named Geppetto sculpted Pinocchio. He was made to be a wooden puppet, but he aspires to be a real boy. He is notable for his penchant for lying, which causes his nose to expand.

Pinocchio is regarded as a cultural figure. He’s become one of children’s literature’s most reimagined characters. His narrative has been translated into a variety of media, including the Disney film Pinocchio from 1940. In his novel, Collodi frequently employed the Tuscan vernacular of Italy.

The name Pinocchio is a combination of the Italian words pino (pine) and occhio (eye); Pino is also an abbreviation of Giuseppino, the diminutive for Giuseppe (the Italian form of Joseph); Giuseppe Aiazzi, a prominent Italian manuscript specialist who supervised Collodi at the Libreria Piatti bookshop in Florence, was one of the men who greatly influenced Collodi in his youth. Pinocchio’s inventor and “father,” Geppetto, is a diminutive of Geppo, the Tuscan pronunciation of ceppo, which means log, stump, block, stock, or stub.

The way Pinocchio is portrayed varies depending on the adaptation. Still, there are a few things that are similar throughout all of them: Pinocchio is a puppet, and his maker is Geppetto. When he lies, Pinocchio’s nose expands.

Pinocchio has a small nose that becomes larger when he is stressed (chapter 3), especially lying. Collodi refers to him as a “rascal,” “imp,” “scapegrace” (mischievous or wayward person), “disgrace,” “ragamuffin,” and “proven rogue” in the original story, with his father, carpenter Geppetto, calling him a “wretched kid.” Pinocchio’s first act is to laugh mockingly in his creator’s face, after which he takes the older man’s wig.

Pinocchio’s poor behavior is supposed to act as a warning rather than being charming or lovable. Collodi intended the story to be a tragedy when it was first published in 1881. It came to a close with the execution of the puppet. The Fox and the Cat, Pinocchio’s foes, bound his arms, tie a rope around his neck, and hang him from an oak tree limb.

A ferocious northerly wind blew and roared fiercely, slamming the poor puppet from side to side and causing him to swing uncontrollably, like a wedding bell clanging. And the swinging caused him to have terrible spasms. He couldn’t say anything else since his air had run out. He hung stiff and insensible after closing his eyes, opening his lips, stretching his legs, giving a long shudder.

Pinocchio is a wooden marionette (a puppet controlled by wires) rather than a hand puppet (controlled directly from the inside by the puppeteer’s hand). Pinocchio moves freely because the piece of wood from which he is created is animated. He is essentially decent, but he is easily swayed by bad company and is prone to lying.

Once he starts lying to others, his nose will get larger and longer. He frequently gets himself into problems as a result of these qualities. Throughout the story, Pinocchio transforms: he tells The Fairy with Turquoise Hair that he will become a real boy, flees with Candlewick to the Land of Toys, transforms into a donkey, joins a circus, and transforms back into a puppet. Pinocchio ultimately quits being a puppet and becomes a real kid in the last chapter, when he emerges from the jaws of The Terrible Dogfish alongside Geppetto (thanks to the Fairy’s intervention in a dream).