Coming of Age, Family, and the Individual Theme Analysis

In many ways, The Baron in the Trees is a classic Bildungsroman, a coming-of-age novel that deals specifically with the protagonist’s moral, intellectual, and psychological growth. When the reader first meets Cosimo, he is 12 years old and on the brink of puberty—in other words, he’s nearly ready to break free from his family and assert his independence and individuality. As the novel follows Cosimo throughout his life, it makes the case that a natural and normal part of coming of age is asserting one’s independence, especially in those ways that either upset or aren’t understandable to one’s parents. While the novel makes it clear that there’s a price to pay for asserting one’s individuality like this, it also suggests that this is the only way to truly become a fully-formed, interesting, and respectable person.

The beginning of the novel introduces Cosimo and Biagio as children in a variety of ways—but children who are on the cusp of becoming adults. Biagio recalls with nostalgia the fun of eating at what was essentially the kids’ table with Cosimo and the boys’ tutor, the Abbé Fauchelafleur, playing numerous tricks on the Abbé and generally having a rousing good time as unencumbered, mischievous children. This all begins to change soon before the novel begins, however, when the boys’ father, Baron Arminio, requests that they start eating at the adults’ table, something that puts a stop to their antics. In addition to having to use their manners, eating at the adults’ table also means accepting whatever their sister Battista makes for lunch—an uncomfortable and often disgusting proposition for the boys, as Battista is fond of tricking her family into eating artfully-prepared dishes that include porcupine, mice, and snails. Battista’s snail soup is the last straw for Cosimo: for him, eating it represents giving in to an overbearing system in which he’s allowed no agency or free thought. That Biagio does eat the soup, meanwhile, foreshadows his adulthood as someone who falls into line and does what’s expected of him—a difference that brings about a rift in the boys’ relationship.

Cosimo’s choice to live in the trees doesn’t go over well with their parents for the first few years. Rather than dedicating himself to his studies and the work of preparing to succeed Baron Arminio as the next Baron di Rondò, Cosimo runs around with the fruit thieves, flirts with the neighbor girl Viola, and forms relationships with the poor individuals who work for the family. Up to this point, Cosimo wasn’t even supposed to acknowledge any of these whom he befriends. Among the nobility and farming peasants alike, the fruit thieves are thought of as dirty savages, while Viola is a member of a rival family whom Baron Arminio does everything in his power to humiliate and show up once Cosimo begins visiting them. This begins to suggest that as a result of Cosimo’s independence, he also has the power to decide who’s worth his time—and for him, those individuals his father deemed unworthy are the ones who go on to teach Cosimo the most. This is most apparent in Cosimo’s relatively brief friendship with Gian dei Brughi, a much-feared bandit who, in his old age, develops a love of reading to rival Cosimo’s. After months of funneling books to the bandit, Cosimo sees his friend captured and sentenced to death. However, rather than drop his friend, Cosimo reads to the bandit through his cell window and, in the moments before Gian dei Brughi hangs, tells Dei Brughi how the novel he is currently reading ends, allowing the man to die satisfied in peacefully. In this sense, Cosimo’s independence helps him develop a sense of compassion unheard of in noble circles, which turns him into a beloved, if eccentric, figure in the community during his years in the trees.

Cosimo’s coming-of-age in the trees occurs by himself, without ever fully taking on the role of the future Baron di Rondò, and refusing to play by his father’s rules of polite noble society—something that Biagio suggests allowed Cosimo to find meaning in life that Biagio and the boys’ parents, the Generalessa and Baron Arminio, were never able to do. The rest of Cosimo’s family, Biagio included, cling tightly to the way things were, are, and should be, rather than asserting their own individuality in ways that would provide more meaning or import to their lives. Baron Arminio spends his life hoping and waiting to be given the dukedom, something that never happens. However, this isn’t something that might happen because Baron Arminio did or didn’t do something; rather, it’s something that will just happen of its own accord. The Generalessa, on the other hand, grew up accompanying her father, a general in the War of Austrian Succession, and so spends her days making military- and battle-themed lace and praying that her sons will one day be soldiers—again, not anything she takes any action practically to make happen. Meanwhile, as Biagio comes of age himself, he simply accepts his role as the honorary Baron di Rondò and later in life, expresses views astonishingly similar to those his parents might have held. In this sense, all three live boring, forgettable lives exactly because they didn’t assert their independence and their desires, as Cosimo did as he came of age.

In particular, Biagio’s trajectory, though it exists on the periphery of the story, presents an alternative to Cosimo’s that Biagio himself suggests is less fulfilling. The novel closes as Biagio recounts his brother’s dramatic suicide and explains how, since Cosimo’s death, the landscape of Ombrosa has changed to not allow for the kind of individualism that Cosimo represented—and indeed, that while Biagio is a respected old man in his own right, his legacy is part of a line of Barons di Rondò and has little to do with who he is as an individual. In this way, the novel asserts that if individuals wish to leave a lasting legacy, it’s absolutely essential to separate from one’s family as much as possible and create an identity that can stand up all by itself.