Since the beginning, Pirandello made two directions, or macro-poetics, coexist in his writing: the Copernican and the choral one, which he had respectively expressed in his two collections of verses Mal Giocondo (1889) and Pasqua di Gea (1891). This paper provides an overview of Pirandello’s choral poetics and a synthesis of the two directions in his posthumous masterpiece I giganti della montagna, where fables and archaic beliefs are regenerated in the modern myth of art and still survive in it.