Pirandello recreated his new Lazzaro by borrowing the name of a figure 'Lazzaro' in the Bible and completed his new mythical characters. The characters in the play show a sharp contrast through a series of events and face very contrasting ends. In this regard, this study aims to examine the modern meanings of Pirandello’s play Lazzaro. First, it investigated the alertness against religious dogma through the spatial contrast and confrontation of religious consciousness between the characters. Second, it confirmed that as prototypical figures in the Bible are recreated (revived) by Pirandello, ultimately God is not immutable in the absolute dogma, but lives in a natural and current life. In other words, he is always immanent in the presence of our life. Third, it was found that this play deals directly with religious issuers on the surface, but it also shows that alertness against the canonizing features of pirandellismo are inherent in the process. That is, it also raised a concern that ironically, ‘a way of thinking about recognizing differences and variability’, along with ‘rejection of absolute value systems’ is being dogmatized and canonized as an absolute interpretation(pirandellismo) of the author’s works. Fourth, unlike the preceding three parts from the same viewpoints based on the existing evaluations, this part attempted to reveal different elements about the dramatic ending. While many pointed out that this play concludes with a deus ex machina ending obtained by ‘a very irrational and supernatural miracle’, rather than by human efforts. the researcher of this study regarded this ending as a more realistic and appropriate dramatic ending to reveal Pirandello’s reflection on life that shows ‘difficult self-realization and choice, and changes and behaviors like miracles which are difficult to achieve’.