UGO FOSCOLO ,
go to the link:
go to the link:
http://quintalgia.blogspot.com/2008/10/su-foscolo.html 
"Story of a suicide announced "- Enzo Siciliano Republic - March 23, 2004 page 39 section: CULTURE
The last letters of Ugo Foscolo's Jacopo Ortis constitute the 'novel of Italian incunabula: incunabulum say in the etymological sense, a first printed pattern played with strong close to the original manuscript. In the pages of the novel, a book of letters interspersed with narrative connections drawn by the hand of the recipient, leave to alert the 'smell of' fresh ink, the wax which sealed envelopes, there are still traces of crumpled paper from the hasty hand of the courier mail. There is the 'smell of tears of the unfortunate boy who wrote to the fury of preparing to die. Jacopo commits suicide - and the novel is the story of a suicide announced - as may happen to 'exit from' adolescence, an excess of vitality, so that the world does not meet your requirements, because it appears hostile to your wishes, and are desires that are beyond your dreams. In high school we were told that James kills himself for love, for love and that suicide was the disease of the century: see how the disease had been described with analytical precision Werther in Goethe's exemplary text for our Foscolo. The fact is that in Jacopo Ortis (now Republic offers a selection of letters by Anna Modena) that evil is not projected as an abstract evil. Foscolo was the race of Kleist, of Pushkin: he was contemporary of Beethoven who composed and published the String Quartets, Op. 18 between 1798 and 1801. And that is why, even from outside 'idea that the story, dictated by the passions of youth poet Tomb, is a slavish imitation of Werther, for that matter, because the evil there is projected as the abstract, it is the' incunabulum of the Italian novel, and is at the root of our narrative tradition. That evil is seen as Foscolo a concrete outcome of history. Crosses, in 'existential misery of James, in need of a God who disappoint me if it senses the proximity, the strong political disappointment, to' helplessness in the face of fierce proven "sale" of Venice to the Austrians by Napoleon -, settlement of 'extreme residue of Italian liberty, the echo of a distant reality of' autonomy over the centuries it was kept under low flame species. Napoleon arrived with its promise of liberty fraternity equality for all Italians, but promises were made of petrified gaze meduseo reasons of state. And Venice was mistaken for a shred of peace, forgotten soon regardless. The famous opening words of the novel, marked almost in blank verse - "The sacrifice of our country is consumed: all is lost, and life, even if it is granted, there will be crying for our misfortunes, and our infamous' - which does not appear in early versions of the printed book, the Bolognese pirate, counterfeit additions and corrections that would make it less stodgy editorial censorship, is present in 'desired and revised edition 1802 by' author, that he sent after him to Goethe In a letter dated January 16, "will receive the first volume of my little work to which perhaps gave rise your Werther. I grieve that you do not see if not the first acts, so say, the tragedy, the latter is the more real and warmer. I painted myself, my passions and my time under the name of a friend of mine ammazzatosi in Padua. No more I do not have merit in the 'invention having taken everything from the truth, my fellow citizens pray my style to a' lack of models for work where I had to get me my own language ...». The real Jacopo Ortis, student at 'University of Padova - frequented by Foscolo -, was killed with two stab wounds to the chest, leaving no word to justify to friends, relatives, a gesture so extreme. That mystery, that courage were an inspiration for writers. A possible Italian novel had distant examples, in Boccaccio and the Renaissance novelists - were narratives of comedy, witty life. Then, with their teaching on the actual reality, for a novel can overlook sponsoring the shadows of the great historians, Machiavelli and Guicciardini. In Foscolo, c 'was close, the' example of Alfieri with the 'tragic courage of its existence. Alfieri had written his own life in the years when Foscolo to put his mark Ortis. Life was published posthumously in 1804, when the already 'knew Ortis success. The two books are the first listings of modern fiction. And James, in this context, it is key to his character, according to one writer 's today, Aurelio Picca, an old male and Outdated. Abandoned to 'instinct, the uncertainties of interior lights, the evil of his life turns into an excess shoreless for civil and political vitality 's investment. The passion and enthusiasm for home Teresa, the woman he loves and the practical interests of a family in which politics is mixed, prohibiting him, led him to commit the ultimate gesture. But labor is not so straightforward: bubbles in his complex life, ardent, full of sensuality and physicality that were its author, a life always uncertain and only guided by the blinding light of a vocation. Foscolo was his burning of the enchanting beauty and youth. One of our classics, perhaps with Nievo that he was devoted, is one in which - read it in the magma of the diamond her letters - never realize how hot the 'smell of broken life, just the' smell and perfume. Uncertainties and contradictions of existence the mark. Journal of 'Napoleonic army, wounded in battle, the' love of liberty made him a perennial disobedient chased by calumny, until he decided to abandon the 'imitating Italy and take refuge in London, always looking for novel, in the semblance of Didymus Cleric Sterne. But his sensitivity, his intelligence, his clarity of expression prompted him to draw the 'incunabulum I said. Pros and cons of our novel are all crowded in Jacopo Ortis: an uncommon lyrical force of writing, and in this no compulsion in predetermined syntax. The characters have depth because you put the focus of historical reality: their suffering and their tragedy is marked by the contingencies of 'labor where they all had a lot of casualties. The storm of the Napoleonic wars is more than a canvas background: instead makes everything uncertain, wounded and suffering. On the one hand, the 'vertical height of feelings that have no name, from' other things, the giddiness of those who live those feelings at being imprisoned by the facts. Since the conflict was born exactly a novel was still exemplary. -
0 comments:
Post a Comment