Poesie sparse (Italian Edition)

Appendix one

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Locomotrix

Yet he also saw that, in organizing these canzonieri, French poets drew from the Italian anthologies, reshaping their disparate pieces in new ways and using them as building blocks with which to construct their own personal narrative. More pertinently, this collection recreates the imitative process used by Desportes himself, demonstrating its inherent creativity, and especially proclaiming the pivotal role of the Italian anthologies as a sourcebook for Renaissance poets. Breve riposo o r g 1 Non con tanta ira.

E si folta la schera. Chi vede , di c ostanzo, Fiori Duo vaghi , t ebaldeo, Opere O chiome , t ebaldeo, Opere Itene o miei , f iorentino, Fiori A che presti , t ebaldeo, Opere Si dolce , t ebaldeo, Opere Gionto nel , t ebaldeo, Opere Lasso non basta , t ebaldeo, Opere A che contra , t ebaldeo, Opere A che cieco , t ebaldeo, Opere E si , t ansillo, Fiori Non con , di c ostanzo, Fiori Letto, se , t ebaldeo, Opere Ahi chi , v eniero, Fiori Orrida notte , t ansillo, Fiori Come fido , b. Parto , di c ostanzo, Fiori Occhi, che , di c ostanzo, Fiori Come soffrir , t ebaldeo, Opere Poi che , b.

Come da , g uidiccioni, Fiori Come Dio , p arabosco, g 2: Se di quei , t ansillo, Fiori Signor, se miri , m olza, Fiori Da speme , dal p ero, g 2: Clubb, Building a Lyric Canon: Rosary College Italian Studies, , pp. Tasso were published in some anthologies. It is known, however, that Desportes owned a copy of Tutte le opere di Francesco Berni in terza rima Jean Balsamo, Paris, Klincksieck, , pp. When referring to works other than the anthologies, the annotator usually gives the poem number rather than page number, making it impossible to determine which edition he or she was using.

Indeed, given the occasional misspellings that occur in the notes e. Graham, Geneva, Droz, , p. Con alcuni dottissimi avertimenti di M. Lingua e poesia lirica nella tradizione del classicismo , Modena, Panini, , pp. Il Petrarchismo come sistema linguistico della ripetizione , in Il Naso di Laura cit. Le forme del testo: Teoria e poesia , vol.

Alberto Asor Rosa, Turin, Einaudi, , pp. Colletet likewise refers to this incident: Jannini, Geneva, Droz, , p. Clearly Colletet thought this volume was intended to embarrass Desportes. Similarly, the sixth Giolito volume can be eliminated thanks to the fact that s. The Rencontre version, however, differs from the Atanagi version at v.

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Y , was described by Fran Lingua e poesia lirica nella Libro primo , Venic Luigi Tansillo and a Mi Novo pensier 15 r Io che solco 16 r Poi che voi 1 7v Occhi, che fia 4 3r Perdonnimi 29 48v O bella man 4 8v Ahi chi mi rompe 6 0r Se talhor la ragion 6 1v Poi che voi 6 8r Icaro cadde 7 4r Pacini, allor 8 8v O misere fatiche 93v Breve riposo o r g 1 23 97r Chiaro mio sol 1 24v E si folta la schera 1 29v Non ha tante 1 35r Deh, perche morte 1 39v Speme che con fallaci 1 42r Caccia di Amore Epitaphes Regrets funebres sur la mort de Diane 3 18v 3: Come da dense Oeuvres chretiennes Sonnets spirituels 3 28v 1: Or che con gli occhi 3 32v Alto Re a ppendix two l ist of poems and their i talian counterparts in Rencontre.

Je scay Diane 2: Belle et guerriere Diane 2: Deux clairs Hippolyte 32 Duo vaghi , t ebaldeo, Opere s. Pourquoy si Hippolyte 18 A che presti , t ebaldeo, Opere 36 s. Amour brusle Diane 1: Quand nous Diane 2: Amour, qui vois Hippolyte 10 A che contra , t ebaldeo, Opere s. Pourquoy si plein Hippolyte 13 A che cieco , t ebaldeo, Opere s.

Le Tyran Hippolyte 79 Non con , di c ostanzo, Fiori 32 s. Ny les desdains Diane 1: Celle que Diane 2: Espouventable Nuict Hippolyte 71 Orrida notte , t ansillo, Fiori s. Si le mary Diane 2: Better than most of the beat's work. I've long admired the few extracted poems of Campana's that I've come across over the years--I even teach a pair of them, along with a few classic examples of Montale and Ungaretti's poems, in my 20th century Italian lit course as a unit on Hermetic poetry. Therefore I'm quite pleased to have finally gone over his entire oeuvres--this one small book--both the scattered verses and the long descriptive prose pieces.

It's all part of yet another reading resolution of mine: Dino Campana is the self proclaimed Hermetic "poet of the night. I think obsession is the theme that his formal and stylistic quirks best exemplify--incessant images, adjectives, phonetic repetitions. A desire to describe every place he visits, always without interaction, as if the world were a series of places through which he moved as one watched images roll by on a movie screen, each place's uniqueness brought mysteriously together--perhaps through the medium, the screen, the situation of the observer.

Les Amours d’Hippolyte

Each place is filled with the same adjectives, the same phrases, an eternal sunset, an eternal longing to get to the heart of it, and never any heart found, any answer provided. Then on to another place, another subject, another image of a distant woman.

Selected Poetry and Prose of Amelia Rosselli, a Bilingual Edition

The longing of these texts, the inability for them to answer the many questions that they themselves raise and plead to resolve has left the biggest mark on me. My favorite remains "La vetriata" or, as translated by another, "The Skylight. The poet overturns all conventions of hope and darkness in a kind of lost Romantic voice driven mad by the newly industrialized world he can no longer recognize--or at least not imagine as anything other than a stage set through which he, the author, never seems to enter to play his role. He watches through many windows, many skylights, and describes, always in rhythm--with or without verse--always returning to the adjectives--smokey, golden, silvery, fatuous, secret, dark--and the same images, an eternal twilight, and eternal vagabondage about an alien city.

I read a facsimile version of the Marradi edition Campana's hometown in the Tosco-Romognole section of the Apennines so perhaps some other texts have been added to the modern edition--this one was missing his famous love poem for Sibilla Aleramo, "In un momento.

In a moment The roses have bloomed have withered The petals fallen Because I couldn't forget the roses We looked for and found together Her roses my roses We called this journey love And with our blood and our tears We made the roses They shone for a moment in the morning sun Then withered in the sun among the brambles The roses that were not our roses My roses her roses P.

And that's how we forgot the roses for Sibilla Aleramo Citato in un romanzo che ho letto da poco, ho voluto assaggiarlo per capire di che trattasi.

Like an Italian Rimbaud. Fragmentary because he had to rewrite it from memory after the original manuscript was lost. But still quite beautiful. Davide Ricotta rated it really liked it Jan 18, Esenzassenza rated it liked it Jan 18, Flying Pig rated it it was amazing Oct 12, Enrico rated it it was amazing Jan 29, Netopyr rated it it was amazing Mar 29, Laure-anne rated it liked it Aug 07, Veronica rated it really liked it Jan 23, Milena Marsich rated it it was amazing Mar 30, Carlo rated it really liked it Aug 08, Elona rated it it was amazing Aug 21, Simone Monguzzi rated it really liked it Mar 15, Vertigo rated it really liked it Sep 08, Marina Sonnenbarke rated it liked it Feb 18,

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