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THE MYTH IN PAVESE
Gennaro Jacova
"Before birth we knew nothing of life, yet it was beautiful ... "(K. Kerenyi, Myths and Mysteries, Universal Scientific Basic Books, p.. 18, quote from Tagore)
BRIEF introduced -
literature on the work of Cesare Pavese, a first hasty review of" realism "took into account more than His appearance (accumulation of details, thin tongue, use of ter ¬ mini dialect, the abolition of the ornate descriptive and sentimental performance highlighted the special and dry) than of substance, not reducible to ¬ ta fundamental inability to live. Now the criticism is unanimous in recognizing in it a vein of decadence, until glossy and suffered brain until an analysis of a painful Réau never fully possessed. The effort
existential Pavese is precisely the desire to exhaust itself in the decline and give a voice to his painful experiences realistic.
His work as a poet and novelist, therefore, presents itself as a blend of realism and decadence.
This feature becomes clear when one considers the nature of his poetics:''see''the second time ever: that the discovery of childhood as a first-world experience and training as the''myths''of the symbols that will live then forever in our consciousness. The "see the second time "Consists in rediscovering and giving rational clarity of meaning to the myths of childhood.
This clarification and rationalization of the myth is made in light of the fundamental experiences of the adult. Entirely illusory is the will to freely set their exist-aunt, the man is affected by its first child to see. To the contrary Pavese
childhood-ripe ¬ ta, rooted in every man is reflected on the historical, geographical and social conflict as child-aged couple, first-tive-age civilization, - country-town. The writer, rationally aligned to the second-term of the contrail, but seiìlinien is so tied to the former. In everyday life suffer dramatically this contrast has never been resolved. The social activism, literary or political
that is imposed will not ever secu ¬ za to have exceeded the myth, the dream, the adoption ¬ cence: he feels a rooted (deraciné).
WORKS -
Pavese's debut takes place with the publication, by Soy-ria, a poem-story Hard Labor (1936), that contains the whole issue Pavese. It 'clear conception of reality in a symbolic key. The poetic works of Pavese
struggled to be understood, according Ancelin, because born to ¬ '¬ tion in the absolute refusal of the situation, the provisions and research of Italian poetry movement. " Note
Carlo Bo, agreeing that "if the poems of Pavese fell into silence, it was because the attention was directed to ¬ located and also had different needs." The report
adolescence-maturity, evasion, attachment to their land, back to the roots are the issues you tipicamen ¬ Pavese, expressed in the poem "The vorare ¬ tired," and in verse periods bonded ab ¬ paratactic construction. It forms a linear language available to satisfy the need of a long line, and prose narrative, the same set of three al-asindeto polisindeto and creates a zone of speech will not be forgotten in all the book, while the use of this and am building a third person ¬ ment of scenic skiing almost as if the poet looked "out of the window," in an attitude of contemplation, the world-do and life. The reason the window is the most common of Pavese's poetry: it is basically the essence of the writer's attitude toward life, and this shows his inability to grasp it directly.
"Hard Labor", the second-F. Flora (History of Italian Literature, Vol V, II According to nineteenth and twentieth centuries, Mon-Dadorosa, Milan 1972, pp 756-7) shows in-ia prosodic research and metrics need to sing a more sincere, beyond the ¬ assuefazio it to traditional music.
Pavese saw the South Seas reflected the key themes of his poems
... "if it is shown there in my poems, is the figure of the runaway returning with joy to the village, having passed for each color (. ..) I feel happy to ¬ and disengaged, ready each morning to begin again "(Diary, p. 26., 10 Novem ¬ ber 1935).
The "escaped", the hill, the road, the window, these are the issues that are found in the following works.
MYTH -
"Feria in August" (1946) devel ¬ Luppa themes that are central principles of poetic Pavese. In "Vigna" is the poet of myth, which defines "the ac ¬ dropped once and for all of a fact I ¬ tico expressing a cyclic event in the cosmos."
"This happens - read Pavese (II Craft of Living) - is similar to that from the expression ¬, in art, an often repeated experience of coun ¬ wise gesture event. How many times have you looked at the hill before Coniolo Quarter and express it? "(August 3, 1946).
He also wrote, about the myth: "We have a horror of all that is incom ¬ site, heterogeneous, accidental, and try to limit - even physically -, give us a frame, to insist ¬ Clusa with a presence. We believe that a great revelation can come from only ¬ stubborn insistence on a very diffi ¬ culty ... We know that the surest - and quickest - way to surprise us, is undeterred to fix the same object. This object will seem a good time - a miracle - that he had never seen. "
That is, to approach the myth is not suffi ¬ cient a brief glance, it is neces ¬ ria contemplation insistent, repeated: you need a continuous repetition of experi ¬ ence of the myth, until it gets to with ¬ in its Essentially, until it finds an expression that, like the fact mythical, occurs once and for all.
There are two types of myths: those born in childhood of humanity (for our civilization are those born in Greece) and personal ones born in the infancy of each u ¬ mo (VS Gondola, Pavese in "Dialogues with Leuco" on the shop No. 4, July-August 1975). According
Pavese "The mythical conception of childhood is in fact a lift to the sphere of mythical events and absolute subse ¬ quent revelations of things, so this will live in the ste ¬ consciousness as regulatory schemes affective imagination" (Feria d ' August, myth, symbol and on the other, Oscar Mondadori, August 1971, p.. 190). So everyone knows when
ra-tionally the world is not in front of you ¬ a reality unknown to be investigated, but taken to a reality in his subconscious as a myth, and therefore already seen, so know you want to say "see, for the second time by ¬ ' . The "first time" there was, indeed, knowledge.
"The life of every artist - he concludes in his diary - and every man is like that of an ongoing effort to reduce peoples to clarify its myths."
Myths are, therefore, to our dynamic array Pavese, "The vital fire (...) the inner life."
EXISTENTIAL DRAMA -
The drama of the poet is incurable want to rationalize a life ¬ diction with an indelible stamp, ¬ skied from the "first vision of things" to the unconscious state. It is impossible ii drama of human freedom. He sen ¬ you a slave to the limits marked by the first vision, the mythical, that's from, the shore-landoglisi, a sense of non-freedom, with ¬ tioning of guilt is the "destiny". In the dialogues with Leuco (1947) he gives us explanations about the significant ¬ fied examples of ancient myths, which need not be considered es ¬ night tales of yore remo ¬ to, but ever-present symbols ¬ rants and operate at the level of individual consciousness all men.
II "art of living" (
her diary was published posthumously in '52) and 'Letters' (1966) are evidence of its authenticity-cies
regular existential torment.
Pavese Tracing to an array of realistic writer, 'committed' in the political life of his time, would be to force the interpretation. Under an appearance or formally realist realist note its continued intervention in the affairs ¬ to, alongside the characters, in a more settled life and images that take place in his novels / stories.
He noted here that the Flo ra ¬ Pavese has considerable quality especial ¬ culative, as can be seen especially in the "Dialogues with Leuco, in" Diary "(" The Craft of Living ") and as reflected in the stories themselves. His characters - ¬ tinues with the Flora - are represented in their own form and never defined for an 'internal intrusion of the author. This they know to give the substance of the pro ¬ ere reflection, as a truth the nature of life ¬, catching well as native and ancestral wisdom, sorghum, common to all men.
From his books it is clear the sting on the ongoing very purpose of life and death, blood and pain. Que ¬ intensity is explained his frequent use of the monologue and the need for a language dialect in certain expressions needed to represent "a world record in its original vibration.
Poetic - concludes the Flora - is the style of the writer, for "a tone all its own virtues which expresses his anguished sense of things, and the willingness to save in experiences of life: love, social action, I ¬ meditation of the "myths", art-poetry. "
In Pa ¬ vese so the first plan is to glue ¬ Annex to the reasons of his own existential ¬ za: he writes to accomplish chiarificazio ¬ nor its myths. Prophetically he felt that illuminate the whole of our mythical realities I would lead eventually to the inability to write: the depths of his tragedy. "The day will come when we will have brought to light all our 'I ¬ tery and then we will not write any more. That is to invent a style. " Writing, therefore, is to live Pavese. The style is the reality of who says it is the only charac ¬ Thurs irreplaceable.
In 'Prison', the writer recalls the time when he was confined in Brancaleone Calabro, for political reasons. Stephen, the protagonist of the story, while feeling overwhelmed by loneliness ¬ you can not accept open relations of friendship, cooperation and love, remaining closed-.so in contemplation of a reality that feels it can not possess, by impersonating ¬ ta Tanning, she-goat at the boundary between the human and the bestial, since it is convinced that destiny is solitude.
Not a hint of confinement for political reasons, not social reaction environ ¬ ment south, which had a different mind ¬ ¬ influenced the literary work with temporary Carlo Levi. The story is 1939, and marks an important moment in the narrative technique of the writer, who later take this idea oestrus ¬ mo result.
time, or pace, narrative and dialogue ¬ not know the two terms within which oscillates about the research ¬ Pavese, and both correspond to two essential moments of poetic
of the writer. While the narrative rhythm is the central theme of the 'myth' as \u200b\u200ba unique moment that marks the inexorable fate of the individual, the dialogue is the time of IM ¬ pledge social and human: the desire to communicate with others.
Thus "Paesi tuoi" (1941) will be the esaspe ¬ ration, or the extreme possibilities of technical ca ¬ dialogue, and the "prison" of the rhythm.
The dialogue technique will find only in the "Companion" (1947) his last chance of expression.
In "Comrade," Pablo is a man who suffers from loneliness, boredom existential ¬ tial, and thinks to find a posi ¬ tive outlet in political awareness. It could serve as Amelio model, the Marxist self-confident, and able to solve the problem, but the loneliness and give a meaning to life ¬. But not resolve the problem but ¬ existential background. If the policy was for Stephen because of the isolation materials, Pablo is an opportunity to wax vin ¬ boredom.
But this is just equip ¬ ence: Stefano carries within his prison in the inability to love, to participate. Pablo throws in social, but is doomed to failure, for ¬ who has not first resolved his personal contradictions ¬ tions.
In the "Hill House" (1947-48), Cor ¬ rarely combines in itself the position of Fano and Ste ¬ Pablo. This ¬ the young intellectual, always lived in a world all its own, is forced by the horror of war to prEN-ing position, to engage, to take re ¬ consciousness of its nature as a man and a citizen, to "historicize" through ¬ towards participation. But these experi ¬ ence will not recover from solipsism, not fill their existence, not to far from ¬ a solitude peopled with myths. Here we are faced with the last, most poignant contradiction Pavese: the history and myth. The same opposition is found in the other major work of Pavese, "The Moon and the Bonfires.
In the two novels he gives a twofold answer to his making contact with the world and the inner reality. With ¬ The conclusion is that the solution of mythical things (the Moon and the Bonfires) and the world is al-trettanto valid objective of the solution.
The impossibility of choice and the drama that arises is how to put together and assumed pre ¬ tor ¬ ished end of each art Pavese.
... The novel seems, for the moment dissipate and resolve the fears and anxieties of a tormented imo. But in 1949 the public triptych consists of three stories: The good summer, "" The devil hills "and" Among Women Only. " With regard to these three novels, Augusto Monti rebuke to Pavese "furious his taste for destruction, his gloomy obsession with death. "
Pavese responds that it intended to represent the youth rebellion of the corruption of the bourgeois world that surrounds them, with regard to the novel "The Devil in the hills."
The underlying reason that ties the novel
But the most disturbing "disease" was already present in Mann. The relationship of the characters
with nature is flawed from conception panic of the earth as something wild.
'Among Women Only "has the reason of death required by a society that has lost its meaning and value of myth.
"La bella estate" from the name INS ¬ me of the three novels brought together in the sense of the season. It is the story of the loss of innocence, of conquest, in the city of his age and loneliness. Even "The Beach" (1941) presents an analysis of bourgeois society, with a zest for life and apparent lack of problems.
"Paesi tuoi" (1941) appeared when the discovery of Verga and realism, along with the lesson of the Americans, had been absorbed by the writers more attentive and less compromise with fascism. The novel took as a transposition of mo-American models, or as a tragedy rusticana. Pavese himself did not object to this interpretation. The feature of the work, according to Barberi Squarotti is to introduce in symbolic terms a reality that is 'other' than natulistica. Keep in mind that in this period Pavese was performing stu ¬ ethnology, through the texts of Frazer, who preceded those on the psychology of Jung and Freud, whom he came in later. Find out in this period that "the grapes, wheat harvest, the sheaf were dramas, and talk about it in words was a deep sense in which touch the blood, the animals, the eternal past, the unconscious so agitated."
The work has, however, uncertainties still unresolved su1 stylistic level (relationship with amecani) and on the mystical and symbolic.
The action of the book was very effective at intellectuals: appeared in the terrible years of fascism, was a book in a choice dicava ¬ and ¬ is a coherent proposal for renewal of literature that goes far shares ¬ symptomatically by language.
But the "neo-realism" of Pavese and not-Saur in naturalism, because it looks ¬ go, even if crudely, a truth more complex and less narrow a reality: the myth of its complexity interpreted symbolically. To discover him. American world of the decade 1930-40 is about finding the roots of his art and his own conscience.
That world, in fact, the implementation of a demo-cratic ideal associated the idea of \u200b\u200ba letter ¬ ing perfectly in tune to contemporary social and historical reality. For the generation of ta ¬ tut Pavese, moreover, one can speak of a "myth of America."
"This America - Pintor wrote in" The blood of Europe, "p.. 219 - do not need us, is the land to which the de ¬ ten with the same hope of the early emi ¬ migrants and anyone decided ¬ DERE to defend at the cost of fatigue and the errors of ¬ dignity of the human condition. "And Pave ¬ himself defined that country which at the time the aristocratic European culture also gave revealing ¬" ... with the giant theater where more frankly than elsewhere was played the drama of all. "That year (1941) Moravia Public "The Mask", a satire of royal ¬ me, immediately seized, and Vittorini com ¬ plete its American anthology, entitled ¬ lata just American, ¬ you immediately seized and published the year fol ¬ you without notes and comments.
write notes to Vittorini, Pavese reiterates that, according to him, "it appears that throughout the century and a half American is re ¬ duct essential evidence of a myth that we all lived and that you (Vittorini) tell us" (Letters , Vol. I, p. 634). From
American myth, through Joyce, Mann, Proust, Freud and Jung, Pavese gera junction ¬ ¬ poe to developing its policy of myth. The new narrative about realistic ¬ - according to GB Male (Panorama literature of the twentieth century, Pearson, Turin, 1971) - starts in 1929-30, when public Corrado Alvaro "People of A-spromonte" Alberto Moravia and the roman ¬ z 'of Indifference. " Contemporary ¬ Vittorini mind in an open letter to the Fair Literary ¬ GB ¬ ga Angels will become invalid autarky Italian culture, art ... inconsistent judging, every work of fiction appeared after 1923 (The Confessions of Zeno, Svevo ) and proclaiming one Teacher's foreign writers.
Pavese In 1931 he published his "Critical Essays" on American literature. The two writers were then the holders of a substantial renovation in a realistic sense of Italian literature, refusing to accept the inclusion in the official literature.
accepting the teachings of American fiction, also took a more com ¬ gnata literature on the political and social. Their tenacious search for a new language and a substantial renovation of the issue is limited by their lack of ideological certainty. No part of this use of the symbol, the use of a mythical dimension of reality, mediated a careful analysis of foreign literary and cultural messages as the surrealism of Kafka, the intimacy of memoir and Prroust Joyce, Freud's psychoanalysis, Sartre's existentialism, the sexual Lawrence and common factor,
the American chronicler of Steinbeck, Hemingway, Faulkner, Caldwell, and Saroyan.
was Vittorini and Pavese's response to the "art prose" of Rondisti, the "realism" of Bontempelli, the '¬''fragments of Soft, the controversy and literary Stapaese Stracittà (Malaparte and Bontempelli). Or, in a sense - look at the need to de-provincialization culture, advocated by Bontempelli ''900' before and after the break with Malaparte in Stracittà, supported by Solaria - could clearly be a response to organized confused and contradictory proposals of the literature
of "black Centuries."
CLARIFICATION OF THE MYTH -
The Moon and the Bonfire "(1950) there is the arrival of man and writer Pavese. Developed in the novel are all his favorite themes: the myth and the search for lost childhood, love for the hills of the Langhe, the intrusion of the bourgeois world of the hills, the political issue (the bitter opinion of the Nuto triumphant clericalism and the failure of the hopes born with the Resistance), the theme of loneliness, America and the sea, the reason for the escape and the sudden return and dialogue between children and adults (Anguilla and Cinta).
11 novel expressed ¬ reached but entirely terrestrial and clarification of myths. Pavese brought to light all its mystery. From now on, he will no longer possi ¬ bile write. Writing is, in fact, rationalize and clarify the myths, "inventing a style," where the term 'style' is the reality of the teller. And in his recount
¬ tares, Cesare - Anguilla is the one and unsustainable ¬ replaced in character. For
Nuto (Pinolo Scaglione, his favorite co ¬ love, he was born in St. Stephen Belbo) the maturity is positively intended, while Pave ¬ if it means the liquidation of the unconscious drives, emptying the existential, the Final deprivation myths, illustrated ¬ sions vital, and that, ultimately, despair, loneliness total, the fal-food existence.
In each the writer thinks of re ¬ find the roots of his character and his speech, and with them the "voice" to save him from the "dark evil" that is now closely followed by the at. The artistic result is the happiest. For he is the suc ¬ cess mundane (Premio Strega 1950).
He was not successful, however, the action you ¬ therapeutic action of the book, emphasized that even a fever of self-destruction of the writer in the short months that preceded the voluntary mor ¬ you. In recent months
Pavese do feel like a heights ¬ ' rifle shot, "a feeling which is thus described in his diary:" To have written something that leaves you shaken and still parched, empty ¬ all Committee yourself, not only where you downloaded all you know about yourself, but what I suspect and suppose, and bouncing, ghosts, the unconscious - it fat with a long ¬ to fatigue and tension, with tremors and caution of days and sudden discoveries and failures and to stiffen ¬ tut ta life on that point - realizing that all this is nothing like a human sign, a word, a presence not accept it, the warm - and die of cold - talk to the desert - just be night and day like a dead man. " (The "art of living" June 27, 1946, Einaudi, To ¬ rhino 1974, p.. 289-90).
"The Moon and the Bonfire 'is set" of all the attempts made by the writer to call ¬ esterified legendary for its existence, the summary of his way to the with ¬ consciously rationality, under which prez zo ¬ bitter and intolerable for him of them ¬ liquidation mythical age.
structure of the novel -
...
The novel is structured in three parts:
1) Anguilla (Pavese) returns from America, which appears demythologizing,
-country in search of the myth, that the country Christmas as it keeps
since she had seen him for a first time, a boy.
feels with the country, with the earth, a mysterious connection there ¬
such. He went to America (the myth of rationality
, the "city")
always dreaming of going back in the hometown. L Aimerico and country are the two poles of the existential hero of the story (why - myth; city -
campaign; maturity - Adolescence America - the native country).
But once again, see how everything
while retaining something of the old form, is hopelessly "different" outsider.
Things are the same, yet they have something hostile and unknown. The contrast
past - present, representative of
man-boy, business-myth, is given symbolically by
Anguilla speeches and Cinto.
2) Anguilla relives the past
revisiting places where he was the child sees the second time for a reality
gà that has previously resulted in him
cimarsi myths, and now looks different and hostile, incomprehensible in its Because of those myths that stand as an obstacle and an aperture
until
not be clarified and rationalized.
3) Anguilla discover the desert and town in America. You
the dramatic part of the novel. The collapse of the illusions
marks the conquest of maturity, but the price is too high
: the destruction of myths
marks the transition to rationality,
the end of childhood, that Pavese had loaded the deeper meanings.
There were his roots as a man and poet.
The conquest of rationality marks the 'end' of this world,
... the only world that really loved him.
now it will be impossible to write: it has nothing to clarify.
... Now it will be impossible to live, because it has irreparably destroyed her mind ¬ only possible world. This identification
'life-writing' the clear at the very point when he wrote his last sentence: "Do not words. A ge ¬ I'm not going to write more "(August 18, 1950).
THE MYTH AND THE REASON - POETIC of Dialogues with Leuco "'-
Pavese, who returned from Rome in September de! '43. had not found it in Turin or the Via Lamarmora house, destroyed by bombing or friends in Turin, which had helped to free himself from his loneliness, and that war was now missing. Forced to abandon
cited ¬ ta, did not enter the ranks partisan, but took refuge in an oasis of peace and meditazio ¬ it in Serralunga, in the sanctuary were born there Create your thoughts on the myth, as he gave a theoretical sense of the myth that he had always costs ¬ lished the core of his conception of the life ¬. By following these meditates ¬ tions on the myth, he wrote the opera in Rome in 1946, three years later.
In the same year he published "A Fair of gosto ¬ ', which contains interesting developments in his mythical theory, and works inten ¬ Samento daily PCI, Unity.
He had joined the party in 45, after meeting Davide Lajolo and Italo Calvino, hoping to finally find a link with the real problems of political and social life.
The book was published in 1947. Pavese had completed in Turin, accom ¬ By assigning the composition of dialogues with notes on his diary. Here
just writes that "your country and Dialogues with Leuco arise from the yearning of the Wild."
"In general - writes in his diary - you have to remember that you are reborn in the year 43-44-45 in isolation and meditates ¬ tion (in fact, have theorized and lived since childhood). That explains it opened the season 46-47 with Leuco ¬ II and companion, and then by Gallo, then Summer and then the moon and the bonfires and so on. and so on. '. And, referring to the past period ¬ doses Serralunga, SCRi ¬ ve: "You were abandoned. You were stripped armor.
you were a kid. "
MYTH - Recovery DELL'INFAN ¬ ZIA - DIRECTION OF THE WILD -
Pavese For the myth is "a language, a ¬ mez zo expressive - that is ... a breeding ground for sim ¬ bols to which it belongs - as in all lan ¬ guages \u200b\u200b- a particular substance is ¬ meanings that nothing else could make "(the diary). Then states that he had to serve ¬ Hellenic myths' forgivable given the popular vogue of these myths, their im ¬ mediate and traditional acceptability '.
"The greek myth - he always writes the Diary, December 28, 1947 - shows that it always fights against a part of himself."
CONTENT Dialogues with Leuco ". -
Pavese mentions the succession Age Titanica, golden and monstrous, characterized dall'indifferenziazione between men, monsters and gods, the succession of the age of distinction between Hades and Olympus.
but specifies that he considers the reality always pre ¬ Titanic, that is, as Chaos divine and human.
precisely in what you differ God and man.
The gods have no feeling, they do things according to Fate. Are posted and act magically, without sofferen ¬ za. They envy the man who, even if you suffer with pain and acts desiring the divine, however, has the ability to give names to things, to create something new so that the gods to help man the gigantic world of their nostalgia.
The typical contrast between the adoption Pavese ¬ adolescence and adulthood, between the desire to reach maturity and an inability to abandon a teenager in "Dial ¬ ghi" is projected on a historical level, transposed in the dialectic between the old world ¬ do titanic made of chaos, ¬ indistinzio among them human and real, of instinct and freedom, and the new world of gods, made a distinction? juni, laws, rationality.
Gods good
The "dialogue" is therefore the transposition ¬ tion of human history in terms of its mythology of Pavese, ¬ tive to try to give it a universal value. In pregnancy is realistic es ¬ ¬ abandoned personal gift to the classical myth as a symbol of a universal reality, are in a state of structural balance, which the harmony of the text by an appeal to particular ¬ tut. He avoids escape the real recovery to a level uni ¬ versal, cosmic, suggesting the strong solidarity ¬ human, "the opening to his fellow man ... defeat and savage inhumanity ¬ already solitude. " The "dialogue" repre ¬ Tano the development of a humanism which, grafted on the terrifying experience of the Second World War and the schism ¬ ago, the man wants to offer something that still believe. The work also demonstrates
- next to this statement of maturity - the for ¬ permanently fixed in Pavese's fascination with what is instinct, loneliness, mysticism co ¬ loaves, so instantaneous ¬ ze propose two opposing, contradictory and balancing: - The primacy of the human: the need to be - the primacy of the savage being. He feels the contrast
between these opposite poles, and if on the one hand, this very contrast un'inquie ¬ engages in the work and many stimulating dialectical tension, which becomes im ¬ pedendo "work off and
rarefied an artist locked up in his ivory tower (Michele Round, Route C. Pavese, 1971, p.. 143), second, that is unable to 'answer' is ¬ care and ultimately to the "constant questioning ¬ vo life" (D. Lajolo, II ¬ do absurd vice, 1972, p.. 291).
Of the 27 dialogues, the poet has left various orders and directions you matic patterns.
This following is an outline of the manuscript September 12, 1946:
...
World Titanium / Blind
divine iniquity
The cloud
... The Chimera
Mares
The flower
The beast
Foam wave
§ § §
Tragedy of men crushed by
destiny ... The mother
The two
Road
§ § §
gods and human salvation in embarrassment ... The inconsolable
II Lake
The cloud
Witches
Vineyard Island
In family II
bull
fires
Guests
The Argonauts
\\
Ministry II ... II ... The flood Muse
ISSUE OF "Dialogues with Leuco '-' Pavese send in the "Dialogues with Leuco" I wrote that, you fat ¬ due proportion, with that book, he wanted groped his "moral Operettas". " So Davide Lajolo in his absurd vice II (Oscar Mondadori, Milano 1972, p.. 292). "Since then - continues Lajolo - told him that his philosophy was much more inconsistent than the leopard, especially because most contradictory He showed clearly wanted to turn the human reality that is not eternal, as stated in the Dialogues, it! taste of death but rather in the territory to be re ¬ ordered ¬ tion and the aspiration to eternity.
And, ending the read ¬ ra, I insisted that I had taken from those based on the reading, namely, that the sadness of the gods was more profound than that of men because with them, being eternal, was not allowed on the ¬ suicide. " For
fold on deck of the first edition of the book (October 1947), Pavese himself wrote the text of presentation:
... "Cesare Pavese, that many people insist on seeing a stubborn narrator reaction. list, which specializes in campaigns and peripheral ¬ Rie-American Piedmont, we discovered in these dialogues a new aspect of his temperament. There is no real writer, "which has its quarters wolf, his whim, the hidden muse, which suddenly led him to become hermits-ta.
Pavese he remembered when he was at school and what I read: remembered the books he reads every day, there ¬ of some books he reads. He stopped for a mo ¬ tion to believe that his totems and taboos, his wild, the spirits of vegetation ¬ I , ritual murder, the sphere of myth and the cult of the dead were useless oddities and wanted to try them in the secret of something that all Remember, all adminis ¬ Rano a bit 'rent, and we yawn a smile. And these were born Dialo ¬ ghee "(C. Pavese, Dialogues with Leuco, Einaudi, Torino 1973, Footnotes, p.. 178).
From these tracks, you can include ¬ ceed as the central theme of his investigation in ¬ human is the problem, and the dram ¬ but the universal communication. The location of the individual in all. The role of the human face forever, e ¬ inside. Chaos and myth in the presence of logos, the clarity.
The dramatic human condition, morally and socially called to break the original solitude, to fulfill the duties and obligations towards his fellow men, toward reality around him.
The problem has different faces: the just-tude is synonymous with self-sufficiency and can guarantee happiness, or is a primitive condition, but unnatural? The life of re ¬ tion is a vital necessity not only a moral imperative, or a condemnation? A release or limitation irreplaceable ¬ opment, for the individual? Faced with these questions, although he looked forward to a solution, it remains unclear, and leaves the reader uncertain, between the pessimistic diagnosis of a hopeless human condition and an optimistic hope of future redemption.
Among the evocative and nostalgic appeal in search of itself in an inner dimension of reality and life, and the op ¬ place recall, in social life, to a wider human dimension, a common un'uma ¬ nity at that store of value 'human sovereignty "that is all.
This background is problematic sce ¬ one, in the "Dialogues with Leuco" ¬ Tensa in a metaphysical anxiety, a sense of religious inquetitudine. Here the poet deli ¬ mita and nearly exemplifies his personal mythology, paraphrasing and interpreting, in their "human heart", some well-known classical myths, to trace, through a wider reflection, a principle of universal mythology, of the absolute ' u ¬ m which is the privilege of poets to sense and express, but none of which is deposited ¬ rio because it is the common fate of the men ¬ tion. A research and a definition, therefore, not only abstract but also real: the attempt to give cultural make your poetic world full of romance, meeting a classic reels ¬ ration "common sense, measurement, ¬ intelligence ' .
"We in horror - he writes • - everything incomposto, heterogeneous, and ac ¬ cidentale tried also to confine material ¬ mind, give us a frame, to insist on a closed presence" (G. Grana , Cesare Pavese, is in: "With the temporary ¬», Ed Marzorati, pp. 1541-1573).
The 'myth' of Pavese mentioned ele ¬ ment is the irrational and primitive origin of consciousness.
It is worth mentioned that in the August Feria / writer as the myth of "a general rule, a diagram of an event occurring once and for all
'place a gesture event, and then absolute symbolic' who derive their "absolute value of this uniqueness that lifts them out of time and dedicate this revelation."
"Legendary" is the original experience that you buy only
preconscious childhood life, such as childhood prehistoric civilization.
our "personal mythology" is recom ¬ closed at an age when for the first time
during unrepeatable moments - moments legendary, in fact - things are revealed to us. The process of knowing of maturity, therefore, is not a recall, a recognition, for a glimpse ...
second time with the mediation of the ...
memory, a kind of time found in the depths of consciousness, which summarize "the symbols of our existence" of our individual destiny. 'Doom' is precisely for Pavese, what mythical, unique, apparently free, in reality ... 'Iron set ", contains an entire existence, because the past deter ¬ mine this and the life of a mo ¬ uo.
So the theory of myth "poetic memory" is clarified and evolves into a poetics of the "savage" and then in a "poetics of destiny", extended to the natural reality and the whole of human rap ¬ ports.
Memory and fondles agree ¬ ment of childhood, in fact, identified with the discovery and be ¬ gheggiamento of primitive and rustic in nature and man, and with a 'timeless contemplation with ¬ experience ', fixed by the poet in his moments sim ¬ bolic, in "a rhythm, a cadence of re ¬ laid back', which is precisely Caden za ¬ predetermined fate, the absolute of life and reality.
So, myth and symbol values \u200b\u200bare reached, the 'imaginative universals', and the absolute reality of inner experience' the big hill-breast ',' the tree, home, life, the path In the evening, bread, fruit etc.. ', A' state of virginity that I enjoy dawn, "and the woman," a remote that turns the taste of meat flavor in the wind. "
themes touched upon in "Feria in August," already with great finesse, just intuitive and instinctive detected with grace, calm pace of intense and bitter lyrics. But even when they are "primordial images", archetypes ancestral, are always rooted in a traditional and cultural background, for "a myth worthy of the name can not arise on the ground that the entire cul ¬ existing infrastructure." In fact the writer
adversaries ¬ you risk not really be avoided, to "speak in mystical language" or ¬ este tizzante but try to build "a com ¬ plexus and commingled poetic discourse that relies on it and is justified" .
Apart from the cultural influences (not e-Leopardi scluso the myth of childhood), and the inferences that can be drawn from the ethical point of view, the original instance is just trying to build a really significant and permanent in forms of fixed-SARL emblematic, perennial, to transcend them through language-in l'espressione.
It can not escape a radical pessimism, in an effort to summarize the myth of the universal destination personal reasons, to acquire an awareness of the inevitability of human destiny ... a destiny of suffering, loneliness, death, a sort of religiosity sad and inconsolable, even when, in "Give it ¬ gations with Leuco" will be recorded in ¬ limp from clarity of dictation.
more so that the symbol is already a way of escapism, commitment waiver, or if vo ¬ mend, the pathetic attempt to give signifi ¬ fied and absolute renunciation.
Vasco S. Gondola made some years ago an interesting and comprehensive analysis of the central themes of this na-Pavia (At Bottega Year XIII - M. 4 July-August 1975, pp. 41-48).
is good to give some hints. "The fine is ¬ 'group' overflowed titanic - gods - divine iniquity." Theme: "Divine sleep-sex '-' crushed man ', the' divine iniquity," the "human sorrow."
An alien (god-wanderer) speaks with Endymion, which was nullified to love and impossible to re ¬ transumanante for Artemis, the goddess mother and a hoarse, wild animal, wild (see tanning of the 'prison').
symbol of titanic world. Approachable only at night, in the dream, never reached. Fair lady - Mother Medi ¬ nea. Beats with particular traits associated with the ¬ 's most intimate emotional experience of Pavese (hoarse voice, quick smile, do maternal - "remember the woman with the hoarse vo ¬ ce" in the life of Pavese).
"The Mother": group 'tragedy of mini ¬ u crushed by fate "- themes:" childhood tragedy "-" human sorrow. "
's about Atalanta.
... Meleager, who died because her mother made to burn the coal it was linked to his life, suffers not so much for his death, but for the fact that his days were in a fist to his mother. "When I was born my fate was already closed in the mother brand ru ¬ Bo."
"The passion that ends up - he says Hermes - ¬ but it is still that of the mother."
are obvious references to the affects of mon ¬ do Pavese, the difficulties of his family relationships, his misogyny, which is also the mother's refusal, the source of that life tormenting also declined.
"Foam wave 'group' titanic world - gods - divine iniquity."
Topics: "sex tragic," "divine iniquity", "tri ¬ ness human. " Sappho, after trying to escape from the things in the poem ("My flight was to watch the things you and ¬ fines, and make a song, a word"), she realized that "destiny is much more ', and tried to escape the fate with death in the sea. But everything there is restlessness and boredom. His figure is contrasted with that of Helen, a woman idol, always equal to itself, without a smile, bringing death, and Venus, "the restless anxiety that smile alone" and that "does not suffer" because "is a great goddess. "
In the dialogue "The Muse," the group 'good', the central theme is the 'divine man', the "poetic". The Muse Mnemosyne Hesiod expresses his annoyance at things. Just remember in the evenings seem to be pleased ¬ es. In human life - makes him recognize the goddess - there are moments of happiness. The life of the gods is made all of these moments, and we aspire to this life, which is the model of ours. Hesiod's task, and therefore of every poet is to reveal to men ¬ this is the truth that has come to know. This
of poetry as knowledge revelation, is another theme typically Pavese.
"The Chimera 'group' titanic world and divine wickedness." Theme: "defeat" the ... divine iniquity ...
Bellerophon, who lived in the world of monsters, 'he "just and merciful," he had killed the Chimera, he "saw the gods as we speak," do not knows' ¬ review is to die. " Between the two age groups - myths, violence, irrazionaie-law - rightly - obedience - embodies in his life with heartfelt grief to adapt the first without the second, the contrast between ¬ I need the maturity and adolescence permanicnza, antinomies he will never solve except by death, and here too results in death, as ax mean the end of the dial ¬ go: "Why do not you kill him, who knows these things? "- Asks Hippolochus. "Nes Suno ¬ kills himself. Death is destiny. One can only hope so, Hippolochus' - Ri ¬ banks Sarpedon.
"The inconsolable 'part of' gods in human salvation and embarrassment.'' Theme:
"rebellion of sex '-' ¬ comfortably with rebellion."
In Orpheus explains why it came down to Hades, did not want to revive Eurydice, was given the opportunity. "It is worth ¬ live again? (...) So I said, 'is over' and I turned around.
Eurydice vanished like a candle goes out. "
Orfeo in the Underworld was not looking for the love of Eurydice but himself, his de ¬ destiny. Understands, through his poetry, that "the dead are no longer anything"
is a clear identification of Orpheus with Pavese himself, who came to know the art and poetry with the decay of their own destiny, she refused to stay here , where "we believe in love, and death, ¬ Giamo floor and laugh with everyone", and, driven by a need not only profound existential ¬ tial, but also moral and metaphysical, pre ¬ injured suffered sever their lives without meaning with the voluntary death.
"Men": it speaks of Zeus, which descend to de ¬ Scapricciando between humans and Cratos, He sees something absurd, because men are "more miserable worms," \u200b\u200bBia said that this is because the world "although it is no longer divine, for that is always new, always rich for those who de ¬ descending from the mountain ... the word of man, who knows how to suffer and states and has the ter ¬ ra, reveals to the listener wonders. "
Thus, "the young DE4 ... cam ¬ undermine all the land between the men ... only by living with them and they know the taste-pore of the world, one can learn "the fruit of the richest of mortal life: the woman."
Dialogue is the affirmation of a belief in Pavese's life, that life which, though painful and uncertain, has a poignancy, charm, concentrated fruit in its more salty, the woman, who is as good as nothing compared to its amorphous life and property of the gods.
Bibliography:
1) G. Manacorda, History of Italian literature, Rome 1967.
2) JF. Flora, History of Italian Literature, vol. V, pp. 756-757, Mondadori, Milan
3) GB Male, Panorama of the literary 900, pp. 100-114, Pearson, Turin 1974.
4) VS Gondola, Pavese in the Dialogues with Leuco, is in the shop No 1975 p. 4 years. 41-48.
5) D. Lajolo, II absurd vice, Mondadori. Milan 1972.
6) Life of C. Pavese through letters, Einaudi, a World c.Lorenzo, Torino 1974.
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