Nicola D'Ugo
This brief essay on the poem by Dylan Thomas is regarded as the beginning of a series of research and action on contemporary poetry. We are not inclined to indulge the dictates and taxonomic forms and regulations that intend to veto the review of an author disputed the assumption that what was discussed and shared by many steps below in point of law. There is no doubt the rhetoric that often it go away without limitation in the publishing industry is committed to protect (the term has connotations highly protectionist) the work of artists who, taken from the shelves of the library since the last extension of the arm fortunate (or lucky) goes to spend his time in Hades of oblivion. In the case of Dylan Thomas (Swansea, UK 1914 - New York, USA 1953) is pinned to the generosity of our local publishing (Einaudi, Garzanti, Bloomsbury Publishing, Marcos y Marcos, M'Arta, Mondadori, The Assayer), which s' is lavished to propose a bit 'all his works, even if the collected works is not covered by the catalogs. The rest were helped by the success that he received in Italy during the Second World War. Paradigm becomes even the name of Thomas in reference to the Montale critically examined and judged critically. His name is also the epithet generation of acrobatics which we pointed out brilliantly in the beautiful Giorgio Melchiori
The Tightrope Writers. Studies of Mannerism in Modern Literature Inglese (1956), afterwards translated by Ruggero Bianchi for the Einaudi under the title The acrobats
(Torino 1963 and 1974). And the list, added the name of Roberto Sanesi (see, inter alia, more for their intent to revisit the process of the poetry of Thomas that the actual success of the design, his Dylan Thomas
, garzantiana edition of March 1977), would continue indefinitely, and would be placed in harm that our intent is to keep away, within due limits or idly by old labels (such as that
modernism, already waiting to be reviewed) an author who would like to briefly review, for what we see in his work, and without some intrude minstrel to sing the old fashioned way-in the light of our times, in an attempt to reopen the case of Thomas.
If there are still those who argue, with Charles Russell (
Poets, Prophets, and Revolutionaries: The Literary Avant-guard from Rimbaud to Postmodernism, Oxford UP, New York 1985), which should be brought back to modernism all movements of the last decades of world literature (and import of room in the West), as if they, with their names, represent nothing more than that of the subsets, it spontaneously comes accommodate the idea of \u200b\u200ba continuum between a historical period of one of the first pre-war and post-war (a continuum that ranges shown for the first character of contiguity, without which we could not arrange a while minima sembianza di storia), ma, anche, distinguere il modernismo d’inizio secolo dalla postmodernità che ha allungato il passo con sempre maggiore consapevolezza dai preamboli del secondo dopoguerra ai nostri giorni. Seppure il termine
modernismo trovi origine in un contesto di dibattito teologico e non già d’ambito letterario, e a quest’ultima accezione si sia giunti in un Ottocento i cui caratteri già si differenziavano nelle varie nazioni e, all’interno di queste, nelle maniere, accademie e movimenti (di cui quelli francesi avranno una ripercussione inarrestabile fino ai nostri giorni), pur tuttavia si soleva, fino a poco tempo fa (e v’è, appunto, chi non ne ha persa l’abitudine in reference to the latest results of contemporary literature and the arts), call modernist poets who, since the beginning of this century almost over, had endeavored to break the old canons of poetry and give birth to works which were so expressive forms heterogeneous to lead us to believe that what we do nowadays without surprises, but one word, and even a single point on the sheet, to provide an opera in its entirety. The reasons that led the poets in such a practice could be and were of varying inspiration. There were those who, with the image, founded on the assumption that the essential poetry and the lyric was just the image, as if the word could not be pure poetic concept d’ordine astratto, il cui significato può
implicare ,
suggerire contestualmente qualcosa di sensibile e rimandare a sentimenti o cause sensibilmente irrecuperabili, e la cui musicalità, il cui
charm , può produrre atmosfere non solo inaudite (sarebbe di interesse forse delle mode) o originali ma autentiche (secondo la celebre distinzione di W. H. Auden ): "la precisione dell’impreciso", pur dicendola col Jiménez delle lezioni del 1953 all’università di Puerto Rico, possiamo estenderla.
Il precetto di Pound, secondo cui non si debba
adoperare un’espressione come "dim lands of peace"
poiché l’immagine ne viene indebolita in quanto
mescola un’astrazione al concreto
è stato, con successo, sovvertito sul campo da poeti tanto diversi tra loro quali W. H. Auden e Dylan Thomas, che hanno fatto della parola astratta uno dei perni lessicali forti dell’arte loro. Non furono certo i primi, né gli unici di quella generazione. V’è con loro la schiera dei Trentisti (
Thirties ) e quella degli Apocalittici. E prima di loro van tenuti in conto, proprio in appendice all’Imagismo, la poesia di T. S. Eliot e il cambiamento di rotta sempre più rimarchevole in the "chopped seas" (the note now in the names of Hugh Selwyn
Mauberley of 1920) by Ezra Pound. The first of two masters of the century, Eliot, will form the poetic poetic highest levels of flexibility and expressive formal unity of the twentieth century English, with the opposition lexical set concrete and abstract statements, like to repeat and repeat, in the enjoyable
Four Quartets, the dialectical opposition of male and theme topic of women sonata form, so that we may be led into temptation, it was just sceverare to use or less abstract terms, or for more or less units formal work of art, two adjacent historical periods, to absorb this work within the postmodern, excluding from the consortium that a pair of decades earlier had opened the way to universal fame:
The Waste Land (1922). A temptation, this, that we do not give up, because the Four Quartets
supporting them in the 'right of those works that have brought into question the truth of the matter by using categories that they wanted this to be reread in
History , maybe trying to compete with the incommensurability of different ages but whose longer acceptable s'avvertivano valuable suggestions, rather than give in to that mentality, more purely postmodern, which puts a rereading (and rewriting) of history as the second and versatility of this immanence, whose characters are hereby warned to no longer commensurate with the past. If Eliot is no decline of civilization (and never mind the historical causes that particularly in the United Kingdom were to be decisive), there is this to Thomas, cruel and contradictory as it may, but always imminent and unitary 's Modern man can offer to the extent of the new status, changing the shapes that are within his reach, moving this or that piece of the board of the office, provided that it does not come across one so hardy as to remain motionless as the sword in rock. This feature of the thought of Thomas is not difficult to see along the rivers and sneak in the shadows of his work: Collected Poems 1934-1952 in
and nell'epistolario, and even in the tales, whose merry irony is filled with chiaroscuro adumbrations of black memory where reality and fantasy become thinner in the last game, the middle term, this new logic of a re-established. Moreover, apart from the other memorable names for its components, which are to be located in the group of children, the Imagist movement had little say in this century, and his remains, like so many petals on the water trembling in a pond on a hot August afternoon, they can be a starting point, even D'Annunzio, the inspiration for some of the most consistent and determined poet today.
But beyond that setting baumgartiana of poetry, there were those who, in this century, tried to break the syntax, break up and recycle the floor, losing status (the '
onomalingua Dada), who wanted her still like a Cubist painting by Braque or Picasso, and those who wanted to launch into space like a Boccioni, with uncontrollable perspective lines to the future. Who wanted advertising and clerical people, and so we could say without any difficulty that this modernism imprinted his mark with all the force of arms che ebbe, senza che fosse tuttavia riconducibile a un canone unitario comune. Basterebbe sfogliare la raccolta dei componimenti poetici di un Ungaretti o di un Rebora, di un E. E. Cummings, di un William Carlos Williams o di un Auden, per rendersene conto. Fra "Dall’imagine tesa" e i
Canti dell’infermità v'è un abisso, che pure la stessa mano, quella di Rebora, ha potuto valicare. Si dirà che là non premeva ancora così risoluto, così netto il richiamo della morte come qui fece, come per altri si possono distinguere due periodi spartiti dalla conversione a una qualche religione e accompagnati da due diversi modi di concepire la scrittura. Diciamo pure che la forma non solo
si presta ai content, but is also strained and
reshaped in this century, and that some components in different intent s'assomigliano news (can be illustrated the parallels between the works in verse and Sanguineti Zanzotto in Italy). It is no accident that the poetry of Ted Hughes and the Luziana increasingly tend to impose a colloquialism, a quasi-prose, but immediately denied by the vertical, for sudden or not that is, writing (and is a vertical ' almost compulsory imposition of breaks, a fragmentary utterance that can be picked up the phrase) that they represent images of lyricism and tension prosodic che avvicina l’arte del poetare al cinema. L’interferenza dei nuovi media è inevitabile: fumetto, televisione, cinema. Arte e non arte di massa e del movimento (cinetica, appunto),
consecutio iconarum (o
imaginum ) per eccellenza, raffinatezza dell’inquadratura, rappresentazione, infine, di mondi virtuali. La possibilità attuale della rappresentazione audiovisiva di immagini mentali di cui, un tempo, la letteratura aveva il monopolio (anche più delle arti figurative, se si considera la sequenza cronologica di quelle immagini) è il fatto nuovo, l’
evento che condiziona tutte le altre arti, e quindi la poesia. Le condiziona e, nei casi migliori, enhance their expressive capabilities, by analogy, translation, loan. Antecedent common Luzi and immediately apparent to Hughes, can be called the last Dylan Thomas, not only that but now bibliographically biographically mature (1952) collection of poems
In Country Sleep , although the cause must be seen to Mallarme
A Coup de Des Jamais n'abolira the Hasard (1897), especially for the last Luziana outcomes of poetry, Thomas and the award goes to a volunteer mediator between that source and this outcome. It would be completely fallacious want to take on extremist attitudes, claiming that on the one hand by the end of last century to the present day there is a path of continuity within a modernist context unchanged
called, wanting to emphasize the other at any cost differences in historical and cultural context and omit the path of investigation of form and content that were discharged for a period in the other. The
word a poem like "Over Sir John's hill" does not refer to symbols, cryptic as it may, in the attempt, but it's now there ready, direct, incisive, with pictures hanging in a difficult situation intensified, and then let continue and replaced by another equally effective image, in a continuous motion that wants to propose first the dynamics of an event whose evidence is to be faithful recording of the fact as much as possible. To witness to the epiphany of Dylan Thomas is not enough to describe the appearance, purpose, event. An epiphany is always, at least, even an internal event. Far from being in the form of a vision
blakiana, the epiphany comes from Thomas'
seeing those things. The initiatory aspect of this statement, from the Eleusinian mysteries, but it is now outdated, such as Hermeticism, however, since there is not anything mysterious or exotic experience thomasiana. The epiphany is rather a recognition and an empathy for and an event that is repeated by the poet to the reader. Metaphor and Symbol rise to the surface with much deliberation, not to deny the text its dynamic sensory semantics. Unlike the earlier poems of Thomas, "Over Sir John's hill" restores a place where situational context. The suspension of
topos of many earlier poems, or at least their recognition difficult, there is certainly rejected for greater communication skills of the Welsh poet, without detracting from the strength of the images and the musicality of the poem. The two extreme moments in the poetry of Thomas,
18 Poems (1934) and In Country Sleep
(1952), which do not differ for major and minor clarity nell'introdurci in a situational context,
in a place where the 'imagination and experience thomasiana take shape. If the Most of the poems of WH Auden is true that poetry speaks to us directly, introduces us to a place where a situation occurs and, within this, a voice he commented on the implications, we judge the characters, he points to the paradoxes and the intrinsic social value or individual, the poetry of Thomas takes in a world in which external reality to the page and page merge leaving openings minutes outside of it.
As in literature and visual arts (or visual), contemporary music does not seem to want to be outdone, in intent and results, at least in its results the most prestigious. The form of the polyphonic works of Berio is a lucid example of setting the expression of our time. As in The Waste Land
1922, Thomas Stearns Eliot, availed itself of different styles, and quotations from ancient and modern tones and, Luciano Berio presents us since the late sixties a masterpiece, Symphony
, rhythms and references to gender the most varied, which, in multitudes at the same time, the weave polyphonic ordegno that remains dear in memory, theme by theme, tune for tune, and for their unique beauty in its own right, and why our minds seem incapable of understand and imagine them as if they were in unison. Yet, with Berio, we're already in a post-modern consciousness: that is not in school, but on the era. There is of course, and this fact does not exclude the nature of postmodernity, an attachment to the classic (and, mind you, not as a form or style to draw): "The title
Symphony," writes Berio,
is not to suggest similarities with the classic form, is rather to be understood etymologically, such as playing together for eight voices and instruments, or, more generally, as the play set of things, situations and meanings. There is
experimentalism (or, more correctly, the exploitation of the inspirations that experimentalism, especially that of the sixties, led to maturation), intertextuality and the character of openness to multimedia and the encroachment the arts. As we learn from Berio:
The text of the first part consists of a series of short fragments from Le cru et le cuit of Claude Levi-Strauss, in particular those parts of the book where the author analyzes the structure and symbology of Brazilian myths about the origin of water and other myths are characterized by structural similarities. The second part of Symphony is a contribution to the memory of Martin Luther King. The eight voices simply refer to the sounds that make up the name of the martyr negro to complete and intelligible enunciation of his name. The main text of the third part consists of fragments from The Unnamable by Samuel Beckett, which in turn generate a large number of references and quotations every day.
And again (something that affects us directly not only on differences in brackets for this, for us to relevant facts,
The Waste Land and Symphony, but in a very particular as regards criticism, benevolent or not , which put in evidence as a legitimate opera of Dylan Thomas is strongly influenced by certain prosodic redundancy that, in support of the entire fabric of expression and content, are common to write the musical and lyrical) you want to pay attention to the proposition that Berio "the very experience of almost no understanding" should be regarded as essential to "the nature Music of the procedure itself. "In other words, the music of Berio, while making use of verbal language, it does not fall in the accounts of, say, a Schubert lieder or opera of the nineteenth century (which is the representation of a situation or a story still dramatic), but rather drag it in the den where the verbal echo of the word unspeakable and instrumental blend into a combination which is strangled, broken and stolen a semantic content of the original much more breath. Examples of complete sentences in
Symphony if they have plenty of them, it is dramatically up, even if they aderge intervals, only one of the voices speaking to the audience. As performance the function of the artist, Thomas's use of the word in the English language revolutionizing the semantic possibilities, enough to make prosodic sensuous and semantically almost unattainable. The main difference that sails in the bottom border between
The Waste Land and Symphony is just the nature of ambiguity fascinating opera, musical composition than in the continuum of styles of all'inconciliabilità
The Waste Land. The project is about the same: to make use of earlier (for Berio will be the first of Mahler s) such as subpoenas suggested again in different contexts, and if, Berio, Levi-Strauss and Beckett are the literary references in use, ragtime, the
Wagner's Tristan und Isolde , the London Bridge
are cited or imitated the music of the literary text Eliott. With
Symphony what we offer is a reconciliation of heterogeneous elements, their peaceful coexistence, while Eliot is the difference, the incompatibility (if not intellectual) of the parties to become the main protagonist. The anxiety that someone would warn
Symphony breathing low, almost imperceptible, and age is an era of anxiety has already begun-the-post that no longer has much in common with the icy consortium of human intervention sealed radio
The Age of Anxiety by WH Auden , where, to maintain a parallel with the music of the early twentieth century, and is taken with due caution and an eye to long implications, is the serial list.
is precisely this search for the reconciliation of opposites (or several) to characterize the poetry of Dylan Thomas. He is fully aware of the obscure characters of their own writing and that kind of compression of images and concepts that difficult to make sense again. In a letter of 1933 (the year preceding the publication of Poems
18, our first collection of poems, already rich in all the suggestions and seldom before the darkness thomasiane) Thomas wrote to Pamela H. Johnson
There is no need why the great truths of the world, and the greatest variation of such truths should be so simple to be understood by the mind more naive. There are things, and precious things so complicated that even the one who writes does not understand what he is writing.
The point is that Thomas does not play the darkness of a tear in the world, but to make it uniform in a reconciliation of the parties. It's as if Dylan Thomas compounded a comment to a particular situation or an imagination easily objectifiable in their essential characters. What remains is the comment, even one witness, d'un evento reale o fantastico che resta in parte ellittico. Il tono è alto, ed echeggia nelle liquide:
I
All all and all the dry worlds lever,
Stage of the ice, the solid ocean,
All from the oil, the pound of lava.
City of spring, the governed flower,
Turns in the earth that turns the ashen
Towns around on a wheel of fire.
[…]
III
[…]
Square in these worlds the mortal circle.
Flower, flower the people's fusion,
O Light in the zenith, the coupled bud,
And the flame in the flesh's vision.
Out of the sea, the drive of oil,
Socket and grave, the brassy blood,
Flower, flower, all All and all.
I
on all around and all the worlds are dry lever
Ice Stadium, the solid ocean, All from
oil, splash of lava.
Town Spring, the flower governed,
wheel in the land that the city paid
Cinerea on a wheel of fire.
[...]
III
[...]
team in this mortal worlds the circle. Do
flower, flower fairies the merger of the people, Oh
light to the zenith, the shoot in pairs, And the
flame in the vision of the flesh.
out of the sea, the drive oil,
from orbit bony tomb, blood brash,
Do flower, flower fairies, everybody, everything and everyone.
The translation is convenient if they could make as many valid and sufficient. But what still is its overall meaning remains unchanged: to call an awareness of the intrinsic elements of peace between the world subject to their laws of space and time. Although the combinations are lexical rather bold (and syntax doubtful), it is their reconciliation and unity in the soul of the poet-poem-a formal determination that absence of discomfort that other heterotopias suggestions. I say
other but I should say the
, since it seems more proper form of this to the regular and the net hemistichs, strophic, punctually paronomastic (pararima), the sense of a possible coexistence of heterogeneous elements that the "Square In These worlds the mortal circle "fully confirmed (as opposed to" Do not ask the word squares on each side human infinite, eternal v. transient effect). The question of difference
, the multiplicity of creation, then becomes the predominant pattern that crosses the lyrics thomasiane. Communication distance and difference as
: distance of things and living beings, feelings of distance and distance with the other metaphysical or another self, distance, again, as a place of artistic expression (away, tiring to be achieved, dedaleo within it, in its varied and unpredictable recesses and interstices) where it can still restore the unity of beings, and finally restart the communication as a prelude to the community of nations. He writes
Symbolic Exchange and Death (Feltrinelli, Milan 1979), the French sociologist Jean Baudrillard writes:
The universalization of Man is also the price is the exclusion of all others (fools, children, etc..) In their difference. When the man starts to look like human beings, others are more like nothing. Defined as universal, ideal as a reference, the Human, just like God, it's really inhumane and delirious. What is even Feuerbach says that such an abduction, by which God picks a man for his own benefit, so that the man is not more than the negative pale of God, God himself, in a flashback , it remains dead. And that man is about to die delle differenze umane (la pazzia, l'infanzia, i selvaggi) che egli ha istituito.
Secondo questa impostazione, per Thomas si tratterebbe di una presa di coscienza della differenza tra l'Umano e l'uomo del cristianesimo universale, che viene avvertito più come fede nell'esistenza di Dio della religione fondata che come unità dei fedeli nella precettistica di questa o quella Chiesa. In effetti è difficile attribuire a Thomas un credo riconducibile a un gruppo di praticanti. Dalla lettera del gennaio 1933 a Trevor Hughes:
Non esorto a un isolamento monastico, e a un assillo per i luoghi invisibili (vedi, anche il mio facile fluire di immagini consce di se stesse vien meno, ed io rimango con la parola 'luoghi' which is totally inadequate). This is Roman Catholicism. (One day I'll become a Catholic, but not yet). You have to live the outside world, suffer in it and with it, enjoy the changes, desperate for them to get along poorly with the routine of the gain, fall in love, mate and die. You must do this. ... I may seem strange for me to believe in this philosophy-which, in effect, is only a slight adaptation of the Roman Catholic religion. Rarely my poems it contains something. That's why I'm not satisfied. Almost all the poems outward. three quarters of the world literature concerning the outside world. ... The greatest works of art are perhaps those that combine perfectly, the exterior and interior.
So in Vision and Prayer , several years subsequent to that letter, the apocalyptic language presents figures that do not match those symbolic of the second coming of Christ in '
Revelation of John, although it came second and , forces of the Third Age of history according to the apocalyptic mysticism of Joachim of Fiore. Let's say that the state of the world, be it physical or metaphysical, is echoed by Thomas with the images that appear from time to time the most charming, does not that then adrift, but rather there is a recovery on his part and consistency of images within the text. As for the riddle
he writes about Northrop Frye in
Spiritus Mundi, Thomas is missing in the key that references to all the co-textual references (synonyms co-text) and situational ones. But the lyric thomasiana does not arise simply as its purpose to suggest the characteristics of a state of the world or mental images that may appear bizarre or beautiful. Basically Thomas
Vision and Prayer orthodoxy is neither a riddle
Frye, nor in that of the 'riddle
Giacomo Debenedetti, the first is contrary to the second of two professors, one feature of 'Italian Hermeticism (And already the French Symbolism by Mallarme onwards). Debenedetti wrote:
The explanation of a riddle is one. Instead, as you get closer to the hermetic, the less the explanation becomes mandatory.
In some cases, "it becomes so since the poet to give us this, staring at her. Mallarme does not want it will be." [10]
And the poet is to take it out and fix the text, "explaining" the inspiration of his poem (as, for example, February 10, 1938 Dylan Thomas in a letter addressed to Hermann Peschmann). In Thomas is found instead of a religious inspiration nutritasi own images and shapes retrieved the biblical text and literary works without giving the latter than the former pre-eminence. The unit is determined by the overall fascination exerted by the images used, so as to nullify the attempt to read the symbols thomasiani as belonging to a pre-existing traditional subcode. The language of Thomas does not bow to orthodoxy of a collective mind or intellectual, but instead tries not to consider, when witnesses, those elements that often slip through the net of language as a means of community or initiates. Doing so, the opera aims Thomas immediately as its own, ready to question the truth, changing of its time ( See, in a letter to Pamela H. Johnson, above, that "the greatest variation of such truths"), and also the darkness unfolds before the common man and man of letters, lay down, that poem, leaving the common sense of unity and 'Another, BEYOND immediacy of communication and disregarding the rules of interpretation of the applicability of dives tradition. Better than elsewhere, thanks to two moments of testimony and prayer, in Vision and Prayer
the obscurity of the language can express the unspoken of an experience in itself ineffable and the sanctity of a private language, Exclusive, which raises the poet to God in a relationship upward del primo verso il secondo, collocando il genere umano in un piano più basso ove può assumere, semmai, solo il ruolo di spettatore di una enunciazione paradossalmente glossolalica, fondata su una lingua inesistente ma i cui contenuti si dimostrano oralmente inaccessibili. Siccome la poesia del nostro si estende per un arco di poco più di vent'anni, a partire dai suoi diciotto all'ultima disastrosa bevuta al White Horse Tavern di Manhattan, e tenuto conto ch'egli sempre insistette sul fatto che tutti i temi della sua arte, tutte le motivazioni e gli intimi fermenti dovevano attribuirsi al periodo che va dall'infanzia alla prima giovinezza, non ci sembra ozioso rifarsi a un passo su Kipling (lettera a Pamela Hasford Johnson dell'ottobre[?] 1933), Thomas in which external considerations on English society of that period:
course, does not like his [Kipling] waving of flags, as well as I know that patriotism is a sham publicity organized by the shareholders of armaments in excess , knows that the Union Jack is only a loincloth to cover up national bodies to rot in a social ill, knows that the great war was deliberately prolonged to ensure that financiers could make more money, whereas if it were not for the actions of industries arms war would be over in three weeks that at some point in the war French and Germans were bombarding each other with ammunition provided dalla stessa industria, un'industria nella quale ecclesiastici e uomini politici inglesi, ambasciatori francesi e uomini d'affari tedeschi avevano investito tutti grosse somme di denaro; che Kipling, riformato dall'esercito a causa del suo fisico gracile, è ciononostante un militarista del tipo: 'Ho dato mio figlio'; che il paese da lui lodato ed elogiato è un paese che appoggia un sistema in seguito al quale gli uomini muoiono di fame, e pesce, frumento, e caffè vengono bruciati a centinaia di tonnellate; un sistema in seguito al quale agli uomini non è consentito lavorare, sposarsi, avere figli; in seguito al quale ogni anno vengono portati alla pazzia; in seguito al quale i bambini nascono scrofolosi; in seguito al quale alla church is allowed to prevent the prevention of sexual diseases and a system so right that a man was arrested on Christmas Day rate for discovery, while his wife is expecting a baby and her children are dying of typhoid fever due to having ingested provided by Bad Fish a businessman profiteer. Ugh. England, my England. And Kipling continued to squirm for it, and it is easier to bribe a politician than it is to bribe a hawker of fruit.
And just before, in the same letter, Thomas said to read, just got up, "the chronicles of criminal cases on page three with the greatest consideration... All the news about rapes, frauds and murderers." And again, "I hate the social system that is leading to sodomy" humanity. This opens a parenthesis on the thought of Thomas that eludes those who know only the work in verse. In fact, apart from rare exceptions, what Thomas called "inner world" prevails on the outside, nor can see, if not glimpses, as the two worlds can be reconciled. On the one hand there is a fuller sense of the welfare state this, the other the refusal of the condition of mankind. If
Vision and Prayer some steps may be considered (once loose the knots of soluble ambiguity) moralistic, if not devoid of interest to us, given the apparent reference to a condemnatory Christianity in the light of this passage, it becomes clear what our Christianity could conceive. The extract from the letter of Autumn 1933 in Pamela Hansford Johnson:
medieval laws of this hemisphere have imposed a corrupt virginity more or less mandatory during the period of life when virginity should be considered an offense against the dictates of the body. During adolescence, when the blood and flesh of the seed growing need, for the first time and as never before, communion and contact with blood and flesh the seed of another, sexual relations are considered useless or impure . The body must be kept intact for the wedding, which is rarely possible before the age of twenty years, the event physical sex must be caged for six or more years until, for the cost of a ring, a license, and a few awkward words, the opportunity is offered with all the pageantry of a phallic religion. But very often the opportunity arises too late, the suit is sour, love is transmuted into lust, and lust in sadism, the mind has been covered and choked by weeds inhibition, and the union of two hungry creatures, who are suddenly allowed the latitude of the sexes, is doomed from the start. Not only ... but their sexual manifestations should be encouraged.
Elsewhere the effort to see the world first with their own eyes and hear it in their kidnapping without worrying too much about the intelligibility of poetic expression, that put on the ritual forms that have nothing to do with this or that ethnic group is nothing more (and not just) a questioning, implicitly, by inside (in man and in the mechanisms of poetry), the categories and parameters which Western man refers not to miss the drift of their own making. In this sense, not only in the reconciliation of opposites, but the diversity of the world, the poetry of Thomas celebrates and bears witness to the lost
and
desired, in a formal unity that would echo in any historical context. We could say that poetry dark Thomas is the light of a firefly in the darkness, moving in the concrete jungle of echoes with its social and intermittently in the box to a photodetector by illuminating glimpses unusual in the city and the world. The lost beneath the waters of the flood in the "Author's Prologue" of
Collected Poems 1934-1952 can be seen confused, as the Second World War the villages take the increasingly inhuman aspect of the megalopolis, albeit in a piecemeal fashion so as to be of no ghosts ambulatory themselves. The desired
is a push toward what might have been impossible to achieve for Thomas. There is certainly more evident in the humanization of opera thomasiana with mount the years, which is associated with a more direct communication of the contents of his thought. The
you want then verbalizes the suggestion, the board, in wishing. The poem becomes more and more a means of living (the poet) to the living, the reflection to its foundations by taking the state of the world and this symbolic suggestions by adding more functional, more evocative imagery and objectivity ("Fern Hill", "In Sleep Country, "" Over Sir John's Hill, "" In the white giant's thigh. "But the fantasy, the inspiration of Thomas, his strong evocative, original and bizarre lexical association (as well as the syntax), not are lost, but rather are highlighted the merits. Poetry is the means of survival of a past overwhelmed, this means of communication, voice greeting that anticipates the future. Yet if Thomas's poetry is more durable Aunt Ann ("After the funeral"), it can not escape the fate of its meaning and the mutability of his universal decay: At
poor
peace I sing To you strangers (though song Is a burning
and crested act, The fire of birds in
; The world's turning wood,
For my sawn, splay sounds),
Out of these seathumbed leaves
That will fly and fall
Like leaves of trees and as soon
Crumble and undie
Into the dogdayed night.
In pace povera canto
A voi stranieri (benché la canzone
Sia un gesto crestato bruciante,
Incendio di uccelli nel
Bosco rotante del mondo,
Per i miei suoni aperti e segati).
Da questi fogli diteggiati dal mare
Che voleranno e cadranno
Come foglie di alberi e altrettanto presto
Will crumble and die de-
Entering the night heat wave.
how to play a passage from the "Author's Prologue." That, roughly, would (the conditional is a must for at least two other interpretations that could be taken into account) that the poetry will be destroyed ("crumble") as anything created by God ("leaves" is as exemplum), but the truth of its contents after the destruction can no longer perish:
[...] UNDI
dogdayed Into the night.
great contribution of Thomas is putting the emphasis on individuality that is adrift, humans that can be derived Nietzsche, cu all in a society becomes increasingly difficult to equal to itself and waterproof. This condition is described by Jean Baudrillard in The Transparency of Evil
(Sugarco, Milan 1991):
The possibility of metaphor vanishes in all fields. This is an aspect of transsexualism generally extend well beyond the sex - in all disciplines, to the extent that they lose their specific character and enter into a process of confusion and contamination in a process of viral infection in distinction which is the event first of all our events. The economy has become transeconomia, aesthetics became transestetica, sex has become transsexual, all converge in a process where no universal and cross-talk may be more the metaphor of the other, since, because there is a metaphor, there needs to be field differential and distinct objects. Now, the contamination of all disciplines puts an end to this possibility. Metonymy total viral definition (or in the definition).
"Man be my metaphor" ("The Man be my metaphor) concluded the Thomas of" If I were tickled by the rub of love "(18 Poems in
), tightening the metaphor of human 'I am in a period Vision and Prayer before
. Man thomasi in its closest approach to the self lyrical, completely lost in it all. A scream extreme resonant only of itself, hanging in space in the world. He is the man who loses God to find it and lose you again, as often happens to see in the pages of Thomas. But it is especially with Vattimo, an event characterized by
"pathos of authenticity" that is, in Nietzschean terms, the resistance of the accomplishment of nihilism because
nihilism here means what it signifies for Nietzsche in ' that is just the beginning of the old edition of the Wille zur Macht : the situation in which the man rolls away from the center toward X. (Gianni Vattimo, The End of Modernity , Garzanti, Milano 1985).
The world of imagination and the testimony of Thomas are now taken by the whole art of assembly and disassembly that is in the sequence of images of
Gaudente Ted Hughes one of the most prestigious and arrival points in
Moortown one of the examples of increased contraction of the image with the most expressive and visual outcome. The words of Thomas is not then only in the direction of a repulsion of the contemporary world, but this is received and absorbed with disconcerting ease. Its all together is to be fully absorbed without, perhaps, that contemporary authors do not even have the awareness. When reality and the page will look like, as in the final de
The Nonexistent Knight Italo Calvino, one can say that the century of Eliot, the supreme master of intuition and discretion, made himself a bit 'part. At its irony, cruel, irony has taken the place where the contradiction, as we said, does not distance but united. Still, with Baudrillard de
The transparency of evil , we say that:
On the other hand is the only real intellectual function that uses the contradiction, irony, the counter-attack, the flaw, the survivor, who always disobey the law and evidence. And if today's intellectuals have nothing to say, the fact is that this function is ironic because they retain their escape on the ground of conscience, political and philosophical, while the game has changed and all the irony, all the radical critique rose from the dell'aleatorio, the virulence of the catastrophe, accidental or systematic reversal of - new game rule, the principle of uncertainty that now reigns over everything, and a source of intense intellectual pleasure (no doubt a pleasure even spiritual) .
But to close this brief poem by Dylan Thomas on, listen as he sings the love and think about our lovers or those of yesterday, and we imagine, trasognati o impavidi, quali mai possano entrare nelle nostre vite e rimuoverne i traffici o ribadirli a quattro mani. Ascoltiamo l'amore cantato e la metafora, in un tempo in cui la metafora ha preso sempre più il posto della similitudine e fantasia e realtà giocano a scambiarsi moduli e moduli, e la critica s'aggiunge alla critica, e le luci si accendono, e la pagina, la nostra voce, s'affievolisce, tace:
Love in the Asylum
A stranger has come
To share my room in the house not right in the head,
A girl mad as birds
Bolting the night of the door with her arm her plume.
Strait in the mazed bed
She deludes the heaven-proof house with entering clouds
Yet she deludes with walking the nightmarish room,
At large as the dead,
Or rides the imagined oceans of the male wards.
She has come possessed
Who admits the delusive light through the bouncing wall,
Possessed by the skies
She sleeps in the narrow trough yet she walks the dust
Yet raves at her will
On the madhouse boards worn thin by my walking tears.
And taken by light in her arms at long and dear last
I may without fail
Suffer the first vision that set fire to the stars.
Amore in sanatorio
A stranger came
to share my room in the house not just a place to head
A girl mad as birds
that bars the night of the door with her arm her plume.
; Narrow bed in the room confused
She eludes tight heavens with clouds entrants
But she avoids walking into the room by nightmares,
; Cheaper like the dead,
; Or imagine sailing the oceans of the male wards.
She came
owned one who enters the elusive light through the wall bumper,
; Owned by the skies She sleeps in the trough
close but walk on the powder
but from a crazy as it wants on the boards of the asylum
thin tears from my street.
And the long and dear last I took the light,
It is certain that I can support
the first vision that set fire to the stars.
[published in: Praz!. Arts & Literature The No 1 June 1994 , pp. 31-43. ]
Bibliography: - Baudrillard, Jean , The transparency of evil, Sugarco, Milano 1991.
- -, Symbolic Exchange and Death , Feltrinelli, Milano 1979.
- Debenedetti, Giacomo, The novel of the twentieth century. unpublished notebooks, Garzanti, Milano 1976.
- Frye, Northrop, Spiritus Mundi: Essays on Literature, Myth, and Society , Indiana UP, Bloomington 1976.
- Jiménez, Juan Ramón , works , UTET, Torino 1967 .
- Melchiori, Giorgio, 'visionary poetry of Dylan Thomas', in Id., The tightrope walkers. Mannerism in English literature from the angry young men Joyce, Einaudi, Torino 1974, pp. 271-302.
- Russell, Charles, From Rimbaud to postmodern. Poets, prophets and revolutionaries , Einaudi, Torino 1989.
- Sienese, Roberto , Dylan Thomas, Garzanti, Milano 1977 .
- Thomas, Dylan , Collected Poems 1934-1952 , New Directions, New York 1971 .
- --, Poesie , Einaudi, Torino 1965.
- --, Ritratto del poeta attraverso le lettere , Einaudi, Torino 1970. A cura di Constantine FitzGibbon.
- Vattimo, Gianni , La fine della modernità , Garzanti, Milano 1985 .
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