Tuesday, February 23, 2010

Complete Go Kart Frames For Sale

The Preamble dell'Impraticabile Ford (Part 2) The Preamble



Alberto Crescitelli

Paper presented at the X Conference of Studies
Astrological Vico Equense 6, 7 and 8 June 2003



Part

(...) "The nature of the person is paradoxical, and in a sense for good reason: because the world seems to really work well, as in applying the knowledge of human nature and that the Archeo, we encounter no more than paradoxes. And in consequence, also the 'Ars astrological applied to the study of the psyche, should be able to grasp the unique nature of the antinomies forging the temperament of an individual.
strange "creature" personality, right?
Fruit "speaker" of nature, as in a game and prismatic fractal prodigious projects into a reality purely subjective to a dual imago-origin " Light / Darkness ... Monomi these, so that falling, rise to the role of breath mesocosm form of consciousness and nescience, attraction-repulsion generated by the archetypes of collective individuality."
Adapted from "The Turning Point"


but unfounded, will be the great benefit of those who, after many sincere efforts will have you as friend. " 17
Shadow, "Archetypes of the Holy Gods! I feel a shiver in the deepest parts of my body impalpable: So I have a sense, a utility ... reason to exist "!
Es : "Once" cleaned up "hypocrisy Teutonic, my love, you turn the vessel act to overcome the ocean of ignorance, that only the emancipation form of human life, may dismiss '.
Shadow: "I only now realize the enormity of the complex that I created because of my ignorance dharma. Thank you, really is something worth punishment tease a bit '. Do not forget this "metaphysical trip." Um ... back up but as you pointed out about the first mutation of the space-time produced by an action sponsored by the polymorphous bigotry ... indeed, I remember another important question for me: who is the victim of an injustice being plotted, it becomes so because of its ignoble fate "?
Es : "As I mentioned before human life offers the possibility of emancipation, and therefore is not suited at all, an approach that mimics Darwinian predator and prey. So, those are based on similar criteria to justify "good reason" iniquity, or even to completely legitimize the stern gaze of his own conscience, indeed, are not really aware of the treasure and noble meanings that are found in the 'human ". 18 And for this reason, the risk becomes very high, that the "lizard" accamuffato the recesses of the unconscious drives and power, prevails in these .
From this it follows that the knowledge possessed, and therefore the nature of the purposes which will be infused by the author acts in the shares, will be decisive.
summary, until we seize the virtues of pure knowledge given to man, apply in parallel with profound respect for the experience and lives of others - brand, more than any other under the principle of forgiveness - are will live safely in the logic of oppression, and therefore sometimes s'incarnerà the role of the "butcher", sometimes that of the "slaughtered" for not mere fate, then, but because of failure to achieve true human quality that In most cases, there are inevitably anger, cynicism, violence and cruelty ... and of course the victims of these. "

Shadow: "I'm sorry if t'interrompo. You know that despite being here talking with you, however, fully aware of what is happening on Gaia, I have good news for you: "it seems" that the war is about to end. "
Es : "Already? Not even ten minutes have passed since we are discussing. True, I forgot, when you wander around here with our boat, time passes much more slowly, and within minutes is equivalent to several weeks of time "gay" flowing on the Earth. "

Shadow : 'Return to us, I agree with what you said. I understand the importance of your words and sense of responsibility to which they have infused and released. Nevertheless, an idea that I'm maturing in observing the synchronous concatenation of crimes of passion I showed you before, is that perhaps there is some sort of "spirited melody," which reveals conflicts and critical episodes in a very similar specific period and that therefore, there are underlying individual wills, in the events, but rather, there seems to be more that another action of blind fate, casual, almost "mechanical", I dare say. "
Es : "You are not wrong at all about the" haunting melodies "- for those who have not ear, mind you - in the inoculated system by the balls, while my opinion is, however, that the t'ingannino your senses on the nature of Fate.
L'Arche is a living and highly conscious and good order of the Most High, the money trail of all sentient beings through the checkpoints over time, which, for the sole purpose of 'establish how, and how it was fulfilled by each of the arbitrary use. And it is always thanks to them, that takes care of the trail Archeo true of every soul or "Es " and of those who ascend and those which follow, those who progress and those which were resolved.
You have memory of the last raid we did up here to observe the system from above, under the pretext of seeing the Conjunction of Mars and Venus formed a Grand Trine with Uranus and Saturn? Well, then there was a total eclipse of the Sun "...
Shadow "Yes, that means things from up here are not forgotten easily."
Es : "Now, by loving reconnect to our discourse, we must consider the species that look like eclipses highlight of dictates heavenly - Auditor - issued by the Archeo at a given time cycle: and therefore, the period of time ( continuum 19) between a pair of eclipses 20 ( past ) and next (future ) colorirà is indeed a "spectrum sync "- ie significant similarities to those bonds governed by the interactions between multiple spheres of events that mark the collective experience and individual - without, however, there is, of the events themselves, a relationship of cause and effect. 21
addition said briefly, and then coming to the specific case of the remarkable sequence of crimes of passion that you brought to us, we are faced with the case of several individuals - "flaps" of the social fabric - that educated from fit of madness morbid have been overwhelmed by anger and hatred, right?
notes.





The projection manic (Neptune / Mars) killer (Pluto), will be consumed in the sphere of affection (Mars / Venus). This, in my opinion, the minutes passed - then that would manifest in events - the two dominant agents from past and the future at the time of culmination of the phenomena of eclipse, that "rushed" Then, in ' then this of our existential level. Now, the individual particles called upon to interpret these terrifying episodes that succeeded day after day - almost as if they were victims of a spell - had no doubt in their conformation astral pre - and native of the intrinsic values \u200b\u200bassociated with the monitoring period heavenly "wise men" that particular sphere ' experience (emotional).
But we are taking a leap into the future, now that your uncertainty will dissipate entirely. "

Shadow : "When you're so nonchalant relativistically make me a little 'fear. Okay, let's go. [ flash of light ] Already here ... there ... God bless, what a mess put me in the head. Turn the small boat a little '... just a little bit away, now ... Oh, beautiful! I see Mars and Neptune and opposite joint Jove! [ flash of light ] And now the Moon "swallowed" by the cone of shadow cast by the Earth. "
Es : "Perfect, now let us go in that place inertia that are found only within us throughout the Universe. A place from which you can see the past and future that intersect to create this .



[ both become ethereal, and gradually blend in a unique radiant; achieved the perfect symmetry of their truly "unique" imago astral, then gradually return - though everything happens in a few seconds - distinct and without utter a word on experience take over the speech ]


Es "" Those who practice the art, founded the science hieratic admired to see that deadlines are present in the first and the last first ... Benedict Proclus, "
Shadow : "Only now I understood the full meaning of his words, more than medieval ...
Anyway, you showed me the subtle and powerful astral variable related to the space-time more than anything else on the collective context, but indeed I think you have explained very little about why, the "interpreters" of the crimes become bewitched haunted by the melody to meet the infamous destiny: because they, not others'?
Es "really curious, you are. I think I have you explained quite well if concisely.
L'Arche knows each personally. 22 However the essence is embodied, to be the sole responsibility of the joys and sorrows meet; 23 the same way as the air carries the smells, the imperishable principle of life brings the body to body His idea was that staff of life. 24 Thus, in the gestation period of the array to the command of nature (prakriti ) grant being in a body - primarily generated by subtle features (like) - that he will be obliged to accept together, however, it also matured in terms of virtues and transgressions during his wandering forget the true self (the limited field of action, ksetra - ghya ).
Now, if being so spiritually sick time, to miss the memory of his true nature and identity, as can never remember who did the unlawful acts to satisfy the "arrogance" of which the foolish and unaware they are abundantly endowed ... "?
Shadow : "Although at a glance who gratifies the practice, the polymorphous bigotry then darkens all: now I understand how things really are. " [ says with a smug tone ed'assenso ]
Es : "Good. But the Archeo ( Visvarupa ) is also and above reminiscence; Energies, and indeed every force, born from the original impulse memory 25 God instilled into heaven. So is the sky map of copulation that its subsequent dynamics, and 26 is the date of birth, will show beyond doubt that they have the memory of the noumenal seed (bija - karma) that generated the incarnation ... Skies that "rushed" to Gaia, then, to give life to a particular body shape, gender and temperament measures to provide and receive certain experiences. Remembrance and truth, that's what you've described, indeed completely removed from the soul which is identified with the body. 27 But once aware of this, here is always clear why diagnose, a sky conforms to the genesis of every temperament and vocation, in our practice horoscope.
But in any case, know that even the most dangerous conformations of a celestial parentage - As human, in fact - have an equivalence of self-liberation: at which point we'll see the function and purpose of arbitrariness in the stocking "game." It will be better explained by a story of an acquaintance, though. Remember Michael "?
Shadow, "Michael .. mm ... you mean that friend who committed suicide by jumping off a building"?
Ex: "That's him, good friends, you do '...
Shadow : "He was a little aggressive. Occasionally his eyes m'incutevano fear because squirted arrogance, and then was always trying to create some ridiculous casus belli ...
know that one day told me he had stabbed his father "?
Es : "It was removed by a remarkable state employment because of what you said, and also why irreverent and quarrelsome with his superiors. His wife once told me that often severely abused her child, who at the material time was only a year and that also came into conflict with all his relatives. A few weeks before his suicide, I knew then that heard the voices ... Nevertheless he was a cultured man on average, es'interessava psychology and fine arts. " [ silent a few seconds and looks at his watch, whose ball, run fast ]

Es : "I think the celestial time available to us is about to end. It is worth to look at the theme and the period of celestial Verification of Michael, therefore, that a "preamble dell'impraticabile ford," which was not capable of crossing. "
Shadow: "I'll carry on Gaia in a flash, do not worry. Eh, you know the "way" of Heaven, and I that the "return", my dear. " [ says jokingly ]





Ex: "All that we have mentioned the temper of Michael and salient events of his life, it is clear in the structure Theme of his horoscope. The conjunction of Mars and Saturn to the Sun, in turn, on the Descendant, and the square of Neptune to them, they leave much to understand the general nature of the map. It is noteworthy species of the Moon's position perfectly to the IC in Scorpio (Certainly correlated to suicide and its mode): the same angle, which will pick up later in the Revolution Saturn moon, which held the day of ' exitus, and that in turn was contained by a solar revolution fatal, in 28 a space-time, then ruled by the "synchronous spectrum" generated by the eclipse of which I first revealed.
Remarkable, then, was the burden of guilt - for himself but "invisible" - that he had the opportunity of earning in past lives. Nevertheless, the Archeo was generous with him. The reassigned the human form of life and not that of an animal. He thus had thirty springs, to repent of the evil use of arbitrary power exercised previously in his wanderings metempsychosis. Thirty Solar Returns, in which he was given the possibility to access knowledge that liberates, 29 but do not care, meet people and difficult situations with which and in which it would have been sufficient to bring out in the heart of compassion, understanding and forgiveness to please the good, and instead chose the revenge he had a son could love, but took pleasure in contempt "...
Shadow: "What a sad story."
Es "sad. But let me finish, then.
So when came upon the Harmony 30 that always accompany that change that transforms the illusion of materialism to the reality of the true self and the Spirit (which is the gift of experience and excellence only "human") crude in its shadow fell a dizzying panic, not knowing at all what it was and also surprised because suddenly more serious, unresolved and heavy burdens of the mind, rather than being stamped indeed mad with terror, and as he ( the true self) was entirely identified with it, could do nothing to calm her down, calm him down, help her to rise, and it was forced against his will - all too shocked - to grant consent to act crazy.

"Me and Gabriel descended to the seventh heaven, where there were angels who are called Cherubim. (...) And all praising God and praising him raised their voices to the point that if people of the world will hear even just one, die of fright caused by the sound. "

( The Book of Muhammad's Ladder )


This is the theme of ' exitus, look. "





[ the shadow left speechless, closes his eyes and bows his head. It remains so for a few moments, then speaks ]

Shadow : "Thank you. I truly understood, because they have dispelled many of my anxieties. Where did you learn all these things?
Es : "Knowledge of the Spirit is already in our heart. It will simply be emboldened by the proximity of sincere friendship - certainly reciprocated - the great souls. Not to mention all the humility in this greatly needed, since it allows s'apprenda with purity and even a blade of grass. "

[ the rapporteur, who initially was preparing to write, he realizes that daydreaming in front of computer monitor ]

What Force , imagination.
Paracelsus asserted that it is as an Astro in humans.
... "The Preamble-dell'impraticabile-ford": unusual title that I jumped to mind. But it is original, and perhaps, will adapt well to an analysis of the current international situation.

Shadow
: "Ok, Adi. Let's do now, "
Alberto
: EU, but then ... there is serious! ;-)


Pompeii, April 30, 2003 - 13:30



NOTES AND REFERENCES § §

16) See "The Turning Point" published in 1990 Search 'No 52 or: http://www.astroenergeutica.it/riflessioni/il_punto_di_svolta.htm

17) hy atma atma atman bandhur ripur atmanah; bandhur atmanatmanas tasya yenatmaivatmana jitah anatmanas You satrutve vartetatmaiva satruvat ... (A man must use his mind not to rise to break down. The mind can be a friend of the conditioned soul may be as an enemy. For one who has conquered the mind, the mind is the best friend, but for him who fails in order, the mind becomes the worst enemy.) Bg. 6.6, 6.7

18) Here are some synonyms lemma of "human": Sweet, delicate, sensitive, generous, philanthropic, charitable; Selfless, Tolerant, Generous, Comprehensive, Gracious, Loving, Supportive; Fraternal; compassionate pitiful; Benigno ... - Editor's Note.

19) See The concept of Space-time continuum - The Meaning of Relativity - Albert Einstein, Princeton University Press, London

20) D the Sun and Moon, generally.

21) The concept of Synchronicity enucleated by Jung argues that there is a significant link between two or more events without there be, between them, cause and effect. This would be a principle similar to the order of the notes and sounds of a song, so that, for a note and a sound, precisely, it must necessarily follow a more "appropriate." It is not a mere coincidence or contemporary.

2 2) tany aham tvam na Sarvan see top parantapa ... (while being conditioned by matter, is unable to remember his endless births.) B. g. 4.5

2 3 ) Karya-karana-kartritve hetuh prakritirucyate purusah sukha-dhukhanam ... (The nature is considered the cause of all material actions and their consequences, while the individual being is the cause of pleasures and hardships he encounters in this world.) B. g. 13:21

2 4) sariram yac yad avapnoti Capy utkramantisvara ... B. g. 15.8

2 5) The Empyrean or Prime Mobile, Ptolemaic conception (that comes from neo-Platonism: the world as an expression of light), over the world that there is a sort of flaming sky. In Vedic cosmology, is equivalent to the appearance of navel of Brahma-Vishnu Garbhodakasayi .

2 6) See "Matrix: 10 Moons for Tn" author - Research for October 90, 2001 - or website http://www.astroenergeutica.it/riflessioni/matrix.html

2 7) A collection of bodies to be instruments of action and cognition of the self that should not be confused with it ...

2 8) See insights and research Cyrus Disciple about possible events that we can expect in a year, in which, at the time the completion of the birthday, the Ascendant falls near the radix of the Ascendant, the Sun's revolution on the Descendant of Rs and while there is also a planetarium Stellium occupying the sixth C COPE horoscope. Wanting
delve a bit 'longer in the case of Michele (not her real name), we note that both the RS RL saw that the position of the Sun on the Descendant, and then replicate the same angular - and the year in the month dell'exitus - the bright radix. As for the eclipse that governed the length of time that he committed suicide, we stress that the first - before the death - relocated to the location where the disaster occurred, has Mars conj. Descending on the Moon (and in the natal chart of Michael, is joined closely to the Sun, so also on the Descendant) and the second, posthumous suicide, the degrees of the zodiac which was the culmination of the phenomenon of eclipse, it was the same when resided the Uranus / Pluto in the natal chart.

2 9) jnanagnih bhasmasat kurute tatha sarva-karma ... (Similar to the blazing fire reduces wood to ashes, O Arjuna, the fire of knowledge reduces to ashes all r and actions of tangible ) B. g. 4:37

30) The experience of mystical or transcendental nature of Reality, is an event quite natural for human nature (or more fully, for the "higher purpose" that Nature has bestowed on her) , and in life most people have this kind of experience: not all are able to recognize it and live it properly, because of the forgotten key to the reading experience itself, which often is considered more like the like a psychotic phenomenon, in fact.

Very interesting in this regard, the paranormal anticipated that the famous "Septem Sermones to Mortuos" of CG Jung, here's a short excerpt: "(...) It began with a state of restlessness inside me, but I did not know what it meant, or what 'they' would from me. There was a sinister atmosphere around me: I had a strange feeling that the air was full of ghostly entities. Then it was as if my house was haunted. The night before, the eldest of my daughters saw a white figure across the room and the other, regardless of her sister, reported that twice in the night had been carried off the deck ... (...) The next day, Sunday was a clear summer of 1916, about five o'clock in the afternoon the bell at the front door began to play wildly, and not only felt it, I also saw that moved. Everyone immediately ran to the door to see who it was, but you saw no one. The whole house was like to be inhabited by a crowd of people, as it was crammed with spirits "...



Such are the Solar that interfaces that crucial period of his life so well described by himself: The Sun radix, that birthday in 1916, saw the perfect conjunction of Neptune, Node opposition Moon and Jupiter, which jointly radix Neptune, square the Sun, in turn, always, not irrelevant to the theme of revolution around the Moon conjunct the Descendant and Pluto and Venus (who then repeated the native configuration).
Solar Revolution of 1917 saw instead join the persistent Saturn Transit of Neptune on the Sun radix, while the Moon was once again on the Descendant, and Uranus are conjoined at the same time, inter alia, to the degree, Saturn radix.



Anyway, it was in 1916 that fell even partial solar eclipse at about three degrees from the Sun of our radix: a very special birthday, in fact. Obviously, his intellectual and spiritual greatness, let him brilliantly through "the ford", as opposed to the hapless Michael. And from that time onwards, he produced works - as we all know - an amazing acumen and rich spiritual yearning. Here is the meaning and usefulness of knowledge: and thus the right to ask the "Spirit", transcendental experience, as originally stated (Author's note).
- The text written in the CG Jung, is from - "Memories, Dreams, Reflections" - edited by Aniela Jaffé Biography of CG Jung, Page 234 - Library Universale Rizzoli - 1992


Tuesday, February 2, 2010

How Much To Renew Driving Licence

'Poems' by Dylan Thomas

Nicola D'Ugo

One of the legendary poets of the twentieth century, as estimated by Montale in English ("last bard 'Attilio Bertolucci called him), Dylan Thomas has been recently proposed, strictly with the text in front of the reader from the Italian publishing house Tea. It is, except a few additions, the translations of Robert Sanesi increased several times by Bloomsbury Publishing since 1954, the year after the death of the poet, occurred accidentally ingestion of alcohol and drugs at the age of thirty-nine years.

Only twenty years had published his first collection of poems. Twenty-two the second. His main passions were poetry and women, the conversation and alcohol, and the fierce reading crime news. Shortly before his death he edited the collection key, and never translated in full, Collected Poems 1934-52.

Poet with the deep voice and charming, has left us a series of recordings of his readings that remain unmatched. What is striking is the condition of its apocalyptic tone, the voice cut into the bark of existence, the celebration of man adult climbing toward the heavens, the meeting of the two poles of attraction of English literature (sex and death), in testimony erotic evocation of childhood, child and prophet in the act of love.

Dylan Thomas reinvents the sound of the English lyric, subverts the imaginary current, make puns that are worth all the spark plug. His survey of human history, which so fascinated the young rebels and dreamers mimicking the famous photo in which lights up a cigarette, unfortunately, remains unexplored, and the translation, which have focused more Italian publishers, a strategy from time to time inadequate.

The merit of Sienese is historical and is about ready to import. No returns or the sound or at least syntactically a faithful translation to the original, despite having worked file for decades. So

In my craft or sullen art Exercised in the still night
(p. 84)

becomes:

; In my craft or sullen art
That in the stillness of the night army

lost in translation in addition to the sense of darkness "sullen" (dark, "with sensory and moral value), the '" Exercised "(" exercise ") which, as past participle, is-contrary to the subordinate clause of the Sienese" What in the quiet army of the night "- an indefinite time and deliberately linked to the image, later, arms around lovers' pains of age" ("the griefs of the ages') and 'towering dead," with reference to the castle Laugharne. Yet any translation, as if by miracle, it is impressive. As are those of Ariodante Marianne, published by Einaudi, and those rare Montale, Bigongiari and Giuliani. Some lyrics are currently available only in this old translation of Sienese, where there are added some new songs. A good introduction to the work thomasiana book, with a number of inaccuracies for the exegete, as an indication of copyright.

[posted in: Events No IX/32, August 28 1996, p. 72 . ]



Bibliography:
  • Berryman, John , "The Loud Hill of Wales, in Ransom, John Crowe (ed.), The Kenyon Critics: Studies in Modern Literature from the Kenyon Review , The World Publishing Company, Cleveland, OH, 1951 , pp. 255-258.
  • - ' between modernism and postmodernism. Reflections on the poem by Dylan Thomas " Praz!. Arts & Literature The , No. 1, June 1994, pp. 31-43.
  • 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.
  • Montale, Eugenio , 'Readings', in Id., The second craft. Prose. Vol 1, Mondadori, Milano 2006, pp. 1706-1707.
  • Sienese, Roberto , Dylan Thomas, Garzanti, Milan 1977 .
  • Thomas, Dylan , Poems , Tea, Milan 1996 . Edited by Roberto Sanesi.
  • -, Portrait of the poet through the letters , Einaudi, Torino 1970. Edited by Constantine FitzGibbon.
On the Internet:

Sample Wedding Seating Charts Order

'The prayer book' (edited) by Enzo Bianchi

Nicola D'Ugo

What is the point today to pray? Just to say, as Enzo Bianchi, editor of the book, that "prayer is primarily a human phenomenon" and "for this very surprising that even today the fact that they pray will inspire many suspects, because they may be interested in prayer to the point elevate a status of "genre" literature? Is it not a "fact" essentially human even say bad words, cursing, slander, defame, vilify? And, again, is not essentially invented human major destructive devices that have marked the history of this century?

The relationship between poetry and prayer, felt by Enzo Bianchi in his brief introduction, it moves from the distinction between magic and prayer, to the exercise power through the Word and the recognition that "... instead of prayer in all its forms expresses the non-availability of existence, its not be immediately usable by man, says that life is the presence of an Other. " But a fine expert of biblical texts, the Canadian Northrop Frye, indicated just in the differentiation between poetry and magic, through the character of the poet between the universe and the other men.

What is lacking in most of these prayer-poems is the opening, the aperture to another that is not the Other, to the reader, who is an obsolete rhetoric in a large number of these compositions, many of which, since the work of poetry, are being poorly translated. The most convincing of this sort of anthology of prayer monotheistic Christian, Jewish and Muslim sacred texts appear the three religions were founded. Other major points of this collection two hundred and two compositions (dall'atavicità of sacred texts to the present) consist of the most famous poets of the vast literary universe, such as Rainer Maria Rilke, who, mind you, puts you in the role of an intermediary fryeiano, the one who does not pray for himself but for others.

Sorry not to find the most extensive form of prayer, which could have included in the review of the delicate and heartfelt words of "Prayer" by Giorgio Caproni, narrow in thought or rondo from small maze of hope. Then we can feel the lack of Eliot's great opera, from Ash Wednesday to "The Journey of the Magi" and "The cultivation of Christmas trees," sections more closely "kind" of Four Quartets , which is the highest place of the twentieth-century poetry that speaks to the Other and the other, together.

[posted in: Events No X/23, 18 June 1997 , p. 68 . ]


Waxing Vids Uncensored

'Othello' by William Shakespeare

Nicola D'Ugo

A question that arises in relation to the translation of a classic of twentieth-century translations that abound on the need for a new translation. Man culture, and also to the reader, not interested in editorial matters only marginally, who want a publisher Feltrinelli in this case, publish the entire works of a great writer of the past, in this case that Shakespeare, translated from distinguished scholar, Agostino Lombardo. He did so in recent decades with the translations of the Rizzoli Gabriele Baldini, opting for a solution, the prose, which, in some way, can leave the reader interdict the anglophone world, accustomed to rapid relay between blank verse and prose the English playwright, among the nobles speak in verse and prose betting jargon and slang and informality of the vulgar.

What the first poet, historian and literary critic and now always ask is based on the assumption that work and a work of translation should add something to progress towards a meaningful and a higher degree of significance. On these two principles of sensitivity and intelligence will play the big games that make an immortal work, and it is in the agony of survival that the translations mostly older and supersedes the original works at the time. And if he feels that only recently its importance in relation to the generally more popular, the novel is because it is the genre to be recent duplication and translation, still very low.

Another issue that affects the translation of a classic is given the penchant of some elements of the work to the detriment of others. It is what TS Eliot meant when he said that Shakespeare is one of Wyndham Lewis, as there is a Shakespeare of Coleridge and one of Johnson, an author is revisited, in various ages, from "critical imperfect" in a synthesis that at best, knows how to be more appropriate than any other taste, sensitivity, and the court's time.

The third question addresses the form of the work and its primary use, e in questo caso va notato che, trattandosi di un dramma, la destinazione dell’ Otello non è un libro ma un palcoscenico.

Tenuto conto di questi elementi, ci si avvede che la traduzione del prof. Lombardo punta su una immediatezza verbale, su una recitabilità e fruibilità altrettanto immediata dell’opera da parte dello spettatore, avendo a cuore i tempi di una battuta e il mezzo fisico di un teatro. I versi e i dialoghi in prosa vengono mantenuti fedelmente secondo l’originale, privilegiando per i primi, a fronte del blank verse originale, non il corrispettivo storico, l’endecasillabo sciolto, ma versi liberi (solitamente giambici) a base endecasillabica (Lengthened or shortened), and a wise adoption of dell'accapo Luziana finesse. This, of course, to give the reader (and actor) as indications of break that will enable them to recite the text depending on the situation and the emotions that cross.

The result is a translation philologicallybased that from time to time, privileges the expressive effect, abandoning the pedantic respect of any given vocabulary. It is an example of how the learning of a philologist of the first floor can be of service to everyone.

[posted in: Events No IX/31, August 21, 1996 . ]


Wiki Pinky Adult Film

'Lazio unusual' Alberto Crielesi. The review

Nicola D'Ugo

no shortage of copious volumes illustrating the historic resources of Lazio. There are entirely dedicated to cities, villages, neighborhoods, individual buildings. And the more we hear tell, the more obvious the enormity of the gaps in our knowledge, the Adagio of huge shadows between the brief illuminations of detail, the episode, the particular.

If you think the twelve books composed the nineteenth-century anthropologist James G. Frazer to explain the myth of Diana at Nemi and the strange king who Dimir, one understands why Lazio unusual tried to tell us differently on areas where sediment has been the work of thousands of scholars. The myth of Diana, except a vague reference name day, the author tells us nothing, preferring to tell us that place in an "unusual", from the first century. AD forties to the present.

Crielesi The purpose of the book is actually to use up a knowledge of the places visited, either to grasp the most important aspects, then focusing the speech as a string in a characterization as petty, but rather to open in passing the windows of the survey, with winks and raised curiosity archeology and documentary sources, often very famous, most often by professionals. The taste for the arts means that the author does not compel within the thin language of the chronicler, but bears an aesthetic judgments about art works, of course, are not always and only art, but manufacturing and construction.

This operation smoothly and the place of narrative aesthetic evaluation in the adjectives ("elegant," "exuberant," "restless", etc..) Allows to get close to the places described as a traveling companion, rather than as a tourist.

[ you can download and read the story using original editorial by clicking -> scarica PDF ]

[pubblicato in: Notizie in... Controluce , n. VIII/1-2, gennaio-febbraio 1999, p. 17 . ]


Desert Eagle Airsoft For Sale

Man and Being in Dylan Thomas

by Nicola D'Ugo

Human essence, the essence of an individual that is first of all a being, is the starting point for a criticism that wishes to turn its attention to Dylan Thomas’s work. "Man be my metaphor" ("If I were tickled by the rubs of love") is an expression that literally taken implies a split between man and being, an ideal differentiation that permits us to settle in the Welsh poet’s wide scenery, made of differentiated quick glances, of "dry worlds", "hills", "trees", "glow-worms", "oil", "seeds", "girls", "all" and "nothing".

To be an individual apart and separated from his flesh, a being ahead of his own birth and with his own course somehow already predestined, has meant to Dylan Thomas a way of planning his life, a way of conceiving the world and his own work as a great recall addressed to the entire mankind. Born in Swansea (South Wales) in 1914, he died at thirty-nine in New York in November 1953. He was not, and never wanted to be, an isolated poet, a solitary man, one of those writers that demonstrate a sort of modesty towards literature. This may appear in contrast with his exclusion from the minor or major literary movements of the twentieth century, but is not in contrast at all with the idea of a public literature, addressed to the audience and read aloud. Neither the idea of a retro and traditionalist poet can properly fit the bard of Wales and of the whole world, as he longed to be considered. Such an idea would be in contrast with his interest in cinema, radio and television. Under Milk Wood represents the high awareness of the radio play, with its characters not only set into the night and darkness, but also followed step by step into their own dreams, into the laconicism of their more intimate thoughts, so going beyond the social appearances, bringing light, sun and clarity into the shifting of the unity of time and place of the narrative. Facing the problem of writing a radio play, Thomas’s answer started from the means and the audience, from a means that couldn’t have anything broadcast but mere sound to an audience that couldn’t have seen anything but the images contained in the medium of words. It is not strange to note that in the two most important radio plays ever written in English, Under Milk Wood and Samuel Beckett’s Embers , blindness of night and sleep, or of illness, guarantees a reception of the play which meets the momentary sensorial condition of the listener. This is the beginning of Under Milk Wood :

    [ Silence ]

    FIRST VOICE ( Very softly )

    To begin at the beginning:

    It is spring, moonless night in the small town, starless and bible-black, the cobblestreets silent and the hunched, courters’-and-rabbits’ wood limping invisible down to the sloeblack, slow, black, crowblack, fishingboat-bobbing sea. The houses are blind as moles (though moles see fine to-night in the snouting, velvet dingles) or blind as Captain Cat there in the muffled middle by the pump and the town clock, the shops in mourning, the Welfare Hall in widows’ weeds. All the people of the lulled and dumbfound town are sleeping now.

Dylan Thomas used darkness very often in his writings. Darkness is the synonym of "nothingness" and "antecedence", "where the maggots have their X" ("From love’s first fever to her plague"). It is employed so often that Dylan Thomas recurred to variations of it and its associated concepts as synonyms, such as "dark" and "blackness", as is the case of "innocent dark" and "guilt dark" ("This Side of the Truth") as well as "bible-black", "sloeblack" and "crowblack" above, in which "bible" reinforces the concept of atavic and divine blackness (a sort of blackness of the origins) and not only bookish (bible) and religious in a deteriorated sense, contributing to form extensive subsets from one concept (so as to give different tones of the same colour and different sentiments and feelings to each). And he arrives as far as to give a symbolic significance to dark and light in "Dark is a way and light is a place" ("Poem on his birthday"). This is possible by employing, as we can see, those neological combinations that make most of Dylan Thomas’s poetic language. This need of altering the canonical language, the langue with its prerogatives of being both social and natural, coincides with the idea of parting the being from man. The subject knows that his/her approaching man generates a new condition to him/her, caused by the transition from unity to plurality, as the poet puts it in "From love’s first fever to her plague":

    And from the first declension of the flesh
    I learnt man’s tongue, to twist the shapes of thoughts
    Into the stony idiom of the brain,
    To shade and knit anew a patch of words
    Left by the dead who, in their moonless acre,
    Need no word’s warmth.
    The root of tongues ends in a spentout cancer,
    That but a name, where maggots have their X.

    I learnt the verbs of will, and had my secret;
    The code of night tapped on my tongue;
    What had been one was many sounding minded.

    One womb, one mind, spewed out the matter,
    One breast gave suck to the fever’s issue;
    From the divorcing sky I learnt the double,
    The two-framed globe that spun into a score;
    A million minds gave suck to such a bud
    As forks my eye;
    Youth did condense; the tears of spring
    Dissolved in summer and the hundred seasons;
    One sun, one manna, warmed and fed.

We can observe with some profit the double value of the adjective stony , in that it means the monumentality, the establishment, the social and political rules to which a society must refer; at the same time stony refers to the tombstone, the grave, death as a predestination of the being, and "stony idiom" becomes also an epitaph, not only a regulated language, a social behaviour. The former meaning is also affirmed by "to twist the shapes of thoughts", whereas the latter fits with the individual biology that Thomas represents with the use of "flesh" and "brain", "womb", "mind", "breast", "fever" (body and mind are the two parts that a person is made of, according to Thomas epistolary with Pamela Hansford Johnson).

The whole language of Thomas is made of these multivalent terms. If the semantic value has manifold interpretations, this does not mean that it is ambiguous or contradictory. In the rare cases we find a contradiction in Thomas’s works, it always happens to be Thomas’s choice. It’s never a case due to sound overwhelming the semantic level of his poetic language.

One is induced to believe that Thomas’s writings lack somehow relevant meaning. One believes that the strong sonority of his texts, the alliterations he put in his pages, almost quibbling one with the others, have been the cause and inspiration of most of his scripts. Such an opinion is false, and meets contrary opinions by a more meticulous analysis of each text and those of his letters as, for instance, The Collected Letters , p. 327-8 (Letter to Vernon Watkins, October 14 1938). In that occasion Thomas explains why he puts "devilish" instead of "small", "turbulent" or "fugitive" in "The tombstone told when she died" (see also The Notebook Poems 1930-1934 , pp. 161-3). For what concerns Thomas’s reflections on the relation between content and images, there’s much on the subject in his epistolary to Pamela Hansford Johnson, especially for what concerns delicate questions of the Thomasian criticism, for instance the pararhyme use in the strophes of Thomas’s poetry. It does not seem necessary then to face the question in this article.

It is interesting to note that moving from a gloomier poetry to one closer to polychromy, from a sort of nowhere to a environmental setting more and more underlined, Thomas’s writing has always remained complex, or at least articulated from a semantic point of view.

Not only in "Fern Hill", but even in "In my Craft or Sullen Art" that appears to have a simple structure, our interpretation must be very careful. One may wonder why, for instance, he writes:

    I write
    On these spindrift pages

and:

    I labour by singing light
    . . . for the common wages
    Of their [the lovers’] secret heart

when:

    . . . the lovers, their arms
    round the griefs of the ages,
    . . . pay no praise or wages
    Nor heed my craft or art.

What appears as an oddity represents the poet’s activity, his social function devoted to man, which has often brought critics to twist their own mouths when they read the note in the Collected Poems 1934-1952 :

These poems, with all their crudities, doubts, and confusions, are written for the love of Man and in praise of God.

What sounded faked in Thomas’s dedication was the contrast between a poet who loved to drink and chase women and this odd "love of Man". Reading Thomas’s lyrics, whose private life has been investigated as very few writers in this century, does not let appear much of his use of alcohol, excepting "This bread I break" read at least with some Dylan Thomas biography at hand.

Those critics though had better explain where does such a curiosity on topics not included in his lyrics comes from, related to an author that has been able with few others to write of the most daring subjects, laying himself open to criticism. Not in his letters, in which we find a serious young poor man with his wife and a couple of children to feed somehow, concerned or humorous, taken by his daily problems and by his reflections and expectations from the world.

At any rate, we can say though that "In My Craft or Sullen Art" deals with three main topics: death, sex and poetry. The poet writes for the lovers because he writes for society and its members. At a certain point in their life those people will become "lovers", at another moment they shall be "dead". In both cases they’ll meet a condition wherein there’s no room and no need for reading poetry, and wherein there’s such a concentration of birth and death, of origin and return to the origin (actual death and pre-conceptional activities) that they will have momentarily no need of a social language shared by an entire community (it does not seem that lovers use a very social language; in their stammering, cooing and reinventing their echolalia and glossolalia, they put meanings in which the tonal values replace the articulatory ones, forming a very efficacious private code wherein concepts of daily use are substituted by those of mutual appreciation or displeasure, mutual understanding, intention, agreement). For such a reason the images of "the towering dead" and that of "the griefs of the ages" appear in the poem. One more reason for their appearance is the sense of copulation, its touching a sphere of pre-birth, its being on the verge of copulation. The apparent contradiction of :

    the lovers . . .
    Who pay no praise or wages
    Nor heed my craft or art

is thus resolved in their being the emblem of life, reproduction and "love" of the introductory note to the Collected Poems , engendering a series of well-defined concepts, although they are expressed in an articulate manner.

It has been often said of the apocalyptic language of Thomas. He mainly adopted a Biblical style, and not necessarily apocalyptic. And he was very conscious of it. It wasn’t a momentary thematic adoption, like that of "Vision and Prayer". Christ often makes His apparition in Thomas’s texts, and represents a prefiguration of the Christian poet, since the latter cannot be a prefiguration of the advent of Christ any longer as was the case of the pre-Christian poets, prophets etc. Nevertheless he can be the prefiguration of the Second Advent, of when we will see God "facie ad faciem", according to Paul’s epistle to the Corinthians.

The exclusion of Thomas from the literary movements of the twentieth century is accompanied by a conception of Christianity completely apart from churches and institutions, with no value dictated by any man, by any institutional interpretation of the Holy Scriptures. "True poet" as he was, to use Blake’s expression on Milton, he couldn’t but converse directly with God, and be his instrument. There are many passages in Dylan Thomas’s works wherein we can observe his awareness of the importance of a Biblical language, from "It was my thirtieth year to heaven" ("Poem in October") to "I open the leaves at a passage of psalms and shadows" ("Over Sir John’s hill"), "Hymned his shrivelling flock" ("A saint about to fall"), "After the first death there is no other" ("Refusal To Mourn the Death, By fire, of a Child in London").

But Thomas’s language does not bow to a religious institutionalised creed, as was the case of T. S. Eliot. His intention was to reinterpret the language of the divinity directly, and redraw a new language accordingly. Passages such as Under Milk Wood ’s "the sloeblack, slow, black, crowblack" or the various puns in "Over Sir John’s hill" and "A Winter’s Tale" are glossolalia hints, spoke to or from a God, a divinity tongue that creeps into the text to put itself aside after few suspended syllables, hung in the air like the hawk flying over Sir John’s hill before and after the syllabic deflagration of:

    . . . a black cap of jack-
    Daws Sir John’s just hill dons . . .

to continue in the reaffirmed birds’ scattering flight on the same line:

    . . . hill dons, and again the gulled birds hare
    To the hawk on fire, the alter height, over Towy’s fins,
    In a whack of wind

so that the language of the community re-emerges and flow, here scattered, in the slaughtering scenery. Each word then appears in its own repeating sonority, and for a moment we feel the suspension of time, before the language takes possession again of an earthlier where and how, urban or rural as it may happen to be. Here is the voice whereby a poet does not say what to do, but judges with concern and deprecation, or utters his benevolent praises to the people and on the events. This is the poet’s role, the great mass-communicator, the witness that is also a reporter, attentive to what events are in everyone’s eyes, and in the newspaper columns.

"After the funeral" is a sort of manifesto. By the following passages one can also understand better what the "labour" of "In my Craft or Sullen Art" actually means. The poem is dedicated to Ann Jones (it’s not relevant to know that she was the poet’s aunt), a moment after the funeral:

    . . . [H]er death was a still drop;
    She would not have me sinking in the holy
    Flood of her heart’s fame; she would lie dumb and deep
    And need no druid of her broken body).
    But I, Ann’s bard on a raised hearth, call all
    The seas to service that her wood-tongued virtue
    Babble like a bellbuoy over the hymning heads,
    Bow down the walls of the ferned and foxy woods
    That her love sing and swing through a brown chapel,
    Bless her bent spirit with four, crossing birds.
    Her flesh was meek as milk, but this skyward statue
    With the wild breast and blessed and giant skull
    Is carved from her in a room with a wet window
    In fiercely mourning house in a crooked year.
    I know her scrubbed and sour humble hands
    Lie with religion in their cramp, her threadbare
    Whisper in a damp word, her wits drilled hollow,
    Her fist of a face died clenched on a round pain;
    And sculptured Ann is seventy years of stone.
    These cloud-sopped, marble hands, this monumental
    Argument of the hewn voice, gesture and psalm,
    Storm me forever over her grave until
    The stuffed fox twitch and cry Love
    And the strutting fern lay seeds on the black sill.

Here the poet is a witness of the funeral and is mindful of what Ann was like when she was still alive. The love language and the funeral language are intertwined, the event (Ann’s death and funeral) and life expectations (the life return onto the cemetery) exchange their centrality up to the last two lines, "call all" gives a light hint of glossolalia suspension, nature steps in from its deadly stillness, the poet reports the event to the living and calls for a return to life, so disclosing his human hope in the resurrection of the dead.

Hope assumes a central value in "The Conversation of Prayer". For two reasons: cyclicity and experience. What is relevant here is the cyclic condition of human experience, translated into the dislocation of two beings whose need to communicate with God has a different motive. Age gives man merely a different situation he must face at a certain moment of his life, since situations may change into what is already waiting for man in potentia . The game of death and life develops "in the dark" and on the sound of prayer. To the horizontal movement of the child corresponds the vertical movement of the adult, to a "bed" corresponds a "stair". As if suggested by a nightmare or imagination, the child’s thought expressed by his prayer "climbs" in his sleep, entering into a vertical movement wherein he immediately begins to "drown in a grief as deep as his made grave" till he himself has to ascend the "stairs to one who lies dead". Situations swap. Joy, sorrow and indifference elude the expectations. The predestination of the "grave" is not the only leading and meaningful element, there remains a "dark" in which things have to happen, in which they have to move somewhere. So "grief" does not mean simply a predestination in effect, but only in a general sense, in so far as it is a sentiment without a specific concept of objective life, without having any certainty that the lover is still alive or not. In this generational transformation there are the same elements that characterise "I dreamed my genesis". The journey of experience moves in the dark waiting for an answer, and predestination waits man, since his childhood, at the bottom of the road. Not everything is predestined as death and copulation and birth. Beyond this logic there remains the love of "Love in the Asylum", with its:

    Taken by light in her arm at long and dear last
            I may without fail
    Suffer the first vision that set fire to the stars.

The metaphor of man assumes all the forms of a journey of the being worn with flesh—even a seductive, brilliant and beautiful flesh—and poetry becomes the medium of expression for the being led into a social contest by his human destiny and will, by his actual existence and uncertain becoming.

For excerpts and references see the following books:
  • Collected Poems 1934-1952 . New York: New Directions, 1971;
  • The Collected Letters , Ed. Paul Ferris. London: J. M. Dents & Sons, 1985;
  • The Notebook Poems 1930-1934 , Ed. Ralph Maud. London: J. M. Dents & Sons, 1985;
  • Under Milk Wood . London: J. M. Dents & Sons, 1985.


[published in: Englishes No I / 3, 1997 . ]




On the Internet:

Average Women Size Per Country

articles and essays that read a country. 'To live anywhere else' in favor of Sciara of the "The Bean"

Nicola D'Ugo

Christmas ciampinese Sciara is a poet who has become active in recent years with a series of local initiatives that relate to the literature. Through the Pro Loco ciampinese has conveyed teachers, writers, publishers, journalists and politicians to tell the authors of the last two hundred years, Italians and foreigners, and some reflections on the philosophical writings of authors are not strictly literary. live elsewhere (fragments of a speech community) is a collection of articles published by Sciara from the end of the eighties on several newspapers, including the historical ciampinese New Years.

Writing Sciara respects his way to meet the events of a community as fragmented as they are the "fragments" of the subtitle, with its citizens come from different regions of Italy first and then the world, that just you touch every day between a train and the other characteristic of commuting Local. Is the background of the desire to communicate the passion of a man who tries to give a reason of the scenarios that present themselves over the years, and love for art and poetry that is difficult to communicate to a communities exist, that does not communicate in any other way than in the sealed compartment of the buildings, walls, roads, bars, soccer fields and schools.

live elsewhere assumes a character diary, cleaned up to what's diary can not hold a newspaper, whose intent is not to write down their daily thoughts, but to communicate them to others, through sanding socialize linguistic expression and makes it suitable to scenarios of the reader. What emerges is a personal philosophy of life, a way of thinking that has nothing to ciampinese literarily accomplished, but the mutations that testimony of a local scene through the last two decades, recalling the reasons for their migration, similar to that of many other citizens, and the desire to make a common place to meet, according to the many initiatives that strives Sciara.

From this point of view, Experience elsewhere is an interesting document, slide reading. The book was published by the Office to Culture of Ciampino. The proceeds from the sale of the book is donated to "The Bean."

[ you can download and read the story using original editorial by clicking -> download PDF]

[published in: News ... Backlight, No IX / 1, January 2000 , p. 6 . ]


Monday, February 1, 2010

Clipart Littlest Petshop

Harold Pinter and oppression's closed rooms

Nicola D'Ugo

A Nobel Prize for Literature was awarded in these days to Harold Pinter. This is good news, given its extraordinary works of drama, which has few equals in a century. Add to this the news of his recurring theme: the invasion of domestic space, which is a metaphor for a struggle in which the other is not an equal, but a "similar" menacing.

Trained as an actor at the Royal Academy of Dramatic Art, before moving to acting in a prestigious Irish company, the English playwright Harold Pinter made his debut as the room with ( The Room) in 1957. His theater of the absurd (or comedy of menace), the linguistic registers that reproduce how to talk about the English social classes, stages the ongoing struggle of mediocre characters, taken from their daily needs, who commit petty acts, often incomprehensible. In his dramas are exposed situations seemingly trivial, funny and embarrassing, that border on the ridiculous, in light of the first paradoxes sewn on to that shred of existence that it pretends to be a dress suit them, before the past situations that emerge in the light memory space of a lost or obscured, gambling beliefs and intentions of a lifetime.

One of the great tricks of narrative and dramatic works is the mystery, the sense of danger, the initial misunderstanding that enlivens the curiosity of the viewer and reader. Dante knew this, with the opening of his terrified Comedy, Shakespeare knew it well with the ominous opening words of 'Hamlet , with the incredible sinking de The Tempest. Pinter is no exception. Its domestic situations since the beginning arouse a sense of strange curiosity, mystery, as are family environments (home, bedroom, kitchen, greenhouse, all distinctly British ), which then are nothing more than those of the plays of Osborne, Ayckbourn and Wesker.

This much is clear from the outset: the problem pinteriani character is not social, because the house is a metaphor, not the stage where most of the speeches a pulsating life outside. The mystery of Pinter's plays is the mystery of life, with its dangers, its threats, made particularly unpleasant from being all set in more familiar places. The family room is like a cell that wants to isolate itself, but it is continuously flooded, and which has a mnemonic component explosive. The theme of memory (a memory threatening) was dear to Beckett: Beckett, there are expansions in time, forgetting the most recent gestures that do not coincide with the growth of epidermal signs of time, in Pinter, the time is contracted to the press memories embodied by the 'Visitor' (theme Beckett, but, also, which seem Eliott), so that the experience erased by the apparent epoché biographical character explodes with all its devastating force in the precarious balance of life.

emblematic in this regard, it is ride home ( The Homecoming, 1964), with the return from her son, accompanied by his wife unknown. The problem of domestic space becomes a play, until the child in his career if he goes alone, while his beautiful wife is taken by the family, as the person most suited to the needs of parents, perhaps conquered and exploited, conquering and exploiting it may be, and in turn the victim and torturer, slave and mistress, for what is basically represented by the metaphor of the house is the man subjected to power relations situational forced to ongoing social struggle, a depredation of space and a subjugation of the behaviors.

There is much in this thesis pinteriana disturbing, and very similar to the behavior of middle-class ways of oppression and colonization of space and identity theft. Fiction in fiction, drama in the theater, characters that follow the trick of a life ever lived, but that has to deal with the memory of others, tricks and other forms. In Betrayal (Betrayal , 1978) is lighter than elsewhere, since the scenes back in time, allowing you to capture the paradoxes of guilt, the executioner who becomes aware of the victim, while the experience each traitor (love, friendship and commitments) to be unable to contain the sense of the actions of the protagonist, the sense of the actions of others (lucky this drama was brought to the big screen by David Jones 1983, for the interpretation of Patricia Hodge, Jeremy Irons and Ben Kingsley).

Verbal violence is another feature of the work of Pinter, and acts as a relief to the linguistic and psychological and physical threat, as in the interrogation of The nightcap ( One for the Road, 1984). Sweetness, tenderness, threats, swear words, passivity, aggression, verbal insults are juxtaposed marking the strengths and weaknesses of the characters in their daily struggle, features that are found in the wonderful film by Joseph Losey's The Servant ( The Servant, 1963), scripted by Pinter, in which the attraction has a central role.

The exclusion of the other (El'autoesclusione himself inside the house), as has been noted, a theme that Jewish culture, and Pinter was born in London in 1930 to a Jewish family, re-use both hands, even reversing the situation, as it Birthday (The Birthday Party , 1957), in which two dark figures identify the home of the hero and try to take away with him out of the house, which belongs to the community. Walls sealed in the city and country divisions, autoghettizzazioni, exclusions from its own space through the plays of Pinter, making them of great interest, because they describe a culture (the characters) that extends the great issues of today, the work places of power, of the evolutionary differences of nations. How distinctly Jewish is the theme of a past that comes back pernicious, exclusion, elimination of the other.

Pinter's The themes are supported by a formal rigor that has few equals in contemporary English literature and drama in the highly successful British tradition. The use of a common language, cut the social types, which nevertheless produces sudden sentenzialità and manages to be crisp, the interlayer of the silences between the beats, the intimate dialogue scenes, the persistence of breaks congenial: far from reach alla denuncia sociale di Bernard Shaw, al lirismo visionario di Samuel Beckett, alla critica “epica” di Bertold Brecht o al grottesco di Tom Stoppard, ne sono la più equilibrata sintesi, con un dosaggio dei diversi meccanismi drammatici che fanno di Pinter un classico. Questo Nobel va a uno dei più grandi interpreti del Novecento, senza il quale verrebbe meno una storia letteraria, a prescindere dal Nobel stesso.

[ puoi scaricare e leggere il racconto nel formato editoriale originale cliccando -> scarica PDF ]

[pubblicato in: Notizie in... Controluce , n. XIV/11, novembre 2005, p. 30 . ]