THE Twilight
The adjective "Twilight" was first used by critic and writer GA Borgese (1882-1952) to define the beginning of the poem twentieth century who sang more subdued and mundane aspects of everyday life, in fact it had abandoned the themes and language of the high poetry of D'Annunzio, but also differs from the work of Pascoli, who had loaded his poetic universe, made of small things "a strong symbolic value. twilight poets have never been a real "school", but the similarities in the themes and stylistic choices have led critics to identify them as a homogeneous group and to regard them as one of the vanguards of the twentieth century opera. The most significant exponents of the group are Corrado Govoni (1884-1965), who will arrive later to Futurism, Marino Moretti (1885-1979), Sergio Corazzini (1886-1907) and, above all, Guido Gozzano (1883-1916), that exert an important influence on later poets such as Eugenio Montale. The main features of crepuscular are:
- attention to an everyday reality often low profile and realistic environments and characters from the petty bourgeoisie;
- widespread skepticism about the real capacity of expression and communication of poetry in bourgeois society and the consequent rejection of the "poet's poet" D'Annunzio;
- 's abandonment of the language of the courtly tradition in favor of everyday vocabulary and a pattern of speech that draws almost prose poetry to "speak"
- in the face of this revolution in language, a strict adherence to traditional metrics, the rhythms in regularity of rhyme, in the choice of more traditional forms from the sonnet triplet;
- to these characteristics common to all poets must be added to the production of Gozzano, a smiling attitude of irony that is exercised in respect of all his poetic universe and constantly call into question the meaning and message of his lyrics
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| Sergio Corazzini, emotional desolation of the poor poet |
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| Sergio Corazzini (Rome 1886 - Rome 1907) is the poet of our literature Child, twenty-one died of tuberculosis. Many of his poems were written with a fever, between the outlets of blood and sweat beaded his writing of consumption. Corazzini is one of the rulers, along with Gozzano, the Italian twilight sky, with his lack of age and his small force - to tell the truth and taking more of a suggestion by the French Symbolists - has changed the landscape of our poetry of the century : free verse, mysterious symbolism objects, questioning the profession as a poet and high rejection of any action exhausted.
Corazzini 1904 to 1906 published the following poetry collections: Sweets, Rome 1904, seventeen lyrics. The bitter cup, Rome 1905, ten poems. The halos , Rome 1905, twelve poems. Little Book Needless , Rome 1906, eight of Corazzini and other poems of his friend Alberto Tarchiani. Elegy , Rome 1906, the composition of eighty verses. Paper for the evening of Sunday, Rome 1906, ten poems.
emotional desolation of the poor poet from Small book useless
I.
Why you tell me: a poet? I'm not a poet. I am only a little child crying. View: I have only tears to offer the Silence. Why you tell me: a poet?
II.
My sorrows are poor common grief. My joys were simple, so simple, that if I were to confess to you blush.
Today I think about dying.
III.
I want to die, just because they are tired, just because the big
angels on the glass windows of cathedrals make me tremble with love and anguish; only because I am, now, resigned as a mirror, melancholy as a poor mirror. see that I'm not a poet: have a child sad that he wants to die.
IV.
Oh, do not be surprised at my sadness! And do not ask ; I can not tell you that words so vain, my God, so vain, I would cry as if I were to die. My tears would air shelling of a string of sadness before my soul seven times painful, but I would not be a poet; would be, simply, a sweet and thoughtful boy whose happen to pray, as well as sings and how he sleeps.
V.
I inform you of the silence, every day, as Jesus And the priests are the noises of silence, then that without them I would not have sought and found God
VI.
Last night I slept with her hands on the cross. I seemed to be a small, sweet child forgotten by all humans, poor tender prey to the first comer; and wished to be sold,
to be beaten to be forced to fast to be able to cry all alone, desperately sad, in a dark corner.
VII.
I love the simple life of things. I saw how much passion peel off, little by little, for everything that was going! But you do not understand me and smile. And you think I'm sick.
VIII.
Oh, I'm really sick! And I die a little each day. View: like things. not, then, a poet I know that to be said, a poet, should live very different lives! I do not know, my God, than to die. Amen.
metrical structure: eight unequal stanzas of free verse (so that we can speak of discursive eight segments) The title sums up the general tone of sadness in the twilight poetry, understood as a simple expression of feelings and common experiences in a mood of existential angst. This state of mind, in the poetry of Corazzini, is divided into several stanzas, reflecting and taking special nuances here and there. In first stanza the poet turns to an imaginary reader, who says, mildly, not to call him a poet, because he is only a little child who cries and does not reduce it has to offer to tears Silence. The claim of "not being a poet" is not rejection of poetry in general, but it is a precise choice of poetry, is the refusal of traditional poetry solemn and pompous, personified by the poets "Vati" as Carducci and D ' Annunzio, and taste for a new poetry, made of simple and common feelings expressed in words in everyday use. In second verse the poet says his sorrows are common to all, its joys are so simple that would be ashamed and blush to confess, if he did. This means that he now has no interest in continuing to live at the point of death wish. The poet, who finished the second verse saying to think of dying, the beginning of the third certainly says he wants to die, because he is tired of suffering and why the angels painted in the windows cathedrals, suggesting the idea of \u200b\u200bthe world, inspire feelings of love and fear. Can not therefore be called a poet who wants only to die. In fourth stanza find a resumption of the initial reasons. Turning again to the imaginary reader, the poet urges him not to marvel at the sadness and not to seek an explanation, because he did not say that word in vain, so vain that any attempt to explain them would result in tears, as if he were to die. The tears are for him a kind of prayer, like the beads of a rosary in front of his soul seven times painful (such as the heart of the Virgin Mary wounded by seven swords), but not He was poet would only be a child all that life praying, singing and sleeping. In fifth stanza the poet says that he eats every day of silence, as the Christian Jesus feeds (communion). And the sounds of everyday life are the priests of silence, because they cause him to withdraw into himself and find God In the sixth stanza the poet says he stayed the night with hands on the cross (thinking to the figure of Christ) and that in his sleep he seemed to be a small child abandoned by all men, and wished to be sold, beaten, forced to fast, to cry all alone, desperately sad, in a dark corner. In the seventh stanza by a method dear to poets twilight, the poet contradicts himself. He had said to love the solitude and you want to cry all alone in a deserted corner, now says she loves the simple life of things, but as things fading, he has seen gradually dropped his passion for everything he touched. The reader can not understand this and smiles thinking that the poet is ill. Nell ' eighth stanza the poet says he is really sick and die a little every day, like all things die. That's why he is not a poet. To be a true poet must live a life very different (ie, be healthy, or you can also see an underlying controversy to the style of art and life in D'Annunzio), while he is really sick and does not know die. So be it, concludes the poet resigned using the known formula liturgical (Amen).
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