Al periodo1818-1822 belong to the Lyrics stampoclassicistico ( To Italy, On the monument to Dante, AdAngelo Mai, a winner in the game of football, the wedding dellasorella Pauline, Brutus lesser Last song of Sappho ) Daitem hours existential Now political and civil rights.
pensieroè The base of the fund of "historical pessimism" that characterizes the view leopardianain this time. The works of this period are animated by ideas acres polemic against the present age, inert and corrupt, incapable of heroic action, this controversy contrapponeun'esaltazione of old age, generous and magnanimous. The most significant is Ad Angelo Mai : In addition to this polemicacontro Italy and the nostalgia of old, there appears motivodel "dear imaginary 'and' graceful dreams', which are dissolved dallaconoscenza rational" true ", which only increases the sense of emptiness and Lanoie. Instead, in less Enell Brutus' Last song of Sappho , Leopardinon speaks in first person, but delegates the two personaggidell'antichità poetic discourse, both suicide, Brutus, the assassin of Caesar, and poetessagreca Sappho.
At the same time (1819-1821) Leopardi working on Small Idylls.
Etymology: lat. Idyllium , from the greek eidyllion poem.
• It originated classificatory activity of Alexandrian grammarians, poems that defined the idylls of Theocritus (third century BC.) Compositions intended as brief and humble. For the pastoral nature teocritea poetry, today the term refers mostly sketches, idealization in rural life. The greek romance (Moschus and Bion), influenced the Latin poets (Tibullus, Ovid , Eclogues of Virgil), while the atmosphere of romance provided some classic features of bucolic poetry, especially developed in the eighteenth century. In modern literature, composition of various kinds, with strong intonation and emotional calm.
The historical pessimism reached a turning point: the idea is outlined diun'umanità unfortunate not only for historical reasons, but for a condizioneassoluta. a very different character are the Idylls , both in the topics, intimate and autobiographical, is nellinguaggio, more conversational and clear simplicity. created by the imagination, from visual sensations euditive.
Leopardi idyllic landscape motifs are inspired by and autobiographical, and then folded in meditation, memories, feelings which he himself described as "situations, conditions, historical adventure" of the soul.
These are small paintings in which the poet describes his inner landscape.
They include Infinity and the moon. In these two poems are motividominanti: the theme of infinity, which is expressed in desideriodi go beyond the limit, to a pure immensity, towards an authentic and happy life, the theme of memory, which the dàall'uomo sense of continuity between past and present and glipermette to exercise the option gives the most important poetic, that is the imagination.
The Great Idylls or Recanatesi Pisan Cantos (1828-1830): A Silvia, Canto the night a wandering shepherd Asia, The recollections, Saturday in the village . In they occur: the memory of a bygone era, the poetry of the vagus edell'indefinito; leopardiano the topos of the interview with the moon, cosmic ilpessimismo it is "fatal to those born DiNatale" (Night Song). The Operettemorali
closed the season of the songs and romances, Leopardi begins with a poetic silence that will last until spring del'28. He complains the end of youthful illusions, it plunged back into an state of mind of drought and frost, which prevents any motodell'immaginazione and feeling. Intends to devote to this soltantoall'investigazione of ' arid true. " from that provision are born moral Operettas, almost all compostenel 1824, returning from Rome, after the disappointment suffered his first contact him in the reality outside the "jail" of Recanati. The moral Operettas are tales of philosophical argument. Leopardi viespone the "system" which he prepared, drawing on the vast material accumulatonello Zibaldone. But it exposes the systematic information, but through a series of great inventions, myths, allegories, paradoxes, fables, true song lyric prose. Moltedelle operettas are dialogues, whose partners are imaginative creatures, personifications, mythical or fabulous in other cases it is dipersonaggi historians, or historical figures mixed with weird fantastic beings. In some operettas proiezionedell'autore the main contact is the same. Even the aerial inventions are centered around core AITEM pessimism: the inevitable human misery, lack of pleasure, boredom, pain, materials cheaffliggono the evils of humanity. . In particular, they mark the transition from historical pessimism (as which the man and the reason is because dell'umanainfelicità) to cosmic pessimism (which, on the contrary, Nature reputala guilty of human suffering). Among these ricordanoil Dialogue of Nature and an Icelander , the Dialogue an Elf and a Gnome the Dialogodi Tristan and a friend. I grandiidilli
On May 2, 1828 Leopardiscrive from Pisa to his sister Pauline: "I did the verses quest'aprile but versiveramente old, and with that my heart 's once. " The long period disilenzio poetic ended. The poet attends to a "resurgence" of suefacoltà to feel, think and be moved. He returned to Recanati the end of that year, does not see the happy moment of creation even stop in the sixteen months of "horrible night" after his father's house. These compositions riprendonotemi, attitudes, language of the "romances" of the '19-'21: the illusions and lesperanze, their youth, the memories, pictures of life in nature borghigianae serene and spring, the suggestion of images and sounds vague eindefiniti, the clear language and music, far dall'aulicità bold dellinguaggio songs. These poems are not simply ripresadella poetry a decade earlier, experiences are placed in the middle decisive end to the illusions youth gained awareness of the "true", lacostruzione of a philosophical system based on a absolute pessimism. Lacaratteristica identifying the great romances siinstaura is a miraculous balance between two conflicting forces that should be, "the dear image" and the "true".
The ultimoLeopardi
Last season Leopardi, where it is dopoil '30 and after definitive expulsion from Recanati, marks a turning point Digrandi I note than the previous poem . Leopardi seems more orgogliosodi themselves of their spiritual greatness, and most ready fighting neldiffondere his ideas, polemically in opposition to the trends in dominantidell'epoca. The opening also occurs in human, interpersonal. Sitratta a profoundly new poetry, far from idyllic: ildiscorso no longer based on the images vague and indefinite, and there are no more illinguaggio clear that those images and music you sang, you have a poesianuda, severe, with almost no image maps, and there appear atteggiamentienergici, militant, heroic, and the language becomes harsh, unmusical, lasintassi complex and broken. The basis of such a poem puòin ecutions a real "new poetry", except that the vagus eindefinito, still followed in the season dei grandi idilli. La criticaleopardiana si indirizza contro tutte le ideologie ottimistiche che esaltano ilprogresso e profetizzano un miglioramento indefinito della vita degli uomini,grazie alle nuove scienze sociali ed economiche e alle scoperte dellatecnologia moderna; bersaglio polemico sono inoltre le tendenze di tipospiritualistico e neocattolico che si vanno sempre più affermando nel periododella Restaurazione. A queste ideologie Leopardi contrappone le proprieconcezioni pessimistiche che escludono ogni miglioramento della condizioneumana. Questa polemica è condotta attraverso varie opere. La Palinodia al marchese Gino Capponi è unasorta di satira di sapore pariniano nei confronti di una società moderna edella sua fede nelle social progress and technological achievements, which an ironical Laforme retraction ( recantation means "retraction")
Between 1833 and 1835 makes ilcosiddetto Aspasia cycle, including Amoree death, Consalvo, the dominant thought, if A stress Aspasia.
The poet was crushed but not resigned, he wants to claim Lasu dignity and greatness, so the love for Aspasia and the extreme attempt to assert his "right to happiness." They belong to the last year, after waiting forever piùansiosamente of death, which release dallesofferenze, The moonset (1836) and Laginestra (1836). This is the last poetic summa dellameditazione Leopardi is a messaggioagli men, that, in solidarity and fraternal sicoalizzino against the evil nature . Many reflections in the merged Leopardis Zibaldone (I ed. 1898): sitratta of notes on various subjects, from philology to politics, from literature to philosophy. In particular, there is explained to the applicant's theory of pleasure, that man has seun infinite desire for pleasure, which, as such, èirrealizzabile, so if you enjoy, it can esseresolo temporary as a result of a momentary cessation deldolore. The production is vast and problematic Leopardi, accompanying the evolution of thought of the poet who, in ultimianni of his life, despite the final fall of ogniillusione, says the human dignity and the desire diun'esistenza more stable and civilized. Cornerstone dellasua ideology remains epessimistica the materialistic conception of man, inevitably destined for unhappiness.
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