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Fame usurped

Vittorio Imbriani! My absolute favorite writer. And for at least a number of reasons, not fixed. First language: it is about a half-pulled out of his vast collection of seventeenth-century texts (that baroque sometimes take you by the arm Spaccanapoli touring, without even realizing it), and half but it is also one of the allusive and less forked bellied sixteenth century, the language of bread to the bread and wine to wine, that of Chandler , so to speak (well known for comedy Imbriani having studied it thoroughly and have cared for an edition, but output posthumous), all seasoned and successful fighter of the ardor of the battles of the Risorgimento (he took part in wars and political struggles of the time and saw the heat turned on the warmth, the spegiudicatezza in opportunism: this effect is at least have made him the progress of the first national political season). Applicable to policy the same severity, wit, daring and fussiness that applied in his studies and critical language. A good example of this plot-critical policies can be precisely replicated from the writings in these usurped Fame, of which possess the edition published by Laterza Cross in 1912, which were published in 1877 by Imbriani. Feel like the present:

I named the volume Fame usurped . A birrichino of a pretazzuolo schiericato, I made a house of the devil on me, because I had used, in that I do not know versucciacci, Fame , plural of Fame . I had made use of that term compensatory measures and comforted by many examples of Petrarch and Boccaccio. So, instead of reciting the mea culpa , I welcome the opportunity to repeat the word on a title page, to show which takes into account the admonition of the scoundrel, and ignorant fools, who in s'impancano speak the language, not even read the senz'aver our best writers (p. 1).

The fierce controversy, with Mason, but also an intellectual who embodies a certain nineteenth-century liberal ideal (we do now that all those who speak ill of the priests do because Masons!), against the clergy, binds to and is linked, perhaps confused, with the ferocity of controversy philologist and critic of all forms of literary pedantry.

Moreover, the anti-literary pedantry is not fought with weapons of all new and positive language of science and sociology rising, but with the same muskets of grammar, vocabulary (variosissimo, especially in color) and syntax (fine and deep, almost unintelligible).

Another reason is the position of Imbriani respect to the reader: it always drags her by the arm, as is Hardy when he looks into the camera after one of the beautiful Laurel found. Imbriani is always seated next you: I asked permission to leave, you must say sorry if banal, asks if that place you've never been there, if you've never met one such person. A small example: after saying that the man is the object of all the unique and irreplaceable works of art in general, so there is a particular merit of a work that speaks of humanity, Imbriani attacks with a digression into a set of parentheses, which is voted by his own scholarship, which closes thus:

Salvator Rosa

[...] And if you took it with the booklet, which pointed to the iscena port of 'Aulis with a thousand ships! ...) What was I saying? I am distracted and I lost the thread. Ah yes! All men poetic [...] (p. 141).

And this is a critical and non-fiction.

Imbriani To understand we must not dwell too much on the novels, which include some of scapigliatura in the season, but reading the short stories, prose dry and free of psychological excavation of obscene and blasphemous tales he told and that, unfortunately, Milan has a wife bigoted mostly destroyed.

Read Vivicomburio the Frederick Schiller, the Three maruzze , the brilliant The petrified , or small autobiographical pages, short prose saggettini collected Stroll Roman (my favorite of these is trip to Monte Cassino), or Pompeii night. In these writings, apart from the content, what matters is the prospect of Imbriani, you do not expect ever (as he recounts the first sitting of parliament unit, only to underline the solemnity of the event is the fact that this Senator had not fallen asleep), for example, the idea of \u200b\u200bseeing Pompeii at night is already a surprising move.

But who are the protagonists of Fame usurped ? Well, maybe some names do not suggest much, but there is a real scoop: those who have usurped the fame are (in order of appearance), Aleardo Aleardi (poet and senator born in Verona in 1812 and died in 1878), Goethe (already own him, you got it), Giacomo Zanella (Vicenza priest born in 1820 and died in 1889), Andrea Maffei (Lombard poet and translator, born in 1798 and died in 1885).

Long would tell the filleted Imbriani of these authors, but of course that is worth trying to understand more about legal proceedings against Goethe and in particular against Faust, considered a masterpiece by Imbriani wrong. The essay (the 1865's, when he had consolidated his negative view of German culture, popular and much-admired first) offers the following basic ideas: the Italians praise and flatter by proxy, without knowing the objects of praise and flattery, the Faust is so little known Italian landmarks as the Mexican or harmony of the celestial sphere. The fame of Faust and its author precedes his knowledge. This is the default maximum of Italians, but they are also unbiased, because according Imbriani Italy, in terms art (but also of politics) is inert, is under suspension of all activities: participating in the cultural world simply judging. Art in Italy has already reached its peak, is now looking at what others are doing. Thus, at the same time, praise and exalt what is not known directly, but properly and judiciously assess what he knows.

The Goethe's Faust is a kind of hodgepodge:

After superficial examination, catches the eye of the reader, the Fausto Goethe almost be a vial, which contain Liquid weight specifically different, as if to say mercury, water and oil, which form three different layers by color and kind, and almost one of those 'flat furious that t'imbandiscono round tables beyond Germany, and' what are stacked heterogeneous foods: boiled, stewed pears and turnips, or sarcraut (which we would say in the vernacular: rotten cabbage), sommommoli Pezzuoli meat and fried herring. In Fausto , seeing: an epic, which has the 'alter ego sommommolo of a newbie, I represents the herring, and a legend, that ought to plug it in and take the place of the sarcraut ( p. 145).

That page! So Imbriani plays with complex matters and in a crushing blow: The dose of chemical that the scientist Goethe experienced for pleasure and conviction the poetic impulse, and the folk tradition, and all in the cauldron of bad German food.

course is wrong, and Imbriani Goethe right, but resize the pomposity of the great poet is not a fault of our el'avviso desecrator writer is clear: keep silent or, if you do not know what you mean, or only talk about what you know.

__________________________

Dall ' Warning of Benedetto Croce

unwelcome should be able to believe mo, these collections and reprints, which aim to spread awareness of an Italian writer, rather remarkable for the acuteness and severity of its guiding criteria for its peculiar physiognomy and style. Certainly Imbriani was not a critic nor tempered and peaceful display of popular ideas, and even I, that I have the honor in a long time and I have done his publisher, subscribe unreservedly (would not of purpose, the said) all in his judgments, or recommendations (including this statement would seem superfluous) the imitation of his expository method. Still, when in some reviews of the volume of Writings literary and bizarre satirical I happened to read the words of pious scandal to some of his sharp statements, or sympathy for him as for half crazy, a little 'smiles of recensenti ingenuity and a bit' me of little discernment sdegnai order was misinterpreted as an effect of mental imbalance whimsical artistic style of a lively intelligence, which deserves, in truth, readers will not pedantic.

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Parallel Lives

the friend Marina Winery, where he rested accommodation pending a hundred of my books, was invaded by the last week. A dozen small volumes are now lying ill on a rug and we, as librarians Florentine forty years ago, and seeing them take care of them. The first volume of Parallel Lives is reduced as you see it here, and I am heartbroken.

The six volumes of this fine edition of the "Modern Library Mondadori" have their little story (parallel in some ways). Had belonged to my father, and her death I had them transferred ideally in my small personal library (I was a kid and I had just started buying books). One day they disappear from their seats and end up on the bedside table my brother, avid reader, messy and omnivorous, unlike me, which I read carefully and patiently. Over time, the six volumes dematerialize, probably following my brother in his movements. I no longer news, but I still sort of regret, a twinge of guilt. Some years ago, turning to libraries, I find the reprint of 1965 (the first edition in 1958) and the purchase. I thought it was done, I am under the illusion that he repaired to the small loss (who knows why I considered this: in the end Plutarch relived my brother's house in his parallel life). Removals, changes in the city, lack of space led to a diaspora of my library (which now reached a nice consistency: many volumes remained at Cassino, and my children, several hundred are still in Naples, I finally left only recently, and most are with me and my wife in Milan, where I hope to find peace at last). Marina offers us the possibility of filing a part of the library in his basement, warm and dry. Until a few days ago when a broken heating pipe led to a cascade of hot water ... And so, finally, here is the strange dinuovo regret.

Del Plutarch I always liked the parallel the title, because it is a sort of statement of scientific historiography that strips the story of the literary part less attractive and relevant, from my point of view, the work of the biographer, that the psychological excavation, claiming to describe the human soul in its claim to self-consistency, which threatens to be deep, but often instead is reduced to a superficial network of actions and reactions. The historical dynamics of the individual is made by Plutarch through contrast, through an examination of the forces that animate analog in the same way different characters by making their choices and actions. The comparative biography, in other words, to be disposed to the story, leaving it bogged down in a fruitless attempt to diagnose soul.

The introduction of Charles Hull was helpful for me to understand some dynamics of the work and the author. The idea, in particular, strongly evocative of a time for me boy, which Plutarch lived in the doorway of that portion of land (within the borders of Boeotia) where history and mythology seemed united in the same fate (see p. 9).

If you read the opening words of the lives of Romulus and Theseus (the first forming the book) indicates that for Plutarch the story is how the geography, space and time, in some ways, I am a ' only dimension in which, therefore, human life is necessary and free: required because space is the element of physicality that binds individuals and companies to deal with basic needs, because free time is the place where the man imagines and constructs his head and imagination. Ancient history, says Plutarch, that of origins, is like a deserted area:

"As geographers, or Sossio Senecio, in representing the earth compress the outer fringe of maps of the areas which have only a vague knowledge, beyond that limit and write "Dune without water, wild animals," or "Marshes mysterious" or "Scythians, frost," or "frozen ocean", so I write in these parallel lives, where the time gap which can reach an understanding and likely to offer a sufficient basis for a story that you comply with facts, I can say about the earliest periods: what lies beyond this point is a wonderful and sublime realm, inhabited by poets and fabulous, uncertain or totally ignored "(p. 31).

And here's the thing. In this uncertain realm ignored and we are sure to find poets and fabulous beasts and uncivilized. Plutarch does not make the mistake of confusing our ignorance of the origins, with the ignorance of the origins who lived them. This error does not commit it because he's lived the door of the world-historical myth.

This idea has stayed with me in the head, and I finally found in Vico, for which the beasts were poets of the origins and history, as made by men, is the product of the mind, language, fantasy, poetic force that also innervates the reason of self.

________________________________

From the inside front cover the third volume

admiration that Parallel Lives have aroused great poets like Alfieri and Leopardi and the reasons that have drawn inspiration for Shakespeare and Corneille, testify The fame and the enduring vitality of the most distinguished works of Plutarch. By comparing the lives of great figures of Greek and Roman, the method disclosed by the rhetorical tradition, the author penetrates the soul of his characters to discover, through action, character and moral qualities. The screw not only constitute the largest collection of facts that has come from classical antiquity, but they also take a particular value for the nobility of their substrate and the ethical requirement of an absolute truth which they aspire. "I do not write stories but lives," says Plutarch in the introduction to his "Alexander", at the same time explaining why he ignores the facts of great importance, ignores history, do not undergo a thorough analysis of its sources. The writer and moralist affecting particular, the story is the piece of mind that reveal the man and his feelings of famous enterprises or large battles. These products therefore have a value for example, and as such attracted the attention of the modern reader, because their moral commitment, even if tied to a completely unrepeatable is alive and present in the seriousness of its intent and validity of its teaching.

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Pupils of the sun

I recently found a blog in a reflection of my brother Antonio about Giuseppe Marotta, the author of Students of Sun . My brother says Marotta has been forgotten and snobbish because the Catholic guilt that the mainstream community in Italy in the Sixties and Seventies has obviously not forgiven. I think my brother was exaggerating, because it is true that Marotta has been blindly pushed aside, but not as a Catholic, rather than as a writer with a genuine interest in the fate of small people, whose narrative vein sweet, charming, fun and detached, never prevaricating or be merry, was perhaps regarded as evidence of that form of provincialism that dominate the squares of Naples edifying or poor that was, with that characteristic imprint color of the landscape and anthropology Neapolitan. Clichés perverse and difficult to dispose of (and also to bear, now).

remains, little consolation for those who love Marotta as my brother (who has dragged me into this unconditional love), the satisfaction The children of the sun (perhaps even more than Gold of Naples ) have proven, and that all production of Luciano De Crescenzo, for example, would not exist even without the model Marotta: Bellavista is just a Federico Sorice a bit 'more evolved. Except that beats Sorice Bellavista in human energy, of which he is free because the son of another era. Sorice out winning for the increased seriousness with which you sew on the mythology and classical culture, trying to adapt well to Rosario Nepeta Don hump and horns of greengrocers Salvatore Cademartori, guappo and beak, two of the students moving and caretaker of the legendary Sorice, ascended the pulpit to the streets of Naples.

Dear Anthony Marotta of the trouble is that the literature has uncovered no noise, has reversed the epic melodrama in sociology and mythology without ads spectacular or cause some gullible journalist. It is supported by the left that has been lacking, but the support of television, and this is an advantage in the long run.

But we come to the book. The issue is that of Bompiani, 1952, I found a library in Naples a few years ago. I bought it to give it to my wife. It bears the following dedication:

"Dear Nazzaro, here's pupils your old pupil Giuseppe Marotta. January 1954 »

The one in my possession is the first edition, which followed, Only in 1952, two other well reprints: sign of the great success of this volume extrovert and intimate. Few now remember it, even if the title was later made famous by the Group of Grizzly .

I spent many evenings to read to my wife, Milan, Naples this book, just as we did for boys. We met three or four (my brother Anthony, who played the janitor Sorice), Franco (his friend actor, impersonator and follower of Eduardo De Filippo), sometimes Thomas (my companion endless adventures big and small) and I (which change character from time to time). Read and interpret Pupils of the sun aloud was a pleasure to walk a thin and continuous. Certain formulas of expression, certain absolute superlatives and some daring combinations make the language a form of baroque Marotta tamed and softened, which is precisely the language of Naples. An example:

"Who was that? Saturn? My children, that was without doubt constituted authority, an absolute ruler, a founder greek-roman who had created the world of that time when nobody even thought about! Before Adam and Eve, before Muhammad, Saturn come, look, see that there is neither heaven nor earth, says: "But this is a deposit or a customs?", takes off his jacket, takes off his vest and gets to work. Gentlemen, that in three days made the Hall and Thessaly and the globe according to ancient mythology "(p. 8)

How little it takes to transform ' erudition in invention!

What I find amazing, and a form of guarantee of immortality little of this text and its author, is that the same effect of participation, fun drama and emotion that this was unlikely to us fans actors, is now revived by a young Milanese who do not even know the existence of Giuseppe Marotta, before I filled the house of his books.

I, for my part, I will not stop identifying with the young Vincenzino, the telegraph delivery boy who is the youngest of pupils in the school janitor Don Frederick and like all young people was particularly attracted to the erotic elements of mythology . When he feels that circulate nude nymphs, Vincenzino questions concerned the master

"Nude, Don Federico, stripped naked?" (P. 16)

Domanda che mette a nudo, per così dire, il sublime fascino della natura idealizzata, della carnalità sognata. La spiegazione che don Federico fornisce come risposta non lascia dubbi in merito:

«Figlio mio, era l’epoca. Tu vai nei quadri e che vedi? giovani o vecchi, uomini o donne al naturale, bianchi e lisci, precisi come la mamma li fece. Tutta mitologia, mi spiego? la mitologia e la pittura sono speciali e non debbono dar conto a nessuno... tu anche oggi se vuoi pittare una bella giovane senza camicia la pitti, salute a noi, e chi ti dice niente?» (pp. 16-17)

In questo desiderio mitologico e pittorico, che da ragazzo condividevo with Vincenzino, I still recognize today, because what we actually hooked to this impulse to union with things, their gestures, their faces, with the earth. Vincenzino And I can still say

"Don Federico, I'd do me here, honored on the grass, an hour of absolute mythology" (p. 17)

To those who can read, this book, which collects the little lessons on Greek mythology Sorice caretaker to a group of semi-destitute Naples, is a profound treatise on the two cultures, civilizations on the union of the two instances of the nature and reason, the need to unite and not divide the ancient and modern, with the right human weakness, the sublime with the ordinary, the freedom with the need, with the massive ignorance.

This book, as well as being an enjoyable read and intelligent, is a must because it teaches that the true culture and participation and that the essence of human life always comes to the surface. In essence, the truth is like a sunny day: you can close the shutters, but a "Senga" (slit) of light filters always (I take the picture from my Well, my heart Eduardo De Filippo). This is, I think, more than just the exaltation of the Sun that educates and Paturnie frenzy of the populace, the ultimate meaning of the title Pupils of the sun .

____________________________________

band From the book:

A grocery store, a cobbler, a coal merchant, a barber, a telegraph messenger hear the former janitor who tells Frederick Sorice In its own way, the record of the horns of Jupiter and Juno, the triumphs of the wiles of Venus and Mercury. This happens in the streets, or boat, or on the walls of the garden, or at the fountain square in a remote, or front of a tavernelle of Saint Lucia, because the friends of the students are funny, evocative of myths, in fact, the magical southern sun. The trouble Tescione Don Alfredo, Don Antonio Pagliarulo, Don Rosario Nepeta, mingle with those of Minerva, Neptune, Hercules, in the game u smiling and bitter vivid contrasts: a further genuine "Gold of Naples" sparkles and tinkles in this new book by Marotta.