By Giorgio Agamben
The writer offers "literature" as a collection of formal or linguistic genres that debate or advance theological concerns at a undeniable distance from the discourse of theology. This distance starts off to seem in Virgil and Ovid, however it turns into decisive in Dante and in his choice to put in writing within the vernacular. His vernacular Italian reaches again via classical allusion to the Latin that used to be in his day the language of theology, however it does so with a distinction. it truly is no twist of fate that during the Commedia Virgil is Dante's guide.
The booklet opens with a dialogue of simply how Dante's poem is a "comedy," and it concludes with a dialogue of the "ends of poetry" in numerous senses: enjambment on the ends of traces, the concluding traces of poems, and the tip of poetry as a style of scripting this kind of literature. after all, to have poetry "end" doesn't suggest that folks cease writing it, yet that literature passes right into a interval within which it's taken with its personal finishing, with its personal bounds and boundaries, historic and otherwise.
Though many of the essays make particular connection with a variety of authors of the Italian literary culture (including Dante, Polifilo, Pascoli, Delfini, and Caproni), they go beyond the confines of Italian literature and interact a number of different literary and philosophical authors (Plato, Aristotle, the Stoics, Boethius, the Provençal poets, Mallarmé, and Hölderlin, between others).
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Additional info for The End of the Poem: Studies in Poetics (Meridian: Crossing Aesthetics)
Ren Love inspiresme, takes word, and goessetringit forth after rhe type which he dictates inside of me. ")8 the following rhe "I" of the poet is from the start desubjectivized right into a everyday un("one"), and it's this zzr(somethingmore-or less-than the "exemplary common" of which Caproni speaks) that, within the dictation of affection, experiencesthe indissoluble uniry of lived experienceand what's poericized. The solidarity of poetry and existence doesn't have a metaphoricalcharacterat this point. On rhe contrary,poetry mamersbecausethe person who reviews this uniry within the medium of languageundergoesan anrhropological changerhat is, in rhe context of the individualt usual background, every piece as decisiveas was once, for the primate, the liberation of the hand within the erect place or, for the reptile, the transformation of limbs that modified it right into a chook. Thke the mythical cycle of Wrsi liuornesifor Annina Picchi in Capronik Il semedelpiangere. V/hoever isn't really totally insensitiveto the issues and tradirion of poetry will stay astonishedat this awesome resurgenceof the Sicilian cAnzonettaandCavalcantl'sballata within the social gathering of the "splendid invention" (Mengaldo) of an amorous relation with a mother-maiden. One can't, even if, graspthe poeric job rhat is fulfilled right here so long as one considers this poetry within the conrext of the psychologicaland biographical query of the incesruoussublimation of the morher-son relationship-which is to say,aslong as one doesnot recognizethe anthropological changethar takesplace in rheseverses. For right here there are neither figures of reminiscence nor even amor de lonh. Rarher,love, in a type of temporal (and for that reason nor only sparial, as in rhe Dolce Stil Novo poets) shamanism,encounrersfor the 1st timeits Expropriated demeanour 9t lor. 'eobject in over again. the reason is, there could be no hint of incest:the mom is actually a woman, "a cyclist," and rhe "berrothed" poet actually lovesher at frst sight. during this sense,Capronit guy belongs to another phylon from the fellow of Oedipus: jumping in a single sure over the lugubrious chronological order of the relations, tlre edict of Wrsi liuornesiannouncesthe finish of Oedipus and the incestuousfamilr. '. Vhoever continues,when confrontedwith this poetry, to speakin phrases of incest and psychologycannot yet play rhe a part of the exemplary critic who, with nowhere to move, lingers over the useless railway song of poetic anthropology. accordingly the bad retrniting of the 2 figures advert portam inferi, whilst the woman endsby confusingherselfwith the oedipalmother and searches in useless for the keysand the hoop she can't have. The infernal threshold right here doesn't quite a bit mark rhe passagefrom the reign of the dwelling to that of the useless because it marks the purpose of fusion, within the residing furnace of poetic fantasy,at which the rwo passthrough one another. The loss of life oFAnnina Picchi, precisely like that of Beatrice,is no longer the loss of life of someone however the tremendouscollision berween rwo irreconcilableworlds. f'hese are thereforenot "family poems"ebut particularly, as within the poem to the son Attilio Mauro in Muro della terra, temporal inversions and phylogenetic exchangesin which kinfolk hierarchies turn into unrecognizable.