Alfred de Musset by Ariane Charton

By Ariane Charton

'Un poète peut parler de lui, de ses amis, des vins qu’il boit, de los angeles maîtresse qu’il a ou qu’il voudrait avoir, du temps qu’il fait, des morts et des vivants, des sages et des fous : mais il ne doit pas faire de politique.'

Enfant negative du romantisme, Alfred de Musset (1810-1857) fut considéré de son vivant comme un météore qui n’avait jamais donné los angeles pleine mesure de son expertise. On ne voulait voir en lui qu’un auteur de comédies charmantes, de contes légers et de poèmes lyriques. l. a. Confession d’un enfant du siècle fut publiée dans une sorte d’indifférence : il ne chercha jamais à dissiper ces malentendus. Observateur désabusé d’une époque qui l’ennuie, il est pourtant celui qui dit le mieux le désenchantement de sa génération. Trop souvent réduit à sa réputation d’écrivain sentimental et à sa liaison avec George Sand, Musset est notre contemporain : parce qu’il position sa vie et son œuvre sous le signe de los angeles modernité et de l. a. liberté individuelle.

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Example text

Torn between Friulian and Italian, youth and maturity, religion and blasphemy, pedagogy and solipsism, repression and desire, innocence and guilt, self and self (Narcissus), he dons a series of overlapping masks throughout the poems of L’Usignolo and in the dialect verse of La meglio gioventù (“The Best of Youth”). The masks start to fall, however, and the process of self-­revelation begins in earnest with the poems written in 1948 and 1949, which coincide with his “discovery” of Marx and, perhaps more importantly, of Antonio Gramsci.

Looking back on that time, Pasolini would later write: Taken as it is, the Friulian of Casarsa quietly lent itself to being transmuted into a poetic language, utterly uprooted from the start from any custom of writing in dialect out of linguistic or folkloric interest [. ] . 22 But Pasolini did not look to preceding models of dialect poetry, either in Udinese Friulian or in other Italian dialects, for guidance in the sort of verse he chose to write. Despite his evocations of the agrarian world, Pasolini was not interested in writing “folk” poetry.

18 * “​ ivory hendecasyllable,”34 the “statue of poetics . . / eternally adult,” loves ​“only joy . . ” It is classical serenity itself. ” He will, in fact, become Art—but on his own terms. With its tortured discourse, its blend of cryptic allusion, confessional self-­reference, and overt Freudianism (“I have murdered my father with silence”), “Lingua” is something of a watershed in Pasolini’s early poetry in Italian. It treats a philological dilemma in personal, allusive, and psychological terms, marking at once a definitive break from contemporary Hermetic poetry—which shunned psychology and explicit subjectivism—and a violation of the very tradition Pasolini hopes to become part of.

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