Italian literature: Encyclopedia II - Italian literature - Nineteenth Century and After

Italian literature - Nineteenth Century and After

At this point the contemporary period of literature begins. It has been said that the first impulse was given to it by the romantic school, which had as its organ the Conciliatome established in 1818 at Milan, and on the staff of which were Silvio Pellico, Lodovico di Breme, Giovile Scalvini, Tommaso Grossi, Giovanni Berchet, Samuele Biava and lastly Alessandro Manzoni. It need not be denied that all these men were influenced by the ideas that, especially in Germany, at the beginning of the 19th century constituted the movement called Romanticism. Nevertheless, in Italy the course of literary reform took another direction. There is no doubt that the real head of the reform, or at least its most distinguished man, was Alessandro Manzoni. He formulated in a letter of his the objects of the new school, saying that it aspired to try and discover and express ii vero storico and ii vero morale, not only as an end, but as the widest and eternal source of the beautiful. And it is precisely realism in art that characterizes Italian literature from Manzoni onwards. The Promessi Sposi is the one of his works that has made him immortal. No doubt the idea of the historical novel came to him from Sir Walter Scott, but he succeeded in something more than an historical novel in the narrow meaning of that word; he created an eminently realistic work of art: The romance disappears; no one cares for the plot, which moreover is of very little consequence. The attention is entirely fixed on the powerful objective creation of the characters. From the greatest to the least they have a wonderful verisimilitude; they are living persons standing before us, not with the qualities of one time more than another, but with the human qualities of all time. Manzoni is able to unfold a character in all partictilars, to display it in all its aspects, to follow it through its different phases. He is able also to seize one moment, and from that moment to make us guess all the rest. Don Abbondio and Renzo are as perfect as Azzeccagarhugli and II Sarto. Manzoni dives down into the innermost recesses of the human heart, and draws thence the most subtle psychological reality: In this his greatness lies, which was recognized first by his companion in genius, Goethe. As a poet too he had gleams of genius, especially in the Napoleonic ode, Il Cinque Maggio, and where he describes human affections, as in some stanzas of the Inni and in the chorus of the Adelchi. But it is on the Promessi Sposi alone that his fame now rests.

The great poet of the age was Leopardi, born thirteen years after Manzoni at Recanati, of a patrician family, bigoted and avaricious. He became so familiar with Greek authors that he used afterwards to say that the Greek mode of thought was more clear and living to his mind than the Latin or even the Italian. Solitude, sickness, domestic tyranny, prepared him for profound melancholy. From this he passed into complete religious scepticism, from which he sought rest in art. Everything is terrible and grand in his poems, which are the most agonizing cry in modern literature, uttered with a solemn quietness that at once elevates and terrifies us. But besides being the greatest poet of nature and of sorrow, he was also an admirable prose writer. In his Operette moralidialogues and discourses marked by a cold and bitter smile at human destinies which freezes the reader the clearness of style, the simplicity of language and the depth of conception are such that perhaps he is not only the greatest lyrical poet since Dante, but also one of the most perfect writers of prose that Italian literature has had.

As realism in art gained ground, the positive method in criticism kept pace with it. From the manner of Botta and Colletta history returned to its spirit of learned research, as is shown in such works as the Archivio storico italiano, established at Florence by Giampietro Vieusseux, the Storia d'Italia nel medio evo by Carlo Troya, a remarkable treatise by Manzoni himself, Sopra alcuni punti della storia longobardica in Italia, and the very fine history of the Vespri siciliani by Michele Amari. But alongside of the great artists Leopardi and Manzoni, alongside of the learned scholars, there was also in the first half of the 19th century a patriotic literature. To a close observer it will appear that historical learning itself was inspired by the love of Italy. Giampietro Vieusseux had a distinct political object when in 1820 he established the monthly review Antologia. And it is equally well known that his Archivio storico italiano (1842) was, under a different form, a continuation of the Antologia, which was suppressed in 1833 owing to the action of the Russian government. Florence was in those days the asylum of all the Italian exiles, and these exiles met and shook hands in Vieusseuxs rooms, where there was more literary than political talk, but where one thought and one only animated all minds, the thought of Italy.

The literary movement which preceded and was contemporary with the political revolution of 1848 may be said to be represented by four writers - Giuseppe Giusti, Francesco Domenico Guerrazzi, Vincenzo Gioberti and Cesare Balbo. Giusti wrote epigrammatic satires in popular language. In incisive phrase he scourged the enemies of Italy; his manner seemed very original, but it really was partly imitated from Branger. He was a telling political writer, but a mediocre poet. Guerrazzi had a great reputation and great influence, but his historical novels, though read with ferverish avidity before 1848, are now almost forgotten. Gioberti, a powerful polemical writer, had a noble heart and a great mind; his philosophical works are now as good as dead, but the Primabo morale e civile degli Ibaliani will last as an important document of the times, a,nd the Gesuita moderno will live as the most tremendous indictment ever written against the Jesuits. Balbo was an earnest student of history, and made history useful for politics. Like Gioberti in his first period, Balbo was zealous for the civil papacy, and for a federation of the Italian states presided over by it. His Sommario della scoria d' Italia is an excellent epitome.

After the year 1850 political literature becomes less important, one of the last poets distinguished in this genre being Francesco dall'Ongaro, with his stornelli politici. For details as to the works of recent writers, reference may be made to the separate biographical articles, and here a summary must suffice. Giovanni Prati and Aleardo Aleardi continue romantic traditions. The dominating figure of this later period, however, is Giosue Carducci, the opponent of the Romantics and restorer of the ancient metres and spiri who, great as a poet, was scarcely less distinguished as a literarcritic and historian. Other classical poets are Giuseppe Chiarini, Domenico Guoli, Arturo Graf, Guido Mazzoni and Giovanni Marradi, of whom the two last named may perhaps be regarded as special disciples of Carducci, while another, Giovanni Pascoli, best known by his Myricae and Poemetti, only began as such. Enrico Panzacchi (b. 1842) was at heart still a romantic. Olindo Guerrini (who wrote under the pseudonym of Lorenzo Stecchetti) is the chief representative of veriomo in poetry, and, though his early works obtained a succes de scandale, he is the author of many lyrics of intrinsic value. Alfredo Baccelli and Mario Rapisardi are epic poets of distinction. Felice Cavallotti is the author of the stirring Marcia de Leonida. Among dialect writers, the great Roman poet Giuseppe Gioacchino Belli has found numerous successors, such as Renato Fucini (Pisa), Berto Barbarini (Verona) and Cesare Pascarella (Rome). Among the women poets, Ada Negri, with her socialistic Fatalitd and Tempeste, has achieved a great reputation; and others, such as Vittoria Aganoor, A. Brunacci-Brunamonti and Annie Vivanti, are highly esteemed in Italy. Among the dramatists, Pietro Cossa in tragedy, Gherardi del Testa, Ferdinando Martini and Paolo Ferrari in comedy, represent the older schools. More modern methods were adopted by Giuseppe Giacosa and Gerolamo Rovetta. In fiction, the historical romance fell into disfavour, though Emilio de Marchi produced some good examples in this genre. The novel of intrigue was cultivated by Anton Giulio 13arrili and Salvatore Farina, the psychological novel by Enrico Annibale Butti, the realistic local tale by Giovanni Verga, the mystic philosophical novel by Antonio Fogazzaro. Edmondo de Amicis, perhaps the most widely read of all modern Italians, is better known for his moral works and travels than for his fiction. Of the women novelists, Matilde Serao and Grazia Deledda became popular. Gabriele d'Annunzio produced original work in poetry, drama and fiction, of extraordinary quality. He began with some lyrics which were distinguished no less by their exquisite beauty of form than by their licence, and these characteristics reappeared in a long series of poems, plays and novels.

Adapted from the Wikipedia article "Nineteenth Century and After", under the G.N U Free Docmentation License. Please also see http://en.wikipedia.org/wiki