Pasolini
and poetry Haikai 1
Hideyuki Doi of Tokyo University in Florence
With the release of the last two Meridiani dedicated to the work of Pier Paolo Pasolini, sees the light for the first time a group of poems, entitled Haikai of rimorsi2: poems dated June 1949, then belonging to the last period Friulian (moved to Rome takes place seven months later). Haikai these were classified by the curator Walter collection sites within the Appendix to The Nightingale of the church cattolica3 published in 1958. Here we address the issue Haikai or haiku4, both in fiction and in Pasolini's poetic practice, expanding our discussion to the issues surrounding the giapponeseria Pasolini.
1. Haikai in the literary essays of Pasolini Pasolini
accessed for the first time at the end "Haikai" in 1943, when it comes out the review by Gianfranco Contini to the first collection of poems in Casarsa5 Pasolini Poems, in which the Japanese poetic form appears in the following context:
not [...] [Pasolini] attribute reading [...] of villotte (the villotta, always celebrating the D'Annunzio, Haikai in tone, "as soon as the dart and the flower, as soon as the kiss and the bite, such as hiccups and a smile" ) [...] 6.
Contrary to Contini, Pasolini villotta probably already knew - a quatrain rhyming octosyllabic alternates - by the anthology of literature Friulian edited by Bindo Curlew, then widely nota7. It, "between the Italian folk songs more concise and profound," 8 represents the originality of the popular song from Friuli. In 1942, Pasolini plaquette apply the formula of villotta some works such as Rain on the borders and by Lis litanis biel fi, equipped with rhyme schemes organized more rigorously than the other poems.
The examples are not, however, Pasolini monostrophic (poetry Lis litanis is divided into three parts and covers only the third villotta meters) as opposed to the original meter, and are not as explicit applications of villotta. Therefore, it is valid comment Contini, according to which Pasolini not be placed locale9 tradition, then this instruction determines the position of the provincial anti-Friulian poet Pasolini, described by critical félibre, restorer and rehabilitation of a minor literature. Most probably, therefore, the poet focuses closely on the above quoted sentence suggests that the combination of the villotta Haikai.
the mid-forties Pasolini cites Haikai form in a job. During the preparation of the thesis delivered in the autumn of 1945 under the title Anthology of opera pascoliana10, he consults an essay about the 1935 Aldo Capasso "myricae" pascoliane11 and extracts the following sentence:
These are very positive Haikai Pascoli, which would be nothing short anticritico confused with those others where, instead of one large unit synthesized in a few taps, there are really special, isolated, and as such only in the Beautés de détail lirica12 theme.
This definition, which in the original text refers specifically to the poem Orphan, is given by Pasolini extended to other examples such as The Day of the Dead, The Last walk etc or nuncio. He gets some suggestions from Capasso, such as the position contrary to the Cross, which carries harsh criticism but also ambiguous on pasture, as can be seen in vivid comment: "Odi et amo '13. Thus, in the essay Giovanni Pascoli, Cross says:
And the sketch has its appeal, and also its completeness: almost a completeness of incompleteness.
I share that in the first Myricae Pascoli only has the calm of the artist. But it must be fully aware of what is emerging, and which is neither more nor less than this: that the best of the pastures and reducing it to fragments in its elements dissolve in costitutivi14.
idealism of Croce, however, which suffered of late Romanticism, the fragmented nature of the poet can not non mostrarsi negativa: «Che cosa sono quelle poesie? Sono pensieri sparsi, schizzi, bozzettini [...]»15. Capasso, dal canto suo, decifra la «compiutezza dell’incompiuto» enunciata scetticamente da Croce, ponendo l’accento sulla prima parte del sintagma – la compiutezza, alla fine, è colta dall’incompiuto, nonostante la natura di quest’ultimo – per sottrarla alle connotazioni negative, e per concludere: «[...] la brevità non è prova di frammentarietà». È uno dei primi atti di rivendicazione della fama pascoliana, diminuita in quegli anni rispetto a quella di D’Annunzio (i contributi critici su Pascoli fioriranno oltre dieci anni later). Capasso continues, having in mind some of the poetry Haikai: "A poem of three lines of a verse, it may well not be" unfinished "'16. So much so that in the essay he cites several times "Haikai" without the attribute normally canon of "Japanese", also submitted it to lead suffissali, as if the term had already been accepted by the critical language policy (this is also perceived naturalness in Pasolini) "haikaistica brevity," "types of haikaismo," 17 "sphere haikaistica" etc. 18. Capasso in the "haikaismo" is succinct objectification and realization of the poetic image. These concepts are so far apart not only Croce's idea (that stops the "poetry"), but also, strictly speaking, common dall'accezione poem, based on forms pluristrofiche. All in all for "Haikai" means a short poem, lasting beyond the usual, which "holds", however, by itself, without leaving a sense of incompleteness. With the support of the new genre and "exotic" Capasso seems to aim to achieve the reversal of the sense of fragmentation. The attempt to Pasolini Capasso moves from the use of new terminology, this terminology by now I intend to find out which has the general connotation Haikai in Pasolini.
Il giovane laureando Pasolini, seguendo l’anti-crocianesimo tracciato da Capasso, prova a reinterpretare i frammenti di Pascoli, chiamati «particolari», con un termine che si colloca concettualmente al centro della sua riflessione. Dopo aver citato la frase di Capasso sugli “haikai” pascoliani, Pasolini la smentisce subito:
[...] ma di simili beautés de détail le Myricae abbondano, e scarseggiano invece dei veri “particolari” poetici pascoliani, che non si riducono a un paesaggio, a un quadretto, a un contrasto, ma tendono a divenire potentemente allusivi, pregni di mille sensi19.
In Pasolini, diversamente che in Capasso, gli haikai (Ie "Beautés de détail", the term of eighteenth-century French) and "real" special "'in various ways. When it is claimed that Pascoli's poems contain several examples of major static [...] immobilized by an apparent objectivity '20, the distance does not seem to be perceived by the critic. Then, from desecrating a comment to any interpretation of the fragmentary Pascoli, gradually emerges that Pasolini meant by the 'special conditions' superimposed on the poetic moments considered "absolute":
Pascoli But the details are fantastic, in the shade. Are not exactly the thing (as observed il Serra), né il termine, come si diceva il poeta. (Né il particolare haikaistico, come osservava il Capasso, né il particolare nel senso comune di questa parola, come pare sia per il Croce)21.
Pasolini definisce i «particolari» come elementi raffiguranti concettualmente il «tutto», mai le «parti»22. Si riconosce una totalità proiettata su di essi, se si elencano gli aggettivi applicati al termine “particolare”: «romanzo» [vale a dire, secondo Pasolini, “vergine”], «popolare», «ingenuo», «candido» (p. 22); «volgare», «parlato» (p. 24); «vivo» (p. 30); «famigliare», «dialettale», «minore» [senza connotazioni riduttive] (p. 38). D’un tratto si ritrova in questi attributi la figura del Pasolini poeta dialettale (attivo anche come critico nell’Academiuta friulana da lui fondata): la poesia dialettale ha una funzione alternativa all’istituzione letteraria, o meglio è l’unica possibilità rimasta alla poesia. Gli attributi citati risulterebbero parziali, qualora fossero destinati esclusivamente alla poesia in dialetto; tuttavia, per Pasolini, in essa si trova la totalità ormai perduta nella poesia in lingua: nella lirica dialettale egli riscopre la “poesia”.
L’argomentazione attorno alla frammentarietà Pascoli, or 'particular', which begins precisely with the pastures of the "little boy" ("Poetry is the vision of a particular unnoticed, outside and inside us," 23, which adopted a particular 'the scent of poetic things "24) it seems that Pasolini is back with the origin, theses same pasture. The poet of Friuli, with reference to the totality and with application to the dialect lyric, reprojects a kind of mysticism on the 'special' grazing. The ambiguity in pastures was already recognized in the form doubtful, in the comments of the Cross (also in its definition as "a strange mixture of ed'artifizio spontaneity, "" a great small-poet "or" a small but great poet, "25), Pasolini does not in fact immune from the influence of the Cross, in turn, says this ambiguity, but so mystical. While the reserve was manifested in the Cross rather contradictory findings, so that he recorded the famous quote Catullus, Pasolini expressly stated in the figure of a grazing model to follow, especially in the fifties in which the poet de Ashes of Gramsci ( 1957) attempts a new historiography of experimental vein and grazing acts as a real cornerstone of critical pasoliniana26.
In summary, in the context created by Pasolini graze and dialect poet, poetry, plays an Haikai rather negative than positive "special", but always to defend a deliberately fragmented (and with some effort) anticrociana, a short form recognizable by Pasolini's favorite poets in the student university, which Ungaretti and lyrical greci27. However, the meaning of Haikai, oriented to a specific purpose, is personal: the original definition of Haikai Pasolini appears to have always known. However, in the key
broader twentieth-century poetry, this is usually conceived as a new element of reflection.
We summarize here the general poetic Haikai, without wanting to tap into the dogmatic definitions, which applies both to the old style for the renovated:
"Haikai" or "Haiku"
It is a poetic genre born in Japan in the seventeenth century and derived from waka , "Japanese song" (or tanka, "short song"), a form prior to that time had a thousand years of history.
It consists of a tripartite or to a line of three "feet", 5-7-5 syllables. The poet, with minimal representation, describes the living reality of things, the nature of his feeling soaked. In theory, each composition is to use a word that symbolizes a particular season (constellations, climate, fauna, flora, costumes etc.). is at least one break between the three "feet".
frequently found the use of rhetorical means associated with phonetics. In the twentieth century European
the first poet to be interested in this genre is Ezra Pound. After the first negative reactions to Haikai by Nippon and poets of the late nineteenth century because of its excessive brevity, in 1914 the Pound "image" - "vortexes," accompanied by the poet FS Flint, a proponent of free verse and connoisseur of poetry symbolist French and Japanese, writes Vorticism manifesto for a movement proto-neoavanguardistico, albeit with a certain distance from the Futurism of Marinetti invades London culture, especially with the Futurist exhibition in March 1912. In this essay, Pound takes first three "aphorisms" imago:
I. Direct treatment of the "thing" is subjective and objective;
II. Do not use a word that does not contribute to the presentation;
III. About the pace, compose in the sequence of musical phrase, not in sequence metronomo28.
were already published in the journal Poetry "the first tests haikaistiche Contemporary Series of 1912 which includes the famous poem In a Station meters, shown in the essay cited:
IN A STATION OF METRO
These faces appeared in the crowd: Petals on a branch
nero29 damp.
In the manifesto published on the first issue of "Blast" (June 1914), Pound, who now owns the Fenollosa notebooks of Japanese art historian, notes on the poems and the Chinese and Japanese No theater, explores the concept of 'image' of quoting a Haikai Arakida Moritaka (1472-1549): The flower
Rivola fell to its branch: A butterfly
.
Pound Japanese with examples to clarify two key elements of the Vortex: "a sense of exploration" and "overlapping" of different images made in a single image, and focuses on concrete poetry, made of pure 'image' 30. The Haikai may support the thesis Pound, provided it is inserted into the movement of free verse and in a materialistic view of poesia31.
Despite the introduction of Pound Haikai marks a decisive moment among the innovators of the early twentieth century poets (Apollinaire, French as well), we can not find any trace of a reading of the young Pasolini32 Pound, Pound is not even in " sets of translations (transpositions in friulano) databili agli anni 1945-1947, in cui si apre un panorama della poesia contemporanea con nomi significativi quali Ungaretti, Quasimodo, Jiménez,García Lorca, Hölderlin, George e Eliot33. Eppure risulta congetturabile in Pasolini l’influsso del concetto poundiano della poesia giapponese, in maniera diretta o indiretta (una prima ipotesi può essere la via attraverso il primo Ungaretti di formazione parigina34). Comunque sia, l’aspetto materialistico dello haikai – un aspetto notato da Pound – si concepisce anche in Pasolini, benché la “materialità” potrebbe essere attribuita alla natura di qualsiasi forma breve. Dopo l’esperienza della dissertazione su Pascoli, Pasolini reiterates the idea of \u200b\u200b"particular" in an essay titled Pastures and Montale, published in the journal "Convivium" directed by Carlo Calcaterra, thesis supervisor. In the following passage extracted from the wise, we can see what the materialistic nature enriches the concept of "particular", in contrast to the Haikai. In respect of this material is still a mystical attitude, a genuine faith in the matter:
Both the poetry as poetry Pascoli Montalian can therefore be classified as "minor", but not in a qualitative sense of the term "minor "because they reduce the proportions of the world to an object, an opportunity, in which that world is summarized. The "special" of these two poets is a way to circumvent the difficulties of the infinite that had faced the classic and romantic petto35.
Back in the fifties, now, for Pasolini Haikai, the quintessential poetry breve36, merges with the 'special': in fact, in the foreword of the popular anthology of poetry, speaks on "mutos" Sardinian outline "for a glimpse Haikai naively realistic engraved in the soul of the singer '37.
2. Two Japanese poems translated by Pasolini
As compensation for the lack of contact with Pound, Pasolini inspired by the Japanese literature. A complete both large Meridians of Pasolini's poems is in fact a group, mostly unpublished, of verses translated in Friulian. Among them, two Japanese poems along with many other poems by contemporary Western (including those mentioned above): four fragments of Sei Shonagon on Seasons and The zovin pesçadour ("the young fisherman") of "Shivoi Uko" (sic) 38. It is one of the cases in which Pasolini uses a version of support in Italian, as in translation from German. In the notes of the volume Mondadori, the two Japanese poems are called "stranger" the inability to specify the source consulted by the Friulian poet. The first Italian edition of N ote The Pillow of Sei Shonagon curated by Lydia Origlia (ed. Longanesi), which contains the four seasons on the track translated by Pasolini, dates back only to 1968, then more than twenty years after the date of preparation, July 1945, pages Opera omnia Pasolini's original text in Italian is based on the translation of Origlia. In addition, while the first text and its author are easily recognized by their reputation, the author of the second, "Shivoi Uko," is not found, then the receiver assumes a 'fake author' 39. The fact is che il testo di riferimento è l’antologia curata da Pacifico Arcangeli, preceduta dai saggi introduttivi sulla storia sociale e su quella letteraria del Giappone: una pubblicazione del 1915 che comprende entrambi i testi trattati da Pasolini (nell’antologia compaiono come Bellezze delle stagioni e Il sonatore di flauto)40. Tra le traduzioni di testi giapponesi pubblicate in Italia nella prima metà del Novecento41, solo il lavoro di Arcangeli cita “Scivoi Uco”, trascritto da Pasolini “Shivoi Uko”; il poeta in questione è, scritto più precisamente, Shioi Uko (1869-1913). La grafia è soggetta a confusione per la mancanza di criteri: nel manuale hoepliano si rispetta Italian phonetics and proper names are transcribed arbitrarily Japanese, with some internal inconsistency. Besides, this often happened at the beginning of last century, when Italy was not yet practiced in the Hepburn system of transcription.
The original Japanese poetry Shio, entitled exactly The bamboo flute on the shore ( fuetake no Iso), is included in a collective collection of poems and poetic prose, Hanamomiji (1896) or Spring Flowers and colors of autumn leaves. As the title of the collection, school Shio enhances the traditional prose. The poem consists of 13 stanzas, instead of 8, as stated in the manual. Pasolini, in turn, reduces even the Italian version to 4 verses, deleting the particular historical description to create a virtual environment, a "non-place" similar to the mother country Casarsa Edenic and desolate. Indeed, Pasolini describes this process, "most free translation of a modern Japanese poet. I skipped two stanzas, and the other changed a lot '42.
The subject of poetry, which is manifested in chrestomathy Archangels as "minstrels" or "young musician" 43, is due to Pasolini's repertoire, although there is the recurring figure of the young boy in the first eminently plaquette Pasolini Poems Casarsa: O my boy! (The title di una poesia che suona nel testo dialettale «O mè donzèl»), «fantàs» (tradotto da Pasolini stesso, “giovanotti”)44, «fantasùt» (“ragazzetto”)45, oppure «níni» (“fanciullo”)46, «frut» (“fanciullo”)47. Ancora prima delle poesie in dialetto, nell’epistolario del 1941 si colloca un componimento in italiano intitolato appunto Il flauto magico48. Secondo Pasolini, questa prova poetica – riconosciamo un richiamo al suonatore di flauto di Hameln descritto dai fratelli Grimm e da Robert Browning – assume “a posteriori” un «significato narrativo, logico» e un «significato allegorical. " Franco Brevini note that the poem, with the resumption of the title of a poetry collection by Corrado Govoni 1932, serves as a "relic of early homoerotic" 49: the 'unknown desires, "in comments reported by the poet, are manifested in the shape of the player flute hypnotizing children and himself. Love is narcissistic pederastic-free law in the following ways: via «[...] pei dewy green orchards, / sounds so sweet and so nice to go / adult child of my body "(vv. 19-20); "Virgin before puberty, and you do not look at me in bold face: / shameless the secret of my adult life ashamed" (vv. 42-43). The adoption of classical tone, shared by many at that time, still suffering from a literary background istituzionale50. A similar tone is taken in translating the poetry of "Shivoi", especially in the modified parts from the Friuli-born poet who represent a "translation perfectly free," as he himself confesses:
ESIA Maybe some Al fantat, pesçadour fi / q 'Volia dismintià them to know penis? (Vv. 3-4)
(the literal translation, not the poet's hand, is shown in Meridian )"Can this be some young son of fisherman who wants to forget his sorrows?"
“è un pescatore che va molcendo il cuore / dal mondo amaro d’alighe e di sale?”
(sono versi corrispondenti che si trovano nella poesia Il sonatore di flauto inserita nell’antologia giapponese51);
e in ta la musica dal so/ a si sint il so amòur, q’a lu imbramis (vv. 7-8)
“nella musica del suosi sente il suo amore, che lo fa tremare”
“e manda tenere armonie d’amore / dal suo gentile flauto di bambù”; quel zovin sempri al suna / smarit in ta la so musica e in tal so zovin, clar amòur (vv. 11-12)
“quel Young always plays the, lost in his music and his young, pure love "
" the young fisherman came / to make the bamboo flute trill "is at the vignut zovin peçadour / a fani Sinti , so the dols and slanguiditat Cana (vv. 15-16)
"came the young fisherman who makes us feel, soft and languid, his cane"
"left of come the fishermen / trill to the bamboo flute! "
The transliteration is not always true in the past appears lines of verse, among those mentioned above, the latter two cases become more difficult, to break the uniformity of the phrases that is perceived in hoepliana version ("to make the bamboo flute trill ',' to the bamboo flute trill ') 52. L '"adding" or the semantic change - apart from the statement of the poet himself, cited above - occurs frequently in Pasolini, almost in every occasion of "translation" (he even change the titles). The poet
Shio - Pasolini could not obtain information about the Japanese from the thin note of the Archangels - is a promoter of modern poetry, however, written in Japanese classic, bibun, "beautiful prose."
belongs to the movement of the "new style" (shintai), which makes a rather critical view on the traditional short form, as Haikai, which would not be able to represent the "modern". Pasolini, who admires the simplicity of Japanese literature, paradoxically chooses (and unwittingly) a poet who intends to expand the shape of the poem, then construct their poetic form, contracting, and derives from three main editions, the first of which " plagued by corrections' 53. The choice of a lesser name such as Shio, now almost forgotten and considered "reactionary" to tell the truth, it remains some concern, although this poet was widely read at the time, and accepted, especially in nationalist vision, built at the end of the nineteenth century, dominant in the manual that gives the school Shio a prominent position among his contemporaries, compared to values \u200b\u200brecognized today.
poets translated by Pasolini around 1945 is for the volume of translations The zoja or "garland" (placed between the titles of publications Academiuta Pasolini and never published), which Pasolini goes with the subtitle "poesiis forestis of vuei "" poems of foreign oggi54. Not si sa con precisione quali siano gli autori da includere: tuttavia, vi possono confluire i materiali dei “fascicoli di traduzioni” già contemplati. In questi un’opera del poeta “Shivoi”, annotato con coscienza da Pasolini, «un moderno poeta giapponese»: si affianca a quelle di Ungaretti, Jiménez, García Lorca e Hölderlin ecc.
D’altro canto, Sei Shonagon (ca. 966-?) non può rientrare nella categoria dei contemporanei, visto che la sua è un’opera antica, come osserva Arcangeli nella sua estesa nota55. La scelta della scrittrice risulta più convincente per la sua notorietà; la “poesia” tradotta da Pasolini, in fact, is the most popular song of the prose volume Notes of the pillow (Makura no Soshi, 996-1008), which describes the beauty of four seasons. In a sense, the transposition of the genus seem to be acceptable, if we remember that Sei Shonagon is originally a gifted poet and his notes are strongly influenced by a lyrical vein. This time, Pasolini not only turns the prose into verse, but also briefly reduces to a kind of landscaping with minimal sensory references, even from the original Sei Shonagon full of adjectives that are in the following centuries the core of the Japanese aesthetic sense . We recognize in the "remake" of Pasolini purely descriptive, more precisely based on a chromatic contrast, by the poet Pasolini Friulian prefers landscapes or evening auroral.
In Pasolini's version, divided into four parts, "Dawn of Spring," "Not in the summer," "Evening of autumn" and "Say unvier" 56, lists the following optical elements:
[in the first part]
the sky "doventa pi blanc" ("becomes more white," our translation),
a "pink list" ("pink band") of the sky, the
"seil luminous" ("bright sky") ;
[the second]
the moon 'to lus» (“risplende”),
la luna «scurida davour da li stellis» (“oscurata dietro alle stelle”),
le «lusignis luminous» (“lucciole luminose”),
lo «scur» (“buio”);
[nella terza]
il «mond» (“tramonto”),
gli «ultins raj» (“ultimi raggi”) del sole,
le «pics azurs» (“punte azzurre”) di montagne;
[nell’ultima]
la «blança neif» (“neve bianca”),
il «blanc splendour da la rosada» (“splendor bianco dew ").
These images, which in some way, can be derived from the texts of both of Sei Shonagon Archangels that are powered by Pasolini with effects of light (or shadow). Recall that the same type of images is recognized widely in the works of the first Pasolini.
Lets try it again a comparison with a dialect poetry of 1942, which remains one of the examples easily found in the same series of poems
Donzel O me, the serene
puàrte Sère ombrène
tai vècius Mûrs: Siel
in the lus imbarlumìs .
O me young man, serene in the evening bears the shadow on the old walls, in the sky, the blinding light. "
(O my boy!, Vv. 12-15, in Poems in Casarsa author's translation)
In the first dialect poems in elegiac tone is known Pasolini's predilection toward the beginning of the day (night / dusk and dawn / dusk), the moments in which the light beam and the dark contrastano57: a world leading end is represented in the practice of Friulian poet, not only in translation work in Friuli. There are two fields that make up the dialect area of \u200b\u200bPasolini, showing homogeneity: in the end, just remember che la produzione poetica in friulano incomincia nella “traduzione” eseguita da un Pasolini che non parla dialetto e che, tuttavia, ricorre ad esso per il suo furor poeticus.
Torniamo al rapporto tra Pasolini e la crestomazia giapponese: il manuale di Arcangeli non sarà servito ad allargare la cultura di Pasolini sulla poesia haikai. Il genere «haicai», trascritto in questa maniera e ben poco spiegato58, non ha alcun peso nella storiografia di Arcangeli, fortemente segnata dall’emergente imperialismo, che considera come genere “nazionale” la forma waka (alias tanka ).
Se non sullo haikai, una nota sulla tanka poetry surely would have hit Pasolini: the form "Tanca", transcribed in this manner by Arcangeli, 31 syllables - then falling into the category of short poem - is defined as nothing more than a form of 'small epigrammatic poems "and" couplets '59. This concept - write in two lines - it is not incorrect, as the metrical pattern of the tanka is revealed in five "feet" 5-7-5-7-7 syllables, and the first three units have an autonomous force likely to reject almost the last two, breaking away from these then became haikai60 poetry. The editor draws even 'pace resembling all'esametro pentameter and the Greek and Latin '61. Pasolini also could say the similarities between these poetic forms, due to its inclination to a Greek lyric and epigrammatic Ungaretti.
We know from the notes of the poet on the side of the two Japanese poems there are "other short fragments, or other pieces of tanca simply listed as coming" from the opera contemporary Japanese "or" a Japanese poem of eleven centuries ago, "" 62 . This description refers to the collection Manyoshu, the oldest work of Japanese poetry anthology. In "files of translations" Friuli, there are no other ancient poets Sappho, if you do not. The "Case" Japan is unique in Pasolini: the coexistence of modern and ancient, and a concept based not on individual names, but on the "category" in which we can afford to go beyond the chronological order and, perhaps, the ' chronotope of the order. It is a category that leads, in turn, in frammentarizzazione, or at least in reducing the "duration". With reference to the attention paid to poetry tanka poet from Friuli, we hear there are two tracks on the concept of "Tanca": the first is the second of Archangels and Pasolini.
The verse is no longer in use tanca. The tanca celebrates the joys of love, family and wine, complains about the uncertainty of life, sings visions of nature, the beauty of the seasons, the opening of a bud, the warbling of birds, the murmur of rivers, snow mountains, the voluptuousness of the flowers and the moon, the mist and the dew, the harmony of rain and wind. And sometimes it is the translation of words rhythmic trinkets watercolor paintings, in short, seems made for play all sorts of emotional vibrations, and bright sonore63.
And Pasolini, a poet talking about Academiuta collaborator, Robby News:
Currently his meter reminds me 'one of joy, but it is un accostamento superficiale e casuale: le sue brevissime liriche – che si potrebbero paragonare, non so, a tanca giapponesi, a frammenti di lirici greci o a cose del genere – vibrano di una trasparenza linguistica di prim’ordine, con immagini essenzialissime e cariche (“Il canaj spiritàt / al ceir / arcs di lusour”, “Jo i ciaminavi / ta l’aria verda, / sot i teis, / ta l’aria cioca...”)64.
L’annotazione di Arcangeli risulta parziale, dominata eccessivamente dal descrittivismo panico, mentre il saggio pasoliniano paragona la poesia tanka ai lirici greci o alla poesia di Cantarutti non solamente per l’aspetto formal (as approved Arcangeli), but also because of "image charges", ie formal and intensity emotiva.65
do not believe that Pasolini has captured the true affinities with other forms of tanka poetry, but contact with chrestomathy and the subsequent assimilation of Japanese poetry as a whole, Pasolini lead to a totalizing vision of his theory and practice of short form, and a continuous return to his reasons Casarsa poet.
3. Seven Haikai Pasolini: Haikai remorse
Let us examine the verses Pasolini, as defined by the author and compounds in Haikai giugno 1949, per collocarli nel quadro generale della sua produzione poetica del periodo, e per specificare le ragioni del ricorso al genere haikai .
Haikai dei rimorsi
- L’insonnia è un lupo, una crosta, / un’impazienza nuda nella luce elettrica, / un ospedale ove sostano / i parenti del morto.
- La carogna ha i denti scoperti / al sole: la sua puzza un sudario. / Giace sul mio letto.
- La libertà sporca e sudata / sbanda nei silenzi crudi / della mia stanza: un sepolcreto / che brucia nei miei piedi nudi.
- Belle parole, dignità, / i rumori spuntano nella mia stanza, / nel cuore della old night. S pieces of your clothes.
- a pool of blood in the summer night. / Fever leaps in my veins. / I am unhappy with my life. / I would curse me.
- Children are atrocious visions / of the dead, where is their innocence? / Where are their temptations? / They have eyes full of ashes.
- gentle eyes ... A rock / is one of noi67.
The verse form, not quite uniform, consisting of a quatrain or prevailing novenaries decasyllabic not rhymed, and sometimes end Senari or seven-(only the sixth poem is a quatrain in heroic verse homogeneous), except the second (which is a triplet) and last (a poem) che riferendosi al cosiddetto “isomorfismo strofico” potrebbe essere considerato come un endecasillabo bipartito. Naturalmente questi versi non hanno niente a che vedere con il consueto metro dello haikai – abbiamo detto, originariamente un verso tripartito di 5-7-5 sillabe –, a meno che la concezione pasoliniana di tale genere consista, come egli dirà in seguito, semplicemente nella «brevità un po’ fumistica». Benché il poeta si avvalga spesso della quartina nel periodo friulano – il metro dominante ne L’usignolo, alla cui appendice aderiscono gli “haikai” pubblicati nel 2003 –, la lunghezza dei singoli versi non è mai variabile come ora. Piuttosto, la versification is similar to that of the "Diary" that constantly occurs Pasolini in Friuli and in the capital, contrary to what is claimed in the Opera omnia. Also from the thematic point of view, the poems of 1949 are placed next to that group of verses autobiographical, so entrenched as to break away, become independent from the poems of Nightingale . The fifth paragraph of Haikai , "In a pool of blood at the summer night", is almost identical to that of a "diary" dating back to June 1949, the same month of haikai68. This is a poem in the collection including unpublished diaries Twenty (1948-1949), beginning with the attack, "A lake di sangue la notte estiva...»69, e si riferisce, oltretutto, al «rimorso». È una forma estesa dello haikai in questione, che è a sua volta una variazione sintetica di tale diario. D’altro canto, la specificità che rende i sette haikai un caso unico è, oltre alla brevità monostrofica, la rarefazione dell’io accompagnata da visioni oniriche.
A proposito del titolo, possiamo trovare un riferimento in una lettera a Contini scritta nello stesso periodo:
Caro Sig. Contini tempo fa mi è accaduto di leggere in un giornale svizzero un pezzullo di Benda che mi ha riempito di rimorsi: vi si diceva infatti – molto pessimisticamente – che gli uomini scrivono ask for letters only, that there is a match "pure." It is certain that Benda is right but it is equally certain that Benda can not confirm his bitter rule with the exception of which I am aware of. I hope that you will justify me again (I have a blind trust in his historical analysis) where I answer your letter so disinterested with the most regular of egoismi70.
Then Pasolini refers to the "phyletic line 'that starts from the first draft of The Nightingale, 1943, and through Poems of 1945, comes to the diary and the one deity (Foscolian with this title is the harvest winds diario71 pages). Then he continues:
is certain is that I will continue to keep diaries for a while - and, mind you, I put a hand on your heart -: that is to listen to the monotonous note of my biography and obsessive-way.
[...] Now I want to throw a dead body in the confession, and abandoned, the limits of this letter, the impetus that you - oh joy! - I invidia72.
In this letter 'a bit too irrational "of" confession ", Pasolini defends his poetic autobiography, opposing the thesis of Julien Benda but actually goes deep in him, so cause him to "remorse." It is an act of violent and irrational, to compose diaries, in which you were born Haikai including the "remorse" to write about himself. Haikai Pasolini's are the "scraps" of "fine words" and "dignity" - quote from Haikai quarter - representing, therefore, a kind of opposition, described by the negative prefix "anti-", which immediately indicates a typical feature the poetic form of Japanese origin.
Deepen now reasons that can lead to Haikai call these compositions, taking our anti-canonical principle already said on the definition of the genre, even if Pasolini's consciousness, actually, does not go beyond the brevity of the materialistic Haikai . The apparent brevity demonstrates already a dissident - and again, as Pound noted - in respect of other forms pluristrofiche. If we go back to ancient times, the genesis of a phenomenon Haikai was "against" than another poem institutional waka, "or singing Japanese national team." In the seventeenth century poets invented a new poetry "versus" without realizing it. They were not conscious of doing something different, but just thought to write a tripartite, which corresponded all'incipit di un waka, o di un presunto poema che sarebbe stato composto collettivamente, da più poeti. In seguito, questo verso venne definito come “haiku”, ma solo alla fine dell’Ottocento. La forma poetica haikai è sempre stata “contro”, e nel contempo, avendo avuto una lunga formazione, contiene sempre qualcosa di informale e indefinibile, interpretabile secondo una creatività arbitraria. Se lo haikai si presenta praticabile e applicabile ai poeti di formazioni differenti e di contesti diversi, come Pasolini, l’innesto avviene proprio per gli elementi, per così dire, negativi, quali la brevità, la marginalità e lo sfondo storico, che la forma poetica sempre conserva.
1 Questo testo è nato dall’esperienza di un seminario sulla poesia haiku tenutosi all’ Università di Tokyo in Firenze dal 31 gennaio al 28 marzo del 2002.
2 PO I, pp. 556-557. Le sigle indicano i volumi pasoliniani dell’Opera omnia e dell’epistolario: RR I – Romanzi e racconti , v. I (1946-1961), a cura di Walter Siti e Silvia De Laude, Milano, Mondadori, 1998; SLA – Saggi sulla letteratura e sull’arte , a cura di W. Siti e S. De Laude, Milano, Mondadori, 1999; SPA – Saggi sulla politica e sulla società , a cura di W. Siti e S. De Laude, Milano, Mondadori, 1999; TE – Teatro , a cura diW.Siti e S. De Laude, Milano, Mondadori, 2001; PO I e II – Tutte le poesie , 2 tomi, a cura di W. Siti, Milano, Mondadori, 2003; LE I – Lettere 1940-1954, a cura di Nico Naldini, Torino, Einaudi, 1986; LE II – Lettere 1955-1975, a cura di N. Naldini, Torino, Einaudi, 1988.
3 La raccolta pubblicata nel 1958 si profila come corpus delle poesie italiane del periodo friulano (1942-1950); i suoi embrioni sono databili al 1943. Fino al momento della pubblicazione, la scelta delle poesie affrontava montaggi e tagli continui. Cfr. Note e news texts, PO I, pp. 1535-1542.
4 "Haiku" is the new name of the genus reduced in the late nineteenth century by the poet Shiki Masaoka. Here, according to custom, the Japanese names are given with the order of last name - the name.
5 PP Pasolini, Poems Casarsa, Bologna, antiquarian bookshop Mario Landi, 1942, now in PO I, pp. 163-193. The booklet is accompanied by a translation into Italian edited by the author. Posthumous reprints can be seen in graphic variants: some are modified in severe acute accents, circumflex sometimes serious ones, probably to avoid the occurrence of identical words and to simplify the spelling. In this text we follow the first lesson. 6
Gianfranco Contini, the boundary of the dialect poetry, in "Corriere del Ticino," April 24, 1943, then in "The Stroligut ', No.2, St. Vit, Stamparia Primon, 1946, p. 12, now in PP Pasolini, The Academy of Friuli and its journals, edited by N. Naldini, Vicenza, Blacks Pozza, 1994 (emphasis added). 7
Bindo Curlew and Andreina Ciceri (ed.), Anthology of literature Friulian enhanced second edition, IBM Systems Group Editions "Aquileia", 1976. The volume includes a reprint of the first edition (Udine, Udinese Libreria Editrice, 1927).
8 Ibid., P. 19.
9 Nevertheless, the schoolmaster Pasolini offers opportunities to study poeti friulani dell’antologia di Chiurlo e provare il componimento di villotta ai suoi scolari (della quarta ginnasiale) a Versuta già nell’autunno del 1943, poco più di un anno dopo la pubblicazione della prima raccolta poetica. Per questa introduzione degli argomenti dialettali all’interno delle attività didattiche, il provveditore agli studi di Udine emette l’ordine di chiusura della scuola privata e il primo tentativo pedagogico di Pasolini vede la fine in un paio di mesi. Cfr. N. Naldini, Vita di Pasolini, Torino, Einaudi, 1989, pp. 62-63. A scuola, oggi generalmente parlando, è consueto assegnare il compito di comporre testi poetici in forma breve. Ad esempio, in Giappone, haiku. Anche in Italia and other countries, pupils are seen as carrying on haiku poetry with brief references to nature. In the case of Pasolini is problematic the use of dialect (local traditions) in an educational institution, among other things, not legally recognized. When you reopen the private school the following year, the poet-teacher takes up the dialect villotta and yet educational purposes. In July 1945 he organized a show with the "choir of villotte" performed by students. Some of them are original works of Pasolini and the Slovenian violinist Pina Kalce, then close collaborator of the poet. See M. Chiara Rizzi (ed.), The broken string: an endless melody of ancient myth e fato moderno di Pasolini, Parma, Astrea, 1994; Giuseppe Mariuz, Per presentare gli antichi allievi, in N. Naldini (a cura di), Il maestro delle primule: dalla meglio gioventù alla nuova preistoria, convegno di studi, Provincia di Pordenone, 1997, pp. 205-221; Cesare Bortotto, I miei anni con Pier Paolo a Casarsa (ricordi), ibid., pp. 193-204. La locandina dello spettacolo è riprodotta in: Note e notizie sui testi, in TE, p. 1127. A volte Pasolini parla in casarsese a scuola per facilitare l’avvicinamento agli allievi figli di contadini. Il poeta, che quasi mai parla il dialetto, e che concepisce il dialetto stesso come strumento espressivo, ha un volto diverso nell’ambiente pedagogico, come si notice in the works of the years since. See the movie Comizi investigation of love and the 1963 essay collection Letters Lutheran [1975], now in SLA, pp. 537-721.
10 PP Pasolini, Pascoli anthology of poetry, edited by Mark A. Bazzocchi and Ezio Raimondi, Torino, Einaudi, 1993 (abridged version in SLA, pp. 91-148). 11
Aldo Capasso, On Myricae , in "Synthesis literary magazine," a. II, No. 2-3, April-September 1935, pp. 177-218. It should be noted that the magazine is run by Bindo Curlew, curator dell'Antologia Friulian literature cited above. It is therefore presumed that it was not difficult for the student to reach the contribution of Pasolini Capasso, although not widespread, the magazine at the time, and although the number a decade earlier.
12 PP Pasolini, Anthology of opera Pascoli, cit., P. 81. The passage is on p. 181, Capasso essay.
13 Benedetto Croce, Giovanni Pascoli [1906] in Id Giovanni Pascoli, Bari, Laterza, 1956 [19201], p. 8.
14 Ibid., P. 35.
15 Ibid., P. 34. The passage is quoted by Capasso (op.cit., P. 177). In this essay, the judgments of the Cross is based on the distinction in an exemplary manner 'poetry' / 'non-poetry. "
16 Capasso, op.cit., P. 179.
17 Ibid., P. 181.
18 The first two phrases are there, and last p. 190.
19 PP Pasolini, Anthology of opera Pascoli, cit., P. 81.
20 Ibid.
21 Ibid., P. 60.
22 «[...] in Foscolo, Leopardi, Manzoni those details are Parties, and in the best pastures become everything "(ibid., p. 107).
Giovanni Pascoli 23, the young child [1897], in Idem, Thoughts and Speeches 1895-1906 [1907], now in Id, Collected Works, edited by Maurizio Perugi, 2 vols., Milan-Naples, Ricciardi, 1980, p. 1674. 24
G. Pascoli, Saturday [1896], ibid., P. 1700.
25 B. Croce, Giovanni Pascoli, cit., P. 63. See
26 PP Pasolini, Pascoli, in "Workshop", a. I No 1 May 1955, then Id, Passion and Ideology [1960], now in SLA pp. 997-1006. Grazing Pasolini widely perceived in the collection of essays 1960. 27
Pasolini's attention to the Greek lyric translated by Quasimodo (with particular reference to Sappho) states in its letter of September 1940 addressed to his friend Franco Farolfi (in LE I, p. 14). As for Pasolini Ungaretti says succinctly: "[it] feel strong" (letter to F. Farolfi winter 1941, ibid., P. 28).
28 Ezra Pound, Vorticism [1914], now in Id, selected works, edited by Mary de Rachewiltz, Milan, Mondadori, 1970, pp. 1201-1202.29 Ibid., P. 113.
30 See ibid., Pp. 1208-1209. 31 See
Kazuo Sato, Studies on haiku in the United States and England, in «Kokubunngaku», a. ILIX, n. 8, giugno
1984, pp. 167-172.
32 Secondo una testimonianza di Enzo Siciliano, nel 1956 Pasolini non presta attenzione ai Canti pisani di Pound. Cfr. Enzo Siciliano, Pierpaolo Pasolini. Le piccole apocalissi nell’inferno dell’Occidente [recensione a Tutte le poesie], in «La Repubblica», 20 marzo 2003. Infatti, egli dichiara nel 1955: «[...] non amo Pound» (lettera a Mario Costanzo del 25 settembre 1955, in LE II, p. 125). Solo nel 1967 Pasolini dimostra totale venerazione a un Pound da lui intervistato su commissione della RAI poco prima della morte. Cfr. Vanni Ronsisvalle, Pasolini e Pound, in
«Galleria» (numero monografico su Pasolini a by Rosita Thrush), a. XXXV, No 1-4, 1985. See section 33
poetic translation, PO II, pp. 1327-1473.
34 With regard to the direct influence of Japanese poetry on Ungaretti, the Italian Suga Atsuko see a plausible source of inspiration ungarettiana. Japanese poems (Naples, Ricciardi, 1917), an anthology of five contemporary poets of waka (shape before the Haikai) is handled by the poet Shimoe Haruka and Gherardo Marone, founder of the magazine "Diana", the first to publish the poetry of Ungaretti . In the collection cited by Suga, however, the songs are translated through Japanese waka poems in prose. The general characteristics of the waka, also, that this expression descriptiveness extensive emotional and can not remember the poetic ungarettiana. In fact, the researcher concludes his brief report supporting the "precariousness of the hypothesis of a possible influence of Japanese poetry on that of U. (Atsuko Suga, Ungaretti and Japanese poetry, in Proceedings of the international conference on Giuseppe Ungaretti [Urbino 3 to 6 October 1979], edited by C. Bo, M. Petrucciani, M. Brusca, MC Angelini, E. Cardone, and D. Rossi, Urbino, 4Vent, 1981, pp. 1363-1367). In this case, "Japanese poetry" means the waka poetry, Ungaretti was the only one who got to know the second Suga, so not a reference to poetry Haikai. Historically, the influence dello haikai nella poetica ungarettiana è ancora da indagare. Cfr. Mirko Lami (a cura di), Elpidio Jenco e la cultura del primo Novecento, (Atti del convegno di studio, Viareggio, 27-28 ottobre 1989), Viareggio, Pezzini, 1991 (in particolare, contributi di Lagazzi, Ciccuto e Andrisani).
35 P.P. Pasolini, Pascoli e Montale, in «Convivium», raccolta nuova, n. 2, 1947, ora in SLA, p. 275.
36 Nel 1952, con riferimento al poeta romanesco Mario Dell’Arco, Pasolini parla della «brevità un po’ fumistica dell’haiku» (P.P. Pasolini, Introduzione alla Poesia dialettale del Novecento, a cura di Mario Dell’Arco e P.P. Pasolini, Parma, Guanda, 1952, in Passione e ideologia, cit., ora in SLS, pp. 783). Per la prima volta qui viene usato il termine “haiku”, non haikai, che però non subisce alcuna distinzione dal secondo. Nello stesso passo Pasolini cita alcuni «particolari» del poeta Dell’Arco messo in confronto con Belli.
37 P.P. Pasolini (a cura di), Canzoniere italiano: antologia della poesia popolare, 2 voll., Milano, Garzanti, 1992 [1951], p. 55. In questa sede ci si serve della prima edizione, dato che l’introduzione all’antologia riproposta nel volume del 1960, Passione e ideologia (ora in SLA, pp. 861-993), porta non pochi tagli.
38 PO II, pp. 1476-1481.
39 Note e notizie sui testi, ibid., pp. 1797-1798.
40 Pacifico Arcangeli, Japanese Literature and chrestomathy, Milan, Hoepli, 1915 (facsimile edition: Milan, Cisalpino, 1990). It is assumed too easily that Arcangeli not have sufficient language skills and makes use of previous studies found in several European languages. Despite its poor quality, however, the book sees a widespread popular due to the potential of the handbook series in which it is inserted. So much so that as early as 1920, you can see the notes of a Neapolitan Japan in the journal "Sakura" curated by Shimoe Haruka and Elpidio Jenco: "[Before the recent studies] do not possess the small, unfair and unnecessary manual Archangel, which had known a little Japan 'leggicchiando Aston, a little' sucking the medlar of Chiusi, and a little ', perhaps, reading the missal Luigi Barzini, Japan in arms "(Philip Trapassi, Reprints, in" Sakura 'a. I, n. 1, June 10, 1920, p. 29).
41 In particular, refer to the following volumes: Ettore Skylark, History of Japanese literature, Milan, Sonzogno, sd [1905] Mario Chini (ed.), Notes samisen. Variations on Japanese motifs, Assisi, Printing Metastasio, 1904 [1907, 1919] Alberto Castellani, literature and civilization of the Far East, Florence, Le Monnier, 1933; Lionello Rivers and Kuni Matsuo (a eds), Japanese poet today, Lanciano, Carabba, 1935. See Adriana Boscaro, Japanese fiction. One Hundred Years of translation, Venice, Cafoscariana, 2000.
42 Notes and news texts, PO II, p. 1798. 43
P. Arcangeli, op.cit., Pp. 255-256.
44 'Fantasia volèisu aulîf? "," Young man, you Olive? "(The Sunday Olive, v. 27).
45 The poem begins with the Rain on the borders vocative 'Fantasùt ":" Fantasùt,' a plûif after the shekel, "" boy, the sky is raining. "
46 "You jódis, Nini, tai nústris cuàrps / bur-cie rosado / by TIMP pierdùt" "You see, boy, on our bodies the fresh dew of Lost Time" (Dilio, vv. 4-6).
47 "Laju, 'the vif of Dul \u200b\u200b/ a long way peciadôr fruit," "Over there, I live with pity, child away sinner" (O my boy, vv. 9-10). At the bottom of the well ('there'), which acts as a mirror, I find his double.
48 Enclosed with the letter A to F. Farolfi [Winter 1941], in LE I, pp. 29-31. 49
Franco Brevini, Pasolini before "Poems in Casarsa 'in' Belphegor ', vol. XXXVI, 1981: 27. 50 As in this poem
Brevini detects the decorative Liberty (ibid., p. 26), and the taste Rinaldi Foscolo, feeling "a neo-classical atmosphere Foscolo Foscolo [...], of the Beloved, one of the Odes, and grace" (Rinaldo Rinaldi, Pier Paolo Pasolini, Milan, Murcia, 1982, p.15). 51
P. Arcangeli, op.cit., Pp. 255-256.
The original 52 - in contrast to translation - a very specific metrical pattern: each stanza is a quatrain dodecasyllable scanned in sevenfold and quinary.
53 Notes and news texts, PO II, p. 1797.
54 See Notes and news text, ibid., P. 1784.
55 P. Arcangeli, op.cit., Pp. 96-99.
56 divisions and the title, originally performed by Pasolini, are understandable given that the two earlier, both the original hoepliana, have a four-part structure and refer to a particular time of day preferable depending on the season. Only the fourth title, designed by Pasolini, should be "first morning of winter, if taking into account the original Japanese. In this case you can not however specify the time of the day on the basis of the Italian version of the Archangels.
57 Zanzotto note the "modulation of light in the first-Pasolini. See Andrea Zanzotto, Pasolini, the 'Academy of
lenga furlana' Nico Naldini [1984], now in Id, Writings on Literature, 2 vols., Milan, Mondadori, 2001, II, p. 285). 58 In
saggio introduttivo sulla poesia, allo haikai è stato dedicato un solo paragrafo; nella parte antologica Arcangeli si limita a citare alcuni componimenti di Moritake, compreso quello sulla farfalla riferito anche da Pound.
59 P. Arcangeli, op.cit., p. 43.
60 Anche i primi poeti e letterati che affrontano lo haikai applicano su di esso il distico dell’epigramma (Pound
incluso). Cfr. Sato Kazuo, op.cit. È un’idea originale (non presente in Giappone) eppure convincente: un’acuta osservazione sulla cesura (kireji) che è sempre riconoscibile nella poesia haikai, e che la divide in due unità.
61 P. Arcangeli, op.cit., p. 44. Il pentametro può essere valido, come punto di riferimento, per considerare il metro della poesia tanka di cinque “piedi”.
62 Note e notizie sui testi, in PO II, p. 1797.
63 P. Arcangeli, op.cit., p. 45.64 P.P. Pasolini, Poesia d’oggi [1949], in SLA, p. 334.
65 Pasolini avrà notato tale intensità, per esempio, nella seguente poesia tratta dall’antologia Kokin waka shu (inizi X secolo): «Amore e morte. Chi sarà stato colui che per la prima volta trovò la parola amore? Morte è la vera parola, che avrebbe dovuto usare!» (P. Arcangeli, op.cit., p. 207; l’autore è Kiyohara no Fukayasu, anche se non è indicato nel manuale). Una nota di Arcangeli, also referred to Sosei Hoshi (poet "visual" of tanking late ninth century), with suggestions "laudatory" and Virgil could stimulate the imagination Pasolini: "[Sosei reaches] a tenderness almost Franciscan, but the sentiment of Lucretius lacrimae rerum , Autumn "(ibid., p. 55). 66
observe, in addition, the apparently exotic taste of Pasolini projected on Japan. The adoration for Salgari («[...] readings Salgari, I, just like in the afternoons with my mother lost in the purely visual landscape of reddened by the sun, the sour mood of primroses [...]», marine Operetta [Fragments of a chapter for a novel of the Sea (unfinished 1947-51)], in RR I, p. 411), which dates back to childhood memories, flows in posthumous novel The King of Japan, 1949 (in RR I, pp. 1351-1373). In one of the wise youth, the poet remembers' tales of brutality in which Salgari of blue oceans and the eastern sky was a real pain for our hearts incapable of economies "(Sainte-Beuve [1947], in ALS, p . 268). This perception is exactly Japan's tropical unfinished novel. It is not uncommon that Japan is subject to such exotic, from the popular novelists of the late nineteenth century to the last of Japan's cultural advisers. In Pasolini's fantasies of childhood, sometimes imbued with sensuality and eroticism, persist to be incorporated into the discovery of Africa of the sixties, during the same period in which Japan appears as "savage" in the music of the 1967 film Oedipus Rex and Medea, 1969. They are used respectively bugaku music ("Dance music" is mentioned two pieces of hashirimai, "fast dance") formed in the ninth century and the sokyoku music ("music of the lute") was born in the sixteenth century. We thank Kenji Yanai and Daniel Sestili for the information provided thereon.
67 PO I, pp. 556-557.
68 See Notes and news text, ibid., Pp. 1580, 1607.
69 Ibid., P. 671.
70 Letter to G. Contini [July 7, 1949], in LE I, p. 360 (italics ours). See Note 71
and news on the texts, in PO I, p. 1588.
72 Letter to G. Contini [July 7, 1949], cit., Pp. 360-361.
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