5

T H E

D I V I N E

P i e r

P a o l o

M I M E S I S

Pasolini

translated by T h o m a s Erling

D O U B L E

D A N C E

PRESS,

Peterson

BERKELEY,

1980

Preface

The Divine Mimesis: I publish t h e s e pages today as a

" d o c u m e n t " , but also t o spite m y " e n e m i e s " : in fact,
offering t h e m a n o t h e r r e a s o n t o d e s p i s e m e , I offer t h e m
a n o t h e r r e a s o n t o g o t o Hell.
Faded iconography: t h e s e p a g e s w a n t t o h a v e t h e logic,
better than o f an illustration, o f a (rather, v e r y legible )
"visual poetry".
DSI3

Copyright 1980 by Thomas E. Peterson.

Originally published as La Divina Mimesis
by Giulio Einaudi editore s.p.a., Torino, 1975.

Canto I

A r o u n d m y forties I reali?ed T w a s i n a v e r y dark

m o m e n t I n m y life. N o m a t t e r w h a t I did i n t h e " F o r e s t "
o f reality of, 1963, ( t h e year 1 h a d reached* absurdly
u n a w a r e o f that e x c l u s i o n - f r o m t h e life- o f pthers w h i c h is
t h e repetition o f o n e ' s o w n ) t h e r e w a s a s e n s e o f darkn e s s . I wouldn*t s a y n a u s e a , or a n g u i s h : e v e n i n that
d a r k n e s s , t o tell t h e truth, t h e r e was, s o m e t h i n g 'terrjbly
l u m i n o u s : t h e light o f t h e o l d truth, if y o u will, b e f o r e
w h i c h there is n o t h i n g further t o say.
D a r k n e s s equals' light. T h e light o f that m o r n i n g in
April (or M a y , I d o n ' t r e m e m b e r well: m o n t h s i n this
" F o r e s t " pass by w i t h o u t r e a s o n a n d e v e n w i t h o u t n a m e ) ,
w h e n I arrived ( t h e reader s h o u l d n o t b e s h o c k e d ) in
front o f t h e C i n e m a S p l e n d i d (or w a s it S p l e n d o u r ? or
Emerald?
I k n o w for certain that o n c e " it w a s called
Plinius: a n d it w a s o n e o f t h o s e m a r v e l o u s t i m e s i t w a s
clear I w a s e x p e r i e n c i n g a f o r m o f life for the purpose
of
expressing it).
A light m e n k n o w well, i n spring, w h e n
t h e firstthe m o s t j o y o u s , t h e d e a r e s t o f their s o n s c o m e
o u t i n their light v e s t s , w i t h o u t jackets; a n d w a l k ' a l o n g t h e

OEC 8

'82

-5-

N e w A u r e l i a quietly a n d q u i c k l y w i t h n o s e s l o w e r e d .like
m i c e attracted by s o m e s t u p e n d o u s distant o d o r s t h e
s e v e n t e e n t h century o f t h e b o u r g e o i s f a m i l i e s o f R o m e ; t o
t h e first picnics o n t h e m e a d o w s , t h e g o v e r n e s s e s with
c a n e f e n c e s and wistaria, d o w n towards t h e f o g g y , s p e c k led A p p e n i n e : . .
A happy a n d ' e v i l light: d o w n t h e r e b e t w e e n t h e t w o
great d o o r s o f t h e c i n e m a , h a v i n g just t u r n e d m y car off a
l o n g a v e n u e w h i c h t h e A u r e l i a narrows i n t o * - A v e n i i e
G r e g o r y t h e S e v e n t h , I t h i n k b e t w e e n a sjipw o f gas
f u m e s i n t h e s u n and t h e l i t t l e c o v e r e d m a r k e t , in the. distance, w i t h its. little g r e e n s t a l l s d o w n t h e r e s o m e t h i n g
red, a lot, o f red, a little altar,of r o s e s , like t h o s e prepared
by t h e faithful h a n d s o f o l d w o m e n , in t h e disinherited
t o w n s o f U m b r i a , Friulia or A b r u z z i , o l d as their o l d
w o m e n had b e e n old, willfully repeating
themselves
t h r o u g h t h e c e n t u r i e s . A n awkward little altar, b u t f e s t i v e
in its way, an a r r a n g e m e n t o f red r o s e s I w o u l d n ' t k n o w
h o w t o despribe: a n d w h e n I grew near, a m o n g t h o s e red
r o s e s I n o t i c e d t h e portrait, doubly, funereal, for t h e m a n
had d i e d t w o days b e f o r e , o f a h e r o o f theirs, a h e r o o f
ours. T h e superficial l o o k o f h i s e y e s , u n d e r t h e bald
f o r e h e a d (a full b a l d n e s s o f a d o l e s c e n t s w e e t n e s s l e a v e n e d
by t h e g o o d o f life). T h e light w a s t h e r e , illuminating t h e
r o s e s and t h e portrait, and flags a r o u n d t h e m , perhaps,
b u n d l e d up, in the humblest popular solemnity (work o f t h e

-6-

- 7 -

w i v e s o f e n l i s t e d men- o f F o r t B o c c e a r e g i m e n t ? or o f t h e
e n l i s t e d m e t * t h e m s e l v e s , drivers or m a s o n s , w i t h their b i g
h a n d s intinaidated but inspired i n that w o r k o f r o s e s ? )

M e a n w h i l e , all o f t h e m , all o f us, w e r e g l a d d e n e d ,by

t h e fact that e i g h t e e n n e w b o y s h a d enlisted,, .after a m e e t ing o f t h e g o v e r n i n g patty, o u r party: that gladness, like
that o f h a v i n g drinks, t o g e t h e r , a r e f e r e n c e t o the, c o m i n g
true, fatally, o f certain facts w h o s e o c c u r r e n c e had, bejsn
h o p e d for t o g e t h e r and f o l l o w e d t o g e t h e r , and now,
g r e e t e d t o g e t h e r as % ( success: and that s u c c e s s pained m y
heart.

A l l that b e t w e e n t h e portals o f this C i n e m a Splendid:

sparkling' i n t h e e v e n i n g , n o w i m p o v e r i s h e d b y t h e light,
b y . this light. M i s e r a b l e d o o r s of-glass* a n d metal: a n d
h e c e t h e slightest, t h e v e r y tiniest a n g u i s h i n t h e h e a r t t e n d e r n e s s , languor, w e e p i n g . T h e p r o o f o f m i s e r y o f this
little ,display*also h a d t h e p o w e r t o t o r m e n t m e .
A n d t h e y w e r e t h e r e , t o listen' t o m e , w i t h an o l d
senator*, w i t h a n e w candidate for t h e C h a m b e r : . black a n d
dark, like* peasants w h o c o m e t o t h e city for b u s i n e s s , and
gather all t o g e t h e r i n a piazza, w h i c h blackens* b y their
S o l e m n i t y , in*-that dazzling e m p t i n e s s t h e n e w s u m m e r is
preparing b e t w e e n Jhe palaces a n d back streets. A n d t h e
g r e e t i n g s , the- shaking o f h a n d s , t h e l o o k s o f a r g u m e n t
and-agreement.
u

A n d h e r e w e r e gathered, i n t h e aisles o f t h e orchestra

pit, w h i c h , e v e n it, pained 1 t h e heart, i n that m o r n i n g light
( t h e light, o f s h o p s , terraces, a v e n u e s , n o t o f t h e c i n e m a )
in that hall w i t h t h e splendid n a m e a n d w h i c h was t h e
splendid m e e t i n g place, in. their corner o f t h e district, i n
t h e l o n g serjes o f n i g h t s in w h i c h , w i t h o u t a flag, life
marches on.

T h e circle was m e e t i n g at its o w n c e n t e r ,

t h e world.

excluding

( W h i c h was t h e r e , o u t s i d e , as t h e half o p e n 'window

o n t h e ceiling o f t h e Splendia" .demonstrated with s h i n i n g
clarity: a silken, b l u e , f r o m t h e . A p p e n i n e s , w i t h t h e air o f
t h e sea.)
T h e stage o f o n e ' s forties; t h e flags o f o n e ' s forties;
t h e fortyish m i c r o p h o n e : all, rocking o n t h e o l d w o o d ,
f r o m a w a r e h o u s e , nailed d o w n with four b l o w s o f t h e
h a m m e r , a n d c o v e r e d with poor- red cloth. H o w t h e .heart
blQd!
D a r k n e s s o n darkness. I w a s there, in f r o n t o f t h e
-workers: all d r e s s e d up*,* t h e fathers in dark, t h e s o n s in
,their light little v e s t s o f t h e p o m e g r a n a t e red, t h e .canary
y e l l o w , t h e gilded o r a n g e that were' .fashionable that
year: there was t h e face o f t h e t o o t h l e s s o n e , assigned
t o certainties as is a t y p h u s patient t o h i s sick b e d ; -the

- 9 -

-8 -

h u m o r o u s n o t e t h a t f a i t h r e n d e r s daily: h i s p o s t is in the
c e n t e r o f t h e pit, a n d h i s c h a i r s e e m s h i g h e s t o f t h e m all.
W h e n h e claps h i s h a n d s , w i t h h i s *t66thless m o u t h o p e n i n g i n a t r a d i t i o n a l s m i l e , it is t h e s i g n t h a t h e must c l a p
h i s h a n d s : a n d h a p p i l y . T h e circle is m e e t i n g a r o u n d t h a t
c e n t e r it h a s full o f c e r t a i n t y : t h e w o r l d is o u t s i d e , r a d i a n t
a n d i n d i f f e r e n t . A n d t h e h e a r t is r e n t .
I a m h e r e , t h e n : t o c o u n t a s t h e only g i v e n g o o d o f
t h e w o r l d in w h i c h h i s t o r i c a l l y I t e s t t h e fact o f l i v i n g t h e
existence of these workers (which pains t h e heart).
A h , I d o n ' t k n o w h o w t o s a y , v e r y well, w h e n it
b e g a n : p e r h a p s it h a s b e e n g o i n g o h f o r e v e r . W h o c a n
indicate t h e m o m e n t w h e n reason began to sleep, or
b e t t e r t o d e s i r e its o w n e n d ? W h o c a n d e t e r m i n e t h e circ u m s t a n c e s in w h i c h h e b e g i n s t o l e a v e , o r r e t u r n w h e r e
reasbft w a s n o t , a b a n d o n i n g t h e r o a d h e h a d b e l i e v e d t o
b e right- for s o m a n y y e a r s , f o r t h e s a k e o f p a s s i o n ,
i n g e n u o u s n e s s , conformism
?
But as I arrived, in t h a t d r e a m of m i n e outside
r e a s o n o f brief d u r a t i o n , a n d so' d e f i n i t i v e f o r t h e r e s t o f
m y e x i s t e n c e 1 ( a t least s o I i m a g i n e ) a t t h e f o o t o f a
" M o u n t a i n " , at t h e base of that h o r r i b l e . " V a l l e y " - t h a t
h a d s o filled m y h e a r t w i t h t e r r o r for life, a n d f o r
p o e t r y I l o o k e d *up, a n d s a w , there* at t h e t o p , a l i g h t , a
light (that of t h e old s u n r e b o r n ) that blinded m e : like

t h a t " o l d t r u t h " , a b o u t w h i c h t h e r e is n o t h i n g m o r e t o
say. B u t t h a t t h e fact o f finding it a g a i n s fills o n e w i t h
j o y , e v e n if it c a r r i e s w i t h it, j u s t t h a t , r e a l l y , t h e end L o f
everything.
I n t h e fatal light of t h a t old t r u t h , I w a s slightly
calmed by_ anguish: which h a d b e e n t h e only real feeling
d u r i n g t h e w h o l e p e r i o d o f d a r k n e s s t o which* m y r o a d , the
right one!, h a d fatally c a r r i e d m e .
L i k e a castaway, w h o c o m e s o u t of t h e sea a n d clings
t o a n u n k n o w n l a n d , I t u r n e d b a c k , t o w a r d s all t h a t is
d a r k n e s s , d e v a s t a t e d , s h a p e l e s s : t h e f a t a l i t y o f oner's o w n
being, o n e ' s own birthmarks, t h e fear of change, dread of
the world: which n o o n e ever was able to escape, carrying
off t o s a f e t y h i s o w n totality.
I r e s t e d a little, d i d n ' t t h i n k , d i d n ' t l i v e , d i d n ' t w r i t e :
l i k e a sick m a n : t h e n I s t a r t e d u p a g a i n ( i t ' s t h e o l d
story). U p t h e deserted slope, w h e r e I could truly say I
was alone.
Alone,
rriy f r i e n d s ,
absurd new
less child, a

c o n q u e r e d by e n e m i e s , a tiresome survivor t o
a stranger to myself, I plodded along to that
road, pulling myself u p t h e slope like a h o m e missing soldier.

Bu,t j u s t t h e n , after a f e w s t e p s o f m y s o l i t a r y a n d
d i s c o u r a g e d c l i m b , t h e r e it w a s , e m e r g i n g f r o m t h e u s u a l

\r

- 10-

recesses of m y soul (which desperately coritinued to cons i d e r , t o d e f e n d itself, t o s u r v i v e t u r n i n g b a c k ! ) , t h e r e it

w a s , t h e agile a n d u n s c r u p u l o u s ' b e a s t , c h a n g i n g l i k e a
c h a m e l e o n , s o t h a t its c o l o r s a r e a l w a y s c h a n g i n g t o t h o s e
o f b e f o r e . T h e e x t e r n a l c o l o r s , first o f all: t h o s e f o u n d
b e i n g b o r n , a n d soon* t h e o b j e c t o f a t r e m e n d o u s a f f e c t i o n ,
w h i c h c a n n o t r e a l l y s e e t h e m change.' 1 A n d t h e n ?those
w i t h i n , in t h e i m a g e o f a n d l i k e b e c a u s e o f t h e e r r o r of
i n f a n t i l e a n d y o u t h f u l l o y a l t y t h o s e o f -the w o r l d .
The
c o l o r ,of p u r i t y # e s p e c i a l l y , o f - h i g h m o r a U t y , o f i n t e l l e c t u a l
h o n e s t y d a m n e d c o l o r s p a i n t e d by i l l u s i o n !
S o , t h e " L e o p a r d " (in w h i c h , sat o n c e , I h a d n o
difficulty r e c o g n i z i n g m y s e l f ) , w i t h all ^hose c o l o r s s p o t t i n g
its s k i n , did n o t m o v e f r o m m y e y e s , l i k e a m a m a ' s b o y ,
like a c h u r c h - b o y . R a t h e r , t>y a t e r r i b l e f o r c e t h a t o f t h e
t r u t h , of t h e necessity pf lifehe s t o p p e d ' m e
from
p r o c e e d i n g a l o n g rny n e w r o a d c h o s e n n o t by will, b u t by
t h e lack o f a n y w i l l a n d a b o u t w h i c h t h e r e is n o n e e d for
mystificatipn,
b e c a u s e o n e j s alqne
because of
the
s q u a n d e r i n g of a n h o n e s t l y d e s i r e d s i n c e r i t y w a s a g a i n
ready to surrender, to turn back to the overbearing, stup i d , v u l g a r w o r l d I h a d j u s t left.
But moving ahead there, next to the " L e o p a r d " ,
s l e e p a n d f e r o c i o u s n e s s j o i n e d jn t h e s i n g l e f o r m o f
" L i o n " ; w h i c h , t h o u g h h a i r l e s s , fetid, w i t h a n i m a l d u n g ,
l a z y , vile, i n s o l e n t , s t u p i d , v o i d o f a n y i n t e r e s t o t h e r t h a n

-11 -

i d l i n g , a l o n e , and" d e v o u r i n g , a l o n e ^ s t i l i h a d t h e p o w e r o f
o n e n o t k n o w i n g e v i l , t h e stuff p f w h i c h i t c o n s i s t e d , by
its n a t u r e , b e i n g o n l y g o o d . By its s l e e p a n d f e r o c i o u s ness, egoism and ravenous hunger, the " L i o n " drew out
a n i n s p i r a t i o n to,, l i v e t h a t d i s t i n g u i s h e d h i m , w i t h a b s o lutely brutal violence, f r o m t h e o u t s i d e world.
Which
almost trembling sheltered him.
,
.
T h e i d e a o f self is n o t c o r r e c t : w h e n o n e . e x p r e s s e s
h i m s e l f h e destroys" r e a l i t y , b e c a u s e h e d e v o u r s it.
T h e Ability t o d e v o u r reality- t h e n g i v e s a c e r t a i n t y
w h i c h is difficult t o k e e p f r o m u s i n g : t o b l o c k o n e s e l f
from 'entering, by m e a n s of s u c h a science, t h e world, a n d
installing oneself t h e r e , like a king, a n o v e r b e a r i n g poet.
H o w e v e r partially, in. t h a t " L i o n " t o o , a s in a n e x a g gerated Warning sign, I recognized myself.
B u t I w a s still tcf r e c o g n i z e m y s e l f in ' s o m e t h i n g m u c h
worse 1 . F r o m t h e s i l e n c e i n w h i c h o n e i s a n u n c o n t r o l l a b l e d e t e r m i n a t i o n o r a p h e n o m e n o n f o r m e d little by litt l e , a p a r t f r o m t h e fierce a n d i n g e n u o u s p i c t u r e s a c h i l d
offers 1 o f h i m s e l f a l l h i s lifea " S h e - w o l f c a m e o u t ,
f l a n k i n g t h e o t h e r t w o beasts..
Its markings
were
d i s f i g u r e d b y a m y s t i c a l l e a n n e s s , its m o u t h w o r n t h i n
from kisses and i m p u r e works, t h e cheek b o n e high u p
against t h e eye, t h e jaw b o n e low o n t h e dried u p skin of
t h e neck. A n d b e t w e e n t h e m a n o b l o n g cavity, t h a t m a d e

- 12 -

the chin protrude, almost pointed:

mask.

- 13 -

ridiculous as any d e a t h

A n d t h e e y e d r y in a n a g o n y ; t h e m o r e a b j e c t t h e
c l o s e r t o t h e a g o n i e s o f -the s a i n t s : a d e c e p t i v e d r y n e s s ,
w h e r e its e y e r e s t s it s e e m s to stick like g l u e t r i c k l i n g
f r o m t h e r o u n d frfpil, n o w t o o d i r e c t n o w f l e e t i n g a n d in
t h e m i d d l e t h e n o s e , f a t t y i n "the s k i n a n d - n o s t r i l s o v e r t h e
u p p e r lip, itself v a n i s h e d f r o m c o n s u m p t i o n : t h e h u m a n
n o s e o f t h e b e a s t , t h a t m a k e s itself a \ g u i n e a pig o f its o w n
longings, b e c o m i n g g a n g r e n o u s , always m o r e natural.
T h a t " S h e - w o l f f r i g h t e n e d m e : not* by t h e d e g r a d a t i o n it r e p r e s e n t e d , b u t for t h e l o n e fact o f its b e i n g ,
a l m o s t o b j e c t i v e l y , a n a p p a r i t i o n : t h e d e f i n i t i o n o f itself,
a n " e c c e h o m o " , s o t o s p e a k , t h e reality o f w h i c h t h e
i n t e l l i g e n c e c o u l d in n o w a y a v o i d . I t s p r e s e n c e w a s s o
indisputable as t o sever any h o p e of ever being able to
r e a c f | t h a t m y s t e r i o u s p e a k I g l i m p s e d a h e a d o f m e , in t h e
silence.
I had travelled there so willinglyparched,
w i t h o u t living, w i t h o u t w r i t i n g , a n d still, r i g h t in t h e lack
of everything, save t h e " a b o m i n a t i o n of d e s o l a t i o n " , I
w a s g r i p p e d b y a n e w f o r m o f vitality t h a t , n o w , h a v i n g
to credit to t h e presence of that peaceless beast an insu p e r a b l e f o r c e s o m e t h i n g a g a i n s t w h i c h it w a s s i m p l y r i d i c u l o u s t o try a n d m e a s u r e o n e s e l f b r o u g h t a n a n g u i s l i
that rendered m e impotent. I was driven back by t h e
t e m p t a t i o n t o r e t u r n t h e r e w h e r e o n e is r e q u i r e d , in t h e

e n d , only to b e quiet.
A n d a s I fell t o r u i n , r i g h t e o u s l y a b s u r d in m y v i c t d r y
over a world to which 1 belonged, having n o reason to
c o n s i d e r m y s e l f a b o v e it, b y n o w d e p r i v e d o f t h e a u t h o r i t y
o f p o e t r y a n d g r o w n I g n o r a n t f r o m l o n g o b s c u r a n t i s t visit a t i o n s , practical a n d m y s t i c a l , t h e r e a p p e a r e d t o m e h e r e a
figure,
in, w h i c h o n c e a g a i n I h a d t o r e c o g n i z e m y s e l f ,
w i t h e r e d a n d f a d e d by*

A s I perceived h i m i n t h e m i d d l e of that solitude,

that oblivion, to which I was reduced, I screamed: "Pity,
p l e a s e " , a s in d r e a m s , w h e n all d i g n i t y is l o s t , a n d w h o e v e r m u s t cry c r i e s , w h o m u s t a s k f o r pity a s k s f o r pity.
" L o o k at t h e s t a t e in w c h I find m y s e l f , l o o k , e v e n if I
d o n ' t k n o w if y o u a r e a s u r v i v a l o r a n e w r e a l i t y ! "
" A h i t w e n t , w a t c h i n g m e , w i t h a s u b t l e but, u n n a t u r a l i r o n y in its e y e s m a d e b y b e i n g s e r i o u s y o u a r e
r i g h t , I a m a s h a d e , , a s u r v i v a l . . . I a m f a d i n g slowly in t h e
fifties o f t h e w o r l d , o r , t o p u t it b e t t e r , of I t a l y . . . " A n d
h e r e h e still s m i l e d , i r o n i c , m i l d l y n e u r o t i c : b e c a u s e s e r i o u s n e s s , o r p a s s i o n , w a s t h e o n l y p o s s i b l e light in h i s e y e s :
tepid b r o w n eyes u n d e r t h e p r o n o u n c e d c h e e k b o n e , t h e
l e a n a n d i n f a n t i l e c h e e k , t h e m o u t h full o f s w e e t n e s s f r o m
t h e u g l y s m i l e : s a v e d b y h i s g r i n f r o m t h e t a n g l e s of o n e

- 14-

w h o rnu.st.-beg f o r g i v e n e s s . f o r , a n a n c i e n U c r i m e . . -So w i t h
that smile th^t d e f o r m e d .him, he,'slightly, .resembled a
p o o r d i r t y d i s h e v e l e d thjef. Andnhe/jsajd;* ? I ! m f r o m t h e
n o r t h : -my. m o t h e r w a s b o r n .in^ FriuhV m y ' . f a t h e r in
R o m a g n a ; I lived a long t i m e ,in^BQiogna,and, in o t h e r
cities a n d t o w n s o f t h e . P a d u a n . plain ^s i is:,"written in t h e
l i n e r s o f t h o s e , b o o k s of the .Fifties*, (hat-fade
with
me..."
A n d h e r e h e h a d a n o t h e r toothless smileChough n o n e of
h i s t e e t h w e r e m i s s i n g . B u t w h e n -the, s m i l e , g o o d o r b a d ,
s t o p p e d d r a w i n g t h e m o u t h o v e r the. s h a d o w o f p o i n t s
s u n k e n in t h e y e l l o w i s h a r e a a r o u n d h i s t e e t h , a n air o f
i n g e n u o u s n o b i l i t y i n v a d e d h i s e n t i r e face. .
" I was b o r n u n d e r fascism, though,;I was hardly m o r e
t h a n a b o y w h e n it fell. A n d "then I l i v e d f o r a l o n g t i m e
in R o m e , w h e r e f a s c i s m , w i t h a n o t h e r n a m e , ; c o n t i n u e d :
while t h e culture of t h e high bourgepis d i d ' h p t hint a
d e c l i n e , g o i n g s t e p b y , s t e p ( d o e s o n e say it t h a t w a y ? )
with' t h e ' ignorance of t h e u n b o u n d e d m a s s e s of t h e petty
b o u r g e o i s . . ? ' H e ' s r n i l e d , h e still s m i l e d , l i k e a c u l p r i t , h e
almost w a n t e d to stretch o u t w h a t h e h a d said, or w a n t e d
to e x c u s e himself' for t h e generality to which h e was
c o n f i n e d by c i r c u m s t a n c e s , o r b y , h i s a n g u i s h a s well.
, " I was a p o e t , h e a d d e d , quickly, n o w h e almost
w a n t e d Itp d i c t a t e h i s t o m b s t o n e - * ! s a n g o f t h e split in
c o n s c i o u s n e s s , o f o n e w h o h a s fled h i s d e s t r o y e d city^ a n d
g o e s t o w a r d <a city t h a t s h o u l d a l r e a d y i i a v e b e e n b u i l t .

- 15-

A n d w n o , i n ' t h e pains o f d e s t r u c t i o n m i x e d w i t h t h e h o p e
of t h e founding, darkly exaggerates his m a n d a t e . . . "
He
l o o k e d a t m e f o r a- m o m e n t , n o l o n g e r a s o n e l o o k s at a
victim to help, but as a scholar, or a n interviewer; " A n d
because of t h a t h e *addedI a m destined to fade so
p r e m a t u r e l y : b e c a u s e t h e w o u n d o f a d o u b t , t h e p a i n -of a
laceration,- s o o n become* c o n f i n e d t o t h e o n e w h o is ill, in
whorn
others
are
right
to * lose
interest.
-'And
t h e n . . . e v e r y o n e has* a" m o m e n t a l o n e in l i f e . . . "
ft
Still; h e h a d t h e t r a c e o f a m a l i c i o u s a n d s o r r o w f u l
s m i l e in h i s e y e , u n a b l e t o s m i l e it, s o h e a d d e d , w i t h a
f r i e n d l y air: " B u t you', w h y d o y o u w a n t t o t u r n b a c k ,
into that degradation?' W h y d o n ' t you continue to climb
u p h e r e , a l o n e , as y o u w e r e destined t o d o , a n d as o u
aire?"
I looleed a t h i m . S u c h kindness", s u c h a ,desire t o h e l p
o u t a n d p l a c e h i m s e l f a t m y d i s p o s a l , in t h a t q u a n d a r y ,
comforted m e . M y succourer was miserable, minute: h e
wasn't a father, h e wasn't an-older brother, h e didn't have
t h e overbearing consolation of o n e representing authority ;
h e c o u l d b e all t h e m o r e a m o u n t a i n g u i d e . B u t h o l y
h e a v e n ! , ' i n a c i r c u m s t a n c e like t h a t , in w h i c h m y life
s e e m e d to implicate h e a v e n a n d earth, being presented
l i k e ' a great edifying f a b l e - r a n e x p e r i e n c e surely f r o m " t h e
b e y o n d " , a n ascent t h r o u g h mystical inclines with a paradisical s u n l i g h t a s h a p p e n s t o t h e s a i n t s w h e n t h e y a r e

* 16-

- 17 -

a l r e a d y c h a r a c t e r s in t h e i r .'sacred s o n g s i n s u c h a r circ u f n s t a n c e * ,a slightly b e t t e r ^ e n c o u n t e r * could- t h a v e y h a p p e n e d t o m e , o r a t l e a s t o n e a little m o r e r o m a n t i c !

E v e r y t h i n g w a s d o n e for t h i s ; i t - s e e m e d t o m e : t o b e
i n v o l v e d w i t h a g r e a t g u i d e , w.ho*,carne> u p a j o n g t h e w a y s
of t h e necessary, with t h e - s p l e n d o u r of'poetry* f r o m ^ t h e
bottom of my history, m y culture.
H e might be, for
e x a m p l e , G r a m s c i h i m s e l f . . , e m e r g i n g f r o m t h e little
t o m b in t h e E n g l i s h C e m e t e r y ,in Testaccio,- w i t h > h i s b a c k
of a small erect Leopardi, the rectangular forehead of his
S a r d i n i a n m o t h e r , t h e slightly r o m a n t i c , ' h e a d of h a i r of h i s
t w e n t i e s , a n d t h o s e p o o r e y e g l a s s e s of t h e b o u r g e o i s i n t e l lectual... .Or, t h e r e ! , R i m b a u d m i g h t h a v e ^ e p m e a l o n g , m y
e i g h t e e n ^ e a r old R i m b a u d , m y c o n t e m p o r a r y , a n d .castrat o r , w i t h h i s d e s t i n y a n d h i s l a n g u a g e a l r e a d y d i v i n e , -likg
t h o s e o f a classic, b u t b e a u t i f u l a n d c o v e r e d witft r i b b o n s
like A l c i b i a d e , a n d n o V t b m a k e l o v e w i t h h i m , b u t t o
a d m i r e riirri in all h i s i n f a n t i l e s o u l . . . Or* finally, it c o u l d
s
h a v e b e e n 'Chaplin'...
'
I n s t e a d I h a d . n o o n e in f r o n t o f m e b u t
civilized p o e t o f t h e F i f t i e s , a s h e u s e d ; | o
u n a b l e , to help himself, to imagine himself
A n d y e t it w a s c l e a r t h a t i n i ( t h e w o r l d i n
c o u l d n ' t h a v e f o u n d t h o u g h o m i s e r a b l e ,
l i k e , s o t i m i d a n y o t h e r ' g u i d e b u t this.

" O h i t ' s y o u ! I said then* I r e c o g n i z e y o u !

Uh
a n d I b l u s h e d t o s a y - i t , n o t f o r t h e v i c e c o n f e s s e d * b u t for
t h e fact t h a t , o n c e a g a i n , I w a s c o n f e s s i n g I l o v e d y o u
v e r y m u c h . Y o u a l w a y s s e e m e d t o m e , in t h e e n d , t o b e
t h e ' g r e a t e s t o f the, p o e t s o f o u r t i m e 5 , effectively t h e i r
t r u e guide. I h a v e . r e a d a n d re-read y o u r v o l u m e s , with
g r e a t satisfactions it w o u l d s u i t m e , n o w , t o get o u t o f t h i s
' i m p a s s e ' , a h a y o u l a u g h t h e l o n g critical w o r k I did o n
y o u , n o t for t h e s a k e o f social p r e s t i g e , b u t n a r c i s s i s m !
Y o u a r e t h e o n e w h o s e style was m y r e a s o n f o r
affirmation a n d .success!"
I looked at m y s e l f s t u n n e d by t h e unpleasant tFauma
o f s u c h a n u n l i m i t e d c o n f e s s i o n , f r o m t h e b a d t a s t e of
r e p e a t i n g a c o n s c i e n c e w h i c h w a s by t h e n
without
n o v e l t y I l o o k e d arcfund m e : a n d , of t h e t h r e e b e a s t s ,
t h e o n e t h a t s c a r e d m e m o s t w a s t h e " S h e - w o l f " by its
m y s t i c l e a n n e s s ( w i t h its flesh d e v o u r e d by d e g r a d a t i o n o f
flesh, fetid w i t h s h i t a n d s p e r m ) .
" I n e e d y o u r helpI s t a m m e r e d , as insecure as I h a d
e v e r b e e n in m y l i f e b e c a u s e t h i s b e a s t w o u l d e n d ' b y
t a k i n g a w a y , m y s t r e n g t h a n d will t o e x p r e s s m y s e l f . A n d
I c a n n o t e v e n bear t h e idea of n o longer being a w r i t e r . "

him, a small
.say. -bitterly:
as a n o t h e r
my worldI
so peasant-

" Y o u n e e d t o c h a n g e r o a d s - - h e t h e n said t o m e , w i t h
h i s frightful w i s d o m , s e e k i n g t o m o d i f y t h e g r a v i t y of
w h a t h e said w i t h t o n e s of a m u n d a n e s p e e c h , a s b a n a l a s

jfe.

- 18 -

p o s s i b l e i f a situation- s e e m s - d a n g e r o u s o r u n w o r t h y . "
" W i t h t h i s b e a s t w h o s e p r e s e n c e r n a k e s y o u lament., t h e r e
is little t o j o k e a b o u t . . . " h e c o n t i n u e d : - I h e a r d h i s c o n tinual linguistic correction, a n d was m o v e d ; b e c a u s e I
u n d e r s t o o d t h a t , a s With i r o n y , it w a s n ' t d o n e by h i m , t h e
c h a m p i o n o f t h e s e r i o u s n e s s , t h e passioii, t h e r i g o r o f
s l a n g . . . It w a s l i t o t e s h e n o w u s e d : a t t e n u a t i o n . L e a r n e d
p e r h a p s in t h e m e e t i n g s o f h i s l i t e r a r y c o n t e m p o r a r i e s .
Basically, basically... y e s , it w a s a b o u r g e o i s a t t i t u d e : t h e
fear o f t e l l i n g t h e t r u t h in t h e s u b l i m i t y o f f r o n t a l e x p r e s s i o n , t h e n e e d t o d e l i v e r it a l m o s t s e c r e t l y , n e g l i g e n t l y ,
speaking of something
else...
I t ' s a t a p e w o r m . A n d y o u k n o w it. T h e r e p e t i t i o n o f
a sentiment becomes an obsession. A n d the obsession
t r a n s f o r m s t h e s e n t i m e n t . . . " H e smiled, m a k i n g fun of his
o w n d i d a c t i c t o n e , a n d h u m b l y clarifying: " L i k e t h e r e p e t i t i o n o f a w o r d in t h e litanies;.. R e p e t i t i o n t h a t is l o s s o f
m e a n i n g ; a n d l o s s o f m e a n i n g t h a t is m e a n i n g . . .
Exalting... H a , h a , h a ! " I w a t c h e d h i m l a u g h in t h e s i l e n c e of
t h e " a b o m i n a t i o n o f d e s o l a t i o n " , in t h e o b l i v i o n .
H e stopped t h e poor, i n n o c e n t , childlike laughter of a
c o n n i s s e u r of style, a n d c o n t i n u e d , constantly d e p e n d i n g
o n t h e t o n e of t h e s p o k e n language: " R e p e a t t h e w o r d
' s e x ' i n t o infinity: w h a t s e n s e will it h a v e in t h e e n d ?
S e x , s e x , ;sex^ s e x , s e x , s e x , s e x , s e x , s e x , , s e x , s e x , s e x ,
sex, sex, sex... T h e world b e c o m e s an object of sexual

- 19 -

d e s i r e , it is n o l o n g e r a w o r l d , b u t a p l a c e o f o n l y o n e
feeling. T h i s feeling r e p e a t s itself, a n d w i t h it t h e .world
r e p e a t s , u n t i l finally it a c c u m u l a t e s a n d is a n n i h i l a t e d . . / Of
t h e world only t h e miraculous projection
remains...
O b s e s s i o n , b e c o m i n g r e l i g i o n , n e e d s t o s e e w h o it is5 m a r rying. B u t m e a n w h i l e I n s t i t u t i o n a l R e l i g i o n h a s m a d e ajl
p o s s i b l e m a r r i a g e s . A n d it still h a s s o m e t o m a k e .
Its
d e s i r e is e n d l e s s ; it d e s i r e s m a l e s . . . U n t i l it finds o n e
m a l e s o fat t h a t it will kill it. H a v h a , h a ! T h a t o n e , so
well e n d o w e d , w o n ' t b e t h e b o s s o f f a c t o r i e s o r n e w s p a p e r
c h a i n s , h e will n o t p o s s e s s f e u d a l l a n d s in t h e s o u t h , b u t
h i s r i c h e s will b e b u s i n e s s spirit, p a p e r capital, a n d t h e
m u l t i - n a t i o n a l c o u n t r y . H a , h a , h a ! H e will b e t h e s a l v a t i o n of t h e w o r l d : w h i c h will n o t q u i t e r e g e n e r a t e t h e
a b s u r d l y h e r o i c d e a d t o w h i c h t h e h u m b l e y o u t h of always
a r e a s s i g n e d : t h e b o y s of R e g g i o , o r P a l e r m o , t h e C u b a n
o r A l g e r i a n a d o l e s c e n t s , G r i m a u a n d L a m b r a k i s . . . H e will
h u n t for it in t h e d e e p e s t H e l l , in all t h e C i t i e s o f t h e
W e s t w h e r e it still r e i g n s , in t h e s e r v i c e of t h o s e w h o p r e c e d e h i m a n d of w h o m h e is h i s t o r i c a l h e i r . F o r y o u r
good, n o w , the best thing, s e e m s to m e to lead you to a
place n o n e o t h e r t h a n t h e world. B e y o n d this, y o u a n d I
will n o t g o , b e c a u s e t h e w o r l d e n d s w i t h t h e w o r l d .
As
far a s t h e p r o s p e c t i v e s of H o p e (for w h i c h o n e d i e s ) a n d
t h e p l a n s of H e w h o is c o m i n g , I a m p r e m a t u r e to t h e i r
laws. T h e r e f o r e I a m n o t a u t h o r i z e d t o l e a d y o u in t h o s e

-20- 21 -

oinpfanneSd.''0ne' "
you '-1 i r l k S
Z
hard L
cheek hone
"

' ""
tt0

C h 0

whh T
^
Z

Ped

for

S e

S a i d

T *
^

'

the

o t h e r , projected

F m

*AW

6 X a m i n i n g

m e

C a n t o II

with
t i m i d

I w a t c h e d h i m walk a h e a d o f m e , u p a s t e e p path
o v e r g r o w n w i t h a bad and i n n o c e n t w e e d : in o n e o f t h o s e
places in t h e world w h e r e still, w i t h all that h a s h a p p e n e d ,
what c o u n t s is t h e grass t h e tufts o f grass h e a p e d up
f r o m Spring like g r o u p s o f beggars, stinking like g y p s e y s
in t h e c o m p a c t purity o f t h e agrarian e p o c h s t h e b r o o m
flower, i m m o r t a l , t h e p o o r passing acaciathat o n l y in
that m o m e n t o f t h e year e n j o y e d its triumph: o f big
crinkly flowers, pressing o n e o n t h e other, s m e l l i n g with
t h e i m m o d e s t y o f t h e stupid, t h e i n n o c e n t o r t h e elders,
n i c e and w a r m , t h e transparent acacia b l o o m s a n d t h e
o t h e r pure trees: m u l b e r r y , v i n e , o a k , a n d t h o s e a bit
m o r e m y s t e r i o u s , c o m m o n i n t h e s o u t h , poplar, alder,
willow a n d t h e eucalyptus, fierce w i t h a grey-red m a n e ,
m e m o r i e s o f o t h e r c l i m a t e s m a h o g a n y , and
mango,
c o l o r e d by t h e l y m p h o f o n e w h o g r o w s verdant o n
d e a t h o r , t h e acacias o f K e n y a , red and g r e e n a n d cinn a m o n trees, sugar c a n e a n d c l u m p s o f p a l m t r e e s in t h e
o c e a n i c light, I w a t c h e d h i m walk u p that s t e e p path o n
t h e outskirts o f t h e city w h e r e t h e e v e n i n g light fell like a

- 22 -

- 23 -

s u m m e r storm.
T h e r e w a s n o b o u n d a r y in t h a t light
b e t w e e n m a n a n d m a n , b e t w e e n t h o s e w h o , d o w n t h e r e in
t h e w o n d e r f u l a n d h u m b l e k i n g d o m s of life, p l a i n s ,
s h a n t y - t o w n s , cities ( t h a t w e r e n o w o n l y a m o u r n f u l w e a v ing o f l i g h t s ) w e r e c o n t e n t in t h e t r i u m p h o f j u s t b e i n g
t h e r e , like t h e acacia flowers t h a t w e r e still falling, a n d
s m e l l i n g r o t t e n : g l o r i o u s in t h i s too, F m o r e g l o r i o u s still.
I alone
melancholy.

was

outside

of

so

much

glory,

so

much

A n d a flaming p o i n t o f t e a r s c u t i n t o m y c h e s t w i t h a
s t e a d y pain 1 f r o m t h e m o s t d i s t a n t y e a r s o f life.
I a l o n e , d e f i n e d by a b o u n d a r y :
a disproportion,
i n c r e d i b l e , b e t w e e n t h i s little m e a n d all t h e r e s t o f t h e
w o r l d , s o large,, i n e x h a u s t i b l e e v e n in n o s t a l g i a !
Old inspiration, u s e d to compiling m i x t u r e s of places,
e n t i r e flying p a n o r a m a s o v e r Italies a n d E u r o p e s , a n d
p t h e r c r u s t s o f t h e w o r l d , y o u m u s t h e l p m e , like a
r e p u d i a t e d , w o m a n , n o longer useful for a n y t h i n g , but
w h o , for s o m e old f r i e n d s h i p , c o n t i n u e s t o visit a h u s b a n d
g r i p p e d by o t h e r l o v e s ( i m p o s s i b l e o n e s , if e v e r t h e r e
were any, and mildly ridiculous and infamous) to r e t u r n to
h i m t h e old, indispensable services!
H e l p m e y o u , in t h i s b e t r a y a l : in t h i s w h i c h is t h e
w o r s t o f t h e v i s i o n a r y a r b i t r a r i n e s s e s in w h i c h y o u h a v e
h e l p e d m e so. H e l p m e g i v e a b o d y t o a b s t r a c t i o n s , t h a t

want

to

be

so

new,

with

the

old

concreteness

of

the

d o m e s t i c a n d elegiac fantasy!
E n o u g h : h e w a l k e d a h e a d of m e , d e f e n s e l e s s . A n d I
c o u l d n ' t stop myself f r o m staring at his n e c k , his shoulde r s , in t h e w a y t h a t o n l y e n d s by h u m i l i a t i n g b o t h
o b s e r v e r a n d o b s e r v e d . A n u n d u e a p p r o p r i a t i o n of t h e
o t h e r ' s reality, w h i c h m a k e s e v e n m o r e unjust t h e straining a t pity w h i c h is t h e n a t t e m p t e d .
H e w a l k e d agilely a h e a d of m e , w i t h a q u i c k n e s s t h a t
c o u l d h a v e b e e n a b o y ' s . A n d it w a s t h i s , e s p e c i a l l y , t h a t
b o u n d m e t o a d i s t u r b i n g s e n s e o f pity: h e w a s a m a n
b e t w e e n thirty a n d forty years old, a poet a b o u t w h o m
u n i v e r s i t y s t u d i e s w e r e a l r e a d y b e i n g m a d e , and' t h e r e f o r e
t h a t s p o r t i n g w a l k of h i s , m u s c u l a r l y ' r e l a x e d , h a d s o m e t h i n g b a s e a b o u t it, e x a g g e r a t e d : like o n e w h o c o n f e s s e s
w i t h o u t m o d e s t y , a n d a l m o s t w i t h o u t b e i n g a w a r e of it, t o
c e r t a i n of h i s o w n w e a k n e s s e s . . . a s l o n g a s t h e y d o n ' t c o n c e r n s u c h a pitful f l i r t a c i o u s n e s s . . .
Because t h r o u g h o u t his body there was s o m e t h i n g
shameful, humiliating: and therefore that youthful health
of h i s , w h i c h in t h e g e s t u r e s of w a l k i n g u p t h a t difficult
rise, was suggested b e h i n d the apparent thinness and
e x h a u s t i o n of h i s b o d y , i r r i t a t e d o n e s w h o d i d n ' t l o v e
h i m , a n d d r e w pity f r o m t h o s e w h o l o v e d h i m .

-24-

-25 -

A n d t h e n t h o s e c l o t h e s : ' t h o s e s i e k e n i n g c l o t h e s , tied
t o t h e financial p o s s i b i l i t i e s o f t h e f a m o u s Fifties, b o u g h t
a c c o r d i n g t o t a s t e , a little p l e b i a n , e x a c t l y t h e s t y l e o f
those years: a sportcoat found in a -ready-to-wear shop, of
a s t r a n g e little c o l o r a little r u s t a n d a Httle o r a n g e ; t h e
s h i r t collar, o p e n , it t o o b o u g h t r e a d y - m a d e , in a s h o p in
t h e c e n t e r o f t o w n ; t h e t r o u s e r s s a g g i n g slightly, w o r n a n d
a l i t t l e s h o r t ; t h e s h o e s e a t e n u p o n t h e p u t s i d e by t h e
h e e l s , like o n e w h o w a l k s a little a p e - l i k e ; a n d e s p e c i a l l y
t h o s e s h o r t , h o r r i b l e s o c k s , w i t h t h e s e little r e d d o t s ,
s t r e t c h e d b y elastic a little o v e r h i s a n k l e s . H e w a l k e d
unaware, ahead of m e : ' son of a poor bourgeois nation,
p o e t b e c o m e a p o e t w h o k n o w s h o w , w h o k n o w s in w h a t
p r o v i n c i a l c o r n e r , in w h a t d i s t r e s s i n g t o r t u r o u s i n t i m a c y ,
in w h a t p o o r l y l i v e d , n o b l e m i x t u r e o f r e b e l l i o n a n d c o n fQrmism.
I g r e w d e e p l y d i s c o u r a g e d . J u s t like a n e u r o t i c : a
t o t a l l y black v i s i o n , all a r o u n d , a n d a p e r c e p t i o n o f t h i n g s
u n p x p e c t e d l y i m p o v e r i s h e d , m a i m e d , like m a n n i k i n s o r
g h o s t s full o f a f r o z e n m e l a n c h o l y . A n d t h a t e v e n i n g , s e t t i n g all a r o u n d , w i t h t h e t r e m e n d o u s c a l m w a r m t h o f a
silent hurricane...
I r e g a i n e d m y c o u r a g e , a n d s u c c e e d e d in s p e a k i n g ,
with m y voice cracking in m y throat, and \vith t h e exact
t o n e of protest that children h a v e w h e n they are ready to
cry.

" M u s t I g o - o n - w i t h , t h i s Barbaric W o r k , in.whjcli that

w o r k of T w o Paradises is b u t an impulsive a n d infantile
t h e o r y ? " : .thus, crippled, m y question -resounded, but
e n c l o s e d in t h e u s u a l s e l f - i r o n y . A n d h e :
**
"Sure:- why n o t ? "
' H e h a d t u r n e d 8 a r o u n d , With h i s e y e l i k e a glad' little
snake ononis cheek bond:
*
" I d o n ' t k n o w if you realize w h o ' c o r r u p t i b l e k i l l ,
w e n t t o a n i m m o r t a l c e n t u r y ' . ^ B e s i d e s the fact'I
continu e d , h i d i n g m y "sloth u n d e r t h e m u n d a n e a r g u m e n t ;
disheartened
' t h a t h e w a s s u s t a i n e d by a n ideology' of iron
I - s a i d it j u s t like t h a t J - t h e m o s t ' p o t e n t i a l l y - u n i t a r y ' o n e
of o u r e n t i r e c u l t i i r e , t h e final p r o d u c t of all o f t h e " M i d d l e
A g e s e t c . A n d then^ stylistically, t h i n k , y o u w h o a r e a
m a s t e r o f t h e s e t h i n g s , t h i n k w h a t a u n i q u e case: ' t h e
r e m o v a l ' o f t h e e l e v a t e d rJoint of v i e w , 'that a d d s i m m e a s u r a b l y t o t h e ndmber 6f t h i n g s a n d o f t h e i r n a m e s , r i g h t
at t h e m o m e n t in w h i c h it r e d u c e s arid " s y n t h e s i z e s e v e r y t h i n g . . . " A n d at t h i s p o i n t I added;- j u s t - ' f o r t h e sake* o f
l i t o t e s : " A s a u n i v e r s i t y p r o f e s s o r w o u l d say".- A n d I
c o n t i n u e d : " W e l l , in s u m m a r y , "I s i m p l y w a n t e d 1 t o say...
"that t o m a k e t h i s j o u r n e y ' a g a i n c o n s i s t s in raising
oneself,
a n d s e e i n g e v e r y t h i n g t o g e t h e r f r o m a d i s t a n c e , b u t also in
1. corrum'bile antvra. ad immortale secolo andb (still alive, he went to the divine world)

-26- '27 -

lowering oneself and s e e i n g e v e r y t h i n g c l o s e u p t o c o n tinue t o e x p r e s s m y s e l f w i t h o u t t h e least bit o f m o d e s t y .

V o u k n o w what cultured language is; and y o u k n o w t h e
c o m m o n o n e . H o w c o u l d I m a k e u s e o f t h e m ? T h e y are
by n o w t o g e t h e r a single language: t h e language o f h a t e . "
, H e , with h i s e y e g l e a m i n g o v e r his c h e e k b o n e , while
p l o d d i n g along like a fullback u p t h e s t e e p foul pasture,
breathed: " R a t h e r than g r o w i n g larger, y o u will d i l a t e ! "
I u n d e r s t o o d , but was n o t c o n v i n c e d : " Y e s , but...":
a n d I w a n t e d to say: " W h a t will p e o p l e s a y ? " (that is,
t h e thirty o r forty p e r s o n s I love,, but w h o m n e v e r t h e l e s s
n o t h i n g qould s t o p m e f r o m k n o w i n g : e v e n in their
lacunae, for e x a m p l e in t h e i r n o t k n o w i n g what t h e hell
difference tjiere is b e t w e e n g r o w i n g larger and dilating).
But I corrected m y s e l f and p r o c e e d e d , barely breathing:
" A s s y m e t r y , disproportion, t h e law o f p r o g r a m m e d irregularity, t h e m o c k e r y o f c o h e s i v e n e s s , t h e m o b ' s introduct i o n to the-arbitrary... W h a t e v e r . . . " A n d h e r e again, s a v i n g m y s e l f triumphally, if o n l y f o { a f e w m o m e n t s , I
q u o t e d t h e e x p r e s s i o n o f another: "I d e i g n t o d o what
n e i t h e r I: n o r o t h e r s b e l i e v e i n " .
H a v i n g relished the fleeting^ taste o f t h e Vulgar, I
sank right back into t h e vulgarity o f t h e " L a n g u a g e o f
Hate": mjnehistorically minethat o f m y time, o f m y
father, m y m o t h e r , m y p r o f e s s o r s , m y s h o p k e e p e r s , m y

-JmiBWjijL .

ne*wspa*pefs$ m > - r a d i ' o C ' r r r y ^ t e l e V i s i d n , m y ' b a l l s ! ' ' A n d

said:* ( > I s n ? t t h i s ' m a t i n e ' s s ^ ^ *

W J i a t f "'ha^d'Vanted ' I w a n t e d n o l o n g e d ( a ^ o u t t h i s
t h e r e is n o ; d o u b t ) , b u t w i t h " t h e b l a c k , flayed p a i n o f ' t h e
neurdtic. W h o s e e s ' t h e e n d of w h a t h e has b e g u n , and,
in b e g i n n i n g , h a s * t h e d e s o l a t i n g p a i n of t h e e n d : ' t h e
s e n s e ' of a * g o o d b y e b i d t o - t h i n g s b e f o r e e v e r h a v i n g
k n o w n their*; ar h e l l i s h n o s t a l g i a f o r w h a t o n e b a r e l y h a s :
a thing- t h a t c u t s t h e t h r o a t a n d c h e s t l i k e a b u r n i n g p o i n t
of tears.
" I f I h a V e u n d e r s t o o d ' w e l l h e said (in m y o w n
L a n g u a g e ! ) -^-you t h a v e a c u r s e d fear.
A n d o n e which
d o e s n ' t h o n o r y o u . " A n d h e l o o k e d a t m e w i t h a- l o o k
e x a c t l y o p p o s i t e f r o m "his w o r d s : t h e w o r d fear m o d i f i e d by
t h a t cursed t h a t t e m p e r e d it m a k i n g if m o r e t o l e r a b l e *and
o p p o r t u n e ; ' t h e w o r d s ddesn 't honor you , t h a t r e t i c e n c e t o
say dishonors
you.
His gaze was
courageous love.

instead

without

"modifiers",

full

of

A n d as h e spoke, h e grew ironic again, because, yes,

in o u r w o r l d o n e c a n o n l y s p e a k t h u s : " F a i t h p u s h e d m e
h e r e ; a n d F a i t h ' w a s p u s h e d t o p u s h m e by t h e I d . . . " .
H e w a s s i l e n t . B e i n g i r o n i c , t h a t is, e m p h a s i z i n g t w o
w o r d s by capitals, o n e c a n s a y it all: b u t t h e l o o k h e still
cast o v e r m e , in t h e p l a c e of s o m e e l e g a n t laic v a r i a t i o n ,

V
-29-

-28-

worldly or refined w a s . s o desperately pure: like s o m e - i

thing v a g u e l y l u m i n o u s that persists^in t h e .dark passing o f <
a w i n t e r rain; s o m e t h i n g that, i n t h e h o n o r o f life, a n d \
a l m o s t o f t h e c o s m o s , insists o n s h i n i n g in a little dismal
mud.
It was perhaps t h e s t u b b o r n n e s s o f poetry: its
material presence.
i had b e f o r e m e t h e face o f a partisan . c o n d e m n e d t o
d e a t h , w h o in, t h e pallor o f terror, k e e p s i n his b r o w n
e y e , in his virile c h e e k b o n e t h e h a r d n e s s o f his h o p e , by
n o w useless to him.

a l m d s t w h i t e o u t o f h u m i l i t y , With its candor, for p o v e r t y ,

faded* i n t o v i o l e t or y e l l o w , like watered d o w n wine-*-but
o n e equal t o t h e o t h e r i n t h e i g n o r a n c e o f frailty, o f v a n ity: o f t h e s m a t l n e s s o f their life.
Little flowers in w h i c h t h e r e w a s o n l y g l a d n e s s ,
shared a m o n g t h o u s a n d s and t h o u s a n d s o f little brothers
and sisters, m a d e thirsty by t h e beautiful s u n . A n d n o w
that day was passing, spilling o v e r t h e m its sad w e t n e s s ,
a s t o n i s h e d , t h e y c l o s e d u p , all together: but glad e v e n in
this!
W h o e v e r pays h u m b l e attention t o m a n ' s t e s t i n g o f

I f o l l o w e d b e h i n d h i m , l o o k i n g at t h e g r o u n d .
I l o o k e d t o t h e g r o u n d like o n e w h o m u s t b r o o d ,
w i t h o u t s h o w i n g a n y o n e , o n t h e i n g e n u o u s n e s s o f his zeal:
a h o p e , a desire to act (in this u s e l e s s w o r l d ) , that is
r e v i v e d , requiring e v e n m o r e s h a m e . W o e t o t h e o n e
a m o n g us w h o discovers himself. A n d with head bowed,
I w e n t o n , to h i d e w h a t instead m a k e s m a n w o r t h y o f his
name.
I l o o k e d at t h e flowers at m y f e e t , that g r e w u p
a m i d s t t h e grim and i n n o c e n t w e e d s : I was like t h e m , t h e
o n e s i n c r e d u l o u s at d e a t h , and d e s t i n e d t o a life o f j u s t a
f e w days. Little flowers w i t h o u t n a m e s : u n n a m e d , and s o
m a n y , o n e equal t o t h e o t h e r , scattered by c h a n c e .along
t h e s i d e s o f t h e m u d d y path, o n e equal t o t h e o t h e r n o t
o n l y in its s u b l i m e unattainable f o r m , w i t h its clear b l u e

his

difficult

fate

is

his

tenderest

friend.

And

yetI

t h o u g h t , walking and w a t c h i n g m y p o o r shoes' p o u n d

in

t h e m u d I will g o o n w i t h o u t

of

these

flowers,

knowing the names

that w e r e for s o m a n y years m y silent c o m -

panions.
I o b s e r v e , in t h e m , h o w m u c h I r e s e m b l e t h e m :
indistinct brother, w h o t r e m b l e s , surprises h i m s e l f , w h o s e
spirit r e v i v e s w i t h t h e s u n , t h e m o r n i n g , c r e d u l o u s o f t h e
eternity that m o r n i n g again steals f r o m h e w h o w a k e s u p
and b e g i n s again, like a g o o d - w i l l e d father.
T i n y flowers g r o u p e d in a single c l u m p , t h o u s a n d s o f
h u m b l e twins in beautiful party d r e s s e s , c h e a p , but w i t h
h e m s and h u e s o f a m y s t e r i o u s regal preciosity.
Weak,
poor t h i n g s , m a d e o f a s u b s t a n c e little m o r e c o n s i s t e n t

-30-

t h a t i d u s t , o r f r o s t , a bit o f - w h i c h is e n o u g h t o . m a k e t h e m
disappear.
* L i t t l e flowers isolated,- o r far a p a r t ; e a c h \ v i t h a s t e m
all its o w n , w h i c h m y s t e r i o u s l y h a v e l o c a t e d h e r e , s o m e
night, c o m i n g f r o m w h o k n o w s w h e r e , o n t o this grass tred
u p o n o n l y b y flocks o f s u r v i v o r s , o r w h o r e s g r o w n o l d a n d
s a d , w h o a s k f o r a little . m o n e y f r o m w o r k e r s r e t u r n i n g
f r o m t h e .city, f r o m t h e s o n s df. p e a s a n t s w h o live o n a
c o u n t r y s i d e w h e r e t h e p e r i p h e r y o f t h e city h a s s t a c k e d
u p , o v e r t h e c u r v e o f a river, o r t h e s t r a i g h t l i n e s of a
super-highway.
L i t t l e flowers c o m e f r o m r e g i o n s of t h e p a s t n e v e r
d e a d ' i n the cosmos they c a m p d o w n h e r e , according to
t h e " w h i m o f sun- a n d w i n d , like b a n d s o f g y p s e y s t h a t
n e v e r choose* p l a c e s t o c a m p , b u t l e a v e it t o a c c i d e n t .
I t o o , like a f l o w e r ~ l w a s t h i n k i n g n o m o r e t h a n a n
uncultivated flower, obey t h e necessity that would h a v e
m e g r i p p e d by t h e g l a d n e s s t h a t c o m e s a f t e r d i s c o u r a g e ment.
T h e n s o m e t h i n g will c e r t a i n l y c o m e t h a t still
o f f e n d s m e a n d will m a s s a c r e m e : b u t f o r m e t o o , l i k e
t h e flowers of o t h e r s p r i n g s , t h e past is c o n f u s e d w i t h t h e
p r e s e n t , a n d a m e a d o w is h e r e , a n d a t t h e s a m e t i m e , in
the cosmos!
I w a t c h e d t h o s e s h o u l d e r s a h e a d of m e , in t h a t tight
j a c k e t t h a t p a i n e d t h e h e a r t . A n d , with' t h i s fullest p a i n o f

-31 -

t h e h e a r t - o f a w e e flower^ I f o l l o w e d h i m . H e w a l k e d
T ^ S S i f i t o i t a n d I stayed b e h i n d h i m ; I too, by n o w ,
^ ^ o r ^ p i t a J Being t o w a r d s t h e m o u n t a i n ,

(1963)

-33-

N o t e s a n d f r a g m e n t s f o r C a n t o III

1
In t h a t a n c i e n t c o r n e r of t h e "City, o n e i m m e d i a t e l y
h e a r d all t h a t it w a s .
Different languages resounded
a r o u n d m e , p r o n o u n c e d b y m o u t h s slightly r e p u g n a n t ,
though marvelously designedlike Berbers, or W e l s h m e n :
p e o p l e o f a r a c e u n f a m i l i a r ( a s t h e w o r l d a l w a y s is, i n i t s
different places, by deadly obsession). D i a l e c t s ' o r slangs,
s p o k e n b y t h e rich o r p o o r : t h e y w e r e t h e first w o r d s , a s
a l w a y s , t o socially r e v e a l t h e s p e a k e r s . B u t h e r e : t h e y
revealed t h e m , instead, so to speak, u n d e r a frightening,
asocial a s p e c t .
K
F i n a l l y c o n t e n t e d , I a s k e d : " M a s t e r , w h a t Is it< I
h e a r ? " " H e r e livehe answered m e , equally reassured
himself, but not without Lebpardian"longing."those who
h a v e c h o s e n a s a n a c t u a l ideal a c o n d i t i o n w h i c h is i n e v i t able anyway: anonymity.
Fatality, glory, t h e curse of
b e i n g " w h a t e v e r " , o r , if y o u p r e f e r ( a n d I s e e y o u suffer
wildly f o r it) to be like 'everyone else. B u t t h i s h a s n ' t b e e n
a c o n d i t i o n o f real i n n o c e n c e for t h e m .
How many

- 34-

parlisans w e r e n ' t m e n a n d b o y s like t h e r e s t ? A n d t h e i r

staying up in t h e m o u n t a i n s t h a t s m o k i n g o f o n e last
cigarette b e f o r e d y i n g k e e p i n g t h e i r g u n s b e t w e e n t h e i r
k n e e s b e s i d e a fire t h a t s i n g i n g o n r a r e e v e n i n g s o f
t r u c e t h e i r h o p e in a d i s t a n t p e a c e a n d t h e i r k n o w i n g o f
having to d i e d i d n ' t t h e y b e c o m e a part of t h e acts a n d
days o f e v e r y o n e ? H o w m a n y o f t h o s e p a r t i s a n s w e r e n ' t
equal a m o n g t h e m s e l v e s ?
L o o k at their faded p h o t o graphs. J h e y were the people. They were young. They
w e r e w o r k i n g class.
T h e s e ones h e r e h a v e instead m a d e their condition of
e q u a l i t y a n d - lack o f u n i q u e n e s s i n t o a f a i t h a n d r e a s o n f o r
living: t h e y h a v e b e e n t h e m o r a l i s t s o f t h e d u t y t o b e like
everyone else."
I l o o k e d a t t h o s e p e o p l e w i t h pity, a n d w i t h t h a t n o s talgia m y 'guide h a d r e a d o n m y face a s t h e " s h a d o w of
wild s o r r o w " . " B u t w h a t d o t h e y h a v e t o c o m p l a i n a b o u t
s o ? " I asked. T h e y w e r e in fact (as o p p o s e d t o in life)
unhappy here, they were crying a n d m o a n i n g . " W h a t they
h a v e r e n o u n c e d h e a n s w e r e d m a k e s t h e m suffer.
They
d o n ' t k n o w it. But n o t h i n g is g i v e n u p w i t h i m p u n i t y .
What g i v e s m a n t h e g r e a t e s t p l e a s u r e ( e v e n if it m e a n s a
false p l e a s u r e ) is- s u c c e s s . H e w h o , in m a k i n g i d e o l o g i e s
and c o d e s h e smiled of his o w n i m p o t e n c e , r e n o u n c e s
it, suffers,., n a t u r a l l y , t h e g r e a t e s t d i s p l e a s u r e . T h e y a r e
unaware o f it: s o f o r t h i s t h e y suffer e v e n m o r e ! "

r 35 -

'AT*
It w a s n ' t h a r d f o r m e t o r e a l i z e t h a t in r e a l i t y all
t h o s e p e o p l e , a l o n g t h e s t r e e t s of t h e i r w o r l d of c l e r k s ,
p r o f e s s i o n a l s , w o r k e r s , political p a r a s i t e s , p e t t y i n t e l l e c t u als, r e a l l y w e r e r u n n i n g l i k e m a d m e n b e h i n d a flag.
T h r o u g h m e d i e v a l alleys, o r a l o n g g r e a t b u r e a u c r a t i c arid
l i b e r t y - s t y l e s t r e e t s , o r , finally, t h r o u g h t h e n e w r e s i d e n t i a l
or popular districts, t h e y d i d n ' t just drag t h e m s e l v e s
a r o u n d a s it s e e m e d t h r o u g h t h e o r g a s m of traffic o r df
t h e i r d u t i e s : b u t r a n b e h i n d t h a t flag. It r e a l l y w a s litjLle
m o r e t h a n a r a g , t h a t flapped a n d r o i l e d o b t u s e l y in t h e
w i n d . B u t , l i k e all flags, it h a d a s y m b o l d r a w n , i n its
center, discolored. I looked closer, a n d d i d n ' t take long to
n o t i c e t h a t t h a t s y m b o l c o n s i s t e d o f n o t h i n g o t h e r than- a
Shit.*

(1965)
* Meditating on Hell, they tell me my brother Shelley
found it was a place rather similar to the city of London. I, who don,'t live in London but in Los Angeles
find, meditating on Hell, that it must resemble Los
Angeles even more.

-36-

N o t e s and f r a g m e n t s for C a n t o IV

T h e t w o o f u s d e s c e n d e d , like a c o u p l e o f blind m e n .
W e t w o k n e w quite well what Unreality "was, a sight We
lived in t h e m i d d l e o f e v e r y day. A n d just for that w e
w e r e pale as corpses. All t h e fake g e s t u r e s , t h e uncertain
w o r d s and s u m m a r i e s , t h e c o w a r d i c e , t h e o m i s s i o n s :
k n o w i n g h o w t o b e saints and n o t being t h e m .
I s a w t h e c o l o r o f t h o s e c h e e k s : h e surely h a d p o o r
d i g e s t i o n , m y C o n s c i e n c e : or perhaps his s t o m a c h or liver
wasn't right. Or h e was e x h a u s t e d . Or all t h e s e things
together. S o m u c h fatigue, a n d s o m u c h passion, for t h e n
not t o l i v e , in an entire day, e v e n an instant o f sincerity.
" M a i n t e n a n t c'est la nuit q u e j e travaince. D e minuit
a cinq h e u r e s d e m a t i n " : J t h e n s a w in h i m that color o f
i n s a n e work. A n d I a s k e d h i m h o w I could h a v e c o m e
d o w n with h i m , if h e t o o , usually s o c o u r a g e o u s a l m o s t
i n v u l n e r a b l e w a s c o n t a m i n a t e d by that pallor that s e t s
apart ^he e x p l o i t e d , t h e p o o r , t h e p a s s i v e , t h e Christs w h o
find t h e m s e l v e s s u d d e n l y lifeless after n e v e r h a v i n g l i v e d .

-37-

H e a n s w e r e d : " T h i s pallor o f m i n e is n o r n o r e . t h a n
pity for all. t h o s e p e o p l e d o w n t h e r e w h o live in c o n f u s i o n .
Alright, m a y b e it's an e x c u s e , but it's a l s o t h e truth. Pity
i n m e is i n fact o n l y t h e a p p r e h e n s i o n o f t h e lack o f freedom..."

I ask t h e reader ( at this point t o pardon t h e disproport i o n b e t w e e n what I w o u l d like tQ say a n d w h a t I k n o w

h o w to. But I h a v e n ' t b e e n able t o put o f f any l o n g e r t h e
drafting o f thjs passage o f m y Ship. W h a t in hell s h o u l d I
h a v e waited any longer for? Sure: in a b o u t a , y e a r o f work
I w o u l d h a v e b e e n a b l e t o increase t h e a m o u n t o f things I
k n o w : but our k n o w l e d g e is a f o r m . A n d t h e f o r m o f m y
k n o w l e d g e h o w e v e r m a n y m o r e things I m i g h t learnas
m a n y m o r e e x p e r i e n c e s as I m a y h a v e w i l l always stay
the same.
All p o e t s h a v e always c o m p l a i n e d a b o u t their smalln e s s , a n d i n g e n u o u s l y : because, h a v i n g b e e n children and
h a v i n g lived in t h e p r o v i n c e s d e t e r m i n e s in a substantial
way t h e f o r m o f k n o w l e d g e o f a m a n :
D e profundis, D o m i n e , s u i s r j e - b e t e !
T h e f o r m o f a k n o w l e d g e is t h e n m a n i f e s t as r h y t h m .
A n d this r h y t h m t o o , in a p r o s e w o r k , in a p o e m , always
repeats itself in t h e s a m e way. Petty k n o w l e d g e is i n g e n u o u s n e s s a n d pride m i x e d together.
Ignorance is an

-38-

iofantile^terror. A m o n g t h e thousand looks hurled about,

aVtfie w o r l d a n x i o u s , vital, i n t e r e s t e d , a n d i n g e n u o u s l i k e
t h o s e o f d o g s o n l y a ' f e w h a v e , v a l u e : a n d t h e y g e t lost
inJ o u r g r e e d of a n i m a l s who,* w i t h i n t h e i r s i l e n c e really
h a v e n ' t t h e i n t e r e s t s o f civil m e n , b u t o f p o o r n e e d y m e n ,
w i t h t h e r e s e r v e d a d o l e s c e n c e s of p e t t y b o u r g e o i s a n d
workers. Only speaking do we manifest knowledge:
in
sif&nce w e feel" n o t h i t f g b u t a n i n g e n u o u s a n d s h a m e f u l
avidity (exactly formless).- In silence w e foresee s o m e t h i n g : in t h e i n g e n u o u s ,w,ay o f a b o y w h o f e e l s i n f e r i o r ,
a n d e n V i e s t h e ' a n i n i a l s a n d b i r d s . H e d r e a m s of b e i n g
lazy a n d b r u t a l , o f r e t u r n i n g f r o m Africa w i t h l i m b s o f
s t e e l , w i t h dark- s k i n , w i t h a f u r i o u s l o o k . W e f o r e s e e
s o m e g e n e r a l , c o n d i t i o n of m a n , w h i c h i n t e r e s t s e v e r y
m a n . B u t i t ' s n o t rfiuch. I n fact w e s t r u g g l e a g a i n s t o u r
i n t i m a t e c o n f o r m i s m o n l y i n s p u r t s a n d lazily. W e h a v e
n e v e r b e f o r e t r u l y a n a l y z e d it a n d t h e n e l i m i n a t e d it p o i n t
b y .point. O u r i n t i m a t e c o n f o r m i s m is c o n t e s t e d o n l y b y a
m y s t e r i o u s f o r t e , b y a g l o r y of vitality^ i d o l a t r y a n d l o v e
d f sacrilege.
W e h a t e t h e c o n f o r m i s m o f o t h e r s b e c a u s e it is t h i s
t h a t keeps* u s f r o m g e t t i n g i n v o l v e d in o u r o w n . E a c h o f
u s ^ h a t e s h i s o^wn d e s t i n y in t h e o t h e r o n e a s in a c o n c e n t r a t i o n c a m p . W e c a n ' t b e a r it t h a t t h e o t h e r s h a v e a life
a n d a few habits u n d e r -another sky. W e would always
want s o m e t h i n g e x t e r n a l , like for e x a m p l e a n e a r t h q u a k e ,

- 39-

a b o m b a r d m e n t , a r e v o l u t i o n , 'to, b r e a k t h e h a b i t s , o f mil*
l i o n s of p e t t y b o u r g e o i s t h a t s u r r o u n d u s . F o r t h i s Hitler
was o u r t r u e , absolute h e r o . H e was t h e representative of
t h e R i m b a u d s o f t h e p r o v i n c e s , w h o walked o v e r t h e
p a v e d r o a d s of t h e i r cities, w i t h t h e s a m e arrogance w i t h
w h i c h t h e o t h e r y o u n g p e t t y b o u r g e o i s a n d especially
those
who
from
laborers
were
becoming
petty
b o u r g e o i s a c c e p t e d t h e - c o n f o r m i s m o f their fathers.
C o n v i c t i o n s a n d h a b i t s ; f e a r s a n d v i o l e n c e ; work a n d festivities; c o u n t r i e s a n d c h u r c h e s .
Hitler understood the
discussionssoft
and
hypothetical,
fanatical
and
c o n f u s e d m i x e d in w i t h little g r e e n trails o f
fireflies
w h i c h i n d i c a t e d h e a t u n d e r t h e d a r k v i n e s ; or w i t h t h e
v o i c e s o f c a b b i e s in d u s t y p i a z z a s , w h o nostalgically indicated a l a y e r of m o i s t u r e o n t h e s t o n e s t e p s o f t h e m o n u ?
ments...
Hitler, o u r h o r r e n d o u s h e r o , incarnation of the
unhappy children, w h o would h a v e wanted to stop the
s o u n d o f bells o v e r t h e c o r n fields, o r t h e s i r e n s in t h e
b a c k o f v i e w s t h r o u g h city g a t e s s o that t h e s l e e p i n g
p e t t y b o u r g e o i s m i g h t w a k e u p , a n d r u n t o t h e piazzas t o
r e p e a t , malgr'e soi, t h e c r e a t i v e s u f f e r i n g s o f Christ.
1 excuse myself t h e n
t o b e i m p a t i e n t for n o t
h i m o r h e r a v i s i o n of t h e
d o m or e x t r e m i s m I would

t o m y r e a d e r w h o h a s reason
k n o w i n g h o w t o represent t o
w o r l d c o r r o b o r a t e d by t h e wiswant.

-;4(X-41 -

t " T h e Hell I h a v e - i t - t i n , m y h e a d ' J p d e s c r i b e J i a s a l r e a d y

b e e n s i m p l y d e s c r i b e d b y - H i t l e r ^ Jfc is t h r o u g h , h i s politics
t h a t U n r e a l i t y h a s t r u l y b e e n s h o w n i n all-fits light. . F r o m it t h e b o u r g e d i s h a v e g o t t e n . a - . t r u e s c a n d a l , -or, I a m
a s h a m e d t o say it, h a v e l i v e d t h e t r u e , c o n t r a d i c t i o n o f
t h e i r life.
,.
' H i t l e r w a s t h e fruit o f t h e i r p o e t s o n s , w h o m a d e a
dfdam" m u c r r ' t r u e r , greater and m o r e terrible t h a n they
were prepared to :fnake. (Even poet sons of Jews.)
It's
t r u e : some'*po*ets, s -n6 less g r e a t , s u f f e r e d a n d suffer f o r all
this',' a n d *W6uld w a n t for m e n a G e r m a n y a n d a
feurope
truly and completely i n n o c e n t : e v e n wretched a n d h u m ble* for w r e t c h e d a n d h u m b l e is t h e g r e a t life o f m a n .
B u t ' t h e first p o e t s , t h o s e w h o d r e a m e d t h e e x t e r m i n a t i o n s
b e t w e e n t h e "barracks, t h e h e a p s o f little b o d i e s u n d e r t h e
long coats, a n d t h e hair o n t h e skulls of cadavers m o v e d
by t h e b r e e z e ' t f t h e r i v e r s ' c a l m s a n d o f t h e n o r t h e r n
greerr, t h e y w e r e t h e o n e s w h o w e r e r i g h t , b e c a u s e S p r i n g
ha*s a l w a y s b r o u g h t a n d will a l w a y s b r i n g t h e terrifying
s m i l e o f t h e idiot*

3
W h e r e ' h a d ' - I s e e n s o m e t h i n g similar t o this garden
full o f p b e t s I n o w h a d b e f o r e m y e y e s ? Surely I ' v e s e e n
it: a n d if I ' m * n o t m i s t a k e n , if m e m o r y isn't lying' by
s o m e block I ' m n o t aware of; it c o n c e r n s t h e y i l l a . o f S., a
f e w k i l d m e t e r s f r o m Prague.
It was an e i g h t e e n t h century villa, built b y B o h e m i a n
princes: o t h e r ftfcts I d o n ' t k n o w , n o r if I k n e w t h e m
w o u l d I say, b e c a u s e
in this c a s e t h e real e x a c t i t u d e c o n s i s t s o f
ambiguity itself, as in fact it was, and as t h e sad c o u n t r y s i d e i n f o r m e d , all a t a n g l e o f thin branches prematurely
dry, but it also c o u l d h a v e b e e n Parisian, or upper-Italian.
T h e r e was a tall, elegant b u t a n o n y m o u s o u t e r wall,
t o w a r d s t h e S t a t e r o a d o n w h i c h , further o n , r o s e o n e o f
t h o s e f a r m i n g t o w n s , w h i c h b e i n g situated right o n a
h e a v i l y trafficked road w a s t r a n s f o r m e d c e n t u r i e s a g o i n t o
a rest stop: tearing it away f r o m -the m e l a n c h o l y o f t h e
rural e x p a n s e s , their sorrowful s m e l l o f frost. Just b e y o n d
this s u r r o u n d i n g wall a n d its gate w a s a large courtyard
( c o v e r e d , with s y m m e t r i c a l flower b e d s o f , a n i n t e n s e but
pale g r e e n ) t h e general color o f w h i c h was a faded r e d ,
like t h e small- tiles that w e r e t h e color o f c o w ' s b l o o d and
n o w are f a d e d i n t o a light and s e n s u a l s a n g u i n e a d r e a m
sculpted i n t h e c o r n e a s o f t h e servants. In t h e back o f
this courtyard r o s e t h e villa, facing N o r t h . It r o s e with its
luxury p r o f o u n d l y d e a d e n e d by w h o k n o w s w h a t timidity

- 42- 43 -

( r o o t e d iff t h e h e a r t s o f those* w h o .had: p l a n n e d a n d ' ' p a i d

f o r it. If i t w a s a c o u n t r y v i l l a . i t , s t i l t h a d t h e s e v e r i t y o f a
k i n d o f c o n v e n t * a n d b e h i n d its h i g h walls o f i l l u m i n i s t i c
civilization s e e m e d to h i d e t h e d a r k n e s s ' of souls .exacerb a t e d b y t h e m y s t e r i o u s s o r r o w s , d e r i v i n g f r o m wealth..)
t ) n t h e o t h e r s i d e o f t h e .villa s p r e a d <the t r u e , a n d
p r o p e r g a r d e n : its b o r d e r s w e r e t h e d e s e r t e d c o u n t r y s i d e
a n d t h e sky.
Such a garden consisted of a n u n b o u n d e d geometrical
p l a y o f r o u n d a n d o v a l flower b e d s , arid b r i s t l e d p l a n t s ,
maybe juniper , between knotty evergreens and gathered
a b o u t t h e m s e l v e s as' in a c a l m s p a s m .
T h o s e p a t h s , t h o s e flowerbeds w e r e full ,of p 6 e t s Who,
t a k i n g a d v a n t a g e o f a ' little s u n l i g h t , s t r o l l e d arid c h a t t e d
softly a n d w i t h o u t a c a r e , w a i t i n g t o sit u p t o t h e t a b l e .
T h e y w e r e .Czech poets and Slovak poets, and a m o n g
t h e m , s o m e I t a l i a n p o e t s , . g u e s t s o f t h a t villa:, w h i c h w a s
j u s t t h a t , a villa f o r p o e t s - .
I n a n a n a l o g o u s J t a l i a r * l o c a t i o n (at least a c c o r d i n g t o
m y personal experience) a similar gathering w o u l d h a v e
h a d , in its d e p t h , in its s u b s t a n c e , a p r o f o u n d l y y u l g a r air.
W i t h t h e i r g o o d c l e r k ' s clothing', f o r c e d . i n t o s o m e s e c o n d
j o b to earn- a l i v i n g t h e I t a l i a n . t p o e t s , - i n a s i m i l a r . g a t h e r i n g w o u l d ' h a v e h a d r a t h e r t h e . a p p e a r a n c e , n o t s o m u c h of
poets, but clerks.

T h e i r p e t t y b o u r g e o i s c o n d i t i o n w o u l d have- m a d e
t h e m , e v e n t h e r e , fatally d e t e r m i n e d ; a n d t h e y w o u l d have'
h a d all the< t i m i d i t y , f e a r s , a n x i e t i e s , g r e e d , h u m o r s , - g o o d
o r b a d , of p e r s o n s e c o n o m i c a l l y s i m i l a r t o ' t h e m .
Arid,
b e c a u s e t h e p e t t y b o u r g e o i s is v u l g a r , t h e y c o u l d h a v e
only been vulgar.
M o r e t h a n a n y t h i n g , in a s i m i l a r
g a t h e r i n g a n d especially t h e e v e n t u a l c o m m u n i s t poets
t h e y w o u l d h a v e felt t h e y h a d r e a c h e d w h a t w a s e v e n a
m o d e s t w o r l d l y goal: a n d t h e i r v u l g a r i t y / u n a w a r e , - w o u l d
thus have pained the heart.
H e r e , instead, a m o n g these Bohemian* or Slovak
p o e t s , t h e , pity w a s t h e r e , it w a s d i f f e r e n t . Their- e c o n o m i c
figures w e r e t h o s e of p o e t s a n d n o m o r e , - b e c a u s e t h e
S t a t e c o n s i d e r e d t h e m a s s u c h , a n d s o qualified t h e m .
Their society didn't force t h e m to d o other work to earn a
living. T h e y h a d t h e n e c e s s a r y g u a r a n t e e s f o r f o o d a n d
s h e l t e r , f o r special e x p e n s e s a n d i l l n e s s e s .
But' such
e c o n o m i c figures w e r e t h e m s e l v e s still p a l t r y : a n d t h e r e fore they too " p a i n e d the h e a r t " . N o s o o n e r does a . m a n
r e p r e s e n t w i t h his o w n p h y s i c a l l y t h e proper m e a n s for
e a r n i n g h i s b r e a d , t h a n h e p r o v o k e s pity. A n d t h e n h e
d e f e n d s h i m s e l f , a n d t o d e f e r u j h i m s e l f h e l o o k s for g o a l s
other t h a n bread. Worldly goals that m i g h t save h i m from
h i s c o n d i t i o n of p r o d u c e r of g o o d s w h i c h , v a l u e d i n g o l d ,
m a k e h i m a l w a y s live, h o w e v e r , a s a p e t t y b o u r g e o i s .
A n d t h e n t h e n e g l i g i b l e p a r t i c u l a r s of h i s a r t i c l e s of

- 44-

c o n s u h i p t i o n take on a s h a p e , as in 'nightmares, h i s jacket,

his* pants, his s h o e s d e f e n s e l e s s against t h e l o o k cast t o his
prosaic f e e t , that n o p o e m c o u l d e v e r 'redeem, his tie, his
shirt, o h , ;slightly dark o n t h e e d g e o f t h e collar, and
b o u g h t in s o m e fancy s n o b s h o p in t h e city, or in s o m e
big bright store, the s a m e for e v e r y b o d y (a thing of
intolerable cruelty).
T h e petty botirgeiois p o v e r t y t h u s
vulgarizes t h e petty p o e t , but a l s o t h e great p o e t n o t yet
r e c o g n i z e d and h o n o r e d .
t
4
T h e truth o n e c a n n o t tell (as t h e a n c i e n t s c o u l d n ' t tell
their dreams' b e c a u s e t h e y b e l i e v e d t h e m to b e s o m e t h i n g
o t h e r than what t h e y really are) is this: each o f Us is physically t h e figure o f a buyer, and o u r a n x i e t i e s are t h e a n x ieties o f this figure (as o u r terrors are t h e terrors o f o u r
drearns). T h e world o f m e n as w e k n o w t h e m in o u r life,
s h a p e d by t h e majority, is a world o f buyers. E v e r y t h i n g
w e u s e t o display o u r s e l v e s is b o u g h t . But t h e true look
that o b s e r v e s u s as buyers isn't t h e l o o k o f a n o t h e r buyer.
O n l y in certain m o m e n t s is s u c h a l o o k also o u r o w n : but
t h e n it regards a d i v i n a t i o n , w h o s e v a l u e is n e i t h e r established or r e c o g n i z e d by a n y o n e .
T h e r e f o r e , o u r vital
e x p e r i e n c e r e m a i n s the e x p e r i e n c e o f o n e r e v e a l e d by his
h u m b l e acquisition. In t h e best cases', h o w e v e r , w e are
able t o fhake this d e l u d e d e x p e r i e n c e i n t o a real experie n c e : w e are able, that is, t o identify t h e e x p e r i e n c e o f

45-

t h e buyer w h o is living u s w i t h t h e e x p e r i e n c e o f that

unrealized figure called m a n . A s l o n g as t h e figure o f t h e
buyer d o e s n ' t also take advantage o f s u c h a p r e s u m e d
identification by a m a n e u v e r w e k n o w w e l l t o l i v e i n
u s y e t l o n g e r i n p e a c e . T h e laws that g o v e r n u s t o o k
f o r m in a world b e l o n g i n g t o n o o n e . For it is always w e
w h o , i f ' w e w a n t , b e c d m e first cutthroats and c a t a c h u m e n s ,
a n d t h e i r m a s t e r s o f p r o d u c t i o n o f those* g o o d s o f w h i c h
w e are buyers. D o i n g this w e try t o - s u p p o s e a s o l u t i o n o f
continuity b e t w e e n subject and m a s t e r , b e t w e e n laborer
and capitalist. N o a d v a n c e m e n t ever c a n c e l s t h e p r e v i o u s
c o n d i t i o n : j u s t as t h e fact o f being 5 adults d o e s n ' t cancel
t h e fact o f h a v i n g b e e n children. Instead, in e v e r y c a s e
t h e first conditions or states are t h e important a n d definitive
o n e s . E v e n o n e w h o participates in production will always
h a v e t h e character o f t h e c o n s u m e r . H e will always return
t o his first anxieties. T o his n o t b e l o n g i n g . T h e look is
n o t his w h i c h l o o k s at w h o is present a n d e x p r e s s e s itself
by b u y i n g his g o o d s .
5
" T h e p o e t l i v e s t h e desire for acquisition in t h e pure
state. W h y h e r e exactly, in this G a r d e n , is t h e r e n o s h a d e
o f vulgarity? B e c a u s e t h e e c o n o m i c figures are s m a s h e d
by their o w n desire. T h e p o e t w i s h e s in fact t o l i v e all
possible e c o n o m i c figures, h e wants m i s e r y and w e a l t h
t o g e t h e r . H e is n o t a buyer! H e is a producer w h o d o e s n ' t

- 46-

- 47-

e a r n ! H e is o n e w h o p r o d u c e s g o o d s t h a t c a n a n d c a n n o t
b e a c q u i r e d o r ' b o u g h t ! A n d if a c q u i r e d by a d v e n t u r e , it
c a n n o t b e c o n s u m e d ! W o r s e t h a n plastic o r t a r ' o r d e t e r g e n t s ! A b u y e r w i t h o u t a s p i r a t i o n s (his s e l f - e x p r e s s i o n is
e n o u g h in itself) a n d a p r o d u c e r w i t h o u t b u y e r s , o r at
least w i t h o u t c o n s u m e r s , h e p a s s e s t h r o u g h life t o live t h e
desires that remain within h i m o f those w h o want to
b u y a n d sell: b u t a t a l e v e l w h i c h f o r t h e m is u n a c c e p t a b l e . T h e y . c a n ' t b e objectified* b e c a u s e t h e y a r e n o l o n g e r
h i s t o r i c a l . A t h i n g a b o u t w h i c h it i s n ' t said p o e t s n e e d b e
a w a r e . T h e y m a n i f e s t l y live s u c h a .chaos. A farce in
which each has his own part.

only himself, as a t e s t i m o n y of his o w n glory a n d r e a s o n .

S u c h a t e s t i m o n y is h a r d l y r e c e i v e d a n d p e r c e i v e d b y o t h e r s ; n a t u r a l l y it b e c o m e s i m p u r e : t h a t is, a p r e t e x t f o r jus^
tifying n o r m a l c o n s u m e r s t o t h e m s e l v e s , r e a s s u r i n g t h e m
of t h e p o s s i b i l i t y of f r e e d o m ( r e a l i z e d b y a p o e t w h o at
every opportunity they either persecute or corrupt).

* "To* cahse desires for acquisition a n d p r o d u c t i o n to

d e g e n e r a t e i n t o s o m e t h i n g w h i c h is t h e i r p u r i t y a n d t h e i r
lack o f function 1 , -is t h e p a r t o f t h e p o e t .
" I f h e * k n o w s it, all t h e b e t t e r . If h e d o e s n ' t k n o w it,
h e k n o w s o t h e r things. Suddenly you see a m a n different
from t h e rest, w h o screams: "Priests, professors, bosses,
y o u w e r e m i s t a k e n in a s s i g n i n g m e t o j u s t i c e .
I have
n e v e r b e e n of t h i s p e o p l e ; I a m of t h e r a c e of t h o s e w h o
s i n g t o b e g ; I d o n ' t u n d e r s t a n d t h e laws; I h a v e n o m o r a l
sense; I a m a b r u t e . . . " T h e s e negative affirmations are t h e
n e g a t i v e e x a l t a t i o n o f t h e i m p o s s i b i l i t y of h a v i n g a n
e c o n o m i c figure o r s t a t u s . A n d s o h e g o e s t h r o u g h t h e
streets on winter nights without shelter, without clothes,
without bread; and h e wants gold. A n d h e has himself,

" W h e t h e r beggar or gentleman, the poet belongs to

n e i t h e r t h e - e c o n o m i c figure of t h e b e g g a r o r t h a t o f t h e
gentleman. H e m u s t be without stable economic status. I
r e p e a t : n o w h e h a s o n e , n o w a n o t h e r , n o w all o f t h e m
t o g e t h e r . A n d n a t u r a l l y h e suffers f o r all o f t h e m !
He
c a n v e r y well w r i t e b e a u t i f u l p o e m s a b o u t civic o r i n t i m a t e
p a i n , b u t o n l y f r o m t h e r e a l p a i n of n o t h a v i n g a little
m o n e y in h i s p o c k e t f o r d i n n e r , o r w o r s e y e t , p e r h a p s , t o
b u y himself a n a u t o m o b i l e ; w h e n n o t for t h e pain of h a v i n g t o o m u c h m o n e y b e c a u s e of a rich f a t h e r .
" T h e d e g e n e r a t i o n o f h i s social s t a t u s a s s u r e s t h a t h i s
d e s i r e s really a r e all r e a l i z e d . If h e d r e a m s of s e e i n g t h e
d e a t h of t h e petty bourgeois of his t i m e , t h e self-confident
conformists, thugs, weaklings, abysses of imperfection and
mostruosity, blackmailers, b r u t e s , i g n o r a m u s e s , flagwavers
o f a n i d i o t i c f a i t h , of a n i m b e c i l i c C h r i s t a n d a s h i t t y
c o u n t r y t h e r e h i s d e s i r e is a c t u a t e d , in a d i s s o n a n t a n d
n o n - c h r o n o l o g i c a l t i m e , r i g h t a w a y o r fifty y e a r s l a t e r .
And the infamous
become innocent; the
innocents
infamous.
C e r t a i n old b o u r g e o i s f a l s e l y e n a m o r e d o f

- 48 -

-49-

g o o d m u s i c o r o w n e r s o f villas w o r t h y o f ancient G r e e c e ,
etc.from infamous monsters become innocent vermin,
c r u s h e d , i n f e s t e d , stripped, m a k e to stink; or contrarily,
certain b l o n d y o u n g i n n o c e n t s , n o longer- w o r k e r s a n d n o t
yet petty b o u r g e o i s a n d still w i t h all .the cruel integrity o f
children b e c o m e m i s e r a b l e prison-guards or h a n g m e n .

" F o r e s i g h t d o e s n o t pertain t o t h e speakable,- but

rather t o h o w , w h e n a n d w h y an ; ^economic d e s i r e is n o t
p r e v e n t e d f r o m b e c o m i n g * - I ' m n o t saying r e v o l u t i o n a r y
c o n s c i o u s n e s s o r a m y s t e r i o u s desire for l i f e a n d therefore t h o u g h t a n d p h i l o s o p h y a d e s i r e for e x p r e s s i o n .
Reality is r e v e a l e d w h e n it r e s e m b l e s this.

"Other, t i m e s it h a p p e n s i n s t e a d that a p o e t ' s w o r d s o f

h a t e are, realized by a x e v p l u t i o n , t h e o n e h e d r e a m e d of.

" H e r e in this G a r d e n - t h e r e are n o literatibecause

t h e literati are all- in H e l l , "and, as y o u will s e e , especially
in. t h e Circles w h e r e t h e m o s t typically b o u r g e o i s a n d p e t t y
b o u r g e o i s o f t h e sinners are. p u n i s h e d . S t i l l , - t h o u g h p o e t s ,
n o n e o f t h e s e h e r e h a s e v e r b e e n afraid o f literature. O n e
is n o t afraid o f t h i n g s o f w h i c h h e is s o m u c h s t r o n g e r . "

" B u t t h e n naturally s u c h a r e v o l u t i o n is a n o t h e r
thing: it d e g e n e r a t e s , b e c a u s e in fact t h e d r e a m o f t h e
p o e t was i m p u r e , was born f r o m t h e a b y s s e s o f unjustified
pain ; w o r t h y o f that o f t h e b o u r g e o i s a m o n g w h o m it was
born, and w a s t r a n s m u t e d unjustly i n t o a libidinous desire
for action.
"Still h e r e , in this G a r d e n , there is n o vulgarity. T h e
first quality o f t h e p o e t is t h e e l e v a t i o n o f his* s t y l e , t h e
purity o f his speech. In this lies his .witnessing o f reality.
A n d that n e e d n ' t s e e m contradictory to what I ' v e said,
b e c a u s e Reality is also m a d e o f Unreality (that h o r r e n d o u s
o n e o f t h e petty b o u r g e o i s ) . Poetry is.*the o n l y c o m m u n i cation that e s c a p e s n o t f r o m e c o n o m i c d e t e r m i n i s m ,
w h i c h n o t h i n g e s c a p e s , but f r o m e v e r y d e t e r m i n e d determ i n i s m : f r o m t h e m o m e n t in w h i c h t h e p o e t , as I said,
n o l o n g e r identifies w i t h a n y e c o n o m i c figure.

6
" A n d it is still l i f e h e s a i d i f d a m n a t i o n is eternal.
A m a n w h o w a n t s t o m u t i l a t e h i m s e l f is still d a m n e d ,
right? I b e l i e v e i n Hell t h e r e f o r e I stay t h e r e . It is m y
fulfillment o f the, c a t e c h i s m . I a m a s l a v e o f m y baptism.
Parents, y o u h a v e brought o n m y ruin, a n d y o u r o w n . . . "
" Y o u will w o n d e r h e c o n t i n u e d w h y I a m i n -Hell,
your poet ( w h o n o w s p e a k s w i t h t h e l a n g u a g e o f y o u r p o e try). But I h a v e s i n n e d . Paradise rather is o n l y a plan,
and e v e n d o u b l y s o . M y s i n s ? Bah, t h e letter I w r q t e t o
Paul D e m e n y is t h e letter o f a b o r e , w h o c o m i n g directly
f r o m t h e p r o v i n c e s , h a s a guiltily s a v a g e idea o f city
life."

- 51 -

- 50-

h e exactly r e s e m b l e d h i s m o t h e r .
In t h e G a r d e n , i n t h e soft light o f three in t h e aftern o o n that f r a m e d t h e eternal i d l e n e s s o f t h o s e s h a d e s o f
h o n o r e d p o e t s , there s o u n d e d l i k e t h u n d e r c o m i n g f r o m
t h e h e i g h t s o f t h e w o r l d o f t h e l i v i n g o r perhaps f r o m
t h e d e p t h s Of a Hell buried u n d e r H e l l a s e n t e n c e o f t h e
s o v e r e i g n p o e t ' s , like a n epigraph that n e v e r s t o p p e d
r e s o u n d i n g i n m y scholarly ears: " I u n d e r s t o o d that s h e
b e l o n g e d t o her e v e r y d a y life; and that her turn o f g e n erosity w o u l d h a v e t a k e n l o n g e r t o reproduce than a star".

H e h a d b e c o m e her.

A n d as m u c h as h e d y i n g w i t h d e s i r e t o die; killing
h i m s e l f by t o o m u c h l o v e for l i f e h a d c o m e t o r e s e m b l e
his m o t h e r , all t h e m o r e , instead, R i m b a u d , in front o f
h i m , h a d furiously r e m a i n e d a s o n , d e n y i n g by e x c e s s o f
l o v e , t h e m o t h e r . D e n y i n g his wild s e e d s , c o n f r o n t i n g t h e
g o o d life o f t h e M o t h e r .

T h e m o t h e r ! S h e w a s t h e r e f o r e q u e e n o f Hell: s h e ,
c o l l e c t e d , s w e e t , protectress and little girl, still in t h e light
o f t h e Earthly Paradise.

(1965)

8
T h e other o n e who camecleansed of the signs of
a l c o h o l a n d u n h e a l t h y f a t n e s s , purified o f all m e m o r i e s
that w e r e t o o c l o s e a l s o t h o u g h t o f t h e m o t h e r : b u t
t h r o u g h his child h e had left left o n earth, t h e greatest
o n e o f w h o m h e himself had b e c o m e the mother.
A n d , w i t h o u t a l c o h o l , w i t h o u t fatness, w i t h o u t a n e c d o t e s , it w a s h e h i m s e l f w h o h a d t h e y o u n g face o f t h e
first b o r n , t h e clean s h a v e n face o f t h e b o y , i n a m o m e n t
o f s t r o n g and d r e a m l i k e h e a l t h o f his a d o l e s c e n c e .
And,
t o t h e d e g r e e h e r e s e m b l e d his beardless s o n , with t h e
awkward but clean haircut o f sporting a n d barbaric b o y s ,

- 52-53I
N o t e s a n d f r a g m e n t s for C a n t o VII

1
A sign-post, brand n e w t h e m e t a l post colored"
acrylic b l u e , t h e square sign i n redbearing t h e s o m e w h a t
d e p r e s s i n g m e s s a g e : " I n c r e m e n t a l W o r k o f Infernal P u n i s h m e n t s ( L W . I . P ) - Z o n e o f t h e O v e r C o n t i n e n t (or t h e
R e d u c e d O n e s ) - S e c t o r 1: C o n f o r m i s m " .
" I n this z o n e , m y G u i d e said t o m e , s h a m e f u l l y , as
always, at t h e terror o f lapsing i n t o vulgar points o f fact
a t h i n g w h i c h e n m e s h e d h i m in t h e L a n g u a g e o f Hate, h e
p i e c e d it apart i n his t h r o a t y o u w o n ' t s e e p u n i s h m e n t s ,
i n t h e figurative, spectacular and s y m b o l i c s e n s e . . .
The
petty b o u r g e o i s c o n f o r m i s t s h a v e a c h i e v e d s i n s e v e n m o r e
a t r o c i o u s t h a n b e i n g c o n f o r m i s t s . . . C o n f p r m i s m was s i m ply t h e necessary basis for their s i n s , t h e indispensablep r e m i s e . F o r t h e s a k e o f c o n f o r m i s m , t h e r e were... for
e x a m p l e . . . s o m e practicing religion... s o m e w h o a d m i r e d
a n y t h i n g dedicated t o work a n d family... w h o will finish ,by
m a k i n g t h e m s e l v e s m a k e t h e linings for their e a s y chairs
w i t h t h e skiri o f their v i c t i m s . . . " A l m o s t e x h a u s t e d by

this, s p e e c h , in-his
conformistic
way, that is, lacking t h e
i m p e t u s o f s o m e s c a n d a l o u s n e w s a direct product o f a
culture, o f t h e R e s i s t a n c e , h e k n e w well h o w t o find h i m s e l f iti a s t a t e pf c o m p l e t e i n s t i t u t i o n a l i t y h e g r e w quiet
for a w h i l e , and, f r o w n i n g a n d full o f pain, t o o k f r o m h i s
p a n t p o c k e t a little b o t t l e o f o p t a l i d o n , and s w a l l o w e d
f r o m it a p i l l
" T h o s e w h o are c o n d e m n e d h e r e , u n d e r t h e s e signp o s t s h e e x p l a i n e d w e r e o n l y petty b o u r g e o i s b y birth,
by social definition, etc. T h e y really h a d , as is said, t h e
n e c e s s a r y t o o l s for k n o w i n g their " s i n " : they knew how not
to be conformists, and yet they were**
W e w a l k e d a l o n g that beautiful road, h i g h a b o v e t h e
marsh: t h e w h i t e m e t a l railings, t h e narrow little bridge
o v e r t h e s l i m e , t h e c e m e n t ballast o n w h i c h , b e l o w , a wild
grass full o f n e t t l e s p u s h e d up thick and i n v i n c i b l e .
" I n this p l a c e t h e G u i d e laconically a d d g d t h e o n l y
punishment,is being here."
2
A barrier similar t o that at railroad c r o s s i n g s , or at
b o r d e r s b e t w e e n State and State, was l o w e r e d o n ' t h e road,
with its red and w h i t e striped, just painted, still s m e l l i n g
o f paint.
B e h i n d t h e barrier t h e road g r e w wider, b e c a m e an
i m m e n s e asphalt space, l i k e t h o s e that spread i n front o f

^55-

- 54-

s t a d i u m s o r big s w i m m i n g p o o l s , f o r p a r k i n g t h o u s a n d s
u p o n t h o u s a n d s o f a u t o m o b i l e s : b u t in t h e h o u r s w h e n
t h e r e is n o g a m e ; a n d it is twilight;' a n d , w i t h t w i l i g h t , t h e
v o i d . N o t h i n g b u t a s p h a l t a n d i m m e n s i t y , filled w i t h t h e
melancholy of the sun that retreats, and nearly blinding
s t r i k e s t h i n g s n e a r b y , w h i l e t h o s e in t h e d i s t a n c e d i m i n i s h
in a s p e c t r a l g l i m m e r t h a t r e n d e r s t h e m v a g u e a n d l i m i t less.
B e s i d e t h e l o w e r e d rail t h e r e w a s a c e m e n t c o n s t r u c t i o n , r a t h e r s o b e r a n d e l e g a n t : b e h i n d it, t o w a r d s t h e
e x p a n s e o f t h e m a r s h , t h e r e w a s e v e n t h e s e m b l a n c e of a
g a r d e n , i n t h e E n g l i s h styles t h o u g h it w a s s a d a s a r e all
t h i n g s of t h e S t a t e . I n f r o n t o f t h i s c o n s t r u c t i o n a c u s toms
house
or b a r r a c k s w e r e t h e
Demons.
Yes:
t h r o u g h o u t that n e w Z o n e , which we saw was u n d e r the
I . W . I . P . , t h e y w e r e i n fact e x p e r i m e n t i n g w i t h n e w d e t a c h m e n t s of f e m a l e i n f e r n a l p o l i c e . E v i d e n t l y . t h e m e e k n e s s
of t h e s i n n e r s in t h a t s e c t o r justified s u c h a n e x p e r i m e n t :
it d e a l t m o s t l y w i t h m e n o f c u l t u r e , u s e d t o b e i n g q u i e t in
m o m e n t s o f r e l a t i v e t r a n q u i l i t y . T h e D e m o n s , l i k e all
novices, took their duties very m u c h to heart. Their eyes
w e r e c h a r g e d w i t h a d a r k h o s t i l e light, e v e n w o r s e t h a t of
t h e m a l e D e m o n s . T e r r o r at b e i n g u n e q u a l t o t h e t a s k
x e n d e r e d t h e m , evidently, ferocious.
T h e y i m m e d i a t e l y h a t e d us. for t h e e x c e p t i o n w e
f o r c e d t h e m t o m a k e : t o r a i s e t h e b a r r i e r t o let t w o

s t r a n g e r s pass.
T h e y o p e n e d it, a n d w e e n t e r e d t h e o p e n s p a c e , a
b o u n d l e s s p a r k i n g l o t w i t h o u t c a r s , lost in t h e t w i l i g h t .
3
T h e r e a l a r g e c r o w d o f p e o p l e w a s g a t h e r e d , all
t o g e t h e r . It w a s t h a t l a r g e c r o w d , s c a t t e r e d a n d d i v i d e d ,
w h i c h in t h e l o n g e v e n i n g s w h e n l i g h t s a r e t u r n e d o n l a t e r
a n d later, m e e t s again, t h e r e , in t h e big s q u a r e s , t h e
parks, u n d e r the s u m m e r chestnut trees along the rivers,
on t h e roof-top terraces amid abundant* plants, over t h e
l e n g t h s o f t a b l e s in f r o n t of k i o s k s in t h e rich s e c t i o n s ; o r
insidealready gathered in t h e peace of dinner o r i m m e d i a t e l y a f t e r d i n n e r w i t h w i n d o w s still w i d e o p e n t o t h e
*Jark o f t h e m e n a c i n g l y s w e e t twilight j u s t ' d e p a r t e d .
E x a c t l y a s t h e y h a d c o m e f r o m all t h o s e p l a c e s f r o m
t h e capitals, R o m e , or L o n d o n , or Paris, o r from t h e large
p r o v i n c i a l cities all t h o s e p e o p l e w e r e t h r o n g e d t o g e t h e r ,
in t h e i n d i s t i n c t s h a d o w s , w h i s p e r i n g .
4
" O h , P a s o l i n i ! " I h e a r d m y s e l f c a l l e d , j u s t a s o n e is
called in t h e c r o w d a t a c o c k t a i l p a r t y , w i t h a special
gentilitywhich alludes to a particular relationship, interr u p t e d for s o m e t i m e , a n d h o w , right at t h a t m o m e n t ,
r e c o v e r e d . A n alliance g r o w n s i l e n t , e v e n a b i t c l a n d e s t i n e . I k n e w well t h e t o n e o f s w e e t s u r p r i s e in t h a t call.

- 56-

W h i c h , a f t e r i g n o r i n g , I r e c o v e r e d in t h e d e p t h o f a n e y e .
A n d t h e depth- of t h e eyes of t h e people from w h o m
t h a t fine' " O h P a s o l i n i " c o u l d h a v e c o m e t o m e , lightly
fluted, or trilled, was very sweet.
Really authentically
. s w e e t . It w a s n ! t t h e S e c t o r o f t h e H y p o c r i t e s w h e r e I
found myself.
'It w a s a m a t t e r o f a g r o u p of w o m e n . N o , l a d i e s . I
watched . t h e m with m y m y o p i c look, which, because, of
timidity, grew annoyed or restless, or s o m e h o w n o t
recognizingunrecognizing.

" A l l these peoplesaid the Masterhave sinned

a g a i n s t t h e ^greatness o f t h e w o r l d alrnosf by i n s t i n c t , t h e
r e d u c t i o n o f e v e r y t h i n g o c c u r r e d in t h e m a s a k i n d o f
d e f e n s e : . . A h h e b r e a t h e d ^ t h e y w e r e n ' t c a p a b l e of telling t h e g r a n d old 'fabulation'... to d o t h e O r l a n d o ' s a n d
t h e D o n Q u i x o t e ' s a n d h e smiled-, e x h a u s t e d o n c e a g a i n
b y h i s g e n e r o u s inability t o u s e a c u r r e n t l a n g u a g e a n d
so, they w e r e vessels of
reduction.
H i s m o u t h t i g h t e n e d in a s m i l e at ;the m u n d a n e
d i s c o u r s e , m y p o o r M a s t e r , f e a r l e s s , in t h e a s s u m p t i o n ,pf
b a n a l i t y -at a l e v e l o f g r e a t c u l t u r e a n d g r e a t p a s s i o n . A n d
h e c o n t i n u e d , o u t of p u r e kindness, out of disinterested
love of knowledge:

-57-

" I t is a s i n b o r n w i t h t h e p e t t y b o u r g e o i s , a f t e r t h e
great industrialization, after t h e c o n q u e s t of t h e colonies...
A t first, t h e little p e o p l e were little: t h e y didnXvtarit
to be.
I n s u m m a r y . . . All t h e s e peo'ple, for f e a r of g r e a t n e s s ,
a r e i n s t i n c t i v e l y l a c k i n g in r e l i g i o n .
R e d u c t i o n , t h e spirit p f r e d u c t i o n , is t h e lack of relig i o n : t h i s is t h e g r e a t s i n o f t h e e p o c h o f h a t e . A n d in
fact in n o o t h e r p a r t o f H e l l will y o u s e e s u c h p e o p l e .
T h e masses, m y friend! T h e masses; w h o h a v e chosen
n o t having any religion as their religion w i t h o u t k n o w i n g
it."
T h e d e m o n a r r i v e d w i t h t h e b e e r . H o s t i l e , s h e p u t it
o n t h e table, with t h e check, and went away.
" Y o u ' v e probably noticed t h e large n u m b e r
of
w o m e n . . . Y e s , of c o u r s e . I n t h e m r e d u c t i o n , a s it is s a i d ,
is a s o l d a s t h e s p e c i e s : t h e y d e f e n d t h e r a c e , a s well a s
t h e m s e l v e s , p o o r t h i n g s . It is b e c a u s e o f t h i s t h a t c o n f o r m i s m in t h e m a l w a y s h a s a c e r t a i n g r a n d e u r . It is, b a s i cally, t h e i r Religion. B u t t h e m a l e s ! " a n d h i s e y e s filled
w i t h a m e l a n c h o l y s i m i l a r t o t h e grip of a p h y s i c a l p a i n :
t h e ease- with- w h i c h h i s h e a r t w a s p a i n e d w a s o n e k n o w n
well;- a n d n o w e v i d e n t l y t h e d e s t i n y o f t h o s e m a l e s , w h o
h a d s u c c e e d e d in c a r r y i n g t o t h e t o m b , i n t a c t , t h e i r b o u r geois pettiness... of vessels of reduction... upset h i m .

-58-

" W e l l , w h a t p a i n s m y h e a r t i n all o f t h i s is t h e
t h o u g h t of h o w m u c h h a t e their- life-jackets of w r e t c h e d ness h a v e cost t h e m . T h o s e y o u ' v e s e e n limited t h e m s e l v e s t o its d e f e n s e . B u t n e v e r in all of h i s t o r y w e r e
s u c h h o r r e n d o u s sins s e e n as t h o s e c o m m i t t e d by t h e
bourgeois in this century, to defend t h e actual right to
h a t e greatness. I t h i n k of Buchenwald a n d D a c h a u , of
Auschwitz and Mauthausen."

59-

" After this M o t e l a separate part of t h e Z o n e of t h e

R e d u c e d O n e s b e g i n s . A s e p a r a t e S e c t o r , a s y o u will s e e .
Y o u will still find.some R e d u c e d o r t o o C o n t i n e n t . O n e s
t h e r e , it is t r u e , b u t in t h e m t h e e r r o r h a s f o u n d a n e x p l a n a t i o n a n d a c o n s c i o u s n e s s : it is r a i s e d in s o m e way t o
t h e d i g n i t y o f r e l i g i o n , b e c a u s e , a s it will b e e a s y for y o u
t o u n d e r s t a n d , t o g i v e g r e a t n e s s t o o n e p a r t of reality it
h a d t o a g r e e t o sacrifice t h a t of a n o t h e r . . .
C o m e o n let's go...""

A n d o n c e again h i s a u t h e n t i c i n d i g n a t i o n s e e m e d
f a d e d a n d h u m b l e d b y h i s g r o w i n g old r i g h t a f t e r p a s s i n g
h i s Fifties. B u t it w a s t h e r e . A n d w i t h it, in it, e v e r y
possible true poetry.

With fervorwith his gestures of an

anguished
s p o r t s m a n h e g o t u p , left t h e M o t e l b e h i n d h i m , s e t o u t
for t h e h i g h w a y , w i t h its r o a d m a r k e r s , its c e n t e r b a r r i e r ,
its s i d e w a l k s , its d i v i d i n g l i n e s , n o w solid n o w b r o k e n ,
p a i n t e d w h i t e ; its e m e r g e n c y s t a t i o n s ; its e l e g a n t b r i d g e s
o v e r sordid, decrepit m u d d y canals.

S o w e w e r e s i l e n t f o r a l o n g t i m e , lost in t h e c o m m o t i o n b r o u g h t o n b y t h e r e p e t i t i o n i n special c i r c u m s t a n c e s
o r i n special s t a t e s o f m i n d o f s o m e old t r u t h , still g o o d .

B u t g r a d u a l l y a s w e a p p r o a c h e d t h e b o r d e r , w i t h its
b a r r i e r a n d p o l i c e - l i k e c o n s t r u c t i o n , t h e air g r e w d a r k e r
and darker.
L i k e a n i g h t t h a t falls s u d d e n l y , w i t h t h e
q u i c k n e s s of a s u m m e r s t o r m . E v e r y t h i n g w a s s w a l l o w e d
u p by t h e d a r k n e s s , a n d it w a s d o n e b a r e l y in t i m e t o s e e
t h e s i g n - p o s t : t h e u s u a l I . W . I . P . , f o l l o w e d t h i s t i m e by t h e
i n s c r i p t i o n : " A u t o n o m o u s S e c t o r of t h e R e a s o n e r s : Irrational and R a t i o n a l " .

It w a s difficult t o i n t e r r u p t t h e c o m m u n i o n t h a t w a s
e s t a b l i s h e d b e t w e e n u s in i n d i g n a t i o n , m e e k a n d k n o w i n g :
any added word would h a v e b e e n a useless trimming...
But spells m u s t always b e b r o k e n ; e v e n t h o s e of g e n
tleness and learning, t h o s e m o s t sacred to m a n ; O n e m u s i
d o a s t h e C h r i s t of t h e G o s p e l s , w h o , h a v i n g b a r e l y s e t a
s p e l l t h e c o n t e m p l a t i v e p a u s e after a w o r d t h a t c o u l d b e
e n d l e s s l y q u e s t i o n e d a n d t h o u g h t o f in s i l e n c e cast
another immediately, almost with cruelty, that gave n o
peace.

T h e rails w e r e lifted i n t h e d e n s e s t d a r k n e s s , by t h e
light of s i n i s t e r b a t t e r i e s , t h e D e m o n s e n c l o s e d in t h e i r

i'ZS.

mmm

-60-

fierce n o v i q e s ' - s i l e n c e :
lights b e h i n d us.

and w e left t h e darting o f t h o s e

A t last w e w e r e walking i n t h e solidest darkness.

(1963)

- 62-

-63-

3 m o r e n o t e s for C a n t o VII

t h e green countryside a n d grey sky w e r e of t h e N o r t h .

Behind t h e bustling crowd, which was standing, c o m p o s e d
a n d d e c e n t , a little p r o v i n c i a l , s p r i n k l e d w i t h l a u g h t e r , w a s
h e a r d t h e g r e a t p e a s a n t d i t c h o f t h e P o at l o w w a t e r . I n
s i m i l a r s u r r o u n d i n g s in R o m e a t a r e c e p t i o n at t h e
Q u i r i n a l e , for e x a m p l e , w i t h t h e d a z z l i n g a f t e r n o o n l i g h t
c o m i n g in t h r o u g h big w i n d o w s t h e r e ' s a l w a y s s o m e t h i n g
a little d i r t y a n d n a k e d f o r w h i c h t h e h e a r t c a n bleed'. 1 N o t
h e r e . In fact t h e first c h a r a c t e r i s t i c of V u l g a r i t y c o n s i s t s in
its e n c r o a c h i n g , its w a n t i n g t o r e n d e r V u l g a r e v e n o n e
w h o i s n ' t , w h o is a s t r a n g e r t o its w o r l d ( N o r t h e r n Italy
a n d its i n d u s t r i e s ) :
repressing thereby that a m o u n t of
c o m p r e h e n s i o n , f r e e d o m o r pity in t h i s " s t r a n g e r " p o o r
or cultured m a n n e e d e d to judge h i m . T h e Vulgar are
m o r a l . W h a t is r e p e l l e n t in t h e m is e x a c t l y e v e r y t h i n g
w h i c h by law o r c o n s e n t i n c l u d e s t h e i r m o r a l i s m as a solid
tradition!

1
T h e o t h e r s t a g e of t h e s i n o f N o r m a l i t y ( o r C o n t i n e n c e ) , after t h a t o f C o n f o r m i s m , is t h a t of V u l g a r i t y .
T h e m e a n i n g o f t h i s w o r d w h i c h is a l m o s t a n initiat i o n w o r d a m o n g t h e m e m b e r s of t h e s m a l l g r o u p t h a t
c o m m i t s far m o r e t e r r i b l e s i n s t h e s i n s o f classicality
l i v e d in t h e g r e a t a g r a r i a n , p a s t o r a l a n d c o m m e r c i a l e p o c h s
of m a n t h e sins of sex, violence, wasteof t h e Incont i n e n c e , in a w o r d , s o d e e p l y d e a r t o G o d i s p e r h a p s
defined before entering the n e w Sector, of t h e Vulgar
o n e s , b y t h e i r d e v i o u s e y e s , b e h i n d l o w e r e d rails w i t h t h e
d i s c o n t e n t e d devils...

3
"Perhaps I myselfhe saidam but a simple and
c o n v e n t i o n a l s p o k e s m a n . It is c e r t a i n , h o w e v e r , t h a t m y
science was n o t b o r n totally within t h e e n c l o s u r e of s o m e o n e w i t h n e i t h e r fear n o r h u m a n r e s p e c t . S o m e o n e w h o
g o e s all t h e way *o t h e e n d .
I too, therefore, was a
p r i v i l e g e d f i r s t - b o r n (a w e a l t h of spirit o r m o n e y is t h e
same).

V u l g a r i t y is t h e m o m e n t o f full l u x u r i a n c e o f c o n f o r mism.
2
T h e situation presented before our anguished eyes
w a s n ' t m u c h d i f f e r e n t f r o m t h e o n e w e h a d left. In t h e
K i n g d o m of s h a d e s it w a s n a t u r a l l y m o r e difficult t o g r a s p
the differences existing b e t w e e n R o m e and Milan.
But

-64-

In t h i s H e l l (as i n life) c y n i c s a r e l a c k i n g . N o r c o u l d
I h a v e b e e n o n e e i t h e r . I w a s afraid of it. It s e e m e d
dishonorable to m e . Perhaps I defended myself from cynicism j u s t b e c a u s e it w a s a s a c r e d a n t i d o t e a g a i n s t t h e
" w r i n g i n g of m y ^ e a r t " .
I passed, t h e n , like a wind
b e h i n d t h e last walls o r m e a d o w s o f t h e c i t y o r l i k e a
barbarian w h o c a m e d o w n to destroy, a n d e n d e d by dist r a c t i n g , h i m s e l f by l o o k i n g , a n d k i s s i n g , s o m e o n e w h o
resembled himselfbefore deciding to turn back.

Faded Iconography
(for a " P h o t o g r a p h i c p o e m " )

'. '" *'

&

10

13

IJ

m^m.

16

17

PIJ5R PAOLO P A 5 0 M N I

* \

P o e s i a
i n

forma

d i

r o s a

\\

tr
(l96l-^64)

19

GAR2ANTI

18

I
I

20

25

24

I;

Faded Iconography
(for a "Photographic poem")

1.
2.
3-4.
5.
6.
7.
8.
9-13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.

Grimau
Lambrakis
Reggio Emilia 1960
Rome: anonymous crowd and cars
Old women
The author and Gadda
Communist rally
Boys, as they were at the end of the '50*8
A group of partisans
Gramsci's tomb at Testaccio
Gianfranco Contini
Baptism scene (from the Gospel)
Frontispiece of Poetry in the form of a rose
Some of the "Gruppo 63"
Early W s : fascists
At the Colonnade of Valle Giulia
Emilio Cecchi
Sandro Penna
Piazza della Chiesa at Casarsa
African landscape

-91-

Note no. 1

The book should be written in layers, each new draft should be in

the form of a note, dated, so that the book is presented almost like a
diary. For example, all the material written up to now should be dated
(about a year, a year and a half ago): it shouldn't be eliminated by the
new draft, which therefore should consist of a new additional layer or a
long note. And thus through successive drafts. In the end the book
should present itself as a chronological layering, a formal living process:
where a new idea doesn't cancel one before it, but corrects it, or leaves
it absolutely unchanged, formally preserving it as a document of the
passage of thought. And because the book will be a mixture of things
done and things to doof 'pages refined and pages sketched out, or
only, plannedits temporal topography will be complete: it will have
together the magmatic form and the progressive form of reality (which
cancels nothing, which makes past coexist with present etc.).

November-December 1964

-92-

Note no. 2

-93-

For an "Editor's note*

Born of Italian as a spoken national language, based no longer on

literary Italian or on instumental dialected Italian, as the lingua franca
of commercial exchange and the first industrializationbut on Italian as
spoken in the North, a lingua franca of (the second industrialization (cfr.
"New linguistic.questions").
" T h e Divine Mimesis" or " M a m m o n " (or "Paradise") is
presented rfiytftically as the last written work in the non-national .Italian,
the Italian that keeps all diachronic stratifications of its history alive and
aligned in a real contemporaneity. Therefore this Italian is spoken in
Hell, in all its historical combinations: osmosis with Latin (classical anr'
medieval), crossings of dialect-Latin, koine-Latin, literary language
Latin, technolanguage?Latin: then, dialect-koine, literary language
koine, fechnolanguage-koine'; then etc. etc.all .possible crossings,
according to',the demands of free indirected speech of the various,
socially diverse characters.
On the other hand, all views of the futurethat is, the planning
and construction (in progress) of the Two Paradisesthe neo-capitalist
and the communistwill be worded in the "supposed" new language:
with its progressive sequences, its elimination of competing forms, its
absolute prevalence of communicability over expressiveness, etc.

This is not a critical edition. 1 limit myself to publishing all that

the/author left. My Only critical effort, .a very modest one, is that of
reconstructing the chronological-sequence of these notations as exactly
as possible. At the end of some of these the author has indicated the
date: and in such cases, therefore it was easy to insert them in order.
But very, many notes, especially the briefest onessome of only two or
three lines, nearly illegiblehave no date; not only that, but they were
found'.outside the typewritten body of the work, or in different drawers
from ihat where the work was kept, or between the pages of books
begun to. read and not finished. A small pad of notes was actually
found in the glove compartment of his car; and lastly, a macabre detail
but alsoone will agreea moving one, a sheet of graph paper (evidently torn out of a note pad) filled with a dozen or so very uncertain
lineswas found in the jacket pocket of his corpse (he died, killed by
blows from a club, in Palermo last year).* The scruple of exactness of
chronological order was the only scruple I could have. I was therefore
attached to it as to an anchor of salvation. Naturally I understand the
reading of these fragments might be disturbed by a chronological order
that is of the writing but not of sense. But 1 preferred rigorany
rigorto manipulation, however honest and reasoned.

* Pasolini's death came on a beach near Rome. (T.P.)

17 November 1964

-94-

Inasmuch as the title is "FRAGMENTS FROM. HELL"

("FRAMMENTI INFERNAL!") it is only thus by a type of... necrological deduction. If the author had lived it probably would have been
changed, by the placing over it of some new title. In fact the typewritten body of the work is formed by a pack of typewriter paper cut in
two, and covered by five full folded sheets: on the front of the first of
these sheets which therefore is the coverare indicated, tw titles,
the first, typewritten, is "BARBARIC .MEMORIES", but the.,second,
hand written in bigjetters, is "FRAGMENTS FROM rjELL". On the
front of the next to last sheet, typewritten, is* the title "PARADISE",
and in hand written*block,letters, but contained in a pen-drawn<c>cle to
cancel 4hem, .the- two titles "THEORY" r a n d " T y E ^ p i y i N E
THEORY";., on the third to the last page-.there is, typewritten, the title
"THE DIVINE REALITY", with a date, 1963, followed by(,a, hyphen,
as to leave suspended but rather near the date of the,end o,the draft.
On the fourth to the last page is read the title "THE-^DIVINE
MIMESIS"with the date 1963 below it, followed by the .same
hyphenwhich is evidently-the first title, and so it must haye.remained
for a long time,.because it was already that of the fifth to the, last sheet,
the most faded one of all.

-95-

A short extravagant allegation*

The whole scandal of the book regards a single, "memorable'' occasion: the relationship between Contini and Gramsci. The\reader should
keep in mind that the note on Gramsci, in this volume that is definedjust
so, scandalouslyas a history of 19th and 20th century Italian literature
takes place according to the sequence: Giovanni Gentile, Roberto Longhi,
Antonio Gramsci (a sequence in which are grouped together, almost without
connection, De Lot lis and other university critics, Alfredo Gargiulo and G.
A. Borgese). But they are the three. Contini is very easy on Gentile (he
praises him, curiously, in a kind of determined pamphlet "outside the work",
for scholastic reform: he regards with a detached eye the asymmetrical, selfdestructive adherence to fascism almost of a Sicilian "man of honor", and
in the endaccording to that extremely rigorous assumption of meekness,
which, as we shall see, wants to characterize the booksupports himself on
his own perfectly impartial behalf); it is useless then to tell, as regards
Longhi, of his testimony of infinite love: but this love too, one must add, is
objectified, restrained, almost stuffed in. And then the third one, what about
Gramsci? Well, the argument doesn't change: here too, as with Gentile's
fascism, Marxism is kept at a proper distance according to the laws A)f
"meekness" which I ppinted out; and here too his admiration respects tlje
stylistic conveniences of an undramatizing professional "humour" (l\e concludes there, for example, that Gramsci's ideas in the beginning had "a very
* This is an excerpt from a nole to Italian Literature: the Nineteenth and Twentieth (. enturivs
by Gianfranco Contini.

-97 -

tuneable heuristic significance" and still retain "the value of a very stimulatiitji point of view"). Nevertheless, what is astonishingly true becomes clear,
tttat is, that the only Italian critic whose problems were the literary problems
of Gramsci is Contini! "Scandal for the Jews, stupidity for the Gentiles",
the*. Stiff I don 7 want to "reverse" the scandal to a totally positive seme.
Reasonableness requires that I know and make known that the treatment of
all Gramsctan.problems by Contini occurs IIIM universe that is parallel but
remote, though just as potently suggestive ("stimulating"), and that great
strength of spirit is needed to presuppose in them a possibfaintegrabitity.

J ^JO
f *t*i i

1951

* }

(1974)

The following p o e m s - / 9 5 7 . (1951); Friutian Paintings, (1957);

and Plan of Future Works, (1963)'suggest the breadth of Pasolini's
poetic endeavour, and trace the path of its evolution. They were not
pari of the original volume, but will provide support material to the
le'xi projected and outlined in the last poem: THE DIVINE MfMESfS.

t >* ;>

T h e old crickets erupt

in m y e a r s , still, in t h e A n i e n e ' s n e w
a n d s c r e a m t o m e in s i l e n c e
m y u n h e a r d solitude.
Disappeared inside this old calm
countryside, not m i n e ,
I go h o m e , and below distant points
of l i g h t s in t h e s u b u r b s , c r i c k e t s
b r e a t h e a s o n g that again c o v e r s
r e m o r s e with melancholy
a n d t e r r o r with m o n o t o n y .

fields

Over a c o m m o n and deep song'

of c r i c k e t s , . w h i s t l e s of u n k n o w n
boys, and their pure voices
b u r n a w a y in a n i n s t a n t
all t h a t is left o f m y a n x i e t y , m y h e a r i n g .

-98-

I feel a c o n s u m i n g , i n s i d e m e , o f d e a t h ,
if, pure, h o t , intact, like
a t e m p o , I barely n o t i c e t h e feint
b e a t i n g in m y breast ( w h e r e t h e w e e p i n g
is soft, like t h e d a m p n e s s o n t h e
A n i e n e ' s d e a f fields), listening
again t o t h o s e crickets, t h o s e pure inflexions
o f v o i c e s , a frenetic, limpid
rustling that in s u r v i v i n g , c o n d e m n s m e .

T h e m o r e strained t h e cricket's cry

lost for d e c a d e s in d i s h e a r t e n e d
callings, all t h e m o r e strained
in a b a n d o n is m y breast.
Life unheard in m y breast
a l o n e as in space, w h e r e t h e old s o n g
t h o u g h , rattles in recrimination.

- 99-

M o o n lit up by v i s c e r a
of s k y w o u n d s m e w i t h m u t e
light; b u t if r e p r o a c h falls ,
m u t e from t h e sky, t h e cricket
s t i r r e d u p a g a i n by n e w , u n i m a g i n e d n i g h t
in t h e g r a s s e s o f t h e A n i e n e ,
w i t h its b r i e f r a t t l e ,
reaches the deaf, submissive heart.

.-1 ,

Rain has painted the earth around

the Aniene. Almost a voice
f r o m t h e r e s t l e s s clear s k y , a b o y
b e t w e e n walls of l i m e a n d b r i c k s
scrapes an iron wire over a sorry
old lid. T h e p e r i p h e r y v i b r a t e s
c o n f u s e d with d i s t a n t t r u c k s , a n d
m y v a i n d a y e n d s : v a i n , in
s a d b u r n i n g twilight, t h e c i c a d a s
s i n g in s i l e n c e .
The Aniene (or Tevcrone) is the source and major irihuury of ihe Tiber.

* *

*Tj.r

P"W
f

'

- 101 -

- 100-

A n early night rain p e r f u m e s

t h e s l e e p l e s s bliss o f e x i s t e n c e .

T h e h o r i z o n is painted d e e p b l u e
o f a s o u t h e r n s e a , at this e x t r e m e
hour,
d e e p b l u e like t h e s e a at m i d d a y ,
h o r i z o n in t h e faded twilight,
w i t h t h e d e e p b l u e o f a s u n n y sea
t h e h o r i z o n is carved in g r e e n b e y o n d
d e e p b l u e fields against t h e sky,
in orchards, a m i d piles o f w e t
s t o n e s , b e t w e e n light c o l o r e d walls
barely raised,

T h e last g e s t u r e o f c o u r a g e ( n o w
that c o u r a g e is pure d e s p e r a t i o n ,
at b e i n g u n l o v e d b e c a u s e I d o n o t l o v e ,
n o l o n g e r indifference but a b a n d o n )
is t o n o t c o n t i n u e . T h e d e a t h
d e s i r e d in t h e pain o f t h e s e n s e s ,
in s i n , is n o w d e s i r e d i n t h e pain
o f i m p o t e n t reason. T o d i e
today m e a n s l e a v i n g n o t h i n g b e h i n d .

t h e s u m m e r air is painted d e e p b l u e
with t h e v i o l e n c e o f a s o u t h e r n sea.

A furious m o o n s h o w e r s light
over unplowed clods,
dry stakes. T h e , m a d d e r , r>
t h e calmer m y s t e p carries m e
towards a n g u i s h e s o n c e pure.

HMP

-103-

-102-

QUADRI FRIULIANI

S e n z a c a p p o t t o , n e l l ' a r i a di g e l s o m i n o
m i p e r d o n e l l a p a s s e g g i a t a 'sera'le,
r e s p i r a n d o a v i d o e prostirato, fino
a n o n esistere, a essere febbre nell'aria
la pioggia c h e g e r m o g l i a e il s e r e n o
c h e i n c o m b e a r i d o s u asfalti, fanali
c a n t i e r i , m a n d r i e di g r a t t a c i e l i , p i e n e
d i s t e r r i e di f a b b r i c h e , i n c r o s t a t i
di b u i o e di m i s e r i a . . .
Sordido fango indurito, pesto, e rasento
t u g u r i r e c e n t i e d e c r e p i t i , ai limiti
di c a l d e a r e e e r b o s e . . . S p e s s o l ' e s p e r i e n z a
e s p a n d e i n t o r n o piu allegria, piu v i t a ,
che Tinnocenza: m a questo m u t o vento
risale dalla r e g i o n e a p r i c a

FRIULIAN PAINTINGS

W i t h o u t a coat, i n t h e j a s m i n e air
I l o s e m y s e l f o n t h e e v e n i n g walk,
b r e a t h i n g a v i d and prostrate, weary
b e y o n d e x i s t e n c e , b e i n g a f e v e r i n t h e air
t h e rain that g e r m i n a t e s a n d t h e clear s k y
h a n g i n g dry o v e r asphalt, street l a m p s ,
shipyards, flocks o f skyscrapers, full
o f e x c a v a t i o n s a n d factories, e n c r u s t e d
in d a r k n e s s and misery...
I tread o n sordid h a r d e n e d m u d , near
n e w l y built decrepit h o v e l s , at t h e e d g e s
o f h o t grassy airs... O f t e n e x p e r i e n c e
e x p a n d s m o r e a r o u n d j o y and life
than d o e s i n n o c e n c e : b u t t h i s silent wind
rises f r o m t h e s u n n y r e g i o n

- 104 -

- 105-

delPinnocenza... L'odore precoce e stento

di primavera c h e s p a n d e , scioglie
ogni difesa nel c u o r e c h e h o r e d e n t o

o f i n n o c e n c e . . . T h e premature; a n d w a n t i n g
o d o r o f spring that e x p a n d s , l o o s e n s
e v e r y d e f e n s e o f t h e heart I - h a y e r e d e e m e d

c o n la sola chiarezza: antiche v o g l i e ,

smanie, sperdute tenerezze, riconosco
in q i i e s t o s m o s s o m o n d o di foglfe

by t h e s o l e clarity: ancjent, d e s i r e s - h ,
m a n i a s , lost t e n d e r n e s s e s , I r e c o g n i z e
in this o v e r t u r n e d world o f l e a v e s .

L e foglie dei s a m b u c h i , c h e s u l l e r o g g e
s b u c a n o dai caldi e tondi rami,
tra le reti s a n g u i g n e , tra l e l o g g e

Elder l e a v e s , o v e r d i t c h e s
bud f r o m w a r m , round b r a n c h e s ,
b e t w e e n s a n g u i n e nets,,fa*ded y e l l o w

g i a l l o g n o l e e ranciate d e r friuliani
v e n c h i , aliineati in s p o g l i e prosp'ettive
c o n t r o gli spogli crinali m o n t a n i ,

and o r a n g e terraces o f t h e Friulian

d w e l l i n g s , lined u p in bare p e r s p e c t i v e s
against t h e bare c r e s t s o f m o u n t a i n s ,

o in dolci c u r v e l u n g o le f e s t i v e
c h i n e d e l l e prodaie... L e f o g l i e
dei ragnati pioppi s e n z a u n brivido

or in soft c u r v e s a l o n g f e s t i v e
inclines o f riverbanks... M o t i o n l e s s
l e a v e s o f c o b w e b b e d poplars

a m m a s s a t i in s i l e n z i o s e f o l l e
in f o n d o ai deserti campi di rhedica;
le foglie degli umili alni, l u n g o le z o l l e

m a s s e d in s i l e n t c r o w d s
b e y o n d t h e d e s e r t e d fields o f m e d i c a
l e a v e s o f h u m b l e alders, b y w o r n out

- 106-

- 107,

s p e n t e d o v e le afdenti" piancine lievita

il f r u m e n t o c o n tremolii' gi lieti;Ie foglie della dolcetta c h e c o p r e tiepida

clods of turf w h e r e small b u r n i n g wheat

p l a n t s still r i s e u p in j o y o u s t r e m b l i n g ;
grape leaves that tepidly cover

1'argine sugli arazzi d ' o r o dei vigneti.

t h e e m b a n k m e n t o v e r t h e v i n e y a r d s ' g o l d e n tapestry*

Ti ricordi di quella sera a R u d a ?

Quel n o s t r o darsi, i n s i e m e , a u n g i o c o
di pura p a s s i o n e , misura della nostra- cruda

D o y o u r e m e m b e r t h a t e v e n i n g in R u d a ?
T h a t g i v i n g of o u r s e l v e s , t o g e t h e r , t o a g a m e '
of p u r e p a s s i o n , m e a s u r e of o u r r a w

g i o v e n t u , del n o s t r o c u o r e ancora p o c o
pill c h e puerile? Era u n a Iotta
bruciante di s e s t e s s a , m a il s u o f u o c o

y o u t h , o u r h e a r t s still little m o r e
t h a n p u e r i l e ? By itself it w a s
a b u r n i n g s t r u g g l e , b u t its fire

si s p a n d e v a oltre noi; la n o t t e ,
ricordi?, n e era tutta piena nel f r e s c o
v u o t o , n e l l e strade persorse da' frotte

spread beyond us; t h e night,

d o y o u r e m e m b e r ? , it w a s full of it in t h e
clear v o i d , g r o u p s of w o r k e r s - o n t h e s i r e e t s

di braccianti vestiti a festa,

di ragazzi v e n u t i in bicicletta
dai borghi vicini: e la m e s t a
quotidiana, cristiana, piazzetta'
n e fiottava c o m e i n u n a sagra.

dressed to celebrate,
c h i l d r e n c o m e in f r o m n e a r b y
n e i g h b o u r h o o d s o n bicycle: a n d t h e .daily
m e a s u r e and yield, Christian, t h e piazzeita
o v e r f l o w i n g a s o n a feast d a y .

- 108-

- 109-

N o i , n o n popolani, nella stretta

W e , n o t o f t h e p e o p l e , i n t h e strict

del p o p o l o c o n t a d i n o , della magra

folia paesana, amati q u a n t o
ci ardeva r a m a r e , feriti dall'agra

s e n s e o f t h e peasant p e o p l e , t h e s k i n n y
c o u n t r y folk, l o v e d as m u c h
as l o v e m a d e u s b u r n , w o u n d e d b y t h e bitter

n o t t e c h ' e r a l o r o , del Ioro s t a n c o

ritorno dai campi n e l l ' o d o r e
di f u o c o d e l l e c e n e . . . u n o a fianco

Elder l e a v e s , it w a s t h e i r ' n i g h t , their tired

return f r o m t h e fields in t h e s m e l l
o f d i n n e r t i m e fires... n e x t t o e a c h o t h e r

all'altro g r i d a v a m o le parole
c h e , quasi i n c o m p r e s e , e r a n o p r o m e s s a
sicura, e s p r e s s o , rivelato a m o r e .

w e s h o u t e d w o r d s that,
a l m o s t m i s u n d e r s t o o d , w e r e t h e sure
expressed promise of love revealed.

E poi l e c a n z o n i , i poveri bicchieri

di v i n o sui tavoli d e n t r o la buia
osteria, le chiare faccie dei festeggeri

A n d then the songs, the poor glasses

o f w i n e o n t h e tables in t h e dark
tavern, t h e clear faces o f t h o s e feasting

i n t o r n o a n o i , i loro certt occht sui

nostri incerti, l e s c o r a t e a r m o n i c h e
e la bella bandiera n e l l ' a n g o l o piu

a r o u n d u s , their certain e y e s fixed o n

o u r uncertain o n e s , t h e heartless
h a r m o n i c a s and t h e beautiful flag in t h e

in l u c e d e l P u m i d o s t a n z o n e .

m o s t lit corner o f t h e large d a m p r o o m .

- 110-

- Ill -

Ora, lontano, diverso, nel v e n t o quasi

n o n terrestre che s m u o v e n d o Paria
i m p u r a , t r a e vita d a u n a stast

N o w , far a w a y , different, in t h e a l m o s t u n e a r t h l y
w i n d w h i c h m o v i n g t h e i m p u r e air, brings life
f r o m a mortal stasis

m o r t a l e d e l l e c o s e , rivedo i casali,
i c a m p i , la p i a z z e t t a di R u d a ;
s u , le b i a n c h e alpi, e g i u , l u n g o i c a n a l i ,

o f t h i n g s , I again s e e t h e villages,
t h e fields, t h e piazzetta at R u d a ;
above, the white Alps, and d o w n below,

t r a c a m p i di g r a n o t u r c o e v i g n e , P u m i d a
l u c e d e l m a r e . A h , il filo m i s t e r i o s o
si d i p a n a a n c o r a : e in e s s o , n u d a ,

a l o n g t h e canals, b e t w e e n c o r n fields a n d v i n e y a r d s
t h e d a m p light o f t h e sea. A h , t h e m y s t e r i o u s
thread still u n r a v e l s : a n d i n it, n a k e d ,

' i

la r e a l t a P i r r e a l e Q u a l c o s a
che faceva e t e r n a quella sera.
L'aria tumefatta e festosa

r e a l i t y t h e unreal S o m e t h i n g
that m a d e that e v e n i n g e t e r n a l
S w o l l e n and f e s t i v e air

dei t u o i p r i m i q u a d r i , d o v ' e r a
il v e r d e u n v e r d e q u a s i di b a m b i n o
e il giallo u n ' i n d u r i t a c e r a

o f y o u r first paintings, w h e r e g r e e n was

a l m o s t a baby's g r e e n
and yellow a hardened wax

di m o l l e E s p r e s s i o n i s t a , e le c h i n e
spigolatrici, s p e t t r i d e l c a l d o s e s s o
a d o l e s c e n t e b r u l i c a v a al c o n f i n e

o f Expressionist s o f t n e s s , t h e reapers
swooping down, ghosts of hot adolescent
s e x s w a r m e d o n t h e border

do quel luogo segreto, dove oppresso

da un sole e t e r n a m e n t e arancio,

o f that secret place, w h e r e o p p r e s s e d

by an eternally o r a n g e s u n ,

- 112-

d o l c i s s i m o e il m e r i g g i o e s t i v o , e in- e s s o

t h e s u m m e r n o o n s o s w e e t , a n d "in it

arde u n a crosta di p r o f u m i , u n glauco

afrore d ' e r b e , di s t e r e o , c h e il v e n t o
rimescola...

b u r n s a crust o f p e r f u m e s , a s e a - g r e e n
o d o r o f grasses, o f d u n g , that t h e w i n d
stirs up...

T u lo sai quel luogo,* q u e l Friuli

c h e s o l o il v e n t o tocca, c h ' e u n p r o f u m o !
D a e s s o s c e n d e sopra i tuoi oscuri

Y o u k n o w that place, that Friuli

that o n l y t h e w i n d t o u c h e s , a p e r f u m e !
F r o m it, o v e r y o u r dark flautists,

s u o n a t o r i di flauto, il d o l c e g r u m o
dei neri e d e i violetti, e si e s p a n d e
da e s s o iridescente il b i t u m e

descends the sweet clump

o f blacks and v i o l e t s , a n d coal
is spread iridescent o v e r y o u r

sui tuoi Cristi inchiodati tra falde

di l u c e franata dai transetti d ' A q u i l e i a ,
e reduci da e s s o , n e l l e calde

Christs nailed b e t w e e n strata o f light

filtered d o w n f r o m A q u i l e a n transepts,
and his s u r v i v o r s , in t h e w a r m

s e r e riverberanti della Bassa o n e i

bianchi mattini gelati n e i canali,
v a n n o i tuoi pescatori verdi di v e g l i e ,

reverberating e v e n i n g s o f Bassa or
w h i t e m o r n i n g s in f r o z e n canals,
y o u r fishermen g o t o g r e e n vigils,

a cui arrossa l e r o z z e r u g h e il sale,

o giovanili n e r e g g i a n o i braccianti
s u l l e scarpate del traghetto serale,

their coarse wrinkles r e d d e n e d b y salt,

or y o u n g laborers i n a b l a c k e n e d m a s s
o n t h e d o c k s o f t h e e v e n i n g ferry,

- 114-

appoggiati ai m a n u b r i , stanchi,
bruciati, m e n t r e la n o t t e gia s ' a n n u n c i a
n e i triste b o r g o c o n le luci e i canti.

E il v e n t o , da G r a d o o da Trieste
o dai magredi s o t t o le Prealpi,
soffia e rapisce dalle m e s t e
voci d e l l e c e n e , qualche palpito
'piii puro, o n e i brusio d e l l e paludi
q u a l c h e piu s g o m e n t o grido, o qualche
piu* o s c u r o s e n s o di f r e s c h e z z a n e l P u m i d o
d e s e r t o degli arativi, dei c a n n e t i ,
d e l l e b o s c h i n e i n t o r n o ai resultumi...
S o n o sapori di quel m o n d o q u i e t o
e s g o m e n t o , ingenuamente perso
in u n a sola estate, in u n s o l o v e c c h i o
i n v e r n o c h e in q u e s t o m o n d o d i v e r s o
s p a n d e infido il v e n t o . A h q u a n d o
u n t e m p o c o n f u s o si rifa* terso

- 115 -

l e a n i n g o v e r t h e rails, t i r e d ,
b u r n e d , a l r e a d y n i g h t is s i g n a l l e d
in t h e s a d v i l l a g e , b y l i g h t s a n d s o n g s .

A n d the wind, from G r a d o or Trieste

blows from t h e m a r s h e s in t h e Alps
foothills a n d ravages t h e sad
voices at d i n n e r , a p u r e r
t h r o b b i n g , o r in t h e b u z z o f t h e s w a m p s
a s a d d e r cry, or a
d a r k e r s e n s e of f r e s h n e s s in t h e w e t
d e s e r t of a r a b l e l a n d s , of r e e d t h i c k e t s ,
of w o o d s a r o u n d s w a m p s .
T h e y a r e t a s t e s of t h a t q u i e t a n d
s a d d e n e d w o r l d , i n g e n u o u s l y lost
in a s i n g l e s u m m e r , in a s i n g l e old
w i n t e r w h i c h is s p r e a d in t h i s different
w o r l d by a n u n t r u s t w o r t h y w i n d . A h w h e n
a c o n f u s e d t i m e is m a d e clear again

- 116- 117-

nella m e m o r i a , n e i v e r o t e m p o c h e sbanda
per qualche istante, c h e s a p o r e di m o r t e . . .
N o n n e stupisco, s e a questi istanti
di disfatta e di v e g g e n z a , m i p o r t a n o
anni c o n s u m a t i in u n a chiarezza
c h e n o n m u t a il m o n d o , m a Io ascolta

in m e m o r y , i n t h e true t i m e that d i s p e r s e s
for a f e w m o m e n t s , that taste o f death...
It d o e s n ' t surprise m e , if i n t h e s e m o m e n t s
o f u n d o i n g a n d o f s e c o n d - s i g h t , I a m carried
by years g o n e b y t o a clarity
that d o e s n ' t c h a n g e t h e world, but l i s t e n s t o it

nella sua vita, c o n inattiva ebbrezza...

in its life, i n an idle intoxication...

F e l i c e te, a cui il v e n t o primaverile

sa di vita; s e hai s c e l t o u n ' u n i c a vita
e , i n s i e m e pit! adulto e g i o v a n i l e
del t u o a m i c o , s o r d o alPinfinita
s t a g i o n e di cui c o s f i m b e v u t o v i v i ,
s o r d o ai Qualcosa c h e ti invita
a ritornare ai tristi, ai sorgivi
sogni delPesistenzaalia coscienza
squisita c h e s v e l a il m o n d o in brividi
n o n u m a n i ^ c r e d i nei m o n d o senza
altra m i s u r a c h e P u m a n a storia:

Happy y o u , for w h o m t h e spring wind

k n o w s o f life; if y o u h a v e c h o s e n a single life
a n d , at o n c e m o r e adult a n d y o u t h f u l
t h a n y o u r friend, d e a f to t h e infinite
s e a s o n in w h i c h y o u l i v e s o i m b u e d
d e a f t o t h e S o m e t h i n g that i n v i t e s y o u
t o return t o t h e sad, f o u n t a i n o u s
dreams of existenceto the exquisite
k n o w l e d g e that v e i l s t h e w o r l d in u n h u m a n
s h u d d e r s y o u b e l i e v e in t h e world w i t h o u t
a n y m e a s u r e but h u m a n history:

- 118- 119-

n e i c o l o r i in cui

fiammeggia

la p r e s e n z a
in t h e c o l o r s w h i c h i n f l a m e t h e p r e s e n c e

di u n F r i u l i e s p r e s s o in s p e r a n z e e d o l o r i
d ' u o m i n i i n t e r i , s e p u r fatti d a o r a l e
rozza esperienza uomini, se p u r con cuori
d u r i c o m e le m a n i , e s p i n t i a n o n p a r l a r e
altra lingua c h e il t r o p p o v i v o d i a l e t t o ,
p e r s i in a l b e e vespri a l a v o r a r e
la l o r o v i g n a , il l o r o c a m p e t t o ,
quasi non fosse loro, a festeggiare
le l u c e n t i d o m e n i c h e col p e t t o
pieno del buio delle vecchie c a m p a n e .

o f a F r i u l i e x p r e s s e d in h o p e s a n d p a i n s
o f w h o l e m e n , e v e n if m a d e m e n
by r u d e o r a l e x p e r i e n c e , w i t h h e a r t s
h a r d a s t h e i r h a n d s , f o r c e d n o t to<speak
any language but t h e too alive dialect,
lost in d a w n s a n d t w i l i g h t s w o r k i n g
t h e i r v i n e y a r d , t h e i r little field,
almost not theirs, to celebrate
on radiant S u n d a y s with breasts

*
full o f t h e d a r k n e s s of t h e old bells.

E quale forza nei voler m u t a r e

il m o n d o q u e s t o m o n d o p e r d u t o
in m a l i n c o n i e , in a l l e g r i e p a s q u a l i ,
giocondamente vivo anche se m u t o !
Q u a l e f o r z a n e i v e d e r n e le s e r e
e i m a t t i n i , c h i u s i nei- r u s t i c o '

A n d w h a t force in w a n t i n g t o c h a n g e
t h e w o r l d t h i s w o r l d lost
in m e l a n c h o l y , in j o y o u s E a s t e r s ,
j o y o u s l y a l i v e e v e n if s i l e n t !
W h a t s t r e n g t h in s e e i n g in its e v e n i n g s
a n d m o r n i n g s , e n c l o s e d in t h e r u s t i c

120- 121 l u m e , quasi sere e mattini di e r e

future, ardenti pid di f e d e c h e d'afletto!
E floridezza e gioia, questo- v o l e r e

l a m p , a l m o s t t h e e v e n i n g s and m o r n i n g s o f
future eras, b u r n i n g m o r e w i t h faith than feeling!
It is prosperity a n d j o y , this v i o l e n t

violentemente essere espresso

c h e , in roventi v a m p e d ' e v i d e n z a ,
gonfia di s p a z i o o g n i u m i l e o g g e t t o .

desire t o b e e x p r e s s e d
w h i c h , in r e d - h o t flames o f e v i d e n c e ,
inflates e v e r y h u m b l e object with .space.

N e a v v a m p a n o le incolori biciclette
di C e r v i g n a n o , a m m a s s a t e ai posteggi
d e l l e sagre, l u n g o i poveri muretti

T h e c o l o r l e s s bicycles o f G e r v i g n a n o
flare up, parked in g r o u p s at t h e
festivals, a l o n g t h e poor little walls

scottati dal s o l e , o ai tarlati o r m e g g i

dei traghetti sui turchini canali;

baked by t h e s u n , o r t h e w o r m - e a t e n , m o o r i n g s
o f t h e ferries o n t h e d e e p b l u e canals;
t h e l i n e n shirts flare up t h e r e , t h e u n b l e a c h e d

n e a v v a m p a n o l e c a m i c i e di tela, i greggi
calzoni degli allegri m a n o v a l i
di Snia V i s c o s a , a file sugli asfalti
d e l l o stradone...

trousers o f t h e j o y f u l laborers
f r o m Snia V i s c o s a , lined u p o n t h e asphalt
highway...
,

E il p o l v e r o n e del s o l e e della pula

c h e a m m a s s a e sfregola arancio e giallo
in u n c a n t o n e perso nelParsura

A n d t h e c l o u d o f d u s t o f s u n and chaff*
that gathers a n d s i z z l e s o r a n g e and y e l l o w
in a corner lost in t h e s u l t r i n e s s

tra s m u n t i salici, c o m e in u n ballo

d o m e n i c a l e , confinato s u l l e rive

b e t w e e n e m a c i a t e d w i l l o w s , as in a Sunday
d a n c e , lining t h e banks

\ I

- 122-

- 123 -

del T a g l i a m e n t o , o tra le arse valli

of t h e Tagliamento, or b e t w e e n b u r n t valleys d e l l e bonifiche, o s u l l e risorgive
latee di magri fusti: d o v e a s s o r d a n t e
la trebbia s c u o t e col m a s s i c c i o brivido
tettoie e stalle, i n u n ringhio o s a n n a n t e ,
impastato di l u c e , di s u d o r e u m a n o ,
del p u z z o del v e c c h i o e i n n o c e n t e branco
dei cavalli a m m a s s a t i in u n fulgore di rame.
L ' a m o r e di R u d a , gridato dal r o s s o
palco di p o v e r e casse, r i m a n e
puro n e l l a tua vita.

of r e c l a i m e d l a n d , o r in s a p s p r i n g i n g
from slender trunks: where the deafening
thresher shakes sheds and barns with
a massive s h u d d e r , i n a snarl of h o s a n n a s ,
full of light, of h u m a n s w e a t ,
of t h e s t i n k of t h e old a n d i n n o c e n t h e r d

*
w
*

of h o r s e s g r o u p e d t o g e t h e r in a g l i m m e r of b r a n c h e s . . .
T h e l o v e at R u d a , s c r e a m e d f r o m ther e d s t a g e of p o o r m o n e y - b o x e s , r e m a i n s

E chi, s c o s s o

dalla paura di n o n e s s e r e abbastanza puro,

aspira n e i v e n t o di primavera l o s m o s s o
s a p o r e della m o r t e , invidia il t u o sicuro
espanderti n e i s o l e n n i , festanti colori
delPallegria p r e s e n t e , del s e r e n o futuro.

(1955)
from Le Ceneridi Gramsci (Gramsci's Ashes) [Garzanli, 19571.

p u r e in y o u r life. A n d o n e , s h a k e n
by t h e fear of n o t b e i n g p u r e e n o u g h ,
a s p i r e s in t h e s p r i n g w i n d for t h e m o v i n g
t a s t e of death,- e n v i e s y o u r s u r e
e x p a n s i o n in t h e s o l e m n , f e s t i v e c o l o r s
of t h e p r e s e n t j o y , o f t h e s e r e n e f u t u r e .

(1955)

'

*
!

- 124-

- 125-

PLAN OF FUTURE WORKS

I g o m a d ! M y entire life I h a v e tried
t o e x p r e s s this d i s m a y at R e m e m b r a n c e
w h i c h I already felt as a b a b y , o n t h e T a g l i a m e n t o ,

E v e n today, in t h e m e l a n c h o l y physicality
in w h i c h t h e n a t i o n busily f o r m s a G o v e r n m e n t ,
and t h e Center-Left c a u s e s fragile linguists*
n o r m a t i v e organs t o b l e e d w i n t e r
b a t h e s distant things in a dark light
and barely lights t h e n e i g h b o u r h o o d s , m a u v e a n d g r e e n
an exterior lost in t h e d e p t h o f t h e ages o f Italy...
with Piero's b l u e earth g u s h i n g o u t o f u n s p e a k a b l e
clear b l u e s o f L a n g u e d o c . . . if n o t o f Sicilian
b l u e n e s s e s o f Origins... that h e r e , in t h e raw
a p p e n d i c e s o f t h e e x q u i s i t e C e n t e r s , are g r e e n and m a u v e ,
m u d a n d sky, l e m o n s a n d roses... e y e s o f F e d e r i c o s
with half its heart in search o f rocky a l m o n d trees w h e r e
t h e Arabian light falls, t h e o t h e r half in s o m e valley
pearled with fog: t h e A l p s in t h e distance, insanely n e w . . .

or t h e P o , c l o s e r t o t h e m a t r i c e s t h e circle
o f m y i s o g l o t s d e a f , b y habit
t o any private, infantile, uncertain
pre-expressivity, w h e r e t h e heart is n a k e d .
But Itrusting that b e f o r e d y i n g m y t h o u s a n d
a t t e m p t s m i g h t bear s o m e t h i n g t o t h e j u d g e s
in t h e a g e in w h i c h Italian is a b o u t t o d i e
lost in A n g l o - s a x o n or R u s s i a n ,
return, n a k e d , y e s , and m a d , t o g r e e n April,
t o t h e g r e e n April o f t h e illustrious language
(that n e v e r was, it n e v e r w a s ! ) , high-Italian...
t o t h e F r a n c o - V e n e t i a n Verderbnis, t h e p o m p
o f s t o c k y p o p u l a t i o n s in distant locales...
to green Aprilwith the modernity of
Israel like an ulcer in t h e s o u l
w h e r e I, a J e w , o f f e n d e d by piety
find again an apprentice's cruel f r e s h n e s s ,

- 126 -

- 127-

in t h e d e v e l o p m e n t s >of t h e o t h e r ( f u n e r e a l ) h a l f , , <
of life... I b e c o m e ^ C a t h o l i c a g a i n , a n a t i o n a l i s t , ,
R o m a n e s q u e ; in m y r e s e a r c h e s for c ' B L A S P H E M Y "
or " T H E D I V I N E M I M E S I S " - a n d , ah mystical
p h i l o l o g y ! in t h e d a y s of t h e w i n e h a r v e s t
I a m j o y o u s as o n e s e w i n g s e e d s ,
f e r v e n t l y w o r k i n g w | t h , s m i x t u r e s of i n c o m p a t i b l e

materials, magmas, without a n a m a l g a m , w h e n

life is a n April l e m o n o r r o s e .
Shitf T o try a n d , e x p l a i n m a t t e r s

a n d t h r e e t e x t s with three Saints, and a literary

circle with k i t c h e n traditions, border disputes:
and in t h e year o f t h e d i s c o v e r y o f an h o m o l o g o u s
t e x t , f r o m a m a n u e n s e s o f t h e Paduan language,
by w h a t e v e r stupidity or v a n i t y , I will research
what t h e painters did, f r o m farm t o farm
in t h e s u b l i m e - g r e e n light o f t h e lands o f t h e Po...
but especially what t h e ruling class
w a n t e d : s o m e t h i n g * I d o n ' t k n o w what.

of l a n g u a g e w i t h o u t i n f e r r i n g
political c o n c o m i t a n c e s ! l i n g u i s t i c
u n i t y w i t h o u t r e a s o n s o f vile
interests, w i t h o u t (the insensibility
of a class t h a t c o u l d c a r e l e s s a b o u t c h o o s i n g
a literary j a r g o n ! Prpfessors of caeca,

with o t h e r h e a d s . . . E n o u g h : blind l o v e
o f m i n e ! I will train y o u in translinguistic
r e s e a r c h e s , and o p p o s e a t e x t w i t h a V e t o ,

n e o or paleo patriots, prickheads

*
w i t h s o m u c h s c i e n c e , w h o f r o m t h e 1 2 t h t o 14th
C e n t u r y see only h e a d s functioning

I will put n e x t t o it a m o n s t r o u s w o r k , c o e v a l
with t h e A n t i - w o r k s , lettered n u m b e r 22, in t h e n e w style,
an old figurativity in t h e flanks o f t h e n e w s i e g e .
But d e l u s i o n is n e e d e d . Only a n o b l e b r o t h
o f m i x e d inspirations d e m y s t i f i e s ,
if c h a o s miraculously arrives at
a plastic clarity, let u s say, o f R o m a n e s q u e
griffinshaunches, n e c k s , backs

- 128-

s w o l l e n up like bread, o f grey s t o n e that codifies

plain Reality. B e quiet, b e quiet,
a n y v o i c e o f Officialdom, w h i c h e v e r y o u are.
O n e m u s t d e l u d e . J u m p o n coals
like ridiculous roasted martyrs: t h e way
o f Truth a l s o p a s s e s t h r o u g h t h e m o s t h o r r e n d o u s
places o f a e s t h e t i c i s m , .of hysteria,
of mad erudite redoings. Splendid,
*
for r e a s o n s o t h e r than romantic-nationalistic,
days' o f t h e first s a l e s ,
t h e first contracts! If I still h a v e e n o u g h heart
I will a l s o write a " P A S S I O N A L H I S T O R Y
O F I T A L I A N P O E T R Y " , after w h i c h an as yet e m p t y
" D E A T H O F P O E T R Y " ( t h o u g h for m e , full o f
y o u t h f u l . g l o r y , it is still April,
I a m full o f l e m o n s arid r o s e s . . . ) In that " H I S T O R Y "
(written i n o c t a v e s , for i r o n y ) " I .will d e s p i s e and terrify"
e v e r y preceding s y s t e m a t i z a t i o n , a n d , u n d e r t h e primary sign
o f M a r x , a n d that, f o l l o w i n g ,
>

129 -

o f F r e u d , I will re-establish n e w hierarchies in t h e R e i g n

o f poetic l o v e s : and with m y h u m b l e talent
will o p p o s e literary e x i s t e n c e w i t h
i
t h e n o t i o n o f t h e Existing U n e x p r e s s e d , w i t h o u t
w h i c h e v e r y thing is a mystery:
s o that t h e r e n e v e r was, e v e n recently, a clear
*
c o n s c i o u s n e s s o f t h e classes that d i v i d e t h e wprld,
stylistic mastery was always c o m m a n d e d by what
it c o u l d n o t say (or k n o w ) : but it w a s there.
A dialectical g a m e s u n k e n in t h e d e e p , o h
yes!, t o reconstruct s t i l e m e by s t i l e m e ,
b e c a u s e in e v e r y word written in t h e Bel P a e s e w h e r e t h e N o
s o u n d s , o p p o s e d t o style was that u n p o s s e s s e d
S e m a , t h e language o f a p e o p l e
still h a v i n g t o b e a class, a p r o b l e m

k n o w n and r e s o l v e d .only in d r e a m s . Hoarse

f r o m l o n g s i l e n c e I will t h e n burn in " A N O T H E R M O N O L O G U E "
i m p o t e n t rage against t h e crazy t o m b e d
*
world o f Dallas, w i t h a flight
o f t w o v e r s e s for K e n n e d y , and a r h y m e d c h o r u s

- 130-

- 131 -

of seventy t i m e s - s e v e n t y (thousand) verses, for C h o r u s

a n d Orchestra, with s e v e n t y t h o u s a n d violins a n d a l o u d s p e a k e r ,
(a r e c o r d o f B a c h ) , " B R E C H T I A N Q U O T A T I O N "
O R " S O N G S O F D E S E C R A T I O N " , which w o u l d b e polylinguistic
m o l a s s e s o r m o n o l i t h i c t a n g l e : in w h i c h will s e e m v a i n
A L L O F HISTORY AS T H E W O R K O F C R A Z Y MEN.
ADOLFA GIUSEPPA CRAZY CRAZY THE AMERICAN

ELITE

IDEOLOGY CRAZY CRAZY THE CHURCHES

CRAZY THE CHAMPIONS OF IDEOLOGIES A N D CHURCHES
WHO BLACKMAIL THE GOOD STUPID N O R M A L CRAZIES
REVOLUTIONARIES FULL OF BOURGEOIS MODERATION
W H O SIMPLY C O N T I N U E TO BE DEPOSITARIES
O F T H E MORALISTIC BLACKMAIL OF M A N . Having
lit, t h e n , t h e s e e x p r e s s i o n i s t i c c a n d l e s a t t h e a l t a r s
o f S e x , I will r e t u r n t o R e l i g i o n .
A n d will w r i t e f o r d a u n t l e s s M o r a v i a , a " P A S O L I N A R 1 A
O N T H E W A Y S T O BE A P O E T " , with the relation
b e t w e e n s i g n a n d t h i n g a n d finally
will r e v e a l m y t r u e p a s s i o n .

"SfS^*?

***tt^mym***

W h i c h is f r a n t i c (or n o t c h o s e n ) ( o r d y i n g ) life
and therefore, again, poetry:
neither the sign or the existing thing
matter,
t h e r e it is. If m a n w e r e a M o n o t y p e in t h e S u b t o p i a
of a w o r l d n o l o n g e r h a v i n g l i n g u i s t i c c a p i t a l s ,
and t h e w o r d ' s every m e a n s of hearing a n d telling
t h u s d i s a p p e a r e d , m y s t i c t i e s ' w o u l d still
bind h i m to things, and what things
a r e , n o l o n g e r fixed in s a d
c o n t e x t s , t h e word would always be n e w , overflowing
with joyous pragmatic t r u t h s n o m o r e instrumentality,
a toil t r a n s l a t e d i n t o l e m o n s , i n t o r o s e s . . .
b u t f o r e v e r a n d a l o n e , l i g h t , as is t h e r e a l i t y
o f t h i n g s w h e n t h e y a r e in m e m o r y
o n t h e v e r g e o f b e i n g n a m e d , a n d still
full o f t n e i r physical g l o r y .
If t h e n I s h o u l d find I h a d c a n c e r , a n d d i e ,
I w o u l d c o n s i d e r it a v i c t o r y
for t h a t reality o f t h i n g s . Filial pity for t h e w o r l d
g o n e , w h a t s e n s e is t h e r e in still g o i n g o n ?

- 132-

- 133-

A h , t o stand n o l o n g e r in t h e taste o f salt

o f t h e world o f o t h e r s ( p e t t y - b o u r g e o i s , literary)
with a w h i s k e y glass in h a n d a n d a face o f shit,
w h i c h it w o u l d o n l y displease m e n o t t o represent
exactly as it i s b e f o r e m a n is lost for m e
in " T H E D I V I N E M I M E S I S " , a w o r k , if t h e r e e v e r was o n e ,
t o d o , and, by m y a g o n y , s o g r e e n ,
s o g r e e n , o f t h e g r e e n o f a t i m e , o f my
in t h e faded old world o f m y soul...
But n o , but n o , it is April, I a m

youth,

fresher than a lad in l o v e

for t h e first time... I will quickly s e t d o w n , in epistolary
t o n e , with g l o s s e s a n d p a r e n t h e s e s , a s t o r m
o f "significant m o t i f s " , " e t c e t e r a s " , coats o f a i m s ,
q u o t a t i o n s , a n d especially allusions
(infinitely s e l f - e x h o r t a t i v e , a n d disproportions
o f particulars b e f o r e t h e w h o l e ) , t h e
first parodistic terzina b e c o m e a m a g m a t i c page
o f C a n t o I, hurrying t o c o m p l e t e t h e first half o f it

iimni

there in the archaic, bombastic Hell

(romanesque, like the center o f our cities
by n o w forever sold out to the suburbs)
a passage o n the Hell o f the neocapitalist
age is inserted, for new types
o f sins ( e x c e s s e s of Rationality
and Irrationality) integrated with the old ones.
A n d there y o u will s e e , in an edifice of delicious c e m e n t ,
recognizing friends and e n e m i e s there,
under the directional signs o f the " I N C R E M E N T A L W O R K
O F I N F E R N A L P U N I S H M E N T S " , A: T H E O V E R - C O N T I N E N T :
(BelloncPs drawing r o o m ) , the Vulgar (a reception
at the Quirinale Palace), Cynics (a meeting o f journalists
from the Corriere della Sera and such): and then:
the Weak, the A m b i g u o u s , the Fearful (these o n e s individualists,
in their h o m e s ) ; B: T H E I N C O N T I N E N T , Z O N E O N E :
e x c e s s o f Rigor (bourgeois socialists, little
moderates w h o believe t h e m s e l v e s to be little h e r o e s ,
just by the heroic choice of a g o o d flag), e x c e s s
of R e m o r s e (Soldati, P i o v e n e ) ; e x c e s s o f Servility

- 134-

- 135 -

(infinite m a s s e s u n r e g i s t e r e d , u n n a m e d , <unsexed);
Z O N E T W O : R e a s o n e r s (Landolfi) people seated
a l o n e in t h e i r t o i l e t s ; t h e I r r a t i o n a l
(the entire international avant-garde which goes
from the Endoliterary [De Gaulle] to the
T e u t o n i c o r Italic v e s t a l s of P o u n d ;
t h e Rational (Moravia, rare bird, and his
w i n g s of a n e o - g o t h i c C o m m i t t m e n t )
O h , blindness of love!
I s a w it o n t w o h u m b l e c h e e k s ,
in t w o p u p p y e y e s : it w a s l o v e ,
b e c a u s e a s m i l e , it w a s a b a b y girl
w h o rati in h e r h e a r t t o t h e s u n
in t h e b l i n d n e s s of h e r l o v e s t r a i g h t , a n d p o o r ,
w i t h a little r a g g e d y d r e s s ,
u n d e r an e n o r m o u s acqueduct, on a m u d d y
bank, between tarred shacks,
t h a t r a n , t h e b a b y girl, in t h e h e a r t
of t h e s u n , s t r a i g h t , w i t h h e r p u p i l s d r a w n

SSB

P
fr
&

by t h e blindness of a single, h u m b l e love,

towards another baby creature
w h o r a n t o w a r d , h e r , in t h e s u n
of t h e s h a c k s w h e r e s h e w a s m o t h e r , s h e s h a b b y
in h e r c o a t o f r a g s ,
a n d s h e r a n , a c r e a t u r e t o w a r d s a little c r e a t u r e ,
with h e r smile accomplice, m o v e d together
with t h e other by a s a m e love.
T h e y ran o n e toward t h e o t h e r with eyes' c o n n e c t e d
by t h a t s i m u l t a n e o u s s m i l e i n t h e s u n .
O h M a r x a l l is g o l d o h F r e u d a l l
is l o v e o h P r o u s t a l l is m e m o r y
o h E i n s t e i n - r - a l l is t h e e n d o h C h a p l i n a l l
is m a n o h K a f k a a l l is t e r r o r
o h p o p u l a t i o n of m y b r o t h e r s a n d s i s t e r s
o h c o u n t r y o h for w h a t i n s u r e s i d e n t i t y
o h p e a c e t h a t a l l o w s f o r wild s o r r o w -ro h b r a n d of infancy! O h destiny of gold
c o n s t r u c t e d o n e r o s a n d o n d e a t h , like

- 136-

137-

a distractionand its t h o u s a n d p r e t e x t s
laughter, p h i l o s o p h y ! T o h a v e illusions ( l o v e )
m a k e s a difference, but in a c o n s e c r a t e d circle
o f irreplaceable texts. I return in m y heart t o Israel,
suffering for her s o n s - b r o t h e r s t h e nostalgia
for r o m a n c e E u r o p e , proverical, its s p l e n d o u r
slightly faded but full o f a t r o c i o u s poetry
o f b o u r g e o i s capitals o n rivers or seas...
N e g a t i v e standard o f love.- T h e true way
for o n e w h o w o u l d be' is d e l u s i o n .
e v e r y b o d y , like t h e dead:

Which equalizes

but places again in d i s c u s s i o n the* sacred

t e x t s o f t h e circles. Ergo, -waiting for a n e w Great <few
t o bring a n e w A L L IS
to w h i c h t h e d e - w h o r e d world w o u l d turn
w e m u s t d e l u d e , in o u r little... H a !
w e m u s t a b a n d o n o u r fine little place in t h e s u n
(and y o u Jews s h o u l d a b a n d o n Israel!
because the blindness o f love
r e d u c e s i n v e n t i o n s t o institutions,

t o r e - i n v e n t t h e m t h e n o n l y w i t h t h e heart;

a n d i n d e e d n a t i o n s c o m b i n e , in t h e conspiracy
o f s i l e n c e o f a m o t h e r a n d d a u g h t e r in t h e s u n
persecuting,, right? o p p o s i t i o n s . . . )
A s for m e , I t o o tend toward s u c h a l o v e (rage),
t h e religion o f an elegiac^son,
w h o wants at all c o s t s t o h o n o r h i m s e l f .

x
*\

* i
N o r i s it e x h a u s t e d in t h e thicket ,
o f life past and t o c o m e : it w a n t s
t o r e d u c e e v e r y t h i n g t o its order o f a lily.
E n o u g h , y o u h a v e t o laugh. O h dark
twistings that lead t o a " d e s t i n y o f o p p o s i t i o n " !
But t h e r e is n o o t h e r alternative for m y future works.
" P U R E OPPOSITION", "POPE J O H N ' \ OR " T H E PASSION
(OR A R C H I V E S ) O F T H E S I X T I E S " , m a y it b e
t h e organ w h e r e I d e p o s i t , in a s e m i - p r i v a t e
v i s i o n , s u c h future w o r k s o f m i n e , it s e e m s
a path w i t h o u t alternatives, for rne or for
t h e writings o f t h e i n e x p e r i e n c e d o n e s d e p u t i z e d i n t o

- 138 -

a c o m m i t t m e n t a s m a l l g r o u p that w a n t s ' l o k n o w : a l m o s t
for t h e c h o i c e o f seme, s e e d s . T h e o p p o s i t i o n o f o n e w h o
can't be loved by anyone, and no one can love, and w h o
t h e r e f o r e places h i s l o v e like a pre-established
n o , t h e e x e r c i s e o f political d u t y
like t h e e x e r c i s e o f reason.
In t h e e n d , ah I k n o w it,
n e v e r , in m y poorly r e d u c e d p a s s i o n ,
n e v e r w a s I s u c h a corpse as n o w
taking m y tabulae presentide i n h a n d
if o u r reality is real
panting b e h i n d d e s t i n i e s o f structures,
b y d e l a y , . b y delay, by t h e deadly
procrastination o f a p r e v i o u s e p o c h
or sorrowfully anticipating t h e e n d
o f t h e world l i k e an i m p o s s i b l e c e s s a t i o n
I assert a d e s t r u c t i v e n e e d
for allied minorities. C o m e back, Jews,
t o t h e d a w n i n g s o f this Prehistory,

- 139 -

t h e loss of h u m a n i t y a n d cultural reeonstitution

of t h e n e w m a n s a y t h e connisseurs.
A n d in fact t h i s is t h e gist of it:
in t h e a t m o s p h e r e of a s m a l l n a t i o n ,
in t h i s c a s e , I t a l y o n e is faced
w i t h a false d i l e m m a b e t w e e n R e v o l u t i o n a n d
a n E n t i t y called t h e L e f t - C e n t e r w i t h t h e
b l u s h e s of L i n g u i s t s . . . T h e n e w c o u r s e of reality
is t h u s a d m i t t e d a n d a c c e p t e d . C o m e b a c k ,
J e w s , t o c o n t r a d i c t it, w i t h t h e f o u r
cats t h a t h a v e finally clarified
their destiny: Power goes toward
t h e f u t u r e , a n d O p p o s i t i o n f o l l o w s it, in a t r i u m p h a n t
action, power within power.
F o r h e w h o is a crucifix f o r h i s t o r m e n t i n g r a t i o n a l i t y ,
w a s t e d by p u r i t a n i s m , all t h a t m a k e s s e n s e
is a n a r i s t o c r a t i c , a n d y e s , u n p o p u l a r o p p o s i t i o n .
T h e R e v o l u t i o n is n o m o r e t h a n a feeling.

w h i c h s m i l e s o n t h e majority like Reality:

(November-December

1963)

J,',,.11... UU-UJUM