Aldo Aldear – Wikipedia

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Aleardi Aleardi , nato Gaetano Maria Aleardi (Verona, November 14, 1812 – Verona, 17 July 1878), was an Italian poet and politician, belonging to the current of romance.

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Aleardo Aleardi – whose name was Gaetano Maria, then changed by him to Aleardo – was born in Verona in 1812 by Maria Canali and Count Giorgio Aleardi. After studying law at the University of Padua together with his friends Giovanni Prati and Arnaldo Fusinato, he returned to Verona, taking an interest in poetry and art criticism.

Among its first compositions there are The marriage (1842), a wedding exaltation as an expression of civilization, and the Arnalda in Roca , from 1844, a historical poem who has a young woman who dies defending her honor: there is already the search for the scenographic effects and that dramatic color typical of all the subsequent production of Araardi.

The first success is achieved in 1846 with the two Letters to Maria , in loose verses, in which the poet turns to a friend by proposing it a Platonic love: it is an opportunity to manifest his faith in the immortality of the soul and effusion his sentimental affections in the spirit of a romanticism of way.

Assiduous visitor to the living room of the Countess Anna Serego Gozzadini Alighieri, his daughter Nina courted it, dedicating numerous poetic compositions. At the Risorgimento Moti of 1848, he was sent to Paris by Manin to ask you aid for the reconstituted Venetian Republic. He was arrested in 1852 and locked up for a few months in the fortress of Mantua: he followed a period of depression and, in 1855, the idyll Raffaello and Fornarina , where the leziness of the composition is such as to achieve bad taste.

Aleardi portrayed by Domenico Induno

The Aleardi gave the best of himself reworking some songs and publishing in 1856 both Mount Circello , which includes a famous composition on Corradino’s story of Swabia, long present in school anthologies, which The ancient maritime and commercial cities , [first] and in 1857 the First stories , with images inspired by biblical events. The publication of Canti National Instead, it was postponed due to the arrest, which took place in June 1859, and the detention in the castle of Josephstadt, in Bohemia, as a consequence of the Austro-Franco-Piedmontese war.

Liberated at the end of the war, he was a deputy of the Kingdom of Sardinia in 1860. [2] He settled in Brescia, publishing the last verses, all of political inspiration: The seven soldiers of 1861, the Political singing of 1862 e The fires on the Apennines of 1864, the year in which he moved to Florence to keep the chair of aesthetics at the Institute of Art. Already a deputy, he was appointed Senator in 1873: honored and wanted in the lounges, as a poet was now a survivor and suddenly died in Verona in 1878.

After the favorable judgments of the contemporaries, he had a famous struggle – not only of literary aesthetic – by Irbiani: «We are not, no, moved by those who drive almost feminine, for almost prison or not long flanking, consoled by bad salaries [.. .] Then I continuously omit those few months of imprisonment … Cazzica! I am not so much offended aesthetically from the way it is talked about, as morally from hearing so much they pardon for so much parvity of matter ». [3]

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Also the judgment of his friend Gaetano Trezza, who in 1879 took care of the publication of his Epistolary , albeit positive is rather cautious: Aleardi has a “gentle, honest and magnanimous muse […] is one of the nicest figures of our Risorgimento” and the evaluation of Carducci is limiting, while Ciampoli sought for loans and plagiarus from tradition Latina and Italian – Catullo, Properzio, Virgil, Dante, Foscolo, Leopardi and Manzoni – as well as European – Byron, Lamartine, Heine, Hugo, Uhland, Freiligrath.

Alegii Photographer is Moritz Link

Often approved for the meadows for the common sentimental languor, but to the subordinate one, the fortune of Araardi declined at the end of the nineteenth century to obtain some recognition from the cross that pointed out the sincerity of poet in the forms of doubtful taste and made it a precursor del Pascoli, and from De Lollis, who saw in him the poet of the romantic transition, uncertain between classicism and realism.

The judgments of Momigliano were negative, for which “in his poetry there is almost always Aleardism, almost never the Aleardi”, and of the Pompeati who evaluates the Aleardi “a chrysalis of poet”. The flora finds in him genuine qualities of poet and Sapegno, confirming the quality of the poetic inspiration of the Araardi, charges his falls of taste at the cultural temperature of the time.

For Piromalli, on the basis of the Gramsciani studies, the fear of the Parisian revolution of 1848 [4] and the failure of the Italian revolution in 1849 “they pushed late Romantic literature towards an arcadia of sentimentality and a vagueness of steamed atmospheres”, in which the figure of the poet “becomes an exceptional character for his sensitivity and superior to practical and economic reality” And poetry a vague ideality, according to “a sleepwalker, weak and auto -unionantic costume”. The Aleardi is, with Prati, one of the greatest representatives: they are both “consumer poets, of ideal anticolratted, in love with the beauty of the heart, unable to get out of the floral language and go towards the concrete”. [5]

In Verona, as well as a private educational institution, one of the bridges on the Adige river bears its name. Furthermore, many other cities have dedicated a way to the poet.

  • Complete poems, 1863 Lausanne (at the publishing company)
  • Do you sing , Florence 1864
  • Various poems , Salerno, Migliaccio, 1860
  • Epistolary , edited by G. Trezza, Verona-Padova 1879
  • Monte Circello
  1. ^ Armando Balduino, The nineteenth century , F. vallards, 1990, isbN 978-8399-038-7. URL consulted on April 15, 2021 .
  2. ^ Camera.it .
  3. ^ V. Imbriani, Our fifth great poet , in “usurpate hunger”, Naples, 1877, pp. 32-33. The criticisms of Imbraians had already been anticipated in the Aleardo Aleardi: Vittorio Imbriani’s literaturographic study , Naples 1865
  4. ^ Aleardi himself described in 1859 in his poetry Communism , directed against Proudhon, both the horror for the Parisian revolution and the fear of the loss of the ownership of the lands: «Against the new barbaric / that SPinger is recommended / towards a tremendous unknown / this civilian family, / that on the inherited field, / From my wet southor, / puts a bieca lapida, / who in the name of Mr.
  5. ^ Historydellaletteratura.it – ​​The history of Italian literature written by Antonio Piromalli – Chapter 17, paragraph 1 . are Storiadellaletterura.it . URL consulted on April 15, 2021 .
  • Vittorio Imbriani, Our fifth great poet , in «usurpate hunger», Naples 1877
  • Giosuè Carducci, Ashes and Faville: Series before , Bologna, Zanichelli 2 and 591, Isbn 978-09337935.
  • Domenico Ciampoli, Aleardian wounds , Milan 1896
  • Benedetto Croce, The literature of the new Italy , I, Bari 1914
  • Cesare de Lollis, Essays on the Italian poetic form of the nineteenth century , Were 1929
  • Attilio Momigliano, Poetry studies , Were 1938
  • Francesco Flora, History of Italian literature , III, Milan 1940
  • Arturo Pompeti, History of Italian literature , Turin 1944
  • Natalino Sapegn, Compendium of history of Italian literature , Florence 1956
  • Antonio Piromalli, History of Italian literature , Cassino 1994
  • Ferdinando Sbigli, Of the songs of Aleardo Aleardi. Considerations , Florence 1871
  • Ubaldo Mazzini and Giacomo Gorrini, Aleardo Aleardi’s loves and politics , Necklace of History and Letters (n.54), Aquila, Vecchioni, 1930, OCLC ì875894827 .

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