Author Leopardi Giacomo

wo priests, but his innate thirst for knowledge found its satisfaction primarily in his father's extraordinary library. Initially guided by Father Sebastiano Sanchini, Leopardi quickly liberated himself by immersing his mind in vast and profound reading. He committed himself so deeply to his "mad and most desperate" studies that, within a short time, he had acquired an extraordinary knowledge of classical and philological culture, but he suffered from the lack of an open and stimulating formal instruction. Between the ages of twelve and nineteen, he studied constantly, driven by a need to learn as much as possible, as well as to escape, at least spiritually, from the rigid environment of the paternal palazzo. His continuous study undermined an already fragile physical constitution, and his illness denied him even youth's simplest pleasures. In 1817 Pietro Giordani, a classicist, arrived at the Leopardi estate. Giacomo became his lifelong friend and he derived from this friendship a sense of hope for the future. Meanwhile, his life at Recanati weighed on him increasingly, to the point that he attempted finally to escape in 1818, but was caught by his father and returned home. From then on, relations between father and son continued to deteriorate and Giacomo was constantly monitored in his own home by the rest of the family. When, in 1822, he was briefly able to stay in Rome with his uncle, he was deeply disappointed by the atmosphere of corruption and decadence and by the hypocrisy of the Church. He was extremely impressed by the tomb of Torquato Tasso, to whom he felt naturally bonded by a common sense of unhappiness. While Foscolo lived tumultuously between adventures, amorous relations, and books, Leopardi was barely able to escape from his domestic oppression. To Leopardi, Rome seemed squalid and modest when compared to the idealized image that he had created of it while fantasizing over the "sweaty papers" of the classics. Already before leaving home to establish himself, he had experienced a burning amorous disillusionment caused by his falling in love with his cousin Geltrude Cassi. His physical ailments, which continued to worsen, contributed to the collapse of any last, residual traces of illusions and hopes. Virtue, Love, Justice and Heroism appeared to be nothing but empty words to the poet. In 1824, the bookstore owner Stella called him to Milan, asking him to write several works, among which a Crestomazia della prosa e della poesia italiane. During this period, the poet had lived at various points in Milan, Bologna, Florence and Pisa. In 1824, at Milan, Leopardi met Alessandro Manzoni, but they did not quite see things eye to eye. In Florence, he made some solid and lasting friendships, paid a visit to Giordani and met the poet Pietro Colletta. In 1828, physically infirm and worn out by work, Leopardi had to refuse the offer of a professorship at Bonn or Berlin which was made by the ambassador of Prussia in Rome and, in the same year, he had to abandon his work with Stella and return to Recanati. In 1830, Colletta offered him, thanks to the financial contribution of the "friends of Tuscany", the opportunity to return to Florence. The subsequent printing of the Canti allowed the poet to live far away from Recanati until 1832. Later, he moved to Napoli near his friend Antonio Ranieri, where he hoped to benefit physically from the climate. He died during the cholera epidemic of 1837. Thanks to Antonio Ranieri's intervention with the authorities, Leopardi's remains were prevented from being ignominiously tossed into a common ditch - as the strict hygienic regulations of the time required - and he was buried in the atrium of the church of San Vitale at Fuorigrotta. In 1939 his tomb, moved to the Parco Virgiliano, was declared a national monument. These were rough years for Leopardi, who developed a conception of nature dominated by a destructive mechanicism. His pessimism, in both an "historical" and a "cosmic" sense would characterize all of his work. Up until 1815, Leopardi was essentially an erudite philologist. After this period he began to dedicate himself to literature and the search for beauty, as he affirms in a famous letter to Giordani of 1817. Pompeo in Egitto ("Pompey in Egypt", 1812 ), written at the age of fourteen, is an anti-Caesarean manifesto. Pompey is represented as the defender of republican liberties. Storia dell'Astronomia ("History of Astronomy", 1813) is a compilation of all of the knowledge accumulated in this field up to the time of Leopardi. From the same year is Saggio sopra gli errori popolari degli antichi ("Essay on the popular errors of the ancients"), an essay in which the ancient myths are brought back to life. The errors are the fantastic and vague imaginings of the ancients. Antiquity, in Leopardi's vision, is the infancy of the human species, which sees the personifications of its myths and dreams in the stars. Orazione agli Italiani in Occasione della Liberazione del Piceno ("Oration to the Italians on the liberation of Piceno", 1815) is a paean to the liberation achieved by Italy after the intervention of the Austrians against Murat, while the coeve translation of the Batracomiomachia (the war between the frogs and mice in which Zeus eventually sends in the crabs to exterminate them all), an ironic rhapsody which pokes fun at Homer's Iliad and was once attributed to him. In 1816 Leopardi published Discorso sopra la vita e le opere di Frontone ("Discorse on the life and Works of Fronto"). In the same year he however fell into a period of crisis, during which he threw into doubt all of his childhood formation. In this year, he wrote L'appressamento della morte, a poem in terza rima in which the poet experiences death, which he believes to be imminent, as a comfort. In this year also, there would begin other physical sufferings and a serious degeneration of his eyesight. He was becoming acutely aware, at this point, of the lacerating contrast between the interior life of man and his incapacity of manifesting it in his relations with others. Leopardi abandoned his philological studies and moved increasingly closer to poetry through the reading of Italian authors of the 14th, 16th and 17th centuries, as well as of some of his Italian and French contemporaries. Even his vision of the world underwent a radical change: he ceased to seek comfort in religion, which permeated all of his childhood, and became increasingly inclined toward an empirical and mechanistic vision of the universe inspired by John Locke among others. Thanks to his friendship with Giordani, with whom, in 1817, he had begun a prolific correspondence, his distancing from the conservatism of his father became even sharper. It was in the following year that he wrote All'Italia ("To Italy") and Sopra il Monumento di Dante ("Above the Monument of Dante"), two very polemical and classical patriotic hymns in which Leopardi expressed his adhesion to liberal and strongly secular ideas. In the same period, he participated in the debate, which engulfed the literary Europe of the time, between the classicists and the romanticists, affirming his position in favour of the first in the Discorso di un Italiano attorno alla poesia romantica ("Discourse of an Italian concerning romantic poetry"). In 1816 the idyll Le rimembranze and Inno a Nettuno ("Hymn to Neptune") were published. The second, written in ancient Greek, was taken by many critics as an authentic Greek classic. He also translated the second book of the Aeneid and the first book of the Odyssey. In the same year, in a letter to the compilers of the Biblioteca Nazionale (Monti, Acerbi, Giordani), Leopardi argued against the famous article of Madame de Staël, who invited Italians to stop looking to their past and to study the works of foreigners in order to reinvigorate their literature. Leopardi maintained that "knowing", which is acceptable, is not the same thing as "imitating", which is what Madame de Stael was demanding, and that Italian literature should not allow itself to be contaminated by the modern forms of literature but look to the Greeks and Latin classics. The poet must be original, not suffocated by study and imitation: only the first poet in the history of humanity could have been truly original since he had had no one to influence him. It is therefore necessary to get as close to the originals as possible by drawing inspiration from one's own sentiments without imitating anyone. In 1817 he fell in love with Gertrude Cassi Lazzari and wrote Memorie del primo amore ("Memories of first love"). In 1818 he issued Il primo amore and began writing a diary which he would continue for fifteen years (1817-1832), the Zilbaldone. The Zibaldone di pensieri is a collection of personal impressions, aphorisms, profound philosophical observations, philological analyses, literary criticism and various types of notes which was published posthumously in seven volumes in 1898 with the original title of Pensieri di varia filosofia e bella letteratura ("Various thoughts on philosophy and literature"). The publication took place thanks to a special governmental commission presided over by Giosuè Carducci in occasion of the centennial anniversary of the poet's birth. It was only in 1937, after the republication of the original text enriched with notes and indexes by the literary critic Francesco Flora, that the work definitively took on the name by which it is known today.