By Giorgio Agamben
The writer offers "literature" as a suite of formal or linguistic genres that debate or strengthen theological matters at a undeniable distance from the discourse of theology. This distance starts off to seem in Virgil and Ovid, however it turns into decisive in Dante and in his choice to put in writing within the vernacular. His vernacular Italian reaches again via classical allusion to the Latin that used to be in his day the language of theology, however it does so with a distinction. it's no twist of fate that during the Commedia Virgil is Dante's guide.
The e-book opens with a dialogue of simply how Dante's poem is a "comedy," and it concludes with a dialogue of the "ends of poetry" in various senses: enjambment on the ends of strains, the concluding traces of poems, and the tip of poetry as a method of scripting this type of literature. in fact, to have poetry "end" doesn't suggest that folks cease writing it, yet that literature passes right into a interval during which it truly is fascinated about its personal finishing, with its personal bounds and boundaries, old and otherwise.
Though many of the essays make particular connection with a variety of authors of the Italian literary culture (including Dante, Polifilo, Pascoli, Delfini, and Caproni), they go beyond the confines of Italian literature and interact a number of different literary and philosophical authors (Plato, Aristotle, the Stoics, Boethius, the Provençal poets, Mallarmé, and Hölderlin, between others).
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Extra info for The End of the Poem: Studies in Poetics (Meridian: Crossing Aesthetics)
A bien d'autres encore! " (Of people who are captive or defeated ... and of many extra others! ) bearing on a distinct poem of Baudelaire's, Walter Benjamin famous that it "suddenly interrupts itself, giving one the impression-doubly awesome in a sonnet-of whatever fragmentary. " The illness of the final verse is an index of the structural relevance to the financial system of the poem of the development i've got known as "the finish of the poem. " as though the poem as a proper constitution wouldn't and will now not finish, as though the potential of the top have been significantly withdrawn from it, because the finish may indicate a poetic impossibility: the precise twist of fate of sound and experience. on the aspect during which sound is set to be ruined within the abyss of feel, the poem appears for preserve in postponing its personal lead to a announcement, as a way to converse, of the kingdom of poetic emergency. In gentle of those reflections i want to envision a passage in De vulgari eloquentia during which Dante turns out, no less than implicitly, to pose the matter of the top of poetry. The passage is to be present in e-book II, the place the poet treats the association of rhymes within the canzone (XIII, 7-8). After defining the unrelated rhyme (which a person indicates can be known as clavis), the textual content states: "The endings of the final verses are most pretty in the event that they fall into silence including the rhymes" (Pulcherrime tamen se habent ultimorum carminum desinentiae, si cum rithmo in silentium cadunt). what's this falling into silence of the poem? what's attractiveness that falls? and what's left of the poem after its spoil? If poetry lives within the unhappy pressure among the semiotic and the semantic sequence by myself, what occurs in the mean time of the tip, whilst the competition of the 2 sequence is not any longer attainable? Is there the following, eventually, some degree of twist of fate within which the poem, as "lap of the full meaning," joins itself to its metrical aspect to cross definitively into prose? the magical marriage of sound and experience might, then, happen. Or, to the contrary, are sound and experience now without end separated with none attainable touch, each one forever by itself part, just like the sexes in Vigny's poem? as a consequence, the poem would go away in the back of it in basic terms an empty house within which, in accordance with Mallarme's word, actually rien n'aura lieu que le lieu. every little thing is complex through the truth that within the poem there aren't, strictly conversing, sequence or strains in parallel flight. relatively, there's yet one line that's concurrently traversed by means of the semantic present and the semiotic present. And among the flowing of those currents lies the pointy period obstinately maintained by way of poetic mechane. (Sound and feel will not be ingredients yet intensities, tonoi of a similar linguistic substance. ) And the poem is just like the katechon in Paul's moment Epistle to the Thessalonians (2:7-8): anything that slows and delays the appearance of the Messiah, that's, of him who, satisfying the time of poetry and uniting its eons, may smash the poetic laptop through hurling it into silence.