Documenti di Didattica
Documenti di Professioni
Documenti di Cultura
T H E D I V I N E M I M E S I S
P i e r P a o l o Pasolini
DSI3
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. dis-
tance, 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
I
-6- - 7 -
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
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
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
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.
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
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 -
everything.
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 I n t h e fatal light of t h a t old t r u t h , I w a s slightly
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 calmed by_ anguish: which h a d b e e n t h e only real feeling
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 . 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 .
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 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
existence of these workers (which pains t h e heart). 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
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
being, o n e ' s own birthmarks, t h e fear of change, dread of
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
the world: which n o o n e ever was able to escape, carrying
indicate t h e m o m e n t w h e n reason began to sleep, or
off t o s a f e t y h i s o w n totality.
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 cir-
c 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 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 :
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 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
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 , story). U p t h e deserted slope, w h e r e I could truly say I
i n g e n u o u s n e s s , conformism ? was alone.
Alone, c o n q u e r e d by e n e m i e s , a tiresome survivor t o
But as I arrived, in t h a t d r e a m of m i n e outside
rriy f r i e n d s , a stranger to myself, I plodded along to that
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
absurd new road, pulling myself u p t h e slope like a h o m e -
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
less child, a missing soldier.
" 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 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
light (that of t h e old s u n r e b o r n ) that blinded m e : like 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
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-11 -
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
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
that smile th^t d e f o r m e d .him, he,'slightly, .resembled a
of t h e founding, darkly exaggerates his m a n d a t e . . . " He
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
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
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
victim to help, but as a scholar, or a n interviewer; " A n d
R o m a g n a ; I lived a long t i m e ,in^BQiogna,and, in o t h e r
because of t h a t h e *addedI a m destined to fade so
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
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
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..."
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
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
whorn others are right to * lose interest. -'And
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 ,
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
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 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
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. . 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 ,
" I was b o r n u n d e r fascism, though,;I was hardly m o r e into that degradation?' W h y d o n ' t you continue to climb
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 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
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 :
aire?"
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 ? ) I looleed a t h i m . S u c h kindness", s u c h a ,desire t o h e l p
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 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 ,
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 comforted m e . M y succourer was miserable, minute: 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 wasn't a father, h e wasn't an-older brother, h e didn't have
to e x c u s e himself' for t h e generality to which h e was t h e overbearing consolation of o n e representing authority ;
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. 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
, " I was a p o e t , h e a d d e d , quickly, n o w h e almost s e e m e d to implicate h e a v e n a n d earth, being presented
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 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
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
b e y o n d " , a n ascent t h r o u g h mystical inclines with a parad-
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 .
isical 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 cir-
" 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
c 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 -
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
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 !
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
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
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
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
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
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
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
bottom of my history, m y culture. H e might be, for
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
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
' 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
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
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 !
of a small erect Leopardi, the rectangular forehead of his
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
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
affirmation a n d .success!"
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 I looked at m y s e l f s t u n n e d by t h e unpleasant tFauma
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 .castra- 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
t 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 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
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 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 ,
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 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
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 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
s
h a v e b e e n 'Chaplin'... ' 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
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 him, a small
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
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 .say. -bitterly:
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
u n a b l e , to help himself, to imagine himself as a n o t h e r
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 . "
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 my worldI
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 , 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
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. 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 -
- 19 -
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 . "
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
" 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
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
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 -
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
tinual linguistic correction, a n d was m o v e d ; b e c a u s e I
t h e world only t h e miraculous projection remains...
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
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 -
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
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
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 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
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 .
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
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
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
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 -
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
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 ,
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
speaking of something else...
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
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 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 -
a sentiment becomes an obsession. A n d the obsession 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
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 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
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 - 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
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 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
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 . . . Exalt- 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
ing... 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 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 -
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 . 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
H e stopped t h e poor, i n n o c e n t , childlike laughter of 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
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
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
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
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
' 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 ?
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
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 ,
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
sex, sex, sex... T h e world b e c o m e s an object of sexual
-20-
- 21 -
you '-1 i r l k S 6
tt0 C h 0
S e
- 1 S a i d
- F m
*AW with
1 6 X a m i n i n g m e t i m i d
Z hard L whh T T *
cheek hone " ^ Z ^ ^ ^ *
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 cin-
n 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 -
}
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
" 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
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
w o r k of T w o Paradises is b u t an impulsive a n d infantile
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 t h e o r y ? " : .thus, crippled, m y question -resounded, but
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 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 : **
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 "Sure:- why n o t ? "
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 ' 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
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
snake ononis cheek bond: *
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 , " 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 ,
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 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 contin-
unaware, ahead of m e : ' son of a poor bourgeois nation, u 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 ;
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 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
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 , 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
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 - 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
fQrmism. 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
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 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 -
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 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
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 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 -
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 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
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
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
silent hurricane...
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...
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 , "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,
with m y voice cracking in m y throat, and \vith t h e exact 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
t o n e of protest that children h a v e w h e n they are ready to
cry. 1. corrum'bile antvra. ad immortale secolo andb (still alive, he went to the divine world)
-26-
- '27 -
-JmiBWjijL .
V
-29-
-28-
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 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
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 ,
disappear.
^ ^ 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 ,
* 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 (1963)
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
-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- r 35 -
3
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 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
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 - 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 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 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
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 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
t h e i r life. ,. f e w k i l d m e t e r s f r o m Prague.
h e exactly r e s e m b l e d h i s m o t h e r . H e h a d b e c o m e her.
In t h e G a r d e n , i n t h e soft light o f three in t h e after- 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
n 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 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
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 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
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 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
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 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
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 g o o d life o f t h e M o t h e r .
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".
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 ,
1
- 52-
-53-
I
N o t e s a n d f r a g m e n t s for C a n t o VII
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
1 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
A sign-post, brand n e w t h e m e t a l post colored"
" 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 sign-
acrylic b l u e , t h e square sign i n redbearing t h e s o m e w h a t
p 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,
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 -
by social definition, etc. T h e y really h a d , as is said, t h e
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 " . 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**
" 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
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
always, at t h e terror o f lapsing i n t o vulgar points o f fact
marsh: t h e w h i t e m e t a l railings, t h e narrow little bridge
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
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
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 ,
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 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 " 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
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 - punishment,is being here."
ply t h e necessary basis for their s i n s , t h e indispensable- 2
p 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 A barrier similar t o that at railroad c r o s s i n g s , or at
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 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,
a n y t h i n g dedicated t o work a n d family... w h o will finish ,by with its red and w h i t e striped, just painted, still s m e l l i n g
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 o f paint.
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
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
- 54- ^55-
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 s t r a n g e r s pass.
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 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
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 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 .
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
3
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 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
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 - 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 ,
less. 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
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 -
parks, u n d e r the s u m m e r chestnut trees along the rivers,
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
on t h e roof-top terraces amid abundant* plants, over 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
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
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
insidealready gathered in t h e peace of dinner o r i m m e d i -
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 -
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
toms house or b a r r a c k s w e r e t h e Demons. Yes:
*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 .
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 - 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
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 t h e capitals, R o m e , or L o n d o n , or Paris, o r from t h e large
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 : 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 ,
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 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 .
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 4
novices, took their duties very m u c h to heart. Their eyes
" 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
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
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
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
gentilitywhich alludes to a particular relationship, inter-
x e n d e r e d t h e m , evidently, ferocious.
r 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 ,
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 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 -
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 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- -57-
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 . " 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 n d t h e depth- of t h e eyes of t h e people from w h o m
A t first, t h e little p e o p l e were little: t h e y didnXvtarit to be.
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 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 ,
. 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 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 .
found myself. 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 reli-
'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 g 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
watched . t h e m with m y m y o p i c look, which, because, of 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 .
timidity, grew annoyed or restless, or s o m e h o w n o t T h e masses, m y friend! T h e masses; w h o h a v e chosen
recognizingunrecognizing. 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
" A l l these peoplesaid the Masterhave sinned
o n t h e table, with t h e check, and went away.
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 " Y o u ' v e probably noticed t h e large n u m b e r of
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 tel- 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 ,
ling 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 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 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 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 -
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 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 -
so, they w e r e vessels of reduction. 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 :
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
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
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
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
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 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 -
h e c o n t i n u e d , o u t of p u r e kindness, out of disinterested
geois pettiness... of vessels of reduction... upset h i m .
love of knowledge:
-58- - 59-
i'ZS.
mmm
-60-
(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
1
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
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 - 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
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 . 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
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 initia-
t 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 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
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 a n d its i n d u s t r i e s ) : repressing thereby that a m o u n t of
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 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
of m a n t h e sins of sex, violence, wasteof t h e Incon- or cultured m a n n e e d e d to judge h i m . T h e Vulgar are
t 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 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
defined before entering the n e w Sector, of t h e Vulgar 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
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 tradition!
d i s c o n t e n t e d devils...
3
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 - "Perhaps I myselfhe saidam but a simple and
mism. 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
2 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
T h e situation presented before our anguished eyes
g o e s all t h e way *o t h e e n d . I too, therefore, was a
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
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
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 same).
A
-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 cyn-
icism 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
Faded Iconography
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 dis- (for a " P h o t o g r a p h i c p o e m " )
t 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.
v
'. '" *' &
*
10
13
u
M
IJ
m^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
I
I
18
20
25
24
I;
Faded Iconography
1. Grimau
2. Lambrakis
3-4. Reggio Emilia 1960
5. Rome: anonymous crowd and cars
6. Old women
7. The author and Gadda
8. Communist rally
9-13. Boys, as they were at the end of the '50*8
14. A group of partisans
15. Gramsci's tomb at Testaccio
16. Gianfranco Contini
17. Baptism scene (from the Gospel)
18. Frontispiece of Poetry in the form of a rose
19. Some of the "Gruppo 63"
20. Early W s : fascists
21. At the Colonnade of Valle Giulia
22. Emilio Cecchi
23. Sandro Penna
24. Piazza della Chiesa at Casarsa
25. African landscape
-91-
Note no. 1
November-December 1964
-92- -93-
Born of Italian as a spoken national language, based no longer on This is not a critical edition. 1 limit myself to publishing all that
literary Italian or on instumental dialected Italian, as the lingua franca the/author left. My Only critical effort, .a very modest one, is that of
of commercial exchange and the first industrializationbut on Italian as reconstructing the chronological-sequence of these notations as exactly
spoken in the North, a lingua franca of (the second industrialization (cfr. as possible. At the end of some of these the author has indicated the
"New linguistic.questions"). date: and in such cases, therefore it was easy to insert them in order.
" T h e Divine Mimesis" or " M a m m o n " (or "Paradise") is But very, many notes, especially the briefest onessome of only two or
presented rfiytftically as the last written work in the non-national .Italian, three lines, nearly illegiblehave no date; not only that, but they were
the Italian that keeps all diachronic stratifications of its history alive and found'.outside the typewritten body of the work, or in different drawers
aligned in a real contemporaneity. Therefore this Italian is spoken in from ihat where the work was kept, or between the pages of books
Hell, in all its historical combinations: osmosis with Latin (classical anr' begun to. read and not finished. A small pad of notes was actually
medieval), crossings of dialect-Latin, koine-Latin, literary language found in the glove compartment of his car; and lastly, a macabre detail
Latin, technolanguage?Latin: then, dialect-koine, literary language but alsoone will agreea moving one, a sheet of graph paper (evi-
koine, fechnolanguage-koine'; then etc. etc.all .possible crossings, dently torn out of a note pad) filled with a dozen or so very uncertain
according to',the demands of free indirected speech of the various, lineswas found in the jacket pocket of his corpse (he died, killed by
socially diverse characters. 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
On the other hand, all views of the futurethat is, the planning attached to it as to an anchor of salvation. Naturally I understand the
and construction (in progress) of the Two Paradisesthe neo-capitalist reading of these fragments might be disturbed by a chronological order
and the communistwill be worded in the "supposed" new language: that is of the writing but not of sense. But 1 preferred rigorany
with its progressive sequences, its elimination of competing forms, its rigorto manipulation, however honest and reasoned.
absolute prevalence of communicability over expressiveness, etc.
17 November 1964
-94-
-95-
* 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 stimulat-
iitji point of view"). Nevertheless, what is astonishingly true becomes clear,
tttat is, that the only Italian critic whose problems were the literary problems J ^JO
of Gramsci is Contini! "Scandal for the Jews, stupidity for the Gentiles", 1951 f *t*i i
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 t >* ;>
all Gramsctan.problems by Contini occurs IIIM universe that is parallel but
remote, though just as potently suggestive ("stimulating"), and that great * } V
strength of spirit is needed to presuppose in them a possibfaintegrabitity.
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 fields
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.
(1974) 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 .
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
Over a c o m m o n and deep song'
pari of the original volume, but will provide support material to the
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
le'xi projected and outlined in the last poem: THE DIVINE MfMESfS.
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- - 99-
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 , M o o n lit up by v i s c e r a r
*Tj.r
if, pure, h o t , intact, like of s k y w o u n d s m e w i t h m u t e
a t e m p o , I barely n o t i c e t h e feint light; b u t if r e p r o a c h falls ,
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 m u t e from t h e sky, t h e cricket
is soft, like t h e d a m p n e s s o n t h e 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
A n i e n e ' s d e a f fields), listening in t h e g r a s s e s o f t h e A n i e n e ,
again t o t h o s e crickets, t h o s e pure inflexions w i t h its b r i e f r a t t l e ,
o f v o i c e s , a frenetic, limpid reaches the deaf, submissive heart.
rustling that in s u r v i v i n g , c o n d e m n s m e . .-1 ,
The Aniene (or Tevcrone) is the source and major irihuury of ihe Tiber.
* *
P"W
f '
- 100- - 101 -
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.
A
HMP
-103-
-102-
FRIULIAN PAINTINGS
QUADRI FRIULIANI
W i t h o u t a coat, i n t h e j a s m i n e air
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
I l o s e m y s e l f o n t h e e v e n i n g walk,
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,
b r e a t h i n g a v i d and prostrate, weary
r e s p i r a n d o a v i d o e prostirato, fino
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
a n o n esistere, a essere febbre nell'aria
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
la pioggia c h e g e r m o g l i a e il s e r e n o
h a n g i n g dry o v e r asphalt, street l a m p s ,
c h e i n c o m b e a r i d o s u asfalti, fanali
e x p a n d s m o r e a r o u n d j o y and life
e s p a n d e i n t o r n o piu allegria, piu v i t a ,
than d o e s i n n o c e n c e : b u t t h i s silent wind
che Tinnocenza: m a questo m u t o vento
rises f r o m t h e s u n n y r e g i o n
risale dalla r e g i o n e a p r i c a
- 104 - - 105-
o in dolci c u r v e l u n g o le f e s t i v e or in soft c u r v e s a l o n g 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 inclines o f riverbanks... M o t i o n l e s s
dei ragnati pioppi s e n z a u n brivido 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 m a s s e d in s i l e n t c r o w d s
in f o n d o ai deserti campi di rhedica; 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
le foglie degli umili alni, l u n g o le z o l l e l e a v e s o f h u m b l e alders, b y w o r n out
- 106- - 107,
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 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
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 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
si d i p a n a a n c o r a : e in e s s o , n u d a , ' i thread still u n r a v e l s : a n d i n it, n a k e d ,
la r e a l t a P i r r e a l e Q u a l c o s a r e a l i t y t h e unreal S o m e t h i n g
che faceva e t e r n a quella sera. that m a d e that e v e n i n g e t e r n a l
L'aria tumefatta e festosa S w o l l e n and f e s t i v e air
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 o f Expressionist s o f t n e s s , t h e reapers
spigolatrici, s p e t t r i d e l c a l d o s e s s o swooping down, ghosts of hot adolescent
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 s e x s w a r m e d o n t h e border
i
- 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
sui tuoi Cristi inchiodati tra falde Christs nailed b e t w e e n strata o f light
di l u c e franata dai transetti d ' A q u i l e i a , filtered d o w n f r o m A q u i l e a n transepts,
e reduci da e s s o , n e l l e calde and his s u r v i v o r s , in t h e w a r m
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 l e a n i n g o v e r t h e rails, t i r e d ,
n e i triste b o r g o c o n le luci e i canti. 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 .
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, A n d the wind, from G r a d o or Trieste
soffia e rapisce dalle m e s t e 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
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 voices at d i n n e r , a p u r e r
q u a l c h e piu s g o m e n t o grido, o qualche 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
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 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 l l e b o s c h i n e i n t o r n o ai resultumi... 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 .
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 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
in u n a sola estate, in u n s o l o v e c c h i o 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
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 w i n t e r w h i c h is s p r e a d in t h i s different
u n t e m p o c o n f u s o si rifa* terso 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 . . . 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
N o n n e stupisco, s e a questi istanti 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
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 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
c h e n o n m u t a il m o n d o , m a Io ascolta 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...
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 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
rozza esperienza uomini, se p u r con cuori 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
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 , 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
p e r s i in a l b e e vespri a l a v o r a r e 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
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 t h e i r v i n e y a r d , t h e i r little field,
le l u c e n t i d o m e n i c h e col p e t t o almost not theirs, to celebrate
on radiant S u n d a y s with breasts
pieno del buio delle vecchie c a m p a n e . *
full o f t h e d a r k n e s s of t h e old bells.
\ I
- 122-
- 123 -
(1955)
(1955)
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
E v e n today, in t h e m e l a n c h o l y physicality
t o any private, infantile, uncertain
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*
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
n o r m a t i v e organs t o b l e e d w i n t e r
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
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
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 ,
an exterior lost in t h e d e p t h o f t h e ages o f Italy...
return, n a k e d , y e s , and m a d , t o g r e e n April,
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
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...
b l u e n e s s e s o f Origins... that h e r e , in t h e raw
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
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
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
with half its heart in search o f rocky a l m o n d trees w h e r e
Israel like an ulcer in t h e s o u l
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 . . .
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-
"SfS^*? ***tt^mym***
- 132- - 133-
iimni
- 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);
by t h e blindness of a single, h u m b l e love,
P towards another baby creature
Z O N E T W O : R e a s o n e r s (Landolfi) people seated fr
& w h o r a n t o w a r d , h e r , in t h e s u n
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
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 ,
from the Endoliterary [De Gaulle] to the
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 ,
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
with h e r smile accomplice, m o v e d together
with t h e other by a s a m e love.
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 )
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
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 ,
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 .
in t w o p u p p y e y e s : it w a s l o v e ,
O h M a r x a l l is g o l d o h F r e u d a l l
b e c a u s e a s m i l e , it w a s a b a b y girl
is l o v e o h P r o u s t a l l is m e m o r y
w h o rati in h e r h e a r t t o t h e s u n
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
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 ,
is m a n o h K a f k a a l l is t e r r o r
w i t h a little r a g g e d y d r e s s ,
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
u n d e r an e n o r m o u s acqueduct, on a m u d d y
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
bank, between tarred shacks,
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 -r-
t h a t r a n , t h e b a b y girl, in t h e h e a r t
o h b r a n d of infancy! O h destiny of gold
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
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
SSB
- 136-
137-
a distractionand its t h o u s a n d p r e t e x t s
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; t
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
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
o f irreplaceable texts. I return in m y heart t o Israel,
persecuting,, right? o p p o s i t i o n s . . . )
suffering for her s o n s - b r o t h e r s t h e nostalgia x
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
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,
slightly faded but full o f a t r o c i o u s poetry
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 .
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 * 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
for o n e w h o w o u l d be' is d e l u s i o n . Which equalizes
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 v e r y b o d y , like t h e dead:
but places again in d i s c u s s i o n the* sacred
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 " !
t e x t s o f t h e circles. Ergo, -waiting for a n e w Great <few
But t h e r e is n o o t h e r alternative for m y future works.
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
" 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
w e m u s t d e l u d e , in o u r little... H a !
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
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!
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
because the blindness o f love
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
r e d u c e s i n v e n t i o n s t o institutions,
- 138 - - 139 -
J,',,.11... UU-UJUM