KOSOVEL’s poeticsNOTES1C. Segre – C. Martignoni, Testi nella storia, La letteratura italiana dalle Originial Novecento, 4 – Il Novecento, Mondadori, Milan 2001, p. 492. The translations ofRebora’s verses are purely informative.2L. Kralj, Ekspresionizem (‘Expressionism’), DZS, Ljubljana 1986, p. 72.3C. Segre – C. Martignoni, p. 507. Among other expressionist-oriented ‘vociani’,critics normally mention Giovanni Boine and Piero Jahier, and occasionally anddefinitely marginally also Dino Campana and Scipio Slataper.4C. Rebora, Frammenti lirici, Libreria della Voce, Florence 1913; Cantianonimi, Il Convegno editoriale, Milan 1922; Poesie sparse (1913–1927), in:Clemente Rebora, Le Poesie (1913–1947), ed. Piero Rebora, Vallecchi, Florence1947; Lettere I (1893–1930), Edizioni di storia e letteratura, Rome 1976.Quotes from Rebora’s poems are from: C. Rebora, Le poesie 1913–1957,All’insegna del pesce d’oro, Milan 1961.5S. Kosovel, ‘Kritika, gibalo življenja v umetnosti’ (‘Criticism, the drive of lifein art’), in: ZD, III, DZS 1977, p. 210.6Ibid., p. 12–20.7C. Rebora, Le poesie 1913–1957, p. 27.8C. Rebora, Lettere I (1893–1927), p. 327. In the original: ‘(Chi di noi potrà oavrà coraggio di rimanere), o finirà pazzo o espanderà un’enorme incandescen<strong>za</strong>’.9C. Rebora, Frammenti lirici.10Pietro Rebora, ‘Clemente Rebora e la sua prima formazione esistenzialista’,in: Clemente Rebora, All’insegna del pesce d’oro, Milan 1960, p. 88.11Cf. L. Kralj, Ekspresionizem (Expressionism), pp. 41 and 167.12S.Kosovel, ZD, III, op. cit. pp. 113–4.13S. Kosovel, ZD, II, DZS 1974, p. 33.14Ibid., p. 74.15C. Rebora, ‘Per un Leopardi mal noto’, in: Omaggio a Clemente Rebora,Bologna 1971, p. 153. It is interesting that Rebora’s polemics against themechanisation of human relations and society is very similar to the statement ofKurt Pinthus, the editor of the most widely-known anthology of expressionistpoetry (Menschheitsdämmerung. Symphonie jüngster Dichtung, 1920), who in hispreface ascribed the origins of the expressionist movement also to ‘human order,piled up in its entirety upon mechanicism and conventionality.” (quoted in: L. Kralj,Ekspresionizem, p. 20).16For the motif of the metropolis in German expressionism see: DeutscheGroβstadt – Lyrik vom Naturalismus bis zur Gegenwart, ed. Wolfgang wolfgang Rothe,Reclam, Stuttgart 1978, pp. 14–21.17In the original: ‘belva in una gabbia chiusa’, ‘il vario contrasto / della carne edel cuore’, ‘il marcio del tempo’, ‘un’eletta dottrina’, ‘un’immortale bellez<strong>za</strong>’.18 In the original: ‘ottenebrato / il mio volto’, ‘la verità della vita’, ‘canzoneappassionata’, ‘un rider sento d’uomini e di donne / che nel lavoro preparan levoglie’.19In the original: ‘il marcio’ (op. cit., XIV, str. 27), ‘fogna’ (X, 21), ‘fanghiglia’(VI, 15), ‘sfasciume’ (XXXVI, 58), ‘pattume’, ‘rogne’, ‘rifiuti’, ‘rivoli di spurghi’(LXIX, 114).20C. Rebora, Lettere I (1893–1930). In the original: ‘a Milano […], ove l’ariapare viziata e impura come il fiato di un’ammalata’ (p.5), ‘Milano che pare ora unventre enorme; e pute tosto che si risveglia’ (p. 29).21S. Kosovel, ZD, III, op. cit., p. 339.22S. Kosovel, ZD, II, op. cit., pp. 496–7.258
Darja Betocchi: Analogies between S. Kosovel and C. Rebora …23For the tree motif in Kosovel’s expressionist poetry, see: F. Zadravec, SrečkoKosovel 1904–1926, Lipa-ZTT, Koper-Trieste 1986, pp. 81–3.24Kakor drevo, ki se strele boji (‘Like a Tree Afraid of Lightning’), ZD, I, DZL,Ljubljana 1964, p. 127.25Ibid., p. 367.26C. Rebora, Lettere I (1893–1930), p. 63. In the original: ‘Ho sofferto e soffroindicibilmente’, ‘son rimasto come un albero sfrondato, che proprio ora si spogliae tutto isterilisce quando intorno gli fluttua la primavera con mille inviti e richiamidi rinascen<strong>za</strong>’.27C. Rebora, Le poesie 1913–1957, p. 278. In the original: ‘guasto occulto’, ‘hosbagliato pianeta!’.28F. Fortini, ‘Frammenti lirici di Clemente Rebora’, in: Letteratura italiana. Leopere, IV- Il Novecento, ed. A. Asor Rosa, Einaudi, Torino 1995, p. 246–55.29C. Rebora, Le poesie 1913–1957, poem LI, p. 87. In the original: ‘Oh il variardelle cose ch’io guardo, / e le vorrei! / Oh il variar della vita ch’io sento, / e la vorrei! /[…] quel che da lungi m’invita, / va sempre più in là: / e nulla è mio al passaggio.’30S. Kosovel, ZD, I, p. 358.31Ibid., p. 353.32S. Kosovel, ZD, II, p. 147.33Ibid., p. 159.34C. Rebora, Le poesie 1913–1957, p. 181. In the original: ‘Nulla, più nulla, /ceppo reciso’.35S. Kosovel, ZD, I, pp. 261, 297.36Ibid., p. 229 and ZD, III, p. 108.37D. Valli, Anarchia e misticismo nella poesia italiana del primo Novecento,Milella, Lecce, 1973, p. 288–9.38F. Bandini, ‘Elementi di espressionismo linguistico in Rebora’, in: Ricerchesulla lingua poetica contemporanea. Rebora, Saba, Ungaretti, Montale, Pavese,several autrhors, Quaderni del circolo filologico linguistico padovano, Padova1966, pp. 3–35.39C. Rebora, Le lettere I (1893–1930), pp. 105–6. In the original: ‘Mi sbattonel contrasto fra l’eterno e il transitorio, fra quello che sento (e amo) necessarioe quello che vorrei non fosse, fra la poten<strong>za</strong> e l’atto, fra la cosa conosciuta e illasciarla partire, fra la rozzez<strong>za</strong> del fabbro e la permalosità di un insofferente. […]S’io pubblicherò alcuni pochi frammenti lirici – orribili come poesia – rivedràcodesti contrasti.’40‘Chaos’ was one of the key words of expressionism, yet it only appears oncein Rebora’s works from this period – in a short poetic prose Fonte nella macerie (AWell Among the Ruins, 1915). The sentence goes: ‘Obelisco del caos, il campanilemuto’ (‘Obelisque of chaos, a mute campanile’), in: Le poesie 1913–1957, p. 197.41For the Orphic and prophetic subject matter in Kosovel’s poetry, see: F.Zadravec, Srečko Kosovel 1904–1926, pp. 117–22.42S. Kosovel, ZD, I, pp. 230, 243, 228.43F.Portinari, ‘Milano’, in: Letteratura italiana. Storia e geografia, III, L’etàcontemporanea, ed. A. Asor Rosa, Einaudi, Torino 1989, p. 261. In the original:‘(lo spettacolo tragico) può solo condurre […] a un superamento della dimensionepersonale’, ‘tutta la storia, di tutti gli uomini del suo tempo’.44In the original: ‘combattenti’, ‘eroi’.45In the original: ‘O poesia, / […] sei la fanfara / che ritma il cammino, / […] seila letizia / che incuora il vicino, / […] sei la certez<strong>za</strong> / del grande destino’.46C. Rebora, Le lettere I (1893–1930), p. 410. In the original: ‘Mi pare poi, avolte, d’essere chiamato, e non so da chi né per cosa; in ogni modo rispondo, em’incammino da qualche parte’.259
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Avgust Černigoj: Srečko Kosovel (
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VSEBINBoris A. Novak:kosovel, velik
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