La produzione poetica di Edgar Alla Poe. Il Corvo e le altre poesie. Il fascino del poeta maledetto. Baudelaire e la fortuna di Poe in Francia. Poe precursore del simbolismo e del decadentismo. Lettura integrale in lingua originale inglese della poesia The Raven.
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CortometraggiTrascrizione
00:05Music
00:34Mr. Po, you're at the hospital now. You felt ill. Do you remember anything?
01:21Mr. Po, you're at the hospital now.
01:30In reality his most famous collection is from 1845 and is entitled The Raven and Other Poems.
01:36What is striking is that Po's poetic and narrative production have no breaks in continuity.
01:42This is demonstrated by stories such as The Fall of the House of Asher and Ligeria, which contain poems.
01:49and this is demonstrated by the mixtures that are identical in the stories and poems of Gothic shadows and classical atmospheres.
01:57In the first major poems, to La Raff and Tamerlano, one can clearly see the debts contracted by the young Po with the
02:03neoclassical poetry already tinged with romanticism.
02:06Think of authors like Shelley, Keats, Blake, Milton and Derline Foscolo,
02:11in a heartbreaking search for the absolute and for Platonic beauties suffused with Orphic-Pythagorean shadows.
02:17Po's poetry, even the most intensely subjective, is characterized by a mastery of emotions
02:23and from a stylistic awareness totally unprecedented in American poetry of the time.
02:28In 1848, after the death of his wife Virginia, Po completed Eureka,
02:33a very ambitious poem of a philosophical nature, in which Po constructs a sort of vision of the universe, of nature and of
02:40'man.
03:10In 1848, after the death of his wife Virginia, Po completed Eureka,
03:38In 1848, after the death of his wife Virginia, Po completed Eureka,
03:41In 1848, after the death of his wife Virginia, Po completed Eureka,
03:57A quaint and curious volume
03:59Of forgotten lore
04:00While I nodded, nearly napping
04:02Suddenly there came a tapping
04:04As of someone gently rapping
04:06Rapping at my chamber door
04:08To some visitor, I muttered
04:11Tapping at my chamber door
04:13Only this
04:14And nothing more
04:17Ah, distinctly I remember
04:19It was in the bleak December
04:21And each separate dying ember
04:23Wrapped his ghost upon the floor
04:25Eagerly I wished the morrow
04:27I had vainly sought to borrow
04:30From my books or seas of sorrow
04:32Sorrow for the lost Lenore
04:34For the rare and radiant maiden
04:37Whom the angels name Lenore
04:40Nameless here
04:42Forevermore
04:42And the silken, sad and certain
04:45Rustling of each purple curtain
04:47Thrilled me, filled me
04:49With fantastic terrors never felt before
04:51So that now
04:53To still the beating of my heart
04:55I stood repeating
04:57To some visitor entering entrance
04:59At my chamber door
05:00Some late visitor entering entrance
05:03At my chamber door
05:04This it is
05:06And nothing more
05:08Presently my soul grew stronger
05:10Hesitating then no longer
05:12Sir, said I, or madam
05:15Truly your forgiveness I beg
05:17But the fact is
05:18I was napping
05:19And so gently
05:20You came rapping
05:21And so faintly
05:23You came tapping
05:24Tapping
05:25At my chamber door
05:26That I scarce was sure
05:28I heard you
05:29Here I opened the door wide
05:32Darkness there
05:34And nothing more
05:36It's a hollow
06:04You came back
06:06And the time
06:10Is that okay, sir?
06:11Just lean on me.
06:13Thank you.
06:21Here you are, sir.
06:23Sit down.
06:29Anything I can do for you?
06:31I just need some rest.
06:33Are you coming or going, sir?
06:35Coming.
06:36From Richmond.
06:38Thank you for your kindness.
06:40Goodbye, sir.
06:42And good luck.
06:53Poe's poetry is dotted with dreamlike, haunted landscapes.
06:56Think of poems like The City in the Sea, The Fairy Land, The Valley of Disquiet,
07:02The cursed palace, whose titles are absolutely explicit.
07:05There are situations of angelic-demonic duplicity, monstrous atmospheres, vampirism, abnormalities.
07:13There are monstrous threats as in the poem The Triumphant Worm.
07:16And finally of beautiful sleeping or dying ones as in the case of the sleeping or Lenore and also as in the case of
07:23many of his stories.
07:24The poems are dotted with necromantic drifts that distill the atmosphere of dark romanticism and that of decadentism,
07:33masterfully described by Mario Pratz in the very famous essay Flesh, Death and the Devil in Romantic Literature.
07:39Therefore, according to Pratz's classification, we can see medusae beauties like Novalis's and Shelley's,
07:46satanic metamorphoses à la Milton and Chateaubriand, sadomasochistic excesses,
07:51to SAD obviously but also to Baudelaire and Lothreamont,
07:55femme fatales, in the Kitz style but also according to the dictates of the Gothic novel of the late eighteenth century,
08:00Byzantine softness as in Flaubert's Salambo and finally linguistic eroticism as in D'Annunzio.
08:06Then he rejects poetry from any immediate purpose of moralistic and didactic practicality.
08:11which according to him are the responsibility of the essayist, the orator, but also of the authors of the transcendentalist tradition
08:18who opposed him and were opposed by him such as Ralph Waldo Emerson, Nathaniel Hawthorne and Henry David Thoreau.
08:57Lodano is a compound that has a very important history,
09:00It's not a very recent story, dating back at least a couple of centuries before the nineteenth century,
09:05It is certain that in the nineteenth century it is seen, if it is widely used, it is a compound given precisely
09:15from opium and alcohol, it is a narcotic and it is a highly addictive narcotic
09:21like all alkaloids, such as morphine, for example, of course in the nineteenth century
09:27there was no knowledge of the cause, neither of the addiction, nor of the seriousness of the continuous use
09:35of this found by them precisely from the plants.
09:40Well, in fact many artists use it because it is not only a painkiller but also
09:48a sedative, it is true that it was only in the 1950s that it began to be used
09:54to appreciate the gravity and therefore to reduce the use of this device.
10:02The Laudanum used by Edgar Allan Poe to cure his pain in living is actually
10:08It was a way that at that time, being a drug, was used to stun, in
10:14his case to numb a deep sense of loneliness that was flattening him, distressing him
10:19and crushed him but which surely, being a derivative of opium, caused in him
10:25a margin of dependence, of addiction like all narcotic substances and certainly
10:31It will also have affected his cognitive abilities because today, we also know better than
10:38as of yesterday, how much some forms of drugs like this can have a negative impact even
10:44on psychological distress and even encourage it, strengthen it where instead in the immediate
10:50Taking a narcotic substance may apparently provide relief but that is not true.
10:55In the long run it destroys both body and mind.
11:01Deep into that darkness peering, long I stood there wondering, fearing, doubting, dreaming
11:07dreams no mortal ever dared to dream before, but the silence was unbroken, and the stillness
11:14gave no token, and the only word there spoken was the whispered word, Lenore.
11:20This I whispered, and an echo murmured back the word, Lenore.
11:25Merely this, and nothing more.
11:29Back into the chamber turning, all my soul within me burning.
11:33Soon again I heard a tapping somewhat louder than before.
11:37Surely, said I, surely that is something at my window lattice.
11:42Let me see then what thereat is, and this mystery explore.
11:47Let my heart be still a moment, and this mystery explore.
11:52Tis the wind, and nothing more.
11:54Open here I flung the shutter, when with many a flirt and flutter, in there stepped a stately
12:01raven of the saintly days of yore.
12:04Nor the least obedience made he, nor a minute stopped or stayed he, but with mean of lord
12:10door lady, purged above my chamber door, purged upon a bust of palace, just above my chamber
12:17door, purged, and sat, and nothing more.
12:21Then this ebony bird beguiling, my sad fancy into smiling, by the grave and stern decorum
12:28of the countenance it wore.
12:30Though thy crest be shorn and shaven, thou, I said, art no craven, ghastly grim and ancient
12:37raven wandering from the nightly shore.
12:40Tell me what thy lordly name is on the night's plutonian shore, quoth the raven, nevermore.
12:48Much I marveled this ungainly fowl, to hear discourse so plainly, though its answer little
12:54meaning, little relevancy bore.
12:56For we cannot help agreeing that no living human being ever yet was blessed with seeing
13:02bird above his chamber door, bird or beast upon the sculptured bust above his chamber
13:08door, with such name as Nevermore.
13:15Poe places the exploration of creative possibilities at the centre of his poetic production
13:20of the word, with a very personal inclination for lexical and rhythmic research.
13:25What is striking is the astonishing variety of meters and strophic forms that Poe uses, but also
13:30the hybridization of languages, the use of exoticisms and etymological research.
13:35Poe's constant and at times obsessive musical research is striking, which pushes him to venture
13:40in the evanescent territories of phonosymbolism, which will be fully explored by poetry
13:45of up to 800 and by poets of the calibre of Baudelaire, Verlaine, Rimbaud, Mallarmé and, in Italy,
13:52Pascoli and Don Nunzio.
13:54It is striking that the signifier and the signified, the sound and the sense are no longer separable,
13:59but they generate each other.
14:01It comes from the last Leopardi and goes directly to twentieth-century poetry, the fusion put into action
14:06from Poe between visionariness and mystery on one hand and clarity of methods and procedures on the other
14:12on the other.
14:13Poe manages to breathe an analytical-mathematical clarity into the mystery of poetic creation.
14:18which triggers a sort of process of secularization of the stylistic machine and exorcism of the
14:24his restlessness.
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15:50sat engaged in guessing but no syllable expressing to the fowl whose fiery eyes now burned into mine
15:57bosom's core this and more I sat divining with my head at ease reclining on the cushion's velvet
16:04lining that the lamplight gloated o'er but whose velvet violet lining with the lamplight gloating
16:11o'er she shall press ah never more then methought the air grew denser perfumed from an unseen sensor swung
16:21by seraphim whose footfall stinkled on the tufted floor wretch i cried thy god hath slow thee by these
16:29angels he hath sent thee respite respite and nepenthe from thy memories of lenore quaff or quaff this kind
16:38nepenthe and forget this lost lenore quote the raven never more the german philosopher hans georg
16:48Gadamer said that all great human reflection is divided between those who support the truth and
16:55for those who seek a method to be able to know her from this point of view we can say that the poet
17:02the artist by definition tries not to give tries not to give a definition of the way in which his
17:09creativity
17:10Edgar Alain Po comes to express himself and does something absolutely opposite, he even dedicates a little
17:18essay to explain how one of the most poignant and irrational poems had a composition
17:26It is perfectly logical what the reasons are for which he did this, it is difficult to understand
17:34exhaust them what is certain is that po manages to reveal the fact that even the irrational needs
17:42to be expressed by an irrational logical technique of composition there is no genius without method
17:50just as there is no intuitive knowledge of things that is not accompanied by rigor
17:59in managing this truth
18:31thank you all
18:48thank you all
18:51thank you all
19:35thank you all
20:03thank you all
20:32thank you all
20:34thank you all
20:34fear of birds is a fear that implies the possibility
20:39and the difficulty for those who experience it in being able to face the unexpected, the unexpected sense of the attack
20:47From a social point of view, it reproduces a form of inadequacy of the person who experiences it
20:54when he finds himself experiencing for example a social activity
20:58which can also simply be sharing an activity in a convivial sense with others
21:04experience a sense of anguish, of inadequacy and therefore a possibility
21:08that there may be some form of unpredictability that needs to be managed
21:13and therefore this lack of self-esteem, this sense of inadequacy raises the levels of anxiety
21:20for this reason these social phobias can then expand and end up embracing phobic aspects and objects as well
21:27outside the social aspect such as the fear of certain types of animals
21:31and in our case for example the fear of birds
21:43and our course of an activity
21:45desolate, yet all undaunted
21:46on this enchanted desert land
21:49on this home by horror haunted
21:51tell me truly, I implore
21:53is there, is there balm in Gilead
21:56tell me, tell me, I implore
21:58quote the raven
22:01nevermore
22:02prophet, said I
22:03thing of evil
22:05prophet still, if bird or devil
22:07by that heaven that bends above us
22:09by that god we both adore
22:11tell this soul with sorrow laden
22:13if within the distant Aden
22:15it shall clasp a sainted maiden
22:18whom the angels name Lenore
22:20clasp a rare and radiant maiden
22:23whom the angels name Lenore
22:25quote the raven
22:28nevermore
22:29be that word our sign of parting
22:32bird or fiend
22:33I shrieked up starting
22:34get you back into the storm
22:36and the night's plutonian shore
22:38leave no black plume as a token
22:41of what lie thy soul hath spoken
22:43leave my loneliness unbroken
22:46quit the bust above my door
22:48take thy beak from out my heart
22:51and take thy form from off my door
22:53quote the raven
22:56nevermore
22:57and the raven never flitting
22:59still is sitting
23:01still is sitting
23:02on the pale bust of palace
23:04just above my chamber door
23:06and his eyes of all the seeming
23:09of a demons that is dreaming
23:10and the lamplight o'er him's dreaming
23:13throws his shadow on the floor
23:15and my soul from out that shadow
23:17that lies floating on the floor
23:19shall be lifted
23:23nevermore
23:27the poem the crow
23:28is published for the first time
23:30in 1845
23:31in the newspaper
23:32New York Evening Mirror
23:33the meter is the trochaic octameter
23:36that is, the verse is made up of
23:37of eight trochees
23:38which are pairs of syllables
23:39of which the first is regularly accented
23:42and the second atonic
23:43the constancy of the meter
23:45it is also the repetition
23:46at the end of each stanza
23:48of the crow's cry
23:48nevermore
23:49never again
23:50which will be remembered
23:51with the chiu of the asshole
23:53pastures in the poem of the same name
23:54they create a feeling
23:56of growing anxiety
23:57and materialize the pain
23:59of the narrator
24:00for the loss
24:00of the crazy Lenor
24:01whose name comes from
24:03from the composition
24:04previous namesake
24:05the crow
24:06like many of Poe's stories
24:08the black cat
24:09the tell-tale heart
24:10it's the anatomy
24:11of the one that the author himself
24:13defines
24:13the human thirst for self-torture
24:15it's a study
24:17of irredeemable guilt
24:18which is generated
24:19from the incurable desire
24:20of self-destruction
24:21of man
24:23internal cause
24:24which is called
24:24out of the latency state
24:26from the external cause
24:26made up of the crow
24:28which is a real one
24:29catalyst for destruction
24:31inspired
24:31it is said
24:32to the crow grip
24:33by Barnaby Rudge
24:34by Charles Dickens
24:35many have been
24:36the attempts
24:37of analysis
24:38of poetry
24:38Poe's Raven
24:40one of the most evocative
24:41it is certainly
24:41the silent short film
24:42Edgar Allan Poe
24:44with a visible error
24:45of spelling
24:45of the father of cinema
24:47American
24:47David Griffith
24:48made in 1909
24:50in the centenary
24:50of birth
24:51of the author
24:52of this poem
24:53there are numerous
24:54musical adaptations
24:55we only quote
24:56the most important
24:57that I am
24:58the song
24:58Nevermore
24:59from the album
25:00Queen 2
25:00of Queen
25:01of 1974
25:02the song
25:03The Raven
25:04from the album
25:05Tales of Mystery
25:06and Imagination
25:07Edgar Allan Poe
25:08of 1976
25:10by The Alan Parson Project
25:12and finally
25:12the concept album
25:13The Raven
25:14of 2003
25:15by Lou Reed
25:16the poem
25:16the crow
25:17it's a sort of
25:17reconnaissance
25:18inside the unconscious
25:20of the narrator protagonist
25:22this reconnaissance
25:23Poe will carry it forward
25:24in the genre
25:25of the stories
25:26that are underneath
25:26the horror label
25:27which we will deal with
25:28in the next episode
25:29Thank you all
25:59Thank you all
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