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L'identità di Thomas Chatterton e l'ordine della poetica

Argomento della tesi è l’adolescente Thomas Chatterton (1752-70), poeta inglese precursore del romanticismo britannico, che ha avuto una notevole fortuna tra i famosi poeti inglesi romantici del Sette/Ottocento che noi conosciamo per tradizione (Keats, Coleridge, Wordsworth), arrivando fino a noi e in Germania, in ogni settore dell’arte (poesia, pittura, librettistica, musica). Chatterton, a mio parere, non è mai stato preso nella giusta e meritata considerazione, per quanto concerne la sua poesia in Modern English. Infatti, la sua fama è legata soprattutto alle composizioni/contraffazioni di Thomas Rowley. (Il giovane poeta, infatti, aveva deciso di spacciare i testi di Rowley per scritti effettivamente vergati da un sacerdote del Medioevo, Thomas Rowley, appunto.)

Io mi sono occupato specificamente del Chatterton “vero” (quello che scriveva nella lingua del suo tempo), selezionando un numero di componimenti (63 in totale). La struttura da me architettata cerca di toccare diversi aspetti: quello diplomatico-testuale (collazione di due edizioni storicamente importanti: 1803 [a cura di Robert Southey e Joseph Cottle] e 1971 [a cura di Donald S. Taylor]), traduttivo (versione stilisticamente libera racchiusa in un riquadro), storico/descrittivo e di delucidazione (note marginali esplicative), contestuale (cappello introduttivo per ogni item).

La prefazione, oltre a parlare dell’Autore, avanza riflessioni di carattere estetologico sulla poetica e sul concetto di identità nella (scienza della) poesia.

Mostra/Nascondi contenuto.
1 SUPPORTING DOCUMENT STRUCK by the surprising store of nuances shed by Wallis’s portrait of Chatterton, I decided to study a personality which rose above the ordinary thoughts I had in mind in that moment. Windows on the representation were effectively an effacement of poetics, literature, theory, even though I trusted in these methods. I had the impression of a lad who needed to make it up with himself. Verily I knew why I was going to the Tate Gallery that day. Wallis’s painting was my aim. There was a blow-up in the Tube Station, too. Hence I realised the place was not far. I’d never been to the Tate. I remember I met with an aged Irish couple and asked about the location of the Gallery: the conversation centred around Italian weather and the reason why I was in London. We said goodbye and parted. I don’t recall the path to the room, nor do I recall the adjoining subjects once there. The canvas was not big. The frame didn’t strike me. However, the name of Thomas Chatterton was not new. When I was adolescent, my father mentioned it and I had recorded it. I had never shared my musings with an apparition before. I immediately noted the difference between Chatterton and Leopardi. The latter had a specific idea of poetry, while the former had not, for being a miscellaneous author without a thematic core, thus resembling a precipitous, snatchy putting-out system: no collected meditations, just a series of poems to abridge a genre. And the genre was always custom-tailored, although the author was a child. That meant he had a Weltanschauung. This struck me. Maybe a child is apt to enclose the world in a gaze. This thesis is an attempt at a panorama of Chatterton as Chatterton, without considering the myth of Rowley, which constitutes his other identity. George Gregory is right when he splits his ‘bio’ into two, Chatterton and Rowley, thinking of them as two discrete individuals. So I tried not to confuse the issue: Chatterton was my object. The Clarendon canon has been my main source. Since Donald Taylor made a terrific labour, he is my principal reference. Chatterton was a satirist, a love poet, a nostalgia poet. He was capable of mixing diverse characteristics in a single composition without generating tonal frost. Clifton is an example. I essayed to establish the value of his poetics, even though I didn’t fix a direct mode of it: I illustrated the theme, the question, the plight, without individualizing the motifs round Chatterton’s ID. I would be juster to myself, if I recognised a firm relation between my posture and my object. To my mind there is no sharp distinction between authorship and authorial context. When in the preface I state the contrary, I guess it is a way to exorcise my inner conviction. As to the analysis of the pieces, the organization of the elements in the page is the best I could develop. The introductory note (or lead), the marginalia, the collation notes and the version set in a thin box have been partially suggested by the typographical ‘philosophy’ of a high school anthology. The layout is L 1 -oriented, the translation being a standing independent completion. Obviously my analytic limitedness can be a flaw, but I did my best to make up for the informative lacunas I happened to notice step by step. Yet if limitedness is a synonym for incompleteness, I put up with it, because imperfection is to be found in any work. I didn’t see any excursiveness in my way to see things through. A crescendo of positive sentiments and architectural motions is a spring of vague disquietude which validates a vanquishing variance of morale: a variegated typology of argumental impact is a trip amidst the folds of a calculated life. In my opinion Chatterton had not a unique romantic fluid: doubtless he was a poet, but he none the less looks like a real professional. In the category of literati he showed an unconquerable self-confidence, which in all probability was just a seeming baluster. I individuated a secure, infantile industriousness in him, then I picked it up and reduced the apparent capabilities to concrete fatigue: the will to be strong before an elapsing heart. He wanted to handle his interior condition as he liked. It is not easy to conduct such a game, when the game is you. Chatterton is inly incoherent, nervous, soundly egoistic, so it’s usually hard to isolate a dominant feeling in him. I think he couldn’t control the continuous rehash of his changing properties. To elaborate something is at times to suppress the afflatus wrapped up in the solicitous dozing of a poet. Therefore I laid nuances aside, lest a facile loquacity should ruin the haywire kneading. Too many elucidations transform the work into an irreparable lossmaker. An emotional lossmaker. Chatterton tended to be numb, so I have been, as it were, blockish. In rendering I have not been prolix like he was: he utilised many words when he could employ one. His style has often a quasi- baroque resolution. I got the appliance, but I decided I shouldn’t be finical nor doughy. I don’t love to traipse round criticism, so when

Tesi di Laurea

Facoltà: Lingue e Letterature Straniere

Autore: Stefano Musumeci Contatta »

Composta da 229 pagine.

 

Questa tesi ha raggiunto 1664 click dal 06/07/2005.

 

Consultata integralmente una volta.

Disponibile in PDF, la consultazione è esclusivamente in formato digitale.