The following paper consists of a study on Pascoli's poem L’ultimo viaggio, one of the most complex among those included in the poetry collection of Poemi Conviviali. In order to frame the disputed of origin, the first part is dedicated to the analysis of the macrotext in which the poem under examination is inserted, of which are deepened: the genetic history, lasting ten years but which can be divided into three different phases of work; the complex internal structuring bearing a specific meaning; the analysis of the main themes, with particular attention to the metapoetic meaning; and the metric ancd stylistic choices adopted by its author. After this introductory part, the real analysis of the poem begins in the second chapter, wich deals with the problem of its complex compositional history. In fact, since the text was written at the same time as many other poems in 1903, only a year before the release of the collection, it is still very complex to trace its genesis today. The paper, therefore, limits itself to reviewing, according to a chronological criterion, three philological contributions made on the subject by various scholars and, then, to draw up a brief general conclusion. Moreover, in this part dedicated to the philological problem si also treated the problem of its textual rendering: the way in which it has been interpreted and resolved by the various critics, who have included in their works a reproduction of the text of the poem, the fall of line 19, which occurred during the transition from the 1905 edition to the 1910 edition of Poemi Conviviali. The third chapter, on the other hand, first analyzes the internal subdivision of the poem, composed of 24 cantos which are in turn divided into two parts of 12 each, and then analyzes its relationship with the reference models and metric and stylistic choices adopted by the author. In particular, it is highlighted how Pascoli built his own text, reworking and contaminating both ancient sources concerning the myth of Ulysses, such as the Homeric poems, Hesiod's works and canto XXVI of Dante's Inferno, and modern ones, such as Tennyson's Ulysses and Arturo Graf's L’ultimo viaggio di Ulisse. Finally, the last part concludes the study, addressing the problem of content. L’ultimo viaggio, in fact, is a poem with a meaning that is difficult to define, whose exegesis still remains open today and is constantly enriched by always different interpretative tracks, based on the perspective from which it is analyzed. In order to deal with the subject in an exhaustive and complete manner, therefore, the paper, on the one hand, will focus on reviewing the most important critical hypothesis developed by scholars over the years and, on the other, to create a analysis of the plot of each single canto, in which the most significant parts and their symbolic meaning are highlighted.
Il seguente elaborato consiste in uno studio del poemetto pascoliano L’ultimo viaggio, uno dei più complessi tra quelli inclusi nella raccolta dei Poemi Conviviali. Al fine di inquadrarne il conteso di provenienza, la prima parte è dedicata all’analisi del macrotesto in cui il componimento preso in esame è inserito, di cui vengono approfonditi: la storia genetica, di durata decennale ma suddivisibile in tre differenti fasi di lavoro; la complessa strutturazione interna portatrice di uno specifico significato; l’analisi delle tematiche principali, con particolare attenzione al significato metapoetico; e le scelte metrico-stilistiche adottate dal suo autore. Dopo questa parte introduttiva, comincia la vera e propria analisi del poemetto, che nel secondo capitolo affronta, per prima cosa, il problema della sua complessa storia compositiva. Infatti, dal momento che il testo viene scritto contemporaneamente a molti altri poemetti nel 1903, solo un anno prima dell’uscita della raccolta, ancora oggi risulta molto complesso tracciarne la genesi. L’elaborato, dunque, si limita a passare in rassegna, secondo un criterio cronologico, tre contributi filologici realizzati sull’argomento da diversi studiosi, per stilarne poi una breve conclusione generale. Sempre in questa parte dedicata alla questione filologica riguardante L’ultimo viaggio, inoltre, viene anche trattato il problema della sua resa testuale: ovvero il modo in cui è stata interpretata e risolta da parte dei diversi critici, che hanno incluso nei loro lavori una riproduzione del testo del componimento, la caduta del verso 19, avvenuta durante il passaggio dall’edizione del 1905 a quella del 1910 dei Poemi Conviviali. Il terzo capitolo, invece, passa, prima, ad analizzare la suddivisione interna del poemetto, composto di 24 canti a loro volta suddivisi in due parti di 12 ciascuna, e poi ad approfondire il suo rapporto con i modelli di riferimento e le scelte metriche e stilistiche adottate dall’autore. In particolare, viene evidenziato come nella sua strategia compositiva Pascoli abbia costruito il proprio testo, rielaborando e contaminando fonti riguardanti il mito di Ulisse sia antiche, come i poemi omerici, le opere esiodee e il canto XXVI dell’Inferno di Dante, che moderne, quali l’Ulysses di Tennyson e L’ultimo viaggio di Ulisse di Arturo Graf. L’ultima parte, infine, conclude lo studio, affrontando il problema del contenuto. L’ultimo viaggio, infatti, si caratterizza per essere un poemetto con un significato di difficile definizione, la cui esegesi rimane ancora oggi aperta e viene costantemente arricchita da piste interpretative sempre diverse, in base alla prospettiva da cui lo si analizza. In modo da trattare l’argomento in maniera esaustiva e completa, dunque, l’elaborato, da una parte, si dedicherà a passare in rassegna le letture critiche più importanti sviluppate dagli studiosi nel corso degli anni, e dall’altra, a realizzare un’analisi della trama di ogni singolo canto, in cui vengano messi in luce gli snodi narrativi più significativi e il loro significato simbolico.
"E t'increbbe il detto / minor del fatto". Per uno studio dell'Ultimo viaggio di Giovanni Pascoli.
SBARUFATTI, DEBORA
2021/2022
Abstract
The following paper consists of a study on Pascoli's poem L’ultimo viaggio, one of the most complex among those included in the poetry collection of Poemi Conviviali. In order to frame the disputed of origin, the first part is dedicated to the analysis of the macrotext in which the poem under examination is inserted, of which are deepened: the genetic history, lasting ten years but which can be divided into three different phases of work; the complex internal structuring bearing a specific meaning; the analysis of the main themes, with particular attention to the metapoetic meaning; and the metric ancd stylistic choices adopted by its author. After this introductory part, the real analysis of the poem begins in the second chapter, wich deals with the problem of its complex compositional history. In fact, since the text was written at the same time as many other poems in 1903, only a year before the release of the collection, it is still very complex to trace its genesis today. The paper, therefore, limits itself to reviewing, according to a chronological criterion, three philological contributions made on the subject by various scholars and, then, to draw up a brief general conclusion. Moreover, in this part dedicated to the philological problem si also treated the problem of its textual rendering: the way in which it has been interpreted and resolved by the various critics, who have included in their works a reproduction of the text of the poem, the fall of line 19, which occurred during the transition from the 1905 edition to the 1910 edition of Poemi Conviviali. The third chapter, on the other hand, first analyzes the internal subdivision of the poem, composed of 24 cantos which are in turn divided into two parts of 12 each, and then analyzes its relationship with the reference models and metric and stylistic choices adopted by the author. In particular, it is highlighted how Pascoli built his own text, reworking and contaminating both ancient sources concerning the myth of Ulysses, such as the Homeric poems, Hesiod's works and canto XXVI of Dante's Inferno, and modern ones, such as Tennyson's Ulysses and Arturo Graf's L’ultimo viaggio di Ulisse. Finally, the last part concludes the study, addressing the problem of content. L’ultimo viaggio, in fact, is a poem with a meaning that is difficult to define, whose exegesis still remains open today and is constantly enriched by always different interpretative tracks, based on the perspective from which it is analyzed. In order to deal with the subject in an exhaustive and complete manner, therefore, the paper, on the one hand, will focus on reviewing the most important critical hypothesis developed by scholars over the years and, on the other, to create a analysis of the plot of each single canto, in which the most significant parts and their symbolic meaning are highlighted.È consentito all'utente scaricare e condividere i documenti disponibili a testo pieno in UNITESI UNIPV nel rispetto della licenza Creative Commons del tipo CC BY NC ND.
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https://hdl.handle.net/20.500.14239/2609