ACCOUNTANT AND SINGER. Eugenio Montale was born in Genoa October 12, 1896 into a wealthy bourgeois family: his father's care chemicals. He graduated as an accountant with difficulty and without having any attitude, and studied singing. He was 21 in 1917, when he was enlisted: in Parma, in a course for officer cadets, he met the critic and poet Sergio Solmi; Vallarsa fought in Trentino. He had already written the early poems, and kept a diary (it was published in 1983: Journal of Genoa).
intellectuals of Genoa and Turin. At 24, when he was laid off, began to attend the writers who gathered at the Café Diana's Galleria Mazzini: Camillo Sbarbaro, Angelo Barile, Adriano Grande, Oscar Saccarotti. Solmi introduced him in the intellectual Turin.
TO 29 YEARS. In Turin Gobetti published the first collection of poems of Montale: Ossi di sepia. That same year, 1925, Montale published in the journal of The Gobetti Baretti the first in a series of essays: "Style and Tradition" and the journal The Review essay "Homage to Italo Svevo," with which finally ended - in Just three years after death - the complete silence of criticism over what was the only Italian writer with a European. In 1925 Montale also signed the anti-fascist demonstration of the Cross.
A Montale Svevo's novels had them read Bazlen Bobi (1900-1965), intellectual Trieste, who played an important role in the Italian culture and the early twentieth century through his personal contacts and its activities editorial consultant.
Letter to Bobi
dint of exclusions
t'era left so that you could
holding in your hands, and was one of those if
n'accorgeva. Did I follow
many times without your knowledge. I have traveled several times via
Cecilia de Rittmeyer
where I met your old mother,
found his terrific love visually.
Del father was the piegabaffi
and maybe a bible evangelical. I tasted
the galaxy of your friends,
object of your experiments more or less
failed to create or destroy marital happiness. They were the first
your friends, others followed
I've never known.
was shaped as a legend
your paper, unreliable. Now they say that you were a teacher
unheard, you
: you've had too many to
ears open and you do not have warned. Confessor
unacknowledged
could not give anything to those who were not already on your way.
Your way you have won even if they have lost everything
listeners. With this letter you can read
than ever I say goodbye and not
aufwiedersehen
and this in a language they did not love, it is of no
Stimmung.
(from Diary of '71 and '72)
FIORENTINA intellectual life. In 1926 Montale met the American poet and critic Ezra Pound (1885-1972): the Anglo-Saxon literature was always for him an important point of reference. In 1927 he began working at the publishing Bernporad in Florence, where it remained for twenty years and in 1929 he was appointed director of scientific and literary Vieusseux Cabinet, a position he had to leave in 1938 because of the card free of the fascist party. In those years he participated actively in the intellectual life of Florence (met Vittorini, Gadda, Quasimodo, Luzi, Bo, Nello Rosselli and many others, worked in Solaria, in Literature and other journals, he worked as a translator.
inspirations Montale. In Florence he met in 1927 Drusilla Tanzi, who would later become his partner and wife (died 1963), and in 1933 Jrma Brandeis, American scholar of Dante (he was Jewish, and in 1938 was forced to because of the racial laws to return to America). Other women were important in his life and his poetry and between Anna degli Uberti known between 1920 and 1923 during summer holidays spent in Monterosso, Liguria, where his father had built a villa.
the second collection. In 1939 he published a volume of verse deals. In 1943 the critic Gianfranco Contini's had printed in Switzerland Finisterre, the first collection of poems The core of the storm and another (1956).
THE WAR AND THE POST-WAR. During the Nazi occupation Montale hosted at his home in Florence several friends forced underground, such as Carlo Levi, and Umberto Saba. After the liberation of the city in 1945, he joined the Action Party, which brought together those who are not recognized in the left Stalinist, but looked to a left-liberal with a European. It belonged to the Committee on Culture and art appointed by the National Committee of Liberation. After a serious illness of his wife began to paint.
as a journalist. In 1948 he was hired as a journalist from Corriere della Sera: shared a room with Indro Montanelli. Since 1955, he was also music critic of the Corriere d'information. His articles were collected music criticism in Prime alla Scala (1983); reportages he wrote as a correspondent in travel away from home (1969); articles of costume and other prose in DAFE Cars (1966) and in our time (1972), literary essays on poetry (1976), the translation of poetry (from Shakespeare, Emily Dickinson, Hopkins, Melville, Thomas Hardy, Maragall, Joyce, Milosz, Yeats, Djuna Barnes, Pound, Eliot, Guillén, Leonie Adams, Dylan Thomas, Cavafy) in notebook translations (1948).
other collections of verse. In 1956 he released his third collection of poems, War, and more. In 1958 he published a collection of short stories: Butterfly of Dinard. His wife died in 1963 dedicated Xenia, which formed the first part of the Vivid collection, published in 1971, when he was 75 years. Other collections of poems were later published in the Journal of '71 and '72 (1973), notebooks of four years (1977), Other verses (1980).
Life Senator and Nobel. In 1967 the president Giuseppe Saragat appointed him senator for life "for having honored the Nation in the literary and artistic." In 1975 he was awarded the Nobel Prize for literature. He passed the old Milan, assisted by Gina Tiossi housekeeper, who was already with him in Florence. He died aged 85, September 12, 1981.
recommend to my descendants (if you will) in the literary
which is unlikely to make a nice bonfire
covering
all my life, my facts, my nonfatti. I'm not a
Leopardi, leaving little firewood
and is already too live in percentage.
lived at five percent, do not increase the dose
. Too often, instead it rains in the wet
(from Diary of '71 and '72)
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