The lyrical poetry of Giorgio Caproni has an intoxicating quality. His early poems seems to be invested from a mixture of aromas and scents, blasts and breaths, urges and yearnings, flames and voices, already introduced in "Come un’allegoria" (1936). "Ballo e Fontanigorda" (1938) enables the inclusion of the sea and its breezes, which is increased, developed and confirmed in "Finzioni" (1941). This essay aims to highlight such appearances as the boy in "Fine di giorno" and the maiden in "San Giovanbattista", and explores those characteristic Capronian moments when fleeting but concrete human pass by.
A stento a fianco (su i passanti nella poesia di Giorgio Caproni)
FERRARO, ALESSANDRO
2012-01-01
Abstract
The lyrical poetry of Giorgio Caproni has an intoxicating quality. His early poems seems to be invested from a mixture of aromas and scents, blasts and breaths, urges and yearnings, flames and voices, already introduced in "Come un’allegoria" (1936). "Ballo e Fontanigorda" (1938) enables the inclusion of the sea and its breezes, which is increased, developed and confirmed in "Finzioni" (1941). This essay aims to highlight such appearances as the boy in "Fine di giorno" and the maiden in "San Giovanbattista", and explores those characteristic Capronian moments when fleeting but concrete human pass by.
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