Pityriasis Rosea And Hogkin

Why are poets?

1. Perché i poeti?

Perché i poeti? È la domanda che si poneva il 29 dicembre del 1946 Martin Heidegger front of a small circle of people gathered in the twentieth anniversary of the death of Rainer Maria Rilke , extraordinary poet, now removed from the Italian culture, the author of Duino Elegies and Sonnets to Orpheus .
In turn, the seemingly obscure thinker in the Black Forest quoting the elegy of bread and wine Friedrich Hölderlin: "Why are poets in times of poverty?" Or, we could translate the "need". The great poet and thinker crowds confront us with the catastrophe of the time that we still live, a time of poverty:

"The night of the world extends its darkness [...]. The absence of God means that there's no God who gather in itself visibly and clearly, people and things [...]. Because of this lack is not the world each foundation that funds [...]. The age at which there is no basis pending the abyss. Given that, in general, is still confidential at this time a turn, this can only take place if the world is turned upside down from top to bottom, that is if you flip from the abyss. In the age of the deep darkness of the world must be recognized and suffered through. But for this to take place there must be those who come to the abyss. "

2. I poeti in cammino verso l’abisso

Ebbene per Heidegger il compito di arrivare all’abisso per consentirne, eventualmente, un suo capovolgimento è il compito dei poeti nel tempo della povertà. I poeti sono coloro che possono rintracciare la direzione della Svolta.
Iniziando un lavoro di contaminazione che chiunque di voi potrà ovviamente contestarmi dal punto di vista ermeneutico o filologico, prendo ad emblema sommo di tali poeti del tempo della povertà, per così dire, un interlocutore che Heidegger disperatamente cercò, intuendone la profondità abissale, e che a lui, per motivi biografici che entrano nella nostra riflessione, si sottrasse. Sto parlando di Paul Celan, Romanian poet jew-but-speaking German, whose father died of typhus and his mother was shot by the Nazis in the concentration camp of Michajlovka, Ukraine. Celan was naturally wary of a thinker who had joined the Nazis in the Thirties, crimen unforgivable if it is true that only death in the Seine water may make peace with all the dead of his people.
Yet Celan seems to "respond" to the appeal contained in the discussions to follow Heidegger's Being and Time . It seems to be the poet who, elevated to universal experience dell'attraversamento "Orphic" of death which we are called the Holocaust , reached the abyss of poverty that characterizes the time, fled the Gods: "Praise be to you, Nobody / want for your love / flower. / Match / you, "chanting to this God / Nothing. In Argumentum e silentio has described our era, the era of poverty. The abyss that the poet first to reach, but also - this is the point often misunderstood by commentators of the Romanian poet - the "direction of the turn." Celan is a "border" or, if you will, one who reaches the bottom of the abyss, of night, silence, to start, like Dante's hell in the gut, a rise in the opposite direction though.

3. The uprising against the death

We are in the extreme desolation, the cantata in 1922 by TS Eliot's The Waste Land in , another peak of the poem to which I refer. "Will I be able to finally bring order to my country?" Asks the dejected fisherman who re-closes the poem. Can we put an order in our land? Only if we have the courage to question the whole framework on which our civilization is based, only if we pass through death and out of it (Orphic?) Renewed. Moreover, the "new life" is a perennial aspiration of the poets ... The poem becomes, therefore, luongo insurgency and resurrezionale: the insurgency is against death. "And death shall have no dominion" sings the Welsh bard Dylan Thomas in a memorable poem ... But the poet who most claimed this clash agonist / agonistic with Death is a French poet, forgotten or never occurred in the culture Italian, René Char, although published in the sixties by giants like Serena and Caproni, who unlike Celan traded with Heidegger, he of the legendary Captain Alexandre "Maquis" French, the Resistance, because he realized the revolutionary potential of his thought .
put you in front of the radical nature of his poetry in Source:

"The poems are pieces of uncorrupted existence we are launching on the face of the hideous death, but so high, bouncing on it, designating the unit will fall in the world."

"Poetry, unique ascent of man, the sun of the dead can not tarnish in a derisive perfect and infinite."

"Doing poetry is to take possession of an afterlife marriage which is well within this life, closely linked to it, and yet in close proximity of the urns of earth".

"The vitality of the vitality of the afterlife is not a poet but a point polished current admissions and transcendent journey on earth storms. "

"Having poetry in order to make customizing sovereign, we draw, thanks to the poem, the fullness of what had just sketched or deformed by the braggadocio of the individual."

"The poet, translating the plan into action inspired by converting a series of trials in charge of resurrection, forcing the oasis of cold to break through every pore of discouragement and creates glass prism, hydra effort, the wonderful , and the rigor of the flood, with your lips for his wisdom and my blood like dais. "

"Poetry is a song of departure". Poetry and action, willfully communicating vessels. The poem implies that the arrow tip of the bow action ... "The poem is

challenge to the death. Poetry is a search for a wedding beyond (in which the ego is combined, thus reducing its size ego, egocentric, selfish, than "bragging individual") which is not alluded to by the transcendent religions , the "real world" of which Nietzsche speaks , but is well within this life, in perfect "fidelity to the earth." Poetry is the song of departure. From where? From that dark place, from the abyss that Celan had explored the most desolate place that today, unwittingly, we inhabit. But not a song of farewell, resignation. For it, the poetry, the feed stock, the action of transforming the world. Joint Action, lived in the sharing between men and women of flesh and bones.
see, is not accidental that Char uses the image of the arc. Reborn in him, we might say, in the hope of Heidegger, the poetic-the thought that even the beginning of Greece had come through. Bow and lyre ... Heraclitus the Obscure, dearest Char, replicating other things: the evocative writing that combines what we conventionally call poetry and prose but also the idea epifanica della verità. Noi occidentale per attraversare la morte dobbiamo liberarci dal giogo platonico-cristiano, che la scienza moderna eredita (che tradisce il messaggio gesuano) del possesso stabile. Noi non siamo padroni e nulla che sia stabilmente è. Dobbiamo accettare l’evento, l’accadere che ci viene dato e che noi possiamo solo accogliere: «Una chiave sarà la mia dimora» dice Char. E ancora: «Se abitiamo un lampo, è il cuore dell’eterno». Noi, per dirla con Marco Guzzi , mio maestro (ai cui libri, L’uomo nascente e La profezia dei poeti devo molte suggestioni di questa serata), apparteniamo soltanto a un lampo che scaturisce ogni volta a monte di noi stessi, nel nostro Principio». Non ci sono possessi stabili: di verità, di certezze, come Platone sognava, i filosofi cristiani predicavano, i sacerdoti della tecnoscienza ripetono ogni giorno.

4. Il dominio tecnico della terra

E dove ha condotto questa “certezza”? Torniamo ad Heidegger. Nella conferenza da cui abbiamo preso le mosse scrive:

« La Natura è posta innanzi all’uomo dal rappresentare (cioè dal porre-innanzi) dell’uomo. L’uomo pone il mondo innanzi a sé come l’“oggettivo” nel suo insieme, e pone se stesso dinanzi la mondo. L’uomo puts the world to the mercy of nature and has its own [...] The man has Nature ensure it meets its objective representation. The man puts at its disposal, producing new things that he needs. He transposes the annoying things. The man is opposed to when things hinder his plans. He sets things up when he wants to promote trade and consumption [...] The man confronts the world as the face of an object [...]. Modern man is revealed that should be imposed - in any relationship to anything, and therefore, even himself - as the producer who has organized its uncontrolled aimed at world domination [...] The Earth and its atmosphere become raw materials. The man himself becomes human material, used in accordance with established plans [...]. Modern science and the totalitarian state, as necessary consequences of the essence of the art, are thereby concomitant phenomena. The same applies to forms and methods devised for the organization of world public opinion and beliefs of everyday people. "

5. Poetic view of the emerging

If this is not desertified condition of the twenties but still our era as we know, what poetry has to argue? What is his, and I quote a friend of Char Camus knowingly, "revolt"? In the absence of men Dylan Thomas shows what the conquest of poetry. The poet wins the "sovereign gaze" that oxymoron, is - as desired by the king Tao - boy look capable of astonishment before the world left to be what it is.
In times of poverty, the poet reaches the abyss, through death, having donated his eyes (or listening) purified, leaving trees and animals again be what they are, without "objectified" (ie look at them and treat them as items for his will to power). The poet is l’incarnazione di quella “grazia” per cui, nel mondo dominato dalla necessità e dalla forza, come insegna la Weil , entra il miracolo del dono e del perdono, dell’amore e della bellezza.

6. La “vera presenza” della poesia

Ma perché proprio la poesia ha questo ruolo assolutamente decisivo? Qual è la qua qualità specifica che rende possibile tale miracolo? Per arrivare alla nostra conclusione ci aiutano le parole dell’unico poeta vivente che citerò stasera, la cui opera, incredibilmente, è da pochi mesi disponibile in traduzione italiana. Si tratta di Yves Bonnefoy , refined critic and lover of the great Italian art. Well, it Bonnefoy The challenge of poetry western states that the continued risk faced by man - in the process of conceptualization which also was responsible for the birth of civilization - is that "things" slip away.

"When something has been drawn by one thing or a being, they had their own reality within the world of existence [...] This is what was the thing to which the concept has drawn a look: a reality that will never happen again. I shall call this way of being present [...] The concept [...] does not, however neither beginning nor end, nor space, and non sa nulla del caso, non ne godrà né lo patirà. Quella rosa è vicina al vecchio muro, mentre il concetto di rosa è in uno spazio mentale, costituito da relazioni ovviamente e totalmente pure quanto una formula algebrica. E da questa scissione tra concetto e presenza consegue che il discorso concettuale non potrà mai capire dall’interno quella realtà esistenziale che pure è la nostra».

La poesia, dunque, è rimembranza (termine non casualmente leopardiano ripreso da Bonnefoy) nel discorso della presenza stessa che quel discorso annulla. Ma come è possibile tale paradosso? Perché alla poesia è possibile, utilizzando gli stessi mattoni del discorso concettuale, cioè la words, construct a building radically different? Why does the poem sound, the sound dimension have a decisive importance. Normally the appearance of sound, in everyday use, for example, you lose. In the poem, no. The sound ensures the presence (the "real presence", let me quote my beloved Steiner) of the thing.

"Just hear the sound, and the presence of memory comes to mind, which then turns towards that thing with a new look [...]. The sound of the word in the language that preserves the same reality that dissolves the language [...] It is sufficient that [the poem] uses the words from the sounds, and concepts will be made in danger, their authority will be weakened [...]. Contact is found with its presence. That's why [...] the full presence of an object or person, is the challenge [...] poetry in a society that forgets that voting is a representation. "

the society of the spectacle, in the society of simulacra, the poetry of the real presence is an act arising out, revolt permanent

" The poet, curator of the infinite faces of living things' (René Char) .

(Summary of REQUIRED November 24 AT THE FOUNDATION OF THE ROMAN Gerald TELESE)