Il fanciullino | Pascoli Giovanni | download Il fanciullino | Pascoli Giovanni | download

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An atheist, [2] he was entombed in the chapel annexed to his house at Castelvecchio, where his beloved sister, Maria, would also be laid to rest.

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His later poems share similar themes but are more experimental, and reflect his knowledge of classical antiquity. In a refusal of both Classicism and RomanticismPascoli opposed both the renunciation of self-analysis and the abandonment of the self-centered point of view, in favour of a semi-irrational comfort which the poet gives himself through poetry.

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He lived next to his sisters Ida and Maria, in an attempt to renew the original family, building a "nest" as he called it for the sisters and himself. From to he taught Latin at the University of Messinaand then in Pisa.

The murderer was never apprehended.

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In he and his sister Maria moved into a house at Castelvecchio, near Bargain Tuscanybought with money gained from literary awards.

Poetry, according to Pascoli, would be the unceasing capability to get stunned by the world, typical of childhood, secondarily connected to the expressive capabilities of the aged.

Pascoli composed an Ode to Passannante, which he tore up soon after reading it during a socialist gathering in Bologna. Odi e inni, Myricae Pascoli was also known as a prose essayist and for his Dante studies.

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When Carducci retired, Pascoli replaced him as professor of Italian literature at the University of Bologna. His numerous poems in Latin gained many international awards.

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The political and social turmoil of the early 20th century, which was to lead to Italy's participation in World War I and to the advent of Fascismfurther strengthened Pascoli's insecurity and pessimism.

In Pascoli was called to Rome to work for the Ministry of Public Instruction, and there he published the first version of Poemi conviviali.

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Pascoli's poetry shows interesting affinities with European symbolism, even if direct influences cannot be demonstrated.

His whole first work, Myricaereflects his unhappy childhood. In Pascoli issued a detailed definition of his poetical stance, which he called poetica del fanciullino "poetics of the child" and which showed the influence of Sully and von Hartmann.

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