Poesia dal silenzio e Sorgegondolen, Tomas Tranströmer, Crocetti e Herrenhaus [Recensione] :: LaRecherche.it

Poesia dal silenzio e Sorgegondolen, Tomas Tranströmer, Crocetti e Herrenhaus [Recensione] :: LaRecherche.it



At the time of the news of the award of the Nobel Prize to Tomas Tranströmer, now is the time to switch to direct knowledge through reading of his texts. Among the major Swedish poets contemporary, the octogenarian Tranströmer, just graduated at home, has to his credit a number of poems rather content covering a period from the first collection of 1954 (17 Dikter) to the latest release of 1996 (Sorgegondolen). Not very known in Italy, have so far been published in our country only two works: in Sorgegondolen 2003. The dismal gondola, for Herrenhaus, translated and edited by Gianna Chiara Isnardi with an excellent critical apparatus and the Poetry Anthology by the silence, by Maria Cristina Lombardi, published by Crocetti premiered in 2001 and these days the third edition. Known and appreciated all over the world even before the highest award just got, it could be termed as Tranströmer a metaphysical poet of the mystery, which opens to the contemplation of nature landscape mirror of the soul and speak both languages with their silence, created as a counterpoint from the human Word who retires in decipherment of listening. It comes out a dictated, clear, concise, free from unlike noun. As measured on musical tones. It is in front of a cartesianesimo and a geometry of space and time outdoors, in their internalization open to metaphoric oxymoron of perception played out in a gestalt dimension, that Word so much just to access the sublime and the panic of the landscape, you make Elegy of anguish, of existence, of disease, of death, of emptiness, of the shadow of night. Space and time caught in their transience at the beautiful and sublime, which open at the same time a fullness of being of the soul. Tranströmer's poetic feature seems to be an elegy panica of existence, in which death and mourning are somehow cope with anxiety in more to solve the aporia of despair. In this sense Kierkegaard seems to be behind the psychological excavation, which thus becomes, rather than psychological, spiritual, opening to the musical spheres of a dimension other than on Earth, in which the poet says "Son carried in my shadow//like a violin in his black bag", but a glimpse of the possibility that in the shadow of his violin case will continue to play forever. Metaphysical realism, therefore, to the extent that Tranströmer captures the reality of existence, which if played in the sa transform empty authenticity of pessimism into optimism full of hope. The fragmentation of the verses, the ellipses almost continues, the allusion, the frequent oxymoron, metaphor, typical of the poet, are to indicate how the man is fragile, it is characterized by the confines of this space and this time. But let us see some possibility of authenticity to counteract the chatter: silence, which slowly makes place to poetica, which opens to clear of salvation, to that God, who, while not mentioned, is. It seems to say that Tranströmer, along the lines of Kierkegaard, is shown with his poetry, rather than to meet the time, to meet eternity.