A groundbreaking translation of the epic work of one of the great minds of the nineteenth centuryGiacomo Leopardi was the greatest Italian poet of the nineteenth century and was recognized by readers from Nietzsche to Beckett as one of the towering literary figures in Italian history. To many, he is the finest Italian poet after Dante. (Jonathan Galassi’s translation of Leopardi’s Canti was published by FSG in 2010.) He was also a prodigious scholar of classical literature and philosophy, (...) and a voracious reader in numerous ancient and modern languages. For most of his writing career, he kept an immense notebook, known as the Zibaldone, or "hodge-podge," as Harold Bloom has called it, in which Leopardi put down his original, wide-ranging, radically modern responses to his reading. His comments about religion, philosophy, language, history, anthropology, astronomy, literature, poetry, and love are unprecedented in their brilliance and suggestiveness, and the Zibaldone, which was only published at the turn of the twentieth century, has been recognized as one of the foundational books of modern culture. Its 4,500-plus pages have never been fully translated into English until now, when a team under the auspices of Michael Caesar and Franco D’Intino of the Leopardi Centre in Birmingham, England, have spent years producing a lively, accurate version. This essential book will change our understanding of nineteenth-century culture. This is an extraordinary, epochal publication. (shrink)

_Selections from Leopardi’s prose masterwork, _Zibaldone_, one of the great intellectual diaries in European literature, expertly translated by Tim Parks__ _Revenge__—Revenge is so sweet one often wishes to be insulted so as to be able to take revenge, and I don’t mean just by an old enemy, but anyone, or even by a friend_._—from _Passions_ The extraordinary quality of Giacomo Leopardi’s writing and the innovative nature of his thought were never fully recognized in his lifetime. _Zibaldone_, his 4,500-page (...) intellectual diary—a vast collection of thoughts on philosophy, civilization, literary criticism, linguistics, humankind and its vanities, and other varied topics—remained unpublished until more than a half-century after his death. But shortly before he died, Leopardi began to organize a small, thematic collection of his writings in an attempt to give structure and system to his philosophical musings. Now freshly translated into English by master translator, novelist, and critic Tim Parks, Leopardi’s _Passions _presents 164 entries reflecting the full breadth of human passion. The volume offers a fascinating introduction to Leopardi’s arguments and insights, as well as a glimpse of the concerns of thinkers to come, among them Nietzsche, Dostoyevsky, Wittgenstein, Gadda, and Beckett. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Canti VI, Bruto Minore GIACOMO LEOPARDI (Translated by Steven J. Willett) To Peter Green After Italian Valor, lying in Thracian dust an immense ruin, had been uprooted, then in the valleys of green Hesperia, on Tiber’s shore, Fate prepares the tramp of barbarian horse, and from naked forests oppressed by the freezing Bear, calls forth the Gothic swords to overthrow Rome’s renowned walls; sitting alone, soaked in (...) brothers’ blood, through black night in a desolate site, Brutus is determined to die, and the implacable gods and Hell itself he accuses with savage cries and strikes the somnambulant air in vain. Fatuous Valor, the empty mists, the fields of unquiet phantoms are your schools, and behind you strides remorse. To you, marmoreal gods, (whether you reside in Phlegethon or the clouds), to you a laughingstock and mockery is the miserable race from whom you extort temples and a fraudulent law insulting to mortals. Is heaven’s wrath, then, so provoked by terrestrial piety? and do you then sit, Jove, impiety’s protector? and when storm clouds exult through the air, and when arion 27.1 spring/summer 2019 you hurl the swift thunderbolt, do you cast the sacred fire on the just and faithful? Invincible destiny and iron necessity crush the sickly slaves of death: and if nothing avails to end their indignities, the common man takes comfort in their necessity. Is the evil without cure less harsh? Does he feel no grief who’s stripped naked of hope? War to the death, eternal, o ignoble fate, the valorous man wages, incapable of surrender; and your tyrannical right hand, victorious as it bears him down, indomitable he shrugs off with a valiant show, when in his noble side the bitter blade runs with blood, and malignly he smiles at the darkening shadows. He displeases the gods who violently breaks into Tartarus. No such courage could be found in their feeble, eternal breasts. Perhaps our torments, perhaps our bitter accidents and wretched passions heaven created as a pleasing spectacle for their idle hours? Not between calamities and crimes, but free in the forests and pure Nature appointed us, once our queen and goddess. But since on earth impious custom has destroyed the blessed realms and subjected our miserable life to other laws; when a virile soul rejects his luckless days does Nature return, and accuse the arrow that’s not hers? 166 CANTI VI, bruto minore Ignorant of guilt and their own misfortunes are the fortunate beasts; serene old age guides them to an unforeseen passage. But if they dash their foreheads on rough tree-trunks or from a mountain cliff cast bodies headlong to the winds, moved by their anguish, against that miserable desire would stand no arcane law or shadowy conception. You alone, among the numerous progeny that heaven created, alone among all, children of Prometheus, regret life. Alone o wretched ones, to you Jove bans, if sluggish fate delays, the shores of death. And you, from the sea stained by our blood, you rise bright moon, and explore the unquiet night and the deadly battlefield of Italian Valor. The victor tramples on kinsmen’s breasts, the hills shudder, from her highest summits ancient Rome collapses— and are you so placid? You saw the birth of Lavinia’s offspring, and their years of happiness, and the memorable victories; and on the mountain peaks you pour your immutable silent light when, in the wreck of the servile Italian name, this solitary place will echo beneath the barbarian tramp. Giacomo Leopardi 167 Here among naked rocks or on green boughs, beast and bird, breasts heavy with their habitual oblivion, ignore the profound ruin and the altered destiny of the world: and as the rooftop of the industrious peasant first glows red, with its morning song the one will wake the valleys, while through high slopes the other will startle the helpless multitude of smaller creatures. Oh destiny! oh insensate race! we are an abject part of things; neither the bloodstained soil nor the howling caves has our calamity ever perturbed, and no human cares stain the stars. Neither to Olympus’ or Cocytus’ deaf kings, or to the unworthy earth, and... (shrink)

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Si indagano le ragioni letterarie che motivarono l’interesse di Leopardi per due opere di Francesco Maria Zanotti : i tre dialoghi Della forza de’ corpi che chiamano viva , scritti "per ingannare il tempo", e la satira antilockiana Della forza attrattiva delle idee . L’analisi viene incentrata sulle strategie paratestuali, retoriche e poetiche sfruttate abbondantemente da Zanotti in questi testi che tutti e due esulano dalla comunicazione scientifica canonica. La presa in considerazione di questi procedimenti risulta indispensabile per capire (...) meglio il messaggio filosofico di Zanotti, nonché per circoscrivere l’influsso degli scritti zanottiani sull’opera di Leopardi. (shrink)

Giacomo Leopardi, a major Italian poet of the nineteenth century, was also an expert in evil to whom Schopenhauer referred as a “spiritual brother.” Leopardi wrote: “Everything is evil. That is to say, everything that is, is evil; that each thing exists is an evil; each thing exists only for an evil end; existence is an evil.” These and other thoughts are collected in the Zibaldone, a massive collage of heterogeneous writings published posthumously. Leopardi’s pessimism assumes a (...) polished form in his literary writings, such as Dialogue between Nature and an Islander (1824)—an invective against nature and the suffering of creatures within it. In his last lyric, Broom, or the flower of the desert (1836), Leopardi points to the redeeming power of poetry and to human solidarity as placing at least temporary limits on the scope of evil. (shrink)

The major themes and human concerns expressed in Leopardi's writings are related to his life experiences and to the historical period in which he lived. Of central interest are the book's discussions of nobility and love as these two themes evolve and change as Leopardi acquired a more general and universal conception of life. The fascinating admixture in his work of classical and modern perspectives on life and literature is highlighted throughout the book.

The editors of the recently published English translation of Giacomo Leopardi’s Zibaldone—the philosophical and philological commentary/notebook begun in the summer of 1817, when he was 19 years of age, and abandoned in the winter of 1832, four years before his death in Naples—note that for the first time, in his entry on April 20, 1821, Leopardi supplements the date of the secular calendar with a Roman Catholic festival, such as Good Friday.1 Leopardi’s references to the Catholic calendar (...) increase in early 1822 and continue with greater frequency until the reference to Holy Week 1829. These cited festivals range from major holidays, such as Christmas and Easter (Z 4254.. (shrink)

After a brief introduction about the problem of leopardian sources, I wish to introduce here a description of the diffusion of Addison’s theories about the Imagination in Italy at the time of Leopardi, trying to highlight their influence on his thinking and his philosophy. The third chapter is dedicated to the analysis of an important excerpt of the Zibaldone where Leopardi quotes Addison and his Catone to introduce an interesting reflection about the pleasure of beauty and the role (...) of imagination, almost as a way to face Addison issues.This excerpt represents an occasion to compare the theories of Addison and Leopardi about Aesthetics and also the similarities and the differences between them. The last part of the paper is dedicated to the results of the analysis and the conclusions. (shrink)

In Leopardi’s writings the idea of the monster/monstrous means a deviation from nature or a consequence of something that is considered monstrous because it belongs to, or reflects a taste or a set of criteria of evaluation belonging to another time or place. There is therefore both an absolute and a relative meaning of monster/monstrous, according to whether it refers to the real history of mankind, which progressively diverged from nature, or to the imaginary foundation of taste and judgement. (...) Nonetheless, these two moments are intertwined and refer one to the other reciprocally. In fact, the real difference between humanity and nature is the source of every imagination about monstrosity. One might even say that the notion of the monster/monstrous is the chain that links the ‘real’ and the ‘imaginary’ because it is the result of a miscalculation that makes a mere partial viewpoint absolute. (shrink)

Resumo: Em oposição à leitura de Friedrich Nietzsche, a do pessimismo leopardiano justificado como expressão de "decadência fisiológica" e Leopardi identificado com o "anjo decaído" romântico, defende-se, neste escrito, a leitura de Walter Benjamin que revela o aspecto revolucionário e prático de um "anjo irônico", conforme a designação benjaminiana. Empreende-se aqui um diálogo entre os argumentos de Benjamin, apresentados na sua resenha [Kritiken und Resenzionen - 1928] dos Pensieri leopardianos, e a obra de Leopardi, Canti e Zibaldone di (...) pensieri: algo necessário para esclarecer também o teor da sua "filosofia desesperada" e, igualmente, o seu aspecto de crítica do presente.Palavras-chave: pessimismo - anjo irônico - decadência fisiológica - filosofia desesperada.: This work supports Walter Benjamin's understanding, which reveals the revolutionary and practical aspects of the "ironical angel" according to Benjamin's designation, as opposed to Friedrich Nietzsche's judgement of the leopardian pessimism justified as the expression of physiologic decadence, and Leopardi identified as a "decayed romantic angel". Here a dialogue is endeavored between Benjaminian arguments, presented on his leopardian Pensieri digest [Kritiken und Resenzionen], and Leopardi's work, Canti e Zibaldone di pensieri: something necessary to enlighten the contents of his "desperate philosophy" , as well as, the aspects of his critique of the present. (shrink)