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The activity of the Director and the latest works

In 1947 Brecht returned to Europe, stopping first in Switzerland, where he met M. Frisch and edited (1948) its most important theoretical essay, the Kleines Organon für das Theater (Breviary of theatrical aesthetics); in October joined at the invitation of the German Democratic Republic to settle in East Berlin. The representation of Mutter Courage at the Deutsches Theater of East Berlin in 1949, the protagonist Weigel, marked the birth of the Berliner Ensemble, which in 1954 s the resettled, where is still in the old Schiffbauerdamm, and to which Brecht devoted a strenuous activities until death. In this last decade in Berlin because both absorbed by the activity of filmmaker who gave fruits drugs, both because frequent voltage with supporters of socialist realism and with the government of Ulbricht, he no longer wrote any new work. Neither the working-class revolt in Berlin in 1953 obtained its support. Continue the Kalendergeschichten (stories from calendar), the opera production, influenced by Chinese Poetry and collection in 1956 under the title of Buckower Elegien (elegies of Buckow), and the theatrical reductions, wherein Brecht reiterated his indifference to concepts such as plagiarism and literary property: the Hofmeister (the preceptor) J. M. R. Lenz, Don Giovannidi Molière, Coriolano of Skakespeare. In 1953 Brecht is elected president of the Union of Writers and awarded the prize Stalin for peace; at the International Festival of Paris the Berliner Ensemble directed by Brecht won the first prize with Mutter Courage. To return to Germany Brecht participated yet to the IV Congress of writers. In August 1956 he was crushed by an infarct. A good part of his writings remained unpublished, while the representations of his tragedies in the course of the Fifties and Sixties spread consolidavano and the fame of the author "classic" (remember, for Italy, the fittings of the Piccolo Teatro in Milan). Between the posthumous publications most recent and important we cite the Arbeitsjournal 1938-55 (1973; Work Diary 1938-55) already also translated in Italian, the Tagebücher 1920-22 (1975; Diaries 1920-22) and the Autobiographische Aufzeichnungen 1920-54 (1975; autobiographical notes 1920-54). Encyclopedia > literature and media > Literature > Germanic literature > English > Eliot, Thomas Stearns Eliot, Thomas Stearns The poet and writer U.S. naturalized English (Saint Louis, Missouri, 1888-London 1965). Trained at Harvard University, he perfected his studies at the Sorbonne, at Oxford and in Germany, manifesting suffered a deep interest in philosophy and for letters. Settled in Great Britain in 1915, became a British citizen since 1927. After some attempts of youth "discovered" by E. Pound, which led him to publish on the magazine Poetry of Chicago some poems then included in the volume The Love Song of J. Alfred Prufrock (1917; the love song of J. Alfred Prufrock). The friendship with pound was fundamental in poetic formation of Eliot, who devoted him, with the epigraph dantesca "the best blacksmith", the famous poem The Waste Land (1922; The desolate land), evocation and together epitaph of a world in full crisis after the first world war. The Waste Land shows not only the influence of Pound (which contributed also corrections to the text), but also the interest for the metaphysical poets British, for Blake and for Dante, as well as a new dynamic vision of tradition, understood as the use and constant modification of the literary and cultural heritage. The years after the publication of the hollow Men (1925; men voids), in which the negative vision of Eliot reached its apex, marked a profound rethinking critical and poetic, expressed with extreme clarity in 1930, when Eliot declared itself a monarchist in politics, classic in literature and anglocattolico in religion. This change is also he thought in creative works, especially in the harvest Ash-Wednesday (1930; Ash Wednesday), which reveals marked interests devotees and religious and a tone calmer. There followed a series of theatrical works (Murder in the Cathedral, 1935, Murder in the cathedral; Family Reunion, 1939, family reunion; The Cocktail Party, 1949; The Confidential Clerk, 1955, the employee confidence; The Elder Statesman, 1959, the great statesman), often spoiled by a message too showy and from the anchorage thesis explicit too. Eliot anyway not abandoned poetry and indeed touched one of its vertices highest with the Four Quartets (1943; Caligari), where, through the use of the symbol as an instrument for the direct communication of emotional and rational between author and reader, he attempted a synthesis of the ground path, mental and spiritual development of man. Also important is the critical activity and essays that has never known standstills; the most significant works are: The Sacred Wood (1920; the sacred wood), Dante (1929), the use of poetry and the use of criticism (1933; the use of poetry and the use of criticism), After Strange Gods (1934; after strange gods), the idea of a Christian society (1939; the idea of a Christian society), the literature of Politics (1955; literature of the policy). Accordingly considered one of the greatest exponents of the Anglo-American Literature of the XX century, Eliot, despite the fact that it had to register a certain decline of interest in his regard, above all for its progressive retract on conservative positions and in certain cases even reactionary, remains however, with the great masters of the Twentieth Century, the singer of the crisis of the man and of Western society between the two world wars. Pessoa, Fernando Nogueira The Portuguese poet (1888-1935 Lisbon). It is one of the figures of the most singular and disturbing in european literature of the Twentieth Century. Died of tuberculosis The Father, good music critic, mother of Pessoa passed in a second marriage and settled in Durban (South Africa). Here he learned English, which was then always his second language. He moved to Lisbon to graduate in letters, left her studies and devoted himself to a small use of corresponding commercial, from 1908 to his death. Great connoisseur of philosophy romanti ca (Schopenhauer, Nietzsche) and symbolism french and portuguese, had the theosophical interests and occultistici, visible in the frequent references to the doctrine of the Pink Cross. Among its precursors can register Camilo Pessanha Cesário and green, but the personality of Pessoa inconfrontabile remains. Better, should say "the" personality. In fact he created a series of "heteronomouses" - that should not be considered as "pseudonyms" of a single writer, but as projections each having its own independent life - and he built the works, narrandone even the biography and determining the respective ideological features and styling. The main heteronomouses are: Alvaro de Campos, engineer, Cosmopolitan, who expresses himself in verses free and is influenced by Marinetti and from Whitman; Ricardo Reis, the neoclassic poet, oraziano, of extraordinary elegance and thin epicureismo; Alberto Caeiro, the "master" of all, man of campaign, materialist and stoic, which attempts a poem the whole objective, without formal concerns; Bernardo Soares, accountant, prose writer introspective and skeptical; A. Pacheco, author of a single long poem that approaches the "automatic writing" the surrealists. These figures must be added the Pessoa "ortonimo", that signature that is with its own name and uses short meters, predominantly rimati. These characters, which in subsequent censuses of the opera Pessoa still unpublished climbed to about fifty, are sometimes at odds with one another, but their same polemic is part of drama em people (drama fact person) which summarizes the literary story of the author and that it intends to be a formal explanation of occult complexity in every man. The works of Pessoa are outputs almost all posthumous, but in life he was a sort of "eminence grise" of all renewal Portuguese literary, through its collaboration with magazines such as Orpheu and Portugal futurist, his friendship with poets such as Sá-Carneiro and painters like Almada Negreiros, his writings theorists and critics scattered in magazines. He is also the author of police texts, of various poems in English (he enjoyed it also provide problems for the section puzzles magazines of the Times) and opera in one act, or Mariheiro, defined by the author "static drama" set in a vague Medieval maeterlinckiano flavor, in which three women watch the corpse of a young girl to the lumen of the moon and weave a metaphysical dialog on the theme of waiting: whole life is waiting for an event incomprehensible, perhaps of death. The only book that published in life was the collection of patriotic poems, Mensagem (1934), with which concorse at a national prize classified second. Is a messianic evocation of imperial destiny and ocean of Portugal, on the trace of the "sebastianismo". The texts capital Pessoa however - those that make him a universal poet as Camões - are of a completely different nature. In the poems of Álvaro de Campos, for example, the sense of modern life, of the sea, of the ambiguity of the Eros, the contradictions inherent in every human coexistence, receive a broad term, tumultuous, violent, which contrasts with the "basso continuo" of irony and loneliness; in hatred of Ricardo Reis the pagan concept precristiana, i.e. and Mediterranean, of the transience of life is mixed with a profound metaphysics of love, in verses of a prodigious essentiality; and in many sonnets and songs of the ortonimo the philosophical reasoning and concreteness autobiographical blend in an inextricable synthesis, creating a density of language without equal in the whole arc of the lyric that goes from Rimbaud and Mallarmé to Eliot and Montale. The discovery of Pessoa was decisive for the young Portuguese Literature (group of Presença) and Brazil (generation of '45). With the passing of the years the fame of Pessoa has grown until it considered one of the greatest poets of the sec. XX. In Italy have been published in the volume of poetry a single multitude (1979, 1984), the book of the apprehension (1986), the letters to the girlfriend (1988) and the poems of Alvaro de Campos (1993). Biography German poet (Prague 1875-Valmont, Montreux, 1926). The Son of a bohemian official and a mother artist which remained always ideally linked, after having attended the Military Academy (1886-92), he preferred to devote themselves to the study of the history of art, transferring from Prague to Munich, then in Berlin. In 1897-98 was on several occasions in Italy and in 1899-1900, together with Lou Andreas-Salomé, went to Russia, where she knew Tolstoy, event from which brought indelible impressions and a strengthening of their mysticism. In 1900 he settled in Worpswede (Bremen) at a community of artists whose was part the sculptress Clara Westhoff, then become his wife (1901). In 1902, after having separated, settled in Paris and accomplished some trips in Italy and in Scandinavia. In the french capital for about a year he was secretary of Rodin. Between 1910 and 1913 he travelled in North Africa and Spain and in 1911-12 he stayed at the castle of Duino, guest of Princess Maria von Thurn und Taxis. During the first world war it was mostly in Munich, then in Switzerland, in the castle of Valais Muzot. He died of leukaemia and is buried in Raron. The works Main sources on the life and the conceptions of Rilke are, in addition to its Florenzer Tagebuch (1898; Florentine Diary), the books of memories of L. Andreas-Salomé and J. R. von Salis. Introvert and incapable of maintaining relationships are durable, but very skillful in the win protections distinguished and in the entertain an incalculable number of letters (7 volumes, and between recipients Gide and Verhaeren), Rilke had an extraordinary ability to make his poetic the authors more representative both of his time both of the past (see its translations from E. Browning, Mallarmé, Verlaine, Gide, Valéry) and recepì equally literary influences (by Klopstock to Hölderlin), philosophical (by Kierkegaard to Nietzsche), figurative (from rodin to Cézanne). Aware of owning a poetic vocation of religious matrix, Rilke saw in its poetry is not a product of the will, but the sign of a submission to something bigger. The first great lyric collection of juvenile period Leben und Lieder (1894; life and songs) followed Stundenbuch (1899-1903; Book of Hours); after the Buch der Bilder (1898-1906; the picture book) publishes Neue Gedichte (1907-08; new poems) and the novel Aufzeichnungen des Malte Laurids Brigge (1910; Notebooks of Malte Laurids Brigge), works in which you hear the thrust received from familiarity with Rodin, toward a job very strict and patient. In this poetic conception are recognizable net an overrun of the fuzzy softness and sentimental of famous ballad in prose and verse Weise von Liebe und Tod des Cornets Christoph Rilke (1899-1906; Romance of love and death of Bishop Christopher Rilke) and the approach of Rilke a phenomenological themes. The next phase sees an accentuation of the lyrical component in a total presence of death and life. Of this period are the Duineser Elegien (elegies of Duino), start to Duino in 1912 and concluded in Muzot in 1922, and the Sonette an Orpheus (Sonnets to Orpheus), compounds of the jet in 1922, long poems dense concepts and images of extraordinary lyricism. After the 1923 Rilke composed almost entirely of poems in French, that gathered in Vergers (1926; Verzieri). The lyrical Rilke, pregna of the value of the exaltation of the life which is celebrated at the spiritual level in death, remains a point of reference for the poetry of the twentieth century, although the decisive events of European culture is undertaken elsewhere, in school psychoanalytical neopositivistica and of Vienna, Berlin and even provincial in Dublin. After the Second World War he was considered by some to be the "Heidegger poetic", but a good part of the criticism was repudiated as metaphysical and "prefascista", although his language was taken up by various poets, including P. Celan. Subsequently the lesson of Rilke has been collecting by artists of different nationalities, including the American R. Jarrel and czech V. Holan and was attempted an interpretation of Rilke in husserliana key. As regards the novel Malte Laurids Brigge, the recognized a prominent place in the narrative of the twentieth century that breaks with the epic schemes of the nineteenth century and proposes, surpassing in the diary and in the assay, the vast subject of anguish and alienation. The Youth French poet (Charleville 1854-Marseille 1891). The Son of a captain of infantry who left early in the family and the second son of five children, Jean-Arthur Rimbaud was educated by her mother in a bourgeois rigorismo that made him suffer enormously in solitude, deserted affections, where you saw plumbed. He studied at the Lyceum hometown and became immediately noticed for the precocity of intelligence and the predisposition to verseggiare. Assisted by the young professor Georges Izambard, his teacher and friend, Rimbaud wrote three poems that were not yet published. Admirer of V. Hugo, he was definitely influenced by simbolisti Izambard that had taught to read and to love. Rimbaud is without doubt one of the authors who have most anticipated the modern spirit of dispute. Spirit restless, reacted to the war of 1870 with Prussia and the fall of the second Empire with a empito of revolt and hatred against the bourgeois society. Rushed back to Paris (two previous evasion, including an attempt to settle in Belgium were finished in nothing) for share fraternal moments with the wardens of the Commune. It does not seem however that has fought alongside them. Certainly sympathised with their fight, but once again had to go Charleville. From here the 15 May 1871 wrote to his friend Démeny La Lettre du voyant (Letter of seer). The relationship with Verlaine In the zeal of reaction to the French literature in its entirety Rimbaud went in search of new sensations and it was discovered "Visionary" in the exercise of poetare, as this led to the liberation of primeval forces of the human soul, provided that it abandoned the school preconceptions and the worldly vanity and academic. In this context was born his first masterpiece, Le bateau ivre (1872; The Drunken Boat): rutilanti imaginations and fantastic looming in a manner that presupposes the influence of Poe and Coleridge, rather than of Baudelaire, with extraordinary imagination and great poetic freedom. The manuscript was sent to Verlaine, that as soon as he had read invited Rimbaud to travel to Paris. In the French capital, Rimbaud found friendship, contrasted, dramatic resulted in an intimate bond of Verlaine, and had the opportunity to get to know other poets who were, together with him, paintings in the famous corner of the table of Fantin-Latour. With Verlaine The report became stormy. Rimbaud realized that was destroying the marriage of the friend, which continued to be tied to his wife from a deep affection. The two friends went together in Belgium, England, then again in Belgium, where Verlaine in the course of an nth lite (10 July 1873) hurt, not seriously, Rimbaud with two shots of the revolver. Verlaine was arrested and Rimbaud returned in the family, in the farmhouse of Roche, at Vouziers. The masterpieces of maturity At Vouziers Rimbaud shooting and concluded probably Les Easter (1886; Illuminations; the title has perhaps only the meaning of colorful prints, harking back to the English meaning of illumination) and Une saison en enfer (1898; a season in Hell). The dates indicate the year of publication: much is in fact discussed on the timeline in the composition of these works and on the possible priority of the second on the first. Both works are the fruit of a creative imagination exceptional, linked to a conception negatrice of the world and of civilization. If the Easter, first published without your knowledge of the author, as almost all his verses of rest, are considered to be his masterpiece in the absolute sense, they appear but as the result of different inspirations with vertices of exaltation and abysses desperate, Confessions of a tortured soul, not infrequently lit from drugs. Les Easter are the testimony of a poem high, of a purity perhaps never touched nor more reached, even in the Saison en enfer, rich in revelations of his tormented life time to the conquest of a different measure, in poetry and dream in life and creation which elevates the poet to sublime heights to leave, won, humble man returned and rooted in that earth, thing among things, which with a coup d'ala had wanted and managed to come off. Do not therefore cursed poet, but superb singer of a reality divined, Toccata, not conquered for ever. Rimbaud, negation of everything, is quiet and resigned: "Moi je suis rendu au sol" exclaims and yet, he who had blasphemed God, outraged society, denied Christ: "Pitié! Seigneur, j'ai peur" on completion of his poetic vocation. Off his muse Rimbaud lived his last years an adventurer. In 1874 it was in England, then travelled tirelessly: Batavia, Cyprus, Egypt and ten years in Ethiopia, at the time of the colonial campaign. He oversaw trade (not excluded, for some, that of slaves, from other denied) and made life harsh, until, for an infection to the right leg, which was amputated in Marseilles, died in removal more absolute from the things of the world, so much so that his death was considered by some as that of a religious martyr. Arguedas, José María Ethnologist and Peruvian narrator (Andahuaylas, Apurimac, 1911-Lima 1969). Her mother tongue was the Quechua, the language of the Incas; however no other writer has succeeded as him to express in Spanish the world of Indians of Peru, in which he had grown up, and the contrast with the world of whites. His masterpiece is the autobiographical novel Los RÃ os profundos (1958; the deep rivers) in which through the evocation of childhood emerges an irresistible attraction for nature. Among other narrative works of Arguedas, died suicide, remember: Agua (1935; water), Yawar fiesta (1941; Feast of blood), Diamantes y pedernales (1954; Diamonds and flints), El Sexto (1961; The Sexto), Todas las sangres (1964; all races), amor y mundo todos los cuentos (1967; love the world and all the stories), El zorro de arriba y el zorro de abajo (posthumously 1971; the fox above and the fox below).Zest, Manuel Peruvian narrator (Lima 1929-Madrid 1983). Forced into exile during the regime of the dictator M. A. Odría, lived in Europe and in Mexico. Back in Peru in 1978, played political activity in a party of the left. After four books of poetry, published between 1955 and 1970, peel passed with success on the narrative. In the cycle of five novels started with Redoble para Rancas (1971; drum rolls for Rancas) and continued with Historia de Garabombo el invisible (1972; history of Garabombo the invisible), Cantar de Agapito Robles (1977; Sing Agapito Robles), El jinete insomme (1977; the sleepless knight) and blaze (1980), zest effectively reconstructs the peruvian reality, dominated by the conflicts between indigenous and white population, giving body to an epic suspended between truth and magic. In the subsequent tests, the tumba of relámpago (1979; The tomb of lightning) and dance inmóvil (1981; dance property), showed a growing originality, through the research of a language more autonomously narrative and of a more tense and substantial psychological truth. After his death in an air disaster, were published some unpublished books. The activity of the Director and the latest works In 1947 Brecht returned to Europe, stopping first in Switzerland, where he met M. Frisch and edited (1948) its most important theoretical essay, the Kleines Organon für das Theater (Breviary of theatrical aesthetics); in October joined at the invitation of the German Democratic Republic to settle in East Berlin. The representation of Mutter Courage at the Deutsches Theater of East Berlin in 1949, the protagonist Weigel, marked the birth of the Berliner Ensemble, which in 1954 s the resettled, where is still in the old Schiffbauerdamm, and to which Brecht devoted a strenuous activities until death. In this last decade in Berlin because both absorbed by the activity of filmmaker who gave fruits drugs, both because frequent voltage with supporters of socialist realism and with the government of Ulbricht, he no longer wrote any new work. Neither the working-class revolt in Berlin in 1953 obtained its support. Continue the Kalendergeschichten (stories from calendar), the opera production, influenced by Chinese Poetry and collection in 1956 under the title of Buckower Elegien (elegies of Buckow), and the theatrical reductions, wherein Brecht reiterated his indifference to concepts such as plagiarism and literary property: the Hofmeister (the preceptor) J. M. R. Lenz, Don Giovannidi Molière, Coriolano of Skakespeare. In 1953 Brecht is elected president of the Union of Writers and awarded the prize Stalin for peace; at the International Festival of Paris the Berliner Ensemble directed by Brecht won the first prize with Mutter Courage. To return to Germany Brecht participated yet to the IV Congress of writers. In August 1956 he was crushed by an infarct. A good part of his writings remained unpublished, while the representations of his tragedies in the course of the Fifties and Sixties spread consolidavano and the fame of the author "classic" (remember, for Italy, the fittings of the Piccolo Teatro in Milan). Between the posthumous publications most recent and important we cite the Arbeitsjournal 1938-55 (1973; Work Diary 1938-55) already also translated in Italian, the Tagebücher 1920-22 (1975; Diaries 1920-22) and the Autobiographische Aufzeichnungen 1920-54 (1975; autobiographical notes 1920-54). Encyclopedia > literature and media > Literature > Germanic literature > English > Eliot, Thomas Stearns Eliot, Thomas Stearns The poet and writer U.S. naturalized English (Saint Louis, Missouri, 1888-London 1965). Trained at Harvard University, he perfected his studies at the Sorbonne, at Oxford and in Germany, manifesting suffered a deep interest in philosophy and for letters. Settled in Great Britain in 1915, became a British citizen since 1927. After some attempts of youth "discovered" by E. Pound, which led him to publish on the magazine Poetry of Chicago some poems then included in the volume The Love Song of J. Alfred Prufrock (1917; the love song of J. Alfred Prufrock). The friendship with pound was fundamental in poetic formation of Eliot, who devoted him, with the epigraph dantesca "the best blacksmith", the famous poem The Waste Land (1922; The desolate land), evocation and together epitaph of a world in full crisis after the first world war. The Waste Land shows not only the influence of Pound (which contributed also corrections to the text), but also the interest for the metaphysical poets British, for Blake and for Dante, as well as a new dynamic vision of tradition, understood as the use and constant modification of the literary and cultural heritage. The years after the publication of the hollow Men (1925; men voids), in which the negative vision of Eliot reached its apex, marked a profound rethinking critical and poetic, expressed with extreme clarity in 1930, when Eliot declared itself a monarchist in politics, classic in literature and anglocattolico in religion. This change is also he thought in creative works, especially in the harvest Ash-Wednesday (1930; Ash Wednesday), which reveals marked interests devotees and religious and a tone calmer. There followed a series of theatrical works (Murder in the Cathedral, 1935, Murder in the cathedral; Family Reunion, 1939, family reunion; The Cocktail Party, 1949; The Confidential Clerk, 1955, the employee confidence; The Elder Statesman, 1959, the great statesman), often spoiled by a message too showy and from the anchorage thesis explicit too. Eliot anyway not abandoned poetry and indeed touched one of its vertices highest with the Four Quartets (1943; Caligari), where, through the use of the symbol as an instrument for the direct communication of emotional and rational between author and reader, he attempted a synthesis of the ground path, mental and spiritual development of man. Also important is the critical activity and essays that has never known standstills; the most significant works are: The Sacred Wood (1920; the sacred wood), Dante (1929), the use of poetry and the use of criticism (1933; the use of poetry and the use of criticism), After Strange Gods (1934; after strange gods), the idea of a Christian society (1939; the idea of a Christian society), the literature of Politics (1955; literature of the policy). Accordingly considered one of the greatest exponents of the Anglo-American Literature of the XX century, Eliot, despite the fact that it had to register a certain decline of interest in his regard, above all for its progressive retract on conservative positions and in certain cases even reactionary, remains however, with the great masters of the Twentieth Century, the singer of the crisis of the man and of Western society between the two world wars. Pessoa, Fernando Nogueira The Portuguese poet (1888-1935 Lisbon). It is one of the figures of the most singular and disturbing in european literature of the Twentieth Century. Died of tuberculosis The Father, good music critic, mother of Pessoa passed in a second marriage and settled in Durban (South Africa). Here he learned English, which was then always his second language. He moved to Lisbon to graduate in letters, left her studies and devoted himself to a small use of corresponding commercial, from 1908 to his death. Great connoisseur of philosophy romanti ca (Schopenhauer, Nietzsche) and symbolism french and portuguese, had the theosophical interests and occultistici, visible in the frequent references to the doctrine of the Pink Cross. Among its precursors can register Camilo Pessanha Cesário and green, but the personality of Pessoa inconfrontabile remains. Better, should say "the" personality. In fact he created a series of "heteronomouses" - that should not be considered as "pseudonyms" of a single writer, but as projections each having its own independent life - and he built the works, narrandone even the biography and determining the respective ideological features and styling. The main heteronomouses are: Alvaro de Campos, engineer, Cosmopolitan, who expresses himself in verses free and is influenced by Marinetti and from Whitman; Ricardo Reis, the neoclassic poet, oraziano, of extraordinary elegance and thin epicureismo; Alberto Caeiro, the "master" of all, man of campaign, materialist and stoic, which attempts a poem the whole objective, without formal concerns; Bernardo Soares, accountant, prose writer introspective and skeptical; A. Pacheco, author of a single long poem that approaches the "automatic writing" the surrealists. These figures must be added the Pessoa "ortonimo", that signature that is with its own name and uses short meters, predominantly rimati. These characters, which in subsequent censuses of the opera Pessoa still unpublished climbed to about fifty, are sometimes at odds with one another, but their same polemic is part of drama em people (drama fact person) which summarizes the literary story of the author and that it intends to be a formal explanation of occult complexity in every man. The works of Pessoa are outputs almost all posthumous, but in life he was a sort of "eminence grise" of all renewal Portuguese literary, through its collaboration with magazines such as Orpheu and Portugal futurist, his friendship with poets such as Sá-Carneiro and painters like Almada Negreiros, his writings theorists and critics scattered in magazines. He is also the author of police texts, of various poems in English (he enjoyed it also provide problems for the section puzzles magazines of the Times) and opera in one act, or Mariheiro, defined by the author "static drama" set in a vague Medieval maeterlinckiano flavor, in which three women watch the corpse of a young girl to the lumen of the moon and weave a metaphysical dialog on the theme of waiting: whole life is waiting for an event incomprehensible, perhaps of death. The only book that published in life was the collection of patriotic poems, Mensagem (1934), with which concorse at a national prize classified second. Is a messianic evocation of imperial destiny and ocean of Portugal, on the trace of the "sebastianismo". The texts capital Pessoa however - those that make him a universal poet as Camões - are of a completely different nature. In the poems of Álvaro de Campos, for example, the sense of modern life, of the sea, of the ambiguity of the Eros, the contradictions inherent in every human coexistence, receive a broad term, tumultuous, violent, which contrasts with the "basso continuo" of irony and loneliness; in hatred of Ricardo Reis the pagan concept precristiana, i.e. and Mediterranean, of the transience of life is mixed with a profound metaphysics of love, in verses of a prodigious essentiality; and in many sonnets and songs of the ortonimo the philosophical reasoning and concreteness autobiographical blend in an inextricable synthesis, creating a density of language without equal in the whole arc of the lyric that goes from Rimbaud and Mallarmé to Eliot and Montale. The discovery of Pessoa was decisive for the young Portuguese Literature (group of Presença) and Brazil (generation of '45). With the passing of the years the fame of Pessoa has grown until it considered one of the greatest poets of the sec. XX. In Italy have been published in the volume of poetry a single multitude (1979, 1984), the book of the apprehension (1986), the letters to the girlfriend (1988) and the poems of Alvaro de Campos (1993). Biography German poet (Prague 1875-Valmont, Montreux, 1926). The Son of a bohemian official and a mother artist which remained always ideally linked, after having attended the Military Academy (1886-92), he preferred to devote themselves to the study of the history of art, transferring from Prague to Munich, then in Berlin. In 1897-98 was on several occasions in Italy and in 1899-1900, together with Lou Andreas-Salomé, went to Russia, where she knew Tolstoy, event from which brought indelible impressions and a strengthening of their mysticism. In 1900 he settled in Worpswede (Bremen) at a community of artists whose was part the sculptress Clara Westhoff, then become his wife (1901). In 1902, after having separated, settled in Paris and accomplished some trips in Italy and in Scandinavia. In the french capital for about a year he was secretary of Rodin. Between 1910 and 1913 he travelled in North Africa and Spain and in 1911-12 he stayed at the castle of Duino, guest of Princess Maria von Thurn und Taxis. During the first world war it was mostly in Munich, then in Switzerland, in the castle of Valais Muzot. He died of leukaemia and is buried in Raron. The works Main sources on the life and the conceptions of Rilke are, in addition to its Florenzer Tagebuch (1898; Florentine Diary), the books of memories of L. Andreas-Salomé and J. R. von Salis. Introvert and incapable of maintaining relationships are durable, but very skillful in the win protections distinguished and in the entertain an incalculable number of letters (7 volumes, and between recipients Gide and Verhaeren), Rilke had an extraordinary ability to make his poetic the authors more representative both of his time both of the past (see its translations from E. Browning, Mallarmé, Verlaine, Gide, Valéry) and recepì equally literary influences (by Klopstock to Hölderlin), philosophical (by Kierkegaard to Nietzsche), figurative (from rodin to Cézanne). Aware of owning a poetic vocation of religious matrix, Rilke saw in its poetry is not a product of the will, but the sign of a submission to something bigger. The first great lyric collection of juvenile period Leben und Lieder (1894; life and songs) followed Stundenbuch (1899-1903; Book of Hours); after the Buch der Bilder (1898-1906; the picture book) publishes Neue Gedichte (1907-08; new poems) and the novel Aufzeichnungen des Malte Laurids Brigge (1910; Notebooks of Malte Laurids Brigge), works in which you hear the thrust received from familiarity with Rodin, toward a job very strict and patient. In this poetic conception are recognizable net an overrun of the fuzzy softness and sentimental of famous ballad in prose and verse Weise von Liebe und Tod des Cornets Christoph Rilke (1899-1906; Romance of love and death of Bishop Christopher Rilke) and the approach of Rilke a phenomenological themes. The next phase sees an accentuation of the lyrical component in a total presence of death and life. Of this period are the Duineser Elegien (elegies of Duino), start to Duino in 1912 and concluded in Muzot in 1922, and the Sonette an Orpheus (Sonnets to Orpheus), compounds of the jet in 1922, long poems dense concepts and images of extraordinary lyricism. After the 1923 Rilke composed almost entirely of poems in French, that gathered in Vergers (1926; Verzieri). The lyrical Rilke, pregna of the value of the exaltation of the life which is celebrated at the spiritual level in death, remains a point of reference for the poetry of the twentieth century, although the decisive events of European culture is undertaken elsewhere, in school psychoanalytical neopositivistica and of Vienna, Berlin and even provincial in Dublin. After the Second World War he was considered by some to be the "Heidegger poetic", but a good part of the criticism was repudiated as metaphysical and "prefascista", although his language was taken up by various poets, including P. Celan. Subsequently the lesson of Rilke has been collecting by artists of different nationalities, including the American R. Jarrel and czech V. Holan and was attempted an interpretation of Rilke in husserliana key. As regards the novel Malte Laurids Brigge, the recognized a prominent place in the narrative of the twentieth century that breaks with the epic schemes of the nineteenth century and proposes, surpassing in the diary and in the assay, the vast subject of anguish and alienation. The Youth French poet (Charleville 1854-Marseille 1891). The Son of a captain of infantry who left early in the family and the second son of five children, Jean-Arthur Rimbaud was educated by her mother in a bourgeois rigorismo that made him suffer enormously in solitude, deserted affections, where you saw plumbed. He studied at the Lyceum hometown and became immediately noticed for the precocity of intelligence and the predisposition to verseggiare. Assisted by the young professor Georges Izambard, his teacher and friend, Rimbaud wrote three poems that were not yet published. Admirer of V. Hugo, he was definitely influenced by simbolisti Izambard that had taught to read and to love. Rimbaud is without doubt one of the authors who have most anticipated the modern spirit of dispute. Spirit restless, reacted to the war of 1870 with Prussia and the fall of the second Empire with a empito of revolt and hatred against the bourgeois society. Rushed back to Paris (two previous evasion, including an attempt to settle in Belgium were finished in nothing) for share fraternal moments with the wardens of the Commune. It does not seem however that has fought alongside them. Certainly sympathised with their fight, but once again had to go Charleville. From here the 15 May 1871 wrote to his friend Démeny La Lettre du voyant (Letter of seer). The relationship with Verlaine In the zeal of reaction to the French literature in its entirety Rimbaud went in search of new sensations and it was discovered "Visionary" in the exercise of poetare, as this led to the liberation of primeval forces of the human soul, provided that it abandoned the school preconceptions and the worldly vanity and academic. In this context was born his first masterpiece, Le bateau ivre (1872; The Drunken Boat): rutilanti imaginations and fantastic looming in a manner that presupposes the influence of Poe and Coleridge, rather than of Baudelaire, with extraordinary imagination and great poetic freedom. The manuscript was sent to Verlaine, that as soon as he had read invited Rimbaud to travel to Paris. In the French capital, Rimbaud found friendship, contrasted, dramatic resulted in an intimate bond of Verlaine, and had the opportunity to get to know other poets who were, together with him, paintings in the famous corner of the table of Fantin-Latour. With Verlaine The report became stormy. Rimbaud realized that was destroying the marriage of the friend, which continued to be tied to his wife from a deep affection. The two friends went together in Belgium, England, then again in Belgium, where Verlaine in the course of an nth lite (10 July 1873) hurt, not seriously, Rimbaud with two shots of the revolver. Verlaine was arrested and Rimbaud returned in the family, in the farmhouse of Roche, at Vouziers. The masterpieces of maturity At Vouziers Rimbaud shooting and concluded probably Les Easter (1886; Illuminations; the title has perhaps only the meaning of colorful prints, harking back to the English meaning of illumination) and Une saison en enfer (1898; a season in Hell). The dates indicate the year of publication: much is in fact discussed on the timeline in the composition of these works and on the possible priority of the second on the first. Both works are the fruit of a creative imagination exceptional, linked to a conception negatrice of the world and of civilization. If the Easter, first published without your knowledge of the author, as almost all his verses of rest, are considered to be his masterpiece in the absolute sense, they appear but as the result of different inspirations with vertices of exaltation and abysses desperate, Confessions of a tortured soul, not infrequently lit from drugs. Les Easter are the testimony of a poem high, of a purity perhaps never touched nor more reached, even in the Saison en enfer, rich in revelations of his tormented life time to the conquest of a different measure, in poetry and dream in life and creation which elevates the poet to sublime heights to leave, won, humble man returned and rooted in that earth, thing among things, which with a coup d'ala had wanted and managed to come off. Do not therefore cursed poet, but superb singer of a reality divined, Toccata, not conquered for ever. Rimbaud, negation of everything, is quiet and resigned: "Moi je suis rendu au sol" exclaims and yet, he who had blasphemed God, outraged society, denied Christ: "Pitié! Seigneur, j'ai peur" on completion of his poetic vocation. Off his muse Rimbaud lived his last years an adventurer. In 1874 it was in England, then travelled tirelessly: Batavia, Cyprus, Egypt and ten years in Ethiopia, at the time of the colonial campaign. He oversaw trade (not excluded, for some, that of slaves, from other denied) and made life harsh, until, for an infection to the right leg, which was amputated in Marseilles, died in removal more absolute from the things of the world, so much so that his death was considered by some as that of a religious martyr. Arguedas, José María Ethnologist and Peruvian narrator (Andahuaylas, Apurimac, 1911-Lima 1969). Her mother tongue was the Quechua, the language of the Incas; however no other writer has succeeded as him to express in Spanish the world of Indians of Peru, in which he had grown up, and the contrast with the world of whites. His masterpiece is the autobiographical novel Los RÃ os profundos (1958; the deep rivers) in which through the evocation of childhood emerges an irresistible attraction for nature. Among other narrative works of Arguedas, died suicide, remember: Agua (1935; water), Yawar fiesta (1941; Feast of blood), Diamantes y pedernales (1954; Diamonds and flints), El Sexto (1961; The Sexto), Todas las sangres (1964; all races), amor y mundo todos los cuentos (1967; love the world and all the stories), El zorro de arriba y el zorro de abajo (posthumously 1971; the fox above and the fox below).Zest, Manuel Peruvian narrator (Lima 1929-Madrid 1983). Forced into exile during the regime of the dictator M. A. Odría, lived in Europe and in Mexico. Back in Peru in 1978, played political activity in a party of the left. After four books of poetry, published between 1955 and 1970, peel passed with success on the narrative. In the cycle of five novels started with Redoble para Rancas (1971; drum rolls for Rancas) and continued with Historia de Garabombo el invisible (1972; history of Garabombo the invisible), Cantar de Agapito Robles (1977; Sing Agapito Robles), El jinete insomme (1977; the sleepless knight) and blaze (1980), zest effectively reconstructs the peruvian reality, dominated by the conflicts between indigenous and white population, giving body to an epic suspended between truth and magic. In the subsequent tests, the tumba of relámpago (1979; The tomb of lightning) and dance inmóvil (1981; dance property), showed a growing originality, through the research of a language more autonomously narrative and of a more tense and substantial psychological truth. After his death in an air disaster, were published some unpublished books.  The activity of the Director and the latest works In 1947 Brecht returned to Europe, stopping first in Switzerland, where he met M. Frisch and edited (1948) its most important theoretical essay, the Kleines Organon für das Theater (Breviary of theatrical aesthetics); in October joined at the invitation of the German Democratic Republic to settle in East Berlin. The representation of Mutter Courage at the Deutsches Theater of East Berlin in 1949, the protagonist Weigel, marked the birth of the Berliner Ensemble, which in 1954 s the resettled, where is still in the old Schiffbauerdamm, and to which Brecht devoted a strenuous activities until death. In this last decade in Berlin because both absorbed by the activity of filmmaker who gave fruits drugs, both because frequent voltage with supporters of socialist realism and with the government of Ulbricht, he no longer wrote any new work. Neither the working-class revolt in Berlin in 1953 obtained its support. Continue the Kalendergeschichten (stories from calendar), the opera production, influenced by Chinese Poetry and collection in 1956 under the title of Buckower Elegien (elegies of Buckow), and the theatrical reductions, wherein Brecht reiterated his indifference to concepts such as plagiarism and literary property: the Hofmeister (the preceptor) J. M. R. Lenz, Don Giovannidi Molière, Coriolano of Skakespeare. In 1953 Brecht is elected president of the Union of Writers and awarded the prize Stalin for peace; at the International Festival of Paris the Berliner Ensemble directed by Brecht won the first prize with Mutter Courage. To return to Germany Brecht participated yet to the IV Congress of writers. In August 1956 he was crushed by an infarct. A good part of his writings remained unpublished, while the representations of his tragedies in the course of the Fifties and Sixties spread consolidavano and the fame of the author "classic" (remember, for Italy, the fittings of the Piccolo Teatro in Milan). Between the posthumous publications most recent and important we cite the Arbeitsjournal 1938-55 (1973; Work Diary 1938-55) already also translated in Italian, the Tagebücher 1920-22 (1975; Diaries 1920-22) and the Autobiographische Aufzeichnungen 1920-54 (1975; autobiographical notes 1920-54). Encyclopedia > literature and media > Literature > Germanic literature > English > Eliot, Thomas Stearns Eliot, Thomas Stearns The poet and writer U.S. naturalized English (Saint Louis, Missouri, 1888-London 1965). Trained at Harvard University, he perfected his studies at the Sorbonne, at Oxford and in Germany, manifesting suffered a deep interest in philosophy and for letters. Settled in Great Britain in 1915, became a British citizen since 1927. After some attempts of youth "discovered" by E. Pound, which led him to publish on the magazine Poetry of Chicago some poems then included in the volume The Love Song of J. Alfred Prufrock (1917; the love song of J. Alfred Prufrock). The friendship with pound was fundamental in poetic formation of Eliot, who devoted him, with the epigraph dantesca "the best blacksmith", the famous poem The Waste Land (1922; The desolate land), evocation and together epitaph of a world in full crisis after the first world war. The Waste Land shows not only the influence of Pound (which contributed also corrections to the text), but also the interest for the metaphysical poets British, for Blake and for Dante, as well as a new dynamic vision of tradition, understood as the use and constant modification of the literary and cultural heritage. The years after the publication of the hollow Men (1925; men voids), in which the negative vision of Eliot reached its apex, marked a profound rethinking critical and poetic, expressed with extreme clarity in 1930, when Eliot declared itself a monarchist in politics, classic in literature and anglocattolico in religion. This change is also he thought in creative works, especially in the harvest Ash-Wednesday (1930; Ash Wednesday), which reveals marked interests devotees and religious and a tone calmer. There followed a series of theatrical works (Murder in the Cathedral, 1935, Murder in the cathedral; Family Reunion, 1939, family reunion; The Cocktail Party, 1949; The Confidential Clerk, 1955, the employee confidence; The Elder Statesman, 1959, the great statesman), often spoiled by a message too showy and from the anchorage thesis explicit too. Eliot anyway not abandoned poetry and indeed touched one of its vertices highest with the Four Quartets (1943; Caligari), where, through the use of the symbol as an instrument for the direct communication of emotional and rational between author and reader, he attempted a synthesis of the ground path, mental and spiritual development of man. Also important is the critical activity and essays that has never known standstills; the most significant works are: The Sacred Wood (1920; the sacred wood), Dante (1929), the use of poetry and the use of criticism (1933; the use of poetry and the use of criticism), After Strange Gods (1934; after strange gods), the idea of a Christian society (1939; the idea of a Christian society), the literature of Politics (1955; literature of the policy). Accordingly considered one of the greatest exponents of the Anglo-American Literature of the XX century, Eliot, despite the fact that it had to register a certain decline of interest in his regard, above all for its progressive retract on conservative positions and in certain cases even reactionary, remains however, with the great masters of the Twentieth Century, the singer of the crisis of the man and of Western society between the two world wars. Pessoa, Fernando Nogueira The Portuguese poet (1888-1935 Lisbon). It is one of the figures of the most singular and disturbing in european literature of the Twentieth Century. Died of tuberculosis The Father, good music critic, mother of Pessoa passed in a second marriage and settled in Durban (South Africa). Here he learned English, which was then always his second language. He moved to Lisbon to graduate in letters, left her studies and devoted himself to a small use of corresponding commercial, from 1908 to his death. Great connoisseur of philosophy romanti ca (Schopenhauer, Nietzsche) and symbolism french and portuguese, had the theosophical interests and occultistici, visible in the frequent references to the doctrine of the Pink Cross. Among its precursors can register Camilo Pessanha Cesário and green, but the personality of Pessoa inconfrontabile remains. Better, should say "the" personality. In fact he created a series of "heteronomouses" - that should not be considered as "pseudonyms" of a single writer, but as projections each having its own independent life - and he built the works, narrandone even the biography and determining the respective ideological features and styling. The main heteronomouses are: Alvaro de Campos, engineer, Cosmopolitan, who expresses himself in verses free and is influenced by Marinetti and from Whitman; Ricardo Reis, the neoclassic poet, oraziano, of extraordinary elegance and thin epicureismo; Alberto Caeiro, the "master" of all, man of campaign, materialist and stoic, which attempts a poem the whole objective, without formal concerns; Bernardo Soares, accountant, prose writer introspective and skeptical; A. Pacheco, author of a single long poem that approaches the "automatic writing" the surrealists. These figures must be added the Pessoa "ortonimo", that signature that is with its own name and uses short meters, predominantly rimati. These characters, which in subsequent censuses of the opera Pessoa still unpublished climbed to about fifty, are sometimes at odds with one another, but their same polemic is part of drama em people (drama fact person) which summarizes the literary story of the author and that it intends to be a formal explanation of occult complexity in every man. The works of Pessoa are outputs almost all posthumous, but in life he was a sort of "eminence grise" of all renewal Portuguese literary, through its collaboration with magazines such as Orpheu and Portugal futurist, his friendship with poets such as Sá-Carneiro and painters like Almada Negreiros, his writings theorists and critics scattered in magazines. He is also the author of police texts, of various poems in English (he enjoyed it also provide problems for the section puzzles magazines of the Times) and opera in one act, or Mariheiro, defined by the author "static drama" set in a vague Medieval maeterlinckiano flavor, in which three women watch the corpse of a young girl to the lumen of the moon and weave a metaphysical dialog on the theme of waiting: whole life is waiting for an event incomprehensible, perhaps of death. The only book that published in life was the collection of patriotic poems, Mensagem (1934), with which concorse at a national prize classified second. Is a messianic evocation of imperial destiny and ocean of Portugal, on the trace of the "sebastianismo". The texts capital Pessoa however - those that make him a universal poet as Camões - are of a completely different nature. In the poems of Álvaro de Campos, for example, the sense of modern life, of the sea, of the ambiguity of the Eros, the contradictions inherent in every human coexistence, receive a broad term, tumultuous, violent, which contrasts with the "basso continuo" of irony and loneliness; in hatred of Ricardo Reis the pagan concept precristiana, i.e. and Mediterranean, of the transience of life is mixed with a profound metaphysics of love, in verses of a prodigious essentiality; and in many sonnets and songs of the ortonimo the philosophical reasoning and concreteness autobiographical blend in an inextricable synthesis, creating a density of language without equal in the whole arc of the lyric that goes from Rimbaud and Mallarmé to Eliot and Montale. The discovery of Pessoa was decisive for the young Portuguese Literature (group of Presença) and Brazil (generation of '45). With the passing of the years the fame of Pessoa has grown until it considered one of the greatest poets of the sec. XX. In Italy have been published in the volume of poetry a single multitude (1979, 1984), the book of the apprehension (1986), the letters to the girlfriend (1988) and the poems of Alvaro de Campos (1993). Biography  German poet (Prague 1875-Valmont, Montreux, 1926). The Son of a bohemian official and a mother artist which remained always ideally linked, after having attended the Military Academy (1886-92), he preferred to devote themselves to the study of the history of art, transferring from Prague to Munich, then in Berlin. In 1897-98 was on several occasions in Italy and in 1899-1900, together with Lou Andreas-Salomé, went to Russia, where she knew Tolstoy, event from which brought indelible impressions and a strengthening of their mysticism. In 1900 he settled in Worpswede (Bremen) at a community of artists whose was part the sculptress Clara Westhoff, then become his wife (1901). In 1902, after having separated, settled in Paris and accomplished some trips in Italy and in Scandinavia. In the french capital for about a year he was secretary of Rodin. Between 1910 and 1913 he travelled in North Africa and Spain and in 1911-12 he stayed at the castle of Duino, guest of Princess Maria von Thurn und Taxis. During the first world war it was mostly in Munich, then in Switzerland, in the castle of Valais Muzot. He died of leukaemia and is buried in Raron. The works Main sources on the life and the conceptions of Rilke are, in addition to its Florenzer Tagebuch (1898; Florentine Diary), the books of memories of L. Andreas-Salomé and J. R. von Salis. Introvert and incapable of maintaining relationships are durable, but very skillful in the win protections distinguished and in the entertain an incalculable number of letters (7 volumes, and between recipients Gide and Verhaeren), Rilke had an extraordinary ability to make his poetic the authors more representative both of his time both of the past (see its translations from E. Browning, Mallarmé, Verlaine, Gide, Valéry) and recepì equally literary influences (by Klopstock to Hölderlin), philosophical (by Kierkegaard to Nietzsche), figurative (from rodin to Cézanne). Aware of owning a poetic vocation of religious matrix, Rilke saw in its poetry is not a product of the will, but the sign of a submission to something bigger. The first great lyric collection of juvenile period Leben und Lieder (1894; life and songs) followed Stundenbuch (1899-1903; Book of Hours); after the Buch der Bilder (1898-1906; the picture book) publishes Neue Gedichte (1907-08; new poems) and the novel Aufzeichnungen des Malte Laurids Brigge (1910; Notebooks of Malte Laurids Brigge), works in which you hear the thrust received from familiarity with Rodin, toward a job very strict and patient. In this poetic conception are recognizable net an overrun of the fuzzy softness and sentimental of famous ballad in prose and verse Weise von Liebe und Tod des Cornets Christoph Rilke (1899-1906; Romance of love and death of Bishop Christopher Rilke) and the approach of Rilke a phenomenological themes. The next phase sees an accentuation of the lyrical component in a total presence of death and life. Of this period are the Duineser Elegien (elegies of Duino), start to Duino in 1912 and concluded in Muzot in 1922, and the Sonette an Orpheus (Sonnets to Orpheus), compounds of the jet in 1922, long poems dense concepts and images of extraordinary lyricism. After the 1923 Rilke composed almost entirely of poems in French, that gathered in Vergers (1926; Verzieri). The lyrical Rilke, pregna of the value of the exaltation of the life which is celebrated at the spiritual level in death, remains a point of reference for the poetry of the twentieth century, although the decisive events of European culture is undertaken elsewhere, in school psychoanalytical neopositivistica and of Vienna, Berlin and even provincial in Dublin. After the Second World War he was considered by some to be the "Heidegger poetic", but a good part of the criticism was repudiated as metaphysical and "prefascista", although his language was taken up by various poets, including P. Celan. Subsequently the lesson of Rilke has been collecting by artists of different nationalities, including the American R. Jarrel and czech V. Holan and was attempted an interpretation of Rilke in husserliana key. As regards the novel Malte Laurids Brigge, the recognized a prominent place in the narrative of the twentieth century that breaks with the epic schemes of the nineteenth century and proposes, surpassing in the diary and in the assay, the vast subject of anguish and alienation. The Youth French poet (Charleville 1854-Marseille 1891). The Son of a captain of infantry who left early in the family and the second son of five children, Jean-Arthur Rimbaud was educated by her mother in a bourgeois rigorismo that made him suffer enormously in solitude, deserted affections, where you saw plumbed. He studied at the Lyceum hometown and became immediately noticed for the precocity of intelligence and the predisposition to verseggiare. Assisted by the young professor Georges Izambard, his teacher and friend, Rimbaud wrote three poems that were not yet published. Admirer of V. Hugo, he was definitely influenced by simbolisti Izambard that had taught to read and to love. Rimbaud is without doubt one of the authors who have most anticipated the modern spirit of dispute. Spirit restless, reacted to the war of 1870 with Prussia and the fall of the second Empire with a empito of revolt and hatred against the bourgeois society. Rushed back to Paris (two previous evasion, including an attempt to settle in Belgium were finished in nothing) for share fraternal moments with the wardens of the Commune. It does not seem however that has fought alongside them. Certainly sympathised with their fight, but once again had to go Charleville. From here the 15 May 1871 wrote to his friend Démeny La Lettre du voyant (Letter of seer). The relationship with Verlaine In the zeal of reaction to the French literature in its entirety Rimbaud went in search of new sensations and it was discovered "Visionary" in the exercise of poetare, as this led to the liberation of primeval forces of the human soul, provided that it abandoned the school preconceptions and the worldly vanity and academic. In this context was born his first masterpiece, Le bateau ivre (1872; The Drunken Boat): rutilanti imaginations and fantastic looming in a manner that presupposes the influence of Poe and Coleridge, rather than of Baudelaire, with extraordinary imagination and great poetic freedom. The manuscript was sent to Verlaine, that as soon as he had read invited Rimbaud to travel to Paris. In the French capital, Rimbaud found friendship, contrasted, dramatic resulted in an intimate bond of Verlaine, and had the opportunity to get to know other poets who were, together with him, paintings in the famous corner of the table of Fantin-Latour. With Verlaine The report became stormy. Rimbaud realized that was destroying the marriage of the friend, which continued to be tied to his wife from a deep affection. The two friends went together in Belgium, England, then again in Belgium, where Verlaine in the course of an nth lite (10 July 1873) hurt, not seriously, Rimbaud with two shots of the revolver. Verlaine was arrested and Rimbaud returned in the family, in the farmhouse of Roche, at Vouziers. The masterpieces of maturity At Vouziers Rimbaud shooting and concluded probably Les Easter (1886; Illuminations; the title has perhaps only the meaning of colorful prints, harking back to the English meaning of illumination) and Une saison en enfer (1898; a season in Hell). The dates indicate the year of publication: much is in fact discussed on the timeline in the composition of these works and on the possible priority of the second on the first. Both works are the fruit of a creative imagination exceptional, linked to a conception negatrice of the world and of civilization. If the Easter, first published without your knowledge of the author, as almost all his verses of rest, are considered to be his masterpiece in the absolute sense, they appear but as the result of different inspirations with vertices of exaltation and abysses desperate, Confessions of a tortured soul, not infrequently lit from drugs. Les Easter are the testimony of a poem high, of a purity perhaps never touched nor more reached, even in the Saison en enfer, rich in revelations of his tormented life time to the conquest of a different measure, in poetry and dream in life and creation which elevates the poet to sublime heights to leave, won, humble man returned and rooted in that earth, thing among things, which with a coup d'ala had wanted and managed to come off. Do not therefore cursed poet, but superb singer of a reality divined, Toccata, not conquered for ever. Rimbaud, negation of everything, is quiet and resigned: "Moi je suis rendu au sol" exclaims and yet, he who had blasphemed God, outraged society, denied Christ: "Pitié! Seigneur, j'ai peur" on completion of his poetic vocation. Off his muse Rimbaud lived his last years an adventurer. In 1874 it was in England, then travelled tirelessly: Batavia, Cyprus, Egypt and ten years in Ethiopia, at the time of the colonial campaign. He oversaw trade (not excluded, for some, that of slaves, from other denied) and made life harsh, until, for an infection to the right leg, which was amputated in Marseilles, died in removal more absolute from the things of the world, so much so that his death was considered by some as that of a religious martyr. Arguedas, José María Ethnologist and Peruvian narrator (Andahuaylas, Apurimac, 1911-Lima 1969). Her mother tongue was the Quechua, the language of the Incas; however no other writer has succeeded as him to express in Spanish the world of Indians of Peru, in which he had grown up, and the contrast with the world of whites. His masterpiece is the autobiographical novel Los RÃ os profundos (1958; the deep rivers) in which through the evocation of childhood emerges an irresistible attraction for nature. Among other narrative works of Arguedas, died suicide, remember: Agua (1935; water), Yawar fiesta (1941; Feast of blood), Diamantes y pedernales (1954; Diamonds and flints), El Sexto (1961; The Sexto), Todas las sangres (1964; all races), amor y mundo todos los cuentos (1967; love the world and all the stories), El zorro de arriba y el zorro de abajo (posthumously 1971; the fox above and the fox below).Zest, Manuel Peruvian narrator (Lima 1929-Madrid 1983). Forced into exile during the regime of the dictator M. A. Odría, lived in Europe and in Mexico. Back in Peru in 1978, played political activity in a party of the left. After four books of poetry, published between 1955 and 1970, peel passed with success on the narrative. In the cycle of five novels started with Redoble para Rancas (1971; drum rolls for Rancas) and continued with Historia de Garabombo el invisible (1972; history of Garabombo the invisible), Cantar de Agapito Robles (1977; Sing Agapito Robles), El jinete insomme (1977; the sleepless knight) and blaze (1980), zest effectively reconstructs the peruvian reality, dominated by the conflicts between indigenous and white population, giving body to an epic suspended between truth and magic. In the subsequent tests, the tumba of relámpago (1979; The tomb of lightning) and dance inmóvil (1981; dance property), showed a growing originality, through the research of a language more autonomously narrative and of a more tense and substantial psychological truth. After his death in an air disaster, were published some unpublished books.