GIOSUE See also:

• CARDUCCI, BARTOLOMMEO (156o-161o)
• GIOSUE CARDUCCI (1836-1907)

CARDUCCI (1836-1907)  , See also:

• ITALIAN

Italian poet, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Val-di-See also:

• CASTELLO, BERNARDO (1557—1629)
• CASTELLO, GIOVANNI BATTISTA (1500 ?–1569 ?)
• CASTELLO, VALERIO (1625-1659)

Castello, in See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany, on the 27th of See also:

• JULY

July 1836, his See also:

• FATHER

father being Michele See also:

• CARDUCCI, BARTOLOMMEO (156o-161o)
• CARDUCCI, GIOSUE (1836-1907)

Carducci, a physician, of an old Florentine See also:

• FAMILY

family, who in his youth had suffered imprisonment for his See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the revolution of 1831 . Carducci received a See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• EDUCATION

education . He began See also:

• LIFE

life as a public teacher, but soon took to giving private lessons at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence, where he became connected with a set of See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young men, enthusiastic patriots in politics, and in literature See also:

• BENT
• BENT (E1. BENI)
• BENT, JAMES THEODORE (1852–1897)

bent on overthrowing the reigning romantic See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste by a return to classical See also:

• MODELS

models . These aspirations always constituted the mainsprings of Carducci's See also:

• POETRY

poetry . In 186o he became See also:

• PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

professor at See also:

• BOLOGNA
• BOLOGNA, GIOVANNI DA (1524–1608)

Bologna, where, after in 1865 astonishing the public by a defiant Hymn to Satan, he published in 1868 Levia Gravia, a See also:

• VOLUME

volume of lyrics which not only gave him an indisputable position at the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head of contemporary Italian poets, but made him the head of a school of which the best Italian men of letters have been disciples, and which has influenced all . Several other volumes succeeded, the most important of which were the Decennalia (1871), the Nuove Poesie (1872), and the three See also:

• SERIES (a Latin word from serere, to join)

series of the Odi Barbare (1877-1889) . Carducci had been brought into more fraternal contact with the aims of the younger See also:

• GENERATION (from Lat. generare, to beget, procreate; genus, stock, race)

generation by the efforts of Angelo Sommaruga who became, about 188o, the publisher of a See also:

• GROUP

group of young unknown writers all destined to some, and a few to See also:

• GREAT

great, accomplishment . The See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period of his prosperity was a See also:

• STRANGE, SIR ROBERT (1721-1792)

strange one for See also:

• ITALY
• ITALY (Italia)

Italy . The first ten years of the newly constituted See also:

• KINGDOM

kingdom had passed more in stupor than activity; See also:

• ORIGINAL

original contributions to literature had been scarce, and publishers had preferred bringing out inferior See also:

• TRANSLATIONS

translations of not always admirable See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French authors to encouraging the original See also:

• WORK

work of Italians—work which it must be confessed was generally mediocre and entirely lifeless . Sommaruga's creation, a See also:

• LITERARY

literary See also:

• REVIEW (Fr. revue, from revoir, to see again, Lat. re and videre)

review called La Cronaca Bizantina, gathered together such beginners as Giovanni Marradi,Matilde See also:

• SERAO, MATILDA (1856– )

Serao,Edoardo Scarfoglio, Guido Magnoni and Gabriele d'See also:

• ANNUNZIO, GABRIELE

Annunzio . In See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to obtain the See also:

• SANCTION (Lat. sanctia, from sancire, to decree or ordain)

sanction of what he considered an enduring name, the founder turned to Giosue Carducci, then living in retirement at Bologna, discontented with his See also:

• FATE

fate, and still not generally known by the public of his own See also:

• COUNTRY (from the Mid. Eng. contre or contrie, and O. Fr. cuntree; Late Lat. contrata, showing the derivation from contra, opposite, over against, thus the tract of land which fronts the sight, cf. Ger. Gegend, neighbourhood)

country . The activity of Sommaruga exercised a great See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence on Giosue Carducci .

Within the next few years he published the three admirable volumes of his Confessioni e Battaglie, the Ca Ira sonnets, the Nuove Odi Barbare, and a considerable number of articles, See also:

• PAMPHLETS

pamphlets and essays, which in their collected edition See also:

• FORM (Lat. forma)

form the most living See also:

• PART

part of his work . His lyrical See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production, too, seemed to reach its perfection in those five years of tense, unrelenting work; for the See also:

• CANZONE

Canzone di See also:

• LEGNANO

Legnano, the Odes to See also:

• ROME
• ROME (Roma)

Rome and to See also:

• MONTE

Monte See also:

• MARIO, GIUSEPPE, COUNT OF CANDIA (1810-1883)

Mario, the See also:

• ELEGY

Elegy on the See also:

• URN (Lat. urna, either from root of urere, to burn, being made of burnt clay, or connected with urceus, Gr. I5pxa, jar)

urn of See also:

• PERCY (FAMILY)
• PERCY, SIR HENRY
• PERCY, THOMAS (1729-1811)
• PERCY, THOMAS (c. 156o-16os)

Percy Bysshe See also:

• SHELLEY, MARY WOLLSTONECRAFT (1797-1851)
• SHELLEY, PERCY BYSSHE (1792-1822)

Shelley, the ringing rhymes of the Inter-mezzo, in which he happily blended the See also:

• SATIRE (Lat. satira, satura; see below)

satire of See also:

• HEINE, HEINRICH, (1797-1856)

Heine with the lyrical form of his native poetry—all belong to this period, together with the essays on See also:

• LEOPARDI, GIACOMO, COUNT (1798-1837)

Leopardi and on See also:

• PARINI, GIUSEPPE (1729-1799)

Parini, the admirable discussions in See also:

• DEFENCE
• DEFENCE (Lat. defendere, to defend)

defence of his Ca Ira, and the pamphlet called Eterno Femrainino regale, a See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind of self-defence, undertaken to explain the origin of the Alcaic See also:

• METRE ((terpuc?, sc. rFxvf, from Gr. Or poi', measure)

metre to the See also:

• QUEEN
• QUEEN (O.E. cwen, wife, related to "quean," O.E. cwene, a hussy; cf. Gr. yvvi7: from root gan-, to produce; cf. genus, " kin," &c.)

queen of Italy, which marks the beginning of the last See also:

• EVOLUTION

evolution in Carducci's work (1881) . The revolutionary See also:

• SPIRITS

spirits of the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, who had always looked upon Giosue Carducci as their See also:

• BARD

bard and See also:

• CHAMPION (Fr. champion, Late Lat. campio from campus; a field or open space, i.e. one " who takes the field " or fights; cf. Ger. Kampf, battle, and Kampfer, fighter)

champion, See also:

• FELL
• FELL, JOHN (1625-1686)

fell away from him after this poem written in See also:

• HONOUR (Lat. honos or lwnor, honoris; in English the word was spelled with or without the u indifferently until the 17th century, but during the 18th century it became fashion-able to spell the word " honor "; Johnson's and Webster's Dictionaries stereoty

honour of a queen, and the poet, wounded by the attitude of his party, wrote what he intended to be his defence and his See also:

• PROGRAMME, or PROGRAM

programme for the future in pages that will remain amongst the noblest and most powerful of contemporary literature . From that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time Carducci appears in a new form, evolved afterwards in his last Odes, Il Piemonte, Li Bicocca di See also:

• SAN

San Giacomo, the See also:

• ODE (Gr. uiSri, from aei&ew, to sing)

Ode to the daughter of See also:

• FRANCESCO
• FRANCESCO, 210

Francesco See also:

• CRISPI, FRANCESCO (1819-1901)

Crispi on her See also:

• MARRIAGE

marriage, and the one to the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church where See also:

• DANTE

Dante once prayed, Alla Chiesetta dei See also:

• POLENTA, DA

Polenta, which is like the with-See also:

• DRAWING

drawing into itself of a warlike soul weary of its See also:

• BATTLE

battle . For a few months in 1876 Carducci had a seat in the Italian Chamber . In 1881 he was appointed a member of the higher See also:

• COUNCIL (Lat. concilium, from cum, together, and the root cal, to call)

council of education . In 1890 he was made a senator . And in 1906 he was awarded the See also:

• NOBEL, ALFRED BERNHARD (1833-1896)

Nobel See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize for literature . He died at Bologna on the 16th of See also:

• FEBRUARY

February 1907 . By his marriage in 1859 he had two daughters, who survived him, and one son, who died in See also:

• INFANCY

infancy . The same qualities which placed Carducci among the See also:

• CLASSICS

classics of Italy in his earlier days remained consistently with him in later life . His thought flows limpid, serene, sure of itself above an undercurrent of sane and vigorous if See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan See also:

• PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy .

Patriot-ism, the grandeur of work, the soul-satisfying See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of See also:

• JUSTICE (Lat. justitia)

justice, are the poet's dominant ideals . For many years the See also:

• NATIONAL

national struggle for See also:

• LIBERTY (Lat. libertas, from liber, free)

liberty had forced the best there was in See also:

• HEART
• HEART, LUNG

heart and See also:

• BRAIN (A.S. braegen)

brain into the See also:

• ATMOSPHERE (Gr. fir µ6r, vapour; orkaipa, a sphere)

atmosphere of See also:

• POLITICAL

political intrigue and from one battlefield to another; Carducci therefore found a poetry emasculated by the deviation into other channels of the intellectual virility of his country . On this See also:

• MASS (O.E. maesse; Fr. messe; Ger. Messe; Ital. messa; from eccl. Lat. missa)
• MASS, IN

mass of patriotic doggerel, of sickly, languishing sentimentality as insincere as it was inane, he grafted a poetry not often See also:

• TENDER

tender, but always violently See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt and thrown into a See also:

• MOULD

mould of majestic form; not always quite expected or appreciated by his contemporaries, but never See also:

• COMMONPLACE

commonplace in structure; always high in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone and See also:

• FREE

free in spirit . The See also:

• ADAPTATION (from Lat. adaptare. to fit to)

adaptation of various kinds of Latin metres to the somewhat sinewless See also:

• LANGUAGE (adapted from the Fr. langage, from langue, tongue, Lat. lingua)

language he found at his disposal, whilst it might have been an effort of See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere pedantry in another, was a life-giving and strengthening See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration in his See also:

• CASE
• CASE, JOHN (d. 1600)

case . Another of his characteristics, which made him peculiarly See also:

• PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious to his countrymen, is the fact that his poems form a kind of lyric See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of the Italian struggle for See also:

• INDEPENDENCE
• INDEPENDENCE, DECLARATION OF
• INDEPENDENCE, WAR OF

independence . The tumultuous vicissitudes of all other nations, however, and the pageantry of the See also:

• HISTORY

history of all times, have in turns touched his particular order of See also:

• IMAGINATION

imagination . The more important part of his See also:

• CRITICAL (in alphabetical order of authors)

critical work which belongs to this later period consists of his Conversazioni critiche, his See also:

• SCORIA (Lat. scoria, slag)

Scoria filosofica della letteratura Italiana, and a masterly edition of See also:

• PETRARCH (1304-1374)

Petrarch . That he should have had the faults of his qualities is not remarkable . Being almost a See also:

• PIONEER

pioneer in the See also:

• WORLD

world of See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism, his essays on the authors of other countries, though appearing in the See also:

• LIGHT

light of discoveries to his own country, absorbed as it had hitherto been in its own vicissitudes, have little of value to the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general student beyond the attraction of robust See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style . And in his unbounded admiration for the sculptural lines of See also:

• ANTIQUE (Lat. antiquus, old)

antique Latin poetry he sometimes relapsed into that See also:

• FASCINATION (from Lat. fascinare, to bewitch, probably connected with the Or. f3ao-Kaiveev, to speak ill of, to bewitch)

fascination by mere See also:

• SOUND
• SOUND, THE (Danish Oresund)

sound which is the snare of his language, and against which his own work in its great moments is a reaction .