Summary
Highlights
Eugenio Montale was born in Genoa in 1896, the sixth son in a large family. He graduated in accounting in 1915, but was passionate about singing and music. He participated in World War I as a sub-lieutenant and formed friendships with Ligurian poets like Camillo Sbarbaro. He also had significant relationships with women, including Anna degli Uberti (Annetta/Arletta) and Irma Brandis (Clizia), who became muses for his poetry. He published his first work in 1922 and later contributed to journals like 'Gobettiano Torinese' and 'Solaria.' A significant early act was signing the anti-fascist manifesto in 1925.
In 1927, Montale moved to Florence to work as an editor for Bemborad publishing house. He directed the Gabinetto Vieusseux literary society from 1929 to 1938. His important collection 'Le Occasioni' was published in 1939. During the war, he harbored persecuted individuals and joined the Tuscan CLN. In 1948, he became an editor for Corriere della Sera. He met Maria Luisa Spaziani (Volpe), another key female figure in his life, and became a music critic in 1954. He was nominated Senator for Life and received the Nobel Prize in Literature in 1975, giving a notable speech titled 'Is Poetry Still Possible?' He died in Milan in 1981.
'Ossi di seppia,' Montale's first poetic collection published in 1925, was dedicated to Piero Gobetti. The collection is influenced by Schopenhauer's pessimism, D'Annunzio's poetry, Pascoli's lessons, and the crepuscular experience of Gozzano. Key themes include the metaphysical dimension of the Ligurian landscape, the allegory of the impassable wall, the human condition of disharmony, and nostalgia for a happy childhood. The 'ossi di seppia' (cuttlefish bones) symbolize a life of impoverishment and dried-up existence. Central motifs are aridity, the impenetrable wall, the fragmentation of the soul, and the struggle to find a 'breach' from existential imprisonment. Montale's poetic language displays distrust in the poetic word, use of objective correlatives, anti-musical rhythms, and a refined yet prosaic lexicon.
'I limoni' serves as Montale's poetic manifesto, where he contrasts his simple, everyday poetry with the elevated style of 'laureate poets.' 'Non chiederci la parola' reflects the spiritual crisis of intellectuals during the fascist regime, indicating the poet's inability to offer positive messages. 'Spesso il male di vivere ho incontrato' and 'Meriggiare pallido e assorto' address the 'mala di vivere' (the discomfort of living), depicting arid landscapes and the human condition of suffering. Despite the suffering, there are symbols of 'good' like a statue, a cloud, or a falcon, representing detachment and a search for meaning.
'Le Occasioni,' published in 1939, further develops the 'poetics of objects,' where objects carry decipherable meanings, influenced by T.S. Eliot's objective correlative. The collection is dedicated to 'I.B.,' later understood to be Irma Brandis, known as Clizia. Clizia is portrayed as an angelic, salvific figure, often referenced through wordplay related to her name (Brandis meaning fire and ice) or as a sunflower (Clizia). The collection's sections include descriptive lyrics about travel and female figures like Dora Marcus, Gherti, and Liuba, who resist suffering through amulets. The 'Mottetti' section consists of short, evocative poems dedicated to the absent Clizia, with 'Non recidere forbice quel volto' being a notable example of the objective correlative. Other sections address historical barbarity and revisit the Ligurian landscape and Annetta.
'La bufera e altro,' published in 1956, marks a change in Montale's style, moving towards a 'third evil.' The historical context shifted post-WWII, with hopes for liberation diminishing and a massified society emerging. During this period, Montale's mother died, Clizia was distant, and he found comfort in Maria Luisa Spaziani (Volpe), who represents an anti-Beatrice figure – erotic and sensual, contrasting with Clizia's salvific role. His wife, Mosca, also becomes a thematic focus. The collection's sections range from 'Finisterre,' which continues the Clizia theme, to 'Madrigali privati' reflecting his passion for Volpe. 'Conclusioni provvisorie' offers a critique of contemporary society and emphasizes loyalty to ethical values in a world facing destruction. 'L'anguilla' (The Eel) symbolizes life's arduous journey, while 'L'iride' (The Iris) links Clizia to the rainbow, a bridge between two worlds. The poem 'La primavera hitleriana' expresses Montale's horror at Hitler's visit to Florence in 1938, using imagery of unnatural snow to symbolize the impending tragedy of war and the hope for Nazifascism's end.
After 'La bufera,' Montale stopped writing poetry for some years, resuming in 1966 with the 'Xenia,' fourteen short poems dedicated to his deceased wife, Mosca, offering comfort. These poems were later included in his 1971 collection 'Satura.' A well-known poem from this collection is 'Ho sceso, dandoti il braccio, almeno un milione di scale.'