This paper deals with some works which might have influenced Ugo Foscolo’s aesthetic thought and in particular his unfinished poem Le Grazie. In two lists of books dating at his stay in Florence (1812-1813), Foscolo registers his possession of two editions of Thomson’s Seasons, a French one (accompanied by the original English text) and an Italian one. In another list, which records the books he left in Milan before going into exile, we can also ind a Musarion, which could be a French, or even the Italian translation of Wieland’s work of the same title. Finally, in his youth Piano di studi, Foscolo names an André, who has to be identified with Yves-Marie André, the author of a famous Essai sur le Beau. This essay was quoted sometimes literally by Leopoldo Cicognara in his book Del Bello. The promoter of Canova’s art, Cicognara was in August-September 1812 at the same Florentine hotel where Foscolo lived. Therefore, Foscolo’s plan of a poem to the Graces must have benefitted not only of the poet’s deep knowledge of Classical literature but also of the influence of the whole European culture between xviii and xix century: from Thomson’s bucolic poetry, to Wieland’s galant and Rococo grace, until Canova’s Neoclassicism.
Il contributo individua alcuni testi che avrebbero inluenzato l’estetica foscoliana in generale e specialmente l’incompiuto poemetto Alle Grazie. In due elenchi di libri compilati durante il soggiorno fiorentino (1812-1813), Foscolo attesta di avere con sé ben due edizioni delle Seasons di Thomson, una in francese (con l’originale inglese a fronte) e l’altra in italiano. Nella lista dei libri lasciati a Milano partendo per l’esilio è poi incluso un Musarion, che potrebbe essere la versione francese o addirittura italiana dell’omonima opera di Wieland. Inine, nel giovanile Piano di studi Foscolo menziona un certo André, che si deve identificare in Yves-Marie André autore di un fortunato Essai sur le Beau, ripreso talvolta alla lettera da Leopoldo Cicognara nel suo saggio Del Bello. Cicognara diventò il teorico dell’arte canoviana e fu a Firenze nell’agosto-settembre del 1812, soggiornando nello stesso albergo di Foscolo. Dietro al progetto foscoliano di un carme intitolato alle Grazie, quindi, non agiva soltanto la sua profonda conoscenza dei classici, ma si può avvertire l’eco della cultura europea sviluppatasi fra Sette e Ottocento: dalla poesia campestre di Thomson, alla grazia galante e rococò di Wieland, fino al neoclassicismo canoviano.
Per la biblioteca di Ugo Foscolo: Thomson, Wieland, André.
Leyla Livraghi
2012-01-01
Abstract
This paper deals with some works which might have influenced Ugo Foscolo’s aesthetic thought and in particular his unfinished poem Le Grazie. In two lists of books dating at his stay in Florence (1812-1813), Foscolo registers his possession of two editions of Thomson’s Seasons, a French one (accompanied by the original English text) and an Italian one. In another list, which records the books he left in Milan before going into exile, we can also ind a Musarion, which could be a French, or even the Italian translation of Wieland’s work of the same title. Finally, in his youth Piano di studi, Foscolo names an André, who has to be identified with Yves-Marie André, the author of a famous Essai sur le Beau. This essay was quoted sometimes literally by Leopoldo Cicognara in his book Del Bello. The promoter of Canova’s art, Cicognara was in August-September 1812 at the same Florentine hotel where Foscolo lived. Therefore, Foscolo’s plan of a poem to the Graces must have benefitted not only of the poet’s deep knowledge of Classical literature but also of the influence of the whole European culture between xviii and xix century: from Thomson’s bucolic poetry, to Wieland’s galant and Rococo grace, until Canova’s Neoclassicism.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.
