yì dà lì  (1888nián～1970nián)

 shīcí： 《shī xuǎn anthology》    yuèdòuzhū sài péi · wēng jiā léi dì Giuseppe Ungarettizài诗海dezuòpǐn!!!

　　yì dà lì yǐn yì pài shī gē zhòng yào dài biǎo。 chū shēng zài 'āi jí yī gè yì dà lì qiáo mín jiā tíng， zài fēi zhōu dù guò tóng nián hé shàonián。 1912 nián kè jū bā lí， liǎng nián hòu huí guó。 dì yī cì shì jiè dà zhàn qī jiān， yìng zhēng rù wǔ。 fǎ xī sī tǒng zhì shí qī， bèi pò liú wáng bā xī， zài shèng bǎo luó dà xué zhù chí yì dà lì wén xué jiǎng zuò， 1942 nián qǐ， zhí jiào yú luó mǎ dà xué。 1962 nián rèn 'ōu zhōu zuò jiā lián hé huì zhù xí。
　　
　　 tā de shī gē shū fā tóng dài rén de zāinàn gǎn； gè rén de gū jì、 yōu yù， tóng zhàn zhēng jiā yú rén lèi de bēi jù， zài shī zhōng jǐn mì jiāo zhì。 tā piān 'ài fù yú jié zòu hé cì jī de duǎn shī， bǎ yì dà lì gǔ diǎn shū qíng shī tóng xiàn dài xiàng zhēng zhù yì shī gē de shǒu fǎ róng wéi yī tǐ， kè huà rén wù fēng fù de nèi xīn shì jiè， biǎo dá liǎo rén hé wén míng miàn lín jù dà zāinàn 'ér chǎn shēng de yōu huàn。
　　
　　 wēng jiā léi dì hé yǐn yì pài lìng wài liǎng wèi shī rén méng tǎ lāi、 kuā xī mò duō yī yàng， yě shì yōu xiù de fān yì jiā。 tā yì de suō shì bǐ yà、 lā xīn、 mǎ lā měi děng de zuò pǐn， dé dào gāo dù píng jià。
　　
　　 wēng jiā léi dì de dài biǎo zuò yòu shī jí《 fù zhōu de yú kuài》（ 1919）《 shí dài de gǎn qíng》（ 1937）、《 hū hǎn hé fēng jǐng》（ 1952）、《 lǎo rén bǐ jì》（ 1960） děng。

　　Giuseppe Ungaretti (February 8, 1888–June 2, 1970) was an Italian modernist poet, journalist, essayist, critic and academic. A leading representative of the experimental trend known as Ermetismo, he was one of the most prominent contributors to 20th century Italian literature. Influenced by Symbolism, he was briefly aligned with Futurism, and, like it took an irredentist and militarist position during World War I. Ungaretti debuted as a poet while fighting in the trenches, publishing one of his best-known pieces, L'allegria ("The Joy").
　　
　　During the interwar period, Ungaretti was a supporter of Italian fascism, a collaborator of Benito Mussolini, as well as a foreign-based correspondent for Il Popolo d'Italia and Gazzetta del Popolo. While briefly associated with the Dadaists, he developed Ermetismo as a personal take on poetry. After spending several years in Brazil, he returned home during World War II, and was assigned a teaching post at the University of Rome, where he spent the final decades of his life and career. His fascist past was the subject of controversy.
　　
　　Early life
　　Ungaretti was born in Alexandria, Egypt into a family from the Tuscan city of Lucca.[1] As a child, he was nursed by a Nubian nurse named Bahita, and, as an adult, claimed that her influence accounted for his own exoticism.[2] Ungaretti's father worked on digging the Suez Canal, where he suffered a fatal accident in 1890.[3] His widowed mother, who ran a bakery on the edge of the Sahara, educated her child on the basis of Roman Catholic tenets.[4]
　　
　　Giuseppe Ungaretti's formal education began in French, at Alexandria's Swiss School.[5] It was there that he became acquainted with Parnassianism and Symbolist poetry, in particular with Gabriele d'Annunzio, Charles Baudelaire, Jules Laforgue, Stéphane Mallarmé and Arthur Rimbaud.[6] He also became familiar with works of the Classicists Giacomo Leopardi and Giosuè Carducci, as well as with the writings of maverick author Giovanni Pascoli.[7] This period marked his debut as a journalist and literary critic, with pieces published Risorgete, a journal edited by anarchist writer Enrico Pea.[8] At the time, he was in correspondence with Giuseppe Prezzolini, editor of the influential magazine La Voce.[9]
　　
　　In 1912, the twenty-four year old Giuseppe Ungaretti moved to Paris, France. On his way there, he stopped in Rome, Florence and Milan, meeting face to face with Prezzolini.[10] Ungaretti attended lectures at the Collège de France and the University of Paris, and had among his teachers philosopher Henri Bergson, whom he reportedly admired.[11] The young writer also met and befriended French literary figure Guillaume Apollinaire, a promoter of Cubism and a forerunner of Surrealism.[12] Apollinaire's work to be a noted influence on his own.[13] He was also in contact with the Italian expatriates, including leading representatives of Futurism such as Carlo Carrà, Umberto Boccioni, Aldo Palazzeschi, Giovanni Papini and Ardengo Soffici,[14] as well as with the independent visual artist Amedeo Modigliani.[15]
　　
　　
　　World War I and debut
　　Upon the outbreak of World War I in 1914, Ungaretti, like his Futurist friends, supported an irredentist position, and called for his country's intervention on the side of the Entente Powers.[16] Enrolled in the infantry a year later, he saw action on the Northern Italian theater, serving in the trenches.[17] In contrast to his early enthusiasm, he became appalled by the realities of war.[18] The conflict also made Ungaretti discover his talent as a poet, and, in 1917, he published the volume of free verse Il porto sepolto ("The Buried Port"), largely written on the Kras front.[19] Although depicting the hardships of war life, his celebrated poem L'allegria was not unenthusiastic about its purpose; this made Ungaretti's stance contrast with that of Lost Generation writers, who questioned their countries' intents, and similar to that of militarist Italian intellectuals such as Soffici, Filippo Tommaso Marinetti, Piero Jahier and Curzio Malaparte.[20]
　　
　　By the time the 1918 armistice was signed, Ungaretti was again in Paris.[21] He had by come to sympathize with Benito Mussolini's emerging fascist movement, and was working as a correspondent for Mussolini's paper Il Popolo d'Italia.[22] He published a volume of French-language poetry, titled La guerre ("The War", 1919).[23] In 1920, Giuseppe Ungaretti married the Frenchwoman Jeanne Dupoix, with whom he had a daughter, Ninon (born 1925), and a son, Antonietto (born 1930).[24]
　　
　　During that period in Paris, Ungaretti came to affiliate with the anti-establishment and anti-art current known as Dadaism. He was present in the Paris-based Dadaist circle led by Romanian poet Tristan Tzara, being, alongside Alberto Savinio, Julius Evola, Gino Cantarelli, Aldo Fiozzi and Enrico Prampolini, one of the figures who established a transition from Italian Futurism to Dada.[25] In May 1921, he was present at the Dadaist mock trial of reactionary author Maurice Barrès, during which the Dadaist movement began to separate itself into two competing wings, respectively headed by Tzara and André Breton.[26] He was also affiliated with the literary circle formed around the journal La Ronda.[27]
　　
　　
　　Ermetismo and fascism
　　The year after his marriage, he returned to Italy, settling in Rome as a Foreign Ministry employee.[28] By then, Mussolini had organized the March on Rome, which confirmed his seizure of power. Ungaretti remained an admirer of Mussolini and a supporter of his Blackshirts and National Fascist Party. In his essays of 1926-1929, republished in 1996, he repeatedly called on the Duce to direct cultural development in Italy and reorganize the Italian Academy on fascist lines.[29] He argued: "The first task of the Academy will be to reestablish a certain connection between men of letters, between writers, teachers, publicists. This people is hungers for poetry. If it had not been for the miracle of Blackshirts, we would never have leaped this far."[29] In his private letters to a French critic, Ungaretti also claimed that fascist rule did not imply censorship.[29] Mussolini, who did not give a favorable answer to Ungaretti's appeal,[29] prefaced the 1923 edition of Il porto sepolto, thus politicizing its message.[30]
　　
　　In 1925, Ungaretti experienced a religious crisis, which, three years later, made him return to the Roman Catholic Church.[31] Meanwhile, he contributed to a number of journals and published a series of poetry volumes, before becoming a foreign correspondent for Gazetta del Popolo in 1931, and traveling not only to Egypt, Corsica and the Netherlands, but also to various regions of Italy.[32]
　　
　　It was during this period that Ungaretti introduced Ermetismo, baptized with the Italian-language word for "hermeticism".[33] The new trend, inspired by both Symbolism and Futurism, had its origins in both Il porto sepolto, where Ungaretti had eliminated structure, syntax and punctuation, and the earlier contributions of Arturo Onofri.[33] The style was indebted to the influence of Symbolists from Edgar Allan Poe to Baudelaire, Rimbaud, Mallarmé and Paul Valéry.[33] Alongside Ungaretti, its main representatives were Eugenio Montale and Salvatore Quasimodo.[33]
　　
　　Despite the critical acclaim he enjoyed, the poet confronted himself with financial difficulties.[34] In 1936, he moved to the Brazilian city of São Paulo, and became a Professor of Italian at São Paulo University.[35] It was there that, in 1939, his son Antonietto died as a result of a badly performed appendectomy.[36]
　　
　　
　　World War II and after
　　In 1942, three years after the start of World War II, Ungaretti returned to Axis-allied Italy, where he was received with honors by the officials.[37] The same year, he was made a Professor of Modern Literature at the University of Rome.[38] He continued to write poetry, and published a series of essays.[39] By then, Ermetismo came to an end, and Ungaretti, like Montale and Quasimodo, had adopted a more formal style in his poetry.[33]
　　
　　At the close of the war, following Mussolini's downfall, Ungaretti was expelled from the faculty due to his fascist connections, but reinstated when his colleagues voted in favor of his return.[40] Affected by his wife's 1958 death, Giuseppe Ungaretti sought comfort in traveling throughout Italy and abroad.[41] He visited Japan, the Soviet Union, Israel and the United States.[42]
　　
　　In 1964, he gave a series of lectures at Columbia University in New York City, and, in 1970, was invited by the University of Oklahoma to receive its Books Abroad Prize.[43] During this last trip, Ungaretti fell ill with bronchopneumonia, and, although he received treatment in New York City, died while under doctor supervision in Milan.[44] He was buried in Rome.[45]
　　
　　
　　Legacy
　　Although Ungaretti parted with Ermetismo, his early experiments were continued for a while by poets such as Alfonso Gatto, Mario Luzi and Leonardo Sinisgalli.[33] His collected works were published as Vita di un uomo ("The Life of a Man") at the time of his death.[46]
　　
　　Two of Ungaretti's poems ("Soldiers - War - Another War" and "Vanity") were made into song by American composer Harry Partch (Eleven Intrusions, 1949-50); and eleven poems were set by the French-Romanian composer Horaţiu Rădulescu in his cycle End of Kronos (1999).
　　
　　
　　Published volumes
　　Il porto sepolto ("The Buried Port", 1916 and 1923)
　　La guerre ("The War", 1919 and 1947)
　　Allegria di naufragi ("The Joy of Shipwrecks", 1919)
　　L'allegria ("The Joy", 1931)
　　Sentimento del tempo ("The Feeling of Time", 1933)
　　Traduzioni ("Translations", 1936)
　　Poesie disperse ("Scattered Poems", 1945)
　　Il dolore ("The Pain", 1947)
　　La terra promessa ("The Promised Land", 1950)
　　Un grido e paesaggi ("A Shout and Landscapes", 1952)
　　Il taccuino del vecchio ("The Old Man's Notebook", 1960)
　　Vita di un uomo ("The Life of a Man", 1969)
　　
　　Notes
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Payne; Picchione & Smith, p.204
　　^ Picchione & Smith, p.204
　　^ Payne; Picchione & Smith, p.204-205
　　^ Picchione & Smith, p.204-205
　　^ Picchione & Smith, p.205
　　^ Payne; Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205; Talbot, p.128
　　^ David Forgacs, "Twentieth-century Culture", in George Holmes (ed.), The Oxford Illustrated History of Italy, Oxford University Press, Oxford, p.300. ISBN:0198205279
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205; Talbot, p.142
　　^ Payne
　　^ Picchione & Smith, p.205
　　^ Richter, p.199
　　^ Richter, p.183-184
　　^ Payne
　　^ Picchione & Smith, p.205
　　^ a b c d (Italian) Giorgio De Rienzo, "Ungaretti: 'Serve un Duce alla guida della cultura' ", in Corriere della Sera, December 12, 1996
　　^ Talbot, p.128, 142
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ a b c d e f "Hermeticism", entry in Merriam-Webster's Encyclopedia of Literature, Merriam-Webster, Springfield, 1995, p.540. ISBN 0877790426
　　^ Picchione & Smith, p.205
　　^ Payne; Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Payne; Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Picchione & Smith, p.205
　　^ Payne
　　
　　References
　　Roberta L. Payne, "Ungaretti, Giuseppe", in A Selection of Modern Italian Poetry in Translation, McGill-Queen's University Press, Montreal & Kingston, p.198. ISBN 0773526978
　　John Picchione, Lawrence R. Smith, Twentieth-century Italian Poetry. An Anthology, University of Toronto Press, Totonto, 1993. ISBN 0802073689
　　Hans Richter, Dada. Art and Anti-art, Thames & Hudson, London & New York, 2004. ISBN 0-500-20039-4
　　George Talbot, "Alberto Moravia and Italian Fascism: Censorship, Racism and Le ambizioni sbagliate", in Modern Italy, Vol. 11, No. 2, June 2006 (hosted by the University of Hull)
　　Persondata
　　NAME Ungaretti, Giuseppe
　　ALTERNATIVE NAMES
　　SHORT DESCRIPTION Italian writer and leader of Ermetismo movement
　　DATE OF BIRTH 1888-02-08
　　PLACE OF BIRTH Alexandria
　　DATE OF DEATH 1970-05-02
　　PLACE OF DEATH Milan