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He wrote three more essays on Yeats in , and finally in ; they appeared respectively on the occasion of the publication of the Italian transla- tion of A Vision6 , The Tower7 and The Celtic Twilight8 In Viola Papetti organized a symposium on Giorgio Manganelli.

The conference proceedings9 include an article by Papetti — Manganelli e gli inglesi — in which she lists the most significant figures of English literature who contributed to the literary formation of the writer.

Yeats was one of them: Manganelli was more and more deeply interested in and influenced by the poetry of Yeats. This deep interest became a sort of indoctrination; not to the principles expressed in A Vision, as one might think at first, but rather to the idea that lies behind this theosophical philosophy.

The first essay on Yeats is a quick overview on his life and poetry. Yeats is presented as the link between the aesthetic school from Swinburne and the influence of the French symbolist movement to the poetics of T. Eliot and Ezra Pound. The idea here expressed probably follows in the footsteps of T. Here Manganelli tries to explain the importance of the Autobiographies in the Yeatsian literary corpus. The explicit formulation of the theory which gives order to the entire corpus of poetry already published and that had yet to come, embarrasses the critic because it opens a most serious problem for the interpreter.

Giorgio Melchiori once told me that in the Fifties the British Library held only one copy of the first version of A Vision The book was damaged and its pages were held together by a string. Giorgio Melchiori had gone to London in order to study that particular edition, but he found out that another Italian was at the time viewing the book.

He was told where this man had a seat so that they could arrange turns to view the book. The other man was Giorgio Manganelli.

This anecdote is particularly relevant if we consider the fact that Manganelli wanted to study that particular edition of A Vision. He wanted to compare it to the second and most common one — which has now been translated into Italian too It must be said that the two editions are quite different The second is a systematic essay where all the schemes, patterns and tables elaborated by Yeats are presented in an organic way.

The first one, on the other hand, is presented as a sort of tale introduced by the fictional characters of Aherne and Michael Robartes; its form is more like a fictional story than an organic pseudo philosophical treatise like those of the Middle Ages or the Renais- sance. Unquestionably, whoever wanted to see the first edition had to be a serious scholar, not just an amateur. The topic and arguments set out in A Vision are at least questionable; they are controversial, they represent an obstacle for commentators, they perplex even the most devoted admirers and the most experienced literary critic.

As a literary critic, Giorgio Manganelli, found in Yeats a congenial author. Both in the first and second to a lesser extent edition of A Vision there are passages that look like autobiographical stories, or rather like fictional ones disguised as autobiographical stories.

But the systematic nature of the treatise is absolutely rigorous.

A Vision is a shameless affirmation of faith in a mysteriosophical theological system. Yeats challenges the reader because, unlike the writers I have just mentioned, he does not wink at the reader for his paradoxes or absurd theories; his book stands as an extreme truth. Joyce was proud to state that critics would have to spend ages to trace all the literary references hidden in his books; so it seems that Yeats too was eager to challenge his followers with the system exposed in A Vision.

It is so difficult, complex and articulated, so cumbersome and awesome, in a way, that it represents an obstacle for the reader who tries to take it seriously. Edmund Wilson asked himself many years ago. Gior- gio Manganelli is no exception. The question is legitimate, but at last we should come to a different conclusion: if we cannot find a definitive answer, maybe the problem is in the question: the question is wrong!

But the answer is not that difficult. Yeats himself gave it in A Vision: the smart wizard Someone will ask whether I believe in the actual existence of my circuits of sun and moon […] to such a question I can but answer that if sometimes, overwhelmed by miracle as all men must be when in the midst of it, I have taken such periods literally, my reason has soon recovered; and now that the system stands out clearly in my imagination, I regard them as stylistic arrangements of experience comparable to the cubes in the drawing of Whyndham Lewis and to the ovoids in the sculpture of Brancusi.

They have helped me to hold in a single thought reality and justice. Believing and not believing do not represent a contradiction.

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Thus the first question is not wrong but its answer, though satisfactory, is useless. Asking whether Yeats believed in his system makes no sense.

It is just a method to give order: Our thoughts turn to Dante, whose poetry presupposes a theology, the organi- zations of a fictitious world of figures. It is designed to introduce a regular feature, a sort of geometric definition, a logic insistence.

That he believed or not in the theology he adopted makes no difference for the critic or the reader. Dante and Milton would prob- ably have made it, and that does not prevent their writings from being understood by skeptics. This time the answer gets to the point of the question. Is the question legitimate? Manganelli finally found the key to solve the problem; it is in the already mentioned quote from Blake.

Apparently the answer does not apply to Yeats only but to Manganelli himself. The term true belongs to a classification, to a judgment which implies the denial of its opposite; so it refers to a system that is exactly the opposite of the one Yeats aspired to.

The opposite of the truth is a situation where true and false are not opposed. And these are two couples of nouns that have no particular irreverent meaning. Smart as Ulysses, whose ability consisted in fooling other people through a compelling rhetoric. Yeats is the perfect example of the paradigm supported by Manganelli in La letteratura come menzogna.

The distance between the literary critic and his object of study has thinned. This study of the deep relationship between Manganelli and Yeats — that in the loop of the eternal return evoked by the cycles of history drawn in the Yeatsian gyres would almost seem mutual — gets finally to the real question we should pose when talking about Yeats.

A myth is a myth not because it is false to physical or historical fact but because, true or false, it offers just such an expressive image. Even if it is literally true, that historically and actually, some thousand years ago the son of God was born, we have been taught it as a lie, and this is the way the news spread. For a ritual theatre: Yeats and Manganelli 2. Yeats had been involved in broadcast talks with the BBC in The programme was introduced and presented by Yeats who commented on the lines read.

Particularly important were also his lectures on the Celtic Revival in in five parts and those on English post-war poetry from and finally a programme on Samuel Johnson in All of these were originally radio plays and only later were they staged. Even the radio plays are something different from a play for the theatre.

Their forms and patterns are peculiar; they belong to a different tradition. If we are to find a model for their plays, we must refer to avant-garde writers, experimental theatre, symbolism, and some experiences linked to the Eastern theatre. Most of the times they are one act plays, or even more simply dialogues be- tween characters without action, just like Platonic dialogues.

However they lack action, the dramatic development of a full play, they apparently do not have a proper background nor a traditional conclu- sion From this perspective they are potentially brilliant theatrical inventions though at a provisional stage, as if the author had left half his idea, waiting for someone to complete it.

In a traditional perspective they would be miserable unfinished attempts. Manganelli and Yeats had worked on a very different level, creating new dramatic genres with suggestions from very different experiences.

Manganelli too did not refer to traditional drama. He first said it was important to overcome the problem imposed by the radio setting. However, he noticed that this work could represent something particularly interesting and completely new which could not be valued according to the traditional theatrical canon. He wrote: This new theatre of limited size which we are going to inaugurate with you, lends itself to unusual forms of theatricality, albeit reduced ones.

There is a very direct relationship between the show and its audience. This is why the form of lecture, radio commentary, discussion of the text is an advantage rather than a disadvantage. For them, the literary aspect of the theatrical production was of utmost importance. Speech had to be the centre the smart wizard of the play. Yeats knew the importance of the versatility and richness of language in the theatre.

Manganelli too refers to Shakespeare as an example, and exactly for the same reason as Yeats. What Manganelli praised in the Elizabethan drama is the presence of a […] total language which feeds on the inventions of all classes, a language which is indecent, lewd, blasphemous, creative, never sentimental; it is a mixture of hag- gard Baroque, of vulgar and cunning slang, of real wisdom, of patched scholarship, of stylistic wit and oratorical incontinence.

The fact that the language used in the Elizabethan Age might be of dif- ficult comprehension is not an obstacle for the two writers. Conversely, it is a value that contemporary societies have lost in search of the pursuit of success, pandering to the consent of the audience; this is what Manganelli writes: I do not think that the writer tries to abuse his power through the words. He looks for freedom, a disorder other than that which can be found in a written text.

He knows that the theatre finds again the incomprehensibility and the violence which are active in a word. The theatre is not made for being understood: this is the literary genre the writer looks for and will always look for.

It is because contemporary society had pushed the author to adopt a less complex language. For different reasons and in different times Yeats and Manganelli gave similar explanations, blaming those writers who had followed this ten- dency, this inexplicable necessity to get closer to a full intelligibility, the ruin of literature: if the difficult Shakespeare was popular in his own day, shall we think that the audience, the Elizabethan plebeians, were all geniuses?

And if we no longer understand the difficult language, if we are not trained to, does this mean that we have become nitwits? As I said before, the turning point of the matter is to be found in the language chosen by the author, in its distance from everyday speech, in the importance of the literary word. In order to avoid the problems caused by traditional acting, Yeats decided to find his own actors among common people — the Fay brothers were non professional actors.

He wrote: the smart wizard At a time when drama was more vital than at present, unpaid actors, and actors with very little training, have influenced it deeply. The Mystery Plays and the Miracle Plays got their players at no great distance from the church door, and the classic drama of France had for a forerunner performances of Greek and Latin Classics, given by students and people of quality […].

Similarly, scen- ery had the same role. It had to be changed drastically from that of bourgeois drama. Both writers did not want realistic scenery, nor a traditional description of what was on the stage. From this point of view too, Yeats could have been a model for Manganelli.

Their reflections on the essence of theatrical practice leads to a general discomfort with their contemporary mainstream examples of the theatrical scene. Not that their conclusions are isolated in the literary panorama of their times However their theatre is experimental and marginal, or at least harder to comprehend.

So they state with similar words, that a new theatre has to grow up on the ancient models of primitive theatrical experiences.

The central part of the word in the theatre is directly linked to the ritual aspects of the play.

That is to say that the audience is kept quiet by means of a calm terrorism, the actor replaced by the celebrant, ritual scenery, rigorous definition of the space designated for the miracle, and invention of the theatri- cal work as a prodigy. Ceremony and artifice. The theatre does not tell stories, it has no beginning and no end, it does not want to be praised. Applauding would be like ap- plauding the priest at mass, because he managed to carry out a good transubstantiation.

Its roots lie in the expression of artistic power especially in its most symbolic and articulated manifestations. Notes 1 G. Manganelli, Come parla Yeats, il poeta teologo, in Id. Papetti, Edizioni di Storia e letteratura, Roma , p. All translations from the Italian are mine.

Manganelli, Il mago astuto, in Id. Yeats, Autobiographies, Macmillan, London Yeats, Drammi Celtici, Bur, Milano Jeffares, K.

Yeats, Una visione, translation by Adriana Motti with an essay by A. Stock, Adelphi, Milano Yeats, La torre, introduction and commentary by A. Johnson, translation by A. Marianni, Bur, Milano Yeats, Il crepuscolo celtico, a cura di R.

Copioli, Teoria, Roma-Napoli These reviews and essays, together with other articles of similar nature, have been collected and edited in in the volume titled Incorporei felini II, cit. Papetti a cura di , Le foglie messaggere. Eliot, Yeats, in Id. Manganelli, Yeats autobiografico, in Id.

It is also the title of a chapter of The Trembling of the Veil, in Autobiographies. Yeats, Una visione, cit. Stock, W. Johnson, introductory essay and chronology by P. Boitani, Mondadori, Milano Ellmann, Yeats, the Man and the Masks, cit. Yeats: His Poetry and Thought, cit. Manganelli, Come parla Yeats il poeta teologo, in Id.

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Manganelli, in Incorporei felini II, cit. Vita di Samuel Johnson, is the tapescript of this programme, edited and revised by Viola Papetti, Edizioni di Storia e letteratura, Roma ; a new edition has been published by Adelphi in , edited by Silvano Nigro. His com- mitment with the radio had been rather assiduous. Scarlini, Dialogo notturno: un palcoscenico per Giorgio Manganelli, introduction to G.

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Manganelli, Tragedie da leggere, cit. Some of them were resentful, indignant and sceptical. Gasparini, W. Yeats transposed these forms in something original. Luppi, Cerimonie ed artifice nel teatro di W. Yeats, NEU, Roma FitzGerald and R.

Finneran, Scribner, New York , p. Yeats, Samhain: - Literature and the living voice, in Id.

Manganelli, Cerimonia e artificio, in Id. Scarlini, Oedipus editore, Salerno-Milano , p. Manganelli, Shakespeare, in Id.

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