The aim of the article is to frame the composition of the Operette Morali – a bizarre combination of poetry and philosophy, of comedy and tragedy, of orality and writerliness – within the complex, somehow ambivalent, relationship that Leopardi had with Plato. On the one hand, Leopardi found in Plato a familiar psychic and intellectual disposition: a ‘poetic’ ardour extinguished by philosophy, an ‘oral’ mind converted to writerliness. On the other hand, he engaged himself in a battle against the platonic censure of poetry and theatre, which he appreciated with exactly the same arguments that Plato used to condemn them – that is, their corporeal, irrational and democratic dimension. This will be argued through a comparison with the “Prologue in Theatre” of Goethe’s Faust and with Tocqueville’s observations of the relationship between dramatic and democratic institutions.
Leopardi and Plato (Drama vs Philosophy) / D'Intino, Franco. - In: ODRADEK. - ISSN 2465-1060. - ELETTRONICO. - 1:1(2015), pp. 5-44.
Leopardi and Plato (Drama vs Philosophy)
D'INTINO, FRANCO
2015
Abstract
The aim of the article is to frame the composition of the Operette Morali – a bizarre combination of poetry and philosophy, of comedy and tragedy, of orality and writerliness – within the complex, somehow ambivalent, relationship that Leopardi had with Plato. On the one hand, Leopardi found in Plato a familiar psychic and intellectual disposition: a ‘poetic’ ardour extinguished by philosophy, an ‘oral’ mind converted to writerliness. On the other hand, he engaged himself in a battle against the platonic censure of poetry and theatre, which he appreciated with exactly the same arguments that Plato used to condemn them – that is, their corporeal, irrational and democratic dimension. This will be argued through a comparison with the “Prologue in Theatre” of Goethe’s Faust and with Tocqueville’s observations of the relationship between dramatic and democratic institutions.File | Dimensione | Formato | |
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