marcin
(Marcin)
#1
a n d Nni la dispensa di la surfara [In the
Storeroom of the Sulfur Mine], 1910 ─ but he
is not naïf. A cultured poet, he appropriated
the operation he had admired in Saru
Platania, whose dialect poetry he had
studied in his youth; he had credited him
with being the first to have “elevated
himself” from the humble popular
inspiration: not to have abandoned that vein
to elevate himself, but to have elevated the
inspiration, by refining his expressive
instruments and lending poignancy to the
representation. That is to say: to make
himself humble with the humble according
to his specific nature, namely, as a poet.^17
And Di Giovanni became the aedos of life in
the feud and the mine. The feud, with its
immobility, was alive from the end of the
last century to the Fifties. Another poet,
