marcin
(Marcin)
#1
subterranean and quivering traces, the most
secret ties in the relationship of the authorial
self with the entire reality of his land.
Luigi Fontanella is therefore on the right
track in identifying the deep traces of Trofa’s
absolutely “modern” inventiveness in his
“skillful musical mix, whose ideal ‘fathers’
are Pascoli and D’Annunzio for the density
of onomatopoeias, homophonies, iterative
epanalepses, bold alliterations: the whole
thing often amalgamated in a
phonosymbolic process which nonethelesss
remains rooted in Trofa’s earthy spirit. In
him this work is the result of a constant and
careful polishing [...] Only thus will we have
the complete portrait of a poet who wrote a
small epic of his land in his ancestral
language, a brief symphony of subtle
elegance and genteel irony that speaks of a
Past-Present still open [...] even to the