Hidden, I watched her…and in her place I found that it was me: I saw myself seated on a stump beneath the branches of a poplar, the eyes of my mother, black as stable ground, neck shining, a new jacket and my hand resting on my loins. It has no foundation, this emptiness brought by the new season submitted to an unknown force where reason, assailed,. Here we feel ourselves somewhat necessary, seized again. In the obscurity of a Saturday night it expands without end, a frontier inside of which.
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When living is at its most difficult Is life at its most absolute? On the evening banks of my mute senses. Exhausting labor of an obscure subsistence,. Mysterious lightness of the dead weight of what is now life, candor of a blemished heart…. Whose feelings are like lace after midnight when a prostitute, mute, silent, returns home. It is truly there, the wind of inner life which never slackens, and the monotonous variation.
I come back from a hopeless night of roaming burning gloriously with life: prey to forces now living, now spent. Born in Bologna in , Pier Paolo Pasolini was one of the most versatile and sparkling of twentieth-century critical and poetic intelligences.
Poet first and last, he was also a novelist, filmmaker, dramatist, a sociocultural, sociopolitical, cinematic, and literary theoretician and critic, as well as a brave and resolute political activist. His was a remarkable and unique itinerary, one cut short by his brutal murder in which has not yet been satisfactorily investigated, adjudicated, or resolved. In fact, even if Pasolini never explained what kind of love he made to the women of stone of his dreams , the existence of an artistic love is nevertheless obvious ; it is a love of pure representation generating images remote the word stone already suggests it from the common sensual icons depicting women in films.
The ambiguity is often passionately pursued by Pasolini. It is at times a thought provoking reminder that nothing is simple in a relative reality mediated by language and cultural differences ; in other instances it appears as an irritating display of an intelligent mind showing off its sophistic ability. Revealing is the answer Pasolini gave in Le belle bandiere , a collection of dialogues with readers on the weekly magazine Vie Nuove , to a reader who wrote to him that she found a lecture he gave in Bologna in admirable but at times difficult to follow especially for the preciousness of the terms used.
Would it not be possible, the reader asked, to speak about art with a language more accessible to everybody? Every idea, for Pasolini , is double : it has either two roots or two possibilities of development, hence the difficulty of expressing it; furthermore, the specialized language of different disciplines is arduous , not because it is hermetic, but because it is elliptic since it refers to a set of specific ideas previously developed within a system of knowledge.
She is il cobra, la cobra, il cobro with la biro and with il biro. This is not a jocular game of assonance; the poem is by far too excruciating to make any room for levity. Pasolini performs the same operation in a sonnet written in It was a bad year for the poet. Ninetto Davoli, the young man who meant so much to him, fell in love with a woman and decided to get married.
It was two in the morning and Pasolini was in the sordid Piazza dei Cinquecento the place where two years after he will pick up his murderer talking to some boys when Ninetto drove by. Officially, he was searching for locations for Il fiore delle mille e una notte where in some sequences his pain outpours in the representation of the female character, icon of his rage at Ninetto and at the appeal of femininity. Il fiore delle mille e una notte is per se a topos of opposing interpretations and definitions. Particularly revealing is the story of Aziz Ninetto Davoli and Aziza , his cousin and bride to be.
On the day of the wedding Ninetto - Aziz falls in love with a mysterious girl who appears at a window conveying cryptic messages to him. Not only does Aziz forgets about his wedding but confides his love for the beautiful stranger to Aziza who , gallantly, helps him to understand the messages.
The Flower of Youth: Pier Paolo Pasolini Poems
Under a tent Aziz and the beautiful stranger make love; to her he recites the verses given to him by Aziza who dies of a broken heart in the meantime. One day, on his way to meet his lover , Ninetto - Aziz is kidnapped and pushed into a house were a rich girl marries him without too much resistance on his part. He is also told that the beautiful stranger is Budur the Mad One who caused the death of many men. The girl who spent a year waiting , avenges herself castrating Aziz with the help of a group of women.
The young man returns to his mother; she gives him a parchment left to him by Aziza who forgives him of every fault. The episode ends with Aziz embracing his mother on the terrace where he used to meet Aziza.
In the story of Aziz and Aziza, the representation of the female character is aesthetically and psychologically pervaded by a stone-like quality. Women are consistently framed by windows, walls, tiles ; their expression is outwardly impassible and sculptured - like. Motion belongs to the love sick Aziz , seen running through narrow streets, and to the camera panning on a city in which predictable and allusive minarets are not seen ; they have disappeared like the little boys following Aziz on his first unexpected encounter with Budur, to give way to a stony labyrinth made of homes, porticoes, terraces and dark windows - obvious symbols of female sexuality.
With the lulling motion of the camera Pasolini is making love to the women of stones of his dreams. Compulsively attracted by the statuesque Budur , Aziz manages to lose her five times by falling asleep or eating when he should not. Cryptically written messages, mysterious gestures , symbolic objects and rituals provide the variations to a subconscious game of reaching and losing created by Aziz.
His frenzy is controlled by the powerful Budur, a stony icon appearing and disappearing , attracting and repudiating. In her ideal form as representative of the powerful oral mother, the female in the masochistic scenario is not sadistic, but must inflict cruelty in love to fulfill her role in the mutually agreed upon masochistic scheme. Only death can hold the final mystical solution to the expiation of the father and symbiotic reunion with the idealized maternal rule.
The masochist imagines the final triumph of a parthenogenetic rebirth from the mother. Symbolically, in the masochistic system, we are at a primordial time in which fertility is exclusively of the woman. Exuding the usual autobiographical intertext , the narrative is very simple : a young man discovers an opening on the ground through which he descends in a subterranean edifice , tomb and palace at the same time.
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