Vox matris. Sulla poetica e sulla simbologia pascoliana
Résumé
The figure of the woman in Giovanni Pascoli’s works does not differ from XIXth-century female common models and from Christian archetypes, which oppose the saint and the sinner, the Virgin Mary and Mary Magdalene. So the virgin mother – the “eldest daughter”, who looks after her siblings in poems like La figlia maggiore and Phidyle, or the main character of Il sogno della vergine, who dreams of a parthenogenetic birth – has a specular opposite in the infanticide prostitute (Myrrhine in the Poemi di Ate). Nevertheless, considering her closeness to the mystery of life and her contemplative attitude (antithetic to masculine action), the mother in Pascoli’s texts is strikingly similar to the figure of the poet himself. In fact, in the introduction to his Canti di Castelvecchio, Pascoli declares that he owes his poetic inclination to his mother: like her, he prefers the standstill of dream better than the illusory dynamism of active life. He recognises himself in this motherly model, characterised by sacrifice and forgiveness, and uses it against the Übermensch virilism of his rival d’Annunzio. According to Pascoli, it is only by accepting this female model of self-restraint that humankind will be able to reach the next evolutionary stage: the homo humanus.
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