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I testi poetici:



Parte I

Parte II





di Elizabeth Barrett Browning



From Casa Guidi windows I looked forth,

And saw ten thousand eyes of Florentines

Flash back the triumph of the Lombard north,

Dalle finestre di Casa Guidi si vede il trionfo della Lombardia del Nord.
From Casa Guidi windows she looks at the triumph of Northern Lombardy.


Why swear at all, thou false Duke Leopold?

What need to swear? What need to boast thy blood

Taintless of Austria, and thy heart unsold

Perché hai spergiurato Leopoldo, Duca illegittimo?
Why did you swear, Duke Leopold false.


Did smite the silence like an anvil black

And sparkless. With her wide eyes at full strain,

Our Tuscan nurse exclaimed, "Alack, alack,

Signora! These shall be the Austrians." " Nay,

Hush, hush," I answered, " do not wake the child!"

Mentre al di fuori di casa Guidi a luogo un disastroso bombardamento austriaco, la signora cerca di proteggere il sonno dell’innocente figlio. Da questo passo notiamo l’antitesi tra il mondo dell’innocenza e quello della violenza.
While out of theGuidi’s house takes place a disastrous Austrian bombardment, Elisabeth Barrett Browning tries to defend her innocent child’s sleep. From this part we notice the antithesis between the world of innocence and the world of violence.


Meantime, from Casa Guidi windows we

Beheld the armament of Austria flow

Into the drowning heart of Tuscany.

And yet none wept, none cursed; or, if ‘twas so,

They wept and cursed in silencw. Silently

Our noisy Tuscans watched invading foe;

they had learnt silence. Pressed against he wall

In questi versi la Browning ci descrive la reazione della popolazione di fronte alla distruzione portata dalle armate austriache. Dalle parole dell’autrice ricaviamo come le forti emozioni nascano solo dal vero dolore o dalla vera paura e il silenzio diventa il più acuto grido di dolore.
Elizabeth Browning describes us the reaction of the population in front of the destruction caused by the Austrian army. From the author’s words we understand how the strong emotions come only from the true fear or from the true happiness and the silence becomes the highest cry of pain.


Than this, so named of Rome, was!

Let thy weft

Be of one woof and warp, Mazzini! - stand

With no man of a spotless fame bereft -

Qui abbiamo una critica e una serie di suggerimenti verso il progetto mazziniano. La vittoria nasce solo dalla convinzione di poter attuare i propri ideali e dalla coerenza tra i principi teorici e la loro concretizzazione.
There we have some criticism and a suggestion to Mazzini’s project. The victory can come only from the convinction to be able to carry out their own ideals and from the coherence between theoretical principles and their realization.


Alas, great nations have great shames, I say.

No pity, O world, no tender utterance

Of benediction, and prayers sretched this way

To poor Italia baffled by mischance? -

O gracious nations, give some ear to me!

You all go to your Fair, and I am one

Who at the roadside of humanity

Beseech your alms,- a justice to be done.

Elizabeth è risentita del fatto che le nazioni straniere non aiutino la povera Italia, ma dovrebbero farlo, perché è una questione di giustizia.
She regrets the fact that foreign nations do not help poor Italy, but they should do it, because it is a matter of justice.


Of thanks, be, therefore, no one of these graves!

Not hers, -who, at her housband’s side, in scorn,

Outfaced the whistling shot and hissing waves,

Until she felt her little babe unborn

Recoil, within her, from the violent staves

And bloodhounds of the world: at which her life

Dropt inwards from her eyes, and followed it

Beyond the hunters. Garibaldi’s wife

And child died so. And now, the seaweeds fit

Her body like a proper shroud and coif,

And murmurously the ebbing waters grit

Viene descritto il corpo di Anita, coperto dalle alghe, che diventa un qualcosa di sacro e viene messo in risalto l’amore per Garibaldi. A lei sembra di compiere un peccato ed è angosciata all’idea di doverlo lasciare.
She describes Anita’s body, covered with seaweeds, that becomes something sacred and her love to Garibaldi. She looks up to Garibaldi’s face as to make excuse for leaving him.

The sun strikes, through the windows, up the floor:

Stand out in it, my own young Florentine,

Not two years old, and let me see thee more!

It grows along thy amber curls, to shine

Brighter than elsewhere. Now, look straight before,

And fix thy brave blue English eyes on mine,

And from thy soul, which fronts the future so,

With unabashed and unabated gaze,

Teach to hope for, what the Angels know,

When they smile clear as thou dost. Down God’s ways,

With just alighted feet between the snow

And snowdrops, where a little lamb may graze

Thou hast no fear, my lamb, about the road,

Albeit in our vainglory we assume

That, less than we have, thou hast learnt of God.

Stand out, my blue-eyed prophet! Thou, to whom

The earliest world-day light that ever flowed

Lei esorta, con dolcissime espressioni, il suo bambino, nato in Casa Guidi, a guardarla così che lei possa riporre fiducia e speranza nel futuro attraverso i suoi occhi blu
She addresses with very lovely expressions her two-years-old child who was born in Casa Guidi, to look at her so she can get hope for the future through his blue eyes.