Trilussa

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Trilussa

Carlo Alberto Camillo Mariano Salustri (26 October 1871 – 21 December 1950), known by the pseudonym Trilussa (an anagram of his last name), was an Italian poet, writer and journalist, particularly known for his works in Romanesco dialect.

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Childhood and education (1871–1886) Carlo Alberto Camillo Salustri was born in Rome on 26 October 1871. His father, Vincenzo, was a waiter from Albano Laziale, his mother, Carlotta Poldi, was a Bolognese seamstress. He was the second-born child of the Salustri family and was baptized on 31 October in the Church of San Giacomo in Augusta, when the fourth name, Mariano, was added. A year later, in 1872, at the age of three, his sister, Elisabetta, died of diphtheria. His tormented childhood was affected again two years later, on 1 April 1874, by the death of his father Vincenzo. After the death of her husband, Carlotta Poldi decided to move with her son Carlo to Via Ripetta, where they stayed for only eleven months, before moving again to the palace in Piazza di Pietra, belonging to the Marquis Ermenegildo del Cinque, Carlo's godfather. It is believed that Carlo owes his acquaintance with Filippo Chiappini, a Romanesco poet and disciple of Belli, to the Marquis; indeed, Chiappini's sonnet Ar marchese Riminigirdo Der Cinque (To the Marquis Riminigirdo Der Cinque), addressed to Trilussa's godfather, seems to be referring to Carlotta Poldi and her son in the last triplet. (Filippo Chiappini, Ar marchese…Citește mai mult

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(Trilussa, L'invenzione della stampa) Zanazzo agreed to publish the sonnet, which appeared in the edition of 30 October 1887, signed at the bottom with the pseudonym Trilussa. From this first publication he began an assiduous collaboration with the Roman periodical, thanks also to the support and encouragement of Edoardo Perino, editor of Rugantino, which would lead the young Trilussa to publish, between 1887 and 1889, fifty poems and forty-one prose works. Among the many poems printed between the pages of Rugantino, the Stelle de Roma (Stars of Rome), a series of about thirty madrigals, that paid homage to some of the most beautiful young women in Rome, were a resounding success. Starting with the first stella, published on 3 June 1888, the poems dedicated to Roman women gradually gained such popularity that they involved the entire Rugantino editorial staff. Several authors, hiding behind pseudonyms, would try their hand at writing poems entitled to stelle along the lines of those of Trilussa. The popularity of his compositions led Trilussa to select twenty of them and, after revising them and making substantial changes, to publish them in his first collection of poems, Stelle de Roma. Versi romaneschi (Stars of Rome, Roman verses),…Citește mai mult

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(Diego De Miranda) When De Miranda said that the Roman poet was no longer publishing sonnets because he was studying them, he was probably referring to the collection that Trilussa was preparing, and of which he was aware, which would see daylight only in 1898, printed by Tipografia Folchetto under the title Altri sonetti. Preceduti da una lettera di Isacco di David Spizzichino, strozzino (Other Sonnets. Preceded by a Letter of Isacco di David Spizzichino, Usurer). The curious title of the work originated from an episode that biographers consider real: Trilussa, in financial difficulties, asked Isacco di David Spizzichino, a moneylender, for a loan, guaranteeing to pay him back after the publication of his next book. But the book was late to be published, and Isacco sent a peremptory letter to the poet; Trilussa decided to report the story with the cheerfulness and irony that always distinguished him: he included in the collection a dedication to his usurer and the intimidating letter as a preface to the work. In the meantime, the Roman poet began to become declaimer of his own verses, which he recited in cultural circles, theatres, aristocratic salons, and cafè-concerts, Trilussa's favourite places, symbols of the Belle…Citește mai mult

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Elocutionist Trilussa (1901–1914) In the wake of his success, he began to frequent 'salons' as a poet-commentator on the day's events. During the Fascist period, he avoided joining the Fascist Party, but preferred to define himself as a non-fascist rather than an anti-fascist. Although he made political satire, his relations with the regime were always calm and marked by mutual respect. In 1922, Arnoldo Mondadori Editore began publishing all his collections. Also in 1922, the writer joined Arcadia under the pseudonym of Tibrindo Plateo, which was also that of Belli. He was godfather to the journalist and sports radio reporter Sandro Ciotti. The President of the Republic Luigi Einaudi appointed Trilussa senator for life on 1 December 1950, twenty days before he died (in one of the first issues of Epoca dedicated to the news of his death in 1950, could be read that the poet, long since ill, and prescient of the imminent end, had commented with unchanged irony: "They have appointed me senator to death"; the fact remains that Trilussa, although seventy-nine at the time of his death, insisted, with old-fashioned coquetry, on declaring that he was 73). His last words, pronounced almost in a whisper to his…Citește mai mult

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Socio-political satire In witty language, barely rippled by his bourgeois dialect, Trilussa commented on around fifty years of Roman and Italian news, from the Giolittian era to the years of fascism and the post-war years. The corruption of politicians, the fanaticism of hierarchs and the scheming of the powerful are some of his favourite targets. In some of his poems, such as Er venditore de pianeti, Trilussa also manifested a certain patriotism of the Risorgimento type. However, satire, conducted with a certain political apathy and scepticism, is not the only motif that inspires Trilussian poetry: there are frequent moments of crepuscular melancholy, disconsolate reflection, here and there corrected by flashes of irony, on withering loves, on the loneliness that makes old age bitter and empty (the models in this case are Lorenzo Stecchetti and Guido Gozzano). The key to accessing and reading Trilussa's satire can be found in fables. Like other fable writers, he also had something to teach, however, his moral was never generic or vague, but linked to the real-time comments on the issues of life. He was not satisfied with his happy endings; therefore, he pursued his own amusement already during text composition and, of course, that…Citește mai mult

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The Romanesco poet Trilussa was the third great dialect Roman poet to appear on the scene from the nineteenth century onwards: while Belli, with his expressive realism, drew fully from the language of the lowest strata and turned it into short, memorable sonnets, Pascarella proposed the language of the United Italy commoner, who typically aspires to culture and middle class, integrated into a narrative of a wider scope. Trilussa devised a language even closer to Italian, in an attempt to enhance Belli's vernacular. Trilussa replaced popular Rome with bourgeois Rome, and historical satire with the humour of the daily chronicle. In particular, Trilussa has the ability to highlight people's pettiness and weaknesses through incisive and biting metaphors, often based on episodes involving domestic animals. This is the case of the well-known sonnet Er cane moralista (The Judgemental Dog) in which the initial censorious and critical attitude towards reprehensible behaviour is followed by a finale in which accommodation and mutual interest recall common dynamics of human behaviour.

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Works Between 1887 and 1950, Trilussa initially published his poems in newspapers and later collected them in volumes. This allowed him to immediately gather the readers' opinions, as well as to show them the artistic rendering of his compositions at a first draft. It was only afterwards that he selected and refined his poems, discarding those that were less up-to-date and making stylistic, metrical, and linguistic interventions. This second phase made his collections not a simple re-proposition of poems scattered on the pages of newspapers, but real books of poems, perfected and, when necessary, renewed in relation to the social context. Stelle de Roma. Versi romaneschi, 1889. Er Mago de Bborgo. Lunario pe' 'r 1890, 1890. Er Mago de Bborgo. Lunario pe' 'r 1891, 1891. Quaranta sonetti romaneschi, 1894. Altri sonetti. Preceduti da una lettera di Isacco di David Spizzichino, strozzino, 1898. Favole romanesche, Roma, Enrico Voghera, 1901. Caffè-concerto, Roma, Enrico Voghera, 1901. Er serrajo, Roma, Enrico Voghera, 1903. Sonetti romaneschi, Roma, Enrico Voghera, 1909. Nove poesie, Roma, Enrico Voghera, 1910 (online). Roma nel 1911: l'Esposizione vista a volo di cornacchia: sestine umoristiche, Roma,1911. Le storie, Roma, Enrico Voghera, 1913. Ommini e bestie, Roma, Enrico Voghera, 1914. La vispa Teresa,…Citește mai mult

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Citations and influences Many of Trilussa's compositions have been used on several occasions by other artists as lyrics for their own songs, sometimes reinterpreting them. Some examples: Ninna nanna della guerra, revisited by Maria Monti, on popular music. Ninna nanna della guerra, for many years Claudio Baglioni's masterpiece under the title Ninna nanna nanna ninna, especially in live albums (see his discography). A reference to the satire on "chickens" can be found in the song Penelope by Jovanotti, in the line "Se io mangio due polli e tu nessuno, statisticamente noi ne abbiamo mangiato uno per uno" (If I eat two chickens and you none, statistically we have eaten one for one). Examples of the use of his verses can also be found in cólta music. Alfredo Casella, for instance, set some fables in Romanesco dialect to music (Er coccodrillo, La carità, Er gatto e er cane, L'elezzione der presidente). Actor Luca Ward performed five poems in the album Echi de Roma - Omaggio a Trilussa set to music by Andrea Montepaone (another five are sung by Alessandro Pitoni). The poem La fede (Faith) was taken up and reused by Pope John Paul I to develop one of the letters…Citește mai mult

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Musicals based on his texts Alipio Calzelli, Il balbuziente: versi di Trilussa, Napoli, Bideri. Angelo Vagnetti, Un cameriere filosofo: versi di Trilussa: musica di A. Vagnetti, Napoli, Bideri, 1903. Virgilio Brancali, La ninna nanna della guerra: canto e piano: versi di Trilussa, Roma, Casa Musicale Italiana, 1917. Costantino Lombardo, Voci lontane: Poemetto per voci e orchestra: versi di Trilussa, Roma, Tip. Danesi, 1917. Alfredo Casella, Quattro favole romanesche di Trilussa musicate per canto e pianoforte, Milano, G. Ricordi, 1924. Cesare Franco, Bolla de sapone: lirica per soprano o tenore con accompagnamento di pianoforte od orchestra: op. 46: versi di Trilussa, Bari, Raffaello Leo, 1930. Agostino Zanchetta, Er chirichetto: per canto e pianoforte: parole di Trilussa, Bologna, U. Pizzi Edit. Tip., 1931. E. Sc. Skeletti, La felicità: per canto e pianoforte: versi di Trilussa, Milano, G. Ricordi, 1937. E. Sc. Skeletti, La quercia: per canto e pianoforte: versi di Trilussa, Milano, G. Ricordi, 1937. E. Sc. Skeletti, La bocca: per canto e pianoforte: versi di Trilussa, Milano, G. Ricordi, 1938. Mario Pilati, La tartaruga: per canto e pianoforte: poesia di Trilussa (da Le favole), Milano, G. Ricordi, 1940. Giuseppe Micheli, Trilussa aroma de Roma: testi di Trilussa: musiche originali di G.…Citește mai mult

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TV miniseries Rai 1 broadcast in the evenings of 11 and 12 March 2013 the miniseries in two episodes, starring Michele Placido, Trilussa - Storia d'amore e di poesia.

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Sources Corsi, M. (1968). Ecco Trilussa. Cosmopolita. D'Arrigo, G. (1968). Trilussa: il tempo, i luoghi, l'opera. Arti Grafiche Scalia. Dell'Arco, M. (1951). Lunga vita di Trilussa. Bardi. Desiato, L. (2004) C'era una volta a Roma Trilussa. Mondadori. Di Massa, S. (1946). Trilussa lirico. Danesi. Escobar, M. (Ed.). (1957) Prosa e poesia romanesca: dalle origini a Trilussa. Cappelli. Faitrop-Porta, C. A. (1979). Trilussa: doppio volto di un uomo e di un'opera. Istituto di studi romani. Frapiselli, F. (2001). Trilussa con noi. Bardi. Jannattoni, L. (1979). Roma fine ottocento. Trilussa dal madrigale alla favola. Newton Compton. Luigi, C. (1945). Trilussa aneddotico. F. Mondini. Mariani, G. (1974). Trilussa: Storia di un poeta. Bonacci. Paratore, E. (1972). Trilussa: nel centenario della nascita. Istituto di studi romani. Pericoli Ridolfini, C. (1974). Disegni inediti di Trilussa. Galleria L'agostiniana. Pettinicchio, D. (2012). Concordanze delle poesie di Trilussa. il Cubo. Sorge, M. (1939). De Belli à Trilussa, la portée humaine de la poésie en dialecte romain. Droz. Trilussa. (1994). Poesie, (C. Rendina Ed.). Newton Compton, 1994. Trilussa. (2012). Tutte le poesie. (C. Costa, L. Felici Eds.). Arnoldo Mondadori Editore. Vaccaro, G. (1994). Vocabolario romanesco trilussiano-italiano. il Cubo. Arolà (2021). Trilussa, Aesop of Rome. Troubador.

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Trilussa Lyrics, in lyricstranslate.com Works by Trilussa at LibriVox (public domain audiobooks)