Arba Sicula

RIVISTA DI FOLKLORI E LITTIRATURA SICILIANI
A R B A S I C U L A
JOURNAL OF SICILIAN FOLKLORE & LITERATURE
Diritturi-Editor
GAETANO CIPOLLA
CUNSIGGHIERI Ô DIRITTURI
EDITORIAL BOARD
Michael Badalucco
Antonio Pagano
Salvatore Bancheri
Salvatore Riolo
Gaetano Basile
Giovanni Ruffino
Alissandru Caldieru (Co-founder)
Antonino Provenzano
Louisa Calio
Giuseppe Quatriglio
Nicolò d’Alessandro
Florence Russo
Salvatore Di Marco
Marco Scalabrino
Arthur V. Dieli
Federico Vaccaro
Marisa Frasca
Justin Vitiello
Mario Gallo
Jana Vizmuller-Zocco
Giovanna Jackson
VOLUMI XXXV, NUMIRA 1 & 2, PRIMAVERA E STATI 2014
VOLUME XXXV, NUMBERS 1 & 2, SPRING & SUMMER 2014
© Copyright 2014 by ARBA SICULA, ISSN 0271-0730
Design and Camera-Ready Text by LEGAS
ARBA SICULA è l’organu ufficiali dâ società siculu-americana dû stissu nomi ca
si proponi comu obbiettivu principali di prisirvari, studiari, e promoviri a lingua e a
cultura siciliani.
ARBA SICULA è normalmenti pubblicata na vota l’annu in doppiu volumi versu
settembri. Pi comunicari direttamenti cû diritturi, pi mannari materiali pâ rivista, pi
l’abbunamenti e pi informazioni supra a nostra società, scriviti a Gaetano Cipolla,
PO Box 149 Mineola, New York 11501. I materiali ricivuti non si restituisciunu si
nun si manna puru na busta affrancata cû nomu e l’indirizzu.
ABBUNAMENTI
Cu si abbona a la rivista, diventa automaticamenti sociu di Arba Sicula. Cu
n’abbunamentu annuali i soci ricivunu du nummira di Arba Sicula (unu, si pubblicamu
un numiru doppiu) e dui di Sicilia Parra. Arba Sicula è na organizzazioni senza scopu
di lucru.
Abbunamenti fora dî Stati Uniti
Abbunamentu regolari
Anziani e studenti
$40.00
$35.00
$30.00
ARBA SICULA is the official journal of the Sicilian-American organization by the
same name whose principal objective is to preserve, study, and promote the language
and culture of Sicily.
ARBA SICULA is normally published once a year, in the Fall. To communicate
with the Editor, to submit materials for publication, to subscribe and to obtain
information on our organization, write to Gaetano Cipolla, PO Box 149, Mineola,
New York 11501. The materials received will not be returned unless accompanied
by a self-addressed, stamped envelope.
SUBSCRIPTIONS
Those who subscribe to the journal automatically become members of Arba Sicula.
Annual dues entitle the members to two issues of Arba Sicula (or one if a double
issue) and two of Sicilia Parra. Arba Sicula is a Non-Profit Organization.
Subscription outside USA
Regular Subscription
Seniors and Students
$40.00
$35.00
$30.00
A R B A S I C U L A
A Non-Profit International Organization Promoting
the Language and Culture of Sicily
Languages and Literatures Department
St. John’s University
8000 Utopia Parkway
Queens, New York 11439
E-mail [email protected]
CUMITATO ESECUTIVU EXECUTIVE BOARD
GAETANO CIPOLLA, Ph.D.
President and Editor
ANTONINO PROVENZANO Vice President
FLORENCE RUSSO, Ph.D.
Treasurer
ROSARIA PIPIA, Ph.D.
Secretary
CUNSIGGHIERI ADVISORY BOARD
Salvatore Bancheri, Ph.D.
Rev. Anthony Failla.
Alissandru Caldieru (Co-founder)
Founder)
Gaetano Giacchi (Co-
Enzo Carollo, M.A.
Robert Marchisotto, Ph.D.
Ursula Cottone, Dott.
John Randazzo
Attention Arba Sicula
Members!
Please look at your address label. If your
subscription expired or is expiring soon,
renew it quickly before you forget.
Send a check to:
Arba Sicula
P.O. Box 149
Mineola, New York 11501
using the self-addressed envelope
included with this journal.
Printed and bound in Canada
ARBA SICULA
VOLUMI XXXV, NUMIRA 1 & 2, PRIMAVERA E STATI 2014
VOLUME XXXV, NUMBERS 1 & 2, SPRING & SUMMER 2014
Indici / Table of Contents
Dichiarazioni di lu scopu / Declaration of Purpose...................................8
Puisia siciliana/Sicilian Poetry
Mi vuliva nzonnari…/ I Wanted to Dream, di/by Paolo Lacava..........14
Suvranu senza tronu / A King without a Throne, di/
by Salvatore Ribaudo....................................................................16
Sienti Patreternu /Listen, Eternal Father, di/by By Marzo Rosario......18
Ppi mmia fussi / If it Were up to Me, di/by Umberto Migliorisi..........20
A signura cco nasu a-ppunta / The Lady with the pointy nose
di/by Umberto Migliorisi.............................................................20
T’assi vulutu cògliri/ I should have gathered you, di/by Totò
Nocera Bracco.................................................................................22
‘Nfernu ri taddariti e carcarazzi / Bats and Magpies Hell,
di/by Maria Nivea Zagarella.......................................................24
Spinnannu ppi li labbra d’avutri /Yearning for the lips of others,
di/by Marisa Frasca......................................................................26
La nuvulidda e l’acqua di lu puzzu/ The Little Cloud and the Water,
in the Well di/by Nino Provenzano ..........................................28
Narrativa siciliana / Sicilian Fiction
Manu Pilusa /Hairy Hand, di/By Flora Restivo.....................................30
Lu Mostru di Carunia / The Evil Beast of Caronia,
di/by Giuseppe Quatriglio..........................................................38
E Nonzignuri fu!/ And No, Sir! it remained, di/by Franco Di Marco.48
Saggistica /Essays
La Sicilia: postu metafisicu di n’arma libira/ Sicily: The Metaphysical Place
of a Free Soul, di/by Valentina Costa.........................................60
Li sonnura comu vita nta lu Don Chisciotti e Sanciu Panza di Giovanni
Meli / Don Chisciotti’s Dream as Life in Meli’s Don Chisciotti
and Sanciu Panza, di/ by Charles Giordano...............................76
Vicenzu Nibali Vinci lu Tour de France/Vincenzo Nibali Wins
the Tour De France........................................................................100
Lu Pruggettu sicilianu supra lu programma televisivu “You, me and Sicily”/
The Sicilian Project Featured on “You, Me & Sicily”, TV Series...........106
Sezioni Speciali
Amuri chi chianci/ Love that Weeps, di/by Giovanni D Rosalia..........112
Arti siciliana /Sicilian Art
Ritratti di na famigghia siculu-miricana/Portraits of a Sicilian-American
Family, di/by Thomas Macpherson...........................................162
I nostri tradizioni / Our Traditions
Lu Matrimoniu/ Marriage Customs, di/by Louise Hamilton Caico....172
A nostra lingua /Our Language
Pirdemmu un sonu: Lu prublema di la “x”/ We Lost a Sound:
The Problem with the X, di/by Francesco Giacalone ..............186
Recenzioni /Book Reviews
Piero Carbone, Lu Pueta Canta Pi Tutti/ The Poest Sings for All, Mineola:
Legas 2014, reviewed by Nino Provenzano.............................................194
Libbri ricivuti/ Books Received..................................................................200
Recommended Books..................................................................................202
6
Arba Sicula XXXV
In Memoriam
Justin Vitiello (1941-2014)
Arba Sicula mourns the passing of one of
its long-standing member and contributor, Justin Vitiello. Justin was born in New York City
in 1941. Of Nea­politan origin, he dedicated
much of his adult life to under­standing his
ancestors’ homeland and to building cultural
bridges between America and Italy. Educated
at Brown University (B.A. in Spanish and English) and the University of Michigan (Ph.D. in
Comparative Litera­ture: English, Spanish and Ital­ian), he taught
at Temple University in Philadelphia from 1974 until he retired a
few years ago. He also taught at the University’ Rome campus. He
published far and wide: from es­says, both literary and scholarly, in
America, Italy, Spain, England, Germany, Holland, and Finland, to
translations from Italian, Sicilian and Spanish (Ciullo d’ Alcamo,
Michelangelo, Gaspara Stampa, Lope de Vega, Gongora, Quevedo,
Ungaretti, Machado, Lorca, Buzzati, Dolci, Buttitta) and original poems in English, Italian and Spanish, His major publications include
II Carro del pesce di Vanzetti (1989), Vanzetti’s Fish Cart (1991), Sicily
Within (1st ed Arba Sicula, 1992), Italy’s Ultramodern, Experimental
Lyrics: Corpo 10 (1992), Confessions of a Joe Rock (1992), Poetics and
Lit­erature of the Sicilian Diaspora: Studies in Oral History and Story
Telling (1993), subway home (in English, 1994; in Italian, 1998). He
often collaborated with Arba Sicula. In fact, his Sicily Within, which
was expanded and printed afterwards as Labyrinths and Volcanoes:
Windings Through Sicily, was originally published as a supplement
to the Arba Sicula journal. Justin was a well respected scholar who
had a special feeling for Sicily. He worked with Danilo Dolci to
improve the lot of Sicilian peasants. An excellent translator from
several languages, Justin had a unique way of translating which
tried to identify the poetic nucleus of the work he was translating
and then proceeded to express it in his own way, as a new poem.
Arba Sicula extends its heartfelt condolences to his family. As I
regarded Justin a good friend and trusted colleague, I want to add
my own condolences. We have lost a good friend.
Arba Sicula XXXV
7
DICHIARAZIONI DU SCOPU DA NOSTRA ASSOCIAZIONI
“ARBA SICULA , prima di tuttu, la riflissioni in ritardu, di na nicissitá sintuta di na cumunitá etnica stabiluta nni li Stati Uniti d’America pi
difiniri, prisirvari e difúnniri la nostra antica ereditá p’assicurari la so vera
supravvivenza. Mentri ca l’orientazioni nostra é littiraria, lu nostru métudu
é storicamenti e-vucativu cu l’intinzioni di nun passari supra nuddu aspettu
di la cultura Siciliana comu indignu di la nostra esaminazioni e análasi. Lu
scopu di stu sforzu é, allura, di riscupriri zoccu é ligittimamenti nostru ntra
tuttu lu sintasi d’un populu isulanu pussidennu rádichi nni l’espirienzi storichi
Siciliani, Italiani e Americani e macari ligami chiú antichi cu tutti li nazioni
di lu Meditirraniu.
Circamu la canuscenza d’un senzu di cuntinuazioni ntra nui stissi, e
picchissu amu pigghiatu un simbulu anticu di li Siculi (la stirpi principali in
Sicilia prima di lu stabilimentu di li Grechi) pi suttaliniari la seriitá di lu nostru
scopu e pi marcari nni li menti di la juvintú nostra un signu di l’antichitá di la
so ereditá. Nui semu, prima di tuttu, intirissati ca la chiavi di l’arma Siciliana
(la lingua di li nostri avi) fussi cunsirvata e studiata cu preggiu e attinzioni.
Pi la fini di rializari st’intinzioni, ARBA SICULA invita a tutti ca ponnu
vantari armenu un avu Sicilianu, a unirisi cu nui in un sforzu culittivu pi
aumintari la canuscenza di la nostra stissa ereditá.
Stu disignu é pigghiatu di na midagghia d’urnamentu ca nchiudi na
specia di cruci dicurativa. Un esemplari si trova nni lu Museu di Siracusa. Fu
truvata a San Cataldu e fa parti di l’Adrano Hoard, la chiú granni cugghiuta
d’uggetti di brunzu ca á statu truvata in Sicilia. Lu disignu é di circa 1300
anni avanti Cristu. di la civilitá Sicula.”
Ristampammu ntâ pagina precedenti a dichiarazioni dû scopu accussì
comu fu scritta ntô primu numiru di Arba Sicula ntô 1979. A copiammu esattamenti comu fu scritta senza fari currezioni. Comu si vidi, a lingua canciau
8
Arba Sicula XXXV
STATEMENT OF PURPOSE FOR OUR ORGANIZATION
“ARBA SICULA is, above all else, the overdue reflection of a felt
need by an established ethnic community of the United States of America
to define, preserve and disseminate our ancient heritage in order to assure
its undistorted survival. While our orientation is literary, our approach is
historically evocative and intended to overlook no aspect of Sicilian culture
as unworthy of our examination and analysis. The purpose of this effort
is, therefore, to rediscover what is legitimately ours within the composite
synthesis of a displaced island people possessing immediate roots in the
Sicilian, Italian and American historical experiences, as well as far more
ancient linkages to every nation of the Mediterranean.
We seek recognition of a sense of continuity within ourselves and for
that reason have chosen an ancient symbol of the Sikel people (the predominant strain in Sicily prior to its settlement by the Greeks) both to underscore
the seriousness of our intent and to stamp upon the minds of our youth a
sign of the antiquity of their heritage. We are, above all, concerned that the
key to the Sicilian soul (the language of our forefathers) be preserved and
studied with attentive appreciation.
To the end of fulfilling these declared intentions, ARBA SICULA
extends to all and any able to claim at least one Sicilian grandparent, an
invitation to join us in a collective effort to increase our consciousness of
our common heritage.
This design is taken from an ornamental pendant enclosing a sort of
cross decoration from the Sikel civilization. A sample is in the Museum of
Syracuse. It was found at San Cataldo and is part of the Adrano Hoard, the
largest collection of bronze objects ever found in Sicily. The design dates
from about 1300 before Christ.”
We reprinted on these pages the statement of purpose published in
Arba Sicula XXXV
9
nanticchia; semu forsi chiù attenti a comu scrivemu in sicilianu, ma mi pari
ca in linia di massina amâ statu fidili a l’ideali espressi nta sta dichiarazioni. Si
canciau l’edituri, non canciau u disidderiu di travagghiari pi ddi stissi motivi
ca ficiru nasciri a nostra società.
Forsi avissi a fari na brevi storia da nostra associazioni pî soci ca sunu
novi e oramai sunu sparsu in tuttu u munnu. Arba Sicula fu funnata ntô 1979
di un gruppittu di siculo-amiricani di Brooklyn tra cui Gaetanu Giacchi, Joseph Palisi, Alissandru Caldieru, Sebastianu Passioni, Mons. Santi Privitera e
Mons. Anthony Failla e autri ca si riunevanu ntâ parrocchia di St. Finbar’s a
Brooklyn. Chisti si putissiru cunsiddirari i soci funnaturi dâ società, anchi si
giustamenti u titulu di funnaturi spetta a Gaetanu Giacchi ca fu ô principiu
chiddu ca chiù di tutti travagghiò pi purtari avanti l’organizzazioni.
I prisidenti dâ nostra associazioni hannu statu chisti: Joseph Palisi,
1979-1980; Gaetanu Giacchi, 1980-1987; Mons. Santi Privitera, 1987; Charles
Cappellino, 1987-8; e Gaetano Cipolla, dû 1988-finu a ora. L’edituri di Arba
Sicula hannu statu sulu dui: Alissandru Caldieru dû 1979 fina ô 1986 e Gaetano
Cipolla dû 1987 finu a oggi. L’autra nostra pubblicazioni, Sicilia Parra, ca
durau pi na para d’anni, fu edita di John Randazzo, dâ sedi di Los Angeles.
A secunna serii di Sicilia Parra cuminciau ntô 1989 e cuntinua finu a ora cu
Gaetano Cipolla comu diritturi e Henry Barbera comu Co-diritturi, fina ô
2000. Comu sapiti, Henry muriu u 24 di settembri dû 2000. Ntô 2003 i rispunsabbilità di Gaetano Cipolla foru alliviati un pocu di Giuseppe Provenzano
ca fu numinatu Edituri Associatu di Sicilia Parra. Sfortunatamenti, Giuseppi
si trasfiriu in Europa na para d’anni arreri e ora, comu prima, a responsabbilità pi Sicilia Parra è di Gaetano Cipolla.
Ntâ prima fasi, Arba Sicula ebbi assai successu organizzannu reciti di
puisii e programmi nta li chesi e nta li scoli. Però u numiru di soci non superau mai 700-800 pirsuni. Ci fu un piriudu di decadenza a causa di malatii
e di autri cosi ca misi in piriculu l’organizzazioni ntô 1985-7.
Arba Sicula fu salvata grazzii a Mons. Santi Privitera e a Charles Cappellinu ca l’aiutarunu finanziariamenti e grazzii a Gaetano Cipolla ca prima si
pigghiaiu a direzioni dâ rivista facennula maturari non sulu dû puntu di vista
dâ grafica usannu u computer (i primi numiri si stampavanu cu na machina di
scriviri manuali) ma anchi pû cuntinutu e pâ lingua, e poi ntô 1988 pigghiau
a direzioni di l’organizzazioni comu Prisidenti.
Arba Sicula ha crisciutu assai nta trentaquattru anni, non sulu pû numiru
di l’abbunati, ma puru pi l’ottima riputazioni ca godi ntô munnu.
A società havi soci ca si trovanu principalmenti ntâ zona metropolitana
di New York, ntâ California e poi ntâ tutti i Stati Uniti, macari nta l’Alaska
e l’isuli Hawai. Tra i rivisti italiani, Arba Sicula è a rivista chiù populari
10
Arba Sicula XXXV
the first issue of Arba Sicula twenty one years ago. We reproduced it exactly
as it appeared without any corrections. As you can see, our language has
changed a little. We are perhaps a bit more conscious of how we write in
Sicilian, but I think that we have remained faithful to the ideals that prompted
our predecessors to found this publication. If the editor has changed, the
desire to work toward the achievement of the same goals that spurred our
foundation has not.
Perhaps I ought to provide a brief history of our association for the
members who are new to it. Arba Sicula was founded in 1979 by a small
group of Sicilian-Americans living in Brooklyn composed of Gaetano Giacchi, Joseph Palisi, Alissandru Caldiero, Sebastianu Passione, Mons. Santi
Privitera, Mons. Anthony Failla and others who met monthly in the basement
of St. Finbar’s Church. These people can be considered founding members
of the organization, even though the title of founder belongs rightly to
Gaetano Giacchi, who at the beginning was the one who did the most to
promote the organization.
The presidents of our society have been the following: Joseph Palisi,
1979-80; Gaetano Giacchi, 1980-86; Santi Privitera 1987; Charles Cappellino 1987-88; and Gaetano Cipolla 1988-present. The editors of Arba Sicula
have been only two: Alissandru Caldieru from 1979 to 1986 and Gaetano
Cipolla from 1987 to the present. Our other publication, Sicilia Parra was
originally edited by John Randazzo of our Los Angeles Branch, and it was
published for a few years. A new series of Sicilia Parra began in 1989 and
continues to the present with Gaetano Cipolla as editor. Henry Barbera was
Co-editor until 2000. As you may know, Henry passed away on Sept. 24,
2000. Gaetano Cipolla’s responsibilities of producing the newsletter were
alleviated by the appointment of Giuseppe Provenzano as Associate Editor
in 2003. Unfortunately, Giuseppe moved to Europe a few years ago, and
now it’s again Gaetano Cipolla who is mainly responsible for Sicilia Parra.
During the first phase, Arba Sicula was very successful in organizing
recitals and performances in churches and schools, but its membership
never rose above 700-800. Then there was a period of stagnation because
of illness and other reasons which jeopardized the organization (1985-7).
Arba Sicula was saved thanks to Mons. Santi Privitera and Dr. Charles
Cappellino who helped with donations, and thanks to Gaetano Cipolla who
first assumed the duties of editor of the journal, making it more mature not
only from a graphic point of view by introducing the use of computers and
laser printers (the first issues of Arba Sicula were printed using a manual
typewriter), but in its content and language, then assuming the duties as
president of the organization. In 1988 Prof. Cipolla assumed the duties as
Arba Sicula XXXV
11
d’America. A niautri nni pari picca cosa aviri quasi 2.000 abbunati, picchì
pinsamu ca i Siciliani d’America sunu assai numirusi e n’avissimu aviri 10,000
almenu! Ma l’autri rivisti specializzati si cunsiddiranu furtunati si hannu 300400 abbunati. Nautra cosa: tanti rivisti stannu in circulazioni dui, tri anni e
poi fallisciunu.
Arba Sicula chist’annu fa trentacincu anni di vita, di travagghiu pi
dari n’idea chiù giusta dâ cultura siciliana e dî so contributi ô munnu. E’
un traguardu ca attravirsamu cu umiltà e cu granni cumpiacenza pi chiddu
c’avemu fattu, ma puru câ spiranza ca putemu rializzari ancora assai dicchiù
nta l’anni dû terzu millenniu.
Arba Sicula ha statu n’ispirazioni pi tanti Miricani d’origini siciliana.
Annu dopu annu am’â prisintatu u megghiu dâ cultura siciliana, dannucci
mutivi di essiri orgugliusi di essiri Siciliani. Autri società siciliani hannu statu
funnatu nta stu paisi e guardanu a niautri pi ispirazioni e sustegnu. Arba
Sicula câ so luci illuminau a Sicilia e ê Siciliani facennucci canusciri a tutti
u megghiu latu d’iddi. Senza piccari di superbia, nta sti anni u nostru pisu
s’ha fattu sentiri e pi chissu putemu essiri orgugliusi dî nostri contribbuti.
12
Arba Sicula XXXV
President of the organization.
Arba Sicula has grown a lot in thirty-fifth years, not only in the numbers of subscribers, but also for the excellent reputation it enjoys all over
the world. While we may think that our list of slightly lesss than 2,000 subscribers is small because we know that there are many Sicilian-Americans
out there, and we should have ten thousand subscribers, we are the most
popular journal of Italian studies in this country. Other specialized Italian
journals struggle along with 300-400 subscribers. Furthermore, many of
them fold after two or three years.
Arba Sicula has been an inspiration to many Sicilian-Americans. It
has made available to them the best of Sicilian culture and year after year
has offered them reasons to be proud of their heritage. Many other Sicilian
organizations have been founded throughout the country, and they look to
us as for inspiration and support. Without fear of sounding immodest, Arba
Sicula, by shining a truer light on Sicily and Sicilians, has made a difference
and can be proud of its contributions.
Arba Sicula XXXV
13
Puisia Siciliana
Mi vuliva nzonnari…*
di Paolo Lacava
C’è cu’ sogna chi ccari ‘r’u lettu,
e cu’, ambeci, ‘r’u settimu pianu,
cu’ si ‘nzonna chi mangia crapettu
e cu’ ‘a figghia ch’u’ pigghia r’a manu;
eu nenti! Ma mancu ‘na scena,
manch’i temp’i’ quand’era muccusu,
nu ‘nimali, na fimmina prena .....
... Tuttu scuru, Ma mancu un purtusu.
... Ma pirchì, comu fannu chidd’ atri?
Sann’a’ sira chi s’hann’a ‘nzonnari.
... Mi vuliva ‘nzonnar’a me’ patri.
... Ropu anni chi... sentu parrari
... Mi mi cunta ‘r’a vita ‘i ‘na ‘ota,
mi mi rici ‘i quand’era figghiolu,
e d’i iochi, cu’ Cicciu e cu’ Tota ....
... Penzu, e ciangiu, sutt’o linzolu ....
... Mi mi parra’ i ‘dda stupida guerra,
e d’a nivi, ‘r’u friddu, r’i stenti,
mi mi cunta ‘i quand’era ‘dda ‘nterra
e sintiva ggrirari ‘dda ggenti
...si ndi ìu me’ patri, partiu,
si ndi ìu, rassand’a’ tristezza,
‘nti ‘dda misira guerra muriu ....
.. .. E ‘a curpa ‘i cu’ è …chi schifezza!!!
Mi vuliva ‘nzonnar’a me’ patri,
mi mi cunta ‘i dda guerra, ‘i ‘dda sorti,
ma pirchì nd’u rrobbastuu, latri.
..... Av’i’ tandu chi nui simu morti.
M’u vuliva ‘nzonnari pi’ chistu,
quand’i morti su’ morti non ponnu,
perlomeno, scusati si ‘nzistu,
mi m’u’ ‘mbrazzu, ammenu ‘nt’o sonnu!!!!!!!!!!!!!!!
* Sta puisia è scritta ntô calabrisi di Reggiu Calabria ca praticamenti è u stissu dû
missinisi, a parti quacchi variazioni ntô modu di scriviri. Curtisia di Nosside 2011.
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Arba Sicula XXXV
Sicilian Poetry
I Wanted to Dream
by Paolo Lacava
Translations by Gaetano Cipolla unless otherwise noted
Some dream of falling off their beds,
others, instead, of falling from the seventh floor;
some dream of eating lamb
or of a daughter who holds them by the hand;
but as for me, nothing, not even a scene,
not even when I was a snotty kid,
an animal, a pregnant woman,
eveything dark, not even a hole.
But why? What do the other people do?
Do they know what they’ll dream beforehand?
I wanted to dream about my father
after long years of hearing words about him,
I’d like for him to tell me of his life, his time;
to tell me of when he was a young man,
the games he played with Tota and with Cicciu.
I think about him, weeping under the sheets.
To tell me of that stupid war, the snow, the cold
and suffering, to tell me of when he
was on the ground and heard the people scream...
My father went away, he left,
he disappeared, but left behind much sadness,
he died in that stupid, wretched war
whose fault was it... what a disgrace!
I wanted to dream about my father
so he could tell me all about the war, that fate
but why did you rob him from us... you, thieves?
We have been dead since that time.
I wanted to dream about him for this reason,
when the dead are dead they cannot,
forgive me if I insist,
so I can hug him in my sleep at least!!!!!!!
This poem is written in the language of Reggiu Calabria, practically the same as
Messinese, except for some variation in the way to write it. Courtesy of Nosside 2011.
Arba Sicula XXXV
15
Suvranu senza tronu
Di Salvatore Ribaudo
Paroli silinziusi
abbrucianu lu cori,
arrivugghiunu lu sangu,
trasunu funnuti
‘nta li piaghi da memoria,
comu pugnali arrugginuti.
Lu tempu s’e firmatu.
La notti nun partorisci jornu.
Ed io priggiuneru
‘nto corpu ca nun m’apparteni,
pirdirimi vulissi
‘nta milli parti
di stu munnu.
Aviri lu silenziu
comu vuci pi parrari.
Essiri d’ ogni aria
lu ciatu e lu rispiru.
Ma spissu m’accorgu
d’ essiri sulamenti
suvranu d ‘un regnu
senza tronu.
16
Arba Sicula XXXV
A King without a Throne
By Salvatore Ribaudo
Silent words
burn the heart,
make the blood boil,
and penetrate deeply
into the sores of memory
like rusty daggers.
Night does not give birth to dawn.
And I a prisoner
inside a body that does not belong to me,
want to get lost
in a thousand places
on this earth.
To have silence
as a voice to speak,
to be breath and respiration
of all air,
but often I realize
that I am only
king of a realm
without a throne.
Arba Sicula XXXV
17
Sienti Patreternu
Di Marzo Rosario
Tu ti nni stai dduocu o pararisu
mentri cca ssutta siemmu scunsulati
a nostra vucca è tristi, mai nu risu
nui siemmu tutti cunfunnuti.
E’ veru, li vuliemmu nui li sciarri
circammu lu putiri e lu cumannu
nun c’importa se creammu tantu dannu
siemmu sempri ammenzu a peni e guerri.
Siemmu sparrittieri e curtigghiari
nta ogni fattu ci mittiemmu a frinza
ittammu fancu a gghenti pari pari
faciemmu li piccati, senza fari crirenza.
Ma li maladdii non li vuliemmu nui
disastri e terremoti nun ni vuliemmu ciui
morti, pistilenza, sorprusi e fami
sunu appisi nte macci rami rami.
Tu ccu sta prjiera oh Patreternu
nun fari finta, nun hai ciu scusi,
ri nun sapiri nenti ri stu ‘nfiernu
chistu e u mumentu ri canciari i cosi.
Sta terra ca ni rasti e bella assai
u cielu, u suli, i stiddi e u mari
lu profumu di li rosi arriva fin’o cori
comu u gelsominu e a zagara, tu u sai.
Sta vota arrivammu nterra, Patreternu,
ora tocca a tia truvari nu rimediu
rapi di cursa i porti di lu ‘nfiernu
o ccu na bacchetta maggica rizzietti tutti cosi:
tu puoi, si’ Ddiu.
18
Arba Sicula XXXV
Listen, Eternal Father
By Marzo Rosario
You sit up there in paradise
while we down here are all distraught.
Our mouths are always sad, never a smile.
We are confounded one and all.
It’s true we are at fault for being quarrelsome,
looking for power and to be in charge.
It doesn’t matter if we caused great damage,
we’re constantly besieged with woes and wars.
We are real petty and we spread wild rumors,
we add a little of our own to every tale,
we hurl mud on folks without distinction,
we commit sins and give nobody credit.
But we don’t want disease for sure.
Disasters and earthquakes, famine and abuse
are hanging from the branches everywhere.
You, Mighty Father, cannot pretend
that you don’t know a thing about this hell.
There are no more excuses. Now is the time,
this is the moment to change everything!
This earth you gave to us is very beautiful:
the sky, the sun, the stars and the blue sea,
the smell of roses reaches deep inside the heart,
like jasmine and orange blossoms, as you know.
This time we really reached bottom, Mighty Father.
It’s up to you to find a remedy now.
Either you open right away the gates of hell
or with a magic wand set all things right!
I know that you can do it, you are God!
Arba Sicula XXXV
19
Ppi mmia fussi
di Umberto Migliorisi
Figghiu miu, ppi mmia
fussi nun murissi mai.
Ma tu sai ca si mori,
comu sai ca ri stati
cc’è-ssempre u suli
e ri-mmiernu ciovi.
Comu sai ca si mori
sulu picchi si nasci.
Figghiu miu, ppi-mia fussi
nun nascissi mai.
Ma acciu ca sugnu natu
e-bbedhu arrinisciutu
cci pigghiai gustu a -ccampari
e-ccianciennu e arririennu,
cantannu e abballannu,
pinzannu e scriviennu
passu tiempu finu a quannu ...
nu-bbellu iuornu
— sia faciennu ca nun faciennu corna!
se-mmi scura ... nun m’agghiorna.
A signura cco nasu a-ppunta
di Umberto Migliorisi
Nta-ll’atabbussi quannu cc’è-ffudha
cu arresta addhitta parra e-ssi sfoca.
Cc’è na signura cco nasu a-ppunta:
quantu cosi ca cunta!
Se nunn’abbasta cci metti a iunta,
a signura ... cca lingua a-ppunta!
20
Arba Sicula XXXV
If it Were up to Me
by Umberto Migliorisi
My son, if it were up to me
I would never die.
But you know that people have to die
as you know that in summer
the sun shines all the time
and that it rains in winter time.
As you know that people die
only because they’re born.
My son, if it were up to me
I’d never have been born.
But as I was born
and as I have grown up
I’ve come to enjoy living.
And between laughing and crying,
singing and dancing,
I will spend my time until the moment when…
one fine day,
—like it or not—
I will fall asleep at night
and I won’t see the dawn.
The Lady with the Pointy Nose
by Umberto Migliorisi
When people crowd inside a city bus,
the people forced to stand just vent and cuss.
There is a lady with a pointy nose,
how many endless tales she sows!
And when you think her stories are too long,
her chatter grows, the lady with the pointy tongue.
Arba Sicula XXXV
21
T’assi vulutu cògliri
di Totò Nocera Bracco
T’assi vulutu cògliri a la scurata
comu na rosa russa, na sciauràta
ed appuiàriti nni lu me pettu
pi nutricàriti nni la mmirnata
li me suspiri tu ora ti pigli
comu l’oru ca si duna a lu mpignu
comu la vita ca ‘un ti vulissi dari
la vita mia ca nun mi vo turnari
ti vitti di luntanu comu si vidi
la luna a mmari
e mi chiamasti pianu comu la notti
chiama l’amuri
s’avissi un ciatu sulu mi lu sarbassi
nn’u cori tremulu pi dallu a tia
nni ll’urtimu mumentu d’a to vita
quantu murissi iu prima di tia
22
Arba Sicula XXXV
I should Have Gathered You
by Totò Nocera Bracco
I should have gathered you at twilight time
like a red rose, taking in a whiff of you
and placing you against my chest
so I could nourish you throughout the winter.
You gather now my sighs as we accept
the gold we give as a promise, a pledge,
like the life I would not want to give you
the life that you don’t want to give me back.
I saw you from afar
as one sees the Moon over the sea.
and softly you called out to me
like night calls out for love.
If I had but one breath, I would just save it
inside my trembling heart to give to you
at the last moment of your life
so I would die before you did.
Arba Sicula XXXV
23
‘Nfernu ri taddariti e carcarazzi
di Maria Nivea Zagarella
Taddariti e carcarazzi si misiru n’addenzia
d’arrusbigghiari supra a terra ‘u ‘nfernu
Bummi ri verra sparunu a marteddu,
chianci la genti
e fuj sutta ‘na tenda,
morti li patri, abbrucianu li casi,
scappisati li figghi ni la nivi,
morti li vivi
senza ciatu e firi
Piccatu fu lu nasciri
e campari supra ‘na terra
sutta a lu cielu soi
“Tu nun si’ Omu” – riciunu—
­e cu è “Omu”,
s’iddi macari nun su’ sangu ‘i Ddiu?
Ma taddariti e carcarazzi striunu
ca l’omu è ‘n vermi
e servi ‘i conciu a’ terra
e bonu vinni a li civili ‘a verra!
24
Arba Sicula XXXV
Bats and Magpies Hell
by Maria Nivea Zagarella
Bats and magpies resolved to wake up hell
and bring it down to earth
They started hammering the world with bombs
of war. The people cried
and fled inside a tent,
with fathers dead, they burned the houses,
and stomped on children in the snow
the living are now dead
without a breath and without faith.
Their fault was to be born
and live upon the earth
and underneath its sky.
“You’re not a Man” they cried.
and who is “Man”,
if they too are not the blood of God?
But bats and magpies lose their patience
and complain that man’s a worm
a good fertilizer for the earth
so war served a good purpose for civilized man.
Arba Sicula XXXV
25
Spinnannu ppi li labbra d’avutri
di Marisa Frasca
Idda pratica forti ppi perdiri lu nativu accentu,
aRRotola paRoli miRicani chiù di quantu necessaRiu
nta lu scuru cimiteru, d’arreri la scola superiori,
assittata cu l’amici tra petri tumbali—fumannu Marlboro
red,
cantannu in armunia comu i Beach Boys,
facennu sirinata alli morti.
E comu li morti ca camminanu, ca spinnanu ancora
ppi lu puturi di parola,
la picciutedda ca si ioca casa e scola—
trascina pruvulazzu do vecchiu munnu,
trova lu trenu “L” ca porta a Greenwich Village,
cu vistina macchiata, scavusa, segnu di paci
e sciuri menzu mortu pittatu ‘nta na mascidda—
tantu—i sciuri frischi esistuno ‘nta n’avutra terra—O Man!
i tempi cancianu grida Bob Dylan—ma nenti,
nenti è cool. Cu è Rosa Parks? Lu Dutt. King,
Vietnam? Cui?
Cu cci ‘nsigna a vasari cu la lingua, a ballari
u lentu lentu, cu la chiama diavula cu la vistina
chiù blu dei blues
26
Arba Sicula XXXV
Yearning for the lips of others
by Marisa Frasca
Translated into English by Marisa Frasca
She practices hard to lose her native accent,
Rolls AmeRican woRds moRe than necessaRy
in the dark of the cemetery behind Grover Cleveland High
she sits on tombstones with friends
smoking Marlboro Reds, harmonizing
Beach Boys
serenading the dead. And like the walking dead
who still yearn for the power of speech,
the school dropout—dragging dust
from the old world
finds the “L” train to Greenwich Village—
with stained dress, bare feet, wilted flower
painted on her cheek—
alas—fresh flowers exist in another land—Oh Man!
the times they are a-changin’ screams Bob Dylan
but nothin’
nothin’s cool. Who’s Rosa Parks? Dr. King?
‘NAM? Who? Who teaches her
how to tongue kiss, dance real slow,
who calls her devil with dress
bluer than the blues
Arba Sicula XXXV
27
La nuvulidda e l’acqua di lu puzzu
di Nino Provenzano
Na nuvulidda libira iucava
cu un vinticeddu ‘ncelu e leta ia
senza na meta, amentri s’addunava
dda sutta dintra un puzzu chi lucia
l’acqua chi era ‘nchiusa e queta stava
e dissi “Chi cunnanna! Matri mia!….
Di lu puzzu na vuci ci arrivava,
“Nui semu soru” l’acqua ci dicia:
“Tu puru scinni ‘nterra, iu acchianu susu,
iemu e vinemu, semu a tanti banni.
‘Ni voli matri terra, e iemu iusu,
ni cerca patri celu? E a li cumanni
nui semu sempri pronti, e semu d’usu
facemu soccu dicinu li granni.
28
Arba Sicula XXXV
The Little Cloud and the Water in the Well
by Nino Provenzano
Translated into English by Calogero Cascio
While playing freely
with a gentle breeze in the sky,
a little cloud saw in a well
down below gleaming water,
bound and quiet and said:
“Oh my God, what an ordeal!”
From the well a voice reached her:
“We are sisters,” said the water:
“You too will come down to earth and I will rise.
We come and go, we are everywhere.
If Mother Earth wants us, we will go down,
If Father Sky calls us? To their commands
we are ready, our presence means life.
We do as the great forces say.
Arba Sicula XXXV
29
Narrativa Siciliana
Manu Pilusa
di Flora Restivo
N
un si ci putissi cridiri, datu chi di na vita firriu sempri pittinata, cu tantu di russettu, occhi tinciuti e vesti di buticchi,
ma, quann’ era nica, nzinu a deci, unnici anni, me matri, rnischina, si
pistuniava tutta pirchì ci paria, a idda, bedda comu un ciuri e sempri
mpillicchiata, d’aviri misu a lu munnu na figghia chiù masculu chi
fimmina.
Tortu tortu nun n’avia: ju laria nun era, ma sicculidda si, la facci
senza ddi pumiddi russi chi tantu ci piacianu (e ni pittava cu lu russettu a mia e puru a me frati, chi, puvireddu, spincia vuci a rumpiri,
vidennusi fari “cosi di fimmini”, quannu era di “visita”), tirava ddu
strummalu chi megghiu nun si putia: tuttu cornu jia fattu, punta
di rumaneddu alliccata, nturciuniamentu e, “zac”, a la masculina,
passava d’un curniciuni a l’autru, acchianava e scinnia di l’arvuli
(abitava propiu di facci a la Villa Comunali) chi paria Tarzan, anzi
Cita, e nun putia suppurtari ddi trizzi cu na camurria di scocca ‘n
funnu, chi mi sbattuliavanu quannu curria.
Mizzica quantu pizzati ci dava a ddi masculiddi! Chi spassu!
Chi lingua longa e chi castiu pi dda santa fimmina di me matri!
Nna tuttu ssu quatrettu, mittemuci puru chi liggia tuttu chiddu
chi mi capitava sutta: Papini, la strunumia di Flammarion, cosi di
nichi e cosi di granni, tuttu ammiscatu cantava chi sacciu “Stride la
vampa” o “Vissi d’ arte” e nun mi piacianu li cunti o almenu, chiddi
babbigni.
Mi piacianu sulu siddu avianu l’ummiri di misteru, megghiu
ancora si facianu nanticchia scantari.
Poi, a l ‘ura di jiri a dormiri, la cosa si facia funciuta: mi rimina~a
pi menz’urati nna lu lettu, sintia scrusci strani, mi curnmigghiava la
testa, avissi avutu vogghia di mittirimi a vuciari, ma nun muddava
e, la matina dopu, mi sintia chili valenti.
Me patri tuttu ssu gran preju di cuntari favuli nun l’avia ci piacia
ascutari musica e leggiri, però, ogni tantu, specialmenti quannu me
30
Arba Sicula XXXV
Sicilian Narrative
Hairy Hand
by Flora Restivo
Translated by Gaetano Cipolla
C
onsidering that I have lived a life going around always well
groomed, with make up, lipstick, eye shadow and wearing
boutique dresses, people would find it difficult to believe that I when
I was ten, eleven years old my mother, bless her soul, who was as
beautiful as a flower and always well dressed, was beside herself
thinking that she had given birth to a boy rather a girl.
She had reason to fret, I must say: I was not ugly, but skinny I
was. My face lacked those little cheeks that she liked so much (and
she would apply rouge on me and on my brother who, poor fellow,
cried out complaining about being treated as a girl); I played with the
top better than anybody, everything done to a T, licking the string,
twisting it and zack; like a tomboy I went from roof to roof I climbed
up and down trees—we live facing the town gardens —like Tarzan,
better like Chita. I hate my tresses with a awful ribbon at the end
which kept n bobbing against my back as I ran.
How many blows I rained on those poor little boys! What enjoyment! What a sharp tongue I had and what a punishment I was
for that saintly mother of mine.
Add to this portrait that I read everything that came within my
grasp: Papini, Flammarion’s Astronomy, children’s books and adult
books. I used to sing mixing everything such as “Stride la vampa” or
“Vissi d’Arte” and I did not like fairy tales, at least not the lame ones.
I like only those that were mysterious, better if they were a bit
frightening.
When t came time foe bed, things got a bit sour: I tossed and
turned in bed for a long time, I heard strange noises, I covered my
head, I had urges to start screaming, but I resisted the urge and then
in the morning I felt more courageous.
My father wasn’t too keen on telling stories. He liked to read and
listen to music, but once I n a while, especially when my brother was
acting up (and how he did!) he tried to oblige without conviction.
Arba Sicula XXXV
31
frati camurriava (e comu camurriava!), qua1chi cosa si pirsuadia a
mpapucchiari.
M’attirava, nta ddi tri o quattru storii chi pistava e ripistava,
chidda di “Manu Pilusa” e lu primu spassu era vidiri l’ occhi di
me frati chi, mentri lu discursu caminava, si jianu sempri chiù
sbarrachiannu, li capiddi biunni, tisi ‘n testa e iddu chi si ncunigghiava, attirrutu, vicinu a me matri.
Comu di regula si ncumincia cu: “C’era na vota”.
C’era na vota un paisi chi avia pi patruni e dominu un mammaddau, lariu, fitusu, tintu e, pi farila tunna, puru manciuni’di carni
munnana.
A ssu beddu spicchiu ogni tantu, ci firriava nna la ciricoppula di
maritarisi e li paisani, stritti e maluparati, s’avianu a spidugghiari pi
truvarici, a morti subitania, na picciotta bedda e virgini (di ss’ultima
palora lu senzu nun l’affirrava).
Pi essiri, era riccu sfunnatu, ma a li fimmini ssa cugnintura nun
ci garbizzava nenti nenti, speci pirchì, ogni vota chi na maluvinturusa
vinia pirsuasa a mettiri pedi nna ddu casteddu, nuddu la vidia chiù,
datu chi vinia manciata, spulpata e addigiruta.
Qualcunu, forsi lu picuraru chi ci purtava caciu e ricotta, lu
vinaru o va cerca cui, avia spalisatu ssi beddi nutizi.
Li fatti jianu di ssa manera: cornu la giuvinedda zicchiata
s’assittava, cu lu piddizzuni chi ci trimava, ‘n facci addu mostru,
iddu niscia d’un casciuni na manu pilusa e avvirmata e ci dicia, cu
na vuciazza di nfemu: “Si ti manci ssa manu, ju ti maritu e addiventi
patruna di tuttu”.
La mischinedda si sintia arrivutari li visciri a taliari dda fitinzia,
ma na vota chi era nna lu ballu ci tuccava abballari.
“Va beni, mi la manciu”, dicia, muscia muscia. A ssu puntu
lu mammaddau ammanicava chi si ni jia a caccia, nveci purtava lu
cani a passiari.
Idda, comu si truvava sula, pi prima cosa si la pigghiava cu
la malasorti chi l’ avia fattu nasciri bedda, poi si mittia a circari, cu
tantu di ciatu a li naschi, un crafocchiu dunni mpirtusari la manu e
cuntarici, poi, chi si l’avia manciatu.
Passatu un pizzuddu di tempu, assummava lu patruni di casa.
“Ti la manciasti dda manu?”
“Certu chi mi la manciai” - rispunnia la mischinedda. “Videmu”
e ncuminciava a vuciari: “Manu Pilusa, dunni si’? Manu Pilusa,
venimi ‘n manu”.
32
Arba Sicula XXXV
Out of the three or four tales he repeated the one about “hairy
Hand” was my favorite. And the first thing I enjoyed was seeing
my brother’s eyes that became more wide open as the story went.
His blond hair would stand on end as he burrowed terrified near
my mother.
As the rule requires, each story began with “Once upon a
time….”
Once upon a time there was a town which had as Lord and master an ugly, mean dragon who was also fond of human flesh. Once
in a while this awful dragon put it into his head to get married and
the town’s people had to arrange to find on pain of death, a beautiful virgin (the meaning of the last word was not clear to me then).
He was extremely rich, but to the women this detail was of no
interest at all because every time a poor unfortunate woman was
persuaded to enter the castle, nobody ever saw her again, since he
would eat her and digest every part of her.
Someone, perhaps it was the shepherd who brought him cheese
and ricotta, the wine seller, or some other folks, had spread around
the news.
This is how the story went: as the young woman sat down
before the monster, her body trembling from fright, he pulled out
a hairy and worm-eaten hand and told her with his infernal voice:
“If you eat this hand, I will marry and you will become the mistress
of everything.”
The poor girl looking at such an awful sight felt her stomach
turn, but as she was already on the dance floor, she had to dance.
“Fine, I will eat it,” she said in a low voice. At this point the dragon, pretending he was going hunting—he really was walking his dog.
When she was left alone, she first cursed nature for having made
her beautiful and then went looking for a hole, holding her breath
on account of the smell, where she could hide the hand and then tell
the monster she had eaten it.
After a little while the owner of the house returned. “Did you
eat the hand?”
“Of course, I ate it,” replied the wretched girl.
Let’s see,” and he began to call out” Hairy Hand, where are
you? Hairy Hand, come to me!”
That awful Hairy Hand replied according to the circumstances:
”Under the bed” or “ “Behind the dresser” and then it jumped out
angrily.
Arba Sicula XXXV
33
Dda manazza puzzolenti rispunnia, a secunna di li circustanzi:
“Sutta a lu lettu” oppuru: “Darrè lu cantaranu” e satava fora, scattusa.
Nsarvaggiutu, lu bistiuni lupiava: “Talia, talia, pi fissa mi vulivi
pigghiari, ma ora vidi cornu ti conzu lu capizzu! Uhu, uhu, uhu!!!
Sentu ciauru di carni munnana e, siccomu la vju, mi l’ammuccu
sana sana.”
A lampu s’arrimazzava ‘n capu a dda povira vittima e si la
rusicava.
Lu discursu s’allungava oramai di troppu tempu e la genti era
veru abbuttata. S’avia a truvari un rimediu pi livari di ‘n menzu ssu
castiu di Diu chi facia scumpariri tanti figghi di matri.
Penza e ripenza, a unu chi facia lu craparu, ci suvvinni chi, ‘n
muntagna, avia ncuntratu na fimmina di granni biddizza e, a lu parrari, puru spirtuna, chi si n’avia jutu a stari dda sula, nta na grutta,
di quannu lu so zitu avia mortu dui jorna prima di lu spusaliziu.
Si partiu un cumitatu e ci vinni cuntata la storia.
Idda ascutau veramenti ntrissata, poi dissi: “Stativi beddi quieti
chi a ssu malacunnutta ci penzu ju”.
Comu si vinni a sapiri chi, arrè, ci avia pigghiatu lu virticchiu di
maritarisi, Rosa Bianca, accussì si chiamava dda fimmina di ficatu,
cu l’aiutu di tutti, si misi ‘n tiru.
Vesta raccamata, deci suttani, li capiddi niuri giuittu ntrizzati
cu gersumini, tutta mprufumata, s’apprisintau a lu casteddu.
Ddu crastu, comu la vitti nna tutta la so biddizza, allampau.
Idda ci fici tanti mmizzigghi, la vuci di meli, l’occhi nnamurati, ma
la litania fu la stissa di sempri e la manu vinni subitu apparicchiata.
“La vidi sta dilizia? Chi fai, ti la manci?”
“Certu chi mi la manciu, cori miu, a mia mi pari na pitanza
veramenti fina.”
“Allura, mi ni pozzu jiri a caccia?”
“Vattinni, sangu di li mei vini, chi appena t’arricampi trovi na
mpruvvisata di chiddi cu setti para di mustazzi.”
Comu lu vitti alluntanari, parsi na saitta: affirrau a Manu Pilusa,
jisau vesta, suttani e pacchiani e si la mpiccicau nna la panza cu na
fascia chi ci strincia li vuredda.
Dopu na menz’urata, eccu lu cifaruni.
Solita sinfunia: “Ti lu manciasti ddu vuccuneddu di re?” “Certu,
ciatu miu, mi piaciu veramenti e picca mi parsi.” “Uhm, uhm, sintemu: “Manu Pilusa ... “ e tutta la sunata.
La manu si nturciuniava comu na serpi, ma nun putia svirtic34
Arba Sicula XXXV
The ugly beast then howled in anger: “You wanted to make a
fool of me, I see! Now see how I am going to fix your wagon. Uhu,
uhu, uhu! I smell the odor of human flesh and since I see it before
my eyes, I’ll fill my gorge in a quick flash.”
He then jumped on top of the poor girl and devoured her.
The story had gone on for a long time and te people were really upset. They had to seek a remedy to get rid of this curse of God
which made so many mothers’ daughters disappear.
After much pondering, a shepherd recalled that in the mountains he had met a woman of great beauty who was to hear her talk
mighty shrewd who had gone to live alone inside a cave when her
groom-to-be had died two days before the wedding.
A committee was formed and they related the story to her.
She listened with great interest and said then: “Don’t worry! I
will take take care of the scoundrel for you.”
When it became know that the monster was again itching to get
married, Rosa Bianca —that was the name of the feisty woman—prepared herself with everyone’s assistance.
She showed up at the castle with an embroidered dress, ten
undergarments, her black hair decorated with jasmine flowers and
perfume.
That he-goat was stricken by her splendid beauty. With her mellifluous voice and love-filled eyes, she paid him many compliments,
but in the end the litany was repeated and the hand was brought
out for her to see.
“Do you see this delight? Are you going to eat it?”
“Of course, that I will eat it, my dear, I think it is a truly fine
meal.”
“So then, I can go hunting?”
“Go on, blood of my blood, and when you come back you wil
find a surprise such as you’ve never seen before.”
In a flash, as she saw him leave, she grabbed that Hairy Hand,
lifted her dress, her undergarments and her slips and placed the
hand upon her stomach securing it tight with a sash that tightened
around her belly.
The ugly boor came back in half an hour. The usual symphony:
“Did you eat that tasty morsel worthy of a king?” “Of course, my
dear, I really liked it. I wish I had some more.”
“Uhm, uhm, let’s see. Hairy Hand, where…?” and the usual
litany.
Arba Sicula XXXV
35
chiari e s’allattariava: “Nna la panza sugnu, nna la panza!”
A ssi palori, lu fitintuni ristau ammammaluccutu. Pi cincu voti
fici la dumanna e pi cincu voti appi la stissa risposta.
Allura si muddau versu Rosa Bianca dicennu: “Tu, sulu tu,
si’ la fimmina giusta pi mia! Maritamuni subitu, chi tempu nun ni
vogghiu perdiri.”
“Sicuru, amuri di li sonni mei, nun viju l’ura, ntantu, datu chi
semu ziti, vasamuni.”
Comu s’abbrazzaru, licchetta e risuluta, nisciu un cutiddazzu,
ammulatu megghiu d’un rasolu, chi tinia ammucciatu ‘n menzu a li
suttani, ci truncau di nettu la testa e c ‘un cauciu la fici arruzzuliari
scali scali.
Nna lu stissu mumentu, Manu Pilusa si zittiu e si firmau. Rosa
Bianca jisau vesta e suttani, sciugghiu la fascia e vitti chi avianu
ristatu sulamenti pila, puru li vermi avianu mortu!
Sbarrachiau lu purtuni e si misi a curriri paisi paisi vuciannu:
“Libiri, siti libiri, lu mostru l’ammazzai: la testa e ana banna, lu
curpazzu nta nautra!”
Li paisani si misiru a satari e cantari, leti comu pasqui. Rosa
Bianca, chi era pi daveru na fimmina assinnata, dissi:
“Stati facennu festa e mi pari chiù chi giustu; ora pinzati chi
divintastivu riccuni.
Tuttu chiddu chi c’è dintra a ddu casteddu: oru, perli, ogghiu,
vinu, ogni beni di Diu, è vostru, chi c’è ammiscatu lu sangu di li vostri
figghi ed è vostra puru la terra, va cerca quantu salmi e tummini, a
mai finiri. Ju nun vogghiu nenti e mi ni tomu dunni stava.”
La prijaru e straprijaru, ma Rosa Bianca nun vosi sentiri ragiuni
e si ni turnau nna la so muntagna, dunni si dici chi campau nzinu
a centuvint’anni; di sicuru, nuddu la vitti chili, né viva né morta.
36
Arba Sicula XXXV
The hand was struggling like a snake, but could not get free and
kept yelling: “I am in the stomach, in the stomach.”
On hearing such word the awful stinker was flabbergasted. He
repeated the question five times and for five time he got the same reply.
So he approached Rosa Bianca and said: “You alone are the
right woman for me you. Let’s get married right away, I don’t want
to waste any more time.”
“Certainly, love of my dreams, I can’t wait to do that, meanwhile
as we are now engaged, let’s kiss.”
As they embraced, quickly and with determination she drew
a large knife sharper than a razor that she kept hidden under her
undergarments and she cut off his head and with a kick made the
head roll down the staircase.
At that moment, Hairy Hand stopped talking. Rosa Bianca lifted
her dress and undergarments, unfastened the sash and saw that only
hair remained. Even the worms had died.
She threw open the gate and started running through the town
yelling:
“Free, you are free. I killed the monster. His head is in one pace
and his ugly body in another.”
The town’s people began to jump for joy, happy as at Easter time.
Rosa Bianca, who was truly a wise person, said:
“You re celebrating and you’re right to do so. Now you have
become extremely rich. All that is inside the castle is yours: gold,
pearls, oil, wine and every good thing on earth is yours, because it’s
mixed with your children’s blood. The land is also yours, God only
knows how many acres it is. It never ends.
I want nothing for myself and I will return to where I lived
before.”
They begged and begged her, but Rosa Bianca did not want to
change her mind and so she returned to her mountain where people
say she lived to a hundred and twenty years: surely nobody ever saw
her again, alive or dead.
Arba Sicula XXXV
37
Lu Mostru di Carunia
di Giuseppe Quatriglio
Traduzioni in sicilianu di Gaetano Cipolla
L
’articulu, in prima pagina, avia statu pubblicatu su tri culonni. A caratteri beddi grossi si faceva na dumanna:
“Tutti si dumannanu, chi razza di malabestia è?” L’ucchieddu,
a riga picciridda stampata supra dû titulu, pricisava: “Di Carunia a
Sant’ Agata di Militellu nun si parra d’autru ca di ddu stranu armali”.
Era la staciuni dû 1976, e a Palermu, na curiosa cuinci­denza, “in
sinsaziunali prima visioni” - comu diceva la lucan­dina - si pruittava
u film “La lupa mannara” dû regista Rino Di Silvestro.
Li discrizioni dû cronista eranu scrupulusi. Lu raru armali,
dittu “stranu e indefinibili”, avia statu ntra­vistu a setti chilometri di
l’abitatu, ntâ contrata Sprazzi.
Un studiusu lucali avia pinzatu ca la tana di la “malabestia”
putissi truvarisi nta un funnu e inaccessi­bili crafogghiu, ô centru di la
rocca dî Carvunara, un mas­sicciu di petra a lavanca supra lu torrenti
Ingannu. Però na pocu di battituri vuluntari avianu dichiaratu cu
con­vinzioni ca u rifugiu di l’armali si truvava a nautra banna vicinu
a un fittu cannitu, ntâ contrata Carbuni, na cirtizza, chista, duvuta
a la custatazioni ca ô centru dû cannitu esisteva na vasta pozza di
acqua stagnanti, in gradu di dissitari e dari rifrigeriu. C’eranu, poi,
li dichi­arazioni di quanti eranu sicuri di aviri vistu, e nun sulamenti
ntravistu, l’armali. Un carusu di deci anni af­firma di aviri ossirvatu,
ferma supra na roccia, na bestia mai vista prima “di culuri scuru,
anzi niuru, câ testa grossa ca di supra avia na speci di crini”. Pricisa
ca ddu essiri scanusciutu sciddicvava rapidamenti ntra l’erba auta,
e pareva ca nun la tuccassi. Lanciava un friscu mentri passava e
pareva assai cautilusu pirchì, ô minimu rumuri, scumpareva di la
vista ammucciannusi nta chiùi vicina macchia virdi.
Signalazioni, chista, ca cuntrastava cu chiddi fatti in pubblicu di un vecchiu ca giurava di aviri avutu l’occasioni di vidiri
di vicinu un armali virdastru, senza crini, câ testa allungata di
un alligaturi. “Sì - aveva dittu eccitatissimu -,un alligaturi comu
a chiddi illustrati ntê libri di zoologia, e comu a chiddi visti ntê
film di safari nta l’Africa ca sbucanu di l’acqui fangusi dî ciumi”.
38
Arba Sicula XXXV
The Evil Beast of Caronia
by Giuseppe Quatriglio
Translated into English by Gaetano Cipolla
T
he article was print in three columns on the first page. It
posed a question in large characters: “Everyone Is Asking:
what kind of Evil Beast is it?” The short line above the title clarified
the content: From Caronia do Sant’Agata di Militello, everyone is
talking of nothing else except the strange animal.”
It was the summer of 1976 and in Palermo-- a curious coincidence—the film “The She-Werewolf“ by movie director Rino Di
Silvestro.
The reporter’s description was scrupulous. The rare animal,
defined as “strange and undefinable” had been glimpsed seven km.
from the population center near the area known as Sprazzi.
A local scholar had expressed the opinion that the lair of the
“Evil Beast” was in a deep and unreachable cave at the center of the
Rock of the Coal makers, a massive rock formation that overlooked
the torrent Inganno. Some hunters who had volunteered had claimed
that the hiding place of the animal was elsewhere, in the vicinity of
a bamboo grove in the area of Carbone. Their claim was buttressed
by the fact that at the center of the grove there was a vast pool of
stagnant water which could provide drinking water and relaxation.
In addition some people had sworn to have seen the animal close
up not simply as a fleeting glimpse. A boy, ten years of age, stated
that he had seen standing still upon a rock a beast never seen before
whose “color was dark, more precisely black, with a large head on
which there stood a sort of mane”. He pointed out that that unknown
being slid quickly through the high grass and it seemed as though
hit barely touched it. It emitted a whistling sound as it went by and
seemed to know cautiously because at the least noise it curry away
hiding in the nearby green forest.
This was a detail that was in contrast with those made in public by an old man who swore he had had the opportunity to see a
greenish animal close up, without a mane, with the elongated heard
of an alligator. “Yes,” he claimed excitedly, “ like an alligator like
those illustrated in Zoological treatises and those we see jump into
the muddy waters of rivers in films on African safaris.”
Arba Sicula XXXV
39
“La casa del drago,” di Giovanna Nicotra
Troppi signalazioni, comunqui, pi trattarisi sulu di na allucinazioni cullittiva. E però i prisunti tisti­moni oculari avianu
ristatu quasi sempri ntô vagu, puru si un viddanu dâ contrata
Sprazzi avia dichiaratu cu cirtizza di averi assistutu ô viloci
pastu di la malabestia. L’armali —secunnu la so tistimunianza—
­sbucatu di un fussatu sciddicusu, doppu aviri lanciatu un friscu
terrificanti, s’avia iccatu cu un sautu viloci nta l’acqua di un
stagnu e s’avia divuratu una doppu l’autra, tutti ddi buffi ca nun
s’avianu pututu alluntanari. Comu sempri succedi nta li storii
inverusimili, ci avia statu l’affirmazioni catigorica di un anzianu
studiusu di vi­cenni lucali ca avia vulutu ricurdari di quantu si
­cuntava in famigghia, sinu dâ so carusanza di na strega di sti
contrati — avia dittu l’omu cu serietà — ogni tantu ricumpari
tra li omini cu la forma di un ar­mali sarvaggiu. Camina un pocu
nta li campagni, si fa vidiri di li fimmini e li fa scantari o ci fa
veniri aborti e doppu si nni ritorna ntô munnu di la magia unni
vivi d’abbitutini.
40
Arba Sicula XXXV
“Il viaggio,” di Francesca Nicotra.
There were too many description , nevertheless, which indicated
that it could not be only a case of collective hallucinations. That being said, the presumed eyewitnesses had always been rather vague,
even though a peasant from the Sprazzi area had declared to have
witnessed with certainty to a quick meal of the Evil Beast. The animal—according to the eyewitness—emerging from a slippery hole
had jumped with incredible speed into the waters of a stagnant pool
all the while emitting a chilling whistling sound, and had devoured
one after the other all the frogs that had not been fast enough to scurry
away. As always happens in such problematic similar stories, there
was the unconditional statement of a n old scholar of local concerns
Arba Sicula XXXV
41
Puru un giurnali di Roma avia datu la nutizia di li strani apparizioni in Sicilia a cunferma dû fattu ca la vicenna assumeva dimenzioni naziunali e forsi intirna­zionali. L’articulu, puru chistu supra tri
culonni, avia un titulu ca richiamava l’attinzioni dû litturi. Chistu:
“Dui paisi tirrurizzati di mostri gigantischi”. E ntô riassuntu
spicificava: “Na pocu di abitanti di Sant’ Agata di Militellu e di Carunia, ntâ pruvincia di Missina, diciunu di aviri vistu armali di fattizzi
priistorichi”. Dunqui, nun un sulu armali indefinibili e indefinitu,
ma addirittura dui. Dui strani armali visti ntê campagni di dui lucalità distanti pochi chilometri l’una di l’au­tra. Lu currispunnenti,
incredulu, scriveva di un panicu cu radichi in cridenzi mitologichi,
ma era pricisu a riferiri l’esistenza di “spavintusi criaturi di fattizzi
zoo­morfi” chi pridiligevanu certi urati dû jornu pi li so mpruvvisi
cumparsi.
Lu “mostru” vistu vicinu a Sant’ Agata di Militellu, a sentiri
di quacchi tistimoniu, era simili a na grossa nucerta “longa quattru
metri e pisanti oltru a un quintali di culuri marroni scuru, ccà e ddà
tappizzatu di macchi di culuri virdi marciu”. Na esaggerazioni.
Lu cronista cuntava cu scrupulu quantu avia dichiara­tu
un viddanu: la bestia si muveva cu lintizza taliannusi attornu
e lassava impronti vistusi, chi, ristannu sntô tirrennu di crita,
avianu statu mustrati ê carabineri. I mi­litari, scettici in un primu
mumentu, davanti a l’evidenza, avianu fattu nterveniri li specialisti di l’Istitutu di Zoologia di l’Università di Missina. E chisti
avianu pututu accirtarisi ca li impronti, simili a chiddi di na bestia cu l’unghia, purtavanu versu na caverna ammucciata di la
vegetazioni. Circustanza allarmanti e rivelatrici di na prisenza
suspetta: rami scippati e arbusti scafazzati di bivacchi anurmali.
Lu mostru di Carunia — eccu la secunna “immonda be­
stia” — fu descritta comu un grifuni alatu di straurdina­rii proporzioni. Dui viddani, unu di 43 anni e l’autru di 30, giuravanu
di aviri ncuntratu l’armali — “na visio­ni orribili” — mentri chî
so cani si avviavanu ê mar­gini dû boscu di Carunia pi na battuta di caccia, na matinata frisca di risinu, accumpagnata di lu
ciuciuliari di l’aceddi.
Sulu i muntanari nativi di ddi posti putevanu ntrasiri nta
ddu fittu tunnel virdi, un cantuni di la Sicilia miditirranea a nord
di dudicimila ettari e, comu a li boschi dî paisi nordici, era chinu
di ruvuli e tanti autri tipi d’arburi chî trunchi grossi di cent’anni.
Na immensa macchia scura, si vista di un aeriu, un agglo­meratu
42
Arba Sicula XXXV
who recalled what he had heard at family gatherings in his youth.
Accordingly there lived a witch in those parts –the man related in all
seriousness—who appeared among men in the shape of wild animal.
She wandered through the countryside, showing herself to women to
frighten them and to cause them have abortions and then she returns
in the world of magic where she normally resides.
Even a na Roman newspaper reported the news about the
strange appearances in Sicily, confirming that the fact was becoming
a concern nationally and perhaps even internationally.
The rticle which spanned three columns as well ore a title that attracted the attention of readers: The following: Two towns terrorized
by Gigantic Monsters.” In the summary it stated: Some inhabitants
from Sant’Agata di Militello and Caronia , in the Messina province,
maintain that they have spotted prehistoric animals” Thus not only
one undefined and indefinable animal but two of them. Two strange
animals spotted in the countryside of two different localities not far
from each other . The incredulous reporter wrote about a panic which
dug its roots in mythological beliefs, but he was precise in reporting
the existence of “frightful creatures with zoomorphic shapes” that
favored certain hours of the days to make their sudden appearances.
The “Monster” spotted near Sant’Agata di Militello, according
to some witnesses, was similar to a large lizard, four meters long
weighing more than a ton. It was dark brown and here and there
with stains of rotten green color. Clearly an exaggeration!
The reporter detailed scrupulously what he had heard from
a peasant.: The beast moved slowly and cautiously leaving behind
visible foot prints on the muddy clay ground which were shown to
the police. The military were skeptical at first but face with the evidence they had called specialist from the University of Messina to
investigate. The experts confirmed that the footprints belonging to
a n animal with claws, led to a cave hidden by the vegetation. There
was a disquieting and detail that suggested a suspicious presence:
some broken branches and vegetation squashed by unusual bivouacs.
The monster of Caronia—that is the second loathsome beast—
was described as a winged griffin with extraordinary proportion. Two
peasant, one 43 years of age, the other 30, swore they had encountered
the animal early one dewy morning counterpoised by the chirping of
birds: a “horrible vision”, as they approached the edges of the forest
of Caronia with their dogs for a hunting expedition.
Only mountain people native of the place could manage to go
Arba Sicula XXXV
43
di furesti: u boscu di Mangalavite, u boscu di Grappida, u boscu
Pitrusinu, la Furesta Vecchia. Ettari ed ettari di na vegetazioni
tantu ntricata di mpidiri a li raggi dû suli di filtrari ntra i rami
e di junciri finu ô solu cha ristava fangusu e nta certi posti cupertu di acqua stagnanti. Ccà — ntô cori dâ catina dî montangi
Nebrodi — vivevanu na vota cervi e daini e puru quacchi orsu
suspittusu e lupi audaci ca d’invernu, quannu la nivi cupreva di
biancu lu suttaboscu, niscevanu dâ furesta, affamati, cû passu
felpatu, pronti ad azzannari pecuri chiusi dintra fragili sticcati,
e fari scantari a li pasturi chi so ululati.
Li contrati montagnusi di sti parti duvevanu essiri evitati di
l’omu di la valli pirchì sulu cui canusce­va veramenti lu boscu puteva
affruntari li fatichi e anchi i misteri e i sortilegi di ddu aspru munnu
arboriu. C’ era ntê muntanari chiù esperti anchi la consapivulizza
ca lu boscu — accussì cuntavanu chiddi ca eranu chiù carichi d’
anni — avia gnuttutu a quacchi avvinturusu attraennulu ntâ gorghi
scanusciuti.
Era certu: vicinu Sant’ Agata di Militellu e di Carunia in realtà
s’avia vistu sulu na “malabestia”, na “malabestia” pruvinienti di
l’unicu postu d’unni puteva emergiri, lu boscu di Carunia. Ecc­u,
nta sta furesta primordiali, putevanu crisciri e ammucciarisi li armali mistiriosi visti nta vaddata. Ma era d’accussì? I mostri, chiddi
ricostruiti di Spielberg nta lu film “Jurassic Park”, avissiru pututu
mprissiunari a cu l’avia vistu o cridutu di aviri vistu armali giudicati
fantastici?
Criaturi di l’ignotu ci nn’hannu sempri statu, nta
l’immaginazioni e nta la realtà. Nta li bistiarii midiuevali i
mostri eranu i frutti avvilinati dû caos originariu, eranu scherzi
dâ natura, innesti irraziunali ginirati pi deter­minari dispittusa
miravigghia e criari surprisa, ma anchi avvirtimentu, ntâ sucietà dî pirsuni nurmali, ntê comunità rigulati di liggi pricisi. E
d’accussì un boscu fittu comu a chiddu di Carunia, vigilatu di
auti muntagni e tagghiatu di quacchi esili cursu d’acqua— un
boscu addirittu­ra inaccessibili a la genti comuni ntê seculi passati —, nun puteva chi fari fluttuari nta l’aria liggenni pupulati
di fantasmi e di ariusi criature di furesti, di tisori ammucciati e
intruvabili, e anchi di armali di insolita fattizza scanusciuti a la
scala zoologica tradiziunali, mistiriusi e rari comu i pisci di li
inesplorati abissi di l’oceanu.
Li bestii scanusciuti ntravisti sulamenti o ossirvati, era­nu
44
Arba Sicula XXXV
deep inside the dense green forest on the northern coast of Mediterranean Sicily. It extended for twelve thousand acres and like a forest
in the northern countries was rich in oaks, pines and many types of
century-old trees, with very large trunks. It was an immense dark area
seen from a plane, an agglomeration of different forests: the wood of
Mangalivite, the wood of Grappida, the wood of Petrosino, the Old
Forest. Acres and acres of vegetation so thick and intertwined that
it stopped the rays of the sun from reaching the ground that always
remained muddy and in some parts covered with stagnant water.
Here, in the heart of the Nebrodi Mountain chain there live once deer
and does and even cautious bears with daring wolves which in winter time, when the snow covered the underbrush, emerge out of the
forest famished and stealthy steps, ready to sink their fangs on the
poor sheep enclosed in fragile corrals and to frighten the shepherds
with their howling.
The mountain regions of these parts were to be avoided by the
men of the plains because only those who knew the woods could face
the struggles, the mysteries and the incantations of that harsh arboreal
world. The more experience mountain people were aware that the
forest—that’s what was recounted by the ones whose should bore
the weight of many more years-- had swallowed some adventurous
souls enticing him in unknown whirlpools.\It was certain that near
Sant’Agata di Militello and around Caronia only one “evil Beats”
had been spotted, an “Evil Beast” coming from the only place from
which it come: the woods of Caronia. Thus in the primordial forest
the mysterious animals spotted in the valley could have grown up
and hide. Was that the truth? The monsters, like those constructed
by Steven Spielberg for his film Jurassic Park could have influenced
those who had seen, or thought they had seen, such fantastic animals?
Creatures of the unknown have always existed in the imagination and in reality. In the medieval bestiaries monsters were the poisoned fruit of the primal chaos, they were jokes of nature, unnatural
grafts to determine the “spiteful marveling” and create surprise, but
also a warning, in persons of the normal society living in communities regulated by precise laws. Thus a dense forest like that f Caronia,
under the vigilant eye of mountain peaks and crossed by little streams
of water—a forest that in time past was completely inaccessible to
common folk--,could not give rise to legends inhabited by ghosts
and ethereal forest creature, hidden and unfathomable treasures, and
also animals shaped unusually which have escaped the traditional
Arba Sicula XXXV
45
certamenti nisciuti di ddu ventri magicu di l’isula midi­terranea
ca ancora ammuccia sigreti e suscita timuri arcani.
Contarunu, a la fini di l’Ottucentu, i muntanari chi avianu
osatu di viulari la parti chiù interna di la furesta, di silenzi innaturali e improvvisi comu si pir un incantesi­mu la natura si fussi
firmata, avissi vulutu ntirrumpiri tempuraneamenti, pir sbalurdiri a li furasteri, lu rispiru dâ buscagghia. Custretti a trascurriri,
tirrurizzati, la not­ti sutta li stiddi, ddi muntanari cuntarunu,
doppu c’avianu rinisciutu a turnari ntô paisi, ca, ô scuru – sutta
lu niuru cappeddu di lu celu—ddu munnu virdiscuru si animava
di passi di bestii in agguatu, di lamenti pruvinienti di ntô nenti,
di spavintusi apparizioni comu di fanatsmi di animi senza paci.
Scanti ancestrali o la vuci autentica di un munnu strigatu?
Vito Amico discriviu lu vastu purmuni virdi dâ Si­cilia
comu “un boscu densu, orridu e albergatu di cinghiali e di armali firoci”. Esattamenti d’accussì, di armali firoci. Nun era un
visiunariu Vito Amico, ma un giografu, un scrupulu­su giografu
dû Setticentu ca accittava nozioni scien­tifichi ma anchi l’ ecu di
un munnu nfatatu e inquietanti.
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Arba Sicula XXXV
zoological scale, mysterious and rare like the fish of the explorers of
deep ocean depths.
The unknown beasts barely glimpsed or seen had certainly
emerged from the magic womb of the Mediterranean island that still
keeps many secrets and raises arcane fears.
At the end of the Nineteen century, mountain people who had
dare to penetrate the deeper part of the forest spoke of unnatural
and sudden silences that occurred as though by some enchantment,
as though Nature had stopped interrupting temporarily its breath
to astonish the intruders. Forced to remain the night the frightened
mountain folk said, after they managed to return to their town, that
when darkness fell, with the black of the sky as their roof, that dark
green world came alive and one heard the stealthy step of beast of
prey, laments coming out of nowhere, frightening apparitions as of
ghosts of restless souls. Ancestral fears or the authentic voice of a
spell-bound world?
Vito Amico described the vast green lung of Sicily defining I
as a “dense, horrible forest inhabited by wild boars and ferocious
animals.” That’s the words he used, “ferocious animals”. Vito Amico
was not a visionary, but a geographer, a scrupulous geographer of
the Eighteenth century who welcomed scientific notions but also the
echo of a spell-bound and disquieting world.
Arba Sicula XXXV
47
E Nonzignuri fu!
di Franco Di Marco
Traduzioni in sicilianu di Gaetano Cipolla
C
hiddu ca segui è un capitulu accurciatu di Lucio e l’acqua:
Storie di un Siciliano inquieto di Franco Di Marco. Nni desiru
na copia di stu libru, c’avia statu ristampatu di pocu duranti la nostra
visita annuali a Nina Scammacca nta l’occasioni di lu Primu Premu
organizzatu in onori di Nat Scammacca a Erici lu 20 di giugnu dû
2014. Ô solitu, Nina, c’avia priparatu li so famusi cassateddi, avia
nvitatu na para d’amici comu a Francesco Giacalone, Stefania Ruggirellu e u frati di Franco Di Marco ca mi rialau na copia cu la dedica
dâ mugghieri di Franco. Avennu liggiutu na para di capituli cu
piaciri mi vinniru in menti certi sirati passati nzemmula cu Franco
e Nat Scammacca mentri ricitavunu aforismi e puisii intrattinennu
lu gruppu di Arba Sicula. Franco e Nat nun sunnu chiù cu nui, ma
cuntinuanu a parrari cu niautri attraversu i so libri. Pi stu numiru di
Arba Sicula vosi traduciri un capitulu di Franco
Di Marco pi onurari la so mimoria e li so contribbuti a la lingua siciliana e a la cultura siciliana.
(Franco, ca travagghiau comu redatturi pi la zona
di Trapani pû dizziunariu sicilianu di Giorgio Piccitto, avia granni nteressi pi la lingua siciliana e
purtau a termini assai pruggetti ca riguardavanu
a lingua.)
Lu capitulu ca traduciu, fu scrittu cu forti ironia can nun rinesci
a cancillari la frustrazioni e la mancanza di pacienzia cu chiddu ca
Franco cunziddirava un atteggiamentu di laissez faire, na passività ca
s’avvicinava a l’indolenza ca iddu videva duminari ntra lu carattiri di
la genti di Trapani. Nta la introduzioni a lu libru Franco si lamintava
di st’aspettu dâ società siciliana e specialmenti di chidda trapanisi.
Scrissi ca viveva nta na zona unni ogni azioni diretta a canciari lu
sttus quo vineva placidamenti assurbita senza nudda riazioni, cu
dda passività ca avi un pazienti ca si sta ripigghiannu di na botta
di russania. Si vui dumannati a un trapanisi, diceva Franco, si voli
participari a un eventu culturali, chissacciu, di iri a un cuncertu o
fari un viaggiu, iddu vi rispunni “Ch’ha fari!” can nun voli “chi haiu
a fari?” ma “pirchì l’haiu a fari?”. Stu capitulu diplora sta passività
48
Arba Sicula XXXV
And No, Sir! It Remained
by Franco Di Marco
Translated into English by Gaetano Cipolla
T
he following is a chapter from Lucio e l’acqua, Storie di un
Siciliano Inquieto, by Franco Di Marco. We were given a
copy of the book which had been reprinted recently during our
visit to Nina Scammacca on the occasion of the establishment of the
Nat Scammacca Literary Prize that was celebrated in Erice on June
20, 2104. As usual Nina who prepared her famous cassatelle for our
group had invited a number of friends such as Francesco Giacalone,
Stefania Ruggirello and Franco Di Marco’s brother who handed me
a copy of the book. I have been reading it with pleasure recalling the
exhilarating occasions during which Franco and Nat entertained the
Arba Sicula group with their interpretations of Sicilian aphorisms and
poems. Both Franco and Nat are no longer with us, but they continue
to speak with us through their many books. I have translated one of
the chapters from Franco Di Marco’s book as a
way to honor his memory and his contributions
to Sicilian language and culture, (Franco, who
was the correspondent in charge of the Trapani
area for the Sicilian Dictionary prepared by Giorgio Piccitto, was especially dedicated to the study
of the Sicilian language) and was responsible for
numerous projects involving Sicilian.
This chapter, written with a high degree of irony tinged with
impatience and frustration with what he considered a kind of a
laissez faire attitude, a passivity that borders on indolence that he
saw rampant in Trapanese society. In the introduction to the book
Franco bemoans this aspect of Sicilian society and especially of the
Trapanese. He writes that he lives in a place where every action aiming to change the status quo is placidly absorbed without reaction
at all, “with the same passivity of a patient who is recovering from
measles.” If you ask a Trapanese, Franco went on, if he wants to
participate in a cultural event, a concert or to take trip somewhere,
his likely answer would be “Ch’ha fari!” which in English would be
best translated with “What for?” This chapter bemoans this passivity
which results in the acceptance of actions by the authorities that act
Arba Sicula XXXV
49
ca risulta accittannu dicisioni fatti di l’autorità can nun hannu comu
obbiettivu l’interessi dî cittatini di Trapani, ma chiddu di autri. Franco
pigghia la parola di l’opposizioni ma è comu un prufeta ca parra
ntô disertu pirchì nuddu senti chiddu ca dici. Li obiezioni ca iddu
esprimi dimostranu logica e bon sensu, e offrunu puru na visioni
chiù chiara di chiddu ca è mpurtanti nta lu munnu, ma li autorità
nun sentunu raggiuni. Caminanu comu si scutsssiru a autri tammuri
ci segnanu lu passu.
E Nonzignuri fu!
G
ià parecchi anni prima avianu dicisu di suspenniri lu sirviziu di piroscafu pir Cagliari.
- “Ma comu?!”, prutistarunu i Trapanisi. Lu cullegamentu ntra la
Sicilia e la Sardegna c’era già prima dâ guerra e ora ca lu cummerciu
si sviluppau di chiù am’a fari a menu di stu sirviziu?”
- “Nonzignuri”, ci rispunneru, “Lu capulinia havi a essiri a
Palermu ca è la capitali di l’Isula e lu cullegamentu spetta a idda”.
- “Ma comu?! L’aveva già lu cullegamentu: la linia era Trapani­
Palermo-Cagliari e viciversa”.
“ E Nonzignuri fu!”
Nota di l’Auturi:
Li argumintazioni sustinuti di l’opposizioni hannu un significatu
puramenti teoricu; rappri-sentanu chiddu ca i Trapanisi avissiru duvutu
diri. In realtà nuddu pru­tistau, anzi nuddu dissi nenti.
E poi dicisiru ca lu sirviziu di funivia di Trapani a Erici fussi
abolitu.
- “Ma comu?! Era accussì bellu iri a pigghiari na buccata d’aria
supra la cima quannu infuria lu sciroccu ... “
- “Nonzignuri, c’è l’autobus pir chistu”.
- “Ma ci voli un’ura a nchianari e n’autra a scinniri”.
- “Nonzignuri, ora l’autubussi sunnu chiù viloci”.
- “Ma la pinnenza è forti e la strata, stritta; nun ponnu curriri”.
- “Nonzignuri, l’autobus è chiù ecunomicu”.
- “Ma na volta ca li apparecchiaturi sonnu istallatu è chiù ecunomica la funivia, ca cunsuma currenti sulu pir deci minuti”.
- “Nonzignuri, l’autobus è chiù economicu. Lu risparmiu è di
50
Arba Sicula XXXV
not in the best interest of the people of Trapani but out of a different
sets of priorities. Franco assumes the role of a recalcitrant opposition, but his becomes a voice that cries out in the desert because it is
completely ignored by the powers that be, even though his arguments
are based on common sense, logic and a clearer vision of what is really important. They seem to march to the tune of different drums.
And No, Sir! it remained.
T
hey had already decided years before to curtail the Ferry
service to Cagliari.
“How come?” protested the people of Trapani. “The ferry service between Sicily and Sardinia has existed since before the war and
now that business is increasing you want to curtail it?”
“No, Sir!” they answered them. “The head of the line will be
in Palermo, which is the capital of the island and that is where the
connection must be put.”
“How come? The connection already existed: the line was
Trapani-Palermo-Cagliari and back”
“No, Sir!” and no, Sir it remained.
Note from the author:
The arguments put up by the opposition have a purely theoretical
significance: they represent what the people of Trapani could have said, but
in reality nobody protested, indeed, nobody said a word.
Then they decided that the funicular from Trapani to Erice
would be discontinued.
“How come? It was so beautiful to go up there get some fresh
air, especially when the Scirocco wind was blowing…”
“No, Sir! You can take the bus for that.”
“But it takes an hour to go up to Erice and another to come
down.”
“No, Sir! Now the busses can go faster.”
“But the road is steep and narrow. Busses cannot drive faster.”
“No, Sir! The busses are more economical.”
“But since the funicular equipment was in place it was surely
more economical. Ten minutes worth of electricity!”
Arba Sicula XXXV
51
circa lu cincu pircentu”.
- “Ma, in somma, quantu consuma stu autobus ... ?”
- “Circa vinti litri di nafta, milliducentu liri, pir ogni cursa ... “
- “ ... risparmiannu sessanta liri. Anchi si fa cincu cursi a nchianari e cinque a scinniri lu risparmiu è di seicentu liri. Diu miu, seicentu liri! Na stupitaggini, un pachettu di sigaretti ... e pir seicentu
liri avemu a privarinni dâ funivia? E lu turismu? Erici l’unica zona
turistica ca avemu”.
- “ Nonzignuri “. E Nonzignuri fu.
E poi dicisiru ca I’autustrata nun passassi pir Trapani, ma issi
direttamenti di Palermo a Mazara.
- “Ma comu?! Se l’aspittavanu di anni”.
- “Nonzignuri”.
- “Ma comu?! Se avia statu dicisu di tantu tempu ca finalmenti
si putissi iri a Palermu senza fracassari la machina supra na strata
vec­chia, tutta curvi e china di fossi?!”
- “Nonzignuri, la strata s’havi a fari, ma direttamenti di Mazara
a Palermu”.
- “Ma comu?! D’accussì Trapani resta cumpletamenti isulata”.
- “Nonzignuri, bisogna farila direttamenti pirchì lu pisci di
Mazara havi a arrivari friscu”.
- “Ma, scusassi, nta l’autru modu arriva friscu lu stissu ; la differenza è sulu di na vintina di chilometri, dudici minuti di autustrata ... “
- “ Nonzignuri, pirchì diretta costa menu e poi passa pir li paisi
dû tirrimotu”.
- “Allura havi a custari di chiù pirchì li strutturi hannu ad essiri
rinfurzati”.
- “ Nonzignuri, nun ni faciti perdiri tempu!”
- “Ma d’accussì nni pirditi chiossai, pirchì aviti a fari l’assaggi’
supra i tirreni e tuttu chistu fu fattu pir lu vecchiu pircorsu e costau
nun picca”.
- “Nonzignuri, c’è lu pisci”.
- “Ma comu?! E li marmuri di Custonaci?”
- “ Nonzignuri, chiddi nun si dipirisciunu ... “
- “ ... ma aumentanu di prezzu”.
- “Nonzignuri, lu pisci havi a arrivari friscu”.
- “Ma comu?! E lu pisci piscatu a Trapani?”
- “ Nonzignuri. E Nonzignuri fu”.
52
Arba Sicula XXXV
“No, Sir! The bus saves about five percent.”
“But how much will it cost for a bus…?
“About twenty liters of diesel fuel, 1200 lire per run…”
“…saving just 60 lire. Five runs up and down will save 600
lire. My God, that is a ridiculous sum. You cannot even buy a pack
of cigarettes with that! So to save 600 lire we have to be deprived
of the funicular? What about tourism? Erice is the only tourist zone
we have.”
“No, Sir!” and no, Sir! it remained.
And then they decided that the highway would bypass Trapani
and go directly from Palermo to Mazara.
“How come? We’ve been waiting for it for years!”
“No, Sir!”
“How come? We’ve herd for a long time that finally we could
travel to Palermo without destroying our cars on an old and winding
road full of potholes!”
“No, Sir! The road has to be built but from Mazara to Palermo.”
“How come? This way Trapani will be completely bypassed
and isolated!”
“No, Sir! The road must connect Mazara to Palermo so the fish
will arrive fresh.”
“But excuse me, the fish would still arrive fresh the other way.
The difference is barely twenty kms. Twelve minutes with a car!”
“No, Sir! Because the straighter road would cost less and then
it passes through the towns hit by the earthquake.”
“So then it would cost much more because the roads need to
be reinforced.”
“No, Sir! Don’t make us waste more time!”
“But you will waste more time because you need to test the
ground, which has already been done on the old route at considerable expense.”
“No, Sir! The fish is important!”
“How come? What about the marble from Custonaci?”
“No, Sir! The marble does not go bad.”
“But its price will be much higher.”
“No, Sir! The fish must arrive fresh.”
“How come? What about the fish caught off Trapani?”
“No, Sir!” And no, sir it remained.
Arba Sicula XXXV
53
E poi dicisiru ca la gestioni dû novu acquedottu fussi affidatu
a l’Enti Acquedotti Siciliani.
- “Ma comu?! Se aspittamu l’acqua di cinquanta anni e finalmenti
ca truvammu la surgenti e avianu misu li tubbi a cura dû comuni?”
- “Nonzignuri, havi a essiri l’EAS a distribuiri l’acqua a tutta
la pruvincia” .
- “Ma comu?! Semo nui ad essiri senz’acqua: li autri città, beni
o mali, s’arrancianu”.
- “Nonzignuri. A tutti”.
- “D’accussì è la fini: semu a la piriferia estrema, l’acqua nun
po’ bastari pir tutti e ancora na vota tocca a nui ristarinni senza”.
- “Nonzignuri, I’acquedottu havi a essiri guvirnatu di l’EAS”.
- “Ma comu?! Finu a ora ca l’acqua nun c’era nni hannu dittu di
arranciarinni e ora ca finalmenti e a spisi nostri la truvammu, veni
l’EAS e si la pigghia pir darila a l’autri?!”
- “Nonzignuri”. E Nonzignuri fu.
E poi dicisiru ca lu capilinia di li navi-traghettu pir Genova fussi
spustatu a Palermu.
- “Ma comu?! Ora ca l’avevanu avutu doppu tanta attisa!”
- “Nonzignuri; a Palermu servi di chiù pirchì la città è chiù
granni”.
- “Ma comu?! Si ccà ogni vota si inchi cumpletamenti di autucarri
chini dû marmuru di Custonaci?”
- “Nonzignuri, chiddi ponnu mbarcarisi direttamenti a Palermu”.
- “Ma comu?! Si nun c’è la strata e ora non ci veni mancu
l’autustrata!”
- “Nonzignuri. E Nonzignuri fu”.
E poi dicisiru ca lu novu sirviziu di navi-traghettu di Trapani
a Tunisi venissi spustatu a Mazara.
- “Ma comu?! Si la metà dâ populazioni trapanisi è tunisina?”
- “Nonzignuri; pirchì lu capulinia havi a essiri unni c’è
l’autustrata. E a Mazara l’autustrata c’è e a Trapani no”.
- “Ma a Mazara nun c’è lu portu e a Trapani si”.
- “Nunzignuri, lu portu di attraccu si pò fari a Mazara”.
- “Ma comu?! Si hannu dittu tutti ca lu mari si lu porta dappressu, mentri a Trapani lu portu è riparatu di li isuli Egadi”.
- “Nonzignuri: lu portu è picciriddu e la navi è granni”.
54
Arba Sicula XXXV
And then they decided that the running of the new aqueduct
should be entrusted to the Sicilian Aqueduct Authority.
“How come? We have been waiting for water for 50 years and
finally we found the source and the tubes have been installed by
the city.”
“No, Sir! The SAA will take care of the distribution throughout
the whole province.”
“How come? We are the ones who have no water. The other
towns have no problems. They manage all right.”
“No, Sir! We must serve all!”
”That means the end for us. We are the last on the line. The
water won’t be sufficient for all and we will be the ones who will
be left out.”
”No, Sir! The aqueduct must be run by the SAA.”
“How come? Until now, when there was no water we were told
to manage it ourselves and now that we have found it through our
own resources, the SAA will come and take it over to give it to others?
“No, Sir!” and no, Sir it remained.
And then they decided to move the point of embarkation for
the Ferry to Genoa from Trapani to Palermo.
“How come? Now that they had obtained it after such a long
wait?”
“No, Sir! It’s needed more in Palermo because it is a larger city.”
“How come? If when it departed from here the ferry was already
almost full of trucks carrying the marble of Custonaci?”
“No, Sir! The trucks can drive to Palermo and take the ferry
there.”
“How come? If there is no road and now they wont’ even have
the highway?”
“No, Sir! And no, Sir it remained.
And then they decided that the new ferry service from Trapani
to Tunis would be moved to Mazara.
“How come? If half of the population of Trapani is Tunisian?”
“No, Sir, because the head of the line must be where the highway
is and the highway is in Mazara not in Trapani.”
“But in Trapani we have a port and in Mazara they don’t.”
“No, Sir, the landing dock can be built in Mazara.”
“How come? If everybody says that the sea will sweep it away,
Arba Sicula XXXV
55
- “Ma comu?! Si duranti lu tirrimotu arrivau la navi Gennargentu ca era enormi e senza difficultà potti firmarisi e scaricari tutta
dda roba ... “
- “Nonzignuri. E Nonzignuri fu”.
E poi dicisiru ca lu ‘Lugliu Musicali Trapanisi’ fussi abolitu.
- “Ma comu?! Prima ô postu dû tiatru ci costruistuvu la banca
e ora avevamu stu spittaculu, anche si a l’apertu ... “
- “Nonzignuri; la banca nun c’entra: è lu ‘Lugliu Musicali’ ca
avemu a chiudiri”.
- “Ma comu?! Era l’unica manifistazioni nntô cursu di l’annu!”
- “Nonzignuri, costa troppu e nun ni lu putemu pirmettiri”.
- “Ma comu?! Sulu tri opiri e tre operetti ... “
- “Nonzignuri, costa troppu”.
- “Ma comu?! Li biglietti sunnu cari e lu tiatru è sempri chinu”.
- “Nonzignuri, li incassi sunnu scarsi”.
- “Ma comu?! Pirchì nun proibiti allura l’ingressu gratuitu? Ntrasunu gratis pirsinu li famigghi di li spazzini, cu tuttu lu rispettu ... “
- Nonzignuri, nun ni lu putemu pirmettiri”.
- “Ma comu?!”
- “Nonzignuri”. E Nonzignuri fu.
E poi dicisiru di trasfiriri lu Tribunali a Marsala.
- “Ma comu?! Lu capologu è Trapani; quannu mai s’ha ntisu ... “
- “Nonzignuri la provincia è troppu granni e bisogna decentrari,
pirchì la genti non veni custritta di Castelvitranu a iri finu a Trapani”.
- “Ma comu?! Puru chiddi di Pantillaria hannu a iri Marsala?
Ma d’accussì facennu s’allonga lu viaggiu! Pirchì chiddi di Pantillaria hannu a arrivari prima a Trapani cu l’aereu o cu la navi e poi
pigghiari lu trenu pir Marsala!”
- “Nonzignuri. E poi nun è dittu ca lu sirviziu di Pantillaria
havi a fari capu sempri a Trapani. A Mazara c’è l’autustrata e lu traghettu pir Tunisi; pò anchi darisi ca si decidi di spustari lu capulinia
a Mazara o a Marsala”.
- “Ma comu?! Senza aeroportu e senza portu?!”
- “Nonzignuri”. E Nonzignuri fu.
Nota di l’A.:
Sta vota la discussioni ci fu; ma discutevanu sulu li avvucati. E cu
voi ca cci dassi cuntu a iddi?
56
Arba Sicula XXXV
when the port of Trapani is well protected by the Egadi islands.”
“No, Sir! The port is too small and the ships are large.”
“How come? During the earthquake the Gennargentu ship that
was huge was able to dock and discharge all that it carried!”
“No, Sir!” And no, Sir it remained.
And then they decided to cancel the July Musical Festival in
Trapani.
“How come? You built a bank where the theater stood and now
that we had this show in the open air you canceled it?”
“No, Sir! The bank has nothing to do with it. The July Festival
must be shut down.”
“How come? It was the only event in town for the whole year!”
“No, Sir! It cost too much. We simply can’t afford it.”
“How come? It consisted of three operas and three light operas.
“No, Sir! Too expensive.”
“How come? The tickets were expensive and the theater was
always full.”
“No, Sir! The income was too small.”
“How come? Why don’t you stop letting people in for free?
Even the extended families of the town’s street sweepers, speaking
respectfully, went in gratis…”
“No, Sir! We can’t afford it.”
“How come?”
“No, Sir!” And no, Sir it remained.
And then they decided to move the Court House to Marsala
“How come? Trapani di capitl of the province. It is unheard...”
No, Sir! The province is too large and must decentralize because
people from Castelvetrano should not be forced to come as far a
Trapani.”
“How come? The folk in Pantelleria too have to come to Marsala? But that means they have to make a longer ttrip because they
have t come to Trapani with the plane or a ship and then take a train
to Marsala.”
“No, Sir. And then we have not said that the folk in Pantelleria
have to come to Trapani. They could come to Mazara which has a
highway and a ferry to Tunis. We may decide to move it the head
of the lne to Mazara or to Marsala.”
“How come?” Without an airport or a port?
Arba Sicula XXXV
57
E poi dicisiru ca lu ‘Circulu Amici di la Musica’ chiudissi i battenti.
E poi dicisiru ca avianu a distaccari la sezioni di Curti d’Appello
a Trapani...
E poi dicisiru ca: “Università a Trapani? Mancu a parrarinni!” E poi dicisiru- fra li risati di tutti - ca l’acqua cuminciava (ohibo)
a scarsiari, e ca quindi era necessariu suspenniri la distribuzioni due
vote la simana.
- “Ma comu?! Se è già tri vote la simana!”
- “Nonzignuri, bisogna suspenniti l’erogazioni, ma sulu dui vote
la simana, pirchì si inchinuri di novu i serbatoi di riserva. E bisogna
fissarii i turni di distribuzioni d’accussì:
Lunedì: la zona nova dâ città
Martidì: la zona vecchia
Mercoledi: suspinzioni totali
Giovedi: Trapani nova
Venerdi: Trapani vecchia
Sabatu: suspinzioni.
Come viditi sunnu dui jorna di suspinzioni ogni simana”.
- “Ma comu?! D’accussì ogni zona dâ città ricevi acqua - si fa
pir diri, pirchì poi si tratta di picca uri duranti la matinata - sulu dui
voti la simana”.
- “Nunzignuri, sia ben chiaru ca la suspinzioni succedi dui voti
la simana” .
- “Ma comu?!”
- “Nonzignuri”. E Nonzignuri fu.
E poi dicisiru di chiudri lu ‘Calzaturificiu Siciliano’.
- “Ma comu? è l’unica industria c’avemu ... “
- “Nonzignuri”. E Nonzignuri fu.
E poi dicisiru- tanto ormai ...
-ca ... Ma ... ? .. ‘gnore. Fu.
58
Arba Sicula XXXV
“No, Sir!” and no, sir it remained.
Note by the Author: This time there was a debate, but only between
the lawyers. And who pays attention to them anyway?
And then they decided to abolish the Friends of Music Club…
And then they decided not to move the Court of Appeals to
Trapani…
And then they decided the University could not have a branch
in Trapani…
And then they decided –provoking general laughter—that the
water was beginning to be insufficient and that it would be necessary
to limit distribution to twice a week.
“How come? If it is distributed already three times a week?
“No, Sir! We must suspend distribution, but only twice a week
so the reservoir fills up. And we must set the times of distribution
as follows:
Monday: The new zone of the city.
Tuesday: The old part of town.
Wednesday: no distribution at all.
Thursday: New Trapani.
Friday: Old Trapani
Saturday: No distribution.
As you can see, the suspension occurs only two days a week.”
“How come? This way each section of the city will have water—if you can call it that, considering that the water will flow only
for a few hours in the morning--only twice a week.”
“No, Sir! We reiterate that the suspension occurs only twice a
week.”
“How can that be?”
“No, Sir!” and no, Sir it remained.
And then they decided to close the Sicilian Shoe Factory…
“How come? It’s the only industry we have left...”
“No, Sir!” and no, sir it remained
And then they decided...
but by now you got the point…
Arba Sicula XXXV
59
La Sicilia: postu metafisicu di n’arma libira
di Valentina Costa
Traduzioni in sicilianu di Gaetano Cipolla
L
u pitturi Renato Guttusu e lu scritturi Elio Vittorini foru du
mpurtanti artisti siciliani junciuti di na cuntinua tensioni
versu la libirtà, cunnessa, comu accadi nta l’artista in generi, attraversu na cuntinua didicazioni a la nvinzioni e a la criazioni. Tutti
e dui eranu siciliani, puru si pruvinienti di zoni diversi di l’isula,
emigrati ô nord di l’Italia, Guttusu a Roma, Vittorini a Milanu. Si
distingueru pir impegnu politicu e sociali e foru animati tutti e dui
di na forti tensioni pir l’avanguardia artistica.
Elio Vittorini nasciu a Siracusa lu 23 lugliu dû 1908, primugenitu di quattru frati, so matri Lucia Sgandurra era sarausana di
origini e lu patri Sebastiano Vittorini era bulugnisi. Cu lu frati Giacomu siguìu lu patri capustazioni in giru pir la Sicilia, iddu trascurriu la so nfanzia in nichi stazioni ferroviarii fatti di riti mitallichi
a li finestri e lu disertu ntornu. Friquintau la scola di raggiuniria
senza ntusiasmu di unni fu espulsu pir scarsu rinnimentu. La so
giuvinizza è signata di cuntinui smanii di evasioni finu a quannu,
doppu aviri tintatu pir quattru voti di scappari utilizzannu i biglietti omaggiu dû patri ferrovieri, lassau definitivamenti la Sicilia
ntô 1924.
Ntra na scappata e l’autra canusci e si nnamura di Rosa Quasimodo, soru dû famusu scritturi Salvatore Quasimodo, cu cui
architetta la so ennesima scappata pir fari in modu di maritarisi
subitu. Travagghiau comu cuntabili ntô Friuli Venezia Giulia ma si
trasfirìu ntô 1930 a Firenzi unni cullaborau comu curritturi di bozzi
pir la rivista La Nazione. Ebbi un incaricu edituriali di Bompiani e
si trasfirìu definitivamenti cu la famigghia a Milanu unni dirigiu
la cullana “La corona”, ccà scriviu inoltri n’antulogia di auturi
statunitensi. Lu 26 lugliu dû 1943, duranti na riunioni clandistina
pir fari n’edizioni dâ rivista l’Unità, fu arristatu e mpriggiunatu
ntô carciri di San Vittori finu ô sittembri dû stissu annu. Si avvicinau ô partitu cumunista a ddu tempu clandistinu e participau
attivamenti a la Risistenza ntra lu 1944 e lu 1945. Nta stu stissu
piriudu e nta l’anni succissivi cullabura e dirigi na rivista di cultura cuntempuranea Il Politecnico unni succedi un vivaci dibattitu
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Sicily: The Metaphysical Place of a Free Soul
by Valentina Costa
Translated from Italian into English by Calogero Cascio
T
he painter Renato Guttuso and the writer Elio Vittorini
were two major Sicilian creative geniuses connected by a
continuous tension, inventiveness and dedication to freedom. They
were both strongly involved with the avant garde movement and
through their art they distinguished themselves for their social
and political commitment and they were motivated by a strong
tendency to be part of the avantgarde in art. From Sicily Guttuso
moved to Rome and Vittorini to Milan.
Elio Vittorini, the author of Conversation in Sicily, one of the
masterpieces of 20th century Italian literature, was born in Siracusa
on July 23rd, 1908. His mother, Lucia Sgandurra, was also from
Siracuse and his father, Sebastiano Vittorini, was from Bologna.
He was the eldest of four brothers. With his brother Giacomo he
followed his father, a station master, all over Sicily. Vittorini spent
his childhood in small, remote railroad stations with their metal
nets on the windows. He attended a school of accounting, but was
expelled for lack of productivity. His youth was marked by restlessness with an irresistible desire to evade, and after his fourth
attempt to escape using his father’s complimentary rail tickets, in
1924 he left Sicily permanently.
Between one attempt to escape and another Vittorini fell in
love and eloped with Rosa Quasimodo, sister of future Nobel Prize
literature winner, Salvatore Quasimodo. He was then employed as
a bookkeeper in Friuli Venezia Giulia and in 1930 he went to Florence where he worked as proofreader for the magazine La Nazione.
The publisher Bompiani offered him an editorial position and he
moved to Milan with his family. In Milan Vittorini directed the
publication of literary series and wrote an anthology of US authors.
On July 26, 1943 Vittorini was arrested for attending a clandestine meeting for the preparation of an edition of the magazine
L’Unità. He was imprisoned at San Vittore and released in September of the same year. At that point, he became close to the
Communist Party, then outlawed, and between 1944 and 1945 he
took part in the Resistance movement. During the same period
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61
supra lu prublema dû rapportu tra
littiratura e pulitica e supra la necessità pir l’intellettuali di equilibrari
lu propriu impegnu sociali. Passa
l’urtimi anni dâ so vita svulgennu la
so attività culturali ntornu a la rivista
Il Menabò nzemmula a Italo Calvino,
unni Vittorini tratta la problematica
dî rapporti ntra littiratura e industria
e fa na pulemica contru la mintalità
umanistica, accussì era chiamata,
vali a diri chidda dogmatica e strania
a lu spiritu di ricerca e a la spirimentazioni. Ntô 1963 si ammalau
Renato Guttuso, Autoritrattu,
di cancru a lu stomacu, subennu na
self portrait. 1975.
dilicata opirazioni. Nta la staciuni dû
1965 la malatia piggiurau portannulu a la morti lu 12 frivaru 1966
nta la so casa milanisi di via Gorizia, li so spogghi sunnu vurricati
ntô campusantu di Concorezzo.
Stima, amicizia e passioni pulitica sunnu li tri discriminanti
ca tinevanu nzemmula a Vittorini e Guttusu, i quali a l’iniziu di
l’anni quaranta eranu dui granni prutagunisti dâ cultura siciliana.
Guttusu stissu cunta nta n’intervista pubblicata supra L’Ora, un
giurnali palirmitanu nasciutu a l’iniziu dû XX seculu pir iniziativa
dâ famigghia Floriu, ca canusciu a Vittorini duranti lu so piriudu
milanisi nta l’anni trenta. Enzo Papa puntualizza, nta la prifazioni
di Storia di Guttusu, ca puru si i ricordi di Guttusu nun rispettanu
cu pricisioni li dati veri, è certu ca l’amicizia tra i dui artisti è di
antica data.
Renato Guttusu, pir l’anagrafi Aldo Renato Guttusu, nasciu a
Baaria lu 26 dicembri dû 1911 puru si la so nascita fu dinunciata a
Palermu sulu lu 2 jinnaru dû 1912. Figghiu di Giusippina D’Amico
e Giuacchinu Guttusu, agriminzuri e acquerellista dilittanti di cui
Vittorini ereditau l’amuri pir la pittura. Lu giuvini Guttusu vivi
nta na casa vicinu a li dui villi Valguarnera e Palagonia, la so aduliscenza burghisi è fitta pir lu futuru pitturi. Di la so nfanzia iddu
stissu scrivi: “tra li acquareddi di me patri, lu studiu di Duminicu
Quattrociocchi, e la putia dû pitturi di carretti Emilio Murdolo pigghiava forma la me strata... avia sei, setti, deci anni…”. Manifestau
pricocementi la so pridispusizioni pir l’arti e ancora tridicenni
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and in the years that followed he co-wrote and edited the weekly
magazine of contemporary culture, Il Politecnico, which became the
center of a fiery controversy regarding the problem of the relationship between literature and politics and of the necessity for the
intellectual to balance his involvement in social issues.
Vittorini spent the last years of his life in intense cultural
activity mainly around the literary magazine, Il Menabò (19591966) which he co-founded with the brilliant author Italo Calvino.
Here Vittorini confronts the relationship between literature and
industriy and argues against the so-called humanistic mentality
which had become dogmatic and distant from the spirit of research
and experimentation. In 1963, he started his battle with stomach
cancer and underwent surgery. In the summer of 1965 his health
deteriorated and he died on February 12, 1966, at the age of 57,
in his home in Milan’s Gorizia Street. Vittorini was buried in the
cemetery of Concorezzo.
It was the early 1940s when Vittorini and Guttuso became
leading actors in the Sicilian cultural scene. Guttuso himself told
in an interview published in the Palermo newspaper L’Ora, that he
met Vittorini in the 1930s when they were both in Milan. Enzo Papa,
in the preface of the 2007 publication of Vittorini’s Story of Guttuso, makes it clear that, regardless of the inaccuracy of Guttuso’s
memory, his friendship with Vittorini did go back to the 1930s.
Renato Guttuso, full name Aldo Renato Guttuso, was born in
Bagheria on December 26th, 1911, however, his birth was reported
not in Bagheria but in Palermo, on January 2, 1912. His mother was
Giuseppina D’Amico and the father Gioacchino Guttuso, a land
surveyor and amateur watercolorist, to whom the artist attributed
his love for painting. Guttuso grew up in a house not far the villa of
Valguarnera and the famous Villa Palagonia with its innumerable,
astonishingly bizarre statues. He, himself wrote that very early he
frequent the studio of Domenico Quattrociocchi and the shop of
Emilio Murdolo who painted Sicilian carts. At the age of thirteen he
started to sign his works. The period of adolescence was intense for
the future master. After high school Guttuso entered the University
of Palermo but did not finish his studies in order to dedicate himself
entirely to painting. He became close with the Futurists and the
followers of plastic arts. He also became the spokesman for a generation of artists with a growing aversion for the fascist regime and
the culture it promoted. For three years Guttuso was in Milan where
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63
Renatu Guttusu nto so studiu/ In his study. photo by G. Quatriglio
cuminciau a firmari i so quatri. Si trasfirìu a Palermu pir friquintari
lu liceu e poi l’Università, ma nun tirminau li studi e si didicau
interamenti a l’attività di pitturi. Ccà si avvicinau ô muvimentu
futurista e ô plasticismu dû Novicentu. Divinni ambasciaturi di na
ginirazioni di artisti ca purtavanu avanti na criscenti avvirsioni pir
la pulitica e li modi culturali dû regimi fascista. Vissi pir tri anni a
Milanu, ccà fici lu sirviziu militari e ccà fu spittaturi di l’avventu
dû nazismu ntâ Girmania. Viaggiau pir l’Europa e si trasfirìu poi
a Roma, ntô 1940 ntrasiu a fari parti comu a Vittorini dû partitu
cumunista talianu clandistinu. Passau l’urtima parti dâ so vita in
isulamentu, doppu la morti dâ mugghieri e si avvicinau, secunnu
la tistimunianza di Giulio Andreotti, a la fidi cristiana. A la morti,
dunau a la so città gran parti di li so opiri, ricugghiuti ntô museu
di Villa Vittoria unni fu vurricatu. Si stutau a Roma lu 18 jinnaru
dû 1987.
A l’amicu Guttusu Vittorini didicau dui studi monografici:
Disegni di Guttusu dû 1942 e Storia di Guttusu dû 1960. Vittorini
scriviu Storia di Guttusu pir lu catalugu di na mostra a la gallaria “Il
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Arba Sicula XXXV
he also was in the army and saw the
advent of Nazism in Germany. After
some traveling in Europe he lived in
Rome and like Vittorini he joined the
outlawed Italian Communist Party.
He worked intensely until the mid1980s but with the death of his wife,
he became practically a recluse and,
according to Giulio Andreotti, he also
became a devout Christian. Guttuso
died in Rome on January 18th, 1987, at
the age of 74. When he died he left the
bulk of his work to his hometown, at
the Museum of Villa Cattolica, where
he was buried.
Vittorini dedicated to his friend
Guttuso two monographic studies:
Disegni di Guttuso (Drawings by Gut- La cupertina di lu libru illustratu
di Guttusu. The cover of the
tuso) in 1942 and Story of Guttuso in
book illustrated by Guttusu.
1960. Vittorini wrote the latter for
the catalogue of an art show at the “Galleria il Milione” in Milan.
In the preface of the of Story of Guttuso, published in 2007 on the
occasion of the XII edition of the Vittorini Prize, Enzo Papa also
writes that Vittorini during his entire cultural production constantly
demonstrated his interest in the visual arts, showing an especially
profound sensibility for sculpture – he had remained close to an
uncle who was a sculptor. Papa briefly noted that the Vittorini
Prize is one of the most prestigious annual cultural events in the
pprovince of Siracuse together with the classical theatrical presentations. Events concerning Vittorini also take place in Milan, where
he reached the apex of his artistic maturity.
Returning to Story of Guttuso, Vittorini depicts Guttuso’s native
town of Bagheria as a hamlet where time appeared to have been
suspended during the Kingdom of the Two Sicilies: a few thousand
huts without sewerage, drinkable water or electricity. That town,
so decrepit in appearance but so very modern in the soul, is the
background in all of its consequences in the young painter’s adolescence. Vittorini presents a revolutionary Guttuso, one with a pioneering spirit which suddenly explodes and immediately earns the
critics’ attention. In his essay Vittorini adds that Guttuso upset the
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65
Milione” di Milanu. Enzo Papa, ntâ prifazione a la ripubblicazioni
di Storia di Guttusu dû 2007 in occasioni dâ XII edizioni dû Premiu
Vittorini, scrivi ca Vittorini duranti tuttu l’arcu dâ so produzioni
culturali dimustrau custantementi lu so nteressi pir li arti figurativi. Brevementi ccà ricurdamu ca lu Premiu Vittorini è unu di li
eventi culturali chiù pristiggiusi ntâ pruvincia di Siracusa, a latu
di li rapprisintazioni tiatrali di l’opiri classichi. Tali premiu risulta
essiri occasioni di cungiunzioni ntra la pruvincia di Milanu unni
lu scritturi junci a l’apici dâ so maturità e la pruvincia unni nasciu.
Riturnannu a lu nteressi di Vittorini pir li arti figurativi ancora
Papa ricorda la so eccezionali sensibilità pir la scultura cu la quali
fu a strittu cuntattu avennnu lu ziu sculturi. Vittorini nta Storia di
Guttusu fa riferimentu a na Baaria ancora vittima dû ritaggiu borbonicu, na burgata di quacchi migghiara di casotti, ancora priva di
fognatura, senz’acqua putabili e luci elettrica. E ccà dici ca nasceva
Guttusu, nta un paisi vecchiu ntâ forma ma fin troppu mudernu
nta l’arma ca fa di sfunnu in tutti li so cunziquenzi a l’aduliscenza
dû giuvini pitturi. Vittorini prisenta un Guttusu rivoluziunariu, un
spiritu piuneristicu ca esplodi senza pricidenti e si guadagna subitu
l’attinzioni dâ critica. Comu accenna Vittorini ntô so studiu monograficu, a Milanu duranti na mostra a la gallaria di “Il Milione,”
Guttusu ntrubbuliau la cueti di na tradizioni stilistica affirmata e
ca era di casa ntô gustu artisticu dû novicentismu. Nun mancavanu
di certu li valutazioni positivi ca nun esitarunu a spiegari Guttusu
comu purtaturi di un novu finominu di sicilianismu. In Guttusu,
scrivi Vittorini, si armunizzanu accuratizza dî mezzi espressivi
e libirtà d’espressioni, la quali duna a l’opira na propria ragiuni
d’essiri, un equilibriu ntra ingenuità e maistria, ntra vivacità di
ispirazioni e definitiva ponderazioni dî risultati. Nta n’Italia ca ntra
lu ’39 e lu ‘40 subisci e agisci ntâ na timpesta di purviri scatinata
dî tedeschi, pittari e scriviri sinteru lu fascinu di la clandestinità,
e Guttusu fu unu di sti artisti ca senza nudda ummira di dubbiu
mustrau lu so impegnu nteriori ntôn munnu ca era oramai aridu
di fora e curruttu dû sangu marciu di la guerra. Vittorini riporta,
ntâ so monografia dû 1960, li paroli chi Guttusu stissu scriviu pir
difiniri lu so misteri, ntôn cuntestu unni li catini esteriori rinforzanu
e portanu a l’esaspirazioni criativa la libirtà interna di l’artista: “li
cundizioni oggi sunnu storicamenti priviliggiati, sempri avennu la
forza e la libirtà nterna nicissarii in tempi accussì piriculusi… Si eu
putissi, pir na attinzioni dû Patreternu, scegghiri un mumentu dâ
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tranquility of accepted artistic
styles of the socalled “Novecentismo”, a
20th century
Italian movement in arts and
letters. Guttuso
was hailed as
the bearer of a
relatively new
phenomenon
called Sicilianism. In Guttuso,
writes Vittorini,
accuracy of expressive means
La llustrazioni di la matri nta la Conversazione in Sicilia. /
finds harmony The illustration of the mother in Conversation in Sicily.
with freedom of
expression which gives his work its ”raison d’etre,” an equilibrium
between “naiveté” and mastery, between vivid inspiration and
composed consideration of the results. In an Italy that between
1939 and 1940 had became engulfed by the Germans’ thick cloud
of smoke, painting and writing went underground. Guttuso was
among the painters who, over and over, demonstrated their commitment to that tormented world. In his essay of 1960 Vittorini
reports Guttuso’s own words in defining his craft in a context in
which the exterior chains, the creative exasperation only strengthens the desire for expressing internal liberty: “Conditions today are
historically advantaged as long as one maintains the strength and
the internal freedom so necessary in these dangerous times… If I
could ask God to let me choose the time of my existence I would
choose this time and the field of painting…”. “There is no doubt,”
writes Natale Tedesco in an article for the daily La Repubblica in 2006,
that the Sicilian writer felt sympathetic toward Guttuso’s experience
and understood it completely. The large Guttuso painting, “The
Crucifixion,” maintains Vittorini, created an emotion that reflected
WWII. In this masterwork the artist brings to an exasperating extreme every constructive and chromatic element, abandoning the
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67
storia e un misteri, scigghissi stu tempu e lu misteri di pitturi…”.
Non c’è dubbiu, scrivi Natale Tedesco nta un articulu pubblicatu
nta La Repubblica dû 2006, ca lu scritturi sicilianu sinteva solidali
dda espirienza di Guttusu, lu quali aveva già sicuramenti liggiutu
la prima parti di Conversazione in Sicilia pubblicata ntô ’37 supra
la rivista Letteratura. Lu grannni quatru dâ “Crucifissioni”, susteni
Vittorini, currispunni emotivamenti a quantu stava accadennu nta
ddi anni dâ Secunna Granni Guerra. Nta st’opira l’artista arriva a
l’esaspirazioni di ogni elementu costruttivu e cromaticu, abbannunannu li liggi iconografichi dittati dâ tradizioni cattolica, iddu
nni ni prisenta un Cristu senza aureula, un Cristu ca pirdiu la so
dimenzioni divina quasi comu si lu cuntestu storicu avissi curruttu
puru li chiù auti dimenzioni dû sacru. Immersu ntôn totali affuddamentu di culuri e formi, lu Cristu appari quasi eclissatu di lu
scoppiu di li passioni umani. Cu la fini di la guerra e l’avventu di
la guerra fridda si riapreva a ogni liveddu la granni vuragini ntra
l’azioni pulitica di un latu e la realtà di l’esistenza sociali di l’autru,
accussì li attività culturali si ritruvarunu a allintari lu ligami cu la
pulitica ca l’aveva fattu divintari parti d’idda duranti la guerra.
Li arti si ritruvarunu sciugghiuti ntôn jocu sterili e artificiusu fini
a iddu stissu, nun rapprisintavanu chiù la vuci di dinuncia ca
avianu statu duranti la crisi dâ guerra. Nta stu cuntestu aridu e
privu di stimuli socialmenti mpignati Guttusu trova lu spaziu pir
alliviari lu so sensu di culpa versu li umili, scrivi Vittorini, versu
i semplici, versu tutti ddi suggetti ca avianu statu misi di parti.
Iddu si immergi nta un naturalismu pupulari ca havi un effettu di
libirazioni. Tali opirazioni di libirazioni e alliviamentu dû sensu
di culpa offri davanti a iddu granni pussibilità di pitturi mudernu,
ca iddu nveci aveva sempri nquatratu dintra curnici di opiri assai
particulari. Iddu ora, afferma Vittorini nta la monografia dû ’60,
duna sfogu a la discrittività, a la narratività, a la drammaticità dî
so doti di pitturi populari. Si abbannuna a na pura cugghiuta di
elementi naturalistici: fogghi, aranci, gammi, mani, occhi, capiddi,
taliatini, gesti foddi.
Numirusi foru i libri llustrati dû pitturi sicilianu. Risultanu
curiusi i cummenti a li llustrazioni guttusiani pi parti di Vittorini,
in particulari la nota di cummentu pubblicata supra lu Politecnico
a l‘illustrazioni di Addio alle armi di Hemingway, edizioni taliana
pir cuntu di la Mondadori. Lu scritturi sicilianu ntô numiru 29
dû Politecnico scrivi: “Esistunu dui boni modi di llustrari un libru:
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iconographic law
that the Catholic
Church had dictated. He presents a
Christ without his
halo, a Christ that
has lost his divine
dimension as if the
historical context
had corrupted the
highest sacred element. Immersed in
an immense sea of
Elio Vittorini
color and form, Guttuso’s Christ seems almost eclipsed by an explosion of human
passions.
With the end of the war and the advent of the cold war, an
abyss opened up at every level with political action on one side and
the reality of social existence on the other. Consequently, cultural
activities started moving toward loosening their ties with politics
that had them involved during the war. The arts suddenly found
themselves dissolved in a sterile and artificial game to justify their
existence. The arts no longer represented the voice that denounced
during the war crisis. Vittorini writes that in this arid existence and
without the need for social involvement, Guttuso still manages to
find the space to alleviate his feeling of guilt before the humble and
before the subjects that he, to some extent, had put aside long ago.
He dives into the liberating, popular naturalism. That liberation
offers great possibilities to a modern painter. Guttuso gives vent to
description, storytelling, drama... His focus becomes naturalistic:
leaves, oranges, legs, hands, eyes, hair, looks, gestures, crowds…
He creates masterpieces.
Guttuso illustrated numerous books and Vittorini made some
curious comments about the illustrations. Especially interesting
are the comments on the illustrations for Hemingway’s Farewell to
Arms: “There are two good ways of illustrating a book: one that
corresponds to the language and style and one that interprets the
foundation with the instincts of a rhabdomancer and finds what
the author himself never knew he had said. In illustrating Hemingway’s work, Guttuso followed the second way and the result is
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69
currispunniri ô so linguaggiu, ô so stili, o nterpitrari lu sfunnu cu
l’istintu di rabdumanti ca trova zoccu lu scritturi stissu nun puteva
sapiri d’aviri dittu. Nta li llustrazioni di Addio alle armi di Hemingway, Renatu Guttusu siguiu stu secunnu modu e lu risultatu nni
pari bellissimu”. Ntra i numirusi libri llustrati di Guttusu, classici,
straneri e cuntempuranii, ricurdamu ccà Conversazione in Sicilia di
Vittorini. Conversazione in Sicilia è unu dî libri chiù mpurtanti dâ
littiratura taliana dû Novicentu. Inizialmenti fu pubblicatu a puntati nta la rivista littiraria Letteratura tra lu 1938 e lu 1939, poi ntôn
volumi ntitulatu Nome e lagrime e pir urtimu ntô 1941 cu lu titulu
Conversazione in Sicilia pir la Bompiani. È lu simbulu di na accanita
opposizioni ô fascismu, dimustrata attraversu la narrazioni di un
munnu offisu e di na umanità prufunnamenti oppressa dî mali dû
munnu. La Sicilia è lu palcuscenicu scigghiutu pi sta rapprisintazioni di l’avvintura umana, un postu metafisicu unni l’arma dû
scritturi trova ristoru e riparu di lu cuncretu cuntestu storicu ca
lu opprimi. Li llustrazioni di Conversazione in Sicilia sancisci ntra
i dui artisti lu culmini di na prufunna amicizia ntissuta di idiali
pulitici e culturali comuni. Dû romanzu dû scritturi sarausanu pubblicatu ntô 1941 sulu ntô 1943 Guttusu ni complitau li llustrazioni
cumposti di sidici tavuli. Infini ntô 1986 Conversazione in Sicilia, cu
li definitivi illustrazioni di Guttusu, vinni pubblicatu di Rizzoli,
a cura di Sergio Pautasso. Natale Tedesco, nta l’articulu scrittu
pir La Repubblica ntô 2006, ricorda ca Guttusu sustiniu sempri ca
Conversazione in Sicilia fu lu libru chiù appassiunanti ca iddu avia
liggiutu nta ddu piriudu: “Liggiu la Conversazione in Sicilia cu na
participazioni e passioni ca nuddu autru libru cuntempuraniu mi
aveva pruvocatu”. Vittorini in particulari susteni chi a Guttusu
capita di: “disignari li sceni dî libri ca ci piaciunu, nun stupisci
allura ca lu pitturi sicilianu vossi illustrari un libru ca tantu amau
comu Conversazione in Sicilia.
Guttusu nta li so illustrazioni fici riferimentu a brani pricisi
dû missaggiu iconograficu, iddu traduci e interpitra visivamenti
determinati elementi dû testu, ristannu subordinatu a iddu. Lu
prutagunista Silvestro Ferrauto pircurri lu so viaggiu di ritornu
a la terra natia, un viaggiu di ricongiuncimentu cu la matri, un
viaggiu in nomi di la matri, ca si cunsuma nta na dimenzioni ô
limiti dû sonnu. Criannu na sorti di quarta dimenzioni, unni lu
ricordu purifica l’arma di cui si senti oppressu e sulu ntô pinzeri
sapi di essiri libiru, la realtà appari na cirtizza ndissolubili ca nun
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very beautiful”. Among the books illustrated by Guttuso there
are classics, foreign and contemporary. Of the latter we’d like to
remember Vittorini’s Conversation in Sicily, of course.
The novel’s original title was Name and Tears and then Conversation in Sicily, in 1941, when it was published by Bompiani. It is a
most intense opposition to fascism, expressed through the narration
of a wounded world and of a humanity profoundly oppressed by
the world’s ills. Sicily is the stage chosen to represent this human
adventure, a metaphysical one, where the writer’s soul finds refuge
and rest from the concrete historical context that oppresses him.
Vittorini’s novel was first illustrated by Guttuso with sixteen images in 1943. Then in 1986, forty three years later, Guttuso did the
final and definitive illustrations for Conversation in Sicily, which
this time was edited by Sergio Pautasso and published by Rizzoli.
‹‹…e lu suli era sopra
dû so gridu…››
“And the sun was
above his scream.”
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lassa spiranza, na “quiete nella non speranza” comu Vittorini afferma. Na umanità attaccata nta la quali lu fascismu trova pir ogni
cosa un postu irreversibili. Ncuitatu dû lamentu nustalgicu di un
friscalettu nteriori lu prutagunista cumincia lu so viaggiu, la so
longa cunvirsazioni, un rinnuvatu ricordu di na Sicilia nteriori,
intima, libira almenu nta la mimoria. Nta li so illustrazioni Guttusu
pari mettiri chiù in risaltu li situazioni chiù rialistichi trascurannu
li situazioni simbolichi, ma in realtà iddu ntrasi chiù dintra in
manera chiù significativa chî so disegni ddà unni Vittorini resta
ancuratu a un liveddu puramenti metafisicu dâ realtà. Guttusu
seppi criari un puntu di riferimentu concretu tutti li voti quannu
Vittorini ntrasi troppu ntô simbolicu, attraversu la rapprisintazioni
disignativa lu pitturi sicilianu desi viguria a la rialistica e cuncreta
essenza di li cosi. Arrivatu a casa di la matre lu prutagunista scinni
nta n’abissu ntôn viaggiu ca si fa tiatru di zoccu Vittorini difinisci
“quarta dimenzioni”, na realtà cuntata rievocannu la mimoria di
un tempu passatu, di zoccu iddu era e nun è chiù. Silvestru nun è
chiù ndiffirenti versu la vita e tuttu ci appari finalmenti fruttu di la
so dicisioni, si libirau dâ vita ca l’opprimeva e si fa finalmenti caricu
di na so pirsunali dimenzioni, pigghiau cunsapevulizza di na so
dimenzioni nteriori unni capiu di essiri libiru. Ma tali dimenzioni
è sulu fruttu di un muvimentu dâ mimoria nun dû corpu, perciò
senza tempu. Iddu appena ntrasi ntâ casa ricanusci la vuci di so
matri, na vuci nun na facci, n’astrattizza ca sfiora in manera dilicata lu tangibbili e tocca lu cori dû prutagunista, sunnu li vuci chi
fannu di cuntornu a sta quarta dimenzioni vissuta dû prutagunista,
nun i corpi cuncreti e offisi dû pisu di la storia. È la dimenzioni
nteriori libira ma ntô stissu tempu astratta di cui lu scritturi cunta.
Attraversu stu romanzu iddu oltripassa l’oppressioni storica dâ
so cuntempuraniità, spurtusa la realtà pir pigghiarini sullevu. A
nomi dâ matri Silvestru comincia lu viaggiu, lu scopu è chiddu di
faricci arrivari la cartulina di auguri pir l’onomasticu. Na matri
rapprisintata nta la so chiù totali naturalizza e ca iddu scorgi ancora
attraversu i mezzi di dda quarta dimenzioni dû ricordu e dî sensi
rievocati ca stava vivennu, nun na descrizioni, ma n’evocazioni:
“e io vitti, nta lu ciauru di l’aringa la so facci senza nenti di menu
di quannu avia statu na faccia giuvini”. N’aringa ca evoca i pranzi
cunsumati quann’era picciriddu e un ciauru prisenti unni iddu ricanusci a la matri. N’astrattizza di immagini accussì veri ca nun lassa
ndifferenti, n’occasioni ca Guttusu nun si lassa scappari facennu un
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Natale Tedesco in his article in La Repubblica recalled that Guttuso
himself had said “I read Conversation in Sicily with a participation
and with a passion that no other contemporary book had ever
stirred in me”. Tedesco also says that, according to Vittorini, Guttuso often couldn’t resist drawing scenes for books he liked. It’s
not surprising, then, if the Sicilian master would wish to illustrate
a book he loved so deeply.
Guttuso’s illustrations faithfully follow precise steps of the
iconographic message. He ‘translates’ and visually interprets chosen elements from the text while always remaining subordinate to
it. Silvestro Ferrauto, the protagonist of Vittorini’s novel, is traveling back to his native land, a trip that would reunite him with
his mother. The trip in his mother’s name unfolds in a dimension
which approaches dreaming. Thus Vittorini creates a sort of fourth
dimension, where remembrance purifies the soul of he who feels
oppressed and who knows that only in his thoughts he finds his
freedom, while, at the same time, he senses it with an indissoluble,
hopeless certainty. Fascism keeps society in chains and finds an
inflexible place for everything. Disquieted by a wistful lament of
an internal fife Ferrauto undertakes his journey, and we experience his long conversation, a renewed memory of a Sicily that is
internal, intimate and free, at least in the mind. At his mother’s
house Ferrauto is inundated in a voyage that becomes theater for
that fourth dimension. His narrative evokes the reality of things
past, the reality of what he once was and no longer is.
Silvestro Ferrauto undertakes his journey to bring his mother a
card for her name day. As soon as he enters the house he recognizes
his mother’s voice, a voice, not a face, an abstraction that grazes
the real and touches his heart. Ferrauto has liberated himself of a
life that suffocated him and finally takes charge of his own, interior
dimension. But such a dimension is just a product of the movement
of his memory and therefore unrelated to time. Vittorini perforates
reality so that the voices outline this fourth dimension, not the bodies, concrete and grievpously burdened by the weight of history.
Ferrauto finds his mother in her total casualness, which he still
notices through the means of that fourth dimension, the memories
of his senses. He realizes that he was not living a realistic description, but an evocation: “…and I saw, in the odor of the herring, her
face not lacking anything from when it was young”. The herring
evokes the meals eaten during childhood and a present odor in
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73
disegnu dâ matri e dunannuci na facci cuncreta, un caricu ca Vittorini ci aveva risparmiatu. Lu cuncretu veni accussì lassatu fora di
Vittorini nta la so narrazioni, omissioni di cui iddu fa usu custanti
pir prisirvari li so pirsunaggi di l’oltraggiu dâ storia di ddu piriudu.
Guttusu cu li llustrazioni fa ddu ricordu du voti tangibili. Si li fiuri
e i posti di Vittorini evocanu semplicementi senzazioni sfumati, li
mmagini di Guttusu si calanu nta na “terrestrità” cuncretamenti
radicata. Nautru esempiu di tali prucessu di cuncretizzazioni usatu
di Guttusu si otteni di l’astratta descrizioni di un carusu ca grida ô
trenu ca ci passa davanti velocementi, è na descrizioni ca si ferma
ô liveddu astratto dû gridu “…e lu suli era sopra dû so gridu…”
dici Vittorini. Puntualmenti Guttusu veni a cummugghiari tali
mancanza di cuncritizza e pruduci na illustrazioni ca duna un corpu
a dda vuciata. È na Sicilia ca Vittorini cunta cugghiuta in manera
pirsunali nta un mbrogghiu di senzi ubbriacati ca libiranu di ogni
opprimenti cuntornu cuncretu.
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which he recognizes his mother. It is an abstraction so real and so
remarkable that it creates an opportunity that Guttuso cannot pass
up. Guttuso’s drawing gives the mother a concrete, full face which
Vittorini has avoided. Another example of such a process is seen
in the abstract description of a kid that yells at the train, passing in
front of him like an arrow. Vittorini writes a description that ends
at the abstract level of the boy’s scream: “… and the sun was above
his scream…”. Guttuso punctually filling the dimensions short in
concreteness here produces an illustration that gives a body to that
boy’s cry. If Vittorini’s Sicily with its images and places evokes nuanced feelings, remaining anchored at a purely metaphysical level
of reality, the images of Guttuso contrast and create a balance by
holding on a deep, concretely rooted earthliness.
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75
Li sonnura comu vita nta lu
Don Chisciotti e Sanciu Panza di Giovanni Meli
di Charles Giordano
Traduzioni in sicilianu di Gaetano Cipolla
L
a storia dâ Sicilia ha statu signata attraversu li seculi di li suffirenzi di un populu sfruttatu di straneri, ma puru di li so guvirnanti, riligiusi, putenti nobbili e pussidenti di terri. Nun era diversu a lu
tempu di Giovanni Meli (1740-1815). La vita era dura assai, specialmenti
pi li classi poviri, li cuntadini e li pasturi ca vivevanu quasi comu schiavi.
I poviri vivevanu cu la fami malgradu ca travagghiavanu dispiratamenti
pi mantiniri nanticchia di dignità e onuri. Meli, un pueta umanista, vuleva
canciari li cosi, sfidannu li ngiustizii ca rignavanu ntâ Sicilia, ma sapeva
can nun putia farilu attaccannu direttamenti a li putenti. La cinzura l’avissi
cunnannatu e iddu avissi suffrutu puru finanziariamenti e puliticamenti.
Pi curreggiri li ngiustizii ntâ Sicilia, Meli scrissi l’opira eroicomica Don
Chisciotti e Sanciu Panza comu n’allegoria unni dui pirsuni opposti e siparati si junciunu nzemmula pi supirari li terribili cundizioni ca esistunu
nta lu munnu. Un pazzu sugnaturi comu a Don Chisciotti e un stoicu suffirenti comu a Sanciu ca agisci sempri cu mudirazioni, ponnu aggiustari li
mali di lu munnu? Forsi na menza risposta ni la duna lu titulu di l’opira,
Don Chisciotti e Sanciu Panza. Meli nun crideva ca la soluzioni dî problemi
siciliani fussi na custioni di chistu o chiddu, ma di na unioni ntra Don
Chisciotti e Sanciu. La Sicilia aveva bisognu di un audaci pirsunaggiu
di granni immaginazioni comu a Don Chisciotti, nnistatu nta la solidu e
rialisticu truncuni dû carattiri di Sanciu. Sanciu si lamenta cu tristizza ca
l’omu nu sapi marciari ntra lu menzu di la strata, iddu
pigghia sempri un’estremu chi l’oscura;
e si da chistu si distacca e sposta,
sauta e rumpi a l’estrema parti opposta”.
Lu lamentu di Sanciu è puru lu lamentu di Meli pi nun essiri caputu. Quannu parra di mudirazioni iddu voli diri ca s’hannu a junciri li
poli opposti, eliminannu l’estremismu in modu ca nveci di cuntrastarisi
si cumplimentanu e rinfurzanu l’unu cu l’autru. Sta unioni fa nasciri un
pinzaturi forti, criativu e immaginativu c’havi li pedi chiantati in manera
solida supra la terra. Sfortunatamenti un eroi di stu tipu nun avia ancora
nasciutu nta la Sicilia di Meli. L’urgenza appassiunata di li spiranzi di
Meli si manifesta chiaramenti ntô Terzu Cantu.
Quasi tutti sognanu a occhi aperti. E’ piacevuli cunzari li cosi spia-
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Don Chisciotti’s Dream as Life in Meli’s
Don Chisciotti and Sanciu Panza
by Charles Giordano
S
icily’s history has been marked throughout the ages by the sufferings of its exploited people, mostly by foreigners but also sadly
by its own rulers, its own clergy and its rich and powerful nobles and
landowners. It was no different during the poet Giovanni Meli’s lifetime
(1740-1815). Especially for the very poor underclass, the peasants and
the shepherds, life was miserable with little or no freedom. The lower
class lived on the edge of starvation despite working slavishly and trying
desperately to preserve their dignity and self-respect. As a humanist poet,
Meli wanted to challenge the unfair status-quo in Sicily, but he realized
that he could not directly confront those in power. His work would have
been censored, and he would have been politically and financially ruined.1
To help right the injustices in Sicily, Meli wrote the mock epic poem Don
Chisciotti and Sanciu Panza as an allegory in which two separate opposite
types of people come together in a quest to overcome terrible conditions
in their world. Could Sicily’s grievous ills be fixed by an insane dreamer
such as Don Chisciotti, or by a long-suffering, stoic Sanciu who would not
cross the line of moderation? Perhaps we get a clue from Meli’s title, Don
Chisciotti and Sanciu Panza. Meli did not see a solution to mend Sicily’s ills
from an either-or of Don Chisciotti or Sanciu but from an and between
Don Chisciotti and Sanciu. What Sicily needed was a bold, imaginative
character of Don Chisciotti’s kind grafted into the realistic, solid foundation of Sanciu’s character. Sadly, as Sanciu states:
“Man cannot take the middle of the road.
If from this point he parts and steps aside,
He chooses an extreme that humbles him.
he jumps completely to the other side” (The Vision, 40).
Sanciu’s lament is also Meli’s lament and frustration that he is
not understood. By moderation he means the joining of opposites by
removing their extremism so that rather than opposing each other they
complement and strengthen each other. Such a union would give birth to
a strong, creative, imaginative thinker who has his feet solidly standing
on the foundation of reality. Sadly, for the Sicily of Meli’s time such a hero
had not yet been born. The passionate urgency of Meli’s hope for Sicily’s
future is seen most clearly in Canto Three of Meli’s work.
Almost everyone daydreams. It is enjoyable to adjust the real all
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cevuli ca ci sunnu nta lu munnu in modu di criarinni unu idiali puru si
tempuraneu. Quacchi vota i nostri sonnura immaginanu situazioni unni
niautri facemu la parti di l’eroi, di unu ca havi la forza di vinciri contru
apparentementi impossibili ostaculi pi aggiustari zoccu è ingiustu. Li
nostri sonnura a occhi aperti spissu si ripetunu cu quacchi variazioni ma
rivelanu assai cosi supra di niautri. Iddi cuntenunu li cundizioni nicissarii
pi vidiri li propri disidderi divintari realtà. Pi la maggior parti li sonnura
svanisciunu a lu svigghiarisi. Pi quaccadunu li sonnura diventanu na
ossessioni ca nun scumpari mancu quannu unu è svigghiatu. Quannu
l’ossessioni è altruista (III, 7) e voli criari un munnu pirfettu pi amuri di
l’autri, ma nun è capaci di farilu, niautri putemu aviri cumpassioni pi la
so pazzia. Pi Giovanni Meli, lu so Don Chisciotti havi lu disidderiu di
fari beni pi l’umanità e havi puru la custanza d’un carattiri nobili pi farlu.
Havi puru la forza pi farlu, nzinu a lu puntu di sdivacarisi lu stomacu
nterra (XII, 85), circannu di ndrizzari ddu vecchiu arburu unni iddu avia
scrittu li mali di lu munnu. Ma la missioni di Don Chisciotti falliu pirchì
vivi ntôn munnu unni lu sonnu e la realtà caminanu supra a linii parallelli
ca iddu attraversa spissu senza mancu sapirlu. Stu prucedimentu si vidi
chiaramenti ntô cantu terzu ca è duminatu di un sonnu. Ccà si rivelanu lu
so fanaticismu, li so motivazioni di agiri pi cuntu di l’autri e fari avvirari li
so disidderi. Anzi, l’urgenza di fari n’azioni eroica lu custrinci a aggiustari
li scinarii pi farili cumbaciari cu la so nozioni di zoccu è n’azioni eroica.
Senza cunziddirari li fatti, comu ntôn sonnu a occhi aperti, si nzicca ntôn
munnu illusoriu pi raggiunciri ddi sonnura ca si nzonna. Don Chisciotti
havi a criari un munnu–sonnu unni chistu pò accadiri.
Lu terzu Cantu cumincia cu na scena tranquilla ntâ natura unni
Don Chisciotti parrannu cu li pasturi dichiara la so ammirazioni pi iddi.
In vui cunserva la natura amica,
qualchi residuu d’innoccenza antica. (III, 2).
Spissu iddu veni traspurtatu nta stu munnu bucolicu, idillicu e
immaginariu. Iddu penza ca l’omu, ô principiu, nascìu bonu e nnuccenti
e fu misu ntôn munnu-giardinu chinu di buntà e ricchizzi. Sulu na brevi
visioni di sta scena è sufficienti pi carriarilu ntô sonnu ca ci fa scurdari
lu prisenti. Ma si renni cuntu ca lu munnu idillicu dî pasturi nun è lu
modu pi fari riturnari lu munnu pirfettu di prima.2 Iddu allura afferma
cu cunvinzioni ma comu si si fussi ntôn munnu immaginariu:
Si lu Celu ’un m’avissi destinatu
all’ardua imprisa d’aggiustari un munnu,
jeu ccà mi cusirìa lu vostru latu,
senza girari chiù la terra ’tunnu; (III, 3)
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too often unpleasant world, so that an ideal world is at least temporarily present. Sometimes our dream envisions situations in which we play
the hero whose strength of character overcomes seemingly impossible
odds to fix whatever is wrong. Our daydreams, often repeated but with
variations, reveal much about ourselves; they contain the prerequisites
to fulfillments of desires. For most people the daydream evaporates
with a wake-up call from reality. For some, the daydream becomes an
obsession which no amount of reality can overcome. When the person’s
obsession is unselfishly (III, 7) to achieve a perfect world for the good
of his fellow man, but he is not capable of such a noble deed, we might
well pity him for being a fool. For Giovanni Meli, his Don Chisciotti has
the desire to accomplish good for mankind, and he has the constancy of
noble character to do so. He also has the fortitude to do so, even to the
point of literally spilling his guts (XII, 85) in trying to straighten out the
tree upon which he had inscribed the ills of the world. Although Don
Chisciotti’s dream to mend the world ended in defeat, his life of selfless
determination to fulfill his impossible dream is most clearly seen in Meli’s
Canto Three, which is dominated by a dream. There, Meli’s Don Chisciotti,
his fanaticism, his motivation to act for the sake of others and to pursue
his desire is revealed. Indeed, his craving to perform a heroic act causes
him to adjust scenarios to make them fit his preconceived notions of the
necessary requirements for a heroic deed to occur. Without considering
facts, as if in a daydream, he impulsively propels himself into an illusory
world to create an opportunity to fulfill his basic dream. Essentially, to
be successful, Meli’s Don Chisciotti must create a dream-world which
comes true. Meli’s Don Chisciotti is a dreamer, but a dream fulfilled in
reality is his obsession.
Canto Three of Meli’s Don Chisciotti and Sanciu Panza begins with
a tranquil scene in nature, in which Don Chisciotti speaks to shepherds
of his envy for them:
“’Our Mother Nature has preserved in you
of ancient innocence some residue’” (III, 2).
He is often carried away most easily and passionately into the bucolic, fanciful, idyllic world because in one way or another such a world is
that for which he wishes. His basic thought is that man, in the beginning,
was born good (innocent) and placed in a garden world of goodness and
plenty. Only a momentary glimpse of such a scene is enough to incite a
daydream in which he is lost to the present moment. However, he realizes that the shepherd’s idyllic world is not the way for him to achieve
the return of a perfect world.2 He states with conviction, but as if in his
own world of imagination:
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Lu so duviri è chiaru e iddu l’accetta vivennu comu un cavaleri erranti. Mentri cuntinua a iri avanti iddu camina ntôn munnu di opportunità
(II, 8). Nun sapi unni sta iennu o comu avi a cunzari lu munnu. Ogni
passu lu avvicina o l’alluntana dû so obiettivu finali. Comu vacabunnu
senza piani pricisi, li possibilità ca iddu pozza cunchiudiri quacchi cosa
di bonu sunnu assai rimoti. Tuttu chiddu ca po’ fari è di pigghiari cantunati o di arrivari a cunchiusioni sbagghiati. Tuttu è possibili nta na vita
d’accussì e nenti è possibili. Ogni postu unni ntrasi scoppia quannu iddu
unchia lu so munnu-palluni cu li disidderi ca iddu vulissi appagari. Iddu
attraversa la fruntera ntôn munnu fantasticu unni cancia li fatti di zoccu
vidi o fa. Quacchi vota Meli ci fa diri ô so Don Chisciotti cosi ca parunu
cuntraddittorii ô so carattiri:
ma li proprii disii limitati
sù la felicità la chiù sicura;
né mai divinu estendersi in manera
chi di li forzi passinu la sfera. (III, 4).
Ccà c’è un esmpiu di chiddu ca fa spissu. Malgradu iddu quacchi
vota afferma principii ca sunnu raziunali supra lu tema di la mudirazioni,
iddu nun cridi di aviri a adiriricci. Iddu nun cridi ca unu havi a scutari li
cunziggghi ca duna a l’autri: nun pratica chiddu ca predica. Nun è ipocrita.
Semplicementi nun cridi ca sti principii sunnu validi puru pi l’eroi. Don
Chisciotti cridi ca Diu lu distinau (III, 3) a cunzari lu munnu. Ntê so mumenti chiù lucidi, capisci ca chistu è un duviri pi lu quali lu so putenziali
nun è adiquatu. Li aspirazioni e li sonnura nun ponnu iri chiù luntanu
di la propria abilità di purtarilli a termini. (III, 4) Mentri la mudirazioni
è na virtù nobili, unu comu a Don Chisciotti nun pò scurdarisi ca havi a
compiri granni e gluriusi azioni. L’aspirazioni di cunzari lu munnu senza
putirilu fari risulta in suffirenza pi nun putiri appagari li propri disidderi.
(III, 5) Ma Don Chisciotti è un omu ossessiunatu di arrivari a l’obiettivu
so e nun si prioccupa di li suffirenzi. Nun c’è nuddu ragiunamentu logicu
e nuddu ostaculu nsormontabili ponnu farilu disistiri dû so obiettivu.
Essenzialmenti iddu nun havi na menti, è sulu disidderiu.
Pi truvari li mezzi di cunzari lu munnu stortu e ingiustu, Don Chisciotti cunziddira dui possibilità: prima lu munnu idillicu e bucolicu di
li pasturi e secunnu lu munnu marziali di li cavaleri erranti. Tutti e dui
sunnu criazioni artistichi, lu primu di un munnu pacificu, semplici, arcadicu e l’autru lu munnu romanticu midiuevali pi l’eroi di la cavalleria.
Meli cridi ca lu munnu arcadicu rapprisintatu ntâ littiratura comu un liggeru giocu barroccu ntâ natura pò essiri un ntrattenimentu tempuraniu,
ma nun pò mai essiri veru o praticu. Iddu prisenta n’Arcadia diversa e
migghiurata unni lu pueta pasturi è puru un scinziatu. La nova Arcadia
la discrivi comu:
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“Had Heaven not assigned to me a task
I would have cast my lot with you right here,
So harsh as is the mending of the world,3
And stopped my wandering around the earth” (III, 3).
His task is clear, and he accepts it as his goal in life by living as a
knight-errant. While he continues to step forward, he moves about in a
world of chance (II, 8). He does not know where he is going or how he will
mend the world. Each step he takes may take him closer or farther away
from his ultimate goal. As a wanderer without having specific plans, the
odds that he can ever really accomplish anything of note are truly remote.
All he can ever do is to grasp at straws or jump to unfounded conclusions. Anything is possible in such an existence, and yet again nothing
is possible. Every environment he steps into will burst as he expands his
bubble world with his wish fulfillments. Time and again, reality rudely
breaks in to temporarily bring him to his senses. Often he himself crosses
the line into a fantasy world in which he changes the facts of what he
sees or does. Sometimes, Meli has Don Chisciotti make a statement which
seems contradictory to his basic character:
“However, surest happiness resides,
in placing limits on our desires;
they never should extend to such degrees,
as to transcend our means’ own boundaries” (III, 4).
Here is an example of what Meli’s Don Chisciotti often does. Although he may spout a general, very sound statement about moderation,
he does not include himself as needing to adhere to it. When it comes to a
basic truism, he does not practice what he preaches. He is not a hypocrite;
he is simply unaware that such truths could apply to a hero. Don Chisciotti
believes that God has destined him (III, 3) the harsh task of mending the
world. In his lucid moments, he knows that this is a duty for which his
potential is not possible to accomplish. One’s aspirations or dreams should
not transcend one’s ability to accomplish them (III, 4). While moderation
is indeed a noble value, a person such as Don Chisciotti cannot simply
forget about fulfilling grand, glorious deeds. The aspiration to mend the
world without being able to do so results in suffering with hopeless wish
fulfillment (III, 5). However, Don Chisciotti is a man who is obsessed to
achieve his goals despite any suffering. No sound reasoning, no seemingly impossible odds can ever stop him in his quest. Essentially he has
no mind, only desire.
To find the means to mend the tangled, confused, unfair world, Don
Chisciotti will consider two possibilities: first the idyllic, bucolic shepherd
world and second the martial world of the knight-errant. Both worlds
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Chistu è un campari simplici e ‘nsitatu
supra un sistema sodu e ragiunatu”. (III, 11).
Attraversu la so saggizza e capacità di guida, lu pasturi-puetascinziatu putissi criari un munnu idillicu basatu supra la ragiuni e nun
sulu supra l’immaginazioni. Ccà Meli usa na pirfetta mitafura agricula,
lu nnestu, ca leva in manera magica la parti ca nun pruduci di un arburu
ca havi ancora radichi boni e ci nnesta rami pruduttivi di nautra pianta ca
prima aveva radichi malati. Lu nestu, rapprisintatu di na fiura eroica, era
lu mezzu attraveru lu quali lu stagnanti status quo dâ Sicilia putissi essiri
cunzatu. Vistu ca tuttu era mpirfettu, na nova criazioni avia a nasciri. Lu
munnu criativu di la menti di l’eroi, mudirata di la ragiuni, ci nnesta na
vita pruduttiva ca poi veni mantinuta e rinfurzata di li radichi, lu populu.
Li tintativi dispirati, irraziunali e immaginativi di Don Chisciotti però nun
ponnu aviri successu pi ripurtari lu paradisu nterra, né po’ farilu la suffirenza stoica e senzibili di Sanciu. Pi Meli la mudirazioni di Sanciu avia
bisognu di essiri mmiscata cu la vuluntà di rischiari di Don Chisciotti, cu
lu su disidderiu di fari divintari lu so sonnu criativu realtà. Lassannu di
parti autri pinzeri supra la vita pacifica dî pasturi, Don Chisciotti duna
sfogu a la so fantasia e ntrasi nta nautru munnu. Iddu penza a Sanciu e si
cunnetti cu lu so amicu pirdutu (III, 20). Nun putennu capiri comu Sanciu
avia pututu scumpariri accussì mistiriusamenti, iddu cunchiudi ca appi
a essiri un attu di magia. Na vota ca perdi traccia dû tempu prisenti unni
si sta nzunnannu, fa un giuramentu sulenni di nun cummatiri chiù finu a
quannu nun havi distruttu la magia ca mpriggiuna a Sanciu (III, 21). Comu
putissi fari zoccu dici senza ntrasiri ntôn munnu unni la magia è vera?4
Prima ca lu sonnu di Don Chisciotti cumincia, Meli ntirrumpi lu
cuntu cu du ottavi (III, 22, 23) unni pari di affirmari quacchi principiu
generali supra lu munnu di li sonnura. Canuscennu la furmazioni di Don
Chisciotti, lu modu comu iddu metti nzemmula cosi senza cuirenza, è
chiaru ca lu munnu di li sonnura è l’ambienti chiù appropriatu pi iddu.
Lu munnu dî sonnura è caoticu, un postu di idei cunfusi. La cosa chiù
significativa dû munnu dî sonnura è ca cuntrariamenti a chiddu ca succedi
cu li sonnura a occhi aperti, la pirsuna nun è in cuntrollu. Idda è cuntrullata di lu diu Morfeu- chiddu ca duna la forma a li sonnura:
“E pri via occulta e ad iddu sulu nota,
s’introduci furtivu in fantasia,
unni li chiusi ceddi apri e rivota
e confunni ogn’aspettu ed ogni idia; (III, 23)
Quannu unu è vigghiannti, iddu si nni adduna si c’è quarcunu o
quacchi cosa ca cerca di vutari la so cuscenza a fari azioni ca normalmenti
nun voli fari. Però, quannu Morfeu ntrasi nta la menti di quarcunu, iddu
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are artistic creations, the one being the peaceful, simple Arcadian world
and the other being the world of the medieval romance with its chivalric
heroes. Meli believes that the Arcadian world as it has been portrayed in
literature as a light-hearted Rococo frolic in nature might be temporarily
entertaining, but it can never be real or practical. He presents a different,
improved Arcadia in which the shepherd-poet is also a scientist. The new
Arcadia is described as:
“this is a simple way of living, grafted
upon a solid system, wisely crafted” (III, 11).
Through his wisdom and leadership, the shepherd-poet-scientist
would create an idyllic world based on reason, not just on creative imagination. Here Meli uses the perfect agricultural metaphor, a graft, which
seemingly magically but forcefully removes the unproductive top growth
of a plant with still vital roots, and inserts productive branches from another plant which previously had had weak roots into the vital roots. A
graft, represented by a heroic figure, was the means through which the
stagnant, unproductive status quo in Sicily during Meli’s time could be
fixed. Since everything was so wrong, a new creation had to come about.
The creative world in the hero’s mind, moderated by reason, infuses
productive life which is then sustained and strengthened by the roots,
the people. Neither Don Chisciotti’s desperate, irrational, imaginative
attempts to mend the world would succeed in bringing about a paradise
on earth, nor would Sanciu’s sensible, stoic suffering with life as it was.
For Meli, Sanciu’s moderation needed Don Chisciotti’s risk-taking, his
desire to make his creative dream become true in reality. Turning from
further thoughts about a peaceful shepherds’ life, Don Chisciotti gives free
reign to his imagination and enters another world. He thinks of Sanciu
and reconnects to his lost friend (III, 20). Not being able to determine how
he could have so mysteriously disappeared, he concludes that it had to be
sorcery. Once he loses track of the present time in which he daydreams,
he takes a very solemn oath never to fight again unless he has undone
the magic spell on Sanciu (III, 21). How can he do that except by stepping
forward into a world in which sorcery is real?4
Before Don Chisciotti’s dream begins, Meli interrupts the tale with
two octaves (III, 22, 23) in which he appears to state some common generalities about the world of dreams. Knowing Don Chisciotti’s formation,
the way in which he took to learning things only partially and then putting
such things together incoherently, one can see that the dream world is
a most fitting environment for him. The realm of the dream is chaotic, a
locale of confused ideas. What is most significant about the dream world
is that unlike the daydream, the individual is seemingly not in control.
The person is controlled by the god Morpheus – the dream shaper:
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83
la cuntrolla cumpletamenti e supprimi la so capacità di risistiri zoccu voli
Morfeu. Iddu havi li canuscenzi più putenti pi cuntrullari lu ndividuu.
Doppu ca ntrasi nta la menti, iddu sapi esattamenti chiddu c’havi a fari.
Specificamenti fa li cosi siguenti:
poi l’immagini a dd’omu chiù devota,
scegghi fra tutti, e a modu di magia,
la metti pri traversu e culurisci,
c’insìta li fantasimi e l’accrisci. (III, 23).
Li azioni dâ pirsuna ntô sonnu sunnu guidati di lu so nconsciu ca
cunteni essenzialmenti li so chiù fervidi disidderii. Essenzialmenti, Morfeu
e lu nconsciu di la pirsuna sunnu tutta na cosa ntô munnu di li sonnura.
La pirsuna ca si sta nzunnannu nun è in cuntrollu; cu dirigi lu munnu
dî sonnura è lu so nconsciu. Lu munnu dî sonnura di na pirsuna offri na
immagini mbrugghiata e l’appagamentu di zoccu idda disiddira nta la
realtà o quannu si nzonna a occhi aperti. Lu carattiri di don Chisciotti
è fissatu e nun cancia chiù. Nto so ciriveddu, vigghianti, fantasticannu
o nzunnannusi, iddu è sempri lu cavaleri erranti ca havi un duviri chiù
autu chi l’aspetta (III, 82).
Quannu Don Chisciotti cumincia lu sonnu, si trova nta un gran
saluni chinu di tisori. Malgradu ca li tisori sunnu veramenti brillanti, a
iddu nteressa chiossai la spata e la curuna ca vidi supra na bilanza cu na
frasi ca dici “ Si dia a l’Aggiustaturi di lu munnu.” (III, 25) Nun surprenni
pi nenti ca iddu nun mustra nteressi pi li tisori di stu munnu. La spata e
la curuna ntô centru dû saluni l’affascinanu cumpletamenti. Iddi sunnu,
doppu a tuttu, li obiettivi dî so aspirazioni. Comu puteva mai risistiri?
Idu havi davanti a l’occhi ddi cosi ca havi disiddiratu in manera ardenti
(l’immagini chiù cara pi un omu”) (III, 23) Iddu è lu putenti cavaleri
ca cu la so forza marziali havi a cunzari lu munnu. Naturalmenti la so
menti curri versu la cunchiusioni, puru senza pinzari comu havi a fari
pi pigghia-rila, ca la spata e la curuna apparternunu giustamenti a iddu.
Iddu havi li gratificazioni vcini a iddu, la spata e la curuna, ora havi a fari
n’azioni pi farli divintari veri. Meli interveni pi guidari lu so nconsciu
attraversu Mofeu e pi cuntrullari lu sonnu. Nta lu pricisu mumentu di
la so apoteosi, lu sonnu veni ntirrumputu di na vuci debbuli e piatusa
ca chianci. Ni risulta un nestu significativu. Pi magia, la soluzioni ca
pirmetti a Don Chisciotti di guadagnarisi la spata e la curuna ci appari
ripigghiannu un filu di lu passatu. Vidi a Sanciu dintra la bucca di un
giganti cu na fimminuna superba ca lu ncuraggia. Chistu ci cunferma na
cosa ca iddu già sapeva. Sanciu avia statu vittima di un attu di magia.
Nun surprenni ca Morfeu fici appariri a Sanciu ccà malgradu lu fattu
ca Don Chisciotti nun sapeva unni era. L’apparizioni di Sanciu duna a
Don Chisciotti l’opportunità di sarvarilu comu avia dittu prima (III, 21).
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“he furtively will sneak inside the mind
confusing every aspect and idea” where each closed cell he opens and disrupts,
(III, 23).
When a person is awake, he is aware of something or someone attempting to turn his mind that is otherwise closed to committing certain
actions. However, when Morpheus enters a person’s mind, he controls
it by breaking down any internal strength the person has with which to
resist Morpheus’ control. Morpheus has the most powerful knowledge
that enables him to control the individual. After getting into a person’s
mind, he knows exactly what to do next. Specifically, he takes the following steps:
“The image that is dearest to a man
he puts it sideways and makes color flow,
he then selects and by some magic means ,
and grafting ghosts upon it, makes it grow” (III, 23).
The person’s action in the dream is directed by his subconscious,
which contains essentially the person’s deepest, most fervent desire. Basically, Morpheus and the person’s subconscious are one and the same
in the dream world. The dreaming person is not consciously in control,
his= subconscious directs the dream world. The person’s dream world
is but a distorted image and fulfillment of what he desires in reality or
in his daydreams. Don Chisciotti’s character is fixed; his character will
not change. In his mind, whether awake, daydreaming, or in a dream, he
is always the chivalric knight-errant with a burning, higher calling. The
burning desire in his heart to be a heroic knight far exceeds any impure
desire or any other desire (III, 82).
When Don Chisciotti’s dream begins, he is situated in a grand,
glorious hall full of treasure. Whereas the treasure is indeed dazzling to
the eye, what really attracts him is the sword and crown on a scale under
which he reads: “Give to the Mender of the world as praise” (III, 25). It
is not surprising that he is not at all attracted to the worldly treasure. The
sword and the crown at the center of the hall totally captivate him. After
all, they are the focus of his aspirations. How could he resist? He is in
sight of all that he has most ardently desired (“The image that is dearest
to a man” (III,23). He is the powerful knight who by his martial strength
will mend the world. Of course, his mind races to the conclusion, even
without picturing how he would achieve it, that the justly deserved crown
is his. He has the required perquisites within reach, the sword and the
crown, but now he needs the deed to make it “real.” Meli has Morpheus,
his subconscious, step in to direct and control the dream. Just at the moment of his apotheosis, his present moment in the dream is shattered by
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Inoltri, cuntrariamenti a quantu avia dittu prima di nun cummattiri chiù,
iddu pigghiau la spata pi sarvari a Sanciu. Ccà chiddu ca Meli spiegau
prima supra li sonnura (III, 23) diventa realtà. Lu disidderiu nconsciu
di guadagnarisi la gloria attraversu la spata, è chiù forti di lu sulenni
giuramentu fattu duranti un sonnu a occhi aperti (III, 21) quannu dissi
can nun avissi cummattutu chiù si nun prima avissi sarvatu a Sanciu dâ
magia. Li cunnessioni illogichi diventanu logichi puru si Don Chisciotti
havi a furzari li cunnessioni.
Affruntari e scunfiggiri li opprissuri di Sanciu pari possibili; però li
probabilità di vinciri dimnuisciunu quannu veni sfidatu di dudici cavaleri.
L’apparizioni magica di dudici cavaleri fa divintari ancora chiù granniusa
l’impresa, senza dubbiu fu lu so nconsciu a suggiririccillu. Essennu unu
contru a dudici, nveci di essiri prudenti e ritirarisi, sputa na sintenza cu
na lezzioni murali ca iddu dimustra di nun aviri mparatu:
“ma senza la prudenza, ah no, nun vali
l’ardiri, anzi ni renni chiù infelici; (III, 28).
Nveci di avanzari contru a li dudici cavaleri Don Chisciotti cumincia
a faricci na longa lezzioni supra a li benefici di la paci:
Non dall’odii, li straggi e li fururi
natu è l’omu a la luci; l’omu divi
l’essiri so a la paci ed a l’amuri
e a l’effetti chiù teneri e giulivi; (III, 29).
Sti beddi paroli nun hannu postu ccà mentri Don Chisciotti tenta
n’azioni viulenta. Cui po’ scutari sti paroli duci nta un cummattimentu
a morti? Certamenti nun li dudici cavaleri ca sunnu parati contr’a Don
Chisciotti. Stu discursu idealisticu nun fa parti di la so filosofia marziali
unni iddu cridi ca la so forza pò cunzari li cosi.
Chisti sunnu paroli di lu stissu Meli, paroli ca iddu senti in manera
cunvinta. Rapprisentanu li so chiù fervidi spiranzi pâ Sicilia. Li circustanzi
duranti la so vita nun ci pirmitteru di dirli apertamenti. Comu avissi pututu prutiggirisi contru li attacchi di chiddi ca vulevanu manteniri lu status
quo opprimennu sempri chiossai a la populazioni chiù povira e sfruttata?
Ripurtari ccà li so pinzeri e sintimenti idealistici comu n’interruzioni assurda di l’azioni fu na mossa brillanti pi parti di Meli. Mentri lu litturi ridi,
forsi senza putirisi cuntrullari, davanti a li cosi assurdi ca vidi rapprisintati
e ca senti, Meli curaggiusamenti parra mentri lu tempu si ferma. La genti
ô putiri, li puliticanti, li riligiusi e li avidi pussidenti di tirreni si divertunu
a ridiri a spisi di ddu ridiculu eroi di disidderiu. La scena fa pinzari a la
fiura di lu buffuni di curti nta na cumeddia ca pò diri la virità davanti a
li putenti senza ripircussioni pirchì iddu è sulu un buffuni. Ccà Meli dici
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the forced entry of a human’s weak and woeful cries. It turns out to be
a meaningful graft. Magically, the solution for Don Chisciotti’s daring
deed to achieve his crown of glory appears before him by his picking up
a thread from the past. He sees Sanciu being squeezed in a giant’s mouth
while a haughty matron urges the giant on. For him, this fact confirms
what he already knew. Sanciu was a victim of sorcery. It is not surprising
that Morpheus has Sanciu reappear here even though Don Chisciotti had
not known where he was. Sanciu’s appearance fulfills Don Chisciotti’s
already expressed desire to save him (III, 21). In addition, counter to
what Don Chisciotti had vowed not to do before he fell into his dream,
he grabbed the sword to rescue Sanciu. Here, what Meli explained about
the power of Morpheus (III, 23) comes true. The subconscious desire to
gain glory through the sword overrides even a very solemn oath made
in a daydream (III, 21) that he would not fight until he had broken the
spell on Sanciu. Illogical connections become somehow “logical,” even
if Don Chisciotti has to force the connections.
Confronting Sanchiu’s oppressors and defeating them appears possible; however, the odds are drastically changed when he is suddenly
challenged by twelve knights. The magical appearance of the twelve
knights makes his feat more heroic, no doubt the work of his subconscious.
Outnumbered twelve to one, instead of being prudent and backing away,
he spouts a moral lesson which he himself is seen as not having learned:
“but daring without prudence has no value.
Indeed, it makes us even more unhappy” (III, 28).
Outnumbered twelve to one, he is telling them to be prudent. With
sword in hand, instead of proceeding to fight, he launches into a wordy
lecture about how the world should be:
“Not from destruction, hatred and from fury
is mankind born to light. Man owes himself
to sweet tranquility and love, as well
as to the tenderest, most joyful cares” (III, 29).
The wonderful words just do not belong here during Don Chisciotti’s
attempt at a violent act. Who would listen to such rose-colored words
in the midst of a fight to the death, certainly not the twelve knights who
oppose Don Chisciotti. The words of the idealistic speech do not belong
to Don Chisciotti’s martial philosophy of life in which he believes his
might will make things right.
These are especially the words of Meli himself, words about which
he felt strongly. They represent his most ardent hopes for Sicily. Circumstances during his time prevented him from saying such words openly.
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apertamenti chiddu ca nun puteva diri. Però, a la fini, Meli è l’urtimu a
ridiri. Nun è la spata valurusa di un arditu cavaleri ca scunfiggi a chiddi
ca attaccanu un munnu pirfettu, ma li appassiunati paroli di paci e amuri ca li fannu squagghiari. Chiaramenti, lu nconsciu di Don Chisciotti
(Morfeu) nnistau magicamenti (III, 23) na forza scanusciuta nta la scena
pi fari accadiri quacchi cosa secunnu i so chiù ardenti disidderii.
La vittoria di Don Chisciotti veni ludata e la matruna lu ncurona.
Idda ci attribuisci tutti li nobili virtù di un cavaleri erranti ca iddu stissu
avia minziunatu. Tuttu chiddu ca Don Chisciotti avia vulutu nta so vita
si sta avvirannu, ma a la fini si tratta sulu di un sonnu. La realtà lu svigghia in modu bruscu. Cunfusu pirchì “‘un sapi si fu sonnu o visioni.”
Avia avutu na visioni mentri era vigghianti, facennula divintari reali?
Avia avutu un sonnu unni lu so disdderiu nconsciu era accussì vividu
ca cci avia fattu pariri la cosa vera quannu nun era vera? Era la so vita
na visioni comu un sonnu, un putenti sonnu a occhi aperti spirimintatu
consciamenti nta lu ciriveddu, o era la so vita un sonnu nisciutu di li so
nobili aspirazioni? Nun ci sunnu risposti.
Doppu tri jorna senza fari nenti, “Senza chi si ci avissi mai ‘ncuntratu/ Avventura di gridu e di rumuri.”(III, 42), Don Chisciotti camina senza
direzioni nta la campagna sulitaria pinzannu a li so sfurtuni amurusi, e si
vidi fantasticannu comu a Endimiuni, lu beddu pasturi mitologicu e dici:
“Oh si l’avissi vistu ntra sta gnuni/la cara immaginaria Dulcinia!” (III,
44). Traspurtatu fora di la realtà iddu costruisci na scena bucolica unni
tagghia un friscalettu e cumincia a cantari, lamintannusi cu la so cara e
immaginaria arma lu cui cori duru iddu nun ha pututu fari squagghiari
cu lu so amuri ardenti. Lu so iperbolicu, ridiculu e pateticu appellu a na
fiura di la so immaginazioni veni nterrumputa di vuciazzi e gridi umani
ca lu riportanu a lu prisenti. Quannu ci dunanu nfurmazioni supra un
purtusu d’unni nesciunu ddi lamenti e vuci, si ntusiasma pinzannu ca
chista era na bona opportunità di fari quacchi attu di valuri. Si nzicca nta
lu menzu di la scena:
“…è ‘ncantamentu
sia lodatu lu celu, chi m’onura,
avennumi sarbatu a st’avventura.” (III, 47)
Sutta lu cuntrollu di li so aspirazioni nconsci e ispirati divinamenti,
iddu cunchiudi sbagghiannu ca sta espirienza pò uffriricci l’opportunità
di guadagnarisi la gloria e accussì la unchia. Senza sapiri a cui avia a
sarvari iddu si paraguna a Orfeu, mentri veni calatu dintra lu purtusu, ca
scinni nta l’autru munnu a sarvari a so mugghieri (III, 49). Don Chisciotti
cuntinua a abbelliri la scena pi farila divintari na impresa chiù granniusa.
Si s’avissi svigghiatu di un sonnu a occhi aperti iddu ristassi ntô munnu
riali? No, iddu si nni va ntôn munnu immaginariu cu pinzeri di la dama
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How better could he protect himself from all the vicious attackers who
would want to keep the status quo in order to exploit the poor, deprived
lower classes further? It was Meli’s brilliant move to state his idealistic
thoughts and feelings here as an absurd interruption of the action. While
the reader is laughing, perhaps uncontrollably, at the absurdity of what
he pictures and at the same time what he hears, Meli boldly speaks out
while time is stopped.5 The people in power, the politicians, the clergy,
and the greedy landowners would have a good laugh at the expense of
the ridiculous, would-be hero. The scene reminds the reader of the figure
of the court jester in a play who, precisely because he is known as a fool,
can relate the truth before powerful rulers, and get away with it. Here,
Meli says what he otherwise could not have stated openly. However,
in the end, Meli gets the last laugh. Not the mighty sword of a valiant
knight defeats the attackers of a perfect world, but the passionate words
of peace and love melt them away. Clearly, Don Chisciotti’s subconscious
(Morpheus) has magically grafted (III, 23) into the scene some “unknown”
force to cause something to happen according to his most ardent desires.6
Don Chisciotti’s victory is praised, and he is crowned by the lady.
She attributes to him all of the noble qualities which he himself had stated
before about a knight-errant. Everything that Don Chisciotti had ever
wanted in his life is coming true, but it turns out to be only a dream. Reality rudely awakens him. With mixed feelings, “he knew not if he’d had a
vision or a dream” (III, 32), he is not sure if he had been awake or asleep.
Had he experienced a vision while awake, making it real? Had he had a
dream in which his subconscious desires became so vivid that they had
appeared to be reality but were unreal? Was his life a dream-like vision,
a powerful daydream consciously experienced in his mind, or was his
life a sleep dream driven by his noble aspirations? We get no answers.
After three days doing nothing “…never encountering events
one could consider worthy of renown or fame” (III, 42), Don Chisciotti
wanders about aimlessly in the peaceful countryside thinking about
his miseries because of love, and in a daydream seeing himself as the
mythological, handsome shepherd Endymion, he utters: “If only Dulcinea,
his own dear, imaginary soul, had seen him there!”(III, 44). Now, he is
completely carried away from reality and constructs a bucolic scene in
which he fashions a flute, begins to sing, and pitifully laments to his dear,
imaginary soul that he has not been able to melt her hard heart with his
burning ardor. His hyperbole and laughingly pathetic pleading to a figment of his imagination is interrupted (III, 46) by loud noises and human
screams, bringing him back to the present moment. When told of a hole
in the ground from which human moans and laments are heard, he is
driven to act by an opportunity to commit a heroic deed. He thankfully
weaves himself into the picture:
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Un disegnu ca rapprisenta a Don Chisciotti mentri nesci di lu purtusu. / An
original drawing of Don Chisciotti coming out from the hole. di/by Giuseppe
Vesco.
Dulcinea (III, 50), la so ispirazioni pi granni impresi. Si ricunnetti cu un filu
d’esistenza ca avia lassatu cadiri. Mentri scinni a lu funnu di lu purtusu
esita nanticchia cu li capiddi tisi nta la testa e poi cafudda. Quanndu senti
attornu ô coddu lu brazzu di Sanciu, riagisci comu la so natura cumanna:
“Comu un falcu ca attacca a na palumma” (III, 53) e niscennu la spata, ci
tagghia lu nasu a Sanciu (III, 54). La so azioni è simili a chidda ca fici ntô
Primu Cantu quannu ammazzau a lu sceccu di Sanciu e a lu so cavaddu
cridennu ca eranu du mavari. Doppu aviricci tagghiatu lu nasu nun ci
penza mancu di dumannaricci scusa, comu si nun avissi mai fattu dda
azioni.
Quannu Sanciu minziona na fimmina dintra la caverna, Don Chisciotti lu ntirrumpi (III, 64). Senza dari cuntu a Sanciu ca avia dittu ca la
fimmina era vera, Don Chisciotti s’immagina ca idda avi a essiri parti di
un ncantesimu, e di cunziquenza, diabolica. Pi evitari ca Don Chisciotti
facissi nautru attu eroicu (ammazzannu a ddu spiritu diabolicu comu avia
fattu ntô Primu Cantu e comu avia fattu ora tagghiannucci lu nasu) Sanciu
ci spiega ca iddu avia un saccu di pani quannu cadiu nta la purtusu e ca
iddu e la giuvini eranu vivi grazzii a iddu (III, 65).
Senza scutari a chiddu ca Sanciu dici, Don Chisciotti lu nterrumpi
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Un disegnu ca rapprisenta a Don Chisciotti mentri scinni nta lu purtusu. /An
original drawing of Don Chisciotti being lowered into the hole di/by Giuseppe
Vesco.
“…A magic spell!
reserving me for this great enterprise” (III, 47).
For this great honor, Heaven I do praise
Controlled by his divinely inspired, subconscious aspirations, he
jumps to conclusions and puffs up the experience so that it will be worthy
of achieving greatness. Without knowing whom he might rescue while
being lowered into a hole, he compares himself to Orpheus who had gone
into the underworld to rescue his wife (III, 49). Don Chisciotti continues
to craft the scene so as to make it a grand experience. If he has been awakened from one daydream into reality, does he stay in reality? No, he goes
into a daydream world of imagination with thoughts of Lady Dulcinea
(III, 50), his inspiration for mighty deeds. He reconnects to a previously
dropped thread of existence. Reaching the bottom of the hole and hesitating slightly with hair on end, he charges forward. When he feels Sanciu’s
arms around him, he reacts true to his nature like a hawk attacking a dove
(III, 53), draws his sword and hacks off innocent Sanciu’s nose (III, 54).
His action is similar to what he had done in Canto One when he hacked
Sanciu’s donkey and his own horse to death (I, 40, 41), believing he had
smitten down some evil force. Having found Sanciu, he does not even
think of asking him for forgiveness about having cut off his nose. It is as
if his violent act had not occurred. Arba Sicula XXXV
91
cu la storia di lu sonnu nta lu granni saluni ca iddu vidi comu na cuntinuazioni di zoccu Sanciu cuntau. Quacchi cosa di dda espirienza onirica
nta lu saluni ncantatu l’affascina. Iddu la tessi nta lu mumentu prisenti.
Nun havi dubbii e la cunta comu si fussi un fattu veru:
“Lu sonnu s’avvirau, dici a sé stissu;
eccu la donna chi m’à coronatu...” (III, 68).
Semu di novu nta lu munnu di li sonnura: un sonnu a occhi aperti
unni li fantasii di lu sonnu passatu venunu junciuti a chiddu prisenti. Lu
scurriri dû tempu è rumputu, pirmittennu a zoccu nun era nta lu scurriri
nurmali di lu tempu (lu sonnu) di essisi junciutu cu lu tempu prisenti. Ora
Don Chisciotti, comu si si nzunnassi, cumincia a ristrutturari la scena. La
giuvini nta la storia di Sanciu veni purtata nta lu gran saluni e diventa
la stissa fimmina ca ci desi la curuna. A Don Chisciotti nun abbisogna
chiù nenti d’autru ca aviri a Sanciu comu tistimoniu ca lu fattu fu veru.
Scurdannusi ca Sanciu avia scumparutu di lu sonnu precedenti, ora lu
metti arreri nta lu sonnu e cumincia a dumannaricci a Sanciu chiddu ca
appi a vidiri. Cu li so dumanni, Don Chisciotti implica ca Sanciu avia
statu chiddu ca avia pirdutu cunsapevolezza di unni era nto sonnu (III,
69). Sanciu è chiddu ca nun sapi chiù chi cosa avia successu nta lu sonnu.
Dintra di la struttura di un sonnu illusoriu, accussì estremu comu
a chistu, tutti li possibilità di fari espirienzi sunnu prisenti. La pirsuna
nta stu sonnu nun cunziddira a iddu stissu, o qualsiasi eventu o ambienti
comu na cosa radicali o fora di lu regnu di la realtà pirchì la realtà accadi
quannu na possibilità veni attuata nto so ciriveddu—nun ci sunnu cosi
mpossibili nta lu munnu di lu sonnu sia ca unu dormi sia si vigghia. La
scura caverna di Sanciu diventa lu magnificu e gluriusu saluni di Don
Chisciotti. La giuvini cu Sanciu diventa la matruna ca ncurunau a Don
Chisciotti. Nun è na cosa semplici pi na espirienza onirica di riattaccari
li fila di un eventu passatu cu nautru in modu ca lu mumentu prisenti di
un sonnu a occhi aperti funziona pirfettamenti? (III, 68). Sanciu nun po’
cridiri a zoccu senti e esclama: “Ah signuri, viditi ca sparrati!”
Iddu capisci ca Don Chisciotti ci sta dumannannu di validari lu so
sonnu passatu comu si fussi la realtà prisenti. Don Chisciotti voli sapiri
unni è la giuvini pi cuntinuari la so ricerca di un attu gluriusu di fari.
Scurdannusi ca la matruna di lu so sonnu era chidda ca l’avia ncurunatu,
chidda ca ora cerca nta la caverna diventa na fiura diabolica sutta un
ncantesimu. Don Chisciotti vidi stu fattu comu n’occasioni pi fari bedda
fiura. Sanciu rispunni cu orruri:
“Comu! ‘nterrumpi Sanciu, chi diciti?
Jeu v’insignu la donna? Vi sunnati;
s’a mia ca vi sù servu, mi firiti,
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Arba Sicula XXXV
At Sanciu’s mention of a woman also in the cave, Don Chisciotti
interrupts him (III, 64). Even though Sanciu has just established that the
woman is real, Don Chisciotti jumps to the conclusion that the woman
must be an enchantment, unreal, and therefore no doubt devilish. To
prevent Don Chisciotti from being driven to commit a “heroic” deed (by
slaying a supposed devilish spirit as he had done with the animals in
Canto One and almost slaying him here in Canto Three), Sanchiu quickly
explains that he had had a sack of bread with him when he fell into the
well and that is what kept him and the girl alive for three days (III, 65).
Still not really listening to Sanciu, Don Chisciotti again interrupts
him only with what he sees as a continuation of his past wondrous dream
of the magnificent hall. Something of the past dream experience in the
enchanted hall is beginning to captivate him. He simply weaves it into
the present moment. There is no doubt in his mind. He states it as a fact:
“The dream’s becoming a reality.
That woman is for sure the one who crowned me” (III, 68).
We are back in a dream world; a daydream in which the unrealities of a past night dream are seamlessly woven into the present. The
flow of time is broken, enabling what was not in a normal time flow (the
dream) to be connected to a present time. Now Don Chisciotti, as if in a
daydream, begins to restructure the scene. The young woman in Sanciu’s
tale is placed in the great hall of the dream, and she is the same person
who had crowned him. All Don Chisciotti now needs for his conclusions
to be absolutely true is to have Sanciu as a witness. Forgetting that Sanciu
had inexplicably dropped out of the previous dream, he now places him
back in the dream and begins to ask questions about what he, Sanciu,
obviously should have seen. Basically, with his way of questioning Sanciu, he is implying that Sanciu is the one who had lost awareness of his
surroundings in the dream (III, 69). Sanciu is the one who is no longer
aware of what the facts in the dream had been.
Within the overall framework of a delusional dream, extreme as
it is, any and all possibilities for experiences subsist. The person in such
a dream does not consider himself, or any event, or any environment as
radical or outside the realm of reality because “reality” occurs when any
possibility is actuated in his mind – there are no impossibilities in a dream
world whether the person is asleep or awake. Sanciu’s wretched, dark
cave becomes Don Chisciotti’s magnificent, bright, glorious hall. The girl
with Sanciu becomes the matron who crowned Don Chisciotti. Isn’t it a
simple matter for a dream experience to reconnect the thread of a past
experience in a way to tie it together so that the “present moment” of a
daydream makes perfect sense (III, 68-69)? Sanciu cannot believe what
he is hearing, exclaiming: “Master, I think you are delirious..” (III,70).
Arba Sicula XXXV
93
a chidda certu certu la scannati.” (III, 74).
Ccà lu litturi vidi ca Sanciu mparau la lezzioni di l’espirienza. Lu
rialista nun pirmetti a Don Chisciotti di ripetiri li stissi erruri. Sanciu
capisci chiaramenti ca Don Chisciotti nun agisci ntôn munnu riali ma nta
chiddu di li sonnura. Nun sulu capisci ca Don Chisciotti s’avia cumpurtatu
mpetuusamenti un mumentu prima, ma nta ddu so statu mbambulatu
iddu avissi ammazzatu a dda giuvini comu avia fattu cu lu sceccu e lu so
cavaddu. Nta lu so ciriveddu, Don Chisciotti nun po’ cridiri ca lu so fidatu
Sanciu sta circannu di mpidiricci di fari ddu attu nobili. Puru ca è iddu
la pirsuna sutta lu ncantesimu, iddu curreggi la situazioni pinzannu ca
Sanciu nun è in cuntrollu dî so azioni e ca è sutta un ncantesimu malignu.
(III, 75). Cu sta cunvinzioni ntâ so testa, Don Chisciotti pò cancillari tuttu
chiddu ca Sanciu avia dittu e pò mettiri i propri “fatti” e costruirisi lu so
scinariu. Ora ca Don Chisciotti si trova ntô so illusoriu munnu di sonnu
pò iri avanti.
Quannu ncontra a la povira giuvini (III, 77) iddu si nginocchia a
latu d’idda e ci parra cu gintilizza e amuri comu un eroicu cavaleri erranti. Comu po’ divintari stu semplici e ordinariu attu n’azioni digna di
n’impresa straurdinaria? Iddu conza lu munnu ca ora havi davanti a iddu
pigghiannu nautru filu di lu so sonnu passatu. Basannusi supra li cunti
di li truvaturi dû passatu, ora iddu fa la parti di un cavaleri erranti ca è
cumpletamenti ô sirvizziu di la so pura, adurata e inaccessibili dama. La
giuvini diabolica ca iddu prima circava si trasfurmau nta la matruna di
lu sonnu ca lu ncurunau. Ora dumanna a la debbuli giuvini:
“Avvera tu la visioni mia
ch’in sonnu ti dignasti presentarmi;” (III, 78).
La matruna di lu sonnu pricidenti veni traspurtata ntô sonnu a occhi
aperti comu na fragili giuvini e idda ora veni vista comu la so putenti ispirazioni. Iddu voli fari granni atti gluriusi si idda accunsenti a ncurunarlu.
Facennu chissu, la giuvini ci furnissi la prova ca lu sonnu nun fu sonnu
ma realtà. Chiddu ca è possibili ntricciannu tempu e postu in manera nun
cunzicutiva ntôn sonnu unni ogni possibilità diventa realtà veni attaccatu
in manera indivisibili sulu si la giuvini lu facissi cuntinuari nta la realtà.
Sintennu sta patetica dumanna di tistimoniari di la virità dû sonnu, idda
rispunni gentilmenti prumittennuci lu premiu si iddu l’accumpagna fora
di la caverna (III, 79). Calmatu di la prumissa di la giuvini, iddu cridi pi lu
mumentu ca lu so sonnu a la fini ci po’ fari aviri lu premiu miritatu. Ntô
cantu siguenti, cridennu ca Don Chisciotti avia murutu (VII, 13), Sanciu
cerca di riassumiri comu Don Chisciotti cuntinuamenti videva li cosi ca
nuddu autru videva e d’accussì puteva dirigiri na scena ntricciannuci un
attu valurursu pi fari avvirari lu so sonnu basilari:
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Arba Sicula XXXV
He realizes that Don Chisciotti is pleading to him to make his
former dream into a present reality. Don Chisciotti’s one-track mind only
wants to know where the girl is so that he can continue his quest to commit a heroic act. Forgetting that in the dream the matronly woman had
been the one who crowned him, the woman he seeks to find here in the
cave becomes a devilish figure under a magic spell. Don Chisciotti sees
this “fact” as an occasion in which to shine. In horror, Sanciu responds:
“What are you saying?
…the woman I should let you see? You’re dreaming!
If you just wounded me and I’m your squire,
you certainly would slaughter that poor girl!”(III,74).
Here, the reader sees that Sanciu has obviously learned from experience. The realist will not allow Don Chisciotti to repeat his mistakes.
Sanciu clearly sees that Don Chisciotti is not acting in reality but in his own
dream world. He is not only aware that Don Chisciotti acted impetuously
a moment ago, but that in his trance-like existence he would slaughter
the girl just as he had slaughtered Sanciu’s donkey and his own horse. In
his mind, Don Chisciotti cannot believe that his loyal Sanciu could try to
prevent him from accomplishing his noble deed. Although he is the one
possessed, he corrects (mends) the situation by assuming that Sanciu is
not in control of his actions but is possessed by an evil spirit (III, 75). With
the latter “fact” in mind, Don Chisciotti can cancel anything that Sanciu
has stated and can place his own facts together to organize his desired
scenario. Now that Don Chisciotti is completely in his own illusory dream
world, he can proceed.
When he catches up to the frail, young girl (III, 77), he gently kneels by
her side lovingly and speaks to her as a heroic knight-errant would. How
can he make the simple, ordinary action somehow befitting that of a truly
outstanding heroic act? He will adjust the world he now faces by picking
up a thread from his past dream. Relying on the tales told by the troubadours of the past, he plays the role of a knight-errant devoted completely
to the service of his pure, unattainable, adored Lady. The devilish girl he
had chased now is transformed into the matronly woman from the dream
who had crowned him. He now asks the frail girl:
“Oh, make the vision that you showed to me in dream become reality”(III, 78).
The matronly woman of the past night dream is brought into the current
daydream as the frail, young girl, and the frail, young girl is now seen as his
all powerful inspiration. He will do great deeds if only she will crown him.
In doing so, she would become the proof that the dream was not a dream but
Arba Sicula XXXV
95
“Bisogna chi ntra l’occhi proprii
lu patruni ci avìa, bona memoria,
dui perfetti e sollenni microscopii;
ci parevanu tempii di la gloria
li casalini tutti sporchi e improprii:
li pastureddi re, l’umbri giganti,
scogghi baleni e scecchi Negromanti”. (VII, 18).
Sanciu paraguna l’occhi di Don Chisciotti a dui microscopii. Li so
occhi, d’accussì putevanu vidiri cosi ca ristavanu ammucciati a l’autri.
Comu si fa cu li microscopii ca unu regula, iddu aggiustava la lenti pi
vidiri chiddu ca voleva. Chiù aggiustava la lenti e chiù chiara divintava
la so eroica scena. La realtà nun era l’apparenza esterna di li cosi o di la
genti. La realtà era chiddu ca Don Chisciotti videva nto so civeddu sutta
li apparenzi esterni (VI, 98). Li so sonnura avevanu bisognu sulu di essiri
misi in attu e iddu circau di fari chistu cuntinuamenti. Malgradu ca nun
potti cunzari lu munnu veru, iddu potti aggiustari l’ambienti e li azioni
pi accumudari la so fami di gloria. Nta lu munnu di li sonnura duminatu
di l’ronia, la fantasia diventa fattu: Don Chisciotti è l’aggiustaturi di lu
munnu. Lu fattu diventa fantasia; Don Chisciotti nun ci tagghiau lu nasu
a Sanciu. Chistu semplicementi nun potti succediri pirchì nta la so menti
Don Chisciotti avia datu un corpu a un spiritu malignu. Mentri Sanciu
cridi sulu chiddu ca vidi, Don Chisciotti cridi sulu chiddu ca iddu crea
nta la so menti e chistu costituisci un sonnu comu vita.
Noti
1
Pi na chiù cumpleta ntroduzioni a la vita e lu tempu di Giovanni
Meli prima di sta opira, viditi lu Don Chisciotti and Sanciu Panza di Gaetano
Cipolla (Edizioni rivista, Legas 2002) pp. 30-38. Chiddu ca scrivi havi
un debbitu di gratitudini pi lu dutturi Cipolla pi la so chiara e artistica
traduzioni di l’opira meliana. Senza la traduzioni di l’opira eroicomica
di Meli di Gaetano Cipolla io nun avissi pututu scriviri stu saggiu.
2
Don Chisciotti fa certi aggiustamenti a lu munnu idillicu di
l’Arcadia. Iddu lu fa divintari un munnu chiù rialisticu unni li pasturi
hannu a travagghiari (III, 9) e sunnu puru pueti-scinziati a lu stissu tempu.
3
Don Chisciotti nun esita mai rispettu lu so pinzeri di basi. Mentri
lu stannu calannu nta lu purtusu pi fari lu so attu d’eroismu, dici: “Periculi
nun temu, ‘un curu affanni,/lu Celu mi criau pri cosi granni.” (III, 49).
4
La menti di Don Chisciotti è guidata di li so basilari disidderi.
Nton certu senzu iddu nun è libiru di vidiri chiddu ca è veru fora d’iddu.
E’ custrittu a vidiri sulu chiddu c’è dintra la so menti.
5
Viditi la nota di Cipolla (p. 112) supra li prioccupazioni suciali di
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Arba Sicula XXXV
reality. What is possible in the weaving of time and place non-sequentially
in a dream where every possibility becomes reality is now linked seamlessly
if only the girl would continue the dream in reality. Listening to his pitiful
begging for her to be a witness of the truth of the dream, she kindly tells him
that he will get his just reward if he simply escorts her out of the cave (III,
79). Calmed by the girl’s promise, he believes that at least momentarily his
dream will in the end be carried out to its fulfillment as his just reward. In a
later canto, believing that Don Chisciotti had died (VII, 13), Sanciu tried to
give a summation of how Don Chisciotti time after time saw things which
no one else could see so that he could direct a scene by weaving in a heroic
feat to accomplish his basic dream:
“…My Master, bless his soul,
must have possessed two perfect microscopes.
Through those sharp eyes of his, a broken down
and dirty shack became a shrine of glory;
a shepherd was transformed into a king;
a donkey a mean sorcerer became
and rocks and whales were one thing and the same” (VII, 18).
Sanciu compares Don Chisciotti’s sharp eyes to two microscopes. Like
microscopes, his eyes were able to see what lay hidden from everybody
else. As one would do with a microscope, he kept adjusting the lens to see
what he wanted to see. The more adjustments he made, the more his heroic
scene came into sharp focus. Reality was not the outward appearance of
things or of people. Reality was what Don Chisciotti saw in his mind beneath outward appearances (VI, 98). His dreams only needed to be actuated,
and he consistently tried to do that. Although he could not mend the real
world, he could adjust the environment and the action to suit his craving
for glory. In the dream world dominated by irony, fiction becomes fact; Don
Chisciotti is the mender of the world. Fact becomes fiction; Don Chisciotti
did not cut off Sanciu’s nose. It simply did not happen because in his mind,
Don Chisciotti could only have struck down an evil spirit. Whereas Sanciu
only believes what he sees, Don Chisciotti only believes what he creates in
his mind and that constitutes a dream as life.
Notes
1
For a more complete introduction to Giovanni Meli’s life and
times leading up to his work, see Dr. Gaetano Cipolla’s Don Chisciotti and
Sanciu Panza (Revised Edition: Legas, 2002) pp. 30-38. This writer owes a
debt of gratitude to Dr. Cipolla for his artistic, clear translation of Meli’s
work. None of my work would have been possible without Dr. Cipolla’s
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97
Meli (IV, 20). Pi na analisi chiù dittagghiata viditi la so ntroduzioni pp.
34-35.
6
Ccà Meli mustra di essiri lu criaturi ca cumanna, lu pueta ca pò
cunzari lu so munnu cu magia, rivilannu li so ardenti disidderi pi fari
divintari possibili li cosi chiù impossibili.
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Arba Sicula XXXV
rendition of Meli’s mock heroic poem.
2
Don Chisciotti would make “adjustments” to the idyllic Arcadian
world. It would be a more realistic world in which the shepherds would
really work (III,9) and would also be poet-scientists (III, 11).
3
Don Chisciotti never wavers from this basic thought. As he is
being lowered into a cave to do a heroic deed, he says: “I fear no dangers,
hardships I don’t heed: Heaven created me for such a deed” (III, 49).
4
Don Chisciotti’s mind is possessed by his deep-seated desires. In
a sense, he is not free to see what is true outside of himself; he is forced
to see only what is in his possessed mind.
5
See Dr. Cipolla’s note (p. 112) on Meli’s social concerns (IV, 20).
For a more in-depth analysis of Meli’s social concerns, see Dr. Cipolla’s
statements in his Introduction, pp. 34-35.
6
Here, Meli shows himself as the creator in charge, the poet who
can magically fix his world, revealing his most ardent desire to make the
most impossible become possible.
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99
Vicenzu Nibali Vinci lu Tour de France
A
rba Sicula normalmenti nun si occupa di sport, ma siccomu semu nteressati a tuttu chiddu ca po’ dari lustru
a la nostra Sicilia, nta stu numiru vulemu parrari di un eventu
mpurtanti ca purtau a gloria a un sicilianu e a tutti i siciliani, puru
ca iddi nenti ficiru pi miritarisilla. Staiu parrannu dâ vittoria stripitusa di Vicenzu Nibali ô Giru di Francia, na cosa ca nun succedi
di quannu nautru talianu, Marcu Pantani, vincìu lu Giru ntô 1998.
Nibali avia tintatu autri voti di vinciri lu Giru dâ Francia, ca è la
chiù pristigggiusa cursa di bricichetti dû munnu, e avia arrivatu
secunnu l’annu scorsu, doppu a Chris Froome. Ma avannu, doppu
na priparazioni miticulusa e cuncintrannusi supra sta cursa (nun
avia participatu ô Giru d’Italia apposta pi pripararisi fisicamenti e
mentalmenti pi lu Tour de France) battiu a tutti i so rivali in manera
chiara e pulita.
Quannu attravirsau u traguardu finali a li Champs Elysées a
Parigi, avia chiù di setti minuti di vantaggiu supra ô secunnu currituri. Setti minuti parunu picca ma nta na cursa unni na para di
secunni fannu la diffirenza, sunnu assai. Ma la cosa straurdinaria
di l’imprisa di Nibali fu ca iddu duminau la cursa, si po’ diri, di
lu secunnu jornu quannu vinciu la prima di li quattru tappi, cunquistannusi la maglia giarna. Pirdiu la maglia pi un jornu o dui, ma
sulu pi nun faricci pisari troppu lu travagghiu ê so grigarii—difenNibali tagghia u traguardu dâ 14esima tappa./Nibali crosses the finish line of
the 14th stage.
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Arba Sicula XXXV
Vincenzo Nibali Wins the Tour De France
A
rba Sicula normally does not cover sport events, but as
we re interested in everything that brings luster to our
Sicily, we will address an event that brought glory to a Sicilian and
to all Sicilians (even though they did nothing to deserve it). I am
referring to Vincenzo Nibali’s extraordinary victory at the Tour
de France, a feat that had not occurred since the time another Italian, Marco Pantani, won the tour in 1998. Nibali had attempted to
win the tour on different occasions, which is the most prestigious
bicycle race in the world, and he had placed second last year after
Chris Froome. But this year, after a meticulous preparation and
concentrating his efforts on this race (he had not participated in
this year’s Giro d’Italia to prepare himself physically and mentally
for the Tour), he beat all his rivals in a clean and convincing way.
When he crossed the final arrival in the Champs Elysées in
Paris he was over seven minutes ahead of the second rider. Seven
minutes may not seem much, but in a race where a few seconds
can make the difference , they are quite significant. But the extraordinary aspect of Nibali’s exploit was that he dominated the
race almost from the second day when he won the first of his four
stage victories in the race, capturing the yellow jersey. He lost the
yellow jersey for a day or two, so as not to burden his team too
Nibali a Parigi cu l’arcu di trionfu darreri/ Nibali in Paris with the Arc de
Triomphe behind him.
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101
Vicenzu Nibali cu la so squatra Astana a Parigi/ Crossing the finish line in
Paris with Astana team mates.
niri la maglia contru a tutti chiddi ca la vonnu cunquistari (nun
è facili pi na squadra) e poi quannu la cunquistau di novu nun la
persi chiù, difinnennula cu granni determinazioni e orgogliu e
strapazzannu a tutti chiddi ca circaru di attaccarlu, specialmenti
ntê muntagni. Si quacchi avvirsariu lanzava un attaccu, Nibali
rispunneva nun sulu niutralizzannu l’attaccu ma cuntrattaccannu
e lassannu l’avvirsari (usannu na mitafora di tempi passati pirchì
oramai li strati anchi chiddi di muntagna sunnu asfaltati) a manciarisi la pulviri darreri a iddu. Ci pruvaru Alejandro Valverde,
Alberto Contador e autri currituri, ma sempri Nibali fu prontu a
rispunniri cu forza, dimustrannu di essiri u currituri chiù forti di
stu giru. Quannu iddu si isava supra i pidali dâ bricichetta, parteva
comu na freccia, comu si i so avvirsari stassiru fermi. Era comu si
na Firrari avissi fattu na cursa contru na Cincucentu! E’ veru ca
Alberto Contador e Chris Froome ca eranu favoriti pi vinciri lu Tour
appiru a abbannunari la cursa pi caduti, e tanti diciunu ca Nibali
vinciu la cursa pirchi sti dui rivali nun c’eranu chiù, ma chista a mia
nun pari na cosa accittabili. Nibali avia già cunquistatu la maglia
giarna e avia già dui minuti di anticipu supra a Contador quannu
lu spagnolu s’appi a ritirari.
Ad ogni modu li cursi di bricichetta sunnu fatti d’accussì.
Cadiri e rumpirisi na jamma o struppiarisi gravimenti fannu parti
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Nibali supra lu podiu dâ vittoria cu Jean-Christophe Péraud, secunnu e Thibaut
Pinot, terzu./ On the victory podium in Paris with Jean-Christophe Péraud,
second, and Thibaut Pinot, third.
heavily with the task of defending the jersey against his adversaries’
attacks (the team has to respond to all attacks constantly to keep
the yellow jersey). But then once he won it again he never gave it
up, defending it with great determination and pride and defeating
all those who tried to attack him, especially in the mountains. If
any of his rivals attacked, Nibali responded not only neutralizing
the attack, but counterattacking and leaving his adversaries in the
dust (using a metaphor of times past, seeing that today even in the
high mountains the roads are covered with blacktop). Many tried,
including Alejandro Valverde, Alberto Contador and other riders,
but Nibali was always ready to respond with strength, demonstrating that he was the best rider in the Tour. When he rose high upon
the pedals of his bike he zoomed away like an arrow from his rivals
who seemed to be standing still. It was as if a Ferrari were in a race
against a Fiat Five Hundred! It’s true that Alberto Contador and
Chris Froome, who were favorites to win the Tour, had to withdraw
from the race because of injuries caused by falls, and many say
that Nibali won because his main rivals were not there any more,
but this does not seem acceptable to me. Nibali had already won
the yellow jersey and had two minutes advantage over Contador
when the Spaniard had to retire.
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dâ cursa e sulu cu è chiù forti a la fini si po’ cunziddirari vincituri.
La sfurtuna certu po’ influinzari la cursa ma a la fini chiddu ca è
determinanti è la forza ca c’è nta li jammi e nta lu cori. Nibali iu
a lu Tour de France cu ntinzioni di vinciri e pi cancillari lu disappuntu di avirisi classificatu ntê primi posti autri voti senza mai
vinciri. Si pigghiau tanti suddisfazioni Nibali nta stu Tour: arrivari
primu ntê muntagni supra li Alpi e li Pirinei e aviri dimustratu
nettamenti di essiri lu chiù forti e lu chiù bravu. Mi piaciu in modu
particulari quannu nta na tappa di muntagna Chris Horner (un currituri miricanu quarantenni ca avia battutu a Nibali nta lu giru di
Spagna) avia circatu di staccari a Nibali e ”lu Piscicani di lu Strittu”
(d’accussì è canusciutu ntô munnu dû ciclismu) avia contrattaccatu,
siminannulu pi strata. Nibali lu supirau, passannu a latu di Horner
senza mancu taliarilu ntâ facci o daricci la possibilità di mittirisi
darreri a la so rota. Mi parsi na vittoria a la siciliana, senza fanfarra e
senza suttuliniaturi, semplici e devastanti. Vicenzu Nibali è ora unu
di li sei currituri ca hannu vinciutu tutti i tri granni giri dû munnu,
vali a diri lu Giru d’Italia, La Vuelta a Espana e lu Tour de France.
E tutti chisti vittorii senza drugarisi e senza inutili vantamenti, cu
mudestia, umiltà e sincerità. Bravu Vicenzu, na vittoria miritata e
guadagnata cu inteliggenza, priprazioni, tecnica e forza d’animu.
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At any rate, bike races are made this way. Falling and breaking
a leg or injuring oneself seriously are aspects of racing and in the
end only the strongest rider can consider himself the winner. Bad
luck can certainly influence a race, but in the end what counts is the
strength that’s in the legs and in the heart. Nibali went to the Tour
de France to win it and to erase the disappointment he must have
felt in arriving among the first without actually winning the tour.
He certainly gained many gratifications in this tour: he arrived first
in some mountain stages in the Alps and in the Pirenees and he
demonstrated clearly that he was the strongest rider in the Tour.
I particularly enjoyed it when in a mountain stage, Chris Horner
(an American rider who was forty years of age who had resisted
all of Nibali’s attacks in the previous Tour of Spain, and finally
had beaten him) had launched an attack to try to distance Nibali
again, but this time the Sicilian who is known with the nickname
“The Shark of the Straits of Messina” counterattacked and left
Horner behind. Nibali passed Horner swiftly, without even looking at him or giving him the possibility to follow behind his wheel.
It seemed to me a victory Sicilian style, without fanfare, without
accentuating his superiority, simple and devastating. Vincenzo
Nibali is now one of only six racers who have won all three of the
major world tours: the Giro d’Italia, the Vuelta a Espana and the
Tour de France. And all these victories without taking advantage
of drugs and without useless boasting, modestly. with humility
and sincerity. Bravo Vincenzo, this was a well deserved and well
earned victory, achieved through intelligence, preparation, skill,
and strength of resolve.
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Lu Pruggettu Sicilianu supra lu programma
televisivu “You, me and Sicily”
L
u Pruggettu Sicilianu recentimenti fici parti dû novu programma a la TV e supra l’INTERNET intitulatu “You, Me
& Sicily” na produzioni di Eszter Vajda e Alfred Zappalà. Lu pruggettu cuntinua a fari prugressi a offriri classi di nglisi a studenti di
paisi di li pruvinci di Catania e Missina. L’annu prossimu si prividi
di offriri sidici novi classi.
Pi vidiri lu prugramma putiti cliccari supra l’indirizzu siguenti:
https://www.youtube.com/watch?v=rF_vy7OUfHo
Lu Pruggettu Sicilianu duna burzi di studiu cu li sordi ca
ricogghi nta li Stati Uniti di pirsuni ca cridunu nta la so missioni
ca cunsisti in offriri classi di nglisi a studenti siciliani senza pagamentu. Lu pruggettu nun havi impiegati a pagamentu e dipenni
di la ginirusità di siculu-miricani ca sustenunu la missioni.
Li classi sunnu offerti tramiti la Scola di Lingui e Centru Culturali Babilonia situata a Taurmina, cu prufissuri di matri lingua
nglisi ca hannu cirtificati avanzati pi lu nzignamentu e specializzati nta li tecnichi di immersioni cumpleta. Li studenti mparanu a
parrari nglisi rapidamenti usannu la tecnica tiatrali unni fannu la
parti di autri e poi si vidinu attraversu filmati.
Eszter Vajda
and Alfred M.
Zappalà
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The Sicilian Project Featured on
“You, Me & Sicily” TV Series
T
he Sicilian Project was recently featured on the new internet and television program series “You, Me & Sicily”
produced by Eszter Vajda and Alfred Zappala and progress continues to be made as it provides free English classes to students in
communities in the province of Catania and Messina. Plans have
been made to offer another seventeen classes in 2015.
To watch the episode please follow this link:
https://www.youtube.com/watch?v=rF_vy7OUfHo
The Sicilian Project issues academic grants from money that
it raises in the United States from those who believe in its mission,
which is provide free English instruction to Sicilian students. It
has no paid staff and depends on the generosity of fellow SicilianAmericans to support its mission.
Teaching is conducted through grants issues to Babilonia
Language School and Cultural Center in Taormina which uses only
fully certified, native English-speaking professionals who hold
advanced certification, Immersion English language techniques are
used, and conversational English is taught and practiced through
Studenti siciliani ca stannu mparannu lu nglisi tramiti lu Pruggettu Sicilianu/
Students who are learning English through the Sicilian Project.
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A cuminciari dû 2012, cintinara di studenti hannu participatu
a sti programmi cu granni benefici e ora autri paisi sunnu nteressati
a mannari studenti e a participari ô programma
“Cuminciammu quannu un litturi dû me secunnu libru
Gaetano’s Trunk pi rispunniri a un capitulu unni parrava di la scadenti qualità di lu nzignamentu dû nglisi ntâ Sicilia, specialmenti
ntê paisi picciriddi e zoni rurali, mi mannau un grossu assegnu
pi lanzari lu programma,” dissi Alfred M. Zappalà, prisidenti dû
Pruggettu Sicilianu.
Attraversu cuntatti ca nui avemu nta li stati Uniti, pottimu
ottiniri la collaburazioni di na scola mpurtanti di Taurmina, assai
canusciuta e vincitrici di premi pi li so attività, la Scola di Lingui
e Centru d’istruzioni Culturali Babilonia.
Lu Pruggettu Sicilianu nta sti tri anni di attività ha già offertu
corsi a Catania, Viagrande, Taurmina, Gaggi, Trappiteddu e Giardini Naxos e spera di putiri fari crisciri lu programma pi includiri
autri paisi, manu a manu ca ricivi autri donazioni.
“I nostri studenti sunnu entusiati di nostri programmi e hannu
già datu risultati straurdinarii, “ dici Zappalà.
“ Li membri di lu cumitatu di direzioni sunnu assai attivi e
nteressati a chiddu ca succedi e cuntribuisciunu in manera eccellenti pi ricogghiri sordi e assicurari ca i nostri nzignanti ponnu
cuntinuari a fari lu so travagghiu.
Un mumentu di rilassu pi li studenti/ A moment of relaxation for students.
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Na classi di nglisi nta lu jardinu di la Scola Babilonia/ An English class in the
garden of the Babilonia School.
role playing and video taping. The results speak for themselves.
Since 2012, hundreds of students have benefited from the
program, and other Sicilian communities, hit hard by the current
economic crisis, who have had to cut back on English language
instruction, are clamoring for inclusion into the Project.
“We started when a reader of my second book on Sicily,
Gaetano’s Trunk in response to a chapter I had included about the
quality of English instruction generally in Sicily, especially in the
small villages and rural areas, send a substantial check to get the
ball rolling” said Alfred M. Zappala the president of The Sicilian
Project.
“Through contacts that we had in the states, we were able
to secure the services of an award-winning language school in
Taormina, Babilonia Language and Cultural Learning Center” he
said.
The Sicilian Project has offered classes in Catania, Viagrande,
Taormina, Gaggi, Trappitello, and Giardini Naxos, and hope to
expand as it secures additional funding.
“Our students love the programs and they have responded
by getting wonderful performance results ” he said.
“We have a first class Board of Directors who is active in the
goings on of The Sicilian project and they do a great job helping to
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Lu Pruggettu Sicilianu è na organizzazioni senza scopu di
lucru (501-C3) e tutti li donazioni sunnu diducibili di li tassi ô centu
pir centu. Si ponnu fari donazioni direttamenti attraversu lu nostri
situ web www.thesicilianproject.com Nta lu stissu situ si ponnu
vidiri tanti filmati ca mustranu i nostri studenti in azioni.
Stu misi passatu cumplitammu lu nostru primu corsu pi
li picciriddi a Gaggi e spiramu di cuntinuarlu ntô futuru. Pir lu
2015, avemu in menti di offriri quattru classi pir ogni trimestri accademicu pir un totali di sidici classi oltri la classi pi li picciriddi,”
dissi Zappalà. “Si riniscemu a ricogghiri autri dunazioni putemu
allargari lu programma pi includiri autri lucalità ca hannu bisognu
dû nostru aiutu. La Sicilia sta attravirsannu na crisi ecunomica terribili. L’investimentu nta l’istruzioni, specialmenti nta lu campu di
lu nzignamentu di li lingui straneri, diminuisci sempri. Lu nostru
programma certamenti po’ contribbuiri risorsi priziusi ca ponnu
fari la differenza. Mparari lu nglisi po’ aiutari a li studenti a divintari parti di lu villaggiu globali e daricci canuscenzi linguistichi
ca oggi sunnu assolutamenti nicissari pi aviri successu. Lu nostru
programma è picciriddu pi comora ma spiramu di farilu crisciri.
A mia mi pari ca si riniscemu a nfluinzari sulu un studenti lu nostru investimentu è validu. Ma nui finora avemu nfluinzatu già na
cintinara di studenti,“ dissi Zappalà.
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raise the funds so the teachers can do their job,” he said.
“We are a 501-C3 Tax exempt charitable organization and
the donations, which you can make directly through our web site,
www.thesicilianproject.com are 100% tax deductable. On our web
site are many videos of our kids in action,” he said.
“This past month, we just completed our first Kid’s Camp too
in Gaggi and we will include this camp going forward. For 2015,
we plan on offering four classes per academic quarter for a total of
sixteen classes, plus the Kid’s Camp.” He said. “If we are successful
raising additional funding, we will expand into those areas that
need the help. Sicily is in the throes of a terrible economic slump.
Investments in education, especially in a modern method of learning foreign languages, are meager. Our program can cenrtainly
contribute precious resources that can make a difference. Learning
the English language will help students become part of the global
village and equip them with absolutely necessary linguistic skills
if they are to succeed. Our program is small but hopefully it will
grow. In my way of thinking if we manage to influence just one
young person, our investment will be worthwhile. But we already
have reached hundreds of them.” Zappalà said.
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Sezioni Speciali
Giovanni Di Rosalia
Amuri chi chianci
U
nu di li nostri soci di nomi D’Ancona mi mannau un libru
di puisii siciliani intitulatu Amuri chi chianci, di Giovanni
di Rosalia, publicatu a New York ntô 1923. Pi abbitudini lu misi
di parti spirannu di pigghiarlu n manu nautra vota quannu aveva
nanticchia di tempu libiru. Quannu finalmenti lu libru mi capitau
di novu ntra li mani, cuminciai a leggiri na para di puisii. Fu na
vera scuperta. I puisii eranu scritti di quaccadunu ca canusceva
lu sicilianu e ca era in pussessu di ddi reguli ca un pueta havi a
sapiri. La puisia scurreva senza ntruppicari, la grammatica era
pirfetta, li versi curretti comu unu s’aspetta di un pueta di granni
esperienza. Iddu dimustrava puru di aviri canuscenza di mitologia, scienza, puisia taliana e autri cosi. Ma la cosa ca mi piaciu
chiossai fu lu stili di la scrittura ca cumminava na puisia d’autri
tempi c’un filu d’ironia assai dilicata. La puisia trattava cosi serii,
comu l’amuri, lu tradimentu, l’amicizia eccetira cu n’aria joculana,
comu si babbiassi. In autri paroli era un pueta ca nun si pigghiava
supra u seriu e faceva assai usu di dda qualità ca i Siciliani hannu
in abbunnanza, comu tistimuniau Ciciruni chiù di dumil’anni fa,
e vali a diri un sensu di l’umorismu. Diceva Ciciruni infatti ca i
Siciliani hannu sempri la battuta pronta pi fari ridiri puru quannu
li circustanzi sunnu assai pinusi. Giovanni di Rosalia pussedi stu
sensu di l’umorismu nanticchia pirandellianu. E’ un pocu comu
ddu pirsunaggiu di Boccaccio, Ciappelletto, ca cu li so carambuli
virbali scherza cu lu so litturi purtannulu prima versu na direzioni
e poi canciannu strata.
Di Giovanni di Rosalia nun sacciu quasi nenti, unni nasciu e
quannu muriu. Sacciu sulu ca lu libru fu pubblicatu nto 1923 di na
casa editirici ca nun esisti chiù, Tipografia Editrice L. Scarlino, 2107
Second Ave, NY. Lu librettu in virità nun si pò diri eleganti, anzi
l’impaginazioni è scadenti vistu ca certi pagini nun segunu l’ordini
giustu. Lu libru cunteni puru na virsioni taliana fatta di un certu
Italo Stanco, un littiratu di fama, a leggiri la dedica ca Di Rosalia
scrissi in versi pi iddu. L’auturi si dici onuratu di aviri unu comu a
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Special Section
Giovanni Di Rosalia
Love that Weeps
O
ne of our members, named D’Ancona, sent me a book of
Sicilian poems entitled Amuri chi chianci, by Giovanni di
Rosalia, published in New York in 1923. As is my custom, I put it
aside to read later. So when I picked it up, after a while, it was like
a discovery. The poems were written by someone who clearly had
command of Sicilian and was also versed in the art of poetry. His
poems demonstrated a knowledge of the rules that are required to
express himself in verse. The poems flowed smoothly, the grammar
was perfect and the versification correct as one would expect from
an experienced poet. He demonstrated knowledge of mythology,
science, Italian literature and other things. But what attracted me
was the air of old style poetry, but with a twist: a fine irony, a playful jesting with themes that were current in his time. This was a
poet who did not take himself seriously and had a fine, mocking
quality that undermines the premises he builds. He made use of
that fine quality that, according to Cicero, Sicilians possess in great
abundance: a keen sense of humour that they never fail to inject
in any situation, even the most painful ones. Giovanni Di Rosalia
possessed this sense of humor that is somewhat Pirandellian. He
treated serious themes like love, betrayal, and friendship with a
playful attitude as though he were joking. He is like the Boccaccio
character, Ciappelletto, whose verbal antics play havoc with the
inattentive reader, making him believe the opposite of what he is
really saying. At any rate,
I know very little of Giovanni Di Rosalia or where he was born
and when he died. I only know that his little book was published
in 1923 by a publishing house no longer in existence, Tipografia
Editrice S. Scarlino, 2107 Second Ave, NY. The book cannot be said
to be elegant, in fact, the pagination gives evidence of less than a
professional expertise. Some pages appear out of sequence. The
book contains also an Italian translation of the poems done by Italo
Stanco, supposedly a famous literary person. The poet expresses his
appreciation to Stanco in the dedication saying that he’s honored
that someone like him considered his poetry worthy of translation.
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Stanco pi traduciri li so versi. A niautri nteressa sulu lu sicilianu e
ficimu la traduzioni di tuttu lu librettu, tranni li dedichi. La prima
puisia la pubblicammu nto numiru 25-2 di Sicilia Parra e ccà nta
li pagini ca segunu c’è la traduzioni di l’interu librettu. Giovanni
Di Rosalia nun è comu a Giovanni Meli, ma certamenti merita di
essiri ricurdatu di chiddi ca amanu lu sicilianu.
GC
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But we are interested in the Sicilian text and we’ve translated the
complete book, except the dedication. The first poem was actually
published in issue 25-2 of Sicilia Parra. Giovanni Di Rosalia was not
another Giovanni Meli, but he certainly deserves to be remembered
by all those who love Sicilian poetry.
GC
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Quaranta minuti d’anticipu
Di Giovanni De Rosalia
A la finestra sempri m’aspittava
Nun sulu ‘ntra lu tempu in cui d’ Apollu
Cucenti saittia lu raggiu vivu
Li frutti a maturari chi Pomona
Pripara ogni annu cu materna cura;
Ma puru ‘ntra la rigida stagiuni
Quannu mancu lu lupu di la tana
Nesci pi trippiari cu l’agneddi!
E nun pinsava mancu a cummigghiari
Cu li robbi pisanti li rotunni
Spaddi falcati ! Iu la rimpruvirava
Ed idda mi giurava surridennu
Ca nun sinteva friddu; chi in vidirmi
Anzi un caluri duci ci scurreva
Dintra di li so’ vini. Oh, Divu Amuri,
Cussì l’ Articu canci in Equaturi !
Appena ch’ iu spuntava di la strata
Splindia dda facci di letizia “’arcana;
Mi vineva a ‘ncuntrari ‘ntra la scala,
E tutta ansanti mi vasava in vucca.
E chi cos’era un re a lu miu cunfruntu
‘ntra chiddi istanti di suprema gioia?
Bramari avria pututu cchiù tisori,
mentri supra lu miu battia ddu cori?
Idda, ancorchi sapeva cu cirtizza
Di la vinuta mia l’ura precisa,
Puru assai tempu prima si mitteva
A la finestra cu lu sguardu fissu
A chidda cantunera d’unni sempri
L’omu aduratu so’ vidia spunturi !
E siddu qualchi vota iu ritardava,
Chiancennu a chiantu ruttu la truvava!
A lu vidirla sempri dda affacciata
Cu l’occhi intenti ad aspittari a mia,
Finivi cu adurari dda finestra
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Forty Minutes Too Early
By Giovanni De Rosalia
Translated into English verse by Gaetano Cipolla
She always waited for me leaning out
the window, not just when Phoebus pierced
with its hot rays the fruits Pomona set
with her maternal care to grow each year,
but also in the frigid season when
even the wolves don’t dare to leave their lairs
to play with lambs! And she did not take care
of covering with heavy garments those
well-rounded shoulders. I did chasten her
for that, but she just smiled and said that she
did not feel cold and that on seeing me
such warmth flowed through her veins. Oh God of love,
you turn the Arctic into the Equator!
As soon as I turned to her street, her face
would shine with such arcane delight and joy.
She’d come to greet me half way down the stairs
and out of breath would kiss me in the mouth.
During those moments of supreme enjoyment
a King would be a puny thing compared to me.
Could I have coveted a greater treasure
when her sweet heart was pounding against mine?
Even though she knew exactly at what time
I would arrive, she always started waiting
a while before, leaning out from her window
with her eyes glued to the street corner where
she knew the man she loved soon would appear.
And If sometimes I happened to be late,
I’d find her weeping all distraught and sad.
Seeing her always leaning from that window
with her eyes eagerly awaiting me,
I actually became fond of the window
as something living, dear to my beloved.
Indeed, I don’t believe that I exaggerate
when I declare that part of what I felt
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Comu co sa animata e cara ad idda.
Ed anzi nun esagiru si affirmu
Ca parti di l’amuri ch’iu sinteva
Dintra lu cori miu pi la mia bedda
Era vutatu a la so’ finistredda !
Pero ‘na vota ... Ahimè fremu a pinsarci...
(No, dicu megghiu, nni frimivi allura)
Spuntannu appena di la cantunera,
Diserta la finestra accumparìu
A l’occhiu disiusu di vidiri
Ddu beddu quatru di lu geniu dignu
Di chiddu ch’eternau la Fornarina:
La finestra era dda ; ma disadorna !
Ahi! - murmurai - C’è la curnici su1a!
E lu raru dipintu picchì manca?
Quali ragiuni potti a la mia fata
Mpidiri d’aspittarimi affacciata?
Un dubbiu atroci, orrennu, a l’ impruvisu
Mi pinitrau la menti cunturbata ....
No d’un’infedeltà ca troppa stima
A via d’idda, picchì, troppu l’amava!
Ma fu lu dubbiu chi qualchi malannu
Avia pigghiatu a lu miu caru beni !
Acchianu li scaluna a quattru a quattru ...
Bisognu nun ci fu acchianarli tutti.
Appena juntu a lu secunnu pianu,
Iu vitti pi davanti a la so’ porta
Un quatru inaspittatu ! La mia fida
E casta amanti chi aggranfata stritta
A ‘un tali di statura gigantisca
Si lu vasava cu un immensu arduri ;
Ca chidd’arduri ch’ iu sapia pi prova !
Dda ‘nfami nun mi vitti! Iu rutiavi
L’occhi di sangu chini ; li sacchetti
Invanu mi circai pi un’armatura!
Sulu lu roggiu avia! L’urariu vitti.. ..
Aveva anticipatu di quaranta
Minuti dda jurnata per erruri !
Di dda mi nni scinnivi loccu loccu.
E tuttu chistu fu pi culpa mia !
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inside my heart for my beloved beauty
was due somehow to that familiar window.
But then one time, alas, I ‘m shaking at
the thought…(No, better, I was furious then)
as soon as I appeared out of that corner,
before my eyes so eager to receive the sight
of that attractive work of art created
by the great genius who immortalized
the Fornarina, the window looked deserted.
It was still there, but simply unadorned.
Alas, I mumbled to myself, there’s just
the frame! So why is the rare painting out
of sight? What could have been the reason that
prevented my enchanting queen from being
at her traditional and customary spot?
A horrible, atrocious doubt at once
made its way into my distressed awareness…
No, not of a betrayal, for I had
too much regard for her and loved
her much too much. It was instead a doubt
that some misfortune, some bad accident
had stricken my beloved! So I climbed
the stairs four at a time with bated breath
but I did not have to climb all the way.
As soon as I had reached the second floor,
I saw an unexpected picture framed
against her door: my chaste and faithful lover
was locked in an embrace with a huge,
gigantic fellow, whom she was kissing
with fervent passion, with that very passion
that she would normally bestow on me!
That two-faced woman did not see me there.
I rolled my eyes already full of blood.
I looked inside my pockets for a weapon,
in vain. I only found my watch and saw the time…
That day by sheer mistake I had arrived
some forty minutes sooner than the norm!
I walked down quietly forlorn and sad.
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Ca siddu a l’ura solita ci java,
E’ certu ca affacciata la truvava !
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Really, I have no one to blame except
myself. If I’d arrived at the same time,
I’m sure I would have found her at her window!
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Idilliu botanicu
A cui nni avissi vistu avriamu parsu
Certamenti dui foddi a caminari
Pi ‘na trazzera ca puru a li crapi
Sarria parsu un cimentu lu passari ;
Ma ‘nfucati d’amuri a nui paria,
Tra ‘na palora duci ed un surrisu,
Chidda la strata di lu paraddisu !
L’amuri so’ m’avia furtificatu
Lu pettu in modu ch’ iu cu facci allegra
Qualunqui sia piriculu affruntatu
Avissi stannu strittu a lu so’ latu !
L’altu curaggiu miu mustrari ad idda
Cu provi avria vulutu, ed aspittava
Cu nobili disiu l’occasioni
Putiri un attu granniusu oprari...
Ma l’occasioni nun vulia arrivari !
Duveva cuntintarmi sulamenti
Riggirla pi la vita cu distrizza
Quannu pigghiava qualchi truppicuni !
E divu apertamenti cunfissari
Ca ‘ntra di mia prigava lu Signuri
Chi la facissi almenu sdirrubbari
In modu chi rumpirisi ‘na gamma,
o chi rumpirisilli tutti dui
‘Ntra l’orrenna caduta avria pututu ....
Senza lu miu sicuru e prontu aiutu !
A quali situ avevamu di iri
Nun lu sapiamu nuddu di li dui
Ma avevamu primura d’arrivari.
La trazzera finiu in un locu amenu :
D’un latu si videva un ortu immensu
Chinu di pumadoru curallinu,
Di l’autru latu un ortu di citrola.
Nui caminamu ancora un pocu drittu,
E trasemu accussì manu-manuzzi,
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Botanic Idyll
If anybody chanced to see us walking
upon that narrow path that mountain goats
would have considered difficult to tread
would have considered us bereft of reason;
But kindled as we were by burning love
it seemed, as we exchanged sweet words
and smiles, that was the path to Paradise.
Her love had fortified my heart so much
that I most cheerfully would have confronted
dangerous enterprises of all kinds
as long as she was always at my side.
I wanted in a tangible ways to show
the heights my courage would have reached
and waited for the chance with eagerness,
but the occasion just refused to come.
I had to be contented just to hold
her slender waist with great dexterity
when she at times did stumble on a rock!
And I must openly confess that in
my heart I was beseeching the good Lord
to let her fall and maybe break a leg,
even perhaps to break both of her legs.
That’s what I hoped could have occurred
had I not been there to prevent her fall.
We did not know where we were headed for,
neither of us, but we were very eager
to reach the place. The little pathway ended
in a most pleasant meadow that contained
an immense orchard on one side replete
with coral hued tomatoes and the other side
a big plantation full of long cucumbers.
We walked a little more, proceeding straight
and entered, one hand in the other’s hand,
the orchard right inside a patch of squash.
Arba Sicula XXXV
123
Dintra di ‘na nuara di cucuzzi !
E nn’assittamu supra un gran pitruni
Chi paria moddu comu si un cuscinu
Di pinni di palummi fussi statu.
Stannu di facci ad una gran filera
Di l’urtaggiu ‘nfamatu di l’ Ariostu,
Li mei cu li so’ labra prestamenti
Unennu, nni vasamu ardentementi !
Idda poi mi giurau ca lu so’ amuri
Comu lu suli eternu sarria statu;
E dda, siduta stanti, vosi un pignu
Di la sua fidi darmi. Guardò attornu ;
Cugghiu cu la sua candida manuzza,
E mi lu detti, un ciuri di cucuzza;
Oh, milli voti cchiù di’na cardemia
Ddu ciuri fu pi mia ; e, pi quantu rusticu,
Iu lu sarvavi comu ‘na reliquia
Finu a lu jornu ch’ idda mi tradiu !
Pigghiati un fazzulettu di culuri,
Attaccatilu a un lignu e poi diciti
A li surdati : - Chista di la Patria
E’ la bannera ! - Li vidriti esporri
A lu nnimicu impavidi lu pettu,
Pi la difisa di ddu fazzulettu !
Lu simbulu è chi vali ! Ed iu lu ciuri
Di la cucurbitacea sarvavi
D’un libru predilettu tra li fogghi.
E vigili e incorrutta sintinella,
L’avria difisu impavidu e ostinatu.
Puru l’ insorportabili falangi
Di camuli, di muschi, ragni e surci
In fera pugna prestu avria distrutta :
Orazio sol contro l’ Etruria tutta !
Quanti pinseri supra a chiddu ciuri !
Ora vi dugnu cca lu campiuni :
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And we proceeded to sit down upon
a boulder that seemed soft as a bed pillow,
as though dove feathers were inside of it.
As we were facing that long row of plants
that looked like Ariosto’s famous garden,
my lips and hers were quickly joined
and we exchanged some kisses ardently.
She then declared taking a solemn oath
her love would last eternally just like
the Sun. And right there on that very spot,
she offered me a token of her faith.
She looked around and with that delicate,
white hand of hers, she picked the flower bloom
of the zucchini, sweetly handing it to me.
That flower was for me a thousand times
more precious than a real gardenia.
Despite its lowly nature, I then saved it
as a true relic until that awful day
when she betrayed me! If someone picks up
a colored handkerchief, attaches it
to a long pole and then declares to soldiers:
this is the sacred banner of your country!
he then will see the soldiers give their chest,
their lives defending that poor handkerchief!
It is the symbol that’s important here!
I cherished that cucurbitaceous bloom
inside the pages of a book I loved.
And fearlessly determined to defend it
as would a vigilant and honest guard.
I would have fought against the terrible
phalanx of flies, moths, spiders, and of mice!
A novel Horace, I, against Etruscan hordes.
How many thoughts were lavished on that flower!
Let me now give you just a little sampling:
It was she who had picked it with her hand,
she handed it to me with her sweet hand,
Arba Sicula XXXV
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Idda cu la so’ manu lu cugghiu.
Cu la so’ bedda manu mi lu detti.
E mi lu detti a mia picch’ idda m’ama.
E di l’amuri mi lu detti in pignu,
Picchì ogni ciuri di l’amuri è signu !
Era ‘nsumma pi mia tutta ‘na cosa
Ddu ciuri ed idda. Quannu lu vasava,
iu ricivia la viva illusioni
Di vasari ddi labra purpurini
Chi vasati rinnevanu ad usura
Assai cchiù duci d’ogni cunfittura!
Doppu chi mi lassau, certu ‘un putia
Pi chiddu ciuri aviri cchiù riguardi :
Grapivi chiddu libru unn’era misu ....
Nun lu ittavi, no, nun lu ittavi!
Lu misi a cuntimplari cu tristizza,
No pi l’ infedeltà di la me’ bedda
Ma pi l’ infausta sorti di lu ciuri.
Ca, si nun fussi statu da la pianta
Scippatu per un simplici capricciu,
Puteva addivintari ‘na cucuzza
Vol diri ‘na pitanza rinfriscanti
Pi cui soffri a li rini. E cui po’ diri
Ca ‘un morsi qualchidunu pi mancanza
Di chidda diuretica cucuzza
Chi ‘ntra l’ortu ‘un nasciu pi causa d’ idda?
Mentri m’offreva ddu stranu ciuriddu
Dintra la menti sua c’era pi fini
Farmi mali a lu cori .... ed a li rini !
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and she gave it to me because she loved me.
She gave it as a token of her love,
for flowers, as we know, love’s emblem are.
To say it in a word, that flower and
my love were really one. When I would kiss it,
I felt the real illusion that I kissed
her crimson lips, much sweeter than
a pastry you can buy. They would repay
by multiplying every kiss hundred fold.
After that she forsook me, naturally,
my high regard diminished for that flower:
I opened up the book where it was kept.
I did not throw it, no, I did not throw it.
I contemplated it with heavy heart,
not for the infidelity of my beloved
but for the flower’s most unhappy fate.
For if she had not picked it on a whim,
it could have grown into a real big squash,
that is a most refreshing meal for those
especially whose kidneys are diseased.
And who can say that someone did not die
because that diuretic squash did not
mature inside the orchard on account
of her foul deed? So when she handed me
that real peculiar flower she must have had
another hidden goal inside her head:
ruin my kidneys and to break my heart!
Arba Sicula XXXV
127
Musa e viritati
E quantu era pussenti lu miu amuri
Nun cumprinneva iu stessu: Ora discernu
Ca quannu “t’amu tantu” iu ti dicia,
Chist’alma era la matri di dd’accenti ;
Chist’alma chi d’ inganni ‘un è capaci
E chi ‘un cumprenni comu po’ ‘na donna
Mancari cu chidd’omu chi l’adura,
Doppu ch’eterna fidiltà ci giura.
M’abbannunasti! Li to’ vrazza aprennu,
A nautru amanti dasti lu to’ cori
E a mia lu schernu ! Oh, comu ti ridisti
Di li me’ patimenti ‘ntra lu novu
Amuri chi spirgiura ti signava !
Pi farti cchiù sincera versu d’ iddu,
Lu strincivi a lu pettu diliggiannu
A mia ca mi struggeva ‘ntra l’affannu!
Chi dilittu cumpisti nun lu sai !
Lu tradiri pi tia nun è dilittu !
E ‘un era megghiu siddu c’un pugnali
Tu mi spaccavi in dui chistu miu cori
Chi darimi un duluri accussì forti,
E chi ‘un si estinguirà chi cu la morti?
Duvria pi lu to’ vili tradimentu
Odiu pirenni in senu nutricari ;
Inveci, no, nun t’odiu; ‘ntra stu pettu
St’orrenna passioni ‘un havi accessu.
Vantu l’amuri miu santu ed immensu,
E daritinni vogghiu ora la prova:
Lu novu amanti to’ certu t’adura,
Ma ti pussedi : E ‘ntra lu gudimentu
Suavi di li sensi chi ci duni,
In cambiu lu so’ cori ti cunsacra ;
Ma iu, senza spiranza d’un benignu
To’ sguardu o un dittu di cumpassioni,
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Muse and Truth
And I did not quite understand myself
how truly powerful my love had been.
Now I discern that when I said “I love you,”
my soul had been the mother of those words;
this soul which is incapable of lies
and cannot really understand a woman
who then betrays the man adoring her
after she’s sworn to be forever true.
You did abandon me! And opened up
your arms to a new lover, giving him
your heart and me disdain! Oh how you laughed,
mocking my suffering as your new love
branded you a perjurer. To show yourself
more truthful you embraced him ever closer
and greater passion while maligning me
who struggled with my sorrow and my pain.
You do not realize how great a crime
you have committed! Your betrayal
was not a crime for you! It would have been
much better if a dagger you had taken
and then had split my heart in two, instead
of causing me a sorrow so intense
that it will never cease except in death!
I ought to harbor hatred in my heart
for your contemptible and low betrayal.
But, no, I do not hate you; there’s no room
inside my heart for such a horrid passion.
I boast the holiness and purity
of my love and I want to give you proof:
Your novel lover certainly adores you,
but he possesses you. And in exchange
for all the pleasures of the flesh that you
bestow on him he consecrates his heart
to you. But I, who cannot hope to hear
Arba Sicula XXXV
129
Cundannatu da tia ad eternu chiantu,
Lu tradimentu to’ barbaru pensu,
Iu t’amu e t’amirò fino a chidd’ura
Chi st’ossa calirannu in sepultura !
Parrau la Musa ! Ed ora la parola
Dugnu a la sacrosanta viritati:
Quannu senza pietà m’abbannunasti,
Lu munnu parsi tetru a l’occhi mei ;
E ‘ntra l’amaru chiantu riputavi
Senza di tia impussibili sta vita:
Ora m’accorgiu di st’enormi erruri;
Ancora campu, e in bracciu a nautra donna,
Di tia nun menu bedda, su’ filici !
cu st’ occhi chi chianceru a chiantu ruttu
Pi tia, chi ‘un miritavi chi disprezzu,
Guardu la bedda mia cu granni arduri,
Idda mi ridi e mi rispunni : Amuri !
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a word of pity or a caring glance
in my direction, doomed by you to weep
eternally, consider your betrayal
a real, barbaric act. I love you and
I will until the time when these my bones
are lowered in the grave. The Muse has spoken!
Now let us hear the sacrosanct, real truth
in this affair. When you abandoned me
without compassion, to my eyes, the world
appeared most dark and through my bitter tears
I was convinced life was impossible
without you. But I see now how great
my error was: I‘m still alive, and in
another woman’s arms, who’s not less fair.
I’m happy! And my eyes that wept for you
continuously who did not merit anything
but scorn, now gaze upon my new-found love
with burning passion. She smiles at me
and answers simply with two words: my Love! Arba Sicula XXXV
131
Adunanza d’amanti
‘Ntra un gran trasportu d’estasi ‘nasira,
Strincennumi a lu pettu cu gran forza :
“Con te voglio morire” mi dicisti !
Stu disideriu funebri appagatu
Di mia vulennu, ‘na prumissa sacra
M’addimannasti, ed iu, sulennementi,
Giuravi di muriri assemi a tia!
Produssi ddu sulenni giuramentu
Dintra di l’alma tua tali piaciri,
Chi addisiasti ‘ntra chiddu mumentu
In bracciu a mia di subitu muriri !
La Morti ‘un vosi fariti cuntenti
Ed arristasti viva! Oh quali pena
Si tannu mi murivi ‘ntra li vrazza!
Iu puru saria mortu a l’improvisu !
E siddu pi la pena nun muria,
Pi starti assemi ‘ntra la sepultura,
Un ferru, pi sta vita mia truncari,
Un ferru avria circatu cu primura,
Fuss’anchi statu .... chiddu di stirari!
Dicirott’anni già sunnu passati !
Dicirott’anni chi nun nni videmu!
Nun m’ami cchiù, però forsi la brama
Di moriri cu mia tu senti ancora !
Si cchiù nun m’ami, ‘un ti pigghiari pena
Stu disideriu pozzu sudisfarti :
Su’ tanti li capricci di la donna!
Li gioi e li piaciri di l’amuri
Li duna a cui per idda ‘un havi cura ;
La morti, comu culmu di duluri,
La duna sempri a chiddu chi l’adura!
Li mei prumissi haiu sempri mantinutu,
E vogghiu puru chista mantiniri.
Quannu sara chidd’ura chi la Morti,
Di cca a natri mill’anni, a la to’ porta
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Lovers’ Reunion
Carried away one night by ecstasy
holding me very tight against your breast
you clearly said: “I want to die with you!”
Expecting me to grant this gloomy wish,
you asked me for a sacred promise
and I, in all solemnity, did swear
that I would surely die one day with you.
That solemn oath produced inside your soul
so sweet a pleasure that you asked again
right then and there to die within my arms.
Death did not choose to make you happy
and you remained alive. Oh what great sorrow
it would have been if you’d died in my arms!
I too would have succumbed right on the spot!
And if I did not die for the great pain,
so I could be with you inside the grave,
I would have quickly sought a heavy iron
to put an end to my own life, and lacking that,
a clothes iron would have sufficed for me.
Already eighteen years have come and gone!
Eighteen years we’ve not seen each other!
You do not love me any more, but maybe
the wish to die with me is still inside
of you. If you don’t love any more,
don’t feel too bad! I can still grant your wish,
fulfilling your desire to the end . The whims
of women are so many! Thus she grants
the pleasures and the joys of love to those
who do not have regard for her at all
and death, which is the greatest pain, she gives
to the one man who truly loves her most.
I’ve always kept the promises I’ve made
and I’ll fulfill this promise too. When Death,
God willing, in a thousand years or so,
comes with her scythe to knock upon your door,
Arba Sicula XXXV
133
Virra a tuppuliari cu la falci,
Tu mannami ‘na littra o un telegramma:
Iu vegnu prestu prestu !... Ma va trova
Di quant’amanti tu vulisti fatta
‘Na simili prumissa !... Oh, ‘ntra ddu puntu,
Pi moriri cu tia, tanti saremu,
Ca .... ‘ntra lu Campusantu ‘un ci capemu!
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Arba Sicula XXXV
please send a letter or a telegram.
I’ll come as quickly as I can. However,
you’ve asked so many lovers for this oath,
I’m worried there will be too many who
will die with you. I am afraid because
the cemetery won’t be large enough!
Arba Sicula XXXV
135
Insonnu e realtà
Morfeu, curtisi sempri cu ddi tali
A cui felicità pirmetti ingressu
‘Ntra lu so’ duci e disiatu regnu,
Di tantu in tantu a li so’ prediletti
Ci cuncedi delizii speciali ;
Ci fa gudiri gioi chi ‘ntra la vigghia
Si l’ hannu sulamenti immaginatu :
E ci li fa pariri accussì veri,
Ch’ iddi addisianu di gudirli arreri !
Cu l’ immagini tua dintra la menti,
L’occhi chiudia a lu sonnu pi gustari
Ancora li ducizzi chi duranti
La vigghia avia gustatu accantu a tia :
Morfeu cuntenti sempri mi facia!
‘Na notti puru a mia tuccau gudiri
La voluttà suprema chi bramatu
Avia pi tantu tempu : Iu ti vidia
Cuncederi a l’ardenti miu disiu
Ducizzi tali chi d’ invidia forsi
Morfeu nni fu tuccatu e bruscamenti
Di lu so’ beddu regnu mi cacciau!
Ahimè, m’arrispigghiavi! Avria vulutu
Durmiri un sonnu eternu .... ma non chiddu
Chi divi puru tu sutta la terra
Durmiri un giornu, e sia di cca a mill’anni ;
Ma chiddu duci sonnu chi mi dava
Chiddi tali delizii chi nigavi
Quannu eri svigghia, a li prighieri ardenti,
Pi quantu darli ‘un ti custava nenti !
Chiudivi arreri l’occhi, ma lu sonnu
A lu me’ disideriu ‘un rispunneva !
Mi vutavi a la Musa, e un’elegia
Ci dumannavi ; ‘nzunnacchiata,
Mi manna l’estru, ed iu ‘ntra ddi mumenti
Nun sacciu quantu voti stranutavi :
Si vidi ca l’effluviu di Parnasu
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Dream or Reality
Morpheus who ‘s always kind to those
whom happiness allows once in a while
to enter his sweet and longed-for domain,
grants to his favorites some great delights;
he gives them free access to all those pleasures
that they can just imagine when awake
and he makes the experiences so real
that they want to enjoy them all the time.
With your fair image in my head, I closed
my eyes preparing to enjoy those pleasures
that I had savored next to you before
when I was quite awake. Kind Morpheus
granted me always ample satisfaction.
One night I too experienced the supreme
pleasure that I had yearned for a long time.
I saw you granting me such sweet caresses,
sating my hot desires so that Morpheus
was stricken by sheer jealousy and brusquely
ejected me awake out of his realm.
Alas, I wish I could have slept forever,
oh no, but not the one that you will have
to sleep one day a thousand years from now
under the earth. But the most pleasant dream
that granted me the pleasures and the joys
that you denied me when you were awake,
ignoring my despairing, pleading prayers,
even though if you had granted them to me
it would have cost you absolutely nothing.
I closed my eyes again, but stubborn sleep
was not responding to my fervent call.
I turned thus to my Muse and asked her for
an elegy. A breath of inspiration
came over me, though somewhat sleepily,
but at that moment I felt this strong urge
to sneeze. I do not know how many times
I did. Parnassus’ emanation went right through
Arba Sicula XXXV
137
Trasiu, pi ghiri ‘ntesta, da lu nasu !
Satavi da lu lettu comu un griddu,
A lu me’ tavulinu m’assittavi,
E ‘ncuminciavi stu sublimi cantu:
“Bedda, nudd’autra donna l’ha mai ‘ntisu
Lu veru amuri chi pi mia tu senti!
Iu sulu appi a lu munnu sta furtuna .... “
E ccà nun potti cchiù cuntinuari !
Morfeu, pintutu certu chi mannatu
Di lu so’ regnu prima mi nn’avia,
Mi richiamau di novu cu pristizza :
Cussì suavimenti in bracciu ad iddu,
M’addurmiscivi comu un picciriddu!
Unu chi trasi dintra di ‘na casa
Cu libirtà, cridennu ch’è la sua,
E trova genti chi ‘un canusci e vidi
Ca chisti fannu cosi vriugnusi,
Arresta comu un loccu e mancu sapi
Addimannari scusa pi lu sbagghiu,
Iu d’accussì arristai quannu la scena
Vitti canciata ‘ntra lu malu insonnu !
Chi maravigghia granni ! Chi purtentu !
Era l’avvisu di lu tradimentu!
Sapeva ch’ era insonnu, e facia sforzi
Pi libirarmi di dda vista orrenda,
Ma nun puteva ! Oh, infami e riu distinu !
Da chiddu insonnu chi li sensi mei
In estasi purtava dulcimenti,
Morfeu mi fici subitu svigghiari,
Da chistu ‘un mi puteva libirari!
Fu insonnu? E cui lu dici ca fu insonnu?
Iu dicu ca lu spiritu di l’omu
Di notti, quannu l’omu e ‘nnamuratu
Vola nni la so’ bedda, e si la trova
Chi sta durmennu, l’accarizza
E assemi ad idda dulcimenti godi !
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Arba Sicula XXXV
my nose, I think, as it went to my brain.
I jumped out of the bed just like a cricket
and went to sit down at my writing desk
and quickly started this inspiring song;
“No other woman ever felt the love,
fair beauty, that you harbor in your heart
for me! I am the only one to have
this fortune!” and I could not add another
single word. Morpheus, perhaps regretting,
that he had chased me out of his sweet realm
before, recalled me hastily back in.
Thus softly snuggled in his potent arms
I drifted into sleep like a young child.
A man who freely goes inside a house,
believing that the house belongs to him,
and finds there people that he does not know,
engaged in actions that are quite appalling,
feels like a dolt and does not even know
if he should offer an apology.
That’s how I felt exactly when I saw
how the scenario changed in that foul dream!
What wondrous shock! What a portentous sight!
It truly was the prelude to betrayal.
I knew it was a dream, and so I struggled
to free myself of that horrendous sight.
But I just couldn’t. Oh dire, shameful fate!
Morpheus had quickly shaken me awake
out of a dream in which I had enjoyed
sweet ecstasy, but he seemed quite unwilling
to liberate me from this bad nightmare!
Was it a dream? Who is to say it was?
I say that when a man’s in love, his spirit
just flies at night to his beloved, and
if he finds her asleep, he will caress her
and then together they will both enjoy
love’s sweet embrace. I may not be correct,
Arba Sicula XXXV
139
Cummittirò un erruri, ma sustegnu
Ca lu spiritu miu, mentr’iu durmia,
Conuscennu la strata di la casa
Unni abitavi tu, sia pinitratu
Dintra di la to’ cammara di lettu
Pi farti ‘na carizza, ed arristau
Comu un pezzu di marmuru truvannu
A nautru chi ti stava accarizzannu !
Lu ventu chi si ‘nfila pi li ‘ngagghi ;
Lu surci chi va in cerca d’un tuzziddu ;
La gatta chi fa cadiri un cummogghiu,
Disturbanu l’amanti chi di furtu
S’abbrazzanu e si vasanu di notti :
Si lu spiritu miu in forma di ventu
Trasiu pi ‘na ‘ngagghidda di la porta,
Li piatta, li biccheri e cazzalori,
cu gran fracassu l’appi a arruzzulari !
Va trova chi nisciu di la to’ vucca
‘Ntra chidd’ istanti contra di l’auturi
Di ddu malidittissimu rumuri !
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but I maintain that while I slept, my spirit,
knowing the way by heart of where you lived,
came to your bed to give you a caress
and was completely stricken, paralyzed,
remaining frozen like a piece of marble
when I beheld the sight of someone else,
another man who was caressing you.
The wind that penetrates through cracks,
the mouse who’s looking for a little bite,
the cat who makes a cover fall off the pot
disturb the lovers who illicitly
embrace at night and steal some kisses like
two thieves. If then my spirit came inside
through such a tiny, it must have caused
the loud uproar of all those dishes, glasses, pots
and pans that came down crashing on the floor.
God only knows what words must have come out
from your sweet mouth right at that moment
against the fellow who had been responsible
for causing that unpleasant, awful sound.
Arba Sicula XXXV
141
Amuri e scienza
Rispettu a cui nni sapi cchiù di mia ;
E mi scappeddu pi davanti a un dottu
Comu mi scappiddassi pi davanti
A qualchi santu, pi nun diri a Diu!
St’esordiu servi a fariti capiri
Quantu divotu iu su’ di lu sapiri !
Si l’omu pi lu quali mi lassasti
Avissi avutu un’unza .... ma chi dicu ?
Un granu di ddu donu luminusu
Pi cui l’omu s’ inalza e si distacca,
E sua puru pi un filu, da lu vulgu,
‘Ntra chiddu stissu tempu ch’ iu chiancia,
Da l’ immensu duluri turmintatu,
Ti giuru, bedda, t’avirria ammiratu !
Ma inveci, nun cuntenta di firiri
Stu cori amanti, cu lu stissu colpu,
Per essiri completa in crudiltati,
L’orgogliu miu firisti atrocimenti !
Lassasti a mia pi dari lu to’ cori
Ad unu chi. ... chiamari cu lu nomu
Chi giustamenti merita nun vogghiu !
Lu cambiu nun fu bellu ! A lu so’ latu
Facivi la figura chi po’ fari
Un cocchiu d’ammirabili eleganza,
Unni ‘mpajatu c’è, ‘nveci d’un beddu
Cavaddu sveltu di la Barberia,
Un magru sceccu di Pantiddaria!
Lu patri l’avia fattu studiari,
(Nun parru di lu sceccu, o pi lu menu,
Iu nun ti parru cca di chiddu sceccu
A cui Natura detti quattru pedi);
Ci aveva fattu fari esattamenti
Li cursi .... anzi ripetiri a lu spissu,
Picchì vuleva farinni un dutturi !
Oh scopu santu e nobili ! A lu beni
Di la saluti pubblica pinsava ....
Cumprisa anchi la sua: Lu povir’omu
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Love and Science
I respect those who know more than I
and tip my hat before a learned man,
as I would tip my hat before a saint,
or say, of course, before Almighty God.
This preface was to make you understand
how real devoted I am to true knowledge.
If the guy whom you left me for possessed
an ounce, what am I saying, a mere grain
of that most glowing gift through which man rises
to lofty peaks and separates himself,
if only by a line from common folk,
at the same time that I was crying, smitten
by the immense heartache that vexed me,
I swear, beloved, I would have admired you.
But you, not satisfied with the blow you dealt
against my loving heart, you made your cruelty
reach even a much higher level, you struck
my pride unbearably. You gave your heart
and left me for someone whom I cannot
call by the appellation he deserves.
The substitution was certainly unpleasant.
If you stand next to him you cut a figure
that’s like a handsome coach designed with skill
and elegance that’s being pulled, not by
a speedy horse from Barbary, but by
a scrawny donkey from Pantelleria.
His father sent him off to study, oh no,
I am not referring to the donkey, or at least,
not to the ass whom nature gave four legs.
His father had insisted that he take
all courses, and repeated them at times
because he wanted him to be a good
physician. A most noble, saintly motive!
His concern was all about the people’s health,
including his own too. The wretched man
was suffering from bad rheumatic pains
and he had hoped somehow that his own son
Arba Sicula XXXV
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suffria di li reumatici dulura:
spirava chi, curatu da lu figghiu,
Puteva libirarsi da ddi mali !
Quannu lu figghiu fu laureatu,
Cu sublimi accurtizza e cu primura,
Misi a so’ patri sutta la so’ cura !
Lu raziuciniu so’ e la sua scienza
Chiamau in aiutu e dissi ad iddu stissu : Siddu ‘na midicina sulamenti
Po’ fari stari bonu ad un malatu,
Certu, cu daricilli tutti quanti,
Lu fazzu stari megghiu ! - Dittu e fattu !
Fici un miscugghiu di diversi droghi,
E a biviri lu detti a cui la culpa
Di la nascita sua forsi ‘un avia !
L’effettu fu stupennu ! A lu malatu
Calmaru in pocu tempu li dulura,
E stetti bonu .... ‘ntra la sepultura !
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would help him to be free of all his ills.
When the son finally got his degree
he took it upon himself, immediately,
and with supreme attentiveness, at that,
to treat his father, calling on his science
and his good reasoning for help. He told
himself: if one good medicine alone
can cure someone, for sure, if I combine
a lot of them together and give them
to him at once I’ll cure him even better.
And with that notion in his head he mixed
together many types of medicines
and made the man, who probably was not
responsible for giving birth to him,
drink it. The outcome was phenomenal!
In just no time at all the pains subsided
and disappeared and he was cured
completely… down in his grave.
Arba Sicula XXXV
145
Si…
L’amanti abbannunatu, ‘ntra lu spissu,
Disprezza di la donna chi ha aduratu
Tutti li pregi fisici e murali;
E cridi d’accussl d’alliggiriri
Li peni chi ci avvampanu lu pettu !
Fa comu certi voti soli fari
La fimmina chi contra l’isterismu,
Ricurri, mischinedda, a l’esorcismu !
Si, per esempiu, chista donna è bedda,
Dici ch’è laria, ma però nun pensa
Ca ridinu li genti a costi d’ iddu !
E cchiù di tutti ridi chidda tali
A cui tutti hannu datu la cirtizza,
Oltri a lu specchiu, di la sua biddizza !
Iu no, nun mi jttavi tantu ‘nterra!
Mentri chi mi struggeva lu duluri,
La to’ biddizza sempri ripitava
Cu li cchiù duci accenti ! E quannu doppu
“Il ben dell’ intelletto” mi turnau,
Mancu canciavi tonu, e sempri dissi
Comu avia dittu prima: in cori è dura
Ma in facci e’tantu bedda ca innamura !
Ed ora cca, pi cui nun ti canusci
Personalmenti, comu megghiu pozzu,
Descriviri m’ingegnu quantu larga
Natura fu cu tia di li soi doni;
Sulu però di chiddi esteriuri,
Chi mi custaru asprissimi duluri !
Si d’ebanu ci su’ dui qualitati,
Scigghiu la qualità supiriuri
Pi tia matri Natura, e li capiddi
Ti fici in abbunnanza ! o, un gran piccatu
Sarria davveru siddu qualchidunu,
Senza nuddu mutivu, l’affirrassi,
E tutti quanti, ohimè, ti li scippassi !
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If...
The lover who has been forsaken often
holds in disdain all of the physical
and moral values of the woman loved.
He thinks that he can lighten thus the pain
that in his chest is just devouring him.
He does the same that women do sometimes
when they, poor things, to cure their hysterics
decide to call upon an exorcist.
Thus if the woman is quite beautiful
he says she’s ugly, but he does not think
that all are mocking him behind his back.
And the one who will laugh more than rest,
the woman is who has received assurances
from all that she is beautiful, besides
her mirror. No, not I, I did not sink
that low! While my great suffering was most
intense I praised your beauty every day
with great regard. And even afterward
when I regained “the goodness of my intellect,”
I never changed my tone, repeating all
the things I said before: her heart is hard
but her face’s so attractive she inspires love.
And now for those who don’t know you at all
I’ll try, as best I can, describing all of the gifts
that Mother Nature has bestowed on you
with such largesse, but only the external ones
that cost me harshest and most grievous pain.
If ebony exists in just two qualities
our Mother Nature chose the higher one
to make your hair and grow abundantly.
Oh what a sin it would be if someone,
without a motive, came to grab your hair
and pull each one, alas, out from its roots!
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147
La frunti? Ah, la to’ frunti si ci misi
Natura a mudillarla cu piaciri !
Si po’ cu sicurizza assimigghiari
Ad un diadema chinu di brillanti!
E cui putissi aviri lu curaggiu,
Cu un furtissimu colpu di vastuni
Rumpiritilla .... senza ‘na ragiuni?
E l’occhi? Oh, no descriviri ‘un mi fidu
La billizza di l’occhi chi Natura
Appi di certu a scegghiri ‘ntra l’astri
Chi splenninu di notti ‘ntra lu celu !
Ah, ddi dui stiddi ! lu dicu cu cuscenza
Ca senza ‘na ragiuni, cu’ s’azzarda
Cu quattru pugna d’ammaccaritilli,
Non una morti merita, ma milli.
E lu nasu? e la vucca? E li masciddi?
La menti a descrivilli si cunfunni !
Tutti biddizzi su’ chi la Natura
Va trova a quali Dia ci l’arrubbau!
Chi piccatu sarria si qualchidunu,
Senza nuddu mutivu, cu lu taccu
Di ‘na so’ scarpa ti ci cafuddassi,
E in modu orrennu ti li trasfurmassi !
Lu restu di lu corpu? Oh, li stupenni
Spurgenzi chi la vesta nun ammuccia !
L’anchi fatti a lu tornu? E chiddi snelli
Gammuzzi da li nervi duminati?
Rinunziu a fari sta discrizioni !
Mi limitu suitantu a diri chistu :
Si Fidia fussi vivu, lu mudellu
Pi fari li soi statui, cchiù pirfettu
Truvari certu ‘un avirria pututu !
Si, ‘nsumma, la cchiu bedda tra li beddi !
Puru lu suli oscuri ! E in fini ti ripetu
Chi sarria dignu d’essiri ‘nfurcatu
Ddu barbaru ca” .. “ senza ‘na ragiuni,
Ti sdirrubbassi di lu finistruni !
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Your forehead? Ah there Nature did apply
herself to model it with pleasure.
It can be easily compared to a crown
replete with precious, shiny diamonds.
Who in the world could muster such great boldness,
to shatter it to pieces, with no motive,
with one swift, pointed blow of his strong cane?
And what about the eyes? Oh no, I can’t
truly describe the beauty of your eyes
that Nature surely chose from all the stars
that shine at nighttime in the sky. Ah two
big stars! In conscience I must say no one,
without a motive, would dare strike at them
with two sharp blows and make them black and blue.
A man who was so foolish to do that
deserves not one death but a thousand deaths.
What of the nose, the mouth, what of the jaws?
My mind gets too confused to try descriptions.
They are so beautiful that I don’t know
from what great goddess Nature modeled them.
What a sin it would be if someone, without
a motive, struck them with the heel of his shoe
and thus transformed them in a horrid way.
The rest of your great body? Oh the wondrous
excesses that your thin dress can’t fully hide!
Your thighs smoothed on a lathe? And what about
those thin and nervous spindly legs of yours?
I just refuse to fashion their description.
I limit my remarks to simply say:
if Phydias were alive, he could not find
a better model for his marble statues!
In short, you are the fairest of the fair,
the sun grows dark if you stand next to it.
And finally I say that the barbarian
who’d push you out the window with no motive,
rightly deserves to be hung on the gallows.
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149
Amuri pi li bestii
Nutava sempri quannu accarizzavi
Lu cagnuleddu to’, chi tu pruvavi
Piaciri tali chi, a lu paraguni,
Lu gaudiu chi sintivi quannu a mia
Facivi ‘na carizza, nun valia.
Iu nni sinteva invidia, ma ‘un vuleva
Diriti nenti picchì mi pareva
Ca tu putivi dirmi : — Zuticuni,
o chi la differenza nun cumprenni
Tra amuri e amuri, o puru tu m’offenni !—
Ed anchi quannu qualchi carizzedda
Facivi a la to’ bianca gattaredda,
D’ invidia iu nni frimeva, e ‘ntra di mia
Diceva sempri: si ti nesci l’ugna,
Vidrai comu la facci ti sgranfugna !
E quannu a lu cardiddu la scagghiola
Tu ci mittivi dintra la gaggiola,
lu puru nni avia invidia, e rivulgia
Bistemmii a lu distinu sciliratu
Chi cardidduzzu nun m’avia criatu!
Cu slanciu d’ ineffabili dilettu
Ti lu mittivi dintra di lu pettu !
Chi gudimentu nni putia pruvari
Dd’aceddu misu in mezzu a ddi tisori
Chi a descrivilli nun ci su’ palori?
Carizzi persi ! Li facivi a mia
Ed iu contracanciari li putia;
Ma chiddi armali chi putianu fari?
La bestia cu la bestia po’ sintiri
Qual’ è di li carizzi lu piaciri!
Si cu trasportu un cani vo’ vasari,
Vasannulu lu senti rucculari!
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Arba Sicula XXXV
Love for Pets
I always noticed that when you caressed
your little dog, the pleasure that you felt
was not comparable at all with what you felt
when you extended your caress to me.
I felt the sting of envy, but did not
say anything because I thought that you
would say to me: “Oh how uncivilized you are!
Either you can’t distinguish the real difference
between two loves, or you’re insulting me!”
And even when you reached out to caress
that little snowy cat of yours, I seethed
inside with jealousy, repeating to myself:
“If ever that cute cat unfurls her claws
she will go for your face and surely scratch it!”
And when you put inside the little cage
some seeds for the goldfinch, I also felt
quite jealous and hurled curses at my fate
because it had not made me a goldfinch.
You used to place the goldfinch down your breasts
and felt such indescribable delight in it.
What pleasure could have felt that little bird,
stuck there between those treasures-laden mounds?
There truly are no words that can describe it.
Wasted caresses! If you’d given them to me,
I would have corresponded with my own.
But hose poor animals, what could they do?
An animal can feel the pleasure of caresses
when it’s another animal that gives them.
If you with passion wish to kiss a dog
you’ll hear it whining as you you press your lips.
A bird can start to peck you hard, and if
you kiss a cat sometimes it will exchange
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151
L’aceddu ti po dari un pizzuluni!
Si tu vasi a ‘na gatta, la vasata
Idda ti cancia cu ‘na sgranfugnata!
Chi ‘ntra lu cori to’ l’esuberanza
Grann’era di l’amuri, e in abbunnanza
Tu nni avivi puru ‘ntra ‘na gnuni;
Pi chisti tri armaluzzi, iu calculava
Spissu dintra di mia, e mi cunfurtava !
Ma un giornu la tua amica cunfidenti
Mi dissi ca un amuri cchiù potenti
Nutrivi in cori to’ pi nautru armali,
E ch’era st’autru armali tantu grossu,
Chi a frunti a l’autri tri era un culossu !
Ci cridi, bedda mia? ‘Ntra chiddi istanti
Pinsavi a lu liuni, a l’elefanti,
La tigri, la pantera .... e ‘un sacciu quali
Superbii bestii ancora a ddi mumenti
Passaru ad una ad una ‘ntra sta menti !
Naturalmenti cu ‘na gran primura,
Ci addimannai qual’ era, ed idda allura
Mi rispunniu : — Lu sceccu! — Iu mi nni risi !
Cumprenniri ‘un sapia chi pi dd’armali
Putivi aviri affettu spiciali !
Sapennula di spiritu dutata,
Pinsavi allura a ‘na buffuniata!...
Ma quannu t’incuntravi doppu un misi
Cu Vartulu, ddu grossu babbasuni,
Capii ca la tua amica avia ragiuni !
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Arba Sicula XXXV
your tender kisses with its piercing claws.
I was convinced that in your heart you had
a great exuberance of love and that,
stored in a corner, you had an abundance
of it for these three animals and this
was of some comfort to my way of thinking.
But once one of your friends and confidants
revealed to me that in your heart you nurtured
another love that was more powerful
for yet another animal so large
he seemed a great colossus in comparison.
What do you think, my beauty? At the time
I thought about a lion or an elephant,
a tiger, panther... and I do not know
how many other mighty animals
one at a time paraded through my mind.
Naturally, in great haste, I proceeded
to inquire about what animal it was
and she replied: “An ass!” I started laughing.
I could not understand how she could feel
such special feelings for that animal.
Knowing she was a woman of great spirit
I thought it was some kind of joke, a prank…
But a month later when I saw you walking
with Vartulu, that dumb, colossal ass,
I understood your friend had got it right.
Arba Sicula XXXV
153
L’ecu
Un picciutteddu d’anima sinsibili,
Traditu crudilmenti da ‘na fimmina
Chi cu surrisu e cu vucidda d’ancilu
Ci avia giuratu amuri in “Omnia secula”,
Java sbattennu in preda di li smanii,
Puru picchì dda ria nigava in pubblicu
Ca li so’ labra, a la minzogna stranii,
Amuri ad iddu mai giuratu avevanu.
Mischinu, dipiria di carni e spiritu !
in vita sulu lu tinia la tenui
Spiranza ca un fidili tistimoniu
Dicissi aviri ‘ntisu chidd’ infaustu
Giuramentu d’amuri, e chi la perfida
Putissi pi vriogna, a lu so’ fervidu
Amuri anticu riturnari subitu.
Era, sapiti cui, lu tistimoniu?
L’Ecu nnuccenti chi ‘ntra ddu fatidicu
Jornu lu giuru di dda donna barbara
Aveva ripitutu fedelissimu !
Oh, Amuri, Amuri, quantu fai riddiculu
L’omu ch’è in preda di lu to’ dominiu!
Lu giuramentu chi ci fici cridiri
Lu munnu chinu sulu di delizii,
Fu fattu ‘ntra ‘na valli sulitaria
A pedi d’un gran munti lu cui vertici
Spissu chiacchiariava cu li nuvuli,
Ddocu lu mischineddu, cu li lacrimi
Chi lucida la facci ci tinevanu,
Comu siddu implurassi pi la grazia
D’un cunnannatu a morti versu un principi,
A l’Ecu rivulgiu chista sua supplica:
— Ecu, pi carità, scusa si vegnu
A disturbarti finu a la to’ casa.
Tu mi canusci, e sai s’ iu su’ capaci
Di diri cosi chi nun sunnu veri.
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Arba Sicula XXXV
The Echo
A young man who possessed a thoughtful soul,
had been most cruelly betrayed by a woman
with her sweet smile and with her angel’s voice
who’d sworn to love him for eternity.
The young man was prey to desperation
because that awful woman now denied
in public that her lips, quite unaccustomed
to uttering such lies, had never sworn
any such oath of love to the young man.
Poor fellow, he was losing flesh and spirit
and he was kept alive by a thin hope
that he could find some faithful witnesses
who could declare that they had heard indeed
that inauspicious oath and that the lying
woman confronted by her shame would then
return to her old love. Can you surmise
who could be summoned there to testify?
It was the echo who upon that fateful day
when that barbaric woman swore the oath
had then repeated it in an unerring way.
Oh love, how man becomes ridiculous
when he is subject to your domination!
The vow that gave him the impression that
the world was full of sheer delights alone
was uttered in a solitary dale
with a great mountain looming overhead
whose top was often chatting with the clouds.
Once there the wretched fellow, crying tears
that made his face shine like someone condemned
to death who’s begging of his prince to set him free,
asked Echo to respond to this request:
“Echo, for pity’s sake, excuse me if
I came to bother you inside your realm.
You know me and you know if I am capable
of saying things that are not true, he said.
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155
Dissi “Tu mi canusci” picchì spissu
M’hai vistu in cumpagnia di la me bedda.
Ti truvasti prisenti chiddu jornu
Ch’ idda un amuri eternu mi giurau :
A tia puru simbrò tantu sincera
La ‘ntinzioni di ddi duci accenti.
Ca mi li ripitisti chiari e lenti !
Ed ora idda asserisci ca ‘un’è veru
Ca di la sua vuccuzza di curaddu
Nisceru ddi palori ‘nzuccarati
Chi dui voti mulceru l’ alma mia,
in grazia puru a la to’ curtisia !
Si tu senti pietà di li mei peni,
Deh, fammi stu favuri! Novamenti
Ripeti ddi palori di manera
Ca lu ventu li porti a chidd’oricchi
Addivintati surdi a lu miu amuri.
E cu stu mezzu simplici e sicuru
A mia riturnirà e di lu passatu
Sugnu sicuru sarò cumpinsatu ! —
Cussì dicia lu miseru ; ma l’Ecu
Li so’ palori ripiteva comu
Li picciuttazzi mmenzu di la via
Ripetinu la vuci squaquarata
D’un poviru ambulanti vinnituri
Chi di zocc’havi vanta lu valuri !
E ddu ‘nfilici chi sintia ripetiri
Li soi stissi palori, la pacenzia
Subito persi, e in preda di la rabbia
Contra di l’Ecu scatinau un catalogu
D’aggettivi e di nomi innominabili’
E doppu cunchiudiu cu stu propositu :
— In avveniri ‘un vogghiu cchiù fidarimi
Ecu, di tia ca si tantu volubili !
E siddu, per esempiu, qualchi fimmina
D’amuri un giuramentu vurrà farimi
Pi pattu mittirò ca l’havi a incidiri
Palora pi palora ‘ntra un fonografu !
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“You know me as you’ve often seen me
together with my own beloved love.
You happened to be present on that day
when she eternal love declared to me.
You also thought that the intent of those
sweet words had been sincere. So much so that
slowly and clearly you repeated each
and every word. But now she claims that it’s
not true, and that her sweet and coral mouth
never did utter those sugar-coated words
that twice brought wondrous melody of sound
to me, thanks also to your courtesy.
If you feel some compassion for my woes
I beg you, please, do me this favor. Say
those words so that the wind will carry them
again to those ears that are deaf to me.
And with this simple method she’ll return
to love me as before. Thus I will be
repaid for my past suffering and woes.
That is how the poor fellow spoke. But Echo
simply repeated all the words he said,
as young men do when out of mockery,
standing in the middle of the street, repeat
the hawking of street vendors of his wares.
And that poor fellow who heard his own words
repeated word for word, soon lost his patience
and with an angry and excited voice
unleashed a catalogue of adjectives
and nouns against the Echo that I can’t
write down, out of my sense of decency,
which ended with these bitter words:
“I will not trust you, Echo, in the future
because you simply are too unreliable.
And if some woman ever wants to swear
eternal love to me again, I’ll stipulate
that every word she utters be on tape
duly recorded by a tape recorder. “
Arba Sicula XXXV
157
Logica schicchigna
Oh chidda notti orribili! La menti
Scurdari nun la po’! Fuscu duluri
Trasiu ‘ntra l’alma mia dda notti orrenna
In cui scupersi lu to’ tradimentu !
Faceva friddu forti e pi la strata
Nun si videva un’anima viventi.
Sulu, comu un fantasima, iu sulu
Darreri lu purtuni di ‘na stadda,
Chi c’era giustu ‘nfacci a la to’ casa,
Chianceva la mia sorti, e ‘na spiranza
In funnu a lu miu cori girmugliava ....
Era l’affannu chi la ginirava!
Avia spiranza chi, pintuta, avissi
Aperta la finestra pi gridarmi :
- Ti dumannu pirdunu, e tornu a tia ! ­
Ma no! La to’ finestra ‘un si grapia !
Eppuru certu sugnu c’ogni donna
C’avissi vistu a mia tuttu vagnatu
D’acqua e di chiantu, in cori avissi ‘ntisu
Tanta pietati chi sarria bastata
Pi sanari li piaghi a milli amanti !
E forsi puru a tia, (ca è tuttu diri)
Vidennumi riduttu ‘ntra ddu statu,
Lu cori la pietà t’avria tuccatu!
Cupu silenziu ‘ntra dda notti, ruttu
Sulu da lu miu chiantu, e d’un susurru,
Cunsimili ad un misticu bisbigghiu,
Chi la pioggia facia cadennu lenta :
Cu mia chianceva puru la Natura!
Ma si di mia Natura aveva pena,
Inveci di ittarimi ddu picchiu,
Picchì cu l’acqua stissa chi ghittava,
Lu cori duru nun ci arrimuddava?
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Asinine Logic
Oh that horrendous night! My mind cannot
forget it any more. A gloomy pain
entered my soul on that horrific night
when I discovered that you had betrayed me.
It was quite cold that night and on the streets
no living soul was anywhere in sight.
Alone, I all alone, and looking like a ghost,
standing behind an open stable’s door
that was located right across the street
from where you lived, was mourning my harsh fate,
while in my heart a hope was being sparked.
It was my sorrow that had made it glow.
My hope was that, regretting what you’d done,
your window you would open up and scream
“I ask for your forgiveness. I am coming back!
But no! Alas, your window did not open up.
And yet I am convinced that every woman
who saw me there completely soaked in water
and in tears, would have felt so much compassion
in her heart that it would have been enough
to heal a thousand lovers’ grievous wounds.
And maybe even you (that says it all),
on seeing me reduced to such a state,
would also have been moved to feel compassion.
That night a gloomy silence reigned, broken
only by my own weeping and by a whisper
similar to a mystical murmuring
that rain created as if slowly fell.
Nature was crying all along with me.
But if compassion nature felt for me
instead of raining down such endless tears
why didn’t she mollify her rock-hard heart
with all that water that she dumped on earth?
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159
Pi un pezzu ancora li dui gran funtani,
Lu celu e l’occhi mei, cuntinuaru
Acqua a virsari cu sublimi accordu ;
Tutt’assemi dicisi darmi morti.
Guardannu la finestra di la stanza,
Unni tranquillamenti tu durmivi,
Gridai cu vuci tragica: — Pippina,
L’estremu addiu ti manna l’alma mia:
Sta notti vogghiu moriri pi tia ! —
È giustu a chistu puntu rintrunau
Di dintra di la stadda un forti arragghiu;
Arragghiu prolungatu e articulatu
Ch’iu capivi benissimu. Lu sceccu
M’arriprinnia dicennu: —‘Un t’ammazzari
Pi chidda donna chi nun havi cori !
Si tu t’ammazzi pi dda donna ria,
Dirrò ca tu si sceccu.... cchiù di mia !
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The two great fountains from the sky and from
my eyes continued for a little while
in perfect unison to rain more water,
with the intent of causing my demise.
As I looked at the window of your room
where you in all tranquility just slept
I shouted with a tragic voice: “Pippina,
my soul now tenders you its last good bye.
For you, right here, tonight I want to die!”
But at that moment a resounding hee-haw
was heard to come out of the stable door.
It was a long and well articulated bray
I understood quite well. The donkey was
berating me by saying: “Oh don’t kill
yourself for such a woman with no heart!
If for that woman you will take your life
you’ll be for sure a bigger ass than I am.”
Arba Sicula XXXV
161
Arti Siciliana
Ritratti di na famigghia siculu-miricana
di Thomas Macpherson
T
homas Macpherson è prufissuri di arti a lu State College
di New York a Geneseo, parti dû sistema universitariu dû
Statu di Nova York. E’ un artista ca usa un metudu assai difficili
di cuntrullari pi fari i so quatri, u biancu di l’ovu mmiscatu cu
culuri, ca fu usatu originalmenti dî maestri taliani dû mediuevu e
dû Rinascimentu. Stu metudu fu abbannunatu quannu la pittura a
ogghiu fu spirimintata. Thomas Macpherson ca è sicilianu in parti,
cunziddirannu ca so patri si maritau cu na siciliana e ca iddu criscìu
ntô menzu di na famigghia siciliana, forsi usa stu metudu anticu
pi stabiliri na cunnessioni cu la terra dî so antinati, almenu di na
parti d’iddi. St’attaccamentu a la famigghia e a li so radichi si po’
vidiri puru nta li esibizioni artistichi ca iddu havi organizzatu in
diversi gallarii, una ntô so stissu College a Geneseo, nautra a Case
Western Reserve University di Cleveland e urtimamenti nta l’Istitutu Calandra ccà a Nova York. Lu titulu dâ so mostra è “Thomas
Macpherson: Portraits of Sicilian-American Family” (Ritratti di
na famigglia siculu-miricana). L’artista Macpherson mi mannau
na pocu dî pitturi inclusi nta la mostra nzemmula a na discrizioni
di chiddu ca significa la so arti e ogni pittura. Vogghiu dari a stu
puntu la parola a l’artista ca certamenti pò spiegari u so travagghiu
megghiu di mia.
“Sugnu un artista d’origini siculu-miricana ca crisciu nta na
famigghia biculturali. Me patri era d’origini scuzzisi e me matri era
na siciliana di secunna ginirazioni. A unnici anni iu a viviri ca me
nanna siciliana. Fu d’accussì ca vinni a canusciri di prima manu ddi
numirusissimi pirsunaggi ca vinevanu a visitarla. La me descrizioni
di sta mostra cridu pò dari na bona idea di chiddu ca era lu me prupositu:
“Ritratti di na famigghia siculu-miricana” è n’esposizioni di
ritrattri fatti cu metudu tempira ca esploranu la me identità siculumiricana, cumminannu storii pirsunali cu la storia di l’arti. Li lucali
dâ me vita passata sunnu traspurtati nta custruzioni rinascimintali.
Si tratta di na celebrazioni di pirsuni ca appiru a affruntari difficurtà
ncredibili e priggiudizii, priparannuci la strata a li ginirazioni futuri
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Sicilian Art
Portraits of a Sicilian-American Family
by Thomas Macpherson
T
homas Macpherson is a professsor of art at SUNY Geneseo. He teaches watercolor, drawing and figure drawing. He is also an artist who uses egg tempera, a difficult medium
to control, to paint his portraits. The egg tempera painting was
used by Italian masters in the middle ages and the Renaissance
but it was abandoned after oil painting was introduced. Thomas
Macpherson who is Sicilian in part because his father married a
Sicilian woman and actually grew up in a Sicilian household, uses
the egg tempera perhaps to establish a connection with the land of
some of his ancestors. This attachment to family and to their roots
is also manifested in the work that he has exhibited in a number
of venues, at his own College, at Case Western Reserve University
in Cleveland, and most recently at the Calandra Institute in New
York City. The title of his exhibition is “Thomas Macpherson Portraits of a Sicilian-American Family.” Mr. Macpherson sent me a
few paintings and a statement of the significance of his work and
a description of the paintings. Thus it is more instructive to allow
the author to speak for himself:
“I am an artist of Sicilian American background who grew up in a
bi-cultural family. My father was of Scottish ancestry and my mother
was a second generation Sicilian. At the age of eleven, I went to live
with my Sicilian grandmother so I was exposed to the culture and
witnessed first hand the myriad of characters who came to visit her.
My artist statement for the show I think will explain succinctly
what the exhibition is about:
Portraits of a Sicilian Family is an exhibition of egg-tempera
portraits that explore my Sicilian-American identity by combining personal history and art history; the settings from my past
are situated in Renaissance constructs. It is a celebration of the
people who persevered through incredible hardship and prejudice,
paving the way for the next generation to succeed in ways they
never thought possible. Since egg tempera is intimately associated
with Italy, the medium allows me to depict my family in a look
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di arrivari a posti ca iddi nun putevanu cridiri possibili. Datu ca
lu metudu dâ pittura ca usu è assuciatu a l’Italia, potti pittari a la
me famigghia dannuci l’aspettu tipicamenti “talianu”. Li pitturi
esploranu problemi di identità etnica e culturali, discrimnazioni,
ngiustizia sociali e cunflitti, spissu tramiti ironichi giustaposizioni
di passatu e prisenti
La Sacra Famigghia, Tempira- 2102
La Sacra Famigghia includi ritratti di me matri Lena, me soru
Maria e io. Lu ritrattu di mia e me soru rapprisenta la nostra
crisciuta biculturali mentri lu pannellu dâ nostra matri si rifirisci
La sacra cunvirsazioni / The Sacred Conversation
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that reads as “Italian.” The paintings explore issues of cultural
and ethnic identity, discrimination, social injustice, power, and
conflict, often through ironic juxtapositions of past and present. The Holy Family, Egg tempera - 2012
The Holy Family includes portraits of my mother Lena, my
sister Mary and me. The portraits of my sister and I represent the
La me vita / My Life
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165
La Dolce Vita,
2013
â so origini siciliana. Lena travagghiava comu igienista dintali
di prufissioni ma cunziddirava ca u so rolu chiù mpurtanti era
chiddu di matri pi niautri. Dicidìu di pittarila comu â Madonna pigghiannu in prestitu l’ancili di la pittura “Maestra di Santa Trinità”
di Cimabue (1230-1302). Li nevuli di timpesta nta la luntananza
rapprisentanu lu matrimoniu timpistusu dî me ginituri e lu cancru
ca pi urtimu la purtau a la morti.
La sacra Cunvirsazioni, tempira, 2014
La Sacra Cunvirsazioni si basa supra na fotugrafia di me nanna
e dî so dui frati Santu e Giacumu. Me nanna avia ott’anni—a lu
mumentu ca nun jiu chiù a scola e cuminciau a travagghari nta li
fatturii e nta li frabbichi. L’espressioni nfilici ca si vidi nta li facci
dici tantu supra la so nfanzia ca mai pottiru aviri. Comu a tanti
siculu-miricani, me nanna crideva ca a so rilazioni cu li santi, specialmenti câ Madonna, era na cosa accussì intima ca idda ci puteva
dumannari favuri spiciali picchì ntâ so testa iddi eranu umani e
canusciuti comu a li genti ca vivevanu nta lu quarteri.
La dolce vita, tempira 2013
Li riunioni dâ famigghia eranu eventi ca s’aspittavanu cu
anzia pirchì rumpevanu la monotonia di longhi uri di travagghiu
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La sacra famigghia / The Holy Family
bi-cultural upbringing we received while the central panel of our
mother refers to her Sicilian background. Lena was a dental hygienist by profession but she felt her most important role was to
be our mother. I decided to depict her as a Madonna so I borrowed
the angels from the painting Maestra of Santa Trinita by Cimabue
(1240 – 1302). The storm clouds in the distance represent the tempestuous marriage of my parents and the cancer that ultimately
claimed her life.
The Sacred Conversation, egg tempera, 2014
The Sacred Conversation is based on a photograph of my
grandma and her two brothers Santo (Jimmy) and Giacomo (Joe).
Grandma is eight years old - right about the time she quit school
and started working as a farm laborer and factory worker. The grim
expressions on their faces speak volumes about the truncated childhood they had. Like many Sicilian-Americans, Grandma believed
that her relationship with the saints, especially the Blessed Mother,
was so intimate that she could ask them for special favors because,
in her mind, they were as human and familar as the people who
lived in her neighborhood.
La Dolce Vita? Egg tempera – 2013
Family gatherings were eagerly anticipated events that broke
up the monotony of long working hours and were usually held behind the Eagle Hotel, which was owned by Grandma’s sister Mary
and her brother-in-law Tony. These were festive occasions that
featured some of the best food imaginable all based on traditional
Sicilian recipes that our family brought with them from Valledolmo,
the small mountain village they called home. The seraphim sur
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167
Ace e Francu / Ace and Frank
e si tinevanu di solitu darreri a l’albergu Eagle, c’appartineva a la
soru di me nanna, Maria e di so cugnatu Tony. Eranu occasioni di
festa ca facevanu nesciri lu manciari chiù bonu dû munnu tuttu
a basi di rizzetti siciliani ca la nostra famigghia avia purtatu di
Valledolmo, ddu paiseddu di muntagna di unni vinevanu iddi. Lu
sirafinu attornu a me nanna simbuleggia i so figghi ca arrivaru a
l’età adulta (dui d’iddi mureru picciriddi) e lu so rolu di matriarca.
Ace e Frank, tempira, 2013
I me cucini Ace and Frank O’Geen eranu frati e eroi dâ secunna
guerra mundiali. Ace fu surdatu nta la Terza Armata di Patton e
guidava carri armati e semicingulati. Frank era capurali di fantiria
e si distinguìu in battagghia e ricivìu na midagghia pi na firuta e na
Stidda di Bronzu. I du frati sunnu pittati ntô jornu di la libbirazioni
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L’avvinturi dû zu Pete / The Adventures of Great Uncle Pete
rounding my grandma symbolize her children that survived to
adulthood (she lost two as infants) and her role as matriarch.
Ace and Frank, egg tempera, 2013
My cousins Ace and Frank O’Geen were brothers and World
War II heroes. Ace was a private in Patton’s 3rd Army and drove
tanks and halftracks. Frank was a corporal in the 42nd Infantry and
distinguished himself on the field of battle by earning a Purple
Heart and a Bronze Star. The two brothers are pictured on the
day of the liberation of the Dachau concentration camp when the
brothers were unexpectedly reunited. Arba Sicula XXXV
169
dû campu di cuncentramentu a Dachau quannu senza sapirilu si
truvaru nzemmula.
L’avvinturi dû zu Pete, Tempira 2007
L’avvinturi dû zu Pete rapprisenta a Peter Barone (1897-1975)
supra na navi cu lu sicaru ca iddu fumava sempri, mentri nzonna
dâ so vita comu marinaru mircantili. Scigghìvi la pittura rinascimintali di”Pericli e Andromida” di Piero di Cosimo (1462-1522)
pirchì mi parsi ca rapprisintava la vita dû zu Pete comu granni
viaggiaturi pi lu munnu e li storii ca mi cuntava dî posti esotici ca
iddu avia visitatu.
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The Adventures of Great Uncle Pete, egg tempera, 2007
The Adventures of Great Uncle Pete is a painting of Peter Barone
(1897–1975) on the deck of a ship, complete with his ever-present
cigar, daydreaming about his life at sea as a merchant mariner. I
chose the Renaissance painting Pericles and Andromeda, by Piero di
Cosimo (1462–1522) because I thought it best represented Uncle
Pete’s life as a world traveler and the stories he used to tell me of
the exotic places he visited.
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171
Usanzi Siciliani
D
uranti l’urtimu tour da Sicilia lu gruppu di Arba Sicula
fu nvitatu di Piero Carbone di passari na menza jurnata a Racalmutu. Una di l’attività ca Piero priparau fu chidda
di inaugurari na mustra di fotugrafii scattati di Louise Hamilton
Caico a lu Casteddu Chiaramuntanu. Li autorità di Racalmutu, lu
sinnacu Emilio Messana e vari assissuri, eranu prisenti pi dari lu
benvinutu a Gaetano Cipolla e a li soci di Arba Sicula. Doppu la
visita a lu casteddu ci fu un rinfrescu e na passiata pi lu paisi pi
iri a manciari nta lu risturanti La Taberna unni tutti manciaru un
pranzu lucullianu. Tra li riali ca Arba Sicula riciviu c’era un libru
nteressanti scrittu appuntu di Louise Hamilton Caico, na giuvini
nglisi ca si maritau c’un riccu pussidenti, Eugeniu Caico, e vinni a
stari nta la zona di Montedoro unni vinni a cuntattu cu la società
siciliana ca era tantu diversa da chidda nglisi. Lu libru cunta di
la so vita passata a Montedoro ma è puru na ti-stimunianza di li
costumi e usanzi siciliani visti attraversu l’occhi di na fimmina
inteliggenti e ricca di nteressi ntellettuali. Lu libru ca nni desiru
fu ristampatu cu la traduzioni taliana. Originalmenti avia statu
pubblicatu in nglisi nto 1910 cu lu titulu di Sicilian Ways and Days.
Truvammu l’originali supra l’internet e traducemmu un capitulu
didicatu a li usanzi di lu matrimoniu. Si tratta di na tistimunianza
ca nni fa ricurdari comu era la Sicilia a ddi tempi e comu li cosi
hannu canciatu doppu cent’anni.
Louise
Hamilton Caico
accumpagnata
di dui camperi.
Louise
Hamilton Caico
riding a horse
accompanied by
her two escorts.
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Sicilian Customs
D
uring the last tour of Sicily the Arba Sicula group was
invited by Piero Carbone to stop in Racalmutu for half
a day. One of the activities that Piero prepared was the inauguration of an exhibit of photograph by Louise Hamilton Caico at the
Chiaramontano Castle. The Racalmuto authorities were on hand,
the Mayor Emilio Messana and several aldermen, to welcome
Gaetano Cipolla and the members of Arba Sicula. After the visit to
the castle and to the exhibition refreshments were offered and then
the group was escorted to a La Taberna Restaurant where everyone
had a five course lunch, a Lucullian feast, in fact. Among the gifts
to Arba Sicula there was a copy of an interesting book written by
Louise Hamilton Caico, a young intellectual who had married a
wealthy landowner from the area, Eugenio Caico, and had come
to live in the area of Montedoro, coming into contact with a Sicilian society that was very different from her own. The book offers
an account of her life spent in Montedoro but it is also a precious
record of Sicilian customs and traditions seen through the eyes of
an intelligent woman with many intellectual interests. The book
we received was reprinted with an Italian translation. Originally it
had been published in English with the title Sicilian Ways and Days.
We found a copy of the original English text on the Internet and
translated the chapter devoted to “Marriage Customs” into Sicilian. It offers an eyewitness account of how things were in Sicily in
those days and we can only marvel at how things have changed
in a hundred years.
La figghia di
Louise, Donna
Letizia, cu li
accumpagnaturi.
Louise’s daughter
donna Letizia,
with her escorts.
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173
Lu Matrimoniu
di Louise Hamilton Caico
Traduzioni in sicilianu di Gaetano Cipolla
Assittata nto me postu abbituali d’osservazioni a l’entrata dû
nostru “casinu”1, viu passari i poviri curtei di nozzi e una di li cosi
ca mi fa chiù mprissioni è l’estrema carusanza di li sposi. Alissandru, u camperi ca è u me manuali d’infurmazioni pi tuttu chiddu
ca riguarda l’usi lucali, m’informa ca na vota, prima di l’entrata
in effettu dû novu codici ca stabbilisci ca li fimmini nun si ponnu
maritari prima dî chinnici anni, i fimmini si maritavavnu puru a
tririci anni! E ora a maggior parti si marita propriu quannu arriva
a chinnici anni, vali a diri quannu junci a l’età legali.
Fimmini ca vannu a la missa./ Women going to church.
Assai mutivi si ponnu citari pi sti matrimoni pricoci e tutti
chiù raggiunevuli di la solita spiegazioni ca li fimmini meridiunali
sunnu chiù pricoci fisicamenti.
A causa di li tanti priggiudiizi di stu paisi, na carusa di
l’infanzia nun havi cuntatti cu masculi, carusi e adulti. Idda nun
po’ jucari cu i picciriddi masculi quannu è picciridda, nun po’
taliari nta facci un omu quannu è crisciuta. Nuddu carusu va a
faricci visita nta so casa. Tutti li omini dâ so famigghia ncontranu
i so amici a la taverna o a lu “casinu”2. Nun po’ participari a li festi
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Arba Sicula XXXV
Marriage Customs
by Louise Hamilton Caico
One of the many things that I can’t get over here is the
youth of the brides, whenever I watch some humble marriage
procession pass by as I sit in front of our casino1, my usual post
of observation; but the campiere Alessandro, my general informer
of local customs, tells me that formerly, before the new Code
of laws came in, which appoints fifteen years as the marriageable age for a girl, it was the custom to marry them at thirteen!
Now that fifteen is the limit, one continually hears of girls being married-in the lower classes, of course-the moment they have
reached the legal age.
A great many reasons can be given for this, which are all
more forcible than the usual argu­ment of physical precocity in a
Southern country.
Fimmini ca vannu a la missa./ Women going to church.
Owing to the many prejudices of this place, a girl, from her
tenderest age, has no contact what­ever with boys and men. She is
not allowed to play with little boys when she is a child, nor to look
a man in the face when she grows up. None come into her househer male relatives see their friends at the tavern or at the casino “2
’-she is never taken to any of the humble christening or marriage
entertainments which take place amongst her friends; she is not
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175
di battisimu, o di matrimoniu né po iri a travagghiari a jurnata
nta la custurera, o la lavannara (ca ci putissi dari l’opportunità di
guadagnarisi quacchi cosa pi contribuiri a lu mantenimentu dâ
famigghia). L’unicu spassu ca ci veni datu è chiddu di iri a pigghiari
l’acqua a la funtana, quasi sempri vicinu a so casa. E di iri a la missa
la duminica, sempri cu la facci ammucciata di na mantillina, pigghiannu postu ntê banchi risirvati a li fimmini, luntanu dî banchi
unni s’assettanu l’omini. Nudda meravigghia allura ca quannu la
matri di quacchi giuvini Turiddu ci la dumanna a so matri comu
sposa pi so figghiu, idda subitu ubbidienti s’accorda a maritarisi
cu iddu, macari avennulu ntravistu sulu quacchi vota.
Lu matrimoniu spissu is cummina cu un giovanottu dû paisi
emigratu in America: nta stu casu iddu ritorna pi maritarisi o idda
stissa veni accumpagnata all’autra banna di l’oceanu di un parente
o amicu di famigghia.
Pari ca ora li fimmini stannu divintannu accussì ndipinnenti
ca si sappi di quaccaduna ca si nnamurau di quacchi giuvini ca
poi vinni a dumannari la so manu sulu a taliarillu dâ finestra o a
vidirlu di na spacca dâ so mantillina mentri iva a la missa, mentri
so matri taliava di nautra banna o facennuci signali dâ so porta pi
faricci capiri ca accittava lu so curtiggiamentu. Chistu rapprisenta
la so idea di divintari ndipinnenti.
Nni risulta ca ora o spissu i dui giuvini si fannu ziti ammucciuni doppu n’ucchiata galiotta e si lu giuvini nun è in gradu di
maritarisi o pirchí havi a iri a fari u militari pi tri anni, restanu cu
sta ntisa pi tuttu stu tempu senza putirisi ncuntrari ufficialmenti
o ammucciuni, senza parrarisi, senza mancu scanciarisi littri, cosi
nurmali nta lu munnu chiù civilizzatu. Na giuvini ca non po’ scriviri ô so nnamuratu, prima di tuttu pirchí nun sapi scriviri e puru
si avissi quacchi familiarità cu l’arcana scienza dâ scrittura, vinissi
taliata suspittasamenti di tutta la famigghia.
Nautru mutivu pi li matrimoni pricoci è la miseria di li casi
ca quasi sempri è furmata di na sula stanza unni dormunu tutti i
membri dâ famigghia di ogni sessu e età. È naturali ca i ginituri
hannu primura di sbarazzarisi di la giuvini puru pirchì na bucca di
menu di sfamari è un vantaggiu tangibili pâ famigghia ca è sempri
assai numirusa.
La doti di na giuvini ntê classi poviri è quasi sempri rapprisintata di na casuzza, poi ca si usa ca lu patri dividi la casa o
li casi ca pussedi ntra li figghi fimmini, e la terra, si nn’havi, ntra
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Arba Sicula XXXV
allowed to go for a day’s work to a seamstress or laundress, and
thus con­tribute a little to the maintenance of the family; the only
diversion allowed her is fetching water from the fountain-if not too
far from her house­ and the Sunday Mass, where she is taken by
her mother, with her face well hidden under the black mantellina,
and where she sits far away from the men, in the side appointed
for the use of her sex. It is not to be wondered at, therefore, if, the
moment she is told that young Turiddu’s mother has asked to have
her as a wife for her son, she immediately and dutifully agrees to
marry him, sometimes after having scarcely seen him.
Very frequently the marriage is arranged with a young man of
the village who emigrated to America some years before; he comes
back for the wedding, or the girl is taken out to him, escorted by
friends or relations.
They tell me, however, that now girls have made themselves
so independent that at times a girl is known to have actually fallen
in love before­hand with the young man who will ask for her hand,
after having just glanced at him with one eye, through a chink in
the mantellina, on her way to church, when her mother was looking the other way, and that often, from her door, she has by signs
given him to understand that his suit will be gratefully accepted.
And this is what they call becoming independent!
The consequence is that now, very often, two young people are
tacitly engaged to each other after simply having had a glimpse of
each other in this distant and summary fashion, and if the young
man is not in a position to marry, or has to go off to be a soldier
for three years, they may remain with this mutual understanding
all that time, without the facilities enjoyed by engaged couples in
more civilized quarters, who have the comfort of frequent official,
or stolen, interviews, or who can write to each other.
A girl here, of course, cannot write—I speak of the lower
classes always—and, indeed, if she were acquainted with the uncanny art of writing, she would be looked upon with suspicion by
all her people.
Then, again, the houses of poor people consist mostly of one
room, where all the family sleep, regardless of age and sex, so it
is natural that the girl’s parents should be in a hurry to get rid of
her, and their poverty is such that one mouth less to feed is a great
boon to the family, always a numerous one.
The marriage portion of a girl in that class is always a little
house, as, every time a father divides his property amongst his
Arba Sicula XXXV
177
Na fimmina e so figghia ca portanu scialli riccamati. /
A woman and her daughter with emobriodered shawls.
i figghi masculi. Oltri a la casa la giuvini havi a furniri li linzola
e li matarazzi. La bianchiria pirsunali, l’utensili pâ cucina—assai
picca pi diri a virità—spissu sulu la pignata granni pâ pasta e na
padedda. Si la giuvini è in boni cundizioni economichi, idda si
porta a bianchiria pirsunali e i vistiti nta na gran cascia di lignu
ntagghiata o pittata a ciuri o cu vari disegni. L’antiquarii vannu in
cerca di ssi casci, si sunnu antichi e ginuini.
Li novi generazioni di spusi però portanu cu iddi larii cascittuni di picca prezzu e mali fatti, ca chiù brutti nun ni ponnu fari,
mittennuci di supra na lastra di marmuru.
Si lu giuvini è un cuntadinu, unu s’aspetta ca un mulu o un
sceccu l’havi già, e ca porta li strumenti—picca e basilari—pi travagghiari a terra, oltri a li so robbi pirsunali, nzemmula a li trispiti di
ferru pi lu lettu e li assi di lignu. Iddu avissi puru a purtari li piatti
e i recipienti di terracotta o di ciramica ca servunu nta la casa comu
li giarri pi l’acqua e pi l’ogghiu e ddu mmancabili sirviziu di cafè
spacchiusu ca mettunu supra lu cascittuni.
Lu zitaggiu avveni siguennu sti furmalità: na pocu d’amici
si riunisciunu nta la casa di la zita; lu giuvini arriva cu aria gravi,
accumpagnatu dâ so famigghia e offri a la so zita—chista è la prima
vota ca la vidi di vicinu—un beddu fazzulettu culuratu di sita,
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Na giuvini sposa
di chinnici anni.
A bride of fifteen
years of age.
children, he leaves the house or houses to his daughters, the landif he has any-to his sons.
Besides the house, the girl is expected to bring all that will be
needed in her little household, like the sheets and mattresses for
the bed, her own linen, and the kitchen utensils-alarmingly
few of them, very often only the big pot to boil the maccheroni
and a frying-pan.
If she is at all well off, she brings the house-linen and her
clothes in a large dowry-chest of carved or painted wood, according to her means. These old chests are very artistic, and,
when genuinely old, very much sought after by antiquarians.
The bride of the new generation, however, is now provided
with a cheap, gaudy chest of drawers instead, as ugly as they make
them, with a marble top.
If the young man is a peasant, he is supposed to possess
already a mule or a donkey, the tools ­very few and elementary
1- for working in the fields, also his own personal linen, and the
deal boards and iron trestles for the bed.
He is also expected to bring all the earthenware vessels or
pottery needed in the house, such as the water-jars and oil-bottles,
the plates, and the gaudy coffee-service, which is spread all over
the marble top of their tall chest of drawers.
The formality of the engagement is gone through in this fashion: a few relations gather in the girl’s house; the young man comes
in gravely with his family, and offers to his bashful fiancée-it is the
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un fardali eleganti, quacchi vota na sciarpa di sita, un cuteddu di
sacchetta, cu na lama tagghienti e murtali, na scatula di lignu pi
li ugghi e un aneddu di scarsu valuri. Quacchi vota la zita riala a
iddu un cuteddu di sacchetta. Doppu sta cirimonia, lu zitu po’ veniri a visitarila ogni jornu, purtannuci na rosa e assittannusi vicinu
mentri idda cuci a latu di so matri; nta staciuni di sira, sempri sutta
la stritta surviglianza di la matri o di quaccadunu dâ famigghia, i
dui giuvini ponnu fari na passiata fora dî porti dû paisi.
A stu puntu la giuvini dedica tutta la jurnata a cuciri na camicia
cu pieghi cumplicati assai davanti e un gileccu ca lu zitu s’havi a
mettiri lu jornu di lu matrimoniu. Idda nun havi a fari nenti pi lu so
curredu ch’è già prontu e stiratu dintra la cascia: camici, suttavesti
e linzola, fodiri, asciucamani e tuvagghi ca idda ha priparatu di
quannu aveva deci anni. Ora ricevi dû so zitu na nova vistina e un
fazzulettu di sita ca si metti chinnici jorna prima di lu matrimoniu
quannu idda nzemmula a tutti li fimmini dâ so famigghia, tutti
ammucciati sutta li so mantillini o scialli, e lu scuru di la notti,
vannu a la casa dû parrinu unni l’aspettanu lu zitu e i so parenti.
Nchiananu supra pi dumannari ufficialmenti ô parrinu di
pubblicari u so futuru matrimoniu. La stissa cirimonia si ripeti di
jornu ô municipiu in modu ca i so nomi venunu misi nta la lista di
li ma-trimonii a veniri.
A stu puntu i parenti dâ zita nun hannu autru chiffari chi
priparari la casa—diri “stanza” fussi chiù apprupriatu—pi li sposi.
Lu rialu di matrimoniu di lu zitu a la zita è na bedda vistina
eleganti di culuri dilicatu ma sempri di sita, puru pi i chiù poviri,
e un sciallu di sita di culuri sfumatu ca idda si metti poi lu jornu
dû so matrimoniu.
Lu jornu prima di priparari la nova abbitazioni, i so cosi sunnu
misi in mustra pi fari bedda fiura. U lettu è cunzatu e tutti i vicini
venunu a taliari o criticari la qualità dû tissutu dî linzola, lu mirlettu fattu a uncinettu pi decorazioni di li foderi, facennu animati
paraguni cu chiddi di autri ziti.
La matina dû matrimoniu, la zita vistuta cu so beddu vistitu,
cummugghiata da testa finu ê pedi di li pieghi dû so sciallu lucenti,
cumincia a caminari versu lu municipiu, accumpagnata a li lati
di so matri e dî so soru e poi di tutti li fimmini dâ so famigghia.
Formanu un squisitu, silinziusu affrescu cu li scialli dâ zita e dî so
accumpa-gnatrici ca luciunu ô suli.
Ntô frattempu arriva lu zitu câ so famigghia e amici—tutti
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first time she sees him so close-a prettily colored silk handkerchief,
a smart apron, perhaps a hand­some silk scarf, a pocket-’knife-it
consists of one blade with a murderous point—a needle-case of
wood, and a cheap ring. Sometimes the girl gives him also in exchange a pocket-knife.
After this he is allowed to bring her a rose every day, and to
sit near her as she stitches away under the strict supervision of her
mother. On summer evenings, instead of sitting indoors, they may
saunter out, all together, on the road outside the village.
She is now very busy making him a shirt with elaborate
little tucks in front and a waistcoat for him to wear on their
wedding-day. She has no trousseau to make, as, when she was
ten years old, her mother began to make her work at it, and it
is all ready and laid out in the dowry-chest, if she has one. The
trousseau consists of chemises and petticoats, sheets. pillowcases, and towels.
She now receives from her fiancée a new dress and a silk
handkerchief, and wears them a fortnight before her wedding,
when, under cover of the even­ing shades, she, with all the
women of her family, well muffled in their mantelline or shawls,
go to the Vicar’s house, at the door of which her fiancée, with
his relatives, are waiting for her.
They go upstairs and give notice to the parish priest to
publish their banns in the church. The same ceremony is gone
through, in the day-time, at the town-hall, so that their names
may be placed in the public list of forthcoming marriages.
Nothing now remains but for the girl’s parents to prepare
the house-” room” would be a more appropriate word-for the
bride and bridegroom.
The bridegroom’s wedding-gift to the bride is a smart
dress, even in the poorest cases, of silk, always of a delicate
color, and a rich, soft-colored silk shawl, both to be worn on
her wedding-day.
The day before their future dwelling is prepared, their
things are all laid out in it and made the most of; the bed is
made up, and all the neighbors flock in to gaze at it, criticize
the quality of the linen, and admire the hand-made lace on the
pillow­cases, comparing them with the lace and linen of some
previous bride.
On the morning of the eventful day, the bride, finally
decked out in her smart dress, and draped from head to foot in
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masculi senza dirilu, pirchì so matri e i so soru vannu cu la zita.
E’ vistutu di niuru dignitusamenti, cu ddu gileccu e camicia ca ci
fici la zita. Iddu e i soi familiari seguunu i passi dâ zita in manera
sullenni e mi fannu la mprissioni di caminari nta un curteu funebri.
Ô municipiu, u sinnacu o un membru dû cunzigghiu cumunali ci recita l’articuli dâ liggi ca riguarda i duviri dû maritu e dâ
mugghieri. Doppu ca ognunu dici “sì” a li dumanni di l‘occasioni,
iddu scrivi i so nomi ntô riggistru.
Ora nesciunu dû municipiu e caminanu sempri ntô stissu ordini, pirchì la zita e lu zitu nun ponnu stari nzemmula si un prima
si finisci la cirimonia.
Doppu la binidizioni ntâ chessa, unni sunnu biniditti puru li
a-neddi ca un sunnu comu li cumuni aneddi ma chiù spacchiusi
cu petri fausi e di picca valuri—lu gruppu ritorna sempri nta lu
stissu ordini a la casa dâ zita unni si prova a priparari un rinfrescu
a basi di biscotti stantii, cosi duci e biccherini di un licori assai duci
e mpiccicusu ca si chiama rusoliu, fattu cu erbi o essenzi, zuccuru e
alcol. Quannu lu patri dâ zita havi i mezzi pi farlu ci offri un pocu
di Marsala, ma ddu nausianti rusoliu è inevitabili. Haiu avutu assaggiarilu quacchi vota e ogni vota m’ha fattu stari mali.
Appena sta parti dû programmma finisci, tutti accumpagnanu
li sposi a so nova casa e li salutanu cu tanti paroli di ncurraggiamentu a la giuvini sposa.
Lu jornu doppu tocca a la matri di lu zitu di di daricci la “bona
livata” a la nova coppia, mannannuci lu cafè cauddu o megghiu
ancora, si si lu po’ pirmettiri, du tazzi di ciocculatti fumianti e
ciambelli. La soggira havi a mannaricci u pranzu fattu di maccarruni, carni e vinu (e pi chiddi chiù poviri virdura, furmaggiu e
vinu) pi ottu jorna di seguitu pirchì a la sposa nun è pirmissu di
mettiri pedi fora di casa pi almenu ottu jorna. Però pi diri a virità
lu fa sulu pi dui o tri jorna.
Un jornu mentri taliava ncantata una di sti prucissioni ca passava davanti a lu nostru “casinu” visti la zita, na carusa di chinnici
anni, pallida e fina fina ca, cummugghiata di ddu lucenti sciallu di
sita, pareva ancora na picciridda, mi pigghiau na speci di raggia
e mi vutai versu u me amicu Alissandru ca era assittatu vicinu a
mia, ncriminannu dda barbara usanza di maritari cecamenti criaturi
accussì giuvini e prima ca li so corpi fussiru sviluppati o maturi
abbastanza pi affruntari i duviri dû matrimoniu.
Ma sta vota a la risposta ca mi desi ci mancau di la solita
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the shiny folds of her silk shawl, goes to the town-hall, escorted
by all her women-folk, her mother and nearest female relation
walking on either side, and all the others behind. They make
such pretty, silent picture, as they pass like this, the bride’s
silken shawl glimmering in the sunshine, all the women about
her hidden in their own smart shawls or mantelline (according to
their social position).
After them comes the bridegroom with his family and
friends-all men, of course, as his mother and sisters go with
the bride. He is dressed decorously in black, with the smart
shirt and waistcoat his fiancée made him. He and his people thus
following solemnly on the steps of the bride always give me
the impression of walking in a funeral procession.
At the town-hall the Mayor or a member of the Municipal
Council reads out to them the articles of the law concerning the
respective duties of man and wife. After each has said “Yes” to
the appointed questions, he enters their names in the register.
They now emerge from the town-hall and walk to the
church, always in the same order, as the bride and bridegroom
are not to be together a moment until it is all over.
After the nuptial benediction, during which the ring also
is blessed-not the usual wedding-ring, but a cheap, showy article, sometimes with a sham stone in it-the whole party walk
back, always in the same order, to the bride’s home, where
an attempt at refreshments is made under the shape of stale
bonbons and biscuits, and little glasses of a sweet, sticky liquor
called rosolio, of a yellowish or greenish colour, generally made
at home with certain herbs, sugar, and spirit of wine.
When his means allow him such extravagance, the bride’s
father offers Marsala wine to the com­pany, but the sickly rosolio
is inevitable. I have often had to taste it, and been most unwell
after it!
As soon as this part of the day’s programme is over, they
all escort the bride and bridegroom to their house and take leave
of them, with many words of encouragement to the little bride.
Next morning it is the duty of the bridegroom’s mother to
give the buona levata, or morning greeting, to the newly-wedded
couple by sending them some hot coffee, or, better still, when
she can afford it, two cups of steaming chocolate and a few
ciambelle (local biscuits).
She is also expected to send them in their dinner at midday
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diplomazia: “Ma certu ca chista è l’età giusta pi maritarisi: li fimmini a vint’anni sunnu già vecchi.”
Noti
1. This is the name given to a sitting-room on the ground­ floor, the
French windows of which open on to the piazza.
2. In the public casino of the village the men collect at all times, but
especially in the evening, to meet their friends chat, and play cards. ”
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for a week, since until eight days have passed the bride is not
allowed to put a foot out of the house; but in most cases now
this dinner, which consists of maccheroni, meat, and wine, or, if
they are very poor, of maccheroni, greens, cheese, and wine only,
is sent in for two or, at the most, three days.
I was admiring one day one of these marriage processions
as it passed in front of our casino when crossing the piazza, the
bride, slight and pale, encircled in her glossy silken shawl, the
childish face and expression of a little maid of fifteen.
My friend Alessandro was near me, and I turned rather indignantly to him, and remonstrated against the barbarous custom of
marrying off in this blind fashion such young things, before their
bodies and characters were ripe for the duties of marriage.
I am sorry to say his answer rather lacked his usual fine tact:
“Surely this is the proper age for a girl to marry; a woman is
old at twenty!”
Notes
1. This is the name given to a sitting-room on the ground­ floor, the
French windows of which open on to the piazza.
2. In the public casino of the village the men collect at all times, but
especially in the evening, to meet their friends chat, and play cards.
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La nostra lingua
Unu dî chiù grossi prublemi ca riguardanu la lingua siciliana
havi a chi fari cu lu modu di trascriviri li soni ca i Siciliani fannu
quannu parranu. I chiù spinusi sunnu dui e riguardanu la manera
di scriviri lu sonu di paroli comu Turiddu, cavaddu e ciuri, ciauru.
Pi cunvenzioni scrivemu lu primu sonu cu dui dd ma la trascrizioni
nun currispunni esattamenti a lu sonu. Pi lu secunnu sonu li studiusi nun s’hannu mai misu d’accordu. S’avissi a scriviri ciuri, hiuri,
xiuri o xhiuri? Francesco Giacalone nta la so Prammatica siciliana,
storia della nostra lingua proverbi, curiosità, modi di dire, consigli pratici
per una corretta scrittura, (Trapani: edizioni Colorgrafica 2009) un
libru assai nteressanti supra lu sicilianu, didicau un capitulu a na
cunsunanti ca pirdiu lu sicilianu strata facennu: la X.
Pirdemmu un sonu: Lu prublema di la “x”
di Francesco Giacalone
Oggi la pronuncia dâ littira “x” è chiù o menu chista: ics. Tutti
d’accordu quannu am’a diri lu risultatu di pareggiu nta na partita
di palluni: ics. A menu ca avemu fari n’opirazioni matimatica e
allura diventa: “pir”.
Ntô nostru alfabetu scumpariu, si mustra sulu pir quacchi
parola stranera o pir quacchi eccezioni ristata nta l’usu.
Ô tempu passatu quannu i vari dialetti dâ penisula italica
eranu ancora conziddirati lingui e poi puru in secutu quannu u
toscanu si ieva a picca a picca affirmannu comu lingua naziunali
ntâ littiratura e finu a junciri a li tempi di l’unificazioni tirrituriali,
quannu all’urtimata s’istituiu un codici linguisticu uguali pir tutti
li taliani, scumpariu di l’alfabetu la X, nzemmula a autri littiri finu
a ddu mumentu usati, cu bonu o picca successu, la y, la K, la J.
Finu a oltri la mità di l’ottucentu, u cugnomi Sciascia (di quacchi
antinatu dû scritturi Leonardo) si scriveva: Xaxa. La X sostituiva
u sonu “ scia” cu la “i” pliunastica ca servi pir dari sonu a la “a”.
Si faciti un viaggiu a Sciacca, ca un tempu si scriveva Xacca,
riscuntrabili anchi in quacchi scrittu dû Novicentu, vi accurgiti ca
l’abitanti rinesciunu a pronunciari u nomu dâ città quasi senza
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Our Language
One of the biggest problems regarding the Sicilian language deals with the way of transcribing the sounds that
Sicilians make when speaking. The two most difficult ones have to
do with the writing of the sounds of the final syllables of Turiddu,
cavaddu and the initial sound of ciuri or ciauru. Conventionally
we write the first sound with “dd” but the transcription does not
correspond exactly to the sound. For the second sound scholars
have never agreed. Should it be written as ciuri, hiuri, xiuri o xhiuri?
Francesco Giacalone in his Prammatica siciliana, storia della nostra
lingua proverbi, curiosità, modi di dire, consigli pratici per una corretta
scrittura, (Trapani: edizioni Colorgrafica 2009), a very interesting
book on Sicilian, devoted a chapter to a consonant that the Sicilian
language lost during its developmen: the X.
We Lost a Sound: The Problem with the X
by Francesco Giacalone
Today the pronunciation of the letter “x” is more or less this:
iks. We are all in agreement when we have say the result of a soccer game that ended in a draw: X. If we speak of a mathematical
operation then X stand for “by”.
The x has disappeared from our alphabet. It pops up sometime
in some foreign word or in some exception that is still in use. At
the time when the various dialects of the Italian peninsula were
still considered languages and then following the establishment of
Tuscan as the literary language at the national level when finally a
linguistic code that was the same for everyone, the x disapperared
from the alphabet together with other letters normally used until
then such as the Y, the K, and the J. Until the middle of the nineteenth century, the last name Sciascia (belonging to some relative
of the writer Leonardo) was written: Xaxa. The x substituted for the
sound “sh” (scia) where the “I” served the purpose of making the
“sh” sound. If you travel to Sciacca, which once was written Xacca,
a way that can still be found in writing of the Twentieth century,
you will notice that the inhabitants manage to pronounce the name
of their city without paying attention to the “i”. Calascibetta was
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lassari nutari la “i”. Calascibetta si scriveva puru idda cu la “X”.
Un secunnu sonu ca vineva trascrittu cu la “ics” era chiddu
di li duppii essi: Mouxa - Moussa, la forma araba dû nomu Mose.
Avemu puru taxi, tassi, Mexico - Messicu.
In quacchi componimentu poeticu midiuevali truvamu la
nostra simpatica “x” pir dari risaltu a la “c” duci: Xiuri - ciuri;
Xumi - ciumi.
(Cu sti dui urtimi paroli apremu na parentesi pir ricordarinilli
chiù in avanti). Nta una di li strati principali dâ città di Trapani c’è
un gluriusu Liceu sistimatu ntô monasteru dî Gesuiti dû seicentu,
ntitulatu a Leonardu Ximenes ca tutti i trapanisi si ostinanu a chiamari Csimenes e, pir quantu sacciu io, mai un docenti ni spiegavu
la vera pronuncia (quaccadun autru aveva a spiegariccillu a iddu!).
U problema è di semplici soluzioni, basta iri nta la vicina
Spagna e fari leggiri ô primu autoctonu ca passa u cugnomi dû
patri gesuita dû Setticentu L. Ximenes, ddu granni incigneri e
astronumu trapanisi: a so pronuncia nun po’ essiri “sci”, né “ss”,
e mancu la “c”duci, ma un sonu diversu, presenti nta la lingua
spagnola, sicuramenti nta lu tedescu e c’un forti accentu puru nta
l’ebraicu e nta l’arabu.
E’ u sonu di la “jota” (in tedescu nun sacciu com’ è), di la “het”
ebraica e chidda ca ci currispunni in arabu.
Nui taliani riniscemu a imitari tali sonu, quannu stintamu a
eliminari quacchi cosa di la gula.
Nta stu casu la parola “Jmenes” nni junci cu la trascrizioni
grafica di la “X” iniziali, ma nui la liggemu a la nostra manera
abituali: 1 X 2.
Nun si trasforma graficamenti comu accadiu a migghiara d’autri paroli, ntô linguaggiu è abbastanza nurmali truvari
trascrizioni diversi dû stissu termini ca l’usu mudernu modifica
ntâ pronuncia. Pir esempiu: De Vincenti - De Vincenzi. Nuddu
oggi liggissi la “t” pronunciannula “z” anchi si canusci u latinu
(Deo gratias).
Sta emissioni pir nui strana di la JOTA spagnola, di la HET
ebraica e currispunnenti araba, accussì picca o nenti familiari nun
fici mai parti dû patrimoniu linguisticu sicilianu? Putemu cuntari
supra cirtizzi ab antiquo si è veru ca tali emissioni era canusciuta
ê latini e usata comu nta la superstiti “nihil”.
L’arabi nni lassaru, pi so bontà, tanti di chiddi paroli e si firmaru comu patruni pir chiù di du seculi e menzu cu interi paisi e
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also written with the X. A second sound that was written with
the x was the one normally written with two “s” as in Mouxa=
Moussa, the Arabic form of Moses’ name. We also have taxi=tassi,
Mexico= Messico.
In some medieval poetic composition we find our delightful
x to highlight the soft “c” in words such as Xiuri (ciuri) and Xumi
(ciumi).
With these two words allow me a digression that we will address late on. In one of the main streets of Trapani there is a glorious
High School located in the a Jesuit monastery of the seventeenth
century named after Leonardu Ximenes that all the Trapanese
obstinately continue to pronounce Csimenes and, as far as I know
no teacher ever explained the correct pronunciation of it (Perhaps
someone should have explained it to him/her).
The problem is easily solved. All you have to do is go to nearby
Spain and ask the first passerby to read the last name of father L.
Ximenes, an eighteenth century Jesuit astronomer and engineer.
The name will not be pronounced with either a “sh” sound or a
“ss” and not even with the soft “c”, but with a totally different
sound, present in Spanish, as well as in German and with a stronger
accent in Hebrew and Arabic. It’s the sound of the “jota.” I don’t
know what they call it in German, and of the Hebrew “Het” and
the corresponding sound in Arabic.
We Italians manage to imitate such a sound when we have
trouble clearing our throat. In this case the word “Jmenes” reaches
us with the graphic representation of the initial X. But we continue
to red it as “iks” as in 1 X 2, referring to the Totocalcio’s card indicating victory, tie and loss of a game.
It is not transformed graphically as happened to thousands
of other words. In normal language it is fairly common to find
different ways of writing the same term that modern usage modifies upon pronouncing it. For example: De Vincenti= De Vincenzi.
Nobody today world read the “t” pronouncing it as a “z”, even if
he knows Latin (Deo gratias).
This strange sound produced by the Spanish jota, the Hebrew
“het” and the Arabic equivalent which is so unfamiliar to us was
never part of the Sicilian linguistic heritage? We can count on
ancient certainties if it is true that such a sound was known to the
Romans and used in words that survived such as “nihil” (nothing).
The Arabs, who were here as Lords for more than two and a
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zoni chini chini di paisani ca parravanu lu magrebinu: è verusimili
ca u sonu carattiristicu di la HET scumpariu cu la so partenza nta
l’unnicesimu seculu?
A cuminciari dû Triccentu, doppu, avemu na longa pirmanenza dî spagnoli (sempri comu patruni) ca ancora oggi mantenunu
u stissu sonu e puru iddi nni lassaru quacchi paruledda ccà e ddà
dû so idioma e fussi logicu pinzari ca ntâ Sicilia la JOTA spagnola
fussi comunementi usata.
Nni esistunu tracci? Certu chi ci nni sunnu!
Ripigghiamu la parentesi doppu li paroli “ciumi e ciuri” ca
oggi, sapemu, si pronuncianu cu la “c” duci .. .nta tutta la Sicilia?
Sì, tranni ca di li parti di Cattolica unni li scrivunu cu la “H” iniziali
e li pronuncianu cu un sonu c’assumigghia assai ô gargarisimu
arabu, sulu nanticchia chiù duci.
Li provi nconfutabili venunu dî documenti dî seculi scorsi
chi, sibbeni nun putemu tistimuniari a pronuncia esatta dî paroli
antichi, nni lassanu li trascrizioni differenti di na determinata parola
ntô tempu pir adattarila ô diversu modu di esprimirisi oralmenti.
Basta fari i giusti riscontri pir capiri li differenzi ca la trascrizioni
voli suttaliniari.
Duranti la me cura di l’archiviu parrucchiali nta antica chiesa
di San Petru mi truvai un beddu jornu fra le mani un documentu
datatu 1636 unni eranu minziunati dui cugnomi canusciuti scritti
in manera particulari: Xaggegi e Giaxaluni.
Ntâ pagina siguenti n’incirtizza ortugrafica, u primu cugnomi
veni trascrittu con la junta di na “H”: Xhaggegi.
L’identica incirtizza ntô secunnu cugnomi ma ntô documentu
succissivu, di la stissa data: Giaxhaluni.
Evidentementi u scrivanu vossi fari rilivari un particulari e
pir farilu vidiri, usau li littiri ca aveva a dispusizioni. Forsi ntinneva diri:
“Picciotti chi liggiti, attinziuni, ccà aviti a leggiri a la manera
di l’ arabi”.
La “X” di sti dui cugnomi ntô tempu nun sentunu la
trasfurmazioni grafica comu nta l’esempi precedenti “ss - sci – c
(duci)”, ma in”C” dura sicutata ovviamenti di la “A”: Caggegi e
Giacalone.
La “X” ntâ nostra storia di l’ortugrafia non ha statu mai usata
ô postu dâ “C” dura; puru ntô stissu documentu di cui supra si
trovanu autri dui cugnomi regolarmenti trascritti cu la “C”: senes
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half centuries, left us many town where people spoke the language
of the Maghreb. Is it likely that the characteristic sound of the “Het
disappeared when they left Sicily in the twelfth century?
Beginning in the fourteenth century, we had a long domination by the Spaniards (again as Lords) who have not changed their
pronunciation, maintaining the same sounds and they too left quite
a few words from their language and it would be logical to think
that the Spanish Jota was commonly heard.
Are there any traces of it left? Of course, there are!
Let’s return to the words “ciumi” and “ciuri” that as we know
are pronounced with a soft “c”, in all of Sicily, except in the area
around Cattolica where they write the words with an initial “h”
and pronounce it with a sound that resembles the Arabic gargling,
but more gentle.
The irrefutable proof comes from documents dating back some
centuries, which, although we cannot testify to the exact pronunciation of ancient words, leaves us different transcriptions of certain
words that provide clues of the different ways of articulating their
sounds. All we need to do is interpret them correctly to understand
the differences that the transcriptions meant to underline.
During my tenure as caretaker of the parish archives in the
ancient church of Saint Peter, I found one day a document dating
back to 1636 where two last well known names were mentioned,
written in a peculiar way: Xaggegi and Giaxaluni.
On the following page the writer added an H to the name
displaying a bit of unsureness: Xhaggegi.
The same unsureness was displayed in writing the second
name, but in the following document with the same date: Giaxhaluni.
Apparently the writer wanted to give a hint about the correct
pronunciation and used the letters that he had at his disposal. Perhaps he meant to say: “Fellows who are reading, be careful, here
you must read the name as in Arabic.”
The “x” in the history of our orthography has never been used
in place of a hard C, that is, a K sound. In the same document above
two other names are written regularly with the hard C: senes marius
Carrara et vincentius de Costanza.
The document is really a hybrid of Latin, Italian and Sicilian.
The name Caggegi is of Jewish origin and it still exists in
Israel where it’s pronounced with the initial syllable aspirated as
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191
marius Carrara et vincentius de Costanza.
U documentu è un ibridu di latinu, talianu e sicilianu.
U cugnomi Caggegi è d’origini ebraica e esisti ancora in Israele
unni si pronuncia cu lu gruppu cunsunanticu iniziali aspiratu:
Hagiegi, cu la “het”. L’usu di la “X” ntinneva mettiri l’accentu
supra stu particulari tipu di sonu finu a quannu fu usatu. Doppu,
quannu u modu di liggirila si mudificau, vinni sostituita.
L’autru cugnomi, u me, havi la radici araba “jach” (cu
l’aspirata ca chiù aspirata d’accussì nun po’ essiri) ca equivali a:
frati, di la stissa origini, di la stissa populazioni.
In autri documenti dâ fini dû Seicentu in poi si trova scrittu:
Chaggegi e Giachaluni, propriu pir mustrari quacchi cosa chi
manca, na cunsunanti ca si pronunciava aspirata.
Oggi veni spuntaniu usari la trascrizioni dû «ch» pir esprimiri
ddu sonu gutturali-aspiratu, comu accadiu ô nomu Chava ca nta
l’ebraicu havi l’iniziali aspiratissima.
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Hagiegi, with the Hebrew “het” The use of the x meant to highlight
this particular sound until it was in use. Afterward, when the way
of reading it changed, it was substituted.
The other last name, mine, has the Arabic root “jach” with an
unmistakable aspiration whose meaning is equivalent to, brother,
of the same origin, of the same population.
In other documents from the end of the seventeenth century
onward, the last names are written Chaggegi and Giachaluni, to
point out that there was something missing: a consonant that was
to be pronounced aspirated.
Today it comes natural to use the transcription of “ch” to
convey that guttural-aspirated sound as happened to the name
Chava which in Hebrew is pronounced with the initial syllable
strongly aspirated.
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Recenzioni
Piero Carbone, Lu Pueta Canta Pi Tutti/ The Poest Sings for All,
Introduzione e traduzioni di Gaetano Cipolla, Legas 2014.
Recenzione di Nino Provenzano
‘Nta lu titulu di chista antologia bilingui, c’è la spiegazioni
di lu significatu di lu cuntinutu di stu libru. E` certu chi stu pueta
canta pi tutti, protesta pi tutti, ietta vuci pi tutti, e scummogghia li
soi sintimenti pi tutti chiddi chi legginu stu libru.
Piero Carbone scrivi in sicilianu e parra di la lingua siciliana
chi fu abbannunata ni na gnuni di la cultura siciliana. “Lu dialettu
è cunnannatu abballari la tarantella”, Carbone lamenta.
La puisia di stu poeta è eloquenti e cu chissa iddu fa palisi li
soi idei, li soi cunvinzioni, li soi aspirazioni e osservazioni. Una di
li caratteristichi di stu pueta, è chidda di purtari lu suggettu di la so
criazioni sutta l’occhi di lu litturi e comu calamita cui leggi, assorbi
lu significatu intensu di la parti intima di l’arti di Piero Carbone.
Lu Prufissuri Gaetano Cipolla ni l’introduzioni di sta antologia
si spiega chiaru quannu dici “L’attivismu mustratu in difisa di la
lingua siciliana è presenti in ogni aspettu sia chi parra di la mafia,
di l’ambienti, di la povertà, di l’abbusu di putiri o di li cangiamenti
di la sucità siciliana. La puisia è mpastata cu un senzu di cunzapevolizza chi fa nutari li cuntradizioni e la falsità di la vita muderna”.
L’umanità di Piero Carbone nun si discuti comu si viri
liggennu
Vaiu pi cantari e jettu vuci
Vulissi la putenza di Neruda,
la vuci tiatranti di Buttitta
lu sintimentu forti di Unamunu
La musica di Jacupu Prevert.
Aju la forza di li picciriddi
la vuci di mutangari e di muti,
lu sitimentu tantu unn’è filici,
ma vaiu pi cantari e jettu vuci.
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Book Reviews
Piero Carbone, The Poet Sings for All /Lu pueta canta pi tutti, a
Bilingual Anthology (Sicilian/English), Introduction and Translation by Gaetano Cipolla, Legas 2014.
Reviewed by Nino Provenzano
The title of this bilingual anthology “The Poet Sings for All”
is self explanatory. It is certain that this poet sings for all, protests
for all, screams for all, uncovers the truth of his sentiments for all
the readers.
Piero Carbone writes in Sicilian, about the Sicilian language
that has been relegated to the corner of the Sicilian culture. “The dialect is condemned to dance the tarantella” he laments. This poet’s
writing is eloquent, and with it he shares his ideas, his convictions,
his aspirations and his observations. One of the characteristic of
Piero Carbone is to bring the subject of his creation under the focus
of the reader, and put the spotlight on the issues that permeate
every facet of his art. Professor Gaetano Cipolla says it best in his
introduction when he writes: “The activism displayed in defense
of the Sicilian Language is present in every aspect of his poetry
whether he is talking about the mafia, the environment, poverty,
abuses of power and changes in Sicilian society. His poetry is imbued with a sense of social awareness that notices the contradictions
and the falsity of modern living”.
The humanity of Piero Carbone’s poetry is evident as we see
in this poem :
I Try to Sing, But Only Screams Come Out
I wish I had the power of Neruda,
the acto’rs voice of Buttitta
the mighty sentiments of Unamunu.
the music of Jacob Prevert.
I have the strength of a small child
the voice of a deaf mute,
my thinking too is not felicitous
I try to sing, but only screams come out.
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La puisia chi segui, raprisenta lu disideriu di ogni umanu chi
vulissi essiri un giganti pi risolviri tutti li prublemi ma inveci, si
senti comu un nanu. Ma stu pueta nanu nun è. Iddu sapi, comu
spiega ni la prossima puisia chi è nicissariu accittari soccu è chi
nun si pò canciari.
Aspittavu lu trenu
Aspittavu lu trenu di li setti
e un vinni
Aspittavu chiddru ri l’ottu
e un vinni.
Aspittavi tutta la jurnata
e un vinni
Chi aveva a fari?
Mi nni jivu a l’appedi.
Liggennu la prossima puisia sintemu la sinzazioni di la currenti situazioni pulitica, e la dulurusa discrizioni di l’amuri chi avi
pi la so terra.
Nni l’abissi
Comu un denti mi doli
stu paisi
ma cadiri nun pò
nun e` di latti
e menu mali sanno`
si mi cadissi
lu pirtusu ni la vucca
granni fora,
fin’a mia si tirassi
anni l’abissi.
Una di li chiù tirrificanti e pinusi puisii è
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The poem that follows, embodies the wish of every human
who would like to be a giant to tackle big challenges, instead he feels
more like a midget. But a midget this poet is not! He understands
when we have to accept what we cannot change, as he says in here:
I Went on Foot
I waited for the seven o’clock train
and it never came.
I waited then for the one at eight
and it never came.
I waited the whole day
and it never came.
what was i supposed to do?
I went on foot.
In the next poem we see how the current political situation
and the love for his country are painfully described.
In The Abyss
This country hurts me
like an aching tooth
but it cannot fall;
it is not a baby tooth,
and I thank God for that;
otherwise, if it fell out,
the hole inside my mouth
would be so large
that it would drag my body
into the abyss.
One of Piero Carbone’s haunting and poignant poems is:
“Exactly as before” which talks about Falcone and Borsellino, two
judges assassinated by the mafia. It puts the finger on the bitter
truth that plagues Sicilian society.
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‘Comu prima assistimata”
Nun fu lu chiummu
e mancu la lupara.
Fu un tirrimotu,
parsi fini` lu munnu.
Ficiru santari l’autostrata.
Cu di Palermu ora va a Capaci
la trova comu prima assistimata.
Ccà si parra di l’assassiniu di Falcone e Borsellino. Tuttu è ora
comu si nenti avissi mai succidutu
La fami e lu disideriu un finiscinu quannu si distruri la surgiva
originali chi ni dava a manciari. No!
Famia
Arrizulava un furnu
a cuorpi di picuna,
lu pani mi l’accattu a la putia,
la test l’aju sempri
a li fuazzi,
ddu furnu n menti
sempri e` chi famia.
Lu disastru di Deepwater Horizon, fu forsi la chiù divastanti
tragedia di inquinamentu di l’acqui marini di la storia Americana.
Pari notti
Lu mari e` tutti nivuru di morti.
Li pisci, a galla, un ponnu chiu` natari.
“Na siccia jittà a mari lu vilenu,
di juornu sbummicà, ca pari notti.
La puisia di Carbone è vilata di na tristi e scura currenti malinconica.
Chista è puisia dunni viremu lu munnu di l’auturi cu li soi
dubbi, spiranzi, chi sunnu li spiranzi di un populu, lu populu sicilianu. E` risaputu chi l’arti, na stu casu la puisia, ha statu sempri
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Exactly as Before
It was not lead
not was it a shotgun.
It was an earthquake.
It looked like the end of the world.
They made the highway blow up.
Now if you go from Palermo to Capaci
you’’ll find the road exactly as before”.
As the poet points out, everything is as if nothing ever happened, which means nothing has changed!
Does hunger and the yearnings go away when we demolish
or obliterate the source that used to give us nourishment? “No!”
says the poet in “Always Burning Hot”:
Always Burning Hot
I destroyed an outdoor oven.
Now I buy bread at the bakery,
but my thoughts keep on returning
to focaccia baked in there.
The outdoor oven in my head
is always burning hot.
www.magazine.quotidiano.net wrote: “The Deepwater Horizon disaster may become the most devastating leak of crude oil
in history of the U.S.” This is how Piero Carbone encapsulated his
thought:
The Dark Night
the sea is all black with dead.
Fishes on the surface can no longer swim.
A squid threw poison in the sea.
It happened in the daytime,
but it seemed night.
Piero Carbone’s poems have a somber and dark emotional
undertow. He does not point fingers, but through his poetry we see
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l’arma chiù timuta di chiddi chi cumannanu, di li tiranni, di li deficienti e disinteressati politicanti chi na vota a lu putiri un sentinu
chiù la vuci di la cuscenza ma sentinu la vuci di la cunvinienza.
Lu pueta è chiddu chi cu la sua criazioni ni duna un documentu chi dici la virità di lu prisenti a li ginirazioni futuri e propriu
allura li ‘mbrugghiuna e li currutti puliticanti ‘unn’hannu dunni
ammucciarisi davanti la virità.
Si la puisia è la finestra chi ni fa vidiri la cuscenza di un populu,
ogni libru di puisia comu chistu è una finestra spaziusa chi ni fa
vidiri tuttu e nun ammuccia nenti.
Piero Carbone è na vera e originali vuci di l’arma siciliana!
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his world, his fears, his hopes, which are the hopes of his people,
the Sicilian people. We have always known that art, in our case
poetry, has been the weapon most feared by the powerful rulers,
by tyrants, by lazy and effete politicians who once in power, do
not hear the voice of their conscience, they only hear the voice of
their convenience.
The poet is the one that with his creation provides a document, a credible witness account of the present, for generations to
come where liars and corrupt leaders cannot escape or hide from
the evidence of the truth. If poetry is the window that lets us see
into the consciousness of a people, every poetry book like this one
is a clear and spacious window that hides nothing and shows it
all. Piero Carbone is a true and original voice of the Sicilian soul!
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Libbri ricivuti / Books Received
Pietro Ardizzone, Sicilia con nostalgia, raccolta di poesie di un menfitano audace
e sognatore, self published.
Daniele Billitteri, Femina Panormitana, ovvero l’arte del matriarcato occulto,
Palermo: Promopress 2005.
Giovanni Buscemi, Un pomeriggio di mezza estate, racconto.
Louise Hamilton Caico, Vicende e costumi siciliani, Caltanissetta: Edizioni
Lussografica, 1996.
John Digby and Hong Ai Bai, A Break in Passing Clouds: Improvisations on
Chinese Poems, Merrick, NY: Cross Cultural Communications, 2014.
Franco Di Marco, Lucio e l’acqua: Storie di un siciliano inquieto, Comune di
Custonaci, 1969, reprinted 2013 FDM Fondazione
Corrado Di Pietro, La Terra sopra Scibini, romanzo, Roma: Fondazione
Mario Luzi editore, 2014
Felicia Ferlito, Sabbia di sillabe, poesie 1960-2012. Roma: Il mio libro, 2013.
Valentina Gebbia, Manuale di sopravvivenza/Survival Manual, Palermo:
Edizioni viaggidicarta,2012.
Francesco Giacalone, Uomo robot, poesie anni 70, Trapani, 2014
----
Albero, poesie 1965-1998, Trapani, 2014
Giovanni Mannino, Il poeta e il merlo indiano, Poesie, Rome: Youcanprint,
2013.
Umberto Migliorisi, Pi mmia fussi, poesie in dialetto ragusano, Centro studi
Feliciano Rossitto, Ragusa: Edizioni Cofine,2013.
Iraj Mirza, Love Me More Than the Others, Selected Poetry, Merrick, NY: Cross
Cultural Communications, 2014.
Giovanna Nicotra, Si cunta e s’arricunta… Pitture 2007-2014, testo di
Giuseppe Sciacca, Associazione Spazio Vitale, 2014.
Giuseppe Palmeri, Il progetto del barone: La Fondazione Mandralisca di Cefalù,
Palermo: Novecento, 2008.
Giuseppe Quatriglio, Il romanzo di Cagliostro, Catanzaro: Rubbettino
Editore, 2012.
Raccontiamoci una fiaba, 1 0 Concorso Letterario, Buseto Palizzolo:
Associazione ALASD JÒ. 2012.
Giuseppe Scianò, Riflessioni sulla “Diaspora” del popolo siciliano, Palermo:
Centro Studi FNS, 2014
Giovanni Sciara, Componimenti religiosi d’amore e di sdegno dell’antica
Linguaglossa, Roma: Il mio libro, 2014
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Fefè Vaccaro, Viva Maria, Palermo: Edizioni del Pitrè, 1989.
Maria Nivea Zagarella, U rologgiu re nichi, Siracusa: Editore Morrone, 2010.
----
Memoria e strammarii, Comune di Francofonte, Biblioteca comunale,
2005
----
Forajocu a la cuddata, versi siciliani, Siracura: Morrone Editore,2013.
---Scacciapinzeri, Palermo: Prova d’autore, 1999..
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Arba Sicula Also Recommends
Learn Sicilian/Mparamu lu sicilianu by Gaetano
Cipolla is the first college tetbook for learning Sicilian. It
contains a complete descrition of the language with wealth
of exercises and of cultural material written in a way that
makes learning a Sicilian fun. It is accompanied by a DVD
with all the answers to the exercises as well as the audio for
all the readings and dialogues.
Three Marias: A Sicilian Story by Roger Armbruster
is an very engrossing novel that relates the stories of three
generations of courageous and strong Sicilian women who
share the name Maria. Their story begins in Sicily and ends
in America.
The Lady of the Wheel, by Angelo Coniglio. This is
a an interesting novella that explores the Sicilian dilemma:
how to make sure that infants that cannot be taken care of
by their poor families receive the care they need.
The King of Love and Other Fairy Tales, G. Pitrè, is
a bilingual (Sicilian/English) volume that contain 12 Sicilian
fairy tales translated into English and amply annotated by
Lorna Watson and Marina Di Stefano. This is a wondrous
journey into the Sicilian imagination.
Pizzini d’amuri/Love Notes, by Senzio Mazza, (Sicilian/English poems). See the review of this book in this issue
of Arba Sicula. Mazza is an important voice in the world of
Sicilian poetry. He is one of the major living Sicilian poets.
First to Last Picking, by Sebastiano Santostefano.
This is a wonderful account of life in Connecticut for Sicilian immigrants after World War II. It is full of insights into
Sicilian-Americans, their ways of coping and their struggle
to become Americans while keeping Sicilian values alive.
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Arba Sicula XXXV
Vincenzo Ancona’s Malidittu la lingua/Damned
Language, recently reprinted in a new format and with
two accompanying CDs or one DVD of the poet reciting his work in Sicilian. Ancona’s book is certainly well
known to the members of Arba Sicula, especially those
who live in the New York area. Ancona was an institution in the Castellammare del Golfo community and
still is remembered with affection and admiration. His
book had been out of print for a number of years, and
it was reprinted in a more elegant edition at the request
of many people.
Francesco Lanza’s Sicilian Mimes: a Gallery of Sly
and Rustic Tales, is a classic of Sicilian humor that has
delighted many generations of Sicilians since its publication in the 1920’s. The book had never been translated
into English, like so many worthy others, and I felt that
it had important things to say about Sicily and Sicilians,
even as a parody of them. If you want to laugh at the
same things Sicilians find funny, if you want to know
what their taboos are, this is the book to read. Lanza’s
whacky sense of humor is definitely worth experiencing.
After Laughing, Comes Crying: Sicilian Immigrants on
Louisiana Plantations, by Joseph L. Cacibauda. This novel is
based on the author’s ancestral research through the Mormon
Church’s archive, books and newspapers and it follows the life
of Giovanni Graci, a farmer in Sicily, his decision to leave the
island, the crossing and his experience on a sugar plantation
in Southern Louisiana. The story is emblematic of so many
Italian immigrants’ tales, told with compassion and realism.
An excellent guide to our shared past. 136 pages, $14.95.
ISBN 188190169-6
Tornu/The Return, Sicilian Poems, by Antonino
Provenzano. translated into English by Gaetano Cipolla. This
is the second volume of poetry written by Arba Sicula’s Vice
President, following his successful book Vinissi/I’d Love to
Come Back. Provenzano’s style has grown freer and less attached
to traditional forms, while keeping his sense of humor intact.
This book confirms once again the talent and special gifts
the poet showed in his first book and then some. 160 pages,
$16.95. ISBN 188190171-8
Arba Sicula XXXV
205
Sicilian Palimpsest: The Language of Castroreale and
Its Territory, by Ennio I. Rao. In addition to providing
an excellent scholarly description of the language of
Castroreale and its surrounding area, Prof. Rao who teaches
at the University of North Carolina at Chapel Hill, has
included a thorough and well researched summary of the
major events of Sicilian history, touching also on Sicilian
literature.His grammar is useful as well for all Sicilians
wishing to learn the language. Prof. Rao’s comments in
most cases are applicable to Sicilian at large. This is a most
useful book for anyone interested in Sicily. 160 pages,
$14.85. ISBN 188190170X
Sicily The Trampled Paradise, Revisited, By Connie
Mandracchia De Caro , II Edition. This is a completely
revised and updated version of the book that was sold out.
Mrs. De Caro has added new chapters and expanded her
narrative to enhance historical insights into the complex
history of Sicily. ISBN 1881901-15-7 138 pp. paperback.
Price: $14.95.
Sicilian Women, by Giacomo Pilati. This is a series of
interviews of 12 Sicilian women who speak of their lives,
their successes and failures, providing excellent insights
into modern Sicilian society. $12.95. ISBN 188190115-7
The Scent of Jasmine, by Florence Gatto.This book,
containing vignettes from a Sicilian background told with
conviction and heart by Florence Gatto, sold out almost
immediately, and continues to delight those who read it.
$14.95.ISBN 188190162-9
Time Takes no Time, by Donna L. Gestri.
Sicilian traditions, beliefs and customs are explored and
brought to life in the day to day existence of the colorful
characters. ISBN 1881901610, paperback, 150 pages,
$14.95.
Ninety Love Octaves, by Antonio Veneziano, edited,
introduced and translated by Gaetano Cipolla. This is the
first anthology of Veneziano’s poems to appear in English
translation. It gives ample justification to the name “Prince
of Poets” given to Veneziano in his time. See the review
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Arba Sicula XXXV
of it in the previous issue of Arba Sicula. Bilingual (Sicilian/
English) ISBN 1881901564, paperback $12.95
Sebastiano: A Sicilian Legacy, by Connie Mandracchia
De Caro.
This is wonderful novel that weaves fiction and historical
facts about Sicily in the 19th century by the author of Sicily:
The Trampled Paradise Revisited. ISBN 1881901521,
paperback $14.95
Sicily through Symbolism and Myth: Gate to Heaven and
to the Underworld, by Paolo Fiorentino This is a wonderful
little book that everyone ought to have. It tells the stories of
the symbols and myths that have emerged out of the Sicilian
soil. See the review in the previous issue of Arba Sicula. ISBN
18881901572, paperback $12.95.
Siciliana: Studies on the Sicilian Ethos, by Gaetano
Cipolla. This collection of essays by Prof. Cipolla includes
his well known work on the Jews of Sicily, What Makes a
Sicilian?, Sicily and Greece, the Arabs in Sicily, and many
new articles not published in Arba Sicula. This is a must for
all members of Arba Sicula. ISBN 188190145-9, 258 pp.
$18.00.
Sicilian: The Oldest Romance Language, by Joseph
Privitera.
In this study, Dr. Privitera demonstrates that Sicilian
is not a dialect nor a corruption of Italian. Dr. Privitera
convincingly argues that Sicilian is the most ancient of the
romance languages. In addition, he compiles a list of words
derived from other languages such as Latin, Greek, Arabic,
Spanish, Catalan and Provencal.ISBN 188190141-6, 2004,
96 pp. $12.00
Introduction to Sicilian Grammar, By J. K. “Kirk”
Bonner, edited by Gaetano Cipolla. This is the first
comprehensive grammar of the Sicilian language available for
English speakers. It is also the first serious attempt at treating
the various different forms of spoken Sicilian as expressions
of the same underlying language. Dr. Bonner’s work ought
to dispel the notion that Sicilian is not a language, but a
dialect. Coming at a time when Sicilian is being threatened
with extinction, this work is an invitation to Sicilians and
Sicilian-Americans not to let the language of their ancestors
fade away. Price $27.95. The price includes a copy of The
Sounds of Sicilian, by Gaetano Cipolla
This 32 page booklet is a description of Sicilian
sounds accompanied by an interactive CD to teach you
Arba Sicula XXXV
207
pronunciation. It should be bought in conjunction with
Introduction to Sicilian Grammar. For $27.95 you can buy
both, including shipping. ISBN 188190151-3.
A Thousand Years in Sicily: from the Arabs to the
Bourbons, by Giuseppe Quatriglio.This is the third edition
of a classic. See the review of this book on in the book
review section. If you’re interested in Sicilian history, this
is one book you ought to have. ISBN 0921252-17-X, 228
pp. $16.00.
A Sicilian Shakespeare: A Bilingual Edition of All His
Sonnets, By Renzo Porcelli.
Why translate Shakespeare into Sicilian? Would anyone
think it strange if someone translated Shakespeare into
French, as indeed many people have, or Spanish, Russian
or Japanese? So why not Sicilian? Sicilian was the first
Italic language used by the Sicilian School of poetry under
Frederick II. Sicily has produced many important literary
figures writing in Sicilian, and now thanks to Renzo Porcelli,
Shakespeare has acquired a Sicilian voice. Price$ 8.00.
History of Autonomous Sicily, By Romolo Menighetti
and Franco Nicastro, Translated into English by Gaetano
Cipolla. This is the most comprehensive history of Sicily
from the signing of the Special Autonomy Statute for the
Island in 1947 to the present. If you want to understand
the political, economic and social situation of modern day
Sicily, this is your book. Price $18.00.
Sicily: Where Love Is, By Dominick Eannello.
This is the story of two generations of the Salerno family
who hail from a small town in central Sicily. The author
leads us on a journey through the early 1940s when Joseph
Salerno was hired as a Professor at Columbia University.
Forced to return to Italy by the break of the war, Joseph had
some experiences that would eventually change the lives of
his children. It’s a fascinating tale of love, respect for the
family and heritage. A “treasure” of a novel. Price $14.00.
Altavilla, Sicily: Memories of a Happy Childhood, By
Calogero Lombardo
“I wrote this book for the children of the family who will
never know what this place was,” said Calogero Lombardo.
This is more than a recollection of childhood memories. It
is an interesting and insightful look at the reality of Sicily
and Sicilians written with wit and a sense of humor. ISBN
1881901-36-X. 168 pages, $14.00.
Don Chisciotti and Sanciu Panza, By Giovanni Meli,
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Introduction, Notes and Translation by Gaetano
Cipolla. Revised edition.
This is not a translation of the Spanish novel, but an
entirely original rethinking of the archetypal couple of
Don Quijote and his squire Sancho, written in verse
and from a Sicilian perspective. This is an essential book
to understand the Sicilian psyche. Gaetano Cipolla’s
translation is superb. ISBN 1881901-33-5. 320 pagesBilingual volume (Sicilian/English), price $18.00.
Medieval Sicily: The First Absolute State, Revised
Edition, By Henry Barbera.
This is a revised edition of Dr. Barbera’s entertaining
and well documented account of the eventful period that
goes from the Norman conquest of Sicily to the death
of Frederick II. Dr. Barbera’s well written book places
Sicily at the center of European political development during the Middle Ages. This
is required reading for all who are interested in Sicilian history. ISBN 1-881901-05X. Paperback 160 pp. with illustrations. Price: $12.00.
Remember Me Young, by Cecelia Tumminello De Luso
Veni, veni! Come, come hold my hand and visit with
me the holidays and daily lives of those who were filled
with wit and wisdom. Walk the streets of Brooklyn
remembering the intense beginnings of Sicilians who
came to America with limited funds and no knowledge
of how they would survive. Here they were forced into a
results-driven world. Language and education were not
always within their reach. Lives were often torn apart by
expectations that never came to pass. Easy money was
dangled in front of them. Listen as the ripples of War,
Suicide and Abuse along with my Memoirs, Proverbs,
Folklore and Unconditional Love unfold. Step into “The
Love Story of Anna and Lorenzo.”
Arba Sicula XXXV
209
Special Sale
For Arba Sicula Members: Buy one book at the regular price and get a second book
free. (Free must be marked with an asterisk).
1. V. Ancona, Malidittu la lingua/Damned Language +CDs (Bilingual) $20
2. F. Lanza, Sicilian Mimes, transl. by G. Cipolla (in English)
$15*
3. First to Last Picking, by S. Santostefano, in English
$22
4. La terra di Babele, saggi sul purilinguismo ed. by D. Brancato
$22
5. Sweet Lemons Two, ed. by D. De Santis & V. Fazio (in English)
$22
6. J. Cacibauda, After Laughing, Comes Crying, a novel
$15
7. P. Ruggeri, Prigheri e canzuneddi divoti da Sicilia. (Bilingual)
$15
8. A. Provenzano, Tornu/The Return (Bilingual)
$17
9. A. Provenzano, Vinissi...I’d Love to Come (Sicilian/English) 172 pp. $16
10. G Summerfield, Remembering Sicily: Short Stories and Poems
$15*
11. G. Pilato, Sicilian Women (interviews with 12 Sicilian women) 90 pp.$13
12. F. Gatto, The Scent of Jasmine, 150 pp.
$15
13. D. Gestri, Time Takes no Time, a novel 154 pp.
$15
14. G. Cipolla, Ninety Love Octaves (Sicilian/English)
$13*
15. P. Fiorentino, Sicily through Symbolism and Myth
$13
16. C. De Caro, Sebastiano: A Sicilian Legacy
$15
17. C. De Caro, Sicily the Trampled Paradise Revisited, II Edition.
$15
18. S. Taormina, Il cuore oltre l’Oceano
$16*
19. G. Cipolla, Siciliana: Studies on the Sicilian Ethos & Lit, 228 pp.
$18
20. M.R. Cutrufelli, The Woman Outlaw, 102 pp.
$12
21. J. Privitera. Sicilian: The Oldest Romance Language 96 pp.
$12
22. G. Meli, Don Chisciotti and Sanciu Panza, 316 pp (Sicilian/English) $18
23. A. Russo, The English-Italian Lexical Converter, 242 pp
$18
24. C. Lombardo, Altavilla Sicily: Memories of a Happy Childhood
$14
25. C. Messina, A Sicilian Martyr in Nagasaki, 106 pp
$12*
26. R. Menighetti & F. Nicastro, History of Autonomous Sicily, 330 pp $18*
27. J. K. Bonner, Introduction to Sicilian Grammar +Sounds of Sicilian $28
28. F. Privitera, The Sicilians, 180 pp $14
29. B. Morreale, Sicily, the Hallowed Land, A Memoir $18*
30. G. Quatriglio, A Thousand Years in Sicily, 228 pp.3rd. edition
$16
31. Tusiani, Dante’s Divine Comedy as Told to Young People
$16
32. C. Cusumano, The Last Cannoli, 240 pp. A Novel. $19*
33. G. Meli, Moral Fables and Other Poems (Sicilian/English), $16
34. E Rao, Sicilian Palimpsest, The Language of Castroreale
$15
35. Dante’s Lyric Poems, translated by J. Tusiani (Bilingual)
$16
36. D. Eannello, Sicily: Where Love Is, a Novel, 226 pp.
$14*
37. E. Carollo, America! America!, (Italian/English) $12*
38. H. Barbera, Medieval Sicily: the First Absolute State, 152 pp.
$12*
39. J. Vitiello, Labyrinths and Volcanoes, 120 pp.
$12*
210
Arba Sicula XXXV
40. G. Basile, Sicilian Cuisine through History and Legend
$ 6
41. G. Cipolla, The Poetry of Nino Martoglio, (Sicilian/English), 304 pp. $12*
42. O. Claypole, Sicilian Erotica, (Bilingual Anthology), 196 pp. $12*
43. R. Porcelli, A Sicilian Shakespeare-All the Sonnets, (Bilingual) 100 p. $ 8*
44. G. Cipolla. What Italy Has Given to the World
$ 4*
45. G. Cipolla, What Makes a Sicilian?
$ 4*
46. L. Bonaffini, Dialect Poetry of North and Central Italy, 712 pp.
$32
47. L. Bonaffini, Dialect Poetry of Southern Italy, (Trilingual) 514 pp.
$32
48. A. Serrao, Via Terra, modern dialect poety (Bilingual)
$24*
49. L. Bonaffini, The Bread and the Rose, Neapolitan Poetry, (Bilingual) $24*
50. A. Serrao, Cantalesia, Poems in Neapolitan transl. into English
$16*
51 G. Pitrè, The King of Love and Other Fairy Tales, (Sicilian/English) $14
52 S. Mazza, Pizzini d’amuri/Love Notes, (Sicilian/English poems)
$12
53. S. Di Marco, Bitter Orange and Other Poems, (Sicilian/English)
$16
54. A. Coniglio, The Lady of the Wheel, a novella in English
$14
55. R. Armbruster, Three Marias, a Sicilian Story, a novel in English
$18
56. G. Cipolla, Learn Sicilian/Mparamu lu sicilianu, DVD only- (E-Book) $25
57. G. Cipolla, Learn Sicilian/Mparamu lu sicilianu, 336 pp., with 1DVD $32
58. A. Silicato, Soulful Sicilian Cooking, (English)
$16
59. C. Deluso, Remember Me Young, memoirs $16
60. S. Barkan, Raisins with Almonds/Pàssuli cu mènnuli (Bilingual)
$15
61. P. Carbone, Lu pueta canta pi tutti/The Poet Sings for All (Bilingual) $12
62. N. De Vita, The Poetry of Nino De Vita (bilingual)
$16
63. A. Dieli, Sicilian Proverbs/Proverbi siciliani (bilingual)
$12
64. C. Puleo, The Children of Aeolus: (English)
$14
Legas
P.O. Box 149, Mineola, NY 11501
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Arba Sicula XXXV
211
Journal of Italian Translation
Journal of Italian Translation is an international journal
devoted to the translation of literary works from and into
Italian-English-Italian dialects. All translations are published
Associate Editors with the original text. It also publishes essays and reviews
Gaetano Cipolla
dealing with Italian translation. It is published twice a year.
Editor
Luigi Bonaffini
Michael Palma
Joseph Perricone
Assistant Editor
Paul D’Agostino
Submissions should be both printed and in electronic
form and they will not be returned. Translations must be accompanied by the original texts, a brief profile of the translator,
and a brief profile of the author. All submissions and inquiries
should be addressed to Journal of Italian Translation, Dept.
of Modern Languages and Literatures, 2900 Bedford Ave.
Brooklyn, NY 11210 or [email protected]
Editorial Board
Adria Bernardi
Geoffrey Brock
Franco Buffoni
Barbara Carle
Book reviews should be sent to Joseph Perricone, Dept.
Peter Carravetta
John Du Val
of Modern Language and Literature, Fordham University,
Anna Maria Farabbi Columbus Ave & 60th Street, New York, NY 10023 or
Rina Ferrarelli
[email protected]
Luigi Fontanella Irene Marchegiani Website: www.jitonline.org
Francesco Marroni
Subscription rates: U.S. and Canada.
Sebastiano Martelli Adeodato Piazza
Individuals $30.00 a year, $50 for 2 years.
Nicolai
Institutions $35.00 a year.
Stephen Sartarelli Single copies
$18.00.
Achille Serrao
Cosma Siani
For all mailing abroad please add $10 per issue. PayMarco Sonzogni
ments
in U.S. dollars.
Joseph Tusiani
Lawrence Venuti Make checks payable to Journal of Italian Translation
Pasquale Verdicchio
Journal of Italian Translation is grateful to the Sonia
Paolo Valesio
Raiziss Giop Charitable Foundation for its generous support.
Justin Vitiello
Journal of Italian Translation is published under the
aegis of the Department of Modern Languages and Literatures of Brooklyn College of the City University of New York
Design and camera-ready text by Legas, PO Box 149,
Mineola, NY 11501
ISSN: 1559-8470
© Copyright by Journal of Italian Translation
212
Arba Sicula XXXV
Attention Arba Sicula Members!
Our address has changed
While Arba Sicula’s official address remains the same as before,
our mailing address from now will be:
Arba Sicula/Gaetano Cipolla
P. O. Box 149
Mineola, New York 11501
As Professor Cipolla will go to St. John’s University sporadically, please send all your communications, dues and other materials
included, to Arba Sicula at this address. Arba Sicula will still hold its
events at St. John’s University.
***
Visit Us on the Internet. OUR ADDRESS IS:
www.arbasicula.org
Check out our newly updated web page on the INTERNET. We have
completely revised the look and the content of the Arba Sicula site. While
some of the items have remained the same, the content of Arba Sicula has
been changed to include a good number of articles from Arba Sicula XXX
The content of Sicilia Parra has also been updated to include an abundant
sampling of issue no. XXII-1. Our book offering has also been updated to
include books published in 2010. So come visit us. I am sure you will enjoy
our new look. Go to www.arbasicula.org and join the 45,000 people who
have visited our site so far. By the way, you can also use arbasicula.com or
arbasicula.net to get to our page.
***
Mr. Vincent Ciaramitaro, former owner of Joe’s of Avenue U
in Brooklyn, has developed a web site that contains many of the recipes used in the famous Focacceria Palermitana. Check out his site at:
www.siciliancookingplus.com
Plus the island’s traditions, history and legends.
Arba Sicula XXXV
213
ARBA SICULA
A Non-Profit International Cultural Organization that Promotes a Positive Image
of Sicily and of Sicilians and Their Contributions to Western Civilization.
INVITES YOU TO JOIN ITS WORLDWIDE MEMBERSHIP
Celebrate our Thirty-Fifth Anniversary!
ARBA SICULA PROMOTES SICILIAN CULTURE IN MANY WAYS:
•
By publishing two issues per year of Arba Sicula, a unique bilingual
(Sicilian-English) journal that focuses on the folklore and the literature of Sicily
and her people all over the world; (included in membership);
•
by publishing two issues per year of Sicilia Parra, a 20-page newsletter
of interest to Sicilians and Sicilian-Americans (included in membership);
•
by organizing cultural events, lectures, exhibitions and poetry recitals free
of charge to our members and their guests;
•
by publishing supplements that deal with Sicilian culture. These
supplements are normally sent as they are published as part of the subscription;
•
by disseminating information on Sicily and Sicilians that offers a more
correct evaluation of their contributions to western civilization;
•
by supporting individual efforts and activities that portray Sicilians in a
positive light;
•
by organizing an annual tour of Sicily,
•
and by promoting books on Sicily.
AS members get a 20% discount on all Legas books.
TO SUBSCRIBE OR BUY A SUBSCRIPTION FOR YOUR SICILIAN
FRIENDS, SEND A CHECK OR MONEY ORDER PAYABLE TO ARBA
SICULA TO:
GAETANO CIPOLLA/ ARBA SICULA
PO BOX 149
MINEOLA, NY 11501
Senior Citizens and students $30.00
Individual $35.00
Foreign Membership: $40.00
Name ___________________________________________
Address__________________________________________
City, State & Zip Code______________________________
214
Arba Sicula XXXV