Art: in the Spanish colonies of America The baroque churrigueresco finds an echo immediate and brilliant footage in the Spanish colonies of America, where it acts as a stimulus on the lively trends local decorative. If in architecture Baroque and Art of import, is kept adherent to the European schemes, local crafts in which partially survives the indigenous tradition is freely expresses in forms of decorativismo accentuated in rich interior (Cathedral of Puebla, Mexico). Minor Arts Inserted in the organic conception of the decoration that is proper to the mature baroque, the minor arts, in a raffinarsi of technical processes and in a general raising of the level of craftsmanship, become an integral part of the decoration. The artist is a creator of valid reasons also for the handicrafts, from ceramics to glass, from mobile to silverware: testify liberissimi the notches in the Bellunese Brustolon, the stalls of the bergamasco Fantoni. In France the furniture supplier A.-C. Boulle, the goldsmith Ballin, Caffieri, bronze factory and carvers, work to Gobelins in perfect synchrony with architects and interior decorators, which Berain Lepautre and. The organization of large workshops at the service of the courts, in Paris as in Turin or Rome, establishes a new relationship: from one side the baroque becomes a common language and spreads at an artisan level in styles at regional and local level; on the other hand the activity of the architects and decorators contributes to raising the general level of production. The historical cycles and celebration of the fresco decoration found an echo in the resumption of production of tapestries (manufactories of Gobelins; Brussels; Monaco; Mortlake; Florence; Rome): authors in fact of cartons are almost all large Baroque painters, by Rubens at Le Brun, while are replicated with great luck some Renaissance cycles (Raphael). The ceramics manufactories of Faenza; Savona; Florence; Nevers; Saint-Cloud; Nuremberg; Delft), the Murano glass and Bohemia, the silverware shall abide in the forms and in the decoration to the new taste more free, while diffuse collections of models for the silversmiths and modellers who contribute to the leveling of the taste. Music The term appears in musical historiography only around 1920: the German musicology has taken from the visual arts when the scholars of the history of art had accepted as stylistic definition of a period, free now of those negative connotations that had at the origin. The use of the term in the field of musicological provoked lively contrasts and is not yet universally accepted: in Great Britain, in France and in Italy encounters particular interference, mainly due to the difficulty to give a stylistic definition unitary a period that spans a century and a half (ca. 1600-1750), rich of musical events disparatissime. On the other hand a broad stream of musicology considers that the term possesses a suggestion indispensable as stylistic indication general for a period in which the renewal of the language of music has an undeniable parallelism with that of the figurative language (even if it is obviously not appropriate to attempt to ravvisarvi too detailed matches): on the plane strictly linguistic, is certainly a definition more appropriate than that of Riemann, which simply refers to a particular technical, albeit decisive, speaking of "age of the basso continuo". With the use of baroque appears much more evident the placement cultural-historical style. The advent of the basso continuo is still one of the most conspicuous of the transformation of the language of the Renaissance period that is making around 1600. Writing strictly polyphonic, wherein all entries were on the same plane of importance, it is simplifying and biases on extreme entries: affirms the monodia accompanied and the meeting of the parties in a vertical direction determines the development of harmony, that is free from the mode and defines the hue. The conception of the speech in the horizontal direction is therefore less, or (as in Bach) writing counterpointistic fits in with that harmonic. The adhesion of the music to the world of "suffering" is one of the purposes of Baroque poetry: the static renaissance balance gives place to a vibrant expressive dynamism, which may manifest itself in the gorgeous intensity of colorismo of Venetian school as in the linearity of the monophonic compositions. The search of the voltage, contrast, "Chiaroscuro", also stated in the instrumental music, which is born and develops in the Baroque age with the Concerto grosso solo and with the sonata and with compositions for organ and harpsichord. With the assumption by the instrumental music of dance forms also the fluid and sliding renaissance rhythm turns razionalizzandosi. The tools themselves visibly diminish in number and are perfected in function of the search for a new ideal sound. Parallel to instrumental music, that located in Venice one of the centers of major development, they are in the field of voice the genres of the oratory of the sung and the melodrama: in the latter the glitz Scenic, the taste for the ornamentation and virtuosity refer to as many attitudes emblematic of Baroque taste. Art: in the Spanish colonies of America The baroque churrigueresco finds an echo immediate and brilliant footage in the Spanish colonies of America, where it acts as a stimulus on the lively trends local decorative. If in architecture Baroque and Art of import, is kept adherent to the European schemes, local crafts in which partially survives the indigenous tradition is freely expresses in forms of decorativismo accentuated in rich interior (Cathedral of Puebla, Mexico). Minor Arts Inserted in the organic conception of the decoration that is proper to the mature baroque, the minor arts, in a raffinarsi of technical processes and in a general raising of the level of craftsmanship, become an integral part of the decoration. The artist is a creator of valid reasons also for the handicrafts, from ceramics to glass, from mobile to silverware: testify liberissimi the notches in the Bellunese Brustolon, the stalls of the bergamasco Fantoni. In France the furniture supplier A.-C. Boulle, the goldsmith Ballin, Caffieri, bronze factory and carvers, work to Gobelins in perfect synchrony with architects and interior decorators, which Berain Lepautre and. The organization of large workshops at the service of the courts, in Paris as in Turin or Rome, establishes a new relationship: from one side the baroque becomes a common language and spreads at an artisan level in styles at regional and local level; on the other hand the activity of the architects and decorators contributes to raising the general level of production. The historical cycles and celebration of the fresco decoration found an echo in the resumption of production of tapestries (manufactories of Gobelins; Brussels; Monaco; Mortlake; Florence; Rome): authors in fact of cartons are almost all large Baroque painters, by Rubens at Le Brun, while are replicated with great luck some Renaissance cycles (Raphael). The ceramics manufactories of Faenza; Savona; Florence; Nevers; Saint-Cloud; Nuremberg; Delft), the Murano glass and Bohemia, the silverware shall abide in the forms and in the decoration to the new taste more free, while diffuse collections of models for the silversmiths and modellers who contribute to the leveling of the taste. Music The term appears in musical historiography only around 1920: the German musicology has taken from the visual arts when the scholars of the history of art had accepted as stylistic definition of a period, free now of those negative connotations that had at the origin. The use of the term in the field of musicological provoked lively contrasts and is not yet universally accepted: in Great Britain, in France and in Italy encounters particular interference, mainly due to the difficulty to give a stylistic definition unitary a period that spans a century and a half (ca. 1600-1750), rich of musical events disparatissime. On the other hand a broad stream of musicology considers that the term possesses a suggestion indispensable as stylistic indication general for a period in which the renewal of the language of music has an undeniable parallelism with that of the figurative language (even if it is obviously not appropriate to attempt to ravvisarvi too detailed matches): on the plane strictly linguistic, is certainly a definition more appropriate than that of Riemann, which simply refers to a particular technical, albeit decisive, speaking of "age of the basso continuo". With the use of baroque appears much more evident the placement cultural-historical style. The advent of the basso continuo is still one of the most conspicuous of the transformation of the language of the Renaissance period that is making around 1600. Writing strictly polyphonic, wherein all entries were on the same plane of importance, it is simplifying and biases on extreme entries: affirms the monodia accompanied and the meeting of the parties in a vertical direction determines the development of harmony, that is free from the mode and defines the hue. The conception of the speech in the horizontal direction is therefore less, or (as in Bach) writing counterpointistic fits in with that harmonic. The adhesion of the music to the world of "suffering" is one of the purposes of Baroque poetry: the static renaissance balance gives place to a vibrant expressive dynamism, which may manifest itself in the gorgeous intensity of colorismo of Venetian school as in the linearity of the monophonic compositions. The search of the voltage, contrast, "Chiaroscuro", also stated in the instrumental music, which is born and develops in the Baroque age with the Concerto grosso solo and with the sonata and with compositions for organ and harpsichord. With the assumption by the instrumental music of dance forms also the fluid and sliding renaissance rhythm turns razionalizzandosi. The tools themselves visibly diminish in number and are perfected in function of the search for a new ideal sound. Parallel to instrumental music, that located in Venice one of the centers of major development, they are in the field of voice the genres of the oratory of the sung and the melodrama: in the latter the glitz Scenic, the taste for the ornamentation and virtuosity refer to as many attitudes emblematic of Baroque taste. Zurbarán, Francisco de- Eliot, Thomas Stearns The poet and writer U.S. naturalized English (Saint Louis, Missouri, 1888-London 1965). Trained at Harvard University, he perfected his studies at the Sorbonne, at Oxford and in Germany, manifesting suffered a deep interest in philosophy and for letters. Settled in Great Britain in 1915, became a British citizen since 1927. After some attempts of youth "discovered" by E. Pound, which led him to publish on the magazine Poetry of Chicago some poems then included in the volume The Love Song of J. Alfred Prufrock (1917; the love song of J. Alfred Prufrock). The friendship with pound was fundamental in poetic formation of Eliot, who devoted him, with the epigraph dantesca "the best blacksmith", the famous poem The Waste Land (1922; The desolate land), evocation and together epitaph of a world in full crisis after the first world war. The Waste Land shows not only the influence of Pound (which contributed also corrections to the text), but also the interest for the metaphysical poets British, for Blake and for Dante, as well as a new dynamic vision of tradition, understood as the use and constant modification of the literary and cultural heritage. The years after the publication of the hollow Men (1925; men voids), in which the negative vision of Eliot reached its apex, marked a profound rethinking critical and poetic, expressed with extreme clarity in 1930, when Eliot declared itself a monarchist in politics, classic in literature and anglocattolico in religion. This change is also he thought in creative works, especially in the harvest Ash-Wednesday (1930; Ash Wednesday), which reveals marked interests devotees and religious and a tone calmer. There followed a series of theatrical works (Murder in the Cathedral, 1935, Murder in the cathedral; Family Reunion, 1939, family reunion; The Cocktail Party, 1949; The Confidential Clerk, 1955, the employee confidence; The Elder Statesman, 1959, the great statesman), often spoiled by a message too showy and from the anchorage thesis explicit too. Eliot anyway not abandoned poetry and indeed touched one of its vertices highest with the Four Quartets (1943; Caligari), where, through the use of the symbol as an instrument for the direct communication of emotional and rational between author and reader, he attempted a synthesis of the ground path, mental and spiritual development of man. Also important is the critical activity and essays that has never known standstills; the most significant works are: The Sacred Wood (1920; the sacred wood), Dante (1929), the use of poetry and the use of criticism (1933; the use of poetry and the use of criticism), After Strange Gods (1934; after strange gods), the idea of a Christian society (1939; the idea of a Christian society), the literature of Politics (1955; literature of the policy). Accordingly considered one of the greatest exponents of the Anglo-American Literature of the XX century, Eliot, despite the fact that it had to register a certain decline of interest in his regard, above all for its progressive retract on conservative positions and in certain cases even reactionary, remains however, with the great masters of the Twentieth Century, the singer of the crisis of the man and of Western society between the two world wars. Pessoa, Fernando Nogueira The Portuguese poet (1888-1935 Lisbon). It is one of the figures of the most singular and disturbing in european literature of the Twentieth Century. Died of tuberculosis The Father, good music critic, mother of Pessoa passed in a second marriage and settled in Durban (South Africa). Here he learned English, which was then always his second language. He moved to Lisbon to graduate in letters, left her studies and devoted himself to a small use of corresponding commercial, from 1908 to his death. Great connoisseur of philosophy romanti ca (Schopenhauer, Nietzsche) and symbolism french and portuguese, had the theosophical interests and occultistici, visible in the frequent references to the doctrine of the Pink Cross. Among its precursors can register Camilo Pessanha Cesário and green, but the personality of Pessoa inconfrontabile remains. Better, should say "the" personality. In fact he created a series of "heteronomouses" - that should not be considered as "pseudonyms" of a single writer, but as projections each having its own independent life - and he built the works, narrandone even the biography and determining the respective ideological features and styling. The main heteronomouses are: Alvaro de Campos, engineer, Cosmopolitan, who expresses himself in verses free and is influenced by Marinetti and from Whitman; Ricardo Reis, the neoclassic poet, oraziano, of extraordinary elegance and thin epicureismo; Alberto Caeiro, the "master" of all, man of campaign, materialist and stoic, which attempts a poem the whole objective, without formal concerns; Bernardo Soares, accountant, prose writer introspective and skeptical; A. Pacheco, author of a single long poem that approaches the "automatic writing" the surrealists. These figures must be added the Pessoa "ortonimo", that signature that is with its own name and uses short meters, predominantly rimati. These characters, which in subsequent censuses of the opera Pessoa still unpublished climbed to about fifty, are sometimes at odds with one another, but their same polemic is part of drama em people (drama fact person) which summarizes the literary story of the author and that it intends to be a formal explanation of occult complexity in every man. The works of Pessoa are outputs almost all posthumous, but in life he was a sort of "eminence grise" of all renewal Portuguese literary, through its collaboration with magazines such as Orpheu and Portugal futurist, his friendship with poets such as Sá-Carneiro and painters like Almada Negreiros, his writings theorists and critics scattered in magazines. He is also the author of police texts, of various poems in English (he enjoyed it also provide problems for the section puzzles magazines of the Times) and opera in one act, or Mariheiro, defined by the author "static drama" set in a vague Medieval maeterlinckiano flavor, in which three women watch the corpse of a young girl to the lumen of the moon and weave a metaphysical dialog on the theme of waiting: whole life is waiting for an event incomprehensible, perhaps of death. The only book that published in life was the collection of patriotic poems, Mensagem (1934), with which concorse at a national prize classified second. Is a messianic evocation of imperial destiny and ocean of Portugal, on the trace of the "sebastianismo". The texts capital Pessoa however - those that make him a universal poet as Camões - are of a completely different nature. In the poems of Álvaro de Campos, for example, the sense of modern life, of the sea, of the ambiguity of the Eros, the contradictions inherent in every human coexistence, receive a broad term, tumultuous, violent, which contrasts with the "basso continuo" of irony and loneliness; in hatred of Ricardo Reis the pagan concept precristiana, i.e. and Mediterranean, of the transience of life is mixed with a profound metaphysics of love, in verses of a prodigious essentiality; and in many sonnets and songs of the ortonimo the philosophical reasoning and concreteness autobiographical blend in an inextricable synthesis, creating a density of language without equal in the whole arc of the lyric that goes from Rimbaud and Mallarmé to Eliot and Montale. The discovery of Pessoa was decisive for the young Portuguese Literature (group of Presença) and Brazil (generation of '45). With the passing of the years the fame of Pessoa has grown until it considered one of the greatest poets of the sec. XX. In Italy have been published in the volume of poetry a single multitude (1979, 1984), the book of the apprehension (1986), the letters to the girlfriend (1988) and the poems of Alvaro de Campos (1993). Biography German poet (Prague 1875-Valmont, Montreux, 1926). The Son of a bohemian official and a mother artist which remained always ideally linked, after having attended the Military Academy (1886-92), he preferred to devote themselves to the study of the history of art, transferring from Prague to Munich, then in Berlin. In 1897-98 was on several occasions in Italy and in 1899-1900, together with Lou Andreas-Salomé, went to Russia, where she knew Tolstoy, event from which brought indelible impressions and a strengthening of their mysticism. In 1900 he settled in Worpswede (Bremen) at a community of artists whose was part the sculptress Clara Westhoff, then become his wife (1901). In 1902, after having separated, settled in Paris and accomplished some trips in Italy and in Scandinavia. In the french capital for about a year he was secretary of Rodin. Between 1910 and 1913 he travelled in North Africa and Spain and in 1911-12 he stayed at the castle of Duino, guest of Princess Maria von Thurn und Taxis. During the first world war it was mostly in Munich, then in Switzerland, in the castle of Valais Muzot. He died of leukaemia and is buried in Raron. Zurbarán, Francisco de- Art: in the Spanish colonies of America The baroque churrigueresco finds an echo immediate and brilliant footage in the Spanish colonies of America, where it acts as a stimulus on the lively trends local decorative. If in architecture Baroque and Art of import, is kept adherent to the European schemes, local crafts in which partially survives the indigenous tradition is freely expresses in forms of decorativismo accentuated in rich interior (Cathedral of Puebla, Mexico). Minor Arts Inserted in the organic conception of the decoration that is proper to the mature baroque, the minor arts, in a raffinarsi of technical processes and in a general raising of the level of craftsmanship, become an integral part of the decoration. The artist is a creator of valid reasons also for the handicrafts, from ceramics to glass, from mobile to silverware: testify liberissimi the notches in the Bellunese Brustolon, the stalls of the bergamasco Fantoni. In France the furniture supplier A.-C. Boulle, the goldsmith Ballin, Caffieri, bronze factory and carvers, work to Gobelins in perfect synchrony with architects and interior decorators, which Berain Lepautre and. The organization of large workshops at the service of the courts, in Paris as in Turin or Rome, establishes a new relationship: from one side the baroque becomes a common language and spreads at an artisan level in styles at regional and local level; on the other hand the activity of the architects and decorators contributes to raising the general level of production. The historical cycles and celebration of the fresco decoration found an echo in the resumption of production of tapestries (manufactories of Gobelins; Brussels; Monaco; Mortlake; Florence; Rome): authors in fact of cartons are almost all large Baroque painters, by Rubens at Le Brun, while are replicated with great luck some Renaissance cycles (Raphael). The ceramics manufactories of Faenza; Savona; Florence; Nevers; Saint-Cloud; Nuremberg; Delft), the Murano glass and Bohemia, the silverware shall abide in the forms and in the decoration to the new taste more free, while diffuse collections of models for the silversmiths and modellers who contribute to the leveling of the taste. Music The term appears in musical historiography only around 1920: the German musicology has taken from the visual arts when the scholars of the history of art had accepted as stylistic definition of a period, free now of those negative connotations that had at the origin. The use of the term in the field of musicological provoked lively contrasts and is not yet universally accepted: in Great Britain, in France and in Italy encounters particular interference, mainly due to the difficulty to give a stylistic definition unitary a period that spans a century and a half (ca. 1600-1750), rich of musical events disparatissime. On the other hand a broad stream of musicology considers that the term possesses a suggestion indispensable as stylistic indication general for a period in which the renewal of the language of music has an undeniable parallelism with that of the figurative language (even if it is obviously not appropriate to attempt to ravvisarvi too detailed matches): on the plane strictly linguistic, is certainly a definition more appropriate than that of Riemann, which simply refers to a particular technical, albeit decisive, speaking of "age of the basso continuo". With the use of baroque appears much more evident the placement cultural-historical style. The advent of the basso continuo is still one of the most conspicuous of the transformation of the language of the Renaissance period that is making around 1600. Writing strictly polyphonic, wherein all entries were on the same plane of importance, it is simplifying and biases on extreme entries: affirms the monodia accompanied and the meeting of the parties in a vertical direction determines the development of harmony, that is free from the mode and defines the hue. The conception of the speech in the horizontal direction is therefore less, or (as in Bach) writing counterpointistic fits in with that harmonic. The adhesion of the music to the world of "suffering" is one of the purposes of Baroque poetry: the static renaissance balance gives place to a vibrant expressive dynamism, which may manifest itself in the gorgeous intensity of colorismo of Venetian school as in the linearity of the monophonic compositions. The search of the voltage, contrast, "Chiaroscuro", also stated in the instrumental music, which is born and develops in the Baroque age with the Concerto grosso solo and with the sonata and with compositions for organ and harpsichord. With the assumption by the instrumental music of dance forms also the fluid and sliding renaissance rhythm turns razionalizzandosi. The tools themselves visibly diminish in number and are perfected in function of the search for a new ideal sound. Parallel to instrumental music, that located in Venice one of the centers of major development, they are in the field of voice the genres of the oratory of the sung and the melodrama: in the latter the glitz Scenic, the taste for the ornamentation and virtuosity refer to as many attitudes emblematic of Baroque taste. Zurbarán, Francisco de- Eliot, Thomas Stearns The poet and writer U.S. naturalized English (Saint Louis, Missouri, 1888-London 1965). Trained at Harvard University, he perfected his studies at the Sorbonne, at Oxford and in Germany, manifesting suffered a deep interest in philosophy and for letters. Settled in Great Britain in 1915, became a British citizen since 1927. After some attempts of youth "discovered" by E. Pound, which led him to publish on the magazine Poetry of Chicago some poems then included in the volume The Love Song of J. Alfred Prufrock (1917; the love song of J. Alfred Prufrock). The friendship with pound was fundamental in poetic formation of Eliot, who devoted him, with the epigraph dantesca "the best blacksmith", the famous poem The Waste Land (1922; The desolate land), evocation and together epitaph of a world in full crisis after the first world war. The Waste Land shows not only the influence of Pound (which contributed also corrections to the text), but also the interest for the metaphysical poets British, for Blake and for Dante, as well as a new dynamic vision of tradition, understood as the use and constant modification of the literary and cultural heritage. The years after the publication of the hollow Men (1925; men voids), in which the negative vision of Eliot reached its apex, marked a profound rethinking critical and poetic, expressed with extreme clarity in 1930, when Eliot declared itself a monarchist in politics, classic in literature and anglocattolico in religion. This change is also he thought in creative works, especially in the harvest Ash-Wednesday (1930; Ash Wednesday), which reveals marked interests devotees and religious and a tone calmer. There followed a series of theatrical works (Murder in the Cathedral, 1935, Murder in the cathedral; Family Reunion, 1939, family reunion; The Cocktail Party, 1949; The Confidential Clerk, 1955, the employee confidence; The Elder Statesman, 1959, the great statesman), often spoiled by a message too showy and from the anchorage thesis explicit too. Eliot anyway not abandoned poetry and indeed touched one of its vertices highest with the Four Quartets (1943; Caligari), where, through the use of the symbol as an instrument for the direct communication of emotional and rational between author and reader, he attempted a synthesis of the ground path, mental and spiritual development of man. Also important is the critical activity and essays that has never known standstills; the most significant works are: The Sacred Wood (1920; the sacred wood), Dante (1929), the use of poetry and the use of criticism (1933; the use of poetry and the use of criticism), After Strange Gods (1934; after strange gods), the idea of a Christian society (1939; the idea of a Christian society), the literature of Politics (1955; literature of the policy). Accordingly considered one of the greatest exponents of the Anglo-American Literature of the XX century, Eliot, despite the fact that it had to register a certain decline of interest in his regard, above all for its progressive retract on conservative positions and in certain cases even reactionary, remains however, with the great masters of the Twentieth Century, the singer of the crisis of the man and of Western society between the two world wars. Pessoa, Fernando Nogueira The Portuguese poet (1888-1935 Lisbon). It is one of the figures of the most singular and disturbing in european literature of the Twentieth Century. Died of tuberculosis The Father, good music critic, mother of Pessoa passed in a second marriage and settled in Durban (South Africa). Here he learned English, which was then always his second language. He moved to Lisbon to graduate in letters, left her studies and devoted himself to a small use of corresponding commercial, from 1908 to his death. Great connoisseur of philosophy romanti ca (Schopenhauer, Nietzsche) and symbolism french and portuguese, had the theosophical interests and occultistici, visible in the frequent references to the doctrine of the Pink Cross. Among its precursors can register Camilo Pessanha Cesário and green, but the personality of Pessoa inconfrontabile remains. Better, should say "the" personality. In fact he created a series of "heteronomouses" - that should not be considered as "pseudonyms" of a single writer, but as projections each having its own independent life - and he built the works, narrandone even the biography and determining the respective ideological features and styling. The main heteronomouses are: Alvaro de Campos, engineer, Cosmopolitan, who expresses himself in verses free and is influenced by Marinetti and from Whitman; Ricardo Reis, the neoclassic poet, oraziano, of extraordinary elegance and thin epicureismo; Alberto Caeiro, the "master" of all, man of campaign, materialist and stoic, which attempts a poem the whole objective, without formal concerns; Bernardo Soares, accountant, prose writer introspective and skeptical; A. Pacheco, author of a single long poem that approaches the "automatic writing" the surrealists. These figures must be added the Pessoa "ortonimo", that signature that is with its own name and uses short meters, predominantly rimati. These characters, which in subsequent censuses of the opera Pessoa still unpublished climbed to about fifty, are sometimes at odds with one another, but their same polemic is part of drama em people (drama fact person) which summarizes the literary story of the author and that it intends to be a formal explanation of occult complexity in every man. The works of Pessoa are outputs almost all posthumous, but in life he was a sort of "eminence grise" of all renewal Portuguese literary, through its collaboration with magazines such as Orpheu and Portugal futurist, his friendship with poets such as Sá-Carneiro and painters like Almada Negreiros, his writings theorists and critics scattered in magazines. He is also the author of police texts, of various poems in English (he enjoyed it also provide problems for the section puzzles magazines of the Times) and opera in one act, or Mariheiro, defined by the author "static drama" set in a vague Medieval maeterlinckiano flavor, in which three women watch the corpse of a young girl to the lumen of the moon and weave a metaphysical dialog on the theme of waiting: whole life is waiting for an event incomprehensible, perhaps of death. The only book that published in life was the collection of patriotic poems, Mensagem (1934), with which concorse at a national prize classified second. Is a messianic evocation of imperial destiny and ocean of Portugal, on the trace of the "sebastianismo". The texts capital Pessoa however - those that make him a universal poet as Camões - are of a completely different nature. In the poems of Álvaro de Campos, for example, the sense of modern life, of the sea, of the ambiguity of the Eros, the contradictions inherent in every human coexistence, receive a broad term, tumultuous, violent, which contrasts with the "basso continuo" of irony and loneliness; in hatred of Ricardo Reis the pagan concept precristiana, i.e. and Mediterranean, of the transience of life is mixed with a profound metaphysics of love, in verses of a prodigious essentiality; and in many sonnets and songs of the ortonimo the philosophical reasoning and concreteness autobiographical blend in an inextricable synthesis, creating a density of language without equal in the whole arc of the lyric that goes from Rimbaud and Mallarmé to Eliot and Montale. The discovery of Pessoa was decisive for the young Portuguese Literature (group of Presença) and Brazil (generation of '45). With the passing of the years the fame of Pessoa has grown until it considered one of the greatest poets of the sec. XX. In Italy have been published in the volume of poetry a single multitude (1979, 1984), the book of the apprehension (1986), the letters to the girlfriend (1988) and the poems of Alvaro de Campos (1993). Biography German poet (Prague 1875-Valmont, Montreux, 1926). The Son of a bohemian official and a mother artist which remained always ideally linked, after having attended the Military Academy (1886-92), he preferred to devote themselves to the study of the history of art, transferring from Prague to Munich, then in Berlin. In 1897-98 was on several occasions in Italy and in 1899-1900, together with Lou Andreas-Salomé, went to Russia, where she knew Tolstoy, event from which brought indelible impressions and a strengthening of their mysticism. In 1900 he settled in Worpswede (Bremen) at a community of artists whose was part the sculptress Clara Westhoff, then become his wife (1901). In 1902, after having separated, settled in Paris and accomplished some trips in Italy and in Scandinavia. In the french capital for about a year he was secretary of Rodin. Between 1910 and 1913 he travelled in North Africa and Spain and in 1911-12 he stayed at the castle of Duino, guest of Princess Maria von Thurn und Taxis. During the first world war it was mostly in Munich, then in Switzerland, in the castle of Valais Muzot. He died of leukaemia and is buried in Raron. Eliot, Thomas Stearns The poet and writer U.S. naturalized English (Saint Louis, Missouri, 1888-London 1965). Trained at Harvard University, he perfected his studies at the Sorbonne, at Oxford and in Germany, manifesting suffered a deep interest in philosophy and for letters. Settled in Great Britain in 1915, became a British citizen since 1927. After some attempts of youth "discovered" by E. Pound, which led him to publish on the magazine Poetry of Chicago some poems then included in the volume The Love Song of J. Alfred Prufrock (1917; the love song of J. Alfred Prufrock). The friendship with pound was fundamental in poetic formation of Eliot, who devoted him, with the epigraph dantesca "the best blacksmith", the famous poem The Waste Land (1922; The desolate land), evocation and together epitaph of a world in full crisis after the first world war. The Waste Land shows not only the influence of Pound (which contributed also corrections to the text), but also the interest for the metaphysical poets British, for Blake and for Dante, as well as a new dynamic vision of tradition, understood as the use and constant modification of the literary and cultural heritage. The years after the publication of the hollow Men (1925; men voids), in which the negative vision of Eliot reached its apex, marked a profound rethinking critical and poetic, expressed with extreme clarity in 1930, when Eliot declared itself a monarchist in politics, classic in literature and anglocattolico in religion. This change is also he thought in creative works, especially in the harvest Ash-Wednesday (1930; Ash Wednesday), which reveals marked interests devotees and religious and a tone calmer. There followed a series of theatrical works (Murder in the Cathedral, 1935, Murder in the cathedral; Family Reunion, 1939, family reunion; The Cocktail Party, 1949; The Confidential Clerk, 1955, the employee confidence; The Elder Statesman, 1959, the great statesman), often spoiled by a message too showy and from the anchorage thesis explicit too. Eliot anyway not abandoned poetry and indeed touched one of its vertices highest with the Four Quartets (1943; Caligari), where, through the use of the symbol as an instrument for the direct communication of emotional and rational between author and reader, he attempted a synthesis of the ground path, mental and spiritual development of man. Also important is the critical activity and essays that has never known standstills; the most significant works are: The Sacred Wood (1920; the sacred wood), Dante (1929), the use of poetry and the use of criticism (1933; the use of poetry and the use of criticism), After Strange Gods (1934; after strange gods), the idea of a Christian society (1939; the idea of a Christian society), the literature of Politics (1955; literature of the policy). Accordingly considered one of the greatest exponents of the Anglo-American Literature of the XX century, Eliot, despite the fact that it had to register a certain decline of interest in his regard, above all for its progressive retract on conservative positions and in certain cases even reactionary, remains however, with the great masters of the Twentieth Century, the singer of the crisis of the man and of Western society between the two world wars. Pessoa, Fernando Nogueira The Portuguese poet (1888-1935 Lisbon). It is one of the figures of the most singular and disturbing in european literature of the Twentieth Century. Died of tuberculosis The Father, good music critic, mother of Pessoa passed in a second marriage and settled in Durban (South Africa). Here he learned English, which was then always his second language. He moved to Lisbon to graduate in letters, left her studies and devoted himself to a small use of corresponding commercial, from 1908 to his death. Great connoisseur of philosophy romanti ca (Schopenhauer, Nietzsche) and symbolism french and portuguese, had the theosophical interests and occultistici, visible in the frequent references to the doctrine of the Pink Cross. Among its precursors can register Camilo Pessanha Cesário and green, but the personality of Pessoa inconfrontabile remains. Better, should say "the" personality. In fact he created a series of "heteronomouses" - that should not be considered as "pseudonyms" of a single writer, but as projections each having its own independent life - and he built the works, narrandone even the biography and determining the respective ideological features and styling. The main heteronomouses are: Alvaro de Campos, engineer, Cosmopolitan, who expresses himself in verses free and is influenced by Marinetti and from Whitman; Ricardo Reis, the neoclassic poet, oraziano, of extraordinary elegance and thin epicureismo; Alberto Caeiro, the "master" of all, man of campaign, materialist and stoic, which attempts a poem the whole objective, without formal concerns; Bernardo Soares, accountant, prose writer introspective and skeptical; A. Pacheco, author of a single long poem that approaches the "automatic writing" the surrealists. These figures must be added the Pessoa "ortonimo", that signature that is with its own name and uses short meters, predominantly rimati. These characters, which in subsequent censuses of the opera Pessoa still unpublished climbed to about fifty, are sometimes at odds with one another, but their same polemic is part of drama em people (drama fact person) which summarizes the literary story of the author and that it intends to be a formal explanation of occult complexity in every man. The works of Pessoa are outputs almost all posthumous, but in life he was a sort of "eminence grise" of all renewal Portuguese literary, through its collaboration with magazines such as Orpheu and Portugal futurist, his friendship with poets such as Sá-Carneiro and painters like Almada Negreiros, his writings theorists and critics scattered in magazines. He is also the author of police texts, of various poems in English (he enjoyed it also provide problems for the section puzzles magazines of the Times) and opera in one act, or Mariheiro, defined by the author "static drama" set in a vague Medieval maeterlinckiano flavor, in which three women watch the corpse of a young girl to the lumen of the moon and weave a metaphysical dialog on the theme of waiting: whole life is waiting for an event incomprehensible, perhaps of death. The only book that published in life was the collection of patriotic poems, Mensagem (1934), with which concorse at a national prize classified second. Is a messianic evocation of imperial destiny and ocean of Portugal, on the trace of the "sebastianismo". The texts capital Pessoa however - those that make him a universal poet as Camões - are of a completely different nature. In the poems of Álvaro de Campos, for example, the sense of modern life, of the sea, of the ambiguity of the Eros, the contradictions inherent in every human coexistence, receive a broad term, tumultuous, violent, which contrasts with the "basso continuo" of irony and loneliness; in hatred of Ricardo Reis the pagan concept precristiana, i.e. and Mediterranean, of the transience of life is mixed with a profound metaphysics of love, in verses of a prodigious essentiality; and in many sonnets and songs of the ortonimo the philosophical reasoning and concreteness autobiographical blend in an inextricable synthesis, creating a density of language without equal in the whole arc of the lyric that goes from Rimbaud and Mallarmé to Eliot and Montale. The discovery of Pessoa was decisive for the young Portuguese Literature (group of Presença) and Brazil (generation of '45). With the passing of the years the fame of Pessoa has grown until it considered one of the greatest poets of the sec. XX. In Italy have been published in the volume of poetry a single multitude (1979, 1984), the book of the apprehension (1986), the letters to the girlfriend (1988) and the poems of Alvaro de Campos (1993). Biography German poet (Prague 1875-Valmont, Montreux, 1926). The Son of a bohemian official and a mother artist which remained always ideally linked, after having attended the Military Academy (1886-92), he preferred to devote themselves to the study of the history of art, transferring from Prague to Munich, then in Berlin. In 1897-98 was on several occasions in Italy and in 1899-1900, together with Lou Andreas-Salomé, went to Russia, where she knew Tolstoy, event from which brought indelible impressions and a strengthening of their mysticism. In 1900 he settled in Worpswede (Bremen) at a community of artists whose was part the sculptress Clara Westhoff, then become his wife (1901). In 1902, after having separated, settled in Paris and accomplished some trips in Italy and in Scandinavia. In the french capital for about a year he was secretary of Rodin. Between 1910 and 1913 he travelled in North Africa and Spain and in 1911-12 he stayed at the castle of Duino, guest of Princess Maria von Thurn und Taxis. During the first world war it was mostly in Munich, then in Switzerland, in the castle of Valais Muzot. He died of leukaemia and is buried in Raron.