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Ugo Foscolo (Italian: [?u??o ?foskolo]; 6 February 1778 in Zakynthos – 10 September 1827 in Turnham Green), born Niccolò Foscolo, was an Italian writer, revolutionary and a poet.[1]
He is especially remembered for his 1807 long poem Dei Sepolcri.
Foscolo was born in Zakynthos in the Ionian Islands. His father Andrea Foscolo was Dei Sepolcri an impoverished Venetian nobleman, and his mother Diamantina Spathis was Greek.[2][3][4][5][6]
In 1788, upon the death of his father, who worked as a physician in Spalato (present-day Split, Croatia), the family moved to Venice, and Foscolo completed the studies he began at the Dalmatian grammar school at the University of Dei Sepolcri Padua.[7]
Amongst his Paduan teachers was the Abbé Melchiore Cesarotti, whose version of Ossian was very popular in Italy, and who influenced Foscolo's literary tastes; he knew both modern and Ancient Greek. His literary ambition revealed itself in the appearance in 1797 of his tragedy Tieste—a production that enjoyed a Dei Sepolcri certain degree of success.[7]
Foscolo, who, for unknown reasons, had
changed his Christian name Niccolò to that of Ugo, now began to take an active part in the stormy political discussions which the fall of the republic of Venice had triggered off. He was a prominent member of the national Dei Sepolcri committees, and addressed an ode to Napoleon, expecting Napoleon to overthrow the Venetian oligarchy and create a free republic.[7]
The Treaty of Campo Formio (17 October 1797) meant the definitive end to the ancient Republic of Venice, which was disbanded and partitioned by the French and the Austrians gave a Dei Sepolcri rude shock to Foscolo, but did not quite destroy his hopes. The state of mind produced by that shock is reflected in his novel The Last Letters of Jacopo Ortis (1798), which was described by the 1911 Encyclopædia Britannica as a more politicized version of Johann Wolfgang von Goethe's The Dei Sepolcri Sorrows of Young Werther, "for the hero of Foscolo embodies the mental sufferings and suicide of an undeceived Italian patriot
just as the hero of Goethe places before us the too delicate sensitiveness embittering and at last cutting short the life of a private German scholar."[7]
The story of Foscolo, Dei Sepolcri like that of Goethe, had a groundwork of melancholy fact. Jacopo Ortis had been a real person; he was a young student from Padua, and committed suicide there under circumstances akin to those described by Foscolo.[7]
Foscolo, like many of his contemporaries, had thought much about suicide. Cato the Younger Dei Sepolcri and the many classical examples of self-destruction described in Plutarch's Lives appealed to the imaginations of young Italian patriots as they had done in France to those of the heroes and heroines of the Gironde. In the case of Foscolo, as in that of Goethe, the effect produced on the Dei Sepolcri writer's mind by the composition of the work seems to have been beneficial. He had seen the ideal of a great national future rudely shattered; but he did not despair
of his country, and sought relief in now turning to gaze on the ideal of a great national poet.[7]
After Dei Sepolcri the fall of Venice Foscolo moved to Milan, where he formed a friendship with the older poet Giuseppe Parini, whom he later remembered with admiration and gratitude.[7] In Milan, he published a choice of 12 Sonnets, where he blends the passionate sentiments shown in Ortis with classical control of language Dei Sepolcri and rhythm.
Still hoping that his country would be freed by Napoleon, he served as a volunteer in the French army, took part in the battle of the Trebbia and the siege of Genoa, was wounded and made prisoner. When released he returned to Milan, and there gave the last Dei Sepolcri touches to his Ortis, published a translation of and commentary upon Callimachus, commenced a version of the Iliad and began his translation of Laurence Sterne's A Sentimental Journey Through France and Italy[7]. He also took part in a failed memorandum
intended to present a new model of unified Italian government Dei Sepolcri to Napoleon.
confortate di pianto è forse il sonno della morte men duro? Ove piú il Sole per me alla terra non-fecondi questa bella d'erbe famiglia e d'animali, e quando vaghe di lusinghe innanzi a me non-danzeran l'ore future, né da te, dolce amico, udrò piú il verso e la mesta armonia che lo governa, né piú nel Dei Sepolcri cor mi parlerà lo spirto delle vergini Muse e dell'amore, unico spirto a mia vita raminga, qual fia ristoro a' dí perduti un sasso che distingua le mie dalle infinite
Lines 1–15[8] English translation by Ugo Foscolo himself: Beneath the cypress shade, or sculptured urn By fond tears watered, is the sleep of death Less heavy? — When Dei Sepolcri for me the sun no more Shall shine on earth, to bless with genial beams This beauteous race of beings animate — When bright with flattering hues the coming hours No longer dance before me — and I hear No more, regarded friend, thy dulcet verse, Nor the sad gentle harmony it breathes — When mute Dei S
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Ugo Foscolo (Italian: [?u??o ?foskolo]; 6 February 1778 in Zakynthos – 10 September 1827 in Turnham Green), born Niccolò Foscolo, was an Italian writer, revolutionary and a poet.[1]
He is especially remembered for his 1807 long poem Dei Sepolcri.
Foscolo was born in Zakynthos in the Ionian Islands. His father Andrea Foscolo was Dei Sepolcri an impoverished Venetian nobleman, and his mother Diamantina Spathis was Greek.[2][3][4][5][6]
In 1788, upon the death of his father, who worked as a physician in Spalato (present-day Split, Croatia), the family moved to Venice, and Foscolo completed the studies he began at the Dalmatian grammar school at the University of Dei Sepolcri Padua.[7]
Amongst his Paduan teachers was the Abbé Melchiore Cesarotti, whose version of Ossian was very popular in Italy, and who influenced Foscolo's literary tastes; he knew both modern and Ancient Greek. His literary ambition revealed itself in the appearance in 1797 of his tragedy Tieste—a production that enjoyed a Dei Sepolcri certain degree of success.[7]
Foscolo, who, for unknown reasons, had
changed his Christian name Niccolò to that of Ugo, now began to take an active part in the stormy political discussions which the fall of the republic of Venice had triggered off. He was a prominent member of the national Dei Sepolcri committees, and addressed an ode to Napoleon, expecting Napoleon to overthrow the Venetian oligarchy and create a free republic.[7]
The Treaty of Campo Formio (17 October 1797) meant the definitive end to the ancient Republic of Venice, which was disbanded and partitioned by the French and the Austrians gave a Dei Sepolcri rude shock to Foscolo, but did not quite destroy his hopes. The state of mind produced by that shock is reflected in his novel The Last Letters of Jacopo Ortis (1798), which was described by the 1911 Encyclopædia Britannica as a more politicized version of Johann Wolfgang von Goethe's The Dei Sepolcri Sorrows of Young Werther, "for the hero of Foscolo embodies the mental sufferings and suicide of an undeceived Italian patriot
just as the hero of Goethe places before us the too delicate sensitiveness embittering and at last cutting short the life of a private German scholar."[7]
The story of Foscolo, Dei Sepolcri like that of Goethe, had a groundwork of melancholy fact. Jacopo Ortis had been a real person; he was a young student from Padua, and committed suicide there under circumstances akin to those described by Foscolo.[7]
Foscolo, like many of his contemporaries, had thought much about suicide. Cato the Younger Dei Sepolcri and the many classical examples of self-destruction described in Plutarch's Lives appealed to the imaginations of young Italian patriots as they had done in France to those of the heroes and heroines of the Gironde. In the case of Foscolo, as in that of Goethe, the effect produced on the Dei Sepolcri writer's mind by the composition of the work seems to have been beneficial. He had seen the ideal of a great national future rudely shattered; but he did not despair
of his country, and sought relief in now turning to gaze on the ideal of a great national poet.[7]
After Dei Sepolcri the fall of Venice Foscolo moved to Milan, where he formed a friendship with the older poet Giuseppe Parini, whom he later remembered with admiration and gratitude.[7] In Milan, he published a choice of 12 Sonnets, where he blends the passionate sentiments shown in Ortis with classical control of language Dei Sepolcri and rhythm.
Still hoping that his country would be freed by Napoleon, he served as a volunteer in the French army, took part in the battle of the Trebbia and the siege of Genoa, was wounded and made prisoner. When released he returned to Milan, and there gave the last Dei Sepolcri touches to his Ortis, published a translation of and commentary upon Callimachus, commenced a version of the Iliad and began his translation of Laurence Sterne's A Sentimental Journey Through France and Italy[7]. He also took part in a failed memorandum
intended to present a new model of unified Italian government Dei Sepolcri to Napoleon.
confortate di pianto è forse il sonno della morte men duro? Ove piú il Sole per me alla terra non-fecondi questa bella d'erbe famiglia e d'animali, e quando vaghe di lusinghe innanzi a me non-danzeran l'ore future, né da te, dolce amico, udrò piú il verso e la mesta armonia che lo governa, né piú nel Dei Sepolcri cor mi parlerà lo spirto delle vergini Muse e dell'amore, unico spirto a mia vita raminga, qual fia ristoro a' dí perduti un sasso che distingua le mie dalle infinite
Lines 1–15[8] English translation by Ugo Foscolo himself: Beneath the cypress shade, or sculptured urn By fond tears watered, is the sleep of death Less heavy? — When Dei Sepolcri for me the sun no more Shall shine on earth, to bless with genial beams This beauteous race of beings animate — When bright with flattering hues the coming hours No longer dance before me — and I hear No more, regarded friend, thy dulcet verse, Nor the sad gentle harmony it breathes — When mute Dei S
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