Agosto Strindberg : lo spirito di rivolta : studi e impressioni . lllgeneri, gettandosi nel mio cervello atuna come erano le calamite illuminate di fuoco-opere/* e ricordare la plastica e yearninggirl-soul di Marie Bashkirtseff che, quando camminava a Roma, esclamò : Voglio essere Cesare, Augusto, Marco Aurelio, Calla-calla, il Diavolo, il Papa e chi aggiunge: Amo piangere, amo essere disperato. ILove per essere addolorato e triste . . e io lovelife nonostante tutto. Amiel, ricordando una notte quando l'helay allungò a tutta lunghezza sulla spiaggia sabbiosa del Mare del Nord, grida: Saranno sempre

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August Strindberg : the spirit of revolt : studies and impressions . llkinds, throwing themselves into my brain atonce as it were the lighted squibs of fire-works/* and recall the plastic and yearninggirl-soul of Marie Bashkirtseff who, whenwalking in Rome, exclaimed : I want tobe Caesar, Augustus, Marcus Aurelius, Cara-calla, the Devil, the Pope/ and who adds : I love to weep, I love to be in despair. Ilove to be grieved and sad . . and I lovelife in spite of everything. Amiel, remembering a night when helay stretched full length on the sandy shoreof the North Sea, cries : Will they everreturn to me, those grandiose, immortal, cosmogonic dreams, in which one seems tocarry the world in ones breast, to touch thestars, to possess the infinite ? f Amieldreamt, Strindberg created; Amiel foundliterary exultation in dreamy contemplationof the universe, Strindberg in the spiralrevolutions of humanity. But sometimes the joy of literary creationgave way to profound self-disgust. Whatan occupation, he writes in The Quarantine * Correspondance. f AmieVs Journal.. THE THEATRE OF LIFE 337 Masters Tales* to sit and flay ones fellow-humans, offer the skins for sale, and expectpeople to buy them. It is like the famishedhunter who cuts off his dogs tail, eats themeat himself, and gives the bones to the dog, the dogs own bones. To go about spyingout peoples secrets, exposing the birthmarkof ones best friend, using ones wife as avivisection rabbit, storming like a Croat, cutting down, violating, burning and selling.The devil take it all. Strindbergs style expands to fit his wildexcursions into the world of ideas and hiseccentricities of conception, such as the storyof when he tried to catch dead souls witha bottle containing sugar of lead, on theMontparnasse cemetery, f or that of the mad-mans microscopical studies of the genesis ofhumanity in At the Edge of the Sea. Hisexpressions and metaphors often bear theimprint of overwrought feeling, as when hespeaks of the blood-poisoning cares o

Parole chiave associate all'immagine

• bookcentury1900
• bookdecade1910
• bookidauguststrind
• bookyear1913