Un aeroplano che sapeva volare (Gli emersi poesia) (Italian Edition)

Virgil makes the same promise that Opis makes to Camilla or that the poet makes to Euryalus and Nisus. The reasons why this should be so and why the pil- grim needs Virgil's "help," however, are not immediately appar- ent especially from the way the episode of the pilgrim and the lupa has always been read. It is to this episode, and to the follow- ing lines, that I would like to turn now: The "firm foot" is the lame foot of the soul denoting a weakness of the will wounded by concupiscence.

This weakness hinders the progress of the intellect signified by the right foot. This con- dition is not clearly discernible at first because of the simple com- parison that seems to describe only the effect of the lupa on the pilgrim: The movement of "quei" who gradually and willingly volontieri accumulates acquista , or gains ground, is undone by the sudden presence of the she-wolf in the second term of the comparison. Sapegno, in his commentary, has suggested this second possibility whereby the "quei" can be compared to a miser: But the comparison seems to describe more than the desire with which the pilgrim would like to reach the top.

The pilgrim falls prey of the lupa because he is guilty of the same excess that the animal symbolizes. The lupa functions here as a reminder of the pilgrim's greed and of the vanity of his attempt. Most commentaries to these lines have understood the pilgrim to be the victim of the she-wolf and have placed the blame en- tirely on the animal and on the greed it represents.

The presence and the promise of Virgil are then easily explained by a future event when the lupa will finally be vanquished. What I am sug- gesting, instead, is that the blame lies entirely on the pilgrim and that the lupa is only Dante's way of reminding us of the fact. The pilgrim hopes to get quickly to the top in much the same way that Virgil's heroes crave the possessions of others and both act of their own free will. The analogy between the pilgrim and the characters of the Aeneid is not casual in fact.

The same desire to gain, in both cases, makes the individual forgetful of his true du- ties and brings about his undoing. The Veltro and Dante's Prologue to the Commedia 27 This similarity explains the pilgrim's call for help and Virgil's reply and solution. As a good reader of the Aeneid, the pilgrim knows that Virgil has helped others in similar circumstances. He knows that Virgil will overlook the events, place the blame on others, and conceal his shortcomings with praise. We know that this is what Virgil promises him when he alludes to his characters who now appear as heroes and not as the men they really are.

There is one other detail, however, that must be mentioned now which explains better the pilgrim's request and Virgil's reply. In the one case of poetic "justice" in the Aeneid, the death of Camilla is blamed entirely on the man who kills her, a certain Arruns. We are never told why Arruns followed Camilla everywhere for a chance to kill her but his tireless pursuit has all the trademark of fate. When he does kill her, Virgil's description of the event makes him look like a coward who has struck a poor defenseless woman. Virgil compares him to a wolf who has killed a shepherd or a big steer and knows he has done wrong: With this in mind, the pilgrim's request is more than justified and Virgili reply not in vain.

As a reader of the Aeneid, the pilgrim knows from a paral- lel example that he can expect a similar form of justice. This just- ice is markedly one-sided and in favour of the authorities it serves. It not only conceals the crimes of those whose patrons it seeks to please but also distorts the truth of events whereby the guilty are said to be victims and their just fate an injustice. If we had not read the rest of the poem and took Virgil at his word, we could expect to be reading a poem about a man very much like Aeneas who restores order to a strife-torn Italy.

The poem would sing the praise of the powers it served and would be characterized by a similar system of bipartisan justice in favour of those whose protection it sought. We know already that this is not the case with Dante's poem but the reason is that Virgil's poetic model, which he proposes 28 Massimo Verdicchio through the prophecy of a coming Veltro, is rejected on account of its biased system of justice.

The critique of this model is made clear not only in the two opposed solutions that Virgil gives, only one of which is correct, but also in the way in which Dante con- structs the episode. When we observe closely the list of warriors mentioned by Virgil we realize that Turnus does not really fit in with the rest of them.

Although he is an example of greed like the rest, it cannot be said that Turnus died for the well-being of Italy. Viewing it from the point of view of the Trojans, Turnus is an ob- stacle and a detriment to that well-being. Only his death brings about the peace and unity that Virgil is extolling. Virgil, in fact, does not avenge him or celebrate him like he does the others, even though the others are just as guilty as he is.

Turnus, instead, is more on the side of characters like Arruns. They are personifi- cations of evil whose ritual death at the hands of the gods is an af- firmation of justice and an end to all injustices. Turnus' s presence among the other warriors is conspicuous for another reason. In the series of names, Turnus is placed between Euryalus and Nisus, two characters who are really part of one epi- sode, "Eurialo e Turno e Niso di ferute. The presence of Turnus amongst them is, however, more dramatic and relevant when we remember that Euryalus and Nisus are said to be the best of friends in the Aeneid.

The two never separated, they were always together, when they went to battle they went together, when one volunteered for the mission the other also went. Virgil says of them: We have mentioned how Nisus, who in the meantime had reached safety, returns to help his friend who has been caught by the enemy. They fight together and when they are killed their bodies are found together, "turn super exanimum sese proiecit amicum con- fossus, placidaque ibi demum morte quieuit" Aeneidos IX. W T hen Virgil sings their praise, as I have already quoted, he celebrates their inseparability which he adopts as the symbol of the unity between his poetry and the House of Augus- tus.

As long as Virgil's poetry will be influential and the Romans will be in power the memory of the two inseparable friends shall never be forgotten. The symbolic importance that the two friends have for Virgil in the Aeneid makes highly significant, therefore, the placing of Turnus, the symbol of discord in the Aeneid, be- tween the two friends.

The separation of the two friends means first of all that their memory as a "fortunati ambo" has been indeed obliterated and replaced by the memory of their greed which is the cause of their death. The union of poetry and political power that the two symbolize is also broken and not only because the House of Augustus no longer rules the world.

The break, which implies a critique of the enco- miastic poetry we have in the Aeneid, points to the history of greed and deceit which is concealed under the lie of a history of noble and selfless acts performed for the glory of one's country. As a result, even the fiction of a "pious Aeneas" becomes suspect not only because he is the embodiment of the noble and selfless man, and the ancestor of Augustus, but also because he is the in- strument of a justice which is corrupt. The reappearance of Turnus amongst Virgil's heroes points to the shortcomings of Virgil's politically compromised system of justice.

A poetic justice that conceals the aberrations on which po- litical power is constructed and slavishly flatters the powerful. Consequently, Virgil's own motives are in question here and his greed for which he compromised his poetic integrity. He will expiate his cupiditas in Purgatorio XII. Virgil's promise of a Veltro who will restore Italy to health is only a nice fiction which is no longer acceptable. The fiction of a new Aeneas would only perpetuate the evil under a compromised sys- tem of justice where definitions of good and evil are decided on the bases of political power and not of merit.

For these reasons, at the level of a poetics of the Commedia, Virgil's proposal and poetic model is rejected and the Commedia takes another road, a road of a different type of justice, as we shall see. At this point, and before we go on to describe Dante's version of the Veltro, it must be said that if Dante rejects Virgil's poetic model this does not mean that he rejects the Aeneid or Virgil. Dante rejects only the idea of a poem like the Aeneid that courts the favour of the powerful it glorifies. I also do not mean to say that Virgil was taken in by his own fiction.

There is sufficient evi- dence to believe that the myth of Aeneas and of the glorious Roman people is also put into question by Virgil. The glorifica- 30 Massimo Verdicchio tions of Camilla and of Euryalus and Nisus are treated ironically as Virgil first elaborates in detail on their base and unheroic ac- tions and then praises them.

This is more clear in the case of Turnus's death at the end of the Aeneid which, abruptly, marks the end of the poem. As I have said, Aeneas first grants Turnus his life and then kills him because he has murdered Pallas. There is reason to believe, reading between the last lines of the poem, that Aeneas's justification for killing Turnus is suspect and that the poet wanted to call attention to Aeneas's act of injustice when he describes Turnus's indignance "indignata" at Aeneas's "ex- cuse" for killing him: Dante rejects in Virgil only the compromise that places poetry at the service of political power for personal gain.

Like Camilla's desire for gold, Euryalus' s helmet, Turnus's baldric, or the pilgrim's lupa, the presence of Turnus's amongst Virgil's he- roes points to the poet's greed for which he willingly compro- mised his art in exchange for a comfortable living, as Juvenal iron- ically points out in the seventh satire. Dante rejects the fic- tion of a Veltro, of a pious and noble man, who is above the greed and the deceptions of ordinary men, capable of bringing about the resolution of political and social conflicts.

The tendency to take Virgil's prophecy literally and to accept him as the voice of authority in the Commedia, has made the reader overlook an im- portant detail in the description of the Veltro that might have alerted him to Dante's critique of Virgil's model and to Dante's very different Veltro. The lines in question are the following: That is to say that speaking of the Veltro, Dante is saying that it will not feed neither land nor wealth, but wisdom, love and virtue, and its nation will be be- tween two felts. The verb cibare is used in the same transitive active voice two other times in the Commedia.

In one instance the verb is used to describe the feeding of the blessed by the Agnus Dei at the Celes- tial Banquet: In the latter case, the verb refers specifically to the teachings one finds in Dante's poem which the poet, as the scribe of his poem, offers to the reader for his edification. A similar idea is behind the use of cibare in the episode of the Veltro. Since we are in the prologue canto of the Commedia, the prophecy of the Veltro is a way of saying that the poem to come will not teach the reader how to become successful in business and wealthy; rather it will teach him wisdom, love and virtue.

To the riddle of the Veltro and to the question "What is the thing that feeds neither land nor pelt but only wisdom, love and virtue and its domain is between two felts? The felt lining is in accordance 32 Massimo Verdicchio with the humble and unassuming character of the book and its modest aims. At the time of Dante, books could be covered with intricate and costly covers and, very often, they were lined with velvet. The practice of using the imagery of feeding, in the sense of teaching, and in a prologue to acquaint the reader with the con- tent of the work to be read, is not new with Dante who used a similar technique in the Convivio.

The Convivio, Dante tells us, needed to be written because the reader seduced by the beauty of the poems simply enjoyed them but did not read them allegorically for the moral lessons "bontade" they meant to convey. The prologue canto of the Commedia shares with the introduc- tion of the Convivio not only the imagery but also a similar preoc- cupation. This is expressed as the liberating action of the Veltro and is the way in which the Commedia will teach wisdom, love and virtue: In Dante's poem there can be no illusion that evil can be exorcised once and for all through the punitive action of a god or a pious man.

The reap- pearance of Turnus in Dante's poem makes this clear. The killing of the lupa is Virgil's fiction not Dante's. The lupa does not symbolize envy, as the wolf represents evil in the Aeneid, so that its defeat at the hands of the Veltro can signify the successful overcoming of evil. The lupa in the Commedia, as I have indicated, is only a sign pointing to the presence of greed and of envy. As a sign, the lupa points to those who are guilty of this sin in very much the same way as the helmet points to Euryalus's greed, Pallas's baldric betrays Turnus's, and the pres- ence of Turnus amongst Virgil's warriors Virgil's own avidity.

These are signs that point to a deceit or a transgression which makes it possible to uncover it and to punish it. The task of Dante's Veltro will be to hunt down these examples of greed found in every city of the "umile Italia" and to place them where they belong in Hell or in Purgatory. He will look for Florentines, Romans, Greeks and everyone whose baseness is concealed by an apparent noble character. In the terms of Dante's allegorical rep- resentation, to place the lupa in Hell means to bring about in the reader the moment of recognition of a particular evil or crime which is how the Commedia will teach its readers to become wise, loving and virtuous.

Dante's objective in the Commedia is to teach the reader to go beyond the mere letter of poetic representation to unveil the truth that it conceals, in very much the same way in which he is to learn to go beyond the appearances of things to the truth behind. In the Convivio, the mode of representation which the poet uses to convey his moral teachings is called the allegory of poets and con- sists of two concurrent but different levels of meaning: In the now famous letter to Cangrande, Dante gave the etymology of allegory as that which is other, different.

A set number of conventions govern the relation between sign and referent. The symbols employed are to a large extent part of an established system of meanings and one needs only to establish the connection to decode the meaning of the symbol. In allegory the meaning is other than what appears to be at first. The literal meaning is only a fiction, a "bella menzogna," whose purpose is to hide the allegorical truth to which it points.

Differently from the symbol, poetic allegory is not so easily determined because it does not depend on a reliable system of meanings for its expres- sion. In poetic allegory, it is the meaning the poet gives to the fic- tion that is at stake. In the letter to Cangrande, Dante explains what these two levels are. The poetic fiction is the journey in the three realms or, more specifically, the representation of the state of the souls after death.

The allegorical meaning, however, is in function of the system of justice that punishes or rewards men's actions voluntar- ily undertaken. The meaning of the allegory is the judgment of man as he is deserving or undeserving because of actions dependent on his free will. Un- like the type of justice that exists in the Aeneid, this justice is im- partial because it is not compromised by political affiliations and personal gain.

The Veltro and Dante's Prologue to the Commedia 35 The process through which these teachings are imparted, how- ever, is not always clear and transparent as the episode of Virgil's prophecy of the Veltro has shown. Virgil's vice must be deduced by going beyond the meaning of the letter to the hidden mean- ings, and truth, that it conceals. This is where the Convivio and the Commedia differ. In the earlier work, Dante sets out to explain to the reader the meaning of his poems that he has missed, in the Commedia the reader is on his own.

He has to read the poem alle- gorically and uncover the deceit himself if he wants to become wise, loving, and virtuous. Through this process of reading, or of "feeding" to use Dante's metaphor as it is employed in Paradiso X, the reader gradually learns and, supposedly, also journeys from Hell to Paradise. The reference to feeding in Paradiso X under- scores this necessity, namely, that the reader can reap the re- wards only if he is capable of eating the food that the poem feeds him, "Messo t'ho innanzi: Virgil's lie of noble and selfless heroes is exposed through the presence of Turnus which disrupts the authority of Virgil's poetic word.

Once the presence of the discordant element is perceived, namely the sign that points to the infraction, the awareness brings about the moment of judgment. In the case of Virgil, the ironic presence of Turnus is sufficient to expose Virgil's bias and to undermine the validity of his claims. Through this ironic mode of signification, the souls in Inferno and in Purgatorio are made to reveal their wrongdoings which is not immediately apparent at a first reading.

Encountering Paolo and Francesca, Brunetto Latini or Ulisse, to name only a few of the most well-known "heroes" of the Inferno, the reader has often been at a loss to justify their presence in Hell. In the case of Virgil there has never even been the suspicion of a possible deception. But as for Virgil, what is related by the souls is always a lie that can never be taken at its face value but must be unmasked before the truth can be known.

This task is given to the reader who is called upon to perform a similar critical task that Dante put into practice in the Convivio. This is the task to go beyond the seduc- tion of the language of love of Francesca, the promise of immor- tality of Brunetto Latini and the rhetoric of Ulisse, to make mani- fest the truth that their language conceals. Cacciaguida, commenting on the doctrinal function of the poem in Paradiso XVII and once again using a food metaphor, alludes to the inherent difficulties in this task of allegorical inter- pretation: The reader's relationship to the poem is not unlike that of the pilgrim to Virgil.

It requires, as its necessary precondition, the refusal of the lie of an easy and factitious solution and an avowal of the basically corrupt nature of man from which the reader is not exempt. Only on this condition, it would appear, the reader can benefit from the poem or, to put it in terms of the Convivio, only when the food of the poem is consumed with the bread of commentary can the "real" beauty of Dante's poem be appreci- ated.

The first canto of the Commedia is an allegory of this process in the initial demistification of the pilgrim's attempt to reach the "dilettoso monte" Inf. The precondi- tion for the journey, or the reading, is in the realization of a self- deception whose foundation seems to be rooted in a mistaken conception of self and its powers which, at the level of poetic rep- resentation, has its equivalent in the deluded belief in the validity of a symbolic conception of art.

Virgil's dual reply, to take another road and to look forward to a new Veltro, allegorizes the decep- tion inherent in a symbolic mode of reading the poem which, as the embodiment of a desire, turns fiction into reality; and, sec- ond, it points to the indirect path of allegorical representation. To The Veltro and Dante's Prologue to the Commedia 37 be sure, there is only one road and its precondition is the awareness of the deceptive nature of the other road which, al- though easier, more direct and more pleasurable, leads the travel- ler nowhere when it does not lead him to his downfall.

The allegory of irony that defines the Commedia is exemplified by the relationship between the pilgrim and Virgil in the Inferno and Purgatorio, and between the pilgrim and Beatrice in the Paradiso. At the end of the prologue canto, after the subject matter of the poem has been announced allegorically, the journey, which is the poem, begins with Virgil's beautiful lie leading the way and Dante's truth following right behind: Arnoldo Mondadori Editore, Contains a good recapitulation of previous interpretations of the Veltro.

Oxford University Press, , p. Vergilius Maro, Aeneidos in Opera, ed. At the Clar- endon Press, Henceforth all references are given in the text. Natalino Sapegno Milano and Napoli: Camilla ed Eurialo, Turno e Niso. MacMillan St Martin's Press, These sa- cred books so bound were only the property of emperors. See John Hannett, An Inquiry into the nature and form of the books of the ancients; with a history of the art of bookbinding, from the times of the Greeks and Romans to the present day inter- spersed with bibliographical references to men and books of all ages and countries, illustrated with numerous engravings by John Andrews Arnett London: Groomridge, , p.

Menu di navigazione

Less expensive binding, prior to the introduction of printing, was done by adapting wooden boards for side covers. Skin or parchment would be sewn on these boards. Later on, velvet became the most often used material, "used for the covers of the best works" pp. Dante's remark that the covers of his Commedia are lined with felt stresses the simplicity of its appearance in contrast to the usual practice of bookbinding where the emphasis is on ornamentation.

The choice of felt is consonant with the underlying idea that the poem shall lead man to virtue and not to riches. The general thrust of the poem, as I have said, is to go beyond the deceptive richness of appearances to the truth within. The reading of "feltro" as felt lining has been suggested many times by critics who have re- called the use of felt that lined the wooden interiors of medieval ballot boxes. To quote only two of the most noteworthy examples of read- ings of the Ulysses's episode: At issue is not whether the souls are or are not deserving, rather that being all deserving they are justly rewarded.

At the lit- eral level, is described "status animarum beatarum post mortem," and at the al- legorical level, "est homo prout merendo obnoxius est iustitie premiandi" Epistola XIII. Altri episodi, invece, vanno esaminati dal punto di vista della prevalenza dell' ovviamente magico come parte di una tradizione letteraria. Specialmente nel- l'ultima redazione si percepiscono dei germi di crisi, sia dal punto di vista storico che da quello personale. Giorgio Padoan definisce l'Orlando Furioso " Per cui la magia si origina in noi ed incarna ap- punto la nostra preferenza per l'illusione. La vita, nel Furioso, si forma e si sostanzia di una ricerca continua.

Qui, attraverso l'osservazione del delicato lavoro testuale, si spera di intravedere alcune istanze della "presenza" del poeta. Dopo il vivace trambusto dei due cavalieri combattenti ott. Si sente, all'ottava 33 a , una distinta alterazione di atmosfera: Fugge tra selve spaventose e scure, per lochi inabitati, ermi e selvaggi. Trovossi al fine in un boschetto adorno, che lievemente la fresca aura muove. Duo chiari rivi, mormorando intorno, sempre l'erbe vi fan tenere e nuove; e rendea ad ascoltar dolce concento, rotto tra picciol sassi, il correr lento. Angelica si vede apparire davanti un mondo incantato.

Qui Angelica pre- ferisce l'illusione: Nella 36 a , e specialmente nella 37 a ottava, l'Ariosto fa evolvere ancora questo senso illusorio di un ambiente magicamente im- mune. Nella 36 a ottava cominciano a palesarsi le prime reazioni di Angelica di fronte al "boschetto adorno. Quivi parendo a lei d'esser sicura e lontana a Rinaldo mille miglia, da la via stanca e da la estiva arsura, di riposare alquanto si consiglia: Quivi parendo a lei d'esser sicura e lontana a Rinaldo mille miglia, da la via stanca e da l'estiva arsura, di riposare alquanto si consiglia: Da immagine statica nelle prime due redazioni "E lo lascia nel margine de l'onde" il verso 7 si trasforma nell'ul- tima stampa in rappresentazione dinamica che si incentra sul mo- vimento sinuoso sia del cavallo che delle "chiare onde": La sostituzione di avean ad avea v.

L'intera 37 a ottava consiste di una descrizione del "bel cespu- glio" scorto da Angelica non lontano dai due corsi d'acqua. La 37 a ottava si presenta cosi nell'edizione del I, 37, A Nelle ultime stampe invece si presenta cosi: Sono i versi in cui si trovano le componenti nuove che l'Ariosto, avendo elimi- nato i primi due versi originali, aggiunse nelle ultime stampe. Nel terzo verso "che de le liquide onde al specchio siede" l'autore precisa una nozione generica introdotta nel primo verso dell'ot- tava: Si stabilisce ora invece una relazione di- retta fra i corsi d'acqua e il cespuglio: I corsi d'acqua formano due sinusoidi orizzontali che circoscrivono lo spazio.

Nel quarto verso "chiuso dal sol fra l'alte quercie ombrose" si definisce una linea verticale, prodotta da l'alte quercie ombrose v. Al primo colpo d'occhio il cespuglio attrae per i suoi prun fioriti e le sue ver- miglie rose v. Domina dal quarto verso il senso di un progres- sivo insinuarsi nella scena di ombre e di tenebre che finiscono per avviluppare tutto lo spazio. I raggi del sole sono ostacolati sia dalle querce v. Dentro letto vi fan tenere erbette, ch'invitano a posar chi s'appresenta.

La bella donna in mezzo a quel si mette; ivi si corca, et ivi s'addormenta. Angelica riacquista subito la propria co- scienza e riprende a riflettere e a calcolare come sfruttare l'occa- sione I, Agli interminabili gridi lamentosi di Sacripante contro la Fortuna crudel I, All'improvviso esce dal cespuglio, appare come dea ad un Sacripante meravigliato: Nel Furioso la vita, che si ricrea sotto veste fantastica, diventa anche pura energia psichica: Pensando a Ruggiero, Italo Calvino scrisse: Sappiamo bene che tutti gli osta- coli saranno vani Il cavaliere, apparentemente, vive in balia dell'urtarsi di queste due potenze contrarie.

Invano, Atlante cerca di sottrarre Ruggiero al suo fiero destino IV, Ma, come nota Calvino, Ruggiero "non sembra aver fretta" di incon- trare il suo destino ".

Atlante tenta con il piacere e con l'illusione. Ma forse le potenze rivali che si contendono Ruggiero in gran parte non sono che simboli dei drammi che tenzonano all'in- terno di lui. Si deve aggiungere che qui la visione ariostesca appare particolarmente ambigua e paradossale. L'Ariosto rappresenta degli aspetti irrazionali, e na- turalissimi, della natura umana. Nell'episodio dell'isola di Alcina, lo studio comparativo basato sulle varianti sembra acquistare un valore speciale. Sotto il velo della rassegnazione ironica il poeta sembra accennare a quel dubbio se in fondo l'essenziale non consista nel lontano punto d'arrivo ma piuttosto nelle tante peripezie che si frappongono lungo la via.

Giunto sull'ip- pogrifo all'isola fatale VI, Ad interrompere il riposo di Ruggiero saranno i gemiti del mirto Astolfo. La reazione di Ruggiero al rac- conto di Astolfo incomincia a esprimersi nell'ottava 54 a. Ruggier, che connosciuto avea per fama il duca Astolfo, e che sapea com'era cugin di quella donna che tant'ama, si doive assai vedendo in che maniera mutato avesse in steri!

VI, 54, A Le edizioni del e del invece si presentano cosi: Ruggier, che conosciuto avea per fama ch'Astolfo alla sua donna cugin era, si dolse assai che in steril pianta e grama mutato avesse la sembianza vera; e per amor di quella che tanto ama pur che saputo avesse in che maniera gli avria fatto servizio: Dal punto di vista della sostanza, l'ottava 54 a ri- mane essenzialmente uguale dalla prima all'ultima redazione: Rispetto a Ruggiero, Attilio Momigliano ha notato che "l'esempio di Astolfo non ha operato sulla sua ra- gione, ma sopra i suoi sensi.

Nelle ultime stampe dell'ottava, per esempio, la pre- senza, e quindi l'influenza ispiratrice, di Bradamante viene appa- rentemente accresciuta. Nelle ultime redazioni dell'ottava 54 a il tono complessivo, invece di aggravarsi, si alleggerisce. Scorrendo la redazione A dell'ottava 54 a dal principio alla fine, il lettore avverte un impeto, o urgenza, che manca nelle re- dazioni che seguono. Nonostante la loro sintassi parentetica, i primi sei versi della redazione A vanno letti di seguito. Nella redazione A vengono precisati i particolari che indicano una comprensione ra- zionale da parte del cavaliere del legame consecutivo fra causa ed effetto.

Utente:Nemo bis/Elenco titoli/Registro - Wikiquote

E conclusione naturale che segue coerentemente i primi sei versi dell'ottava e che si impernia sul desiderio di Ruggiero di aiutare Astolfo. Con la forza dei ter- mini volentieri e increscere si sente palpitare ancora nel dolore di Ruggiero il polso del proprio vigore. Nelle ultime re- 52 Nancy Lazzaro-Ferri dazioni, l'ottava si divide simmetricamente in due parti, con Bra- damante che domina sia la prima che la seconda. Due volte, una ai versi , e l'altra al verso 5, Bradamante viene rammentata esplicitamente come forza motrice: La costruzione ipotetica di questi versi, e specialmente quella parentetica che isola il verso 6, rende evidente il carattere vano di qualsiasi inter- vento da parte di Ruggiero a favore del paladino inglese.

La pa- rentesi che racchiude il verso 6 ci fa sentire chiara la voce del poeta che osserva a distanza, lasciando il proprio suggello attra- verso un'ironia vibrante. L'ottava 54 a , quindi, si impernia sul paradosso. Nell'isola di Alcina l'illusione diventa destino e il destino diventa illusione. Sia Angelica che Ruggiero hanno preferito l'illusione. Ruggiero, momentaneamente, ha trovato nell'illusione la speranza. Commissione per i Testi di Lingua, In seguito le citazioni ario- stesche saranno tratte dalla suddetta edizione.

Il Binni parla della ". Longo, , p. Con- vegno Internazionale Ludovico Ariosto Roma: Accademia Nazionale dei Lincei, , p. L'analisi che faremo delle ottave 36 a e 37" prende spunto dal sud- detto studio dove viene esaminata l'elaborazione dell'ottava 35 a. Riguardo alla "presenza" nascosta del poeta nella sua opera il Chiappelli scrive: La Nuova Italia, , p. Riferendosi agli "elementi esterni brillare di stelle, suoni ," il Cecchetti scrive: Il dato esterno, dunque, si carica spontaneamente delle speranze e delle apprensioni dei personaggi.

A proposito dell'elaborazione dell'ottava 35 a , il Chiappelli osserva: D prodigio del verdeggiare perenne non era enunciato nella redazione con l'imperfetto 'facean' [v. The idea of 'gathering in' the horse, fi- nally of integrating and consolidating the self, is at the heart of his vision. He [Ariosto] is always concerned with the collected, as opposed to the dispersed or scattered, self.

The horse out of control is simply a symbol of human des- pair. How one rides is an index to one's spiritual state" pp. Rajna, Le fonti dell'" Orlando Furioso" Firenze: Einaudi, , p. Laterza, , pp. L'aura dolce del luogo dispone il guerriero rin- francato ai sentimenti affettuosi. Senza quella cadenza ironica, che contribuisce cosi tanto al tono generale dell'episodio e in cui avvertiamo la presenza del poeta, le "sensa- zioni dolci" p.

Ri- guardo al problema generale dell'ironia nell'Ariosto, si veda lo studio "Folly in the Orlando Furioso: Qui l'ironia ariostesca viene intesa in maniera stimolante da Franco Masciandaro. Parlando del conflitto nell'O. His irony is directed at the often obsessive inflexibility with which the man of single vision clings to his ideals. Folly is thus identified with the failure to perceive reality as a fluid, constantly changing 'system of relationships,' and to measure one value against another, one possible choice against another" p. Remo Bodei Gramsci and the Forging of Collective Will One of the most frequently recurring themes in Gramsci's thought is that of the will.

In it come together thus increasing its scope many other complementary theses, which can also be seen as its internal oppositions: Since the notion of the will has caused several misunderstandings and is central to Gramsci's thought, it is appropriate to deal more directly with this problem. The point of departure of Gramsci's meditation can be con- densed in these terms: For this reason they then try, de facto, to integrate the ideological voids with social practices apparently contradictory with the basic premises.

In fatalism, in fact the ex- pression in Gramsci indicates mainly the passive attitude of Ger- man social-democracy and of Italian socialists during the period of the second International the wait for the 'spontaneous' break down of capitalism is accompanied by the creation of organisms of the masses, i. Yet each of these necessitates, unknowingly, borrowings from the other, or at least, it tolerates the other's presence at its side.

Thus in Sorel the guarantee that the collective will conjured up by the "structure" of the myth will not dissolve like a flash in the pan comes only by imagining necessity as a via a tergo of spon- taneity. In Italian reformist socialism Treves, Turati , on the con- trary, in which every political initiative including the October Revolution was defined as "voluntarism" and "bergsonism," a certain margin was left for a true and uncontrolled spontaneity, for a rebellious tendency that in the aftermath of the war, accord- ing to Gramsci, drove, gratuitously, the middle classes into the arms of fascism.

The 1 fatalistic conception of history according to which power will fall from heaven when times are ripe, and 2 sorelism, with its ambiguous politics of the myth and praise of vi- olence, are therefore not only theoretical, but political errors as well.

Yet, according to Gramsci, determinism and the economic-corporative phase Sorel does not go beyond trade- unions are children's diseases not only of the workers' move- ment, but also of every new class and of every new State as it first comes into existence. We find here a sociological setting of the problem which is influenced by Weber, by the reading of The Prot- estant Ethics and the Spirit of Capitalism. The proletariat, just like the bourgeoisie at the moment of the first growth of capital, conceives of its historical task in fatalistic form, that of predestination.

Thus it succeeds in keeping its internal cohesion and its capacity of resist- ing in the hardest moment of its success: When we do not have the initiative in the struggle, and the struggle ends by being identified with a series of defeats, mechanical determinism becomes a formidable force of moral resistance, of cohesion, of patient and obstinate persever- ance. T am momentarily defeated, but the force of things works for me in the long run, and so forth. Fatalism prevailed because the conscious- ness of the proletariat was still accustomed to suffer the initiative and the hegemony of the dominant class, to resist it, to become a "thing," to become inert.

Fatalism just like rebelliousness is the expression of this defensive passivity now in the process of disap- pearing: Because, in the final analysis, if yesterday the subordinate was a 'thing,' today he is an historical person, a pro- tagonist; if yesterday he was irresponsible because he resisted an extraneous will, today he feels responsible because he is not resisting, but he is an agent, and by necessity an active and enterprising one" Q.

The balance of force weighs in favour of the working class; the old ruling class is going through a crisis of leadership. The escape into fatalism and myth is not only unnecessary, but also dangerous, paralyzing; it contradicts the active function of the proletariat. The proletariat now can abandon the primitive economic-corporative phase and replace it with the theory of he- gemony, with active and not empty will, with the rational, mor- phological forecast and the control over the mechanisms of society and of production.

To be sure, the will al- ready existed, although weak, "veiled," camouflaged in predesti- nation. How to rouse to action the latent, potential energy of mil- lions of men? The Russian Revolution demonstrated, according to Gramsci, how the working class is capable not only of taking con- trol of the process of production, but also of leading a great Na- tion, of being hegemonic. Millions of men, excluded from the conscious making of history, become active. History can now shine with millions of new lights and points of strength, it can become more complex and change qualitatively.

The immense energies until now scattered, wasted, will finally be put to work. At the beginning there will be the most horrendous cacophony, just as when musicians tune their instruments, but then there will be the melody of a superior civilization. Here Gramsci translates Lenin into Italian: It is certain that Gramsci meditated upon those words of the Manifesto which say that the struggle between the classes does not necessarily result in revolution.

It can in fact end "either with a revolutionary transformation of society in its entirety or with the common ruin of all the classes involved in the struggle," and he has clearly kept in mind Sorel's analogy between the end of the ancient world and the waning of capitalism. Thus, in the face of the threat of a new state of barbarism, Gramsci has tried, through the intellectuals, to emphasize the problem of the retrieval and transmission of humanity's inherited knowledge and customs to a new class which, unlike the bourgeoisie, did not prepare in ad- vance its political domination with an intellectual hegemony.

The proletariat, therefore, cannot be considered, according to Gram- sci, only as the heir of German classical philosophy, of the English industrial revolution, or of French Utopian socialism, but must also be considered the heir of all the driving elements of civiliza- tion. It follows that the intellectuals must not become courtiers to the "modern Prince," nor merely loudspeakers for the revolution. The passivity of large masses implies, from an historical perspec- tive, domination on the part of small groups. When the masses become active, they will overturn the government of the elites.

The elites are not destined to rule for ever as Pareto believed, to- gether with the other neo-machiavellians , because man is not destined to remain for eternity like a sheep, to be passive and to be led by the psychology of the masses developed by the Sigheles and the Le Bons. It is quite true that during the thirty-years war 45 Hungarian horsemen kept Flanders under control, and that a few thousand British soldiers ruled over hundreds of millions of Indians. Yet, it will not necessarily always be true: In these "times of fire and sword," the will must be tem- pered in self-discipline which is the essence of the party in com- parison to the State , in the capacity to command and obey, in order to be able to withstand victoriously the enemy; that is to say, a bourgeoisie that leans more and more towards militariza- tion.

Gramsci illustrates this necessity by means of a short story taken from Kipling's Jungle Book. Queen Victoria gives an order, 60 Remo Bodei and everyone obeys, from the governor down to the last mule of the artillery. To a native who wonders at such an organization, the British answers: There is no force of things, but only conscious planning, construction.

The entire conception of the will and of hegemony is based upon a complex historical and theoretical analysis of the changes that have come about in the economy and in the civic and social spheres since , a date considered by Gramsci sym- bolic. What happened beginning with that year? The bourgeois Estates, following the defeat of the Commune of Paris and being faced with a great depression, reorganized themselves, in the sense of an ever increasing penetration into civic society, of a search for a consent that would make coups de main like those of and impossible that would thus prevent the "mobile warfare" and the Jacobinism within it , of an extension of bureaucracy, of a capillary organization of power, of a colonial expansion and of a reciprocal interrelation between the various Estates.

Around the citadel of the political State, upon the soil of civic society, sprang up the "trenches," the casemates, the fortifications and the walls that must protect it from any attack. For the first time we can speak, in an organic and programmed sense, of an integral Estate, a ". After the Commune of Paris an historical period begins in which the State, in order to function, requires more and more the active or passive collaboration of the citizens, and therefore it needs to obtain or to extort their consent.

From this point of view, such a tendency culminates in fascism and nazism, in the total militarization of society, in the extortion of approval by means of force, in the annulment, at the limit, of the difference between dictator- ship and hegemony. The strategy of the trench war and the re- sulting concentration of the collective will are imposed by this re- organization of the modern bourgeois State.

Mobile warfare is no longer sufficient the October revolution was its last episode: Rus- sian civic society was still "gelatinous" and it was sufficient to de- Gramsci and the Forging of Collective Will 61 stroy its autocratic and repressive apparatus , nor is the pure struggle at the level of economy. This means that even very grave economic cri- ses do not have immediate repercussions on the political level. Politics always lags behind the economy. The State apparatus is much more resistant than one usually thinks, and it is capable of or- ganizing forces faithful to the regime much better than the depth of the crisis would make us believe possible.

In his desire to pre- serve mobile warfare he is in fact close to Sorel. The tendential fall of the profit-rate is thus restrained, shattered, momentarily defeated. Cri- sis and development alternate, producing a molecular disintegration of the old forms, rendering difficult the evaluation of the overall links, shifting the plane of control to levels of extreme complexity and localized specialization, throwing in the field progressively all the political and human "reserves" accumulated.

In order to react to this long term project it is therefore necessary to proceed in the opposite direction: Neither of them understood the "tenden- tial" character of the collapse, its peculiar nexus of liberty and ne- cessity. For Gramsci the best suited philosophy for the new situation opening up after is historicism in its various manifestations. Behind events one can no longer presume any- thing static, anything objectively set, but only lines, generating functions of progress, such as the Crocian "categories" of the spirit.

Historicism fruitfully complicates reality, emphasises the conditionings, the delays, the difficulties, and the uncertainties of given accomplishments. Historical time loses its linearity, it be- comes — so to speak — "syncopated," it allows the co-existence of different levels of chronological contemporaneity, of different synchronic degrees of development, which it tries to join and to rearrange.

In essence, it binds crisis and development, backwardness and forward lines. It can, as it has happened before, 7 give rise to conservative approaches, to the justification and defense of the delays and of the historical blockades, thus becoming an adequate support of "passive revolutions. For Gramsci, Croce is not only an essential cultural point of ref- erence, but he is also a useful political point of reference, since he represents in Italy the highest level of the elaboration of this strat- egy. Against Gentile of whom Gramsci in had given a posi- tive opinion , who seems to represent a higher phase, but in real- ity embodies a much more primitive and corporative phase of the political struggle, 8 Croce understood that the highest state of the struggle is played at the ethical-political level, at the level of the hegemony, of the control, and not at the level of the extortion of consent.

He is therefore willing to relinquish much, in order to make the Italian bourgeoisie not only the dominant class, but also the ruling class. Hence his "classicism," his thinking himself closer to Aristotle than Agnelli, 9 his placing himself — in the "small politics" — outside the fight, the immediacy, and the his- torical limits of the Italian bourgeoisie. The sense of his philoso- phy is, from a political view point, the invitation to abandon the over-ambitious dream of nationalist and colonialist glory, to try in a realistic manner to reconcile the interests of the various classes, pleasing in a subordinate manner some needs of the workers' movement, to sacrifice the bizarre and rhetorical aspects that Ital- ian society had inherited from the past.

For Gramsci, while the position of Gentile is related to futurism, 10 to the romantic notion of "throwing the heart over the obstacle," Croce provides the the- Gramsci and the Forging of Collective Will 63 oretical grid for evaluating and for controlling the process. A grid which is articulated in the paths of objectivation, of effective reali- zation, which is the product of precise choices, of the capacity of deciding, of commanding, of weighing a high number of varia- bles. That which is not objectified, which is not concretely con- nected with the world, has no value. For this reason art must be "expression," and not an inexpressible and nebulous inner world; for this reason the will must be effective decision, not vain fancy or desire or blind passion.

Therefore Crocian philosophy — in those aspects that interest Gramsci the most — manifests itself as political pedagogy, as the training of a class for hegemony, for the forsaking of the corporate-passionate phase to which the work- ers' movement would still be tied , for the cathartic elimination of the worse, de-productive conscientialistic and individualistic lags. In the field of the will, this means the struggle against indulgence in vain fancies and against Nicodemites-like behaviour in which choices tend to fade out or to disappear, the struggle against these old Italian plagues which are due to the social disintegration and to the historically-determined weakness of the bourgeoisie.

And against the secret illu- sions of religion, especially that of individual immortality, he indi- cates what he considers to be the only immortality to which we can aspire, that of our actions, of the imprints left upon the world, fruit of the will. Croce, however, did not succeed in eliminating the "transcend- ent.

Croce had seen Marxism as a new transcendence, 12 but for Gramsci it is the true fulfilment of historicism, the courageous "absolute" historicism, for the very reason that it strives to elimi- nate mythology all together — and especially within itself — to provide large masses of men with will and consciousness. In Crocian terms, politics in Gramsci is no more "volition of the per- sonal," blind passion, sublimation, special interests, but "volition of the universal," the role that Croce attributed to morality.

Poli- tics is knowledge, rationality, passion permanently organized and 64 Remo Bodei therefore overcome, an attempt at foreseeing how every action of ours, which "detaches itself from us and lives an immortal life" can reasonably be directed towards an emancipatory end, towards a freedom which is not congealment of existence. Also here the function of the intellectual is shown with clarity: Besides coming to terms with the Church, Crocian historicism also satisfied itself by flirting with common sense, that is to say with the disintegration, with the secular sedimentation of the style of life of the lower classes.

Obviously Gramsci's project is antithet- ical, for it is based on the all-pervasive diffusion of a "new order" of knowledge and of collective energies. Common sense must be overturned in its present disintegration and passivity and re-con- structed at a higher level of coherence, of maturity, of suitability to hegemonic tasks. It must be restructured in unison with the growth of the competence for hegemony.

In the face of Croce's passive revolution, Gramsci comes to a revaluation of Jacobinism. Thus Jacobinism becomes an antidote against every form of "passive revolution" transformisticaUy in- tended. It is an anti-Sorelian substitute for Sorel's "spirit of divi- sion" which in part should, however, be preserved. Everywhere in fact, in Europe and in America, we witness passive revolutions, attempts to rationalize the economy and to control the consensus of the people. Fascism, too, is a "passive revolution" which, with corporatism and State interventionism, aims at creating a new combination of economics and politics, for the fact of ".

1. Neapolitan!
2. Antiwar Songs (AWS).
3. Dating & Relating: Friends with Benefits.
4. 18633 songs found in English or Neapolitan or Italian!
5. Slocum 349: Slocum and the Big Horn Trail (Jake Logan)?
6. The Deconstruction of Professor Thrub.
7. Bonding over Beauty: The Beauty Recipes!

On the other hand in the United States, where — in relation to Italy — the expansion of a parasitic class is much reduced, he- gemony grows directly from the factory. Yet this gives rise to a tight control upon the life of the citi- zens, it reaches their most intimate spheres, their sexual life and social needs prohibitionism. Under the traditionalist flag of puri- tanism, Fordism brings about a revolution, albeit a passive one: Fordism and its application on a large scale of the methods of Taylor produce a mechanical compression of the instincts and attempt to subjugate despotically the will of the workers.

Gramsci studies the phenomenon from the perspective of certain epochs. Fordism is nothing but the intensification of a process, that of industriali- zation, that began long ago and that represents, aside from a cer- tain advancement of the forces of production, also an accumula- tion of sufferings and of immense discipline.

This has happened every time the forces of production have undergone a process of development. They have demanded the sacrifice of habits, ways of life, rhythms of work, and instincts, which were the result of an historical process, second nature which has become a first nature and that now are violently displaced: These allow more and more complex forms of collective life which are the necessary consequence of the devel- opment of industrialism.

Yet has not every new way of life always been, at the moment when the struggle against the old ways asserts itself, at least for a period of time, the result of a mechanical compression? Even the instincts that today must be overcome because they are too "animalis- tic," in reality have represented considerable progress when considered against the more primitive ones: Until now all the transformations of our ways of being and of living have occurred through brutal coercion, that is to say through the dominance of a social group over all the productive forces of society: As a matter of fact, the dream of Taylor and of dictatorial regimes is that of turning men into "trained gorillas," of reinstating the forced co-operation of a slave- driven mode of production.

Gramsci however — unlike, let us say, Adorno and other repre- sentatives of the School of Frankfurt — does not limit himself to the denunciation of this innate demolition of the policy of individ- uality or of that of the introduction of Taylorism and of the mech- anization of life. First of all, according to Gramsci, it is a process which can also be considered as an advancement foreshadowing an anthropological mass-change and an increase of psychomotory coordination and of human freedom. The discomfort of the pres- ent times will be in fact overcome " Coercion can be absorbed and transformed into freedom, into a larger expansion of human abilities: Gramsci does not reject — to use an expression from Adorno — the idea of an "administered society," of "conformism," of rigor- ous and capillary organization.

He believes the standardization of man and his intellectualization to be irreversible processes: The econo- mic basis of collective man: Conformism, however, imposes itself in every corner of our society and culture. When only a child, Gramsci recalls, his fantasy used to rove freely: I was instead a fearless pioneer and I never left home without carrying in my pockets grains of corn and matches wrapped in small pieces of waxed paper, just in case I might be thrown onto a desert island and left to cope all alone.

Radio and the airplane have forever destroyed Robinsonism, which has been a way of fantasizing for so many genera- Gramsci and the Forging of Collective Will 67 tions. Even the invention of Meccano shows how the child is rapidly be- coming more intellectualized; his hero cannot be Robinson, but, at least in the West, the policeman or the scientist-robber.

The State, in dic- tatorial regimes, oversees the future citizens from an early age in order to standardize them. The mechanical compression of the instincts and the growing rationalization cause uneasiness, apprehension, desires of escap- ing into a mythical idyllic past. Psychoanalysis, for Gramsci, is the alarm-bell of such a situation, and Freud, from this perspective, is perhaps ". Today, Gramsci says, " In such conditions the injunction to "know thyself," one of the central elements of what has been called the "political Soc- ratism" of Gramsci, becomes increasingly more difficult.

To know oneself, in fact, means not only to "unravel" one's personality if only with the help of the psychoanalyst , 20 but also to go through a "struggle of hegemonies" Q. In these times of "steel and fire," the will must strengthen itself in order to bend the drives, to rationalize them, to have them be- come instruments of freedom. It is perhaps for this rea- son that Gramsci loved the Meditations of Marcus Aurelius, and why, while in prison, he used to speak of his "stoic serenity.

In spite of a certain tendency to politicize, there is noth- ing in Gramsci to resemble Stalin's primacy of politics — understood in the sense of a force free from consent or "truth. Collective will is rather an instru- ment of liberation, a transitory necessity: The best thing to do is to light the fire at places made for having a fire. Ask your community what is relevant.

And you may not drive on paths or jogging tracks. The fire might spread. You may go fishing with fishing and casting rod along the coast and in the five biggest lakes in Sweden. Then the animals are having babies. A dog can frighten or hurt the animals. We discovered that the farm can have a wide range of animals such as the hedgehog, fox, badger, rabbits, frogs and newts. We discovered that farmers nowadays are more aware of how to help the animals while making food from their crops and animals. We focused on corn and how it is really important in Ireland. By studying the journey of bread we saw how the corn seed is grown, sent to a mill and made into a huge variety of foods including cereals, breads and flour.

We learned about domestic animals and their young and which meats come from different animals, the classes will undertake a trip to Corkagh Park farm to study the pigs, cow, goats and other farm animals which are living there. Essi subirono molte torture ma non rinnegarono la fede in Cristo. Tutto il Corso del Popolo viene occupato da bancarelle che vendono di tutto. Particolarmente allegri sono i bambini, che chiedono ai grandi di comperare dolci, giocattoli,palloncini, animaletti da casa. Per tutto il giorno in Cattedrale vengono esposte le reliquie dei Santi e molti sono i fedeli che si recano in visita per una preghiera e approfittano per visitare il museo diocesano nel quale sono conservate le antiche statue dei patroni Felice e Fortunato.

Dopo la processione il via vai di grandi e piccini continua sino a tardi. In questo giorno di inizio estate, sacro e profano si mescolano tra le calli di Chioggia. They suffered under torture but they didn t deny their faith in Christ. Anciently their mortal remains were kept at the bishop s see seat at Malamocco, an island of the lagoon, but when in the ancient see was moved to Chioggia, the relics of the martyr saints were transferred, too, and they became the Patron Saints of the town and of the diocese.

They are remembered on 11th of June, the day of their martyrdom. In Chioggia, on this day, there is a great celebration. The main street is full of stalls selling everything. From early in the morning the main street is filled with people rummaging among the stalls looking for the most curious souvenir.

The children are particularly excited, asking grown-ups to buy sweets, toys, balloons, little pets,. In the air there is a smell of freshly cooked food. All day you can visit the relics of the Saints in the cathedral, many of the faithful come to pray and to see the museum where ancient statues of Felice and Fortunato are kept. In the afternoon the bishop celebrates mass in the presence of local civil and religious dignitaries. This is followed by a procession; the priests and the congregation take the statues to a small square at the end of the main street, from where the bishop blesses the town.

Along the route there is an almost surrealistic atmosphere, the procession winds its way amongst smells of hot food while people stop in silence on the sides of the street. Some pray, some make the sign of the cross and some just go on eating. After the procession the bustle in the main street of grown-ups and little ones continues until very late. On this day, at the beginning of summer, the sacred and the profane mix together among the "calli" narrow streets of Chioggia. Balloons, stalls and people in the main street Palloncini, bancarelle e gente in Corso del Popolo.

La manifestazione rievoca quel periodo storico, economico e culturale. Prende il nome dalla marciliana, una nave da carico che si usava per il piccolo commercio nel Mare Adriatico; a Chioggia serviva soprattutto per commerciare il sale che veniva prodotto nelle sue famose saline. La festa sembra proprio una antica fiera del sale, quando i mercanti venivano dalle terre di Lombardia per comprare il sale.

Ecco come un alunna della scuola Marchetti racconta la manifestazione. Andrea e le corse dei milites al combattimento con spade, lance, archi, scudi. Molti bambini partecipano alla Marciliana indossando quei particolari costumi. Tamburini e gonfaloni - Drummers and banners. The city was the centre of battles, siege and destruction, finally liberated in June The event recalls that historical period, economic and cultural.

It takes its name from the marciliana, a cargo ship, used in the Adriatic Sea to trade salt produced in the famous salt works in Chioggia. The festival is like an ancient salt fair when merchants came from Lombardy to buy salt. Here s how a pupil of the Marchetti school describes the event.

The city is divided into five districts which have their own banner with different colours and images to represent their main characteristic and to recall, with the involvement of adults and children the ancient crafts: The music is beautiful: A moment which strikes me every time is the taking of the tower, it is recalled by illuminating S. Andrea s bell tower at night, like it s on fire and the soldiers running to fight with their swords, crossbows, lances and shields.

The crossbow competition is very good too, you really feel like you re in the middle ages. Many children take part, all in costume. Ragazze in processione - Girls in procession. Midsummer Eve is always on the Friday that comes between the 19th and 25th of June. History The tradition to celebrate Midsummer Eve, from an astronomical point of view, is about to celebrate the day that is the opposite to Christmas Eve, id est the twenty-four hours when the day is the longest and the night is the shortest during the year.

In the pre-christian time Midsummer was connected to sacrifices and sacrificial feasts. The purpose was to please the god connected to fertility. As time went by the church took over the celebration and wanted it to be in memorial of Saint John. We put garlands of flowers in our hair, decorate the May pole with leaves and flowers and dance around it, enjoying the beautiful summer and the night of light. Np3 In Np3 the pupils think that the best about Midsummer is the dancing around the May pole.

Depending on the tradition of the family you eat the Midsummer Lunch before or after the dancing. For dessert you use to get fresh strawberries with whipped cream. When Brioni came in each week, we listened to all types of music and sang rhythms like Clon-dalk-in. The best part was getting to play the samba drums in the Hall. We each had a turn playing many different types of drums. Irish Traditional Music is a very important to people in Ireland. Music sessions are often held in pubs and all musicians are welcome to participate.

Irish music is played for dancing to but nowadays you can hear traditional music without a dancer in sight. Traditional musicians love to play jigs and reels. There are many famous bands such as the Chieftains, who play fantastic traditional music. Durante i tre mesi d estate la gente di Chioggia passa gran parte delle giornate in spiaggia. Sulla lunga distesa di sabbia fine ci sono molti stabilimenti balneari, con file di capanne e ombrelloni, non solo per la gente di Chioggia, ma anche per le migliaia di turisti che trascorrono le vacanze a Sottomarina.

La gente, spesso a gruppi familiari o di amici, affitta per tutta la stagione una capanna con ombrellone. Se le mamme non possono, ci sono sempre i nonni che sono liberi e disponibili. Quanti giochi si fanno sulla sabbia! Scavare buche, giocare con secchielli e palette, costruire ponti e castelli di sabbia, fare piste per palline, giocare a calcio a piedi scalzi o a tamburello: Al sabato e alla domenica, quando tutti in famiglia sono liberi dal lavoro, spesso si pranza in spiaggia sotto l ombrellone, al riparo dal sole cocente che nelle ore del mezzogiorno fa scottare la sabbia, portando cibi pronti da casa; qualche volta si mangia anche a sera, prima che faccia buio, comprando la pizza.

All together on the sand - Tutti insieme sulla sabbia. During the three months of summer the people of Chioggia spend most of the day on the beach. Sottomarina beach is very wide, deep and 6 km long, from the breakwater of the port to that of the mouth of the river Brenta. On the long stretch of fine sand there are many bathing establishments, with rows of huts and beach umbrellas, not only for the people of Chioggia, but also for the thousands of turists who spend their holidays at Sottomarina.

Turism is in fact one of the most important economic activities of our town. People, family groups or friends, rent a hut with a beach umbrella for the whole season. Often in the morning, but always in the afternoon, mums and kids leave their homes in the town and go to the beach, dads too come after the work. Most come on bicycle, and in the evening, going home, the roads are jampacked with bicycles. It s always cooler on the beach than at home in the town, everyone wears a bathing costume and there is nearly always a breeze from the sea.

If the mums can t come, grandmu s and grandpa s are always happy to look after the kids. So almost all the children and youngsters spend most of the summer on the beach with their friends, sunbathing, playing, swimming in the sea. The sea is shallow for a long way out and is safe for the children. What fun it is to be tossed about by the waves with their white seaspray! What a lot of games you can play on the sand: On Saturday and Sunday when all the family is at home, they often have lunch on the beach under the beach umbrella in the shade of the scurching sun which at midday makes the sand burn, bringing with them food prepared at home; sometimes they eat a pizza on the beach in the evening for supper before it gets dark.

At the end of the season all the children have very dark skin and their hair is bleached by the sun and sea water. Sight of the beach - Veduta della spiaggia Fun in the sea water - Divertimento in mare. Avvengono spettacoli di animazione, teatro in lingua e in dialetto, musica, intrattenimento, mostre, ma soprattutto domina la buona cucina. Nel Corso del Popolo vengono installati una decina di caratteristici stand, addobbati con vele multicolori e reti da pesca, che provvedono a cucinare ogni sera quintali e quintali di pesce.

Migliaia di persone ogni sera fanno la fila per sedersi ai tavoli all aperto per consumare, anche fino a mezzanotte, il pesce fritto calamari, seppioline, gamberetti, alici, sarde,. Gli odori del pesce fritto e arrosto si spandono nell aria e si mescolano al vociare allegro della gente, lieta di trascorrere in compagnia le belle serate d estate. Sembra proprio d essere imbarcati su un enorme barca che galleggia sui canali della laguna. L ultima domenica di luglio avviene l altra manifestazione, dal forte carattere simbolico, la Benedizione del mare.

Al mattino nella chiesa di S. Alla fine della Messa il Sindaco consegna delle medaglie d oro ad anziani pescatori, come riconoscenza per il loro lavoro. Prima ci si ferma in laguna, sulla bricola con il capitello della Madonna, a deporvi una corona di fiori. Dalle barche la gente applaude con sentimento, il corteo si scioglie, le barche vanno ognuna per suo conto in gita a far festa, chi in mare, chi in laguna.

Fish is preparing for frying - Si prepara il pesce per la frittura Procession of boats — Corteo di barche. At the middle month for ten days one of the most awaited folkloric-gastronomic events of our region takes place: In the main street about ten or so stands are set up, decorated with multi-coloured sails and fishing nets, they provide an enormous quantity of cooked fish. Every evening thousands of people queue up for a seat at one of the tables to enjoy, up to midnight, fried squid, small cuttle fish, shrimps, sardines, anchovies,.

All the local families spend at least one evening at the Festival, where they meet up with their friends; thousands of tourists come from the beach at Sottomarina or from other towns of the region. In the evening the town appears like a huge kitchen and an enourmous restaurant out in the open. The smell of fried and roast fish spreads in the air mixing with the merry voices of the people, happy to enjoy lovely summer evenings in company.

It seems like being on board a very big ship floating on the canals of the lagoon. And if there is moon-light. On the last Sunday of July another simbolic event takes place, the Blessing of the Sea. Like Venice every year on Ascension day with a special ceremony "The Wedding of the Sea" remembers its dominion of the seas as a strong seafaring republic, Chioggia wants to remember that it depends on fishing and the sea for its wealth and way of living.

In the morning in S. Domenico s church, the fishermen s church, mass is celebrated by the Bishop together with other priests, in the presence of the Mayor, naval and military authorities. At the end of mass the Mayor gives gold medals to elderly fishermen in recognition of their work, then the Mayor, the Bishop and other authorities go on board a fishing boat, wich is followed by a procession of other fishing boats full of people, motorboats, sailing-boats and rowing boats.

First they stop in the lagoon to lay a wreath of flowers, then the procession continues as far as the mouth of the port, between the two breakwaters; it s a wonderful sight, with all the boats moving forward in formation, cuttig through the green water, white foam and splashes rising up, people and many children crammed together on the bow with the wind in the faces and their hair blowing, the sky blue and the sun hot.

When the boat with all the authorities on board stops, all the rest gather around and sound their sirens at full blast. Then there is silence, the Mayor with the town s banner at his side throws a laurel wreath in the sea and the Bishop prays God to bless the sea: Everyone then claps, the procession breaks up, the boats go off to celebrate, out in the sea or in the lagoon. People is crowding a stand - La gente affolla uno stand. Det finns en annan slags motorcykel som kallas motorcross.

You have to be at least 18 years old to get a driving license for a light motorbike. They exist in different colours for instance yellow, red, blue, black and green. There are also different trade marks like Yamaha. There is another kind of motorbike that is called motor-cross. It is more for freestyle; jumping and tricksing, like somersaults.

Many people use motorbikes when they want to travel fast. There is also a special kind of dresses mad by skin to get less hurt if you fall have an accident. Some people buy those bikes to look cool. For instance we can do it by bike There are even special cycle ways. Children younger than 15 years of age must wear a helmet when they are biking, that is a law in Sweden.

Grown ups sometimes choose the bike instead of the car going to work. And we have to put behind the bike if you are bringing small children. Bilden visar en Saab V Saab fick ekonomiska problem, och har nu lagts ner. Many people go to school and to work by car. SAAB was a Swedish company that made cars. Saab got economical problems and it is no longer there. We have some lovely parks to visit like Phoenix Park, St. Stephens Green and Corkagh Park. When the weather is sunny we go to the beach and make sandcastles and swim in the water.

Dublin Zoo is a great place to visit in the Summer. Some of us go to Summer Camps to play games and make ArtWork. When the weather is not so good we can go shopping and play indoors with our toys or even go to the Swimming Pool. Irish children like us love to go to the Playground and visit Activity Parks during our Summer Holidays.

We spend lots of time playing outside with our friends. We love Summer in Dublin! Oggigiorno le barche da pesca sono grandi, dotate di potenti motori e moderne attrezzature come radar, computer, celle frigorifere. Le sue origini sono molto antiche e possono essere circoscritte alla zona di Chioggia. Lo scafo era caratterizzato da forme arrotondate con un alta prua mentre la poppa tozza ed abbassata aveva un grande timone. Questa barca era armata con uno o due alberi muniti di vele.

Esse di solito erano colorate di giallo ocra e rosso mattone e presentavano brillanti decorazioni che avevano la funzione di far riconoscere meglio la barca in alto mare. Ogni famiglia sceglieva figure astratte, lettere o immagini che richiamavano il proprio nome. La tecnica per dipingerle era molto semplice: Poi immergevano le vele nell acqua del canale per fissare il colore in modo permanente. Anche le nere prue dei bragozzi erano ornate con diverse decorazioni di natura religiosa.

Lo scopo di queste figure era di ottenere la protezione dei Santi o della Vergine Maria. Children with their small "bragozzi", made at the city museum Bambini con i loro piccoli bragozzi,realizzati al museo civico "Bragozzi" in Chioggia has been a fishing town for many centuries. Nowadays fishing boats are large, they have powerful engines and modern equipment such as radar, computers and cold stores.

• Odessa Blueguill Outshovels A Yellow Tractor (Odessa Bluegill Series Book 2)!
• Calaméo - Our daily life through a calendar?
• ?

Up until eighty years ago they were sailing boats that moved with the force of the wind and sometimes with the help of roars. It was hard and dangerous to be a fisherman then, sailing for days and weeks often at the mercy of the weather. There were so many in the canals of Chioggia that their masts looked like a thick wood. Its origins are very remote and they can be limited to the area of Chioggia. The hull was characterized by rounded shapes with high bow while the squat poop was low and had a big rudder. This boat was armed with one or two masts fitted with sails.

The sails usually were coloured in ocher yellow and brick red and they had bright decors. These decors had the function of better recognition of the boat in the open sea. Each family choose abstract shapes, letters and images that recalled its name. The painting technique was very simple: In this way they fixed the colour permanently. The black hull also was adorned with various decorations of religious nature.

The purpose of these paintings was to obtain the protection of the Saints or the Virgin Mary. Ma per sfuggire il gran caldo molti passano dei periodi di vacanza sulle montagne della nostra regione, dove stare al fresco, respirare aria pura, fare lunghe passeggiate nei boschi o sui sentieri che portano ai rifugi alpini o anche salire sulle vette.

Ecco alcune impressioni di bambini della scuola Gregorutti che sono stati in un rifugio di montagna con un bel gruppo di famiglie amiche. Ma quando sei arrivato su, che bei panorami, con le cime contro il cielo, sembra di toccare il cielo! Quanti bei fiori di tutti i colori sui prati verdi! Alla mattina presto le marmotte uscivano dalle loro tane e si mettevano sulle rocce, noi le osservavamo stupiti ed emozionati dalla finestra del rifugio.

Sui prati d alta montagna - On the high meadows. Arrampicarsi sulle rocce - Climbing the rocks. However to escape the heat many spend their holidays in the mountains of our region where you can enjoy a cooler climate, breathe pure air, take long walks in the woods or on trails leading to mountains huts or even climb the peaks.

Our mountains are very beautiful and fascinating landscapes, they are about a two hours drive from Chioggia. In summer you can find snowfields and glaciers there. Here are some impressions of Gregorutti school children who have been in a mountain hut with a nice group of families. But when you get up there and see the beautiful views with the peaks against the sky it s like touching the sky. How many beautiful flowers of all colours on green meadows! We had fun playing, we went to look for edelweiss and eventually we found them, we didn t gather them because they are protected flowers.

It s nice to touch snow in summer, we made snowballs. The water which came from the glacier was icy! In the morning marmots came from their dens and sat on the rocks, we observed them from the window of the refuge, amazed and excited. We also saw from afar wild goats hopping on the screes". In lontananza il ghiacciaio Ready to leave. Far in the back the glacier. We are 40 teachers and students in the school. There are one to three teachers in every class. Every student gets one pencil, one rubber and one ruler in the beginning of the term.

We got the subjects swedish, english, mathematics and music in our classroom. In every classroom there are one projector and three computers. We are a school without school uniforms. In every classroom without the handicraft there is a white board. There are 15 to 30 students in every class. School meals At our school we have free school meals. The little kids are eating around At least once a week we have fish.

Four people work in the kitchen Each person s meal will costs 8 sek 0,82 euro for the school. Physical education We have P. Total we have 90 minutes a week. In the winter we are in the gymnasium and playing games, handball, floor ball and so on. And sometimes on the winter we go skating on a ice rink and we also go skiing outside the school. In the summer we are out and have athletics and play football, rounders, orienteering and so on. Sometimes the best pupils in our class compete in a city championship.

For example this year our class came on first place in running relay. School photo Each year we take school photo. Each class take one common photo to and every pupil take one single photo as will come in a school book with address and phone number in. Every pupil get one book home for free. The book is in colour. On the playground it also is 7 swings, 4 basketball hoops and 2 Ping- Pong tables. They usually play hide and seek and build huts. Behind the school there is a football ground.

There we have P. E in the summer. On the winter we go sledding. There are 16 teachers and 2 Special Needs N. Assistants in the school and almost children. There are boys and girls in the classes from Junior Infants to 1st class and then the boys leave and there are only girls in the rest of the classes. We wear a uniform in our school 3 days a week and a school tracksuit the other 2 days.

Our tracksuit is navy and yellow and our uniform is a navy dress or skirt, a check shirt and a blue jumper. In our school we have a PE Hall with lots of things to play with like balls, beans bags, skipping ropes and so much more. We also have a big yard with lots of pictures drawn on it and a lovely garden where we grow vegetables.

In our school we have a GAA team and a cross country team too. Chi saranno i nostri compagni? E le nostre maestre? Qualcuno ha ritrovato le amiche e gli amici della scuola materna, abbiamo visto le nostre maestre, belle dolci e simpatiche. I primi giorni eravamo tutti assieme in un unica classe, con tutte le maestre. Le maestre ci hanno offerto tante caramelle giganti di carta crespa colorata con sopra un cartellino con scritto in stampato maiuscolo il nome di ciascuno: Abbiamo fatto tanti e divertentissimi giochi.

Poco alla volta ci siamo conosciuti meglio, abbiamo fatto amicizia, abbiamo cominciato ad imparare tante cose. Possiamo proprio dirlo ad alta voce: In Italy, every region has a school-calendar that provides for at least two hundred school-days from September to June. For our children the first day of school is in the middle of September, when the weather is still warm. This is a very cheerful and lively day: The first day of school is a special day for the children that come to the primary school for the first time. Here we have their words describing the anxiety, fear and emotions reminding that day.

We stayed next to our mothers worried because we were not still able to write and read! Will we be good? Who will become our classmates? And our teachers too? Then, when the children older than us went inside the school with their teachers, and we remained in the playground…we were very glad!

Some of us met their infant school classmates and then we saw our teachers, they looked very nice. The school looked nice and very big, so did the playground full of trees, swings and slides to climb on…. We will have lots of fun! During the first period we were all together in one class, with all the teachers. We played lots amusing games. La coltivazione della vite ha una grande importanza nell agricoltura italiana, per la produzione di uva da vino, ma anche di uva da tavola.

Con l uva nera, specialmente quella del tipo "fragola", qui a Chioggia facciamo una specie di crema d uva dolce che in dialetto chiamiamo "sugoli": Una volta i "sugoli" erano un dolce tipico della gente povera. Alcune donne li preparavano e andavano di strada in strada a venderli. Qualche volta le maestre li fanno anche a scuola con i bambini. Le maestre ci divisero in tre gruppi.

Il giorno dopo, tutti portammo un cucchiaino e gustammo gli speciali sugoli fatti da noi. Ci facemmo anche una foto… con la bocca sporca di rosso-viola! Italy is a big wine grower, part of it is sold abroad. Many Italian quality wines, both white and red, are famous all over the world. The vineyards are important resource in our region Venetian for the production of wine grapes but also for eating grapes. We can see these cultivations in the plains and hillsides. September is the vintage time and many years ago this event was great fun for the farmers because wine was made at home.

Nowadays we buy wine in bottles or cartons at the supermarket. Kids and adults like this sweet a lot. In ancient time this pudding was a typical sweet of the poor people. A pupil of 5th class tells us this nice experience: Our teachers divided us in three groups. The first group took off the grapes from the bunches and put it in a big pot; the second opened the grapes and removed the seeds; the third crashed with their hands the grapes and released the juice.

We had to add sugar and flour to the juice and to cook the mixture, stirring constantly. The day after we brought a spoon to school because we had to taste our pudding. Children at Marchetti school have tasted "sugoli" Bambini alla scuola Marchetti hanno assaggiato i sugoli. When autumn comes many Swedes like to go out into the nature, looking for mushrooms. What most people are picking are chanterelles, funnel-shaped chanterelles and ceps. The first mushrooms that pop up in the autumn are the chanterelles.

You can pick the funnel-shaped chanterelles almost until the snow comes. The top of the chanterelles is yellow and also under. It is cm high and grows in both hardwood forests and softwood forests. The top of the funnel-shaped chanterelles is light or dark browngrey. It can be cm and it grows in mossy softwood forests.

The top of the ceps is light brown but it can also be dark brown. It is cm high and it grows in hardwood forests and in softwood forests. Den smakar mest salt. You eat it with potatoes, dill-sauce and flat bread. The adults use to drink snaps with the fermented herring. Fermented herring is herring that has been preserved by fermentation during a year.

The taste is salty. The season for fermented herring is August. This is how you eat fermented herring. Fermented herring as baby food Fermented herring in a tin Fermented herring. We have horseriding, tennis, basketball, Gaelic-football, hurling, camogie, darts, cycling, rugby, swimming, boxing, martial arts, golf, cross-country and athletics. These sports are very famour in Ireland.

Dublin won the all Ireland GAA football final this year. Katie Taylor is a famour woman boxer. She is in her 20s and she is very pretty and beautiful. Rory McIlroy is a famour golfer, he is in his 20s too. Most of all Sport is about fun, not winning all the time. If you lose do not be sad. When the Celts came to Ireland as the last ice age was receding, they brought with them a unique culture, their own language, music, script and unique pastimes.

One of these pastimes was a game now called hurling. It features in Irish folklore to illustrate the deeds of heroic mystical figures and it is chronicled as a distinct Irish pastime for at least 2, years. The ball or "sliotar" is similar in size to a hockey ball but has raised ridges. Hurling is played on a pitch that can be up to m long and 90m long. The goalposts are similar to those used on a rugby pitch, with the crossbar lower than in rugby and slightly higher than a soccer one.

You may strike the ball on the ground, or in the air. Unlike hockey, you may pick up the ball with your hurley and carry it for not more than four steps in the hand. After those steps you may bounce the ball on the hurley and back to the hand, but you are forbidden to catch the ball more than twice. To get around this, one of the skills is running with the ball balanced on the hurley To score, you put the ball over the crossbar with the hurley or under the crossbar and into the net by the hurley for a goal, the latter being the equivalent of three points.

Nel nasce la tradizione di ringraziare la Madonna per la protezione ricevuta o anche per una guarigione avvenuta. Spesso i pescatori si recavano a piedi scalzi al santuario della Madonna della Navicella per donare una tavoletta di legno dipinta a ricordo del salvataggio portentoso: In basso si trova la scritta P. Per Grazia Ricevuta oppure Ex Voto.

An ancient "tolela" A. The fishermen aboveall were responsible for this form of local art, characterised by the semplicity of the representations. The tablets were brought into the churches, you can see them in the church of S. Domenico, the fishermen s church with its enormous wooden crucifix. They prayed to her to seek protection for the fishermen and healing of the sick.

The tradition to thank the Virgin Mary for favours was born in Below there is written: Le castagne vengono consumate fresche arrostite o lesse o secche; se ne ricava farina per fare dolci e castagnaccio, un tempo cibo prelibato per il popolo. Ecco come un bambino della scuola Gregorutti racconta una gita in un piccolo paese in mezzo ai boschi di castagni. Dal finestrino dell autobus si vedevano colori stupendi di un panorama meraviglioso: Lungo la strada ho visto alberi bellissimi; era arrivato l autunno! I suoi colori meravigliosi che variano dal rossiccio al verde marrone giallo.

Arrivati a Combai la guida ci ha introdotto nel bosco, si sentiva il calpestio e lo scalpiccio delle foglie sotto le nostre scarpe. Ho guardato in alto, gli alberi erano alti ed enormi con il tronco massiccio e robusto e le foglie volteggiavano, erano come ballerine in una danza bellissima e i colori erano stupendi. La guida ci ha spiegato e mostrato i vari cambiamenti del castagno.

Il castagno giovane ha il tronco liscio e grigio, mentre il castagno vecchio ha il tronco rugoso e marrone scuro. Poi abbiamo osservato i ricci e le castagne. Dopo il pranzo abbiamo mangiato le caldarroste, caldissime e bollenti. Ci lasciavano le mani nere e scottavano sotto le nostre dita mentre le sbucciavamo. Si era fatto tardi, era l ora del ritorno. The chestnut trees are tall and their fruits the chestnuts are contained in spiny very sharp husks.

Our daily life through a calendar

The chestnuts can be eaten just picked, roasted or boiled, or after drying, flour to prepare pies and cakes, such as castagnaccio chestnuts cake is obtained; the castagnaccio was for a long time a delicacy for poor people. This is how a child tells us about the school trip in a small town in the middle of the chestnut woods. Tuesday, October 26th, with my classmates, I went on a trip to Combai, a small town in The Veneto hills. Through the bus window you could see beautiful colours of a wonderful view: Along the way I saw many beautiful trees; autumn had arrived!

Its beautiful colours range from reddish to brown, yellow, green. When we were in Combai the guide took us into the wood, you could hear the pattering and the tramping of leaves under our shoes. Under our feet there was a carpet of green, yellow and orange leaves; my favourites are the green ones because they remind me of summer, now over. I looked up, the trees were tall and huge with strong and solid trunks; the leaves twirled in the air like dancers in a delightful dance; the colours were fantastic. The guide explained and showed us how to determine the age of chestnut trees.

A young chestnut tree has a smooth grey trunk, while an old tree has a wrinkled and dark brown one. Then we saw heaps of chestnuts still in their husks. After lunch, we ate roasted chestnuts, very, very hot. As we peeled them, they scorched our fingers and blackened our hands. It was late, it was time to return. In the bus while my friends chatted I thought about the beautiful day I had spent.

Den trivs bra i skogen, hyggen och myrar. The moose change horn regularly. The moose often run out on the roads and can easily get hit by cars and trucks. The moose is grey, brown and black and the legs are brown and grey. It can be almost 3 meters and usually it ways kilos. The moose has very good auditory and olfactory. The moose often lives together whit another moose. The colour is doing so they can easily adapt to their environment. They thrive in the forest, on clearings and marshes.

They eat leaves, twigs, trees, conifers, heather and apples. The moose gets calves, often in May or June. In the autumn there is hunting for mooses. It is celebrated on the 31st October each year. One of the most important things we do at Halloween is dress up in costumes. The costumes can be scary and some people dress up as witches, ghosts and goblins. Children really enjoy dressing up and have lots of fun at Halloween. Every Halloween, children go trick or treating.

They go from door to door collecting sweets and treats. If the person says trick, they must sing a song or say a poem. If the person says treat, they get loads of lovely treats, such as, sweets, chocolates, crisps, lollipops and fruit. The children must bring a bag or basket with them so they can collect their treats! During Halloween, we buy pumpkins.

We cut off the top of the pumpkin and scoop out the inside. We then carve a scary face in the pumpkin, eyes, nose and mouth. Sometimes we put a candle in it so the scary face lights up! Toffee apples, monkey nuts and bairin breac are other popular foods we eat at Halloween. Bairin breac is a traditional Irish Halloween cake. It is sweetened bread with raisins and sultanas.

On Halloween night, we light bonfires. Bonfires are controlled outdoor fires. They can be very dangerous so it is extremely important that children go to the bonfire with their parents. Many people sit around the bonfire telling scary stories! Halloween can be a frightful but enjoyable event for everyone! Raggiunto il picco, l acqua si ritira e tutto torna normale, salvo i danni arrecati.

Le acque alte eccezionali mettono a rischio addirittura gli edifici di Venezia e degli altri centri lagunari. Ecco come ne parlano alunni di una classe terza della scuola Gregorutti. The phenomenon often occurs in autumn and varies from year to year. Some years there is high water almost every day for weeks at a time. With the tide the water rises for six hours and falls for other six hours: You can t use a car, you have to wear rubbers boots and walk on gangplanks, shops and houses have to be protected. After reaching its peak the water recedes and everything returns to normal, except for any damage caused by the flood.

Exceptional high water is a threat to the buildings in Venice and other towns situated in the lagoon. The most frightening was on 4thNovember , when the tide reached centimeters from average sea level, Venice was really in danger. To defend itself from high water, mobile dikes at the three harbour mouths where sea water enters the lagoon are being built MOSE to be set up when the tide is too high. For the children high water isn t only a bad thing. This is what third year pupils of the Gregorutti primary school say. The town looks like it has fallen into the open sea: For those who live in the town centre there is no way out and it is hard to find a safe place to park your car: Boats in the lagoon toss and turn, the lagoon seems to threaten the town, while the column of Vigo directs the traffic of the waves.

But for us children high water means wanting to jump and splash like when you press grapes, to stand on the gangplanks like on a surf-board,. Then just as it came it disappears very quickly, and the enjoyment disappears too, mysteriously swallowed up into nothing. Lo tirarono fuori dalla rete e lo misero nella barca senza preoccuparsi di coprirlo. Dopo aver cenato, i pescatori, ubriachi cominciarono a scherzare con il ragazzo e gli chiesero di andare a svegliare il pescatore che dormiva in barca. Sopravvissero solo il ragazzo e il suo cane. Nessuno dei pescatori aveva avuto rispetto di una persona defunta.

So the legend starts: They dragged it into their boat. In the meanwhile the weather changed to bad, so they decided to take refuge in a CASONE2 and left the body in the boat without covering it. The fishermen had dinner. Soon they were drunk, laughed at the boy, then told him to call the person lying in the boat.

The only surviving were the boy and the dog. The fishermen were punished because they went out fishing on that night instead of staying at home as respect for their deads. It is enclosed by artificial dam. Inside fish is raised. You eat it with boiled potatoes or mushed potatoes. You usually also have lingonberry-jam and brown sauce to go with it. Det finns olika sorter som smakar lite olika. All the berries grow on bushes r plants. The berries grow wildly in the forest or are planted in the garden. Lingonberry is a red little berry growing on a plant in the forest.

There are berries in a raceme. You often make jam of lingonberries which you can have with Swedish meatballs. Blueberries are small blue berries looking very much like lingonberries. It is a plant growing in the forest but it can also grow on bushes in the garden.

People usually eat bluberry jam in yoghurt or on pancakes. It grows wildly in the forest or on bushes in the garden. You mostly make jam or lemonade out of raspberries. Strawberries you eat a lot of, especially in summer when you can have hem fresh. There are different kinds of strawberries tasting a bit differently. Wild Strawberries is a little plant with around 10 berries on each plant. People plant them at home in gardens but they also grow wildly in the forest.

Black and red currants grow in gardens on bushes around 1 meter high. They grow in racemes and are ready to eat early in the summer. Lingonberries Blueberries Wild Strawberries. There are many things to see and do in our Capital City. You can visit all the animals in Dublin Zoo in Phoenix Park. Did you know that Phoenix Park is the largest walled park in Europe? There are lots of places to shop in Dublin City — the most popular street is Grafton Street — here you will see a statue of Molly Malone — the famous song of Dublin City. The River Liffey flows through the city and you can go on boat-trips and tours along the water.

If you like Music there is plenty to hear in Dublin.