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Article examines fascism and art's civil role in Saba's work, highlighting authority's complexities and escapism's impact.
The article examines a core selection of texts from Saba's Scorciatoie e raccontini to address two questions: what are the fundamental characteristics of fascisms identified by the author, and what is the civil role of poets? This study elucidates two principal arguments: firstly, through the application of Freudian theories, Saba underscores the unresolved complex relationship between the Italian populace and established authority; secondly, he advocates for a non-social yet civil dimension of art and poetry, which consistently turns to the past, thereby detaching the individual from the present. This inherent contradiction between civil engagement and escapism is well illustrated in the Quarte scorciatoie e un raccontino section (note 106), where Saba interprets the events of Piazzale Loreto as the culmination of a Shakespearean scene, depicting them as an inevitable tragedy imposed by a necessary fate.
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