Critical Analysis Of Crocicchio By Ardengo Soffici

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Critical Commentary “Crocicchio” by Ardengo Soffici is a poem written in the era of the historic avant-garde in which Italy was facing a technological revolution; railways, cars and trams were all being transformed and as such the country saw a rise in the Italian Futurist movement. This movement praised all things modern by exploring new forms and technologies, treating them as a spectacle to be revered. The influence of these futuristic ideologies is clear in Crocicchio as Soffici paints a series of pictures of city life characterised by the chaos and activity which he experiences in his passing. All of this activity appears to come together into one place, which is evident from the very title: Crocicchio, or crossroad. This immediately…show more content…
By focusing heavily on the auditory and visual senses, Soffici invites the reader to experience these scenes for themselves in a much more vivid and engaging way. This can be seen through the recurring references to gems, such as in line 12: Oh, nuotare come un pesce che beve smeraldi. Soffici uses these references to gems with their striking connotations of a shining, visual nature to illustrate his almost childlike joy and euphoria in being surrounded by this modernity and his reverence for this chaotic harmony between technology and man. In this line, the poet is so immersed in all of these senses and movement that he is experiencing total excitement and exhilaration. Where one might feel overwhelmed by this flood of sensations from all directions, Soffici feels exhilarated and allows these senses to completely wash over him to become one with this animated urban environment. Despite this complete immersion in his surroundings there is a lingering feeling of solitude which presents itself when the poet observes the rest of the city. In this sense, Crocicchio can be compared to the works of other futurist poets such as Baudelaire or Sbarbaro, whose works also explore the birth of new urban identities, such as the figure of the flâneur. Although in Crocicchio the

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