ABSTRACT
Edoardo Sanguineti would negotiate the changes post-1968 by reaffirming his ideological commitment to a poetry rooted in history and by remaining faithful to his particular muse, with its erotic, political and cosmopolitan propensities. On the level of the word and the syllable, He exercises a remarkable freedom, following his impulses and intuition, the suggestions of his ear and the provisional conclusions of his common sense. As Giovanni Raboni suggests, Sanguineti's poems of this middle period do not proceed programmatically so much as poetically. In 1982 Sanguineti initiates a number poetic series that are divided between two books, Bisbidis and Senzatitolo. The use of the ballata by Sanguineti serves to revivify a genre that is rarely practiced by modern poets, adapting it to untraditional subjects. Sanguineti often uses non-reflexive verbs reflexively, the effect being that he seemingly personalizes everything; by the same token he makes his intrinsic self extrinsic and impersonal and thus, to some degree, universal.
