Il brivido in the short metres workshop

Abstract

The new sensibility with which Pascoli assembles his «musicalissimi» short metres may owe more to Verlaine’s verse technique than to classical models or the Italian tradition for his use of mobile caesuras and assonances within verses and between them. The short lyric form, bearing witness to a notable period of experimentation with ternary models, while important for Myricae, was fundamental for the novenary metres in Canti di Castelvecchio.