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Di
Giacomo seemingly viewed standard language as necessary for modern commerce and politics, but almost by definition devoid of the life that people bring to the language they speak, the vernacular turn of phrase that exists only at a particular place in a particular time for a particular people. He
238:(the massive, decades-long urban renewal of the city that displaced tens of thousands of persons), workers whose health is ruined by their labors, prostitution, betrayal, prison, crime, etc. As a song lyricist, he wrote easily and abundantly for the famous Neapolitan song festival of
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of his contemporaries; it has a distinct 18th-century flavour to it, with archaisms that recall the golden age of
Neapolitan culture. This was the period between 1750 and 1800, when Neapolitan was the language of the best-loved form of musical entertainment in
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Di
Giacomo is credited as being one of those responsible for renewing Neapolitan language poetry at the beginning of the 20th century. The language of Salvatore Di Giacomo is, however, not the everyday
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in 1904. He received a critical boost in 1903 when Croce published a defence of dialect poetry. Di
Giacomo published no anthology of his own collected poems until 1907, when he was 47 years old.
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This entry is an abridgement of a
Salvatore Di Giacomo article on another website and has been placed here by the author and copyright owner of that article.
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He had a lifelong love of libraries as well as literary and historical research, founding, in the course of his career, the
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briefly, largely to satisfy his father's wishes, but gave it up for the life of a poet. He then founded a
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closed his own essay on
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and publishing some of his early verse in the
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147:Il Fantasio
137:He studied
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159:il Mattino
155:journalist
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