Editing Giosuè Carducci (section)

=== Literary fame ===
While "Inno a Satana" had quite a revolutionary impact, Carducci's finest poetry came in later years. He published his ''Giambi'' ([[Iambic pentameter|iambics]]; later ''Giambi ed epodi''), a collection of polemical poems, under the pseudonym "Enotrio Romano"; the poems reveal Carducci's affinities with [[Victor Hugo]] and [[Heinrich Heine]].{{sfn|Wellek|1960|p=43}} By 1872, Carducci had begun to control his polemical instincts, and some of his finest poems, later collected in ''The New Lyrics'', were written in the 1870s. ''[[Barbarian Odes]]'', begun in 1873, are considered his most influential work, and contain some of his most celebrated poems.<ref>One prominent English translation is ''The Barbarian Odes of Giosuè Carducci'', translated from Italian by William Fletcher Smith, (Manasha, Wisconsin: George Banta Publishing Co., 1939). The translation is reviewed in {{cite journal |last=Dismukes |first=William Paul |date=March 1940 |title=''The Barbarian Odes of Giosuè Carducci'' by William Fletcher Smith |journal=Italica |volume=17 |issue=1 |pages=29–30 |doi=10.2307/475605 |jstor=475605}}
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In the ''Barbarian Odes'' Carducci endeavored to imitate ancient classical [[stanza]] forms, such as the [[Alcaic stanza|Alcaic]] and the [[Sapphic stanza|Sapphic]]. Since they were based on stress and not on syllabic quantity, he believed they would have sounded ‘barbaric’ to classical poets: hence the title of the collection.{{sfn|Carsaniga|2002}}
[[File:1903-Majani-Come quercia druidica sta il tuo fatal lavoro.jpg|thumb|300px|Caricature of Giusuè Carducci by Augusto Majani: the poet's head is at the top of the tree trunk with beard blended into the trunk and hair blended into the tree limbs. Several titles of his works are inscribed on limbs. Two people stand together, beneath the crown of the tree, stretching to touch or grasp the lowest branches]]
Following the publication of the ''Barbarian Odes'', Carducci became an object of adulation for the younger generation of Italian poets. Periodicals such as ''Fanfulla della Domenica'', ''Cronaca'' ''bizantina'', and ''Domenica letteraria'' helped spread his fame. ''New Barbarian Odes'' solidified his reputation, and he assumed the role of national poet.

The 1880s were for Carducci a period of intense literary activity. In 1881 he began to write for ''Cronaca bizantina'', a flamboyant and very successful literary journal that numbered among its contributors the likes of [[Giovanni Marradi]], [[Matilde Serao]], [[Edoardo Scarfoglio]], Guido Magnoni, and [[Gabriele D'Annunzio]].{{sfn|Chisholm|1911}} Within the next few years he published the three admirable volumes of his ''Confessioni e'' ''Batlaglie'' (1882), the ''Ça Ira'' [[Sonnet|sonnets]] (1883), and a considerable number of articles, pamphlets and essays.{{sfn|Chisholm|1911}} 

His lyrical production, too, seemed to reach its perfection in these years of tense, unrelenting work; for the ''Canzone'' ''di Legnano'', the Odes to Rome and to Monte Mario, the [[Elegy]] on the urn of [[Percy Bysshe Shelley]], the ringing rhymes of the ''Intermezzo'', in which he happily blended the satire of Heine with the lyrical form of his native poetry – all belong to this period.{{sfn|Chisholm|1911}}

In the Late 19th century Carducci's political and philosophical views shifted; he resigned himself to [[constitutional monarchy]] and acquired a more religious attitude, with some appreciation of the Church's mission, though he remained fundamentally anticlerical.<ref name="Bickersteth">{{cite book |last1=Bickersteth |first1=Geoffrey Langdale |url=https://archive.org/details/cu31924027533805 |title=Carducci |date=1913 |publisher=Longmans, Green |location=London |page=[https://archive.org/details/cu31924027533805/page/n39 14]}}</ref>