When, at a reception, a beautiful young Parisian widow wore a dress embroidered with up fifteen meters, she was explaining the meaning
Ma mère m'a mariée ill;
mon seas mal m'a ménagée;
maintenant, Monsieur,
ménagez moi mieux.
The anecdote is almost certainly that is based on the mechanism of "tautogramma" which, based on the criterion of repetition, may be defined as a phenomenon of "initial alliteration." More simply, it says "tautogrammatico" a text in which all the words that are starting with the same letter, it generates a significant noise impact, often involving joint to "nursery rhyme effect." The
tautogramma finds himself often used in nursery rhymes in popular epigrams or ironic as that was repeated around saying that a woman got on the papal throne after the death of Leo IV, and pregnant: Pope, pater patruum, peperit papissa papellum, a sample p as frequently. Already in the '600 Dornau Gaspar wrote a punch porcorum, "the battle of pigs", 250 lines with all the words beginning with p (John Wells, however, given the composition and allocation to 1530 the Dominican Leone Plaisant). Other exercises, always with the same initial letter, you have recently Achille Campanile (a long history of poor Piero) and Margaret Atwood (a children's story, translated into Italian by Matthew Dear, which has as protagonists the Princess Prunella, Priscilla the Princess, the primary principles, three Persian cats named Patience, Prudence, and Perseverance, and a pointer named inches). A popular rhyme tells of a South Parzanese that Peter Paul, a painter from Palermo (actually the name, true, A poet Irpinia) pitta bread several buildings to get a little ... too tautogramma p is the Latin quoted in The Name of the Rose by Umberto Eco Eco is the same and that, together with his students, rewrote the story of Pinocchio in the form tautogrammatica, w, of course. Eco is still to bring it the second least some diary products tautogrammate (Dante: I will say the desire of such company. I will say deified woman. I will say demotic dictamine. Following are home to tell of Dis (divorator of descendants), the sweet aching (twelve + twelve dignitaries Dodecanese), devotees of doctors telling worthy of God's divine Then dirannomi. After all I wanted to say. Marx: My manifesto shows meta materialistic. Misinterpreted the poor, activists are moving! Never Moloch maxicapitalistico Macchini malicious intentions. Will die, but you will show your majesty miniproletari. Kant: Ki kredito ke kategorie krescessero kuantitativamente?). A
tautogramma to Federico Fellini, who could not be f; Benigni wrote it in fifteen hendecasyllables praising Director: festive phrases I will put (...) movies slingshot formidable faces (...) crazy thrill you, girls, fags.
occasionally happens, however, that the remote or the classic example from the author's personality or even leave in the background characteristics of the structure (the contrainte, it seems Oulipo language of "coercion" at our Oplepo) and the ability of the author, directly addressing the content and the pleasantness of the verse.
is precisely the case with these twenty sonnets of love (and the same number of "no love") and, standing vis-à-vis, each opening to provide a double reading of the book, in duplicate form, but it is in substance opposition of tones and intentions. A strong contrast or low in a gallery of emotions that take the reader with a punch made all the more urgent by the barrage of sound, of course stronger in the case of consonantal tautogramma and even more scathing in lines of "no love": 
Bello,
Benfield, mocking
bluffasti, burning
repeating lies.
Balordo,
ordinary yokel,
fool! Enough?
Bang!
The Author's language is a universal language, despite the apparent subjectivity of content, it runs in the winds and vent paths touching, so passionate and fierce, an extensive gallery of partners who loved and hated, in their diversity, cover a wide range of characters and behaviors.
Another demonstration, this - if ever it were needed - how to write sous contrainte does not conflict at all with the guiding concept of inspiration and freedom of the author, the author, in this case, which makes absolutely no experience in his poems the presence of a "constraint", but a sort of leitmotif that serves as a continuous inspiration for singing and counterpoint.
Raffaele Aragon
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