The
Empowering Philosophy of Suffering: Alda Merini
Dr. Barbara Renzi
Lecturer
Berlin School of Business and Innovation GmbH
Alte Post· Karl-Marx-Straße 97-99, Berlin, Germany
Abstract:
Alda Merini, one of Italy's most celebrated poets,
transforms her personal experiences with mental illness, suffering, and
marginalization into a profound poetic philosophy. Her work explores themes of
pain, creativity, and freedom, presenting suffering as a source of strength and
self-understanding rather than something to be concealed or avoided. Through
her exploration of madness, Merini reclaims it as a form of liberation,
especially for women confined by societal norms. Her poetry empowers women to
embrace vulnerability, emotional authenticity, and nonconformity, offering a
redefinition of femininity that celebrates complexity and creativity. By
turning anguish into a force of poetic creation, Merini invites readers into a
journey of transcendence, resilience, and spiritual growth. Her work stands as
a powerful voice for those on society's margins, offering both a philosophical
and spiritual path toward self-empowerment and renewal.
Keywords: Liberation,
Marginal, Renewal, Self-empowerment, Suffering, Women
Italian
Writers and Mental Illness: Personal Experiences and Literary Depictions:
Several
Italian writers have either explored mental illness in their works or
experienced mental health issues themselves. Here follows just some of them.
Alda Merini is perhaps the most iconic figure in Italian literature regarding
the theme of mental illness. As a poet, Merini spent long periods in
psychiatric hospitals, and these experiences deeply influenced her work. In "L’altraverità.
Diario di unadiversa" (1986), she provides a harrowing account of her
time in mental institutions, portraying the isolation and suffering of mental
illness (Merini, 1986).Dino Campana, author of "Canti Orfici",
suffered from mental health problems, likely psychosis, throughout his life. He
was institutionalized several times, and his poetry, often filled with
visionary and dream-like imagery, reflects his inner struggles with mental
instability (The Editors of Encyclopaedia Britannica, 2024). Cesare Pavese, one
of Italy's most important 20th-century writers, battled with severe depression,
which ultimately led to his suicide in 1950. His work is marked by themes of
existential despair and loneliness. "Il mestiere di vivere",
Pavese’s personal diary, provides an intimate glimpse into his ongoing fight
with depression (Pavese, 1952).Giorgio Manganelli was both a writer and literary
critic who explored his mental health struggles in works such as "Centuria:
cento piccoliromanzifiume". His writing frequently deals with
fragmented psyches and distorted realities, reflecting his own experience of
psychological unease (Manganelli, 1979).Though not diagnosed with a mental
illness, Silvio D'Arzo's works reflect deep psychological discomfort. His
writing, especially in his acclaimed "Casa d'altri", reveals a
pervasive sense of alienation and existential anxiety (Giovannini, 2002).In "La
coscienza di Zeno", Italo Svevo delves into the realm of
psychoanalysis and mental illness with an ironic twist. The protagonist, Zeno
Cosini, undergoes psychoanalytic treatment, and his neuroses form the core of
the novel, raising questions about the boundary between normality and madness
(Svevo, 1923).Though Giovanni Pascoli was not diagnosed with a mental illness,
his life was marked by trauma and loss, which heavily influenced his poetry.
His works often express a deep sense of alienation and psychological pain,
hinting at his struggles with unresolved grief (De Benedetti, 1931).Luigi
Pirandello, known for his exploration of identity and madness, had personal
experiences with mental instability, particularly through his wife’s
psychiatric illness. In works like "Enrico IV", Pirandello
tackles the themes of madness and reality, questioning the nature of sanity
(Pirandello, 1922).Italian literature is rich with examples of authors who have
either personally experienced mental illness or who have delved into its
complexities in their works. These writers provide valuable insights into the
experience of mental suffering, offering readers both personal and broader
societal reflections on madness, identity, and the fragility of the human mind.
In the following paragraphs we are
going to define depression and anxiety for Alda Merini, one of the most popular
voices in Italian literature. Choosing Alda Merini to define depression and
anxiety in an article written by a woman holds profound significance. Merini, one
of Italy’s most celebrated poets, had an intimate understanding of mental
health struggles, having faced her own battles with depression, anxiety, and
institutionalization in psychiatric hospitals. Her work delves deeply into
these themes, offering an authentic and raw perspective on the subject. Given
that the author of the article is a woman, Merini’s voice becomes even more
poignant, reflecting the often misunderstood or stigmatized experience of
women’s mental health. Historically, women’s struggles in this area have been
marginalized, and Merini’s personal and artistic expressions provide a rare and
genuine insight into this reality.
Merini’s literary talent also brings a unique depth
to the conversation about mental illness. Her use of metaphor and emotion
allows for a more poetic, nuanced exploration of depression and anxiety,
helping readers understand these experiences beyond clinical definitions. This
approach makes the topic more accessible and relatable, drawing in readers on
an emotional level.
Culturally, Merini holds a special place in Italian
literature, making her a powerful figure to reference when addressing such
personal topics. By choosing her as a touchstone, the article draws upon a
figure who is not only artistically revered but also emblematic of the female
experience with mental health in a broader cultural context. For a female
author, this connection goes beyond mere reference—it creates a bond of empathy
and solidarity, acknowledging the shared emotional landscapes many women navigate.
Through Merini’s lens, the exploration of depression and anxiety gains a
deeper, more universal resonance.
Depression
and Anxiety in the Poetry of Alda Merini
Alda Merini, one of the most poignant voices in
Italian literature, often explored themes of mental illness, particularly
depression and anxiety, in her poetry. Through her work, we gain a unique
insight into how these conditions affected her personally and how she
conceptualized them.
In her poem Sono nata il ventuno a primavera
("I Was Born on the Twenty-First in Spring"), Merini hints at the
duality of her mental state, torn between the beauty of life and the anguish of
her mind:
"I was born on the twenty-first in spring
but I don’t know if it blossomed for me."
Here, Merini juxtaposes the symbolism of spring—a
time of renewal and life—with her uncertainty about whether this season of
rebirth applies to her, suggesting a persistent sense of detachment from joy, a
key feature of depression. Her personal battle with this condition runs throughout
much of her work, transforming it into a mirror of her soul’s turmoil.
In La pazzadella porta accanto ("The
Crazy Woman Next Door"), Merini delves into the experience of being
labeled "mad," reflecting on the stigma of mental illness:
"They called me crazy
because I didn’t want to stay quiet."
The poem captures the internalized judgment and
alienation that comes with both depression and anxiety. Her refusal to remain
silent, despite her suffering, can be seen as an act of rebellion against the
suppression of those who struggle with mental health. Merini’s anxiety is
portrayed vividly in L'animainnamorata ("The Enamored Soul")
where she writes:
"Anxiety caresses me like a friend,
it stays with me in the night,
and wakes me in the morning."
This passage reveals how anxiety becomes an almost
constant companion, a presence that clings to the poet, affecting every aspect
of her life. Unlike depression’s emotional numbness, anxiety brings with it an
oppressive alertness, one that keeps her in a state of perpetual unrest.
Merini's ability to articulate these feelings so
poignantly offers a window into how depression and anxiety manifest not only as
psychological experiences but also as physical and spiritual states. The
repetitive themes of entrapment, stigma, and the yearning for peace suggest
that for Merini, these conditions were not merely disorders but existential
struggles, intertwined with her very identity.
However, let’s go back to her poem Sono nata il ventuno a primavera,
included in the collection Vuoto d’amore (Einaudi, 1991), Alda Merini
not only celebrates her birthdate but also seems to distill the meaning of her
entire life into just nine brief lines. Through this poem, she offers a complex
and multifaceted self-portrait, capturing the essence of her existence.
The poem intertwines themes central to
Merini's work—poetry, spring, and madness—which appear to blend together into a
unified whole. The date of March 21st, marking the equinox, symbolizes rebirth
and renewal, making it a fitting metaphor for life and poetry, which Merini
often depicted as expressions of human vitality and the ability to transcend
conventional boundaries.
In the poem, Merini chooses not to
mention the month of March directly, instead focusing on the season it inaugurates:
spring. The "ventuno a primavera" (the 21st of spring) in the title
suggests a subtle use of metonymy, where the season stands in for the month,
giving the poem a broader symbolic resonance.
Structurally, the poem opens with two
regular hendecasyllabic lines before shifting to a more fluid, free verse form,
though it still maintains a subtle rhythm through assonance and alliteration.
The harmony between these elements creates a peaceful, almost soothing cadence
that contrasts with the intensity of the themes.
Merini's poetry is rich with metaphors
and invites multiple layers of interpretation. In the first line, she
identifies her birth with the season of spring, a time of renewal and
awakening. By the second line, she introduces the theme of madness, a force
that shaped her life and creativity. The third line evokes the natural world,
with the act of opening the earth’s furrows in springtime suggesting both
madness and creativity breaking through the hardened surface of winter,
releasing a storm that connects the subterranean world of the dead with the
living.
A central motif in the poem is the
myth of Proserpina, the goddess abducted by Hades to live in the underworld. In
the poem, Proserpina weeps for the storm that has disrupted her life, reflecting
a deep sense of loss and confusion. There is a clear parallel between
Proserpina and Merini herself: both are figures of transformation, heralding
the arrival of spring, yet burdened by an inner sorrow that seems to stem from
a dark, infernal source.
The name Proserpina, from the Latin proserpere, meaning "to emerge," is rich in
symbolic meaning, referencing the growth of grain in spring. This metaphorical
depth is reinforced by Merini’s subtle use of language, where even simple
phrases carry layers of meaning. Proserpina’s tears, as she watches rain fall
on the growing grass, become a symbol of grief for the pain of her mother,
Demeter, and the turmoil she doesn’t fully understand. Yet, even in this
sorrow, Merini softens the imagery with gentle descriptors: Proserpina is
"lieve" (light), and the grains she watches are "gentili"
(kind), evoking the mildness of spring. Her tears ultimately transform into a
prayer, pointing toward a higher, spiritual dimension.
For Merini, this prayer represents
poetry itself—a form of redemption, a way to make sense of the turmoil and
suffering that often define life.
In this poem, Merini also reflects on
her relationship with madness, which she frames not as a flaw, but as a form of
liberation. Her madness, like the spring that breaks through the winter’s grip,
is a force of renewal and freedom. She questions why living outside societal
norms and expectations, like opening furrows in the earth, should be seen as
scandalous.
Through spring, Merini finds a
reflection of her own inner strength. The season, like her madness, is
unpredictable and at times merciless, yet it also holds the power to dispel
winter’s darkness and bring forth new life. In this regenerative energy, Merini
sees both her own nature and her life's purpose: a force for breaking through
conventions and embracing life’s chaotic, yet vital, renewal. Born on March 21,
1931, Merini herself embodied this energy, a woman ahead of her time,
representing a vision of freedom that, like spring, defies rigid boundaries and
moves toward the future.
Through her poetry, Alda Merini provides a deeply
personal and philosophical understanding of depression and anxiety, one that
resonates beyond clinical definitions. For her, these states of mind are both
torment and muse, driving her to create beauty even in the darkest recesses of
her mind.
The Poetic Philosophy of Alda Merini: Transforming
Anguish into Creation and Freedom
Alda Merini’s work can be interpreted as a
philosophy of suffering, in which experiences of pain, madness, and
marginalization become fundamental to her creative and existential journey. Her
treatment of suffering resonates with several philosophical traditions, yet
remains distinctly personal, transforming anguish into a source of poetic
strength.
Her exploration of suffering reflects ideas similar
to Arthur Schopenhauer. Schopenhauer viewed life as inherently tied to
suffering, with desire and pain at its core. He argued that art provides an
escape from this constant turmoil (Schopenhauer, 1969). In Merini’s poetry,
there is a recognition of the pervasive presence of suffering, but unlike
Schopenhauer’s more pessimistic outlook, she doesn’t seek to suppress it.
Instead, Merini embraces suffering as a powerful creative force, turning pain
into art and liberation. Her poetry is a process of reclaiming agency through
suffering, offering a path to transcendence and renewal.
Merini’s vision also bears similarities to Simone
Weil, who saw suffering as a spiritual experience. Weil believed that accepting
suffering could bring one closer to God (Weil, 1951). Similarly, Merini
transforms her personal suffering, including her experiences with mental
illness and institutionalization, into a form of spiritual growth. In her
poetry, suffering becomes a medium for expressing pain and searching for
transcendence. Like Weil, Merini views suffering as a purification process,
with her poetry serving as both a prayer and a release, connecting human
suffering with the divine.
Another relevant comparison is with Søren
Kierkegaard and his existential exploration of anxiety, despair, and selfhood.
Kierkegaard saw despair as central to the human experience, a necessary
confrontation with oneself that leads to personal revelation (Kierkegaard,
1980). In a similar way, Merini’s portrayal of madness and suffering acts as a
means of self-discovery. Her poetry reflects an intimate confrontation with
inner turmoil, much like Kierkegaard’s existential journey toward authentic
selfhood. Both view suffering not as something to avoid, but as a catalyst for
deeper understanding of the self.
Merini’s insistence on confronting societal norms
and embracing madness recalls Jean-Paul Sartre’s existential philosophy,
particularly his ideas of freedom and personal responsibility. Sartre argued
that individuals are "condemned to be free" and must create meaning
in a world devoid of inherent purpose (Sartre, 1946). Through her poetry,
Merini similarly embraces this freedom by rejecting conventional societal
expectations. Madness, for Merini, becomes a form of defiance, allowing her to
assert her creative autonomy. Like Sartre’s protagonists, Merini refuses to
conform to societal labels, instead using suffering as a tool for
self-definition and artistic expression.
Merini’s work also parallels Friedrich Nietzsche’s
philosophy, particularly his concept of amor fati (the love of fate) and the
Übermensch. Nietzsche advocated for embracing life’s chaos, including
suffering, as a means to transcend limitations and create new values
(Nietzsche, 1968). Merini’s poetry similarly celebrates suffering as a source
of renewal and empowerment. Her willingness to confront life’s darkest elements
and transform them into poetry mirrors Nietzsche’s belief in the transformative
power of suffering.
Finally, Merini’s sensitivity toward the
marginalized reflects Emmanuel Levinas’s philosophy of ethics and alterity.
Levinas argued that recognizing the suffering of others is central to human
ethics (Levinas, 1969). In her poetry, Merini often gives voice to those who,
like herself, have been marginalized by society. Her work transforms personal
suffering into a universal theme of empathy, much like Levinas’ emphasis on the
ethical responsibility toward the suffering of others.
Alda Merini's
philosophy: Alda Merini: Turning Pain into Power
Alda Merini's philosophy can be
described as a poetic
exploration of anguish, where suffering, madness, and marginalization are not merely
obstacles, but sources of profound creative power and self-realization. Central
to her thought is the belief that pain, far from being something to be feared
or suppressed, holds transformative potential. For Merini, suffering becomes a
force that shatters societal expectations and personal limitations, allowing
for deeper spiritual insight and artistic expression.
Much like existential philosophers,
Merini sees suffering as a path to authenticity and self-discovery. She confronts her experiences of madness and
institutionalization not as signs of weakness, but as moments that enable a
more honest and raw engagement with life. This mirrors thinkers like
Kierkegaard and Sartre, for whom the confrontation with despair leads to
greater freedom and self-definition.
At the same time, Merini’s work is
deeply spiritual. Her suffering takes on a mystical dimension, where the experience of madness and
pain becomes a form of purification, almost a path to redemption. In this
sense, her philosophy is aligned with figures like Simone Weil, who saw
affliction as a way to transcend earthly limitations and connect with the
divine. For Merini, poetry is both a cry of anguish and a prayer, a way of
making sense of her torment and turning it into something transcendent.
Furthermore,
Merini's philosophy places emphasis on the freedom of the individual, particularly the freedom to live
outside societal norms. She views her own madness as a kind of liberation, much
like Nietzsche’s idea of embracing chaos to transcend the limitations of
conventional morality. Her creative output, despite her suffering, becomes a
form of rebellion and self-affirmation, where the act of writing is an
assertion of her identity and autonomy.Ultimately, Merini’s philosophy is one
of transformation: pain is not a defeat, but an
opportunity to forge new meaning, to rise above despair, and to use anguish as
a way to access deeper truths about life, love, and the human condition. Her
poetry becomes the embodiment of this philosophy, turning what society often
shuns—madness, grief, marginalization—into powerful tools for creation and
liberation.
Embracing Strength in Suffering: The
Philosophical Empowerment of Women in Alda Merini's Poetry
Merini's poetry offers a wealth of
philosophical insights that speak deeply to women, addressing themes of
identity, suffering, creativity, and freedom. One of the central messages in
her work is the embrace of suffering as a source of strength. Rather than
viewing pain as something to be avoided or hidden, Merini shows that it can
become a profound wellspring of creativity and self-understanding. Her poetry
suggests that through suffering, one can achieve deeper insight into themselves
and even experience a kind of transcendence. For women, whose experiences of
hardship are often marginalized or silenced, this message is empowering. It
reclaims suffering as not a weakness, but a vital part of personal growth and
expression.
Another key message in Merini's poetry
is the notion of freedom through madness and nonconformity. She frequently
writes about madness as something imposed on those, especially women, who do
not fit into societal norms. Rather than viewing this madness as a form of
oppression, Merini reframes it as a form of liberation. For women, who are
often constrained by rigid societal expectations, this message encourages the
embrace of individuality and nonconformity. Living outside the boundaries set
by society can be seen as an act of self-determination and freedom, a path
toward discovering one's true self.
Creativity, for Merini, is both an act
of rebellion and a way of healing. Through her poetry, she transforms pain and
isolation into something beautiful and powerful. This is particularly relevant
for women, who have often been excluded from artistic and intellectual spaces
throughout history. Merini’s message is that creativity is not only a means of
self-expression but also a way to reclaim one's voice, challenge societal
norms, and heal from personal trauma.
Her work also imbues suffering with a
spiritual dimension, suggesting that pain can be a path to redemption and
purification. For Merini, suffering is not just a burden to bear but a way to
achieve a deeper spiritual understanding. This perspective offers women a way
to reframe their struggles, seeing them as part of a larger process of growth
and renewal, rather than simply as negative experiences.
Vulnerability and emotional
authenticity are other central themes in Merini's work. She writes with an
unfiltered rawness, openly displaying her emotional turmoil and inner
struggles. In a world where women are often encouraged to hide or minimize
their emotions, Merini’s poetry is a powerful reminder that emotional depth and
vulnerability are not weaknesses but strengths. Her work encourages women to embrace
their emotional realities as a form of truth and self-empowerment.
Merini’s poetry also resonates with
those who feel marginalized or invisible. She writes with compassion about the
experiences of the marginalized, giving a voice to those who live on society’s
edges. For women who have felt silenced or overlooked, this aspect of her work
serves as a reminder of their inherent worth and resilience. Merini shows that
there is strength and beauty to be found in living on the margins, in being
different, and in embracing one's true self.
Lastly, Merini challenges traditional
notions of femininity in her poetry. She refuses to be confined by societal
expectations of how women should behave or express themselves. Instead, her
work celebrates a womanhood that is complex, emotional, chaotic, and deeply
creative. This redefinition of femininity empowers women to define themselves
on their own terms, breaking free from restrictive stereotypes and societal
pressures.
Her work encourages women to embrace
their pain as a source of strength, to be unapologetically vulnerable, and to
live outside the confines of societal expectations. Through her art, Merini
teaches that true liberation comes from embracing one's authentic self, no
matter how unconventional or difficult that journey may be.
References
Campana, D. (1914). Canti Orfici. Vallecchi.
Kierkegaard, S. (1980). The Sickness Unto Death.
Princeton University Press.
Levinas, E. (1969). Totality and Infinity: An
Essay on Exteriority. Duquesne University Press.
Merini, A. (1986). L’altraverità. Diario di
unadiversa. Rizzoli.
Nietzsche, F. (1968). The Will to Power.
Vintage Books.
Pavese, C. (1952). Il mestiere di vivere.
Einaudi.
Pirandello, L. (1922). Enrico IV. Mondadori.
Sartre, J. P. (1946). Existentialism is a
Humanism. Yale University Press.
Schopenhauer, A. (1969). The World as Will and
Representation. Dover Publications.
Weil, S. (1951). Waiting for God. Harper
& Brothers.