“Campo di Fiori” by Czeslaw Milosz

In Rome on the Campo di Fiori

baskets of olives and lemons,
cobbles spattered with wine

and the wreckage of flowers.
Vendors cover the trestles
with rose-pink fish;

armfuls of dark grapes
heaped on peach-down.
On this same square

they burned Giordano Bruno.
Henchmen kindled the pyre
close-pressed by the mob.

Before the flames had died
the taverns were full again,
baskets of olives and lemons

again on the vendors’ shoulders.
I thought of the Campo di Fiori
in Warsaw by a carousel

one clear spring evening
to the strains of a carnival tune.
The bright melody drowned

the salvos from the ghetto wall,
and couples were flying
high in the cloudless sky.

At times wind from the burning
would drift dark kites along
and riders on the carousel

caught petals in mid-air.
That same hot wind
blew open the skirts of the girls

and the crowds were laughing
on that beautiful Warsaw Sunday.
Someone will read as moral

that the people of Rome or Warsaw
haggle, laugh, make love
as they pass by martyrs’ pyres.

Someone else will read
of the passing of things human,
of the oblivion

born before the flames have died.
But that day I thought only
of the loneliness of the dying,

of how, when Giordano
climbed to his burning
he could not find

in any human tongue
words for mankind,
mankind who live on.

Already they were back at their wine
or peddled their white starfish,
baskets of olives and lemons

they had shouldered to the fair,
and he already distanced
as if centuries had passed

while they paused just a moment
for his flying in the fire.
Those dying here, the lonely

forgotten by the world,
their tongue becomes for us
the language of an ancient planet.

Until, when all is legend
and many years have passed
on a new Campo di Fiori

rage will kindle at a poet’s fire.

(Warsaw, 1943)

Introduction

Table of Contents

First published in 1947 “Campo di Fiori” is a poignant poem by Czeslaw Milosz, a Polish American poet, essayist, and Nobel laureate. The poem won popularity on its powerful imagery and beautiful portrayal of the horrors of war, fascism, and human suffering. It is widely considered to be one of Milosz’s most important and influential works, and still continues to inspire readers around the world with its message of resilience, hope, and the enduring power of the human spirit.

Annotations of “Campo di Fiori” by Czeslaw Milosz

Phrase or Verse	Annotation and Explanation
1. In Rome on the Campo di Fiori	The Campo di Fiori is a square in Rome, Italy.
2. Baskets of olives and lemons,	This line depicts the market scene in the Campo di Fiori, where vendors sell fresh produce like olives and lemons.
3. Cobbles spattered with wine	The streets are stained with wine, suggesting a lively and perhaps drunken atmosphere.
4. And the wreckage of flowers	The wreckage of flowers suggests a bustling market where things get trampled and crushed.
5. Vendors cover the trestles	Trestles are tables used by vendors to display their goods.
6. With rose-pink fish;	This line describes the fish being sold, which are pink in color.
7. Armfuls of dark grapes	The vendors are also selling grapes, which are dark in color.
8. Heaped on peach-down.	Peach-down refers to the soft, velvety texture of peaches. This line suggests that the grapes are piled high and resting on something soft.
9. On this same square	Referring back to the Campo di Fiori in Rome.
10. They burned Giordano Bruno.	Giordano Bruno was a philosopher who was burned at the stake for heresy in 1600 in the Campo di Fiori.
11. Henchmen kindled the pyre	Pyre refers to the pile of wood used for the execution by burning.
12. Close-pressed by the mob.	The mob was there to witness the execution, standing close to the pyre.
13. Before the flames had died	Referring to the time frame of the execution.
14. The taverns were full again,	This line suggests that people resumed their normal activities soon after the execution.
15. Baskets of olives and lemons	The vendors continued to sell their goods, even after the execution.
16. Again on the vendors’ shoulders.	The vendors continue their business as usual, carrying their baskets on their shoulders.
17. I thought of the Campo di Fiori	The speaker is reflecting on the scene in the Campo di Fiori.
18. In Warsaw by a carousel	Referring to a specific location in Warsaw.
19. One clear spring evening	The time frame of the speaker’s memory.
20. To the strains of a carnival tune.	The speaker recalls hearing a festive tune playing in the background.
21. The bright melody drowned	The music was so loud that it drowned out other sounds.
22. The salvos from the ghetto wall,	Referring to gunshots from the ghetto walls in Warsaw.
23. And couples were flying	This line describes couples dancing and spinning around.
24. High in the cloudless sky.	The dancing couples are depicted as being elevated, dancing high in the sky.
25. At times wind from the burning	Referring to the wind that carries smoke from fires.
26. Would drift dark kites along	The smoke from the burning would make it difficult to see, and dark kites would drift by.
27. And riders on the carousel	People riding the carousel would catch the petals from the nearby trees.
28. Caught petals in mid-air.	The riders caught the falling petals before they hit the ground.
29. That same hot wind	Referring back to the wind from the burning mentioned
30. blew open the skirts of the girls	The wind from the burning ghetto blows open the skirts of the girls, a symbol of innocence, exposing them to the horrors of war.
31. and the crowds were laughing	Despite the tragedy happening around them, the people of Warsaw continue to enjoy the moment and find joy in each other’s company.
32. on that beautiful Warsaw Sunday.	The description of the day as beautiful is ironic, as it is the same day that the ghetto is being burned and people are dying. The contrast highlights the cruelty of war.
33. Someone will read as moral	The poem acknowledges that people will interpret these events differently and try to extract different lessons or morals from them.
34. that the people of Rome or Warsaw	The poem draws a parallel between Rome and Warsaw, suggesting that despite the differences in time and place, people everywhere react similarly to tragedy.
35. haggle, laugh, make love	The idea that life goes on even in the face of tragedy is a recurring theme in the poem. Here, the poem suggests that people continue to live their lives and find joy in simple pleasures even as they pass by martyrs’ pyres.
36. as they pass by martyrs’ pyres.	The image of people casually passing by the burning pyres of martyrs highlights the indifference or acceptance of violence and tragedy in society.
37. Someone else will read	The poem suggests that there are many different ways to interpret or understand the events that are taking place.
38. of the passing of things human,	This line speaks to the ephemeral nature of human existence and the idea that all things eventually come to an end.
39. of the oblivion	The poem touches on the idea of forgetting, of people and events fading into oblivion as time passes.
40. born before the flames have died.	The idea that oblivion is already taking hold even as the fires of tragedy are still burning is a haunting one.
41. But that day I thought only	The poet shifts focus away from the larger societal themes and reflects on his own personal response to the events taking place.
42. of the loneliness of the dying,	The focus on the “loneliness” of the dying is a poignant one, emphasizing the human aspect of tragedy and the sense of isolation that often accompanies it.
43. of how, when Giordano	The poem turns to the specific case of Giordano Bruno, a philosopher who was burned at the stake for heresy in Rome.
44. climbed to his burning	The image of Bruno “climbing” to his own death reinforces the sense of personal agency and courage in the face of overwhelming oppression.
45. he could not find	Bruno’s inability to find “words for mankind” suggests the limits of language in expressing the full scope of human experience.
46. in any human tongue	The language barrier between Bruno and the rest of humanity emphasizes the isolation and alienation that he must have felt.
47. words for mankind,	The phrase “words for mankind” has a double meaning, referring both to the limitations of language and to the idea of universal human experiences that transcend language barriers.
48. mankind who live on.	The line “mankind who live on” is a reminder that despite individual tragedies, the human race as a whole continues to endure.
49. Already they were back at their wine	This line indicates the indifferent attitude of people towards the execution of the Jewish people. It suggests that people were more interested in their everyday activities, like drinking wine, and showed no remorse or sympathy towards the victims.
50. or peddled their white starfish,	The phrase “white starfish” is a metaphor for the Jewish badges that the Nazis forced the Jews to wear. The use of this metaphor emphasizes the dehumanization of the Jewish people and highlights the inhumanity of the oppressors.
51. baskets of olives and lemons they had shouldered to the fair,	This line suggests that life goes on for the people in the market despite the ongoing tragedy. The use of natural imagery, such as olives and lemons, highlights the contrast between the beauty of nature and the atrocities of war.
52. and he already distanced, as if centuries had passed	The poet emphasizes the contrast between the present moment of the massacre and the future, as if looking back at it from a distant time. The use of “centuries” suggests that the memory of the tragedy will linger for a long time.
53. while they paused just a moment for his flying in the fire.	This line refers to Giordano Bruno’s execution, which the poet contrasts with the indifference of the crowd towards the Jewish victims. Bruno’s execution is significant because he was a philosopher who was burned at the stake for his beliefs, challenging the established dogma of his time.
57. Those dying here, the lonely	The poet emphasizes the isolation and loneliness of the victims, who are forgotten and ignored by the world. This line suggests that the victims are not just dying physically but are also losing their identities and histories.
58. forgotten by the world	This line further emphasizes the isolation and disregard for the victims’ lives, as they are not remembered by the world. The use of “forgotten” highlights the idea that the world has deliberately chosen to ignore the tragedy.
59. their tongue becomes for us the language of an ancient planet.	This line suggests that the language of the victims, who are dying and forgotten, becomes distant and alien to the rest of the world. The use of the metaphor “ancient planet” implies that their language, culture, and identity are no longer recognizable to the rest of humanity.
60. Until, when all is legend and many years have passed on a new Campo di Fiori rage will kindle at a poet’s fire.	The poet suggests that the memory of the tragedy will not be forgotten, but it will become a legend, a story to be told and retold. The phrase “a new Campo di Fiori” refers to the Roman square where Giordano Bruno was executed, and where the poet believes that a new tragedy will occur. The final line suggests that the poet will continue to rage against the injustice of the world.

Literary Devices in “Campo di Fiori” by Czeslaw Milosz

First Literary Device	Second Verse as References	Third Meanings and Functions
Allusion	On this same square (Verse 9) they burned Giordano Bruno.	It refers to the historical execution of a philosopher on the Campo di Fiori square.
Imagery	At times wind from the burning (Verse 25) would drift dark kites along and riders on the carousel caught petals in mid-air.	Imagery appeals to the reader’s senses and creates vivid mental images.
Irony	Before the flames had died (Verse 14) the taverns were full again, baskets of olives and lemons again on the vendors’ shoulders.	It highlights the contrast between the brutal execution and the normalcy of everyday life.
Metaphor	their tongue becomes for us the language of an ancient planet. (Verse 59)	The metaphor compares the language of the dying to something otherworldly and inaccessible.
Metaphor	of the passing of things human, (Verse 38)	This metaphor compares the impermanence of human life to the passing of physical objects.
Metaphor	that the people of Rome or Warsaw (Verse 33) haggle, laugh, make love as they pass by martyrs’ pyres.	This metaphor compares the coexistence of joy and tragedy to two intersecting paths.
Metonymy	he could not find in any human tongue words for mankind (Verse 46)	It uses the term “human tongue” to refer to human language.
Onomatopoeia	the bright melody drowned the salvos from the ghetto wall (Verse 21)	It uses sound words to mimic the drowning out of gunshots by music.
Personification	and the crowds were laughing on that beautiful Warsaw Sunday. (Verse 32)	It gives human qualities to the crowd, making it seem alive and joyful.
Personification	the loneliness of the dying (Verse 42)	It gives the abstract concept of loneliness human qualities, making it easier to visualize.
Repetition	baskets of olives and lemons (Verses 2 and 51)	It means to repeat the phrase for emphasis and to create a sense of continuity.
Symbolism	rose-pink fish (Verse 6) and dark grapes heaped on peach-down (Verse 8)	It means to use objects to represent abstract concepts such as wealth or abundance.
Synecdoche	vendors cover the trestles with rose-pink fish (Verse 5) and armfuls of dark grapes heaped on peach-down (Verse 8)	It uses a part of the vendor’s wares (fish and grapes) to represent the whole market.

Sound and Poetic Devices in “Campo di Fiori” by Czeslaw Milosz

Literary Device	Examples/References	Meanings and Functions
Alliteration	“slice a big sun” (line 2), “sights of the sun” (line 8)	It is repeating initial consonant sounds in close proximity to create a musical or rhythmic effect such as /s/ here. It adds emphasis to certain words or phrases, making them stand out and creating a memorable effect.
Assonance	“wooed into the cyclops’ eye” (line 5), “soft as pulp” (line 22)	It is repeating vowel sounds in close proximity to create a musical or rhythmic effect such as /o/ and /u here. It adds emphasis to certain words or phrases and create a soothing or eerie effect.
Consonance	“Everywhere the eye concedes to / Encrouching horizon” (lines 3-4), “black butter / Melting and opening” (lines 16-17)	It is repeating consonant sounds in close proximity to create a musical or rhythmic effect such as /k/ and /b/. It adds emphasis to certain words or phrases and creates a memorable effect.
Diction	“bog,” “peat,” “sights,” “Atlantic seepage”	The choice of words and phrasing in a poem. It can convey the tone, mood, and meaning of the poem. In this poem, the diction emphasizes the natural landscape and the history of the land.
Verse Type	Free verse	The structure or form of the poem. Free verse does not have a regular meter or rhyme scheme.
Stanza Type	Eight verse stanzas	The grouping of lines in a poem. This poem has eight stanzas, each having eight verses.
Poem Type	Descriptive or Nature Poetry	The genre or type of poem. This poem describes the natural landscape and the history of the land.
Tone	Somber, reflective, descriptive	The attitude or feeling conveyed by the poem. The tone of this poem is somber and reflective, emphasizing the harshness and beauty of the natural landscape.

Functions of Literary Devices in “Campo di Fiori” by Czeslaw Milosz

Enhancing Imagery: The literary devices used in “Campo di Fiori” serve to create vivid images that engage the reader’s senses and imagination. For example, imagery is used to paint a picture of the bustling marketplace in Rome, with baskets of olives and lemons, cobbles spattered with wine, and vendors carrying armfuls of dark grapes. This imagery helps the readers to picture the scene and immerse themselves in the sensory experience.
Creating Meaning: The literary devices in “Campo di Fiori” create meaning and convey the author’s intended message. For example, the juxtaposition of the marketplace scene with the burning of Giordano Bruno serves to highlight the paradoxical nature of human existence where life goes on even in the face of tragedy and injustice.
Eliciting Emotion: The literary devices in “Campo di Fiori” also evoke emotions in the reader. For example, the use of irony in describing the celebration and commerce that continues even as someone is being burned at the stake elicits a sense of anger and injustice. The use of metaphors and similes, such as comparing the wind to a predator, also creates a sense of fear or foreboding.

Establishing Tone: The literary devices in “Campo di Fiori” help to establish a particular tone or mood throughout the poem. For example, the repetition of the image of baskets of olives and lemons, which is at first a symbol of life and vitality, becomes more ominous as the poem progresses and takes on a more sinister tone. The use of alliteration and assonance also creates a sense of musicality and rhythm that contributes to the overall tone of the poem.

Themes in “Campo di Fiori” by Czeslaw Milosz

History and Memory: The poem highlights the contrast between the vibrant and colorful atmosphere of the marketplace in Rome and the historical significance of the Campo di Fiori, where Giordano Bruno was burned at the stake. The poem suggests that although people may pass by historical sites or monuments, they may not always comprehend the full meaning and significance of what happened there.

On this same square

they burned Giordano Bruno.

Henchmen kindled the pyre

close-pressed by the mob.

Before the flames had died

the taverns were full again,

baskets of olives and lemons

again on the vendors’ shoulders.

Lines 9-16 emphasize the vendors’ nonchalance about the historical significance of the Campo di Fiori.

Resilience: The poem also highlights the resilience of people in the face of tragedy and suffering. Despite the burning of Giordano Bruno and the salvos from the ghetto wall in Warsaw, people still continue to enjoy life, to laugh, to dance, and to celebrate.

At times wind from the burning

would drift dark kites along

and riders on the carousel

caught petals in mid-air.

That same hot wind

blew open the skirts of the girls

and the crowds were laughing

on that beautiful Warsaw Sunday.

Lines 22-32 depict the scene of people dancing and flying high in the cloudless sky even as the kites from the burning drifted overhead.

Language and Communication: The poem emphasizes the difficulty of finding words to express the experience of being burned alive. Giordano Bruno, when he climbed to his burning, could not find words to express the pain and suffering that he and others like him had experienced. The poem suggests that language is limited and inadequate when it comes to expressing the depth of human emotions.

But that day I thought only

of the loneliness of the dying,

of how, when Giordano

climbed to his burning

he could not find

in any human tongue

words for mankind,

mankind who live on.

Lines 42-47 express this sentiment poignantly.

Power of art and Literature: The poem shows that art and literature have the power to transcend time and space to preserve the memory of historical events and human suffering. The final lines of the poem suggest that the memory of Giordano Bruno and other martyrs will live on in poetry and literature and that the rage and passion of poets will keep the memory of the Campo di Fiori alive.

Those dying here, the lonely

forgotten by the world,

their tongue becomes for us

the language of an ancient planet.

Until, when all is legend

and many years have passed

on a new Campo di Fiori

rage will kindle at a poet’s fire.

Lines 61-64 express this sentiment clearly.

Literary Theories and “Campo di Fiori” by Czeslaw Milosz

New Historicism: This theory emphasizes the relationship between literature and history and suggests that literature is shaped by the historical and cultural contexts in which it is produced. “Campo di Fiori” presents the historical context of the the burning of Giordano Bruno on the Campo di Fiori in Rome. The poem’s imagery and language reflect this event. For example, the baskets of olives and lemons, cobbles spattered with wine, and wreckage of flowers suggest the chaotic aftermath of a public execution. The references of the burning of the Warsaw ghetto and the loneliness of the dying, too, reflect the historical traumas of World War II.
Formalism: Formalism literary theory emphasizes the formal aspects of a literary work such as its structure, language, and imagery, rather than its historical or social context. “Campo di Fiori” shows that its structure and language are notable for their simplicity and clarity. The poem consists of eight stanzas of eight verses each, while the language is direct and accessible with few metaphors or symbols. However, the poem’s simplicity is deceptive as it belies the complex emotions and ideas that underlie its surface.
Reader-Response Criticism: Reader-response literary theory emphasizes the role of the readers in interpreting and creating meanings from a literary work. “Campo di Fiori” shows that the reader’s response is crucial to the poem’s meaning as the poem presents several possible interpretations of its imagery and language. For example, the baskets of olives and lemons can be seen as symbols of vitality and resilience, or as evidence of the indifference of the living to the suffering of the dead. Similarly, the bright melody of the carnival tune could be seen as a joyful celebration of life, or as a callous disregard for the suffering of others.

Postcolonial Theory: Postcolonial literary theory emphasizes the relationship between literature and power and suggests that literary works could be used to challenge or reinforce dominant cultural narratives. “Campo di Fiori” also challenges the dominant narrative of martyrdom and heroism by focusing on the loneliness and isolation of the dying. It suggests that the language of the dying could be interpreted as a counter-narrative to the language of the living characterized by haggling, laughter, and love. Also, it implies that the power of literature lies in its ability to keep alive the memory of the forgotten and the marginalized, and to resist the forces of oblivion threatening to erase the past.

Essay Topics, Questions and Thesis Statements about “Campo di Fiori” by Czeslaw Milosz

Topic: Human Nature and Resilience in “Campo di Fiori”

Question: How does Milosz depict the resilience of human nature despite the tragedies and suffering that have taken place on the Campo di Fiori, both in Rome and Warsaw?

Thesis Statement: Through the depiction of the lively and vibrant scenes of the Campo di Fiori, as well as the historical reference to the burning of Giordano Bruno and the Warsaw Ghetto Uprising, Milosz highlights the enduring spirit of humanity and its ability to persist in the face of adversity.

Topic: Memory and History in “Campo di Fiori”

Question: How does Milosz use memory and history to convey his message in “Campo di Fiori”?

Thesis Statement: Milosz uses the historical references of the burning of Giordano Bruno and the Warsaw Ghetto Uprising to connect the past with the present, while emphasizing the importance of remembering the past and its impact on the present and future.

Topic: Symbol of the Campo di Fiori in “Campo di Fiori”

Question: What is the significance of the Campo di Fiori as a symbol in Milosz’s poem? Thesis Statement: The Campo di Fiori, with its lively and bustling market scene and its historical significance as a site of martyrdom, serves as a powerful symbol of the duality of human nature, representing both the resilience and beauty of humanity as well as its capacity for destruction and cruelty.

Topic: Language in “Campo di Fiori”

Question: How does Milosz use language in “Campo di Fiori” to convey his message?

Thesis Statement: Through the use of vivid imagery and powerful metaphors, Milosz conveys the importance of language as a means of communication and connection between people, while also highlighting the limitations of language in conveying the complex emotions and experiences of human beings.

Short Question-Answer about “Campo di Fiori” by Czeslaw Milosz

What is the historical significance of the Campo di Fiori market in Rome, and how does Milosz use it in his poem?

The Campo di Fiori market in Rome is historically significant because it is the site where the philosopher Giordano Bruno was burned at the stake in 1600 for his heretical beliefs. Milosz, in his poem, uses the image of this market to explore the cyclical nature of history and the tendency of human societies to forget or trivialize past atrocities. The burning of Bruno serves as a metaphor for the political power used to silence dissent and maintain oppressive regimes. However, simultaneously, it also becomes a site of memorialization, reminding us of the importance of remembering the past to avoid it re-occurrence.

How does Milosz use imagery and metaphor in “Campo di Fiori” to explore themes of power and resistance?

Milosz uses a variety of powerful images and metaphors in “Campo di Fiori” to explore themes of power and resistance. For example, the image of the burned-out marketplace serves as a metaphor for the destructive power of political violence, while the figure of Giordano Bruno becomes a symbol of resistance and defiance against oppressive regimes. The poem also employs imagery of fire and darkness to convey the sense of danger and oppression that characterizes much of human history. Through these images and metaphors, Milosz paints a marvelous portrait of the struggle between power and resistance and emphasizes the importance of standing up against oppression and injustice.

How does Milosz use the figure of Giordano Bruno in “Campo di Fiori” to comment on the role of the artist in society?

Milosz uses the figure of Giordano Bruno in “Campo di Fiori” to illustrate the role of the artist as a visionary and a rebel. Bruno, a philosopher who challenged the dominant religious and political ideologies of his time, becomes a symbol of resistance against hegemonic structures. Milosz suggests that artists have a responsibility to challenge dominant narratives to promote truth, justice, and freedom, and that they can use their creative talents to inspire resistance and rebellion against oppressive forces. Through Bruno’s example, Milosz highlights the crucial role that artists and writers often play in shaping the course of history.

How does “Campo di Fiori” reflect Milosz’s larger philosophical and political concerns?

“Campo di Fiori” reflects Milosz’s larger philosophical and political concerns, including his belief in the importance of historical memory, his critique of oppressive power structures, and his idea about the role of the artist in promoting resistance and rebellion. The poem also explores Milosz’s interest in the cyclical nature of history and the tendency of human beings to repeat past mistakes. Powerful imagery and metaphor used in “Campo di Fiori” offers a powerful meditation on the human struggle for freedom and justice and reflects Milosz’s larger concerns about the nature of power, knowledge, and oppression that continue to rule the world.