Abstract
The essay investigates the value that the identification of implicit ontologies has for the analysis of the semantic depth of the literary text, primarily read in its meaningful autonomy. The case studied is the presence of the forest, on the one hand, in Dante's “Comedy” and, on the other hand, in Cesare Pavese's “Lavorare stanca” and “La casa in collina”. It is not so much the presence of loans and calques that is exemplified, but rather the different meaning that similar ontological elements have in works by authors from different ages and ideological position.
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