Although rarely discussed in study on Toni Negri—more commonly focused on those texts in which the fundamental concepts of Marxism or critical philosophy are redefined in order to interpret the present—Negri’s essay on Leopardi occupies, in my view, a central position, fully comparable to his better-known work on Spinoza. In this text, more than elsewhere, Negri uncovers and develops the dimension of language, abstraction, and imagination as spaces of subjective production and antagonistic construction. This shift allows him to discard any postmodern hypothesis and to relocate the critical project of his work within the age of immaterial and cognitive production, while also opening the way for several unprecedented incursions into the field of aesthetics