The mausoleum is an incongruous memorial for one who liked to soften the walls and even the ceilings of his rooms with damask, who planted 10,000 rose bushes in his garden and draped his statues in necklaces and painted silk. We have Maroni’s word for it that d’Annunzio, speaking from beyond the grave, approved of it, but we may be permitted to doubt it. Throughout the last years of his life d’Annunzio hid himself away while “young imitators, infatuated with usurpation” made use of his ideas, his words, his fame, for purposes he refused to endorse. Dead, he was finally obliged to “line up.” His mausoleum is a quintessentially fascist monument.
NOTES
In most cases the sources of quotations are made clear in the text. With the help of the bibliography interested readers will be able to trace them without undue trouble. The following notes are intended to help where sources are not self-evident, and to indicate where I have found further information. In reusing a quotation cited by other Anglophone authors I have used their translations: all other translations are my own. Readers wanting precise page references are welcome to contact me via the Fourth Estate website, www.4thestate.co.uk.
ABBREVIATIONS
For collections of d’Annunzio’s works:
AT—Altri Taccuini
PDRi—Prose di Ricerca di Lotta di Commando
PDRo—Prose di Romanzi
SG—Scritti Giornalistici
T—Taccuini
TN—Tutte le Novelle
For d’Annunzio’s individual works:
Autobiographical writings:
DG—Diari di Guerra
DM—Di Me a Me Stesso
FM—Faville del Maglio
LdA—Lettere d’Amore
LL—La Licenza
LS—Cento e Cento e Cento Pagine del Libro Segreto di Gabriele d’Annunzio Tentato di Morir
N—Notturno
PV—La Penultima Ventura
SAS—Solus ad Solam
Novels:
F—Il Fuoco
FSFN—Forse che sí, Forse che no
I—L’Innocente
P—Il Piacere
TdM—Il Trionfo della Morte
VdR—Le Virgine delle Rocche
PART I: ECCE HOMO
THE PIKE
For Fiume see Comisso, Berghaus, Kochnitzky and Ledeen. For syndicalism and nationalism see Angelo Olivetti in Alatri. For fascist “blueprint” see Nardelli. For Boylesve see Jullian. For Vansittart see Chadwick. For Sarfatti see Schnapp. D’Annunzio’s description of bundled corpses is in LL.
SIGHTINGS
For Scarfoglio and Westerhout see Andreoli (2001—all references to Andreoli are to this book). For Hérelle see Alatri (1983—all references to Alatri are to this book). For Gide see Andreoli and Kochnitzky. For the anonymous lady see Antongini. For Saba see Andreoli. For Kafka see Wohl. For French impressions see Jullian. For Ida Rubinstein see DM. For Reims see Ojetti, Tosi and DG. For the Capitol see PDRi and N. For Hemingway see Allan Massie, Telegraph (28 Feb. 1998). Letter to Venturina in Andreoli. For the return to Venice see Antongini.
SIX MONTHS
The main sources for this chapter, from which all otherwise unattributed quotations are taken, are d’Annunzio’s own notebooks, published in DG. For Paquin see Giannantoni. For the “Amazon” and d’Annunzio’s other lovers in Paris see Chiara. For the details of his departure see Tosi. For Carducci, and for the professor in Genoa, see Rhodes. “Rapt in his…,” cited in Thompson. For d’Annunzio’s appearance at Quarto see Corriere della Sera (16 May 1915), and cronologia.leonardo.it. Text of this and subsequent speeches in PDRi. For Trier and other hostile caricatures see Chiara. Rolland cited in Woodhouse. Ojetti cited in Chiara. Deputy’s question in Andreoli. Support for Giolitti—see Roger Griffin. Hugh Dalton cited in Woodhouse. Mussolini cited in Chiara. Carrère in Antongini. “The light gleaming…,” see Muñoz. Mann and Kosztolanyi are in Strachan. Martini in Tosi. For the Queen Mother see Antongini. For the constitutional crisis of May 1915 see Alatri and Thompson. Turati in Thompson. D’Annunzio’s account of his speech on the Capitol and the crowd’s response is in N. His description of a sculptor casting bronze is in FSFN. Nietszche in Hollingdale. “With ever before…,” from P. Mario d’Annunzio on the Argentinian lady in Rhodes. “I have a horror…,” letter to Albertini in Ledda. “It is certain death…,” letter to Fraternali in Woodhouse. Martini in Alatri. Albertini’s letter in Andreoli. Letter to Salandra in Ledda. Martini in Alatri. “A pyrrhic dance…,” see Damerini. “The thought of returning…,” see LL. Lloyd George is in Parker. “… than all my odes…,” in Damerini. “All the past…,” see N. “All my life…,” letter to Albertini in Ledda.
PART II: STREAMS
For my account of d’Annunzio’s life I have drawn on a number of biographies as well as on primary sources. All those I have found useful are listed in the bibliography. I am particularly indebted to books by Annamaria Andreoli and Paolo Alatri, both for their comprehensive narratives and for their copious quotation from d’Annunzio’s contemporaries. Those by Piero Chiara, Giordano Bruno Guerri and (in English) John Woodhouse have also been especially helpful.
WORSHIP
“The Angel…,” see Winwar. “A painted cart…,” and “in profile…,” see N. “A wind of fanaticism…,” see TDM. “I come…,” see LS. “He never…,” and “Her glances…,” and “a rare beast,” see LS. “Do you remember?” letter to Francesco Paolo d’Annunzio in Ledda. “Life scared me…,” see N. Visit to the Abbess, see LS. For magic see LS and “The Virgin Orsola” in TN and TdM. D’Annunzio’s recollections of songs and rituals are in TdM. Bird’s nest and balcony incident, see LS. School reports in Chiara and Guerri.
GLORY
Shellfish and knife incident in FM. “The troops scattered…,” see TN. For the King’s visit see Alatri. For d’Annunzio’s recollections of his schooldays see FM. His letters to his parents are in Ledda. “He is entirely dedicated…,” cited in Guerri. For life at the Cicognini see Fracassini in Chiara. Letters to Carducci, Nencioni, Fontana and Chiarini are in Ledda. For d’Annunzio’s fake death see Chiara.
LIEBESTOD
There are selections of d’Annunzio’s letters to Giselda Zucconi in Ledda and in LdA, with useful extra information in each. For rape of peasant girl see “Il Grappolo del Pudore” in FM. Letters to Tito Zucconi and Chiarini are in Alatri. “What vaporous floating…,” from “Aternum” in SG. For Magnico see Chiara. For trip to Sardinia see Scarfoglio’s and d’Annunzio’s accounts in SG, and Winwar. On d’Annunzio’s inability to say no, see Antongini. “He would be off…,” Scarfoglio cited in Guerri. For Elda’s wish to sell d’Annunzio’s letters see Woodhouse.
HOMELAND
For Michetti and his cenacolo see Andreoli; and d’Annunzio’s “Ricordi Francavillesi” in SG; and his letters to Giselda Zucconi cited in Andreoli. Toscanini in Antongini. Easter ceremony commemorated on a plaque outside the Convent. “Found among the common…,” see Zipes. “Suddenly there burst…,” see 1921 interview cited in Andreoli. For the pilgrims at Miglianico see d’Annunzio’s “Il Voto” in SG, and TdM. “Mass of lice…,” see TdM. “I carry…,” see LS.
YOUTH
All d’Annunzio’s pieces quoted in this and the next ten sections are published in SG. Letters to Giselda Zucconi in Ledda. Scarfoglio in Guerri. “Chestnut locks…,” see Antongini. For d’Annunzio’s early social life in Rome see Andreoli, Ojetti, Antongini and d’Annunzio in SG.
NOBILITY
Visit to Poggio a Caiano described in d’Annunzio’s letter to his mother, in Ledda. “Some of them knelt,” see LS. “He would fire up,” cited in Guerri. “Superior beings…,” see VdR. Andreoli on Elena Muti seen from behind—introduction to SG. D’Annunzio’s social and fashion notes in “La Cronachetta delle Pellicce,” “In Casa Huffer” and “Alla Vigilia di Carnevale” in SG. Scarfoglio in Rhodes and in SG. Crispi and Hare cited in Duggan. D’Annunzio on the desecration of the villas in introduction to SG. “Your hand can brush…,” from “Christmas�
� in SG. Maria di Gallese in “Venere Capitolina Favente” in SG. “A graceful creature…,” cited in Guerri. Descriptions of Primoli in Andreoli. D’Annunzio’s “Casa Primoli” in SG. “A young poet…,” Primoli cited in Andreoli.
BEAUTY
“Bric-à-bracomania” in SG. The Beretta sisters’ shop in “Toung-Hoa-Lou, Ossia Cronica del Fiore dell’Oriente” in SG. “I went round…,” and “It yelled…,” letters to Nencioni in Ledda. Brass bands in Andreoli. Letters to Scarfoglio in Ledda. D’Annunzio’s dream from “Balli e Serate” in SG. “Light and gay…,” cited in Chiara. Hotelier and cheque in Antongini. Letter to Prince Maffeo Colonna in Andreoli. Carducci in Duggan.
ELITISM
For the political background see Mack Smith and Duggan: all quotations in this section are cited in Duggan. “Make much of yourself…,” letter to Vittorio Pepe in Alatri.
MARTYRDOM
“When I married…,” cited in Guerri. For Olga Ossani see “Il Ballo della Stampa” in SG, and letters to her in Ledda, Andreoli and LdA. For Henry James, see http://www.romeartlover.it/James.html#Medici. For d’Annunzio as St. Sebastian see DM and letter to Olga cited in Andreoli. For St. Sebastian iconography see Boccardo. “We smiled…,” from “Il Compagno dagli Occhi senza Cigli” in FM. Letter to Fontana in Ledda. Pietà fantasy in Andreoli.
SICKNESS
Letters to Elvira Fraternali in Ledda and LdA. “Neither the strength…,” d’Annunzio cited in Guerri. “The most beautiful eyes…,” Gatti cited in Woodhouse.
THE SEA
“Marine nativity” letter to Hérelle cited in Andreoli. “My body completely naked…,” see LS. “Playful sketch” is “I Progetti” in SG. For picnics on beaches see Morello in Damerini. “Mere poet…,” cited in Alatri. L’Armata Italiana in PDRi.
DECADENCE
“Garden parties…,” from “La Vita Ovunque—Piccolo Corriere” in SG. “The only women…,” see LS. “I write all day…,” letter cited in Alatri. For d’Annunzio’s ideas on fiction, and on writing P, see his introduction to TdM. For Mallarmé and de Montesquiou see Baldick. D’Annunzio acknowledges similarity of P and À Rebours in G. Gatti. Letter to Treves in Alatri.
BLOOD
For Italian patriotism and eagerness for war see Mack Smith and Duggan. All quotations cited in this chapter in Duggan, except for Verdi cited in Gilmour.
FAME
For Liszt and Heine see Walker, and “Franz Liszt” in SG. “Who knows how to launch…,” cited in Guerri. “We’ll print…,” letter to Sartorio in Andreoli. “I like this quick communication…,” in introduction to SG. “Thousands of young men…,” cited in Alatri.
SUPERMAN
For the wet night see letter to Fraternali in Andreoli. For d’Annunzio’s wretchedness at being separated from Fraternali see LS. “My worst enemy…,” letter to Fraternali in LdA. “Blood, so much blood…,” letter to Fraternali in Andreoli. For Maria di Gallese and her father see G. Gatti. For Maria and “Rastignac” see Chiara. For German suicides see de Waal. For inventory see Andreoli. “I departed ill…,” cited in Alatri. Fanfulla review in introduction to Oscar edition of L’Innocente. “Dreary procession…,” in Guerri. Letters to Fraternali in LdA. Crispi cited in Sassoon. “Putrefaction,” see d’Annunzio’s speech cited in Antona-Traversi. For Nietzsche see Safranski and Hollingdale: quotations all cited in Safranski. “Am I of the same…,” in DG. “I can barely see…,” in Alatri. “I would throw myself…,” in Guerri. “It has begun…,” in Woodhouse. “For a whole hour…,” in Andreoli. Correspondence with Hérelle in Ledda. Scarfoglio in Andreoli.
VIRILITY
For d’Annunzio’s letters about Maria Gravina’s madness see Andreoli and Chiara. Hérelle on Venetian interlude, cited in Andreoli. “Musical book,” and “mystery with thought,” from d’Annunzio’s introduction to TdM. “I feel as though…,” notebook entry cited in Andreoli.
ELOQUENCE
For Duse’s early life see Weaver and Winwar. “The strange Japanese…,” from “Carnevale” in SG. “Rather die,” in Winwar. “When the theatre…,” in F. Duse’s letters cited in Winwar. D’Annunzio’s recollections in DG and LS. Descriptions of d’Annunzio’s voice in Damerini. For his training his own voice see LS, FM and introduction to TdM. “Colourless,” and “monotonous,” see Rolland and Marinetti. “An ancient savage game…,” and “In the communion…,” from F.
CRUELTY
“Like an underwater flower” see LS. D’Annunzio’s recollections in LS. Duse’s letters cited in Winwar unless stated otherwise. “Wounded Pierrot…,” in Guerri. “Torch of passion…,” in Rolland. “More poetic … more sincere,” in Rolland. “I would like to unmake myself,” Duse cited in Andreoli. Duse/Ossani interview in Andreoli. “Not an intelligent woman…,” in Antongini. “Slaughtering flowers,” cited in Andreoli. “Exhausted, stupefied,” in Rolland. “An absolute right…,” in Andreoli. “Mad about her,” in Guerri. For the maze see F, for d’Annunzio’s account, and Winwar for Duse’s.
LIFE
For d’Annunzio on parliament see Antongini, VdR and letter to Treves in Ledda. “I am beyond…,” letter to Lodi in Alatri. For Nietzsche and Heine see Safranski. For d’Annunzio on the campanile see Guerri. D’Annunzio’s pieces for the Convito are in PDRi. For Vitalism see Alatri and Thompson. For electioneering see letters to Treves in Ledda, and Marinetti cited in SG. For political background see Alatri, Duggan and Woodhouse. “With the agility of a goat,” see Palmerio. D’Annunzio on “life” and Heraclitus’ bow in LS. Nitti quoted in Alatri. “The hedge,” see Palmerio.
DRAMA
For d’Annunzio on Wagner see “Il Caso Wagner” in SG and F. For literacy rates see Riall. Duse and the Roman marchese in Winwar. D’Annunzio on drama in PDRi. On Orange in Andreoli.
SCENES FROM A LIFE
For descriptions of the Capponcina, and for d’Annunzio’s style of life there see Palmerio. For d’Annunzio’s immediate impressions see his notebooks in T and AT, letters to Treves and Tenneroni and others in Ledda. For his recollections of the period see FM and the Proemio to his Vita di Cola di Rienzo. Visit to Assisi—“Scrivi che Quivi è Perfecta Letitia” in FM. “Better decorator,” see Antongini. Pizzetti in Andreoli. For d’Annunzio in Paris see his letters cited in Andreoli, Hérelle, Scarfoglio cited in Andreoli, and Marinetti (1906). For his obsessive cleanliness see Antongini and Palmerio. For visit to Egypt see Andreoli. For Duse’s jealousy in Corfu see Weaver. For Gloria in Naples see Chiara. Speech at Orsanmichele in PDRi. “From the muddy sea…,” in Alatri. “I know the novel…,” Duse in Palmerio. “The faint lines…,” quoted in Antongini. For d’Annunzio in Vienna see LS. For Gabriellino’s visit see Andreoli. For dog kennel see Palmerio. For de Pougy see Souhami. De Amicis cited in Andreoli. For d’Annunzio’s gym see LS. For ping-pong see Rolland. For fortieth birthday see “Esequie della Giovinezza” in FM. For conversation overheard in Lucerne, and for trials of celebrity, see LS. “I phonographed…,” cited in Ledda. Duse’s statements in introduction to La Figlia di Jorio. “An episode…,” from LS. Della Robbia in Jullian.
SPEED
“Mingy little scribblers,” see DM. For hunting see Antongini and LS. Alessandra’s letters cited in Woodhouse and Winwar. D’Annunzio on her operations in Palmerio and Antongini. Berenson in Andreoli. For Casati see Jullian and Ryerson. On reception of Più che l’Amore see Alatri. For relationship with Giuseppina Mancini see letters to her in Ledda and LdA, and SAS. “Most bitter Adriatic…,” and political context see Alatri. For banquet in Venice see Damerini. “In the carriages…,” in Andreoli. Giuseppina’s breakdown from SAS. For Puccini see Andreoli. “The sterile carnal work,” see SAS. For Nathalie see d’Annunzio’s notebooks and his letters to her in Ledda and LdA. For Marinetti and Futurism see Ottinger, Berghaus and Marinetti (1972). For the Marchesa di Toledo see Andreoli. For flight see Wohl. For d’Annunzio on flight see FSFN. Gabriellino in Chiara. Barzini in Andreoli. H. G. Wells in Wohl.
KALEIDOSCOPE
Règnier
and Boylesve in Alatri. Mascagni’s daughter in Guerri. De Montesquiou in Jullian. De Castellane in DM and Alatri. For Rubinstein see Alatri, Antongini, Jullian, Winwar. D’Annunzio on Maeterlinck in Jullian. Barrès in Jullian. For Romaine Brooks see Souhami, Jullian and Woodhouse. For the house at Arcachon see Antongini. For Hahn see LS. “The old French beauty,” in Carr. Proust and Règnier in Jullian. Vierne in LS. Mussolini in Stonor Saunders. For Giolitti see Gentile and Thompson. Von Hofmannsthal in Guerri. Croce in Chiara. For the drowned man see PDRi. D’Annunzio on film-making in Alatri and Guerri. Barney “all the rage,” in Jullian. Visit to England in LS. Prezzolini and Donato in Berghaus. D’Annunzio’s depression in LL. Letter to Paléologue in Tosi.
THE DOGS OF WAR
Tosi is the main source for this chapter. Quotations from d’Annunzio are from LL or DG. Mann and Rilke in Strachan. Hitler in Sassoon. Barjansky in Ryerson. Giolitti in Thompson. Prezzolini in Alatri. For the Huards’ house see Ojetti. Federzoni in Bosworth (1983). Corradini in Duggan. La Voce in Alatri. Mussolini in Sassoon. Marinetti in Berghaus.
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