Gabriele D'Annunzio

Gabriele D'Annunzio (12 March 1863 – 1 March 1938) was an Italian poet, writer, novelist, dramatist, daredevil and war hero, who went on to have a controversial role in politics as a precursor of the fascist movement.

Literature

At the height of his success, D'Annunzio' was celebrated for the originality, power and decadence of his writing. Although his work had immense impact across Europe, and influenced generations of Italian writers, his fin de siècle works are now little known, and his literary reputation has always been clouded by his fascist associations.

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A prolific writer, his novels in Italian include Il Piacere (The Child of Pleasure, 1889), Trionfo della Morte (The Triumph of Death, 1894), and Le Vergine delle Rocce (The Virgin of the Rocks, 1896). He wrote the screenplay to the early motion picture Cabiria based on episodes from the Second Punic War. D'Annunzio's literary creations were strongly influenced by the French Symbolist school, and contain episodes of striking violence and depictions of abnormal mental states interspersed with gorgeously imagined scenes. One of D'Annunzio's most significant novels, scandalous in its day, is Il Fuoco (The Flame of Life) of 1900, in which he portrays himself as the Nietzschean 'superman' Stelio Effrena, in a fictionalized account of his love affair with Eleonora Duse. His short stories showed the influence of Guy de Maupassant.

Related Topics:
Italian - 1889 - 1894 - 1896 - Cabiria - Second Punic War - Symbolist - 1900 - Guy de Maupassant

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The work of d' Annunzio, although by many of the younger generation injudiciously and extravagantly admired, is almost the most important literary work given to Italy since the days when the great classics welded her varying dialects into a fixed language. The psychological inspiration of his novels has come to him from many sources--French, Russian, Scandinavian, German--and in much of his earlier work there is little fundamental originality. His creative power is intense and searching, but narrow and personal; his heroes and heroines are little more than one same type monotonously facing a different problem at a different phase of life. But the faultlessness of his style and the wealth of his language have been approached by none of his contemporaries, whom his genius has somewhat paralysed. In his later work, when he begins drawing his inspiration from the traditions of bygone Italy in her glorious centuries, a current of real life seems to run through the veins of his personages. And the lasting merit of d'Annunzio, his real value to the literature of his country, consists precisely in that he opened up the closed mine of its former life as a source of inspiration for the present and of hope for the future, and created a language, neither pompous nor vulgar, drawn from every source and district suited to the requirements of modern thought, yet absolutely classical, borrowed from none, and, independently of the thought it may be used to express, a thing of intrinsic beauty. As his sight became clearer and his purpose strengthened, as exaggerations, affectations, and moods dropped away from his conceptions, his work became more and more typical Latin work, upheld by the ideal of an Italian Renaissance.

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