Decadent ClassicismDecadent Classicism

Gabriele D’Annunzio and Gabriele D’Annunzio and Ancient RomeAncient Rome

ASH Colloquia, Clare Hall College, Cambrigde, ASH Colloquia, Clare Hall College, Cambrigde, 20.1.200920.1.2009

Marja Härmänmaa, University of Helsinki, Finland

Gabriele D’AnnunzioGabriele D’Annunzio

1863 (Pescara) – 1938 (Gardone Riviera)1863 (Pescara) – 1938 (Gardone Riviera) Important as a writerImportant as a writer

Novels, poems, short stories, playsNovels, poems, short stories, plays Renewal of the Italian languageRenewal of the Italian language

Important as a politicianImportant as a politician MP at the beginning of the XX centuryMP at the beginning of the XX century Republic of Fiume (September 1919 – Republic of Fiume (September 1919 –

December 1920)December 1920) Model for Mussolini: political rhetoric, new Model for Mussolini: political rhetoric, new

political stylepolitical style

The Classical Legacy in ItalyThe Classical Legacy in Italy

Italy continuation of Ancient Rome Italy continuation of Ancient Rome Political ideologiesPolitical ideologies Arts and literature (Renaissance, for Arts and literature (Renaissance, for

instance)instance) Catholic Church: justification of Catholic Church: justification of

mission with the universal nature of mission with the universal nature of RomeRome

””Romanità”: moral and cultural Romanità”: moral and cultural supremacy of Italy supremacy of Italy

Ancient Rome and Italian Ancient Rome and Italian NationalismNationalism

Kingdom of Italy in 1861Kingdom of Italy in 1861 Rome model for a strong and Rome model for a strong and

imperialistic Italyimperialistic Italy In the arts and architecture a new In the arts and architecture a new

national style, ”romano stile” (neo-national style, ”romano stile” (neo-classicism)classicism)

The Altar of the Fatherland, The Altar of the Fatherland, Rome (1882-1911)Rome (1882-1911)

The Palace of Civilization, The Palace of Civilization, Rome (1940)Rome (1940)

Berlusconi, Fini and the Berlusconi, Fini and the Pantheon (Rome, 2008)Pantheon (Rome, 2008)

D’Annunzio and ClassicismD’Annunzio and Classicism

No interest in AntiquityNo interest in Antiquity Il PiacereIl Piacere (Pleasure, 1889) (Pleasure, 1889) D’Annunzio’s first novelD’Annunzio’s first novel The bible of Italian decadentismThe bible of Italian decadentism Main character Andrea Sperelli, Main character Andrea Sperelli,

young aristocratyoung aristocrat Love story beteween Sperelli, Maria Love story beteween Sperelli, Maria

and Elena and Elena

Sperelli’s RomeSperelli’s Rome

““Rome was his great love: not the Rome of Rome was his great love: not the Rome of the Caesars, but the Rome of the Popes; the Caesars, but the Rome of the Popes; not the Rome of the Arches, of the thermal not the Rome of the Arches, of the thermal baths, of the Forum, but the Rome of the baths, of the Forum, but the Rome of the Villas, of the Fountains, of the Churches. Villas, of the Fountains, of the Churches. He would have given all the Coliseum for He would have given all the Coliseum for Villa Medici, the Campo Vaccino for the Villa Medici, the Campo Vaccino for the Piazza di Spagna, the Arch of Tito for the Piazza di Spagna, the Arch of Tito for the Fountain of the Turtles.” [38] Fountain of the Turtles.” [38]

D’Annunzio in GreeceD’Annunzio in Greece

Archeological excavations during the Archeological excavations during the 19th century19th century

D’Annunzio in Greece during the D’Annunzio in Greece during the summer 1895summer 1895

A play A play La Città morta La Città morta (The Death (The Death City, 1898)City, 1898)

A poem A poem MaiaMaia (1903) (1903)

A ”decadent” tripA ”decadent” trip

Neglects the visits of the monumentsNeglects the visits of the monuments Dedication to social life and Dedication to social life and

pleasurespleasures Cultivation of supermanCultivation of superman Abandons the objective description Abandons the objective description

of monumentsof monuments A highly subjective image of GreeceA highly subjective image of Greece

Temple of Telesterio in Temple of Telesterio in EleusiEleusi

PoppiesPoppies, shining blood / like the , shining blood / like the blood of heroes and lovers / in front blood of heroes and lovers / in front of deadly danger, / alone you were of deadly danger, / alone you were burning with me / burning with me / in the mysterious in the mysterious cloistercloister / and never will the pilgrim / and never will the pilgrim see the torches / of Dadùco see the torches / of Dadùco in the in the temple / of Hecatetemple / of Hecate. [. [MaiaMaia, 139], 139]

Horror of the ruinsHorror of the ruins

Opposite to RomanticismOpposite to Romanticism Cult of the Nature, ”Great Mother”Cult of the Nature, ”Great Mother” Nature = lifeNature = life Ruins = deathRuins = death

Conception of timeConception of time

Linear time of human beingsLinear time of human beings Time that will endTime that will end Constant presence of deathConstant presence of death Works of human beings are not Works of human beings are not

everlasting -> ruinseverlasting -> ruins Cyclical time of nature and the Cyclical time of nature and the

universeuniverse Eternal returnEternal return Nature testimony of eternityNature testimony of eternity

Ruins symbol of deathRuins symbol of death

””the massacre of the marble”the massacre of the marble” (”la strage dei (”la strage dei marmi” marmi” Maia, 71, 99Maia, 71, 99))

””sad cemetry of death stones”sad cemetry of death stones” (”il triste cimitero (”il triste cimitero di pietre morte” di pietre morte” Taccuini, 54Taccuini, 54))

””surviving witnesses of the complete surviving witnesses of the complete death”death” (”superstiti testimonii umani su la totale morte” = the (”superstiti testimonii umani su la totale morte” = the aqueduct in the Agro aqueduct in the Agro Vergini, 22Vergini, 22))

””sepulchre of the Nations”sepulchre of the Nations” (”sepolcro delle nazioni” (”sepolcro delle nazioni” = the Agro = the Agro [Vergini, 20[Vergini, 20))

””grassy sepulchre of kingdoms”grassy sepulchre of kingdoms” (”l’erbifero (”l’erbifero sepolcro dei regni” = the Agro sepolcro dei regni” = the Agro [Elettra, 278[Elettra, 278))

La Città morta / The Death City La Città morta / The Death City (1898) (1898)

A play located in MyceneA play located in Mycene 1874 Heinrich Schliemann found the 1874 Heinrich Schliemann found the

tombs of the royal familytombs of the royal family In the play, the spirit of the graves In the play, the spirit of the graves

caused the tragedycaused the tragedy Leonardo, the archeologist, kills his Leonardo, the archeologist, kills his

sister Bianca Mariasister Bianca Maria

Deleterious ruinsDeleterious ruins

Alessandro (the Poet): Alessandro (the Poet):

““Ah, for too long a time he excavates Ah, for too long a time he excavates the hard and grey ground! He is the hard and grey ground! He is fascinated by the sepulchres and has fascinated by the sepulchres and has forgotten the beauty of the sky. I forgotten the beauty of the sky. I must take him out of the evil spell… must take him out of the evil spell… “[31]“[31]

Ancient Rome Ancient Rome

Constantly present in D’Annunzio’s worksConstantly present in D’Annunzio’s works Nationalistic reasons: Rome as a model for Nationalistic reasons: Rome as a model for

the glorious future of Italythe glorious future of Italy In the patriotic poetry of the ”classic” period:In the patriotic poetry of the ”classic” period:

MaiaMaia (1903) (1903) Canti della gesta d’oltremare - MeropeCanti della gesta d’oltremare - Merope (1911 - (1911 -

1912)1912) Canti della guerra latina - AsteropeCanti della guerra latina - Asterope (1914-1918) (1914-1918)

Abstraction of the Roman Abstraction of the Roman LegacyLegacy

Few descriptions of the monumentsFew descriptions of the monuments Use of abstract nounsUse of abstract nouns ””the fire of Rome” (”il fuoco di Roma” the fire of Rome” (”il fuoco di Roma” Maia, 247Maia, 247)) ””the shadow of Rome” (”l’ombra di Roma” the shadow of Rome” (”l’ombra di Roma”

Maia, 201Maia, 201)) ””the fortune of Rome” (”la fortune de Rome” the fortune of Rome” (”la fortune de Rome”

Asterope, 762Asterope, 762)) ””the odour of Rome” (”l’odor di Roma” the odour of Rome” (”l’odor di Roma”

Asterope, 836Asterope, 836))

Rome as waterRome as water

””[…] to the well / of Rome, that in the […] to the well / of Rome, that in the shadow / a silent lymph preserves / and shadow / a silent lymph preserves / and an eternal memory.” [an eternal memory.” [Merope Merope 1911-1911-1912]1912]

””And the Freedom […] the sole Muse, / And the Freedom […] the sole Muse, / sings with twelve mouths in your spring, sings with twelve mouths in your spring, oh Ragusa; / and you drink the poem of oh Ragusa; / and you drink the poem of Rome.” [Rome.” [AsteropeAsterope, 1914 -1918], 1914 -1918]

A Poem dedicated to Giosuè A Poem dedicated to Giosuè Carducci in Carducci in MaiaMaia (1903) (1903)

““O Father, there will be the day / that O Father, there will be the day / that you promised in your canto! / Every you promised in your canto! / Every morning the Arches of Rome / seem to morning the Arches of Rome / seem to vomit / the acid night that fills their vomit / the acid night that fills their mouths / of the dead and hollow masks mouths / of the dead and hollow masks / [...] / And the Arches, are waiting for / / [...] / And the Arches, are waiting for / new triumphs / because you wrote: / new triumphs / because you wrote: / “Oh Italy, oh Rome!/ in that day / will “Oh Italy, oh Rome!/ in that day / will the sky thunder over the Forum.” the sky thunder over the Forum.”

The masksThe masks

Personification of the arches: ’vomit’Personification of the arches: ’vomit’ Critique of present time = ’the acid Critique of present time = ’the acid

night’night’ The arches symbolize the glorious pastThe arches symbolize the glorious past No description of the archesNo description of the arches The arches are only a mask of the The arches are only a mask of the

spirit of Romespirit of Rome

””La costola” – ”the rib”La costola” – ”the rib”

D’Annunzio famous of his many D’Annunzio famous of his many relationships with many womenrelationships with many women

Eleonora Duse (Actress)Eleonora Duse (Actress) Famous of his mundane life (drugs Famous of his mundane life (drugs

etc.)etc.) Especially after WW1Especially after WW1

Il Vittoriale degli Italiani – Il Vittoriale degli Italiani – Italians’ VittorialeItalians’ Vittoriale

The main buildingThe main building

The main buildingThe main building

The main buildingThe main building

The battleship PugliaThe battleship Puglia

The TheatreThe Theatre

The model of a modern The model of a modern intellectualintellectual

Not important how many woman he hadNot important how many woman he had Not important if he took away one of his ribsNot important if he took away one of his ribs Important: everybody knows these mattersImportant: everybody knows these matters Vital part of the public figure he made of himselfVital part of the public figure he made of himself The use of sexuality in order to get attentionThe use of sexuality in order to get attention

Thank you!Thank you!