The Pike: Gabriele d’Annunzio, Poet, Seducer and Preacher of War. Lucy Hughes-HallettЧитать онлайн книгу.
you want some coffee? It’s really hot.’ Soon though, more urgent messages are passing between them. D’Annunzio was not just there to make notes on the landscape (‘in the pallor of the lagoon the twisting canals are green as malachite’), he was also the bombardier.
They were carrying several bombs in cylinders fitted to the plane’s undercarriage. It became evident that one of them was jammed. D’Annunzio struggled to free it. ‘It’s impossible to pull it up.’ ‘Have we got any string?’
Miraglia gave him anxious directions: ‘You absolutely must not turn the screw … See if you can push it so it falls out, but don’t twist it.’ It might explode at any moment. Even if it didn’t, unless they could free it first it would almost certainly blow up when they touched down. ‘When we’re landing I’ll hold onto it with both hands,’ d’Annunzio told Miraglia. There have been those who sneered at d’Annunzio’s war record, but the dangers he ran were real, and so was the courage with which he met them.
They came in sight of Trieste, the white stone city luminous in the August sun against the backdrop of the Carso, the rocky wilderness which would be, for the next three years and more, a battlefield. They saw puffs of smoke way beneath them, signs that they were under fire. Soon they could hear the gunfire, and feel the hits (on their return they would find a bullet embedded in the fuselage a few inches from d’Annunzio’s elbow). They continued their descent. They saw the enemy submarines in the marina and dropped bombs on them. As they came in low, d’Annunzio hurled down his little bags, and watched the ribbons and pennants attached to them flutter down, some uselessly into the sea, others into Trieste’s grand waterfront piazza, with its palatial banks and customs houses. His purpose in dropping his pamphlets was not just to convey a message: it was also to show that where he had sent down words, he could have sent down explosives. He was there to encourage the pro-Italian population, but also to terrorise their Austrian rulers. Like most of his wartime exploits, this first flight was an attack not so much on enemy forces, as on enemy morale.
It was as they turned back that he and Miraglia discovered the malfunctioning bomb. D’Annunzio struggled awkwardly with it in his tiny cockpit, deafened by the engine noise, careful not to make any abrupt movement for fear of unbalancing their fragile conveyance. He had often longed for an heroic death: now he was bothered by the idea that the plane – coming down only to bounce up as it exploded – would look not tragic but ridiculous. Somehow (it is a measure of his insouciance that we don’t know how) he managed to deal with the problem – perhaps, as his and Miraglia’s notes suggest, with the help of a rag and d’Annunzio’s belt. They came safely back to earth.
From that moment onward, according to Damerini, the Venetian people engulfed d’Annunzio in ‘a wave of anxious affection’. He had been a privileged visitor in aristocratic circles. Now he became, in Venice as he already was in Rome, the people’s idol. His admirers mobbed him. They hung around outside the Danieli hoping to catch a glimpse of him. When he went out on foot crowds followed him along the Riva degli Schiavoni. When he came back by gondola or in one of the recently introduced motorboats they pressed so thickly around the landing stage he could scarcely make his way ashore.
He had embarked on his new life as national hero, and the character in which he had done so was both archaic and up to date. In preferring the weapons of propaganda to those of material destruction he was displaying a quintessentially modern sophistication. He was a new-fangled PR man, but he was also a hero from the age of chivalry, one who had exchanged his charger for an aeroplane. As the British Prime Minister Lloyd George put it, ‘the pilots are the Knighthood of the Air, without fear and without reproach. Every aeroplane fight is a romance, every record an epic.’ In a war which was becoming, on its every front, more brutal and more gruesome, d’Annunzio with his beribboned leaflets, skyborn and dancing invulnerable through the enemy anti-aircraft fire, seemed gallant, joyous and debonair.
He returned to the Danieli. We do not know whether the Countess Morosini telephoned that evening as promised, but we do know that the next day she sent d’Annunzio a little silver box engraved with her name and the date of his exploit, and that he thanked her, saying that he would carry it always because the day it commemorated was more precious to him ‘than all my odes’. After having been for decades a self-described genius and one of the most famous people in Europe, he had begun what felt like a second, and more important existence. ‘All the past flows together towards all the future,’ he wrote. ‘All my life I have waited for this hour.’
It is time to turn back from that point, and to map some of the streams flowing through his life and mind towards it, to see how far back they rise, how variously muddy or silvery fresh their sources are, to observe how they join and braid together and diverge again before merging at last, and to trace how they eventually debouch into a sea of blood.
GABRIELE D’ANNUNZIO – Gabriel of the Annunciation. Everything about his own name was delightful to the poet: the aristocratic particle, the scriptural associations, the way it marked him out as superhuman. He was an archangel, bringing revelations to the wondering world. The name (so felicitous that some of his contemporaries insisted he must have made it up) was his real one, or at least a family name to which he was genuinely entitled. His father had been born Francesco Paolo Rapagnetta, but when Francesco’s childless uncle d’Annunzio made him his heir he changed his surname by deed poll. His son took the prompt. On the back of the winged dining chair d’Annunzio used during his period of greatest fame and fortune were carved the words: ‘The Angel of the Lord is with us.’
D’Annunzio was not a pious man but he revelled in the trappings of Christian worship. He surrounded himself with lecterns and prayer stools and censers and alabaster stoups originally carved to hold holy water. His addresses to his political supporters were structured, like the liturgy, as a sequence of calls and responses. To him soldiers were martyrs and battered weapons were relics. He was an arch-sensualist, but he was also an ascetic. After visiting Assisi he discovered an affinity between himself and St Francis, and liked to dress in a friar’s habit (the penitential roughness of the garment mitigated by the fact he wore it over a shift of mauve silk).
In Fiume he staged pseudo-sacred ceremonies in the cathedral of St Vito, and encouraged a cult of his own personality so fervid that the Bishop of Fiume noted furiously that his flock were forsaking Christ for this modern Orpheus. His last years were devoted to the conversion of his house above Lake Garda into a self-glorifying shrine. He revered no one but himself, but reverence fascinated him. If a deity’s defining act is that of creation, then d’Annunzio – whose creativity was so exuberant that nothing but physical exhaustion ever slowed his pen – was god-like. He thought so. The hero of his novel Forse che sì, Forse che no (Maybe Yes, Maybe No), crash-lands his plane on a beach in Sardinia and, alone in a wild landscape, reflects: ‘There is no God if it is not I.’
Faith shaped the culture into which he was born: faith in the Christian God and his saints; faith in magic. As an adult, d’Annunzio would embrace modernity and all its racket, but he grew up in a world where the sounds were made by sheep and cattle, creaking carts and rustling straw. The Abruzzi was, in the 1860s, and to an extent remains, a place apart. Blocked off by the Apennines from the great cities of Italy’s western seaboard, it is bounded by bald mountains, where bears and wolves still live, and in whose foothills walled towns perch on crags fluted like the underside of mushrooms. From there the terrain slopes gradually to the Adriatic, across which Abruzzese mariners have, for centuries, traded with their counterparts on the eastern, Dalmatian shore. The land is edged by low cliffs or, near Pescara, the region’s capital and d’Annunzio’s home town, by flat sand and pine woods (most of them now