The Pike: Gabriele d’Annunzio, Poet, Seducer and Preacher of War. Lucy Hughes-HallettЧитать онлайн книгу.
a mass audience, d’Annunzio became a new kind of public figure. The first television broadcasts were made only in the last years of his life, but his influence was akin to that of a modern mass-media pundit. Instead of looking up the social scale and the political hierarchy, seeking endorsement from the ruling class, he looked to the people, turning popularity into power. As the historian Emilio Gentile has put it, what fascism took from Fiume was not a political creed but ‘a way of doing politics’. That way has since become almost universal.
In December 1919, d’Annunzio called for a referendum in Fiume. The people were to decide whether he was to stay and rule them, or to be expelled from the city. He waited for the result of the vote sitting in a dimly lit restaurant, sipping cherry brandy with his supporters. He told them about a life-size wax effigy of himself that, so he claimed, was in a Parisian museum. Once his present adventure was concluded, he said, he would ask to be given the figure and seat it by the window of his house in Venice, so that gondoliers could point it out to tourists. He was aware that someone like himself had two existences, one as a private person, the other as a public image. He knew that his celebrity could be used – to amuse trippers, to make himself some cash, to boost an army’s morale, perhaps even to overthrow a government.
D’Annunzio’s story is worth telling for reasons beyond his great talent and his life’s drama, lurid and eventful though it is. It illustrates a strand of cultural history which has its apparently innocuous origins in the classical past, passes through the marvels of the Renaissance and the idealism of early nineteenth-century Romanticism, but which leads eventually to the jackboot and the manganello, the fascist club.
D’Annunzio read voraciously in several languages. He was adept at reviving neglected ideas whose time had come round again and he could spot a developing trend at the very moment of its formation. It is hard to find a cultural fad of the late nineteenth or early twentieth century which was not explored in his work. His flair for sensing what was new and influential moved Romain Rolland (a friend who became an enemy) to liken him to a pike, a predator lurking ‘afloat and still, waiting for ideas’. He was repeatedly accused of plagiarism, with some justice. He was a brilliant pasticheur, adopting and adapting the techniques of each new writer whose work impressed him. He wrote like Verga, he wrote like Flaubert, he wrote like Dostoevsky. But more intelligent critics noticed that he didn’t imitate so much as appropriate. When he saw something that could nourish his intellect drifting by on the current, he would snap at it, pike-like, and swallow it, and send it forth again better expressed.
He borrowed, but he also anticipated. Before Freud, he was fully aware of the nature of the excitement he derived from sleek machinery: the prow of a metal warship, he wrote, is ‘a monstrous phallic elongation’. Reading Nietzsche in the 1890s he recognised ideas already implicit in his own work. He had been modelling his verse on that of pre-Renaissance poets for a quarter of a century by the time Ezra Pound began to imitate the troubadours. He was writing about priapic fauns and pre-pagan ceremonies three decades before Nijinsky and Stravinsky sparked off a riot with The Rite of Spring. In 1888, a full two decades before Marinetti proclaimed a ruthless new machine-age aesthetic in the ‘Futurist Manifesto’, d’Annunzio wrote an ode to a torpedo. He loved motor cars and telephones and aeroplanes and machine guns. Marinetti’s manifesto is full of unacknowledged d’Annunzian sentiments, including the notion that civil society was so foul that only war could cleanse it.
His politics were as eclectic as his cultural tastes. He was not a party man, having far too lively a sense of his unique importance to subscribe to a programme imposed by others. Besides, the period when he was most active politically was a time when groups which would, only months after he marched on Fiume, separate out into mutually hostile phalanxes, made common cause, the extremes meeting to oppose the centre. Nationalism (now identified with the right) and syndicalism (leftist) were, according to one of d’Annunzio contemporaries, alike ‘doctrines of energy and the will’. Both preferred violence to negotiation; both understood the political process in terms, not of reason, but of myth. In a ‘venal and materialist society’ of democratic ‘stockbrokers and chemists’, they were heroic: the ‘only two aristocratic tendencies’. What mattered to d’Annunzio, and to the fascists after him, was not a theoretical programme, so much as style, vitality, vigour.
In Fiume, d’Annunzio drew up a constitution for his little state. ‘The Charter of Carnaro’, as he called it, is in many ways a remarkably liberal document. It promised universal adult suffrage and absolute legal equality of the sexes. Socialists applauded it. But in the 1920s it was hailed as ‘a blueprint of the fascist state’.
There is an acceptable d’Annunzio, who writes lyrically about nature and myth, and there is an appalling d’Annunzio, the warmonger who calls upon his fellow Italians to saturate the earth with blood, and whose advocacy of the dangerous ideals of patriotism and glory opened the way for institutionalised thuggery. Those who admire the former have often tried to ignore, or even deny, the existence of the latter. After the fall of Mussolini it became conventional to suggest either that d’Annunzio could not really have had any sympathy for fascism, because he wrote such beautiful poetry, or – conversely – that because his politics were deplorable, his poetry cannot really be any good. I contest both arguments. The two d’Annunzios are one and the same.
D’Annunzio knew exactly how ghastly conflict could be. As a young man he visited hospitals out of curiosity. He was an attentive nurse to his mistresses when they fell ill, loving them the most, he told them, when they were suffering or near death. In wartime he spent weeks at the front, witnessing the slaughter, smelling the unburied corpses. He made careful notes about wounds, and the effects of decomposition on the bodies of his dead friends. In his wartime oratory he used the word ‘sacrifice’ over and over again in knowing reference to religious fables (pagan and Christian) where young men were killed that the wider community might benefit. When two fighter pilots of whom he was fond went missing in 1917 he wrote in his private diary that he devoutly hoped they were dead.
He was one of the cleverest of men, but also one of the least empathetic. He was as ruthless and selfish as a baby. ‘He is a child,’ wrote the French novelist, René Boylesve, ‘he gives himself away with a thousand lies and tricks.’ Child-like, he saw others only in relation to himself. In love, he was adoring, but once he had tired of a woman he ceased to think about her. He was an excellent employer (though far from punctilious about paying salaries). He was moved by the sweetness of small children. He was very kind to his dogs. But the woman who brought in his meals, he once wrote, was no more to him than a piece of furniture, a cupboard on feet.
One of his most famous poems is about the Abruzzese shepherds who could be seen at summer’s end traipsing along the beaches, robed and bearded like biblical patriarchs, their woolly charges churning around them like warm surf. It is a lovely lyric, tender and grand; but to those who know d’Annunzio it cannot be read as harmless pastoral. He wrote often about the sheep herded before dawn through the sleeping streets of nineteenth-century cities, their wool eerily silvered by the moonlight – a commonplace sight which few other writers notice. To him the animals weren’t pretty reminders of the countryside. They were hosts of creatures on their way to be slaughtered. So were armies. The thought didn’t appal him. In 1914, three years before his British contemporary Wilfred Owen made the same comparison, d’Annunzio was likening the herds of bullocks who churned up the roads of northern France, driven to the front to feed the army, to the trainloads of soldiers going the same way. Like Owen, d’Annunzio knew that in war men died as cattle. Unlike Owen, he considered their death not only dulce et decorum, sweet and fitting, but sublime.
One evening in Rome in May 1915, d’Annunzio was chatting lightly in his hotel room with a couple of acquaintances. One was the sculptor Vincenzo Gemito, the other was the Marchese Casati (with whose wife – ‘the only woman who could astonish me’ – d’Annunzio had a long amitié amoureuse). Then, this agreeable interlude over, he stepped out onto his balcony to deliver one of his most incendiary speeches, urging the crowds beneath his window to transform themselves into a lynch mob. ‘If it is considered a crime to incite citizens to violence then I boast of committing that crime.’ Three paces and a window pane separated the sphere in which he was an urbane socialite and man of letters from that in which he was a frenzied demagogue calling upon his countrymen