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The Triumph of Death (1894)

door Gabriele D'Annunzio

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Gabriele D'Annunzio (1863-1938) was an Italian poet, journalist, novelist, and dramatist, wrote The Triumph of Death (Il trionfo della morte) in 1894. His influence on the Fascist movement has made his works controversial.
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Toon 4 van 4
853.912 DAN
  ScarpaOderzo | Apr 13, 2020 |
Nothing too out of the ordinary. ( )
  DanielSTJ | Dec 24, 2018 |
Trionfo della morte - trilogia della rosa 3

Nel romanzo che chiude questa trilogia, protagonista è la morte esplorata nelle sue varie facce, quella morbosa, nell'osservare quella degli altri, quella che accompagna sempre Giorgio Aurispa nelle sue elucubrazioni e da lui auspicata per porvi appunto fine, quella poi invocata per spezzare la sua schiavitù dall'amore verso Ippolita, quella di Ippolita per rendere reale quello che molti vagheggiano e cioè l'idealizzazione del possesso supremo nella morte della persona amata, e poi quella per lui perfetta, la morte di entrambi per fermare il vortice senza fine dei pensieri nell'estremo atto finale (ma lei non era tanto d'accordo!).
In queste pagine, ma del resto anche negli altri romanzi della trilogia, d'Annunzio con una descrittività maniacale fa dei profondi profili introspettivi dei personaggi, che denotano gli studi da lui fatti sulle scienze, moderne per l'epoca, che sancivano il rapporto tra l'inconscio e i comportamenti del genere umano.
Ci regala poi delle bellissime pagine nel capitolo sulla visita al
Santuario di Casalbordino, di una visionarietà che sconfina nel surreale, fatti ed eventi da lui osservati direttamente.
Su tutto traspare, nelle descrizioni dei luoghi, delle usanze e delle
tradizioni, l'amore per il suo Abruzzo, terra da lui mai dimenticata.
La morte quindi come voluttà estrema, lungamente pensata e poi portata a termine con fredda ed esaltata lucidità per placare le proprie nevrosi e trovare finalmente pace tra le braccia di colei che tutti accoglie indistintamente.
La lettura è molto pesante, le lunghe descrizioni a volte spossano, ma l'italiano di d'Annunzio non ha eguali per ricercatezza, varietà ed eleganza, e questo aiuta molto, per chi sa apprezzarlo, nella lettura di questo libro, che può meritatamente definirsi come un vero e proprio "Trionfo della morte"! ( )
1 stem barocco | Jun 21, 2017 |
Along with A Rebours and The Picture of Dorian Gray, Gabriele D'Annunzio's The Triumph of Death (1894) is one of the foundational texts of the decadence. The hero, Giorgio Aurispa, is the enervated scion of a faded aristocratic family, run to ruin (debauchery, suicide) in the provinces. He is morbidly self-reflexive and forever swooning for new, singular sensations. This hyper-developed sensuality is, of course, marbled with neuroses, and every pleasure bears in train a taint of corruption.

For the highly unlikable Aurispa, as Barbey said of Huysmans, “it only remains for [him] to choose between the muzzle of a pistol and the foot of the cross.” Indeed, the novel opens with, and is punctuated by, instances and fantasies of suicide (conflated and adorned with Roman Catholic imagery). After escaping from the cares of the world (which he is constitutionally unfit to confront) to a rural hermitage, Giorgio arranges a season of total immersion in carnal pleasures with his mistress, Ippolita. For a space, the lovers share a garden of timeless delights, till the fatally perspicacious Giorgio discovers he is naked. He has reached satiety and begins to fear for his immortal soul. He sees in his manner of life only a refined variant of his father’s brutish ruttings. His uncle, his “true father”, a mystic without god (and a suicide) returns to mind as devotional icon. Giorgio swoons to repent, to be cleansed of his vapid indulgences. And of feminine foulness.

In the Triumph of Death, piety has a viper’s sting, leaving the soul rotten and the light of day solemn and funereal. Giorgio Aurispa is one of Nietzsche’s “last men”: larval and ineffectual. Oppressed by the the brute vigor of the commonplace, and with no faith in himself or in the love of another, he despairs for the comforts of Grand Narrative, without which it is impossible to live. He obsesses on the most fanatical aspects of mysticism, on a purely aesthetic Roman Catholicism (dark cathedrals, candles, incense, tortured statuary). Meanwhile, Ippolita, his devoted paramour, follows her lover in everything as loyally as the campagne mudlarks and pot-whallopers do the local mystagogue, who claims to be the new Messiah. She surrenders herself body and soul to his romance of perpetual sensual bliss. She has no suspicion at all that surfeit generates disgust, particularly in those of feeble constitution. As for the rest, I'll say no more, save that Death's triumph was in making its lover pursue it, as though it were hard to get, while all along they were abed and embraced.

Unfortunately, there are only two translations of this novel, both from the 19th century. As I had read complaints of Georgina Harding's (Boni & Liveright), I went with Arthur Hornblow's. In Hornblow's (G. H. Richmond & co.), no one and nothing breathes or inhales, but respires - and the names of the two principal characters are oddly and annoyingly anglicized: George and Hippolite (is Hippolite really less exotic to English readers than Ippolita?). Hornblow's translation is available for free download on the internet. ( )
2 stem Randy_Hierodule | Sep 8, 2015 |
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Gabriele D'Annunzio (1863-1938) was an Italian poet, journalist, novelist, and dramatist, wrote The Triumph of Death (Il trionfo della morte) in 1894. His influence on the Fascist movement has made his works controversial.

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