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A
SECRET D'ANNUNZIO THE "HEROIC" AND SUFFERING MAN IN THE NOTTURNO (SECOND
PART)
In
the pages of the Notturno it is performed a poetical, musical and narrative
miracle that would fit well a theatre transposition. This commentary
was written on ten thousand scrolls, after the air accident in 1916,
and collected by his daughter Renata. Led on the train of memory, with
a quick style, traced in the darkness, the Notturno reproduces a tragic-realist
and analytical-spiritual tension musical plot.
Already at the opening, in the conciseness of the brief periods, it
shows the temptation to adhere to the need to shock the reader by a
dominating violence, sometimes by erudite excesses, sometimes by a sudden
sobriety.
So
music grows by rhythm both in the moments of most open confession and
mainly in the startling memories that dispose in a broken prose; far
from Rimbaud, Mallarmé and Lautreamont and from their decadent musicality,
D'Annunzio since time got appropriated of Swinburne's evocations. Nevertheless
there are novelties, syntactic and stylistic kind that well portray
the fluster of events. See this matter the chronicle of the death of
Giuseppe Miraglia, where verbs are suppressed: it remains subjects,
almost a list interrupted by stops. Not always results detach from the
offer of a mechanic rhythm; but sometimes it is a real poetic prose,
you are not aware of the absence of verb predicates.
The whole is overshadowed by the turbulent memory of images that introduce
themselves again as music and that press as flash on body. And here
it is again the imperatives marking the narration, when music turns
already into courage, heroism, wait for war and announces again the
coming of the total self that is of the superman.
The
music of the war mixes with the music of the natural: the natural music
means superhuman truce, ecstasies. Less necessary, instead, it seems,
in the third offer, the long violoncellos descriptive piece that of
musical has only the theme. The heroic and musical sensuality of the
Notturno makes expected, further, an underlying and spread will of dead,
foreboding an existential unhappiness, evident in the pages of the "Libro
segreto".
Already
in the Notturno, in the moments of blindness the Poet esteemed forever,
the matter of the chant and life is the visible thing, by the intent
to create a living book, a body made of words that nullifies the author
in the depth of the physical pain, while the man D'Annunzio writes that
he succeeds in seeing the same, even if distressed by a cloud of experiences
and pains; the will to live witnesses the hero D'Annunzio that goes
to war every morning to resist.
By
a stylistic view point it's easy to state the fragmentary feature of
the Notturno, whereas it subsists different levels of the linguistic
plot, with the oppressive tone of a prolix emphasis, that already Gargiulo,
in his assay in 1922, esteemed inessential. It concerns impressionistic
kind excesses.
Such
considerations about a work, linguistically built as a mosaic, do not
make recede the interest for reading this real secret diary of Gabriele
D'Annunzio. And the Notturno turns into an atmosphere painting, a personal
tragedy that integrates other personal dramas in a landscape of the
soul that is featured by a plot of sensibility and contemplation.
Atmosphere that losses tension in the uniquely macabre plots, a surviving
seems to enjoy when at bed, and in the frequent pieces where an uncontrolled
self-celebration, along with a more divagating and affected writing
technique in comparison with the moving briefness of certain beginnings
of lines, affects the authenticity of the narrative and evocative impulse:
the great poetry is reached only whereas neatness and novelty of the
linguistic choices contaminates successfully with suffering and anxiety,
in the atemporal freshness of the diary data.
This way D'Annunzio reaches the heroic feeling, in the allure of a double
heroism, the one of the man who obstinately wants to live by all his
strength and the heroism of who chooses to commit suicide as an act
of highest courage. It's not a case that all that performs remembering
any time Beethoven's music, to which it fits only the used adjective
"heroic .
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