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Updated: June 23, 2025
When d'Annunzio's "Francesca da Rimini" was put on the stage in Rome, a pot of basil was brought daily from Naples in order that it might be laid on the window-sill of the room in which Francesca and Paolo read of Lancelot and Guinevere.
By far the most remarkable work of recent years to assume the title is Signor d'Annunzio's play La Figlia di Iorio, a work in which the author's powerful and delicate imagination and wealth of pure and expressive language appear in matchless perfection.
She is not unaccustomed to playing Zaza one evening and d'Annunzio's Francesca da Rimini the next. Her repertory further includes La Dame aux Camélias, Hamlet, Romeo and Juliet, La Figlia di Iorio, Giuseppe Giacosa's Come le Foglie, Sicilian folk-plays, and plays by Arturo Giovannitti.
"He was a poet, too, and he wrote the Story of Rimini about Paolo and Francesca, you know." "Oh, there you're away off, grandfather! Mr. Philips wrote about them; and that horrid D'Annunzio. Why, Duse gave D'Annunzio's play last winter! What are you thinking of?" "Perhaps I am wandering a little," the grandfather meekly submitted, and the girl had to make him go on.
One Christus is very elegant, combed and brushed and foppish on his cross, as Gabriele D'Annunzio's son posing as a martyred saint. The martyrdom of this Christ is according to the most polite convention. The elegance is very important, and very Austrian. One might almost imagine the young man had taken up this striking and original position to create a delightful sensation among the ladies.
There is no love in her heart, only love of possession, jealousy, an unreasonable hate; and she is not truly pathetic or tragic in her furious wrestle with her lover on the church steps or in her plot against him which sends an unanticipated knife into his heart. Yet, in the Mila di Codra of d'Annunzio's "Figlia di Jorio" she has moments of absolute greatness.
Main discussed getting seats for that night at D'Annunzio's great moving-picture play, which had come on at a theatre in New York; his daughter and Diana chatted about the earliest date when Milly could persuade her mother to sail for England. I longed to scream at them, "Oh, you hard, unfeeling wretches!"
He died quietly on the February 13th following, and was buried at Bayreuth. In D'Annunzio's Venetian novel Il Fuoco, called, in its English translation, The Flame of Life, is most curiously woven the personality of Wagner, his ideals and theories, and his life and death in this city. It was D'Annunzio who composed the tablet on the wall.
Here she is no longer transforming a foreign conception of character into her own conception of what character should be; she is embodying the creation of an Italian, of an artist, and a creation made in her honour. D'Annunzio's tragedy is, in the final result, bad tragedy, but it is a failure of a far higher order than such successes as Mr. Pinero's.
I wish now that instead of reading how this and that actress had played Juliet, and cracking my brain over the different readings of her lines and making myself familiar with the different opinions of philosophers and critics, I had gone to Verona, and just imagined. Perhaps the most wonderful description of Juliet, as she should be acted, occurs in Gabriele d'Annunzio's "Il Fuoco."
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