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Updated: June 26, 2025
A discussion of the reasons, or of the probable reasons, for the return of the Italian statesmen to Paris before the Treaty was handed to the Germans would add nothing to the subject under consideration, while the same may be said of the subsequent occupation of Fiume by Italian nationalists under the fanatical D'Annunzio, without authority of their Government, but with the enthusiastic approval of the Italian people.
At one period her name became linked most unpleasantly with that of the young Italian realist Gabriele d'Annunzio.
The analysis of the mingled racial, psychological, social, and professional traits in these masters of contemporary American fiction presents to the critic a problem as fascinating as, and I think more complex than, a corresponding study of Meredith or Hardy, of Daudet or D'Annunzio.
His thorough-going conviction in the prime necessity of realism even leads him out of his way to commend Gabriele d'Annunzio, in whom some of us can detect little but a more than Zolaesque coarseness with a total lack of Zola's genius, insight, purpose, or philosophy.
Lawrence's best work, and the nervous complaining beauty of his style makes him the English compeer of Gabriele d'Annunzio. The warm lush fragrance of many European countrysides pervades these stories and a certain poignant sensual disillusionment is insistently stressed by the characters who flit through the shadowy foreground.
We have seen it still later in our own times, in that strange and half-repulsive story in which the Italian novelist and poet, Gabriele d'Annunzio, under a very thin disguise, revealed his relations with the famous actress, Eleanora Duse.
In the hectic genius of D'Annunzio he sought in vain the spirit of Italy. He perceived in those glowing pages the hand of a man possessed, and should have been prepared to find his MSS. written in penmanship other than his own, like those of Madame Blavatsky's Isis Unveiled. "It all means something, Don," he said one day.
All available materials are used in this work. This is an Italian characteristic. Gabriel d'Annunzio threw into his melting-pot the Renaissance, the Italian painters, music, the writers of the North, Tolstoy, Dostoïevsky, Maeterlinck, and our French writers, and out of it he drew his wonderful poems.
Germans, naturally, have had bitter things to say about D'Annunzio. German sympathizers in America as well as the German Chancellor have sneered at the influence wielded in Italy's crisis by a "decadent" poet. Even among American lovers of Italy there has been skepticism of the sincerity of a national mind so easily swayed by a man who "is not nice to women."
They may offend our taste; but they are not likely to lead astray our judgment far less likely than D'Annunzio, for instance, who, although he never offends the most delicate esthetic taste, sicklies o'er with the pale cast of his poetry a sad unsanity of outlook upon the ultimate deep truths of human life.
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