Information
Red leather photo album containing a signed and dated photo of d'Annunzio, 29 March 1906, alongside a composer at the piano; 12 autograph sheets numbered from 3 to 14, containing the full text of Undulna from Alcyone (critical ed. published by Marsilio in 2018, pp.363-370), 128 verses distributed in 32 quatrains with alternating rhymes (ABAB), sheet size 170 x 230 mm., sheet 3 contains the last verses of Litorea Dea, sheet 14 the first verses of Il Tessalo, numbering in top right, also by the Poet's hand, interventions in blue pencil on the title of Undulnaand the Thessalus, to indicate the "small initial".
Specialist Notes
"MY TRUE CREATURE HALCIONIA": the original of one of the most famous and important D'Annunzio lyrics.
It is known that the true poetic revolution brought about by d'Annunzio was to undermine the language and the verse to force them towards astonishing, unheard of, expressive results at the highest level. Alcyone represents the greatest example of the mythopoetic, synaesthetic and symbolist effort of the more mature d'Annunzio.
Undulna is one of the mythopoetic inventions arising from D'Annunzio's fantasy, the transfiguration anthropoform born from the fusion between Onda and Duna. But let's rely on the words of a scholar of D'Annunzio's poetry:
"(...) Even more suggestive is the metamorphosis of Undulna, the wave that traces his dances on the beach, which becomes a sea divinity, a mirror of the September beauty of summer, on which the Alcyonian diary ends, as the poet announces in the lyric that precedes the eponymous text (...)
The lyric represents the development of a thematic nucleus preserved in ms. 424, ("Undulna – Reads the signs of the wave like written music"), and in ms. 425 ("Undulna - the goddess who presides over the curves of the waves on the sand - who guides the lines marked by the wave on the sand of the shore") and constitutes the most complete example of mythopoeia in the plot of Alcyone ,according to whatthe poet himself recognized, defining Undulna as "My true halcyonian creature".. A divinity born from the transformation of the wave, it bears the signs of change in a configuration in which the watery element persists and dominates the dancing lightness of the signs traced on the sand (…)
In the figure of Undulna, the last Halcyonian divinity, the gaze and voice of d'Annunzio are confused, who in this creation is once again a pupil of Ovid in using his poetic ideation for an invention completely original (...). (Maria Belponer,The legacy of Ovid in Giovanni Pascoli and Gabriele d'Annunzio, in "Archivio d'Annunzio", Vol. 6 – October 2019, pp.67-84).
The present copy is probably a good copy produced for printing, just the indications on the shape of the title of the lyrics of sure typographical destination. It therefore bears the final draft of the poem.
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It is known that the true poetic revolution brought about by d'Annunzio was to undermine the language and the verse to force them towards astonishing, unheard of, expressive results at the highest level. Alcyone represents the greatest example of the mythopoetic, synaesthetic and symbolist effort of the more mature d'Annunzio.
Undulna is one of the mythopoetic inventions arising from D'Annunzio's fantasy, the transfiguration anthropoform born from the fusion between Onda and Duna. But let's rely on the words of a scholar of D'Annunzio's poetry:
"(...) Even more suggestive is the metamorphosis of Undulna, the wave that traces his dances on the beach, which becomes a sea divinity, a mirror of the September beauty of summer, on which the Alcyonian diary ends, as the poet announces in the lyric that precedes the eponymous text (...)
The lyric represents the development of a thematic nucleus preserved in ms. 424, ("Undulna – Reads the signs of the wave like written music"), and in ms. 425 ("Undulna - the goddess who presides over the curves of the waves on the sand - who guides the lines marked by the wave on the sand of the shore") and constitutes the most complete example of mythopoeia in the plot of Alcyone ,according to whatthe poet himself recognized, defining Undulna as "My true halcyonian creature".. A divinity born from the transformation of the wave, it bears the signs of change in a configuration in which the watery element persists and dominates the dancing lightness of the signs traced on the sand (…)
In the figure of Undulna, the last Halcyonian divinity, the gaze and voice of d'Annunzio are confused, who in this creation is once again a pupil of Ovid in using his poetic ideation for an invention completely original (...). (Maria Belponer,The legacy of Ovid in Giovanni Pascoli and Gabriele d'Annunzio, in "Archivio d'Annunzio", Vol. 6 – October 2019, pp.67-84).
The present copy is probably a good copy produced for printing, just the indications on the shape of the title of the lyrics of sure typographical destination. It therefore bears the final draft of the poem.
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