Summary
Highlights
The video introduces Gabriele D'Annunzio's novel 'Il Piacere' (The Pleasure), contextualizing it within the author's biography and the Roman environment of the 1880s. D'Annunzio, after abandoning literary studies, pursued journalism in Rome. The novel was influenced by his love affair with Barbara Leoni and was written in 1887 at the Michetti convent in Francavilla a Mare, eventually published in 1889 by Treves.
D'Annunzio employed a unique marketing strategy for 'Il Piacere' by having an etching signed by the protagonist, Andrea Sperelli, created by Sartorio and published as an advertisement. This etching depicted Elena Muti, a key character, on a precious silk cover. At this stage, D'Annunzio was an aesthete, believing art to be the supreme value and advocating an inimitable, exceptional life, though this often devolved into luxury and market demands. This phase foreshadowed his later concept of the 'superuomo' (superman), a reinterpretation of Nietzsche's philosophy, focusing on self-overcoming and will to power, combined with an appreciation for Dionysian art.
The novel is titled 'Il Piacere' because its protagonist, Count Andrea Sperelli, an alter ego of D'Annunzio, dedicates his life to superficial pleasure. Sperelli is described as a 'viziato ed effeminato' dandy who makes his life a work of art, a philosophy taught by his father. D'Annunzio uses Sperelli to critique the emerging bourgeois society, which he views as submerging ancient Italian nobility. Sperelli's father taught him to live without regrets, to obscure truth through sophistry, and to embrace a decadent lifestyle.
Andrea Sperelli arrives in Rome in 1884, embracing the city's beauty. He is portrayed as a decadent hero, a character type found in foreign literature like Huysmans' 'A Rebours' and Oscar Wilde's 'The Picture of Dorian Gray'. Benedetto Croce noted D'Annunzio's introduction of a 'ferina sensuale e bestiale' decadent note into Italian literature through Sperelli's character.
The novel's structure features a flashback. In Chapter 1, Sperelli awaits Elena Muti, his former lover, recalling their past. Elena left him to marry an English lord, Lord Heathfield. Sperelli first met Elena, the Duchessa Elena di Scerni, at his cousin's and was immediately captivated by her wit, freedom, and smile. She loved warmth and roses, seemed created for love, and reminded him of Correggio's Danaë. Their superficial connection culminates in a passionate kiss at an auction. Elena's eventual abandonment leads Sperelli to engage in multiple affairs, one of which results in a duel where he is wounded, forcing him into convalescence.
During his convalescence at the Villa Schifanoia, Sperelli experiences an emotional crisis, reading poetry and pondering his love for Elena, leading to the famous quote 'il verso è tutto'. He then meets Maria Ferres, a stark contrast to Elena. Maria, the daughter of his aunt, is artistic, mystical, melancholic, and expresses sadness and goodness. Sperelli is drawn to her, and she is intrigued by his verses. Despite Sperelli's confession of love, Maria's daughter Delfina interrupts them. Maria notes in her diary that Sperelli is conquering her intellect and soul against her will. Fearing the deepening relationship, Maria flees to her husband in Rome.
Back in Rome, Sperelli reverts to his former pleasure-seeking life, pushing aside his spiritual awakening. He encounters Elena Muti again, reigniting his desire for her. Shortly after, Maria returns to Rome, and Sperelli attends a concert with her, appearing re-focused on Maria. This indecision between the two women highlights his unstable character. In a carriage ride, he kisses Elena, blurring the lines between her and Maria in his mind. Later, Elena ignores him, causing Sperelli to return his attention to Maria. During an intimate moment, Sperelli accidentally utters Elena's name, devastating Maria. Realizing his infidelity, Maria immediately leaves him, leaving Sperelli alone, a fitting end for his character.
'Il Piacere' draws from various literary influences, including Baudelaire (correspondences), the Goncourt brothers (realism), and European Decadent writers like Huysmans and Flaubert, as well as poets like Shelley and Keats. The novel marks the end of naturalism, focusing instead on character introspection and the depths of the human soul, making it a psychological novel. The contrasting names Elena (referencing Helen of Troy) and Maria (referencing the Virgin Mary) symbolize the sensuous versus the pure. D'Annunzio's use of auto-citation, fashionable item lists, and recycled plot elements showcases his unique style. The language is refined, rich in Latinisms, archaisms, foreign words, and literary and artistic allusions.