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— Da Gabriele D'annunzio a Eleonora Duse Ovvero Dal Fuoco Alle Laudi

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— Da Gabriele D'annunzio a Eleonora Duse Ovvero Dal Fuoco Alle Laudi A ELEONORA DUSE GABRIELE D’ANNUNZIO DA Italianistica 3 — Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco MARIANO alle Laudi Emilio Mariano a cura di Maria Rosa Giacon Edizioni Ca’Foscari Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Italianistica Collana diretta da Tiziano Zanato 3 Edizioni Ca’Foscari Italianistica Direttore Tiziano Zanato (Università Ca’ Foscari Venezia, Italia) Comitato scientifico Alberto Beniscelli (Università di Genova, Italia) Giuseppe Frasso (Università Cattolica di Milano, Italia) Pasquale Guaragnella (Università di Bari, Italia) Niva Lorenzini (Università di Bologna, Italia) Cristina Montagnani (Università di Ferrara, Italia) Matteo Palumbo (Università di Napoli, Italia) Carla Riccardi (Università di Pavia, Italia) Lorenzo Tomasin (Università di Losanna, Svizzera) Comitato di redazione Saverio Bellomo (Università Ca’ Foscari Venezia, Italia) Ilaria Crotti (Università Ca’ Foscari Venezia, Italia) Serena Fornasiero (Università Ca’ Foscari Venezia, Italia) Pietro Gibellini (Università Ca’ Foscari Venezia, Italia) Daria Perocco (Università Ca’ Foscari Venezia, Italia) Ricciarda Ricorda (Università Ca’ Foscari Venezia, Italia) Silvana Tamiozzo (Università Ca’ Foscari Venezia, Italia) Piermario Vescovo (Università Ca’ Foscari Venezia, Italia) Direzione e redazione Dipartimento di Studi Umanistici Palazzo Malcanton Marcorà Dorsoduro 3484/D 30123 Venezia http://edizionicafoscari.unive.it/col/dbc/20/Italianistica Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano a cura di Maria Rosa Giacon Venezia Edizioni Ca’ Foscari - Digital Publishing 2016 Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano; Maria Rosa Giacon (a cura di) © 2016 Emilio Mariano; Maria Rosa Giacon per il testo © 2016 Edizioni Ca’ Foscari - Digital Publishing per la presente edizione Qualunque parte di questa pubblicazione può essere riprodotta, memorizzata in un sistema di recupero dati o trasmessa in qualsiasi forma o con qualsiasi mezzo, elettronico o meccanico, senza autorizzazione, a condizione che se ne citi la fonte. Any part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means without permission provided that the source is fully credited. Edizioni Ca’ Foscari - Digital Publishing Università Ca’ Foscari Venezia Dorsoduro 3246 30123 Venezia http://edizionicafoscari.unive.it/ [email protected] 1a edizione aprile 2016 ISBN 978-88-6969-070-9 [ebook] ISBN 978-88-6969-071-6 [print] Certificazione scientifica delle Opere pubblicate da Edizioni Ca’ Foscari - Digital Publishing: tutti i saggi pubblicati hanno ottenuto il parere favorevole da parte di valutatori esperti della materia, attraverso un processo di revisione anonima sotto la responsabilità del Comitato scientifico della collana. La valuta- zione è stata condotta in aderenza ai criteri scientifici ed editoriali di Edizioni Ca’ Foscari. Scientific certification of the works published by Edizioni Ca’ Foscari - Digital Publishing: all essays published in this volume have received a favourable opinion by subject-matter experts, through an anonymous peer review process under the responsibility of the Scientific Committee of the series. The evaluations were conducted in adherence to the scientific and editorial criteria established by Edizioni Ca’ Foscari. Il volume esce con il patrocinio della Fondazione Il Vittoriale degli Italiani e dell’ Ateneo di Salò http://edizionicafoscari.unive.it/col/dbc/20/117/Italianistica/3 DOI 10.14277/978-88-6969-070-9 Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano Abstract Total reconstruction of the laborious genesis of Fuoco, from the first block of its writing (June 1986) until the dawn of 1900, the study of Emilio Mariano aims to highlight the iter of a writer divided between the charm of prose and the love for poetry, who finds in the latter, with specific reference to Laudi alcyonie (summer 1899), the key for the composition of the final part of the novel (1899-1900). A conflict between literary genres, however, difficult to solve, and that at the same time looks complicated from d’Annunzio’s deal- ing with both narrative and theatre under the influence of Eleonora Duse. A further obstacle to the novel writing is detected in a form of dissonance between art and life that directly embodied in Eleonora, the Foscarina of Fuoco, where she figures as a tragic muse, but at the same time constitutes the expression of an amorous matter which is irreducible to the values of an artistic «sublime». To unravel such content and demostration purposes, the scholar made use of a dense documentary apparatus (autographs, cor- respondence, chronicles, journalistic writings), which, being arranged within an annotated chronology, traces step by step the troubled history of the author of Fuoco: as an artist and as a man. Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano Sommario Anco Marzio Mutterle Prefazione 9 0 Introduzione 13 1 Premessa 73 2 Testi e commento 81 3 Appendice 227 Apparati 235 Da Gabriele d’Annunzio a Eleonora Duse ovvero dal Fuoco alle Laudi Emilio Mariano Prefazione Anco Marzio Mutterle (Università Ca’ Foscari Venezia, Italia) 5 novembre 2013: in occasione del Convegno Venezia per D’Annunzio avvertii l’imperativo – non premeditato, piuttosto effetto di pietas sponta- nea – di delineare un sintetico ricordo di Emilio Mariano. Lo ripropongo, con varianti minime. Emilio Mariano spicca quale figura di studioso dannunziano del quale sarebbe ingeneroso non riconoscere i meriti e la spiccata, particolarissima personalità. Egli fu per alcuni decenni sovrintendente del Vittoriale; dagli anni Set- tanta in poi, docente a Ca’ Foscari. Fino ad allora, era stato autore di un volume, Sentimento del vivere ovvero Gabriele D’Annunzio, 1962, accu- ratamente documentato ma ancora condizionato da una prospettiva este- tizzante, nettamente spiazzato rispetto al doveroso ridimensionamento in senso storicistico-politico che la figura del Vate veniva incontrando in que- gli anni. Per Mariano l’inserimento nell’ambiente veneziano non soltanto rafforzò un naturale equilibrio tra doveri e competenze, ma favorì pure un irrobustimento del discorso critico e degli strumenti di ricerca. Il fatto è che la docenza universitaria gli fornì quell’identità scientifica di cui aveva sempre avvertito la necessità, e che gli consentì di integrare le attività organizzative e archivistiche cui continuava ad essere tenuto in qualità di sovrintendente, con la maturazione della sua originalità intellettuale. La direzione dei «Quaderni dannunziani» (poi «Quaderni del Vittoriale»), l’organizzazione di convegni e persino dell’estate teatrale presso il Vitto- riale trovavano alimento e ricambio nella città della Duse e del Fuoco; in molti sono stati testimoni del suo continuo sforzo nello svolgere un’attività culturale dai termini molto concreti, scrupolo conservativo e curiosità pro- blematica insieme. Ad esempio il suo impegno per acquisire al Vittoriale il lascito di Luisa Baccara si prolungò per anni. Così, per traiettorie del tutto personali, Mariano riuscì a offrire uno stimolo costante, una carica di entusiasmo che consentì di rivitalizzare e rendere credibili d’Annunzio e il suo rapporto con Venezia. Mariano credeva nell’università come isti- tuzione e laboratorio del sapere. Germanista in origine (allievo di Vincenzo Errante), fu autore – per quan- to la circostanza possa apparire anomala – di un fortunatissimo e più volte edito Orfeo, antologia universale della lirica d’amore. Gli si deve anche, 9 Emilio Mariano Da Gabriele d’Annunzio a Eleonora Duse in collaborazione con Renzo De Felice, la pubblicazione del carteggio tra d’Annunzio e Mussolini. Nella carriera accademica – nato nel 1913, vi si era inserito tardivamente – non poteva riscuotere grande fortuna, causa una metodologia giudicata, a ragione o a torto, non strettamente speciali- stica. Tuttavia resta innegabile che a partire dagli anni veneziani il livello del suo orizzonte critico segnò un balzo di qualità, una sintonia tra capacità organizzativa e ricerca pura. Una serie di contributi, pubblicati quasi tutti presso il Centro Nazionale di Studi Dannunziani di Pescara e purtroppo mai confluiti in monografia, costituiscono acquisizioni originali, tecnica- mente ferratissimi, non solo sulla poesia dannunziana, ma anche sulla cul- tura e la poetica dell’autore. Tra questi, sono assolutamente da segnalare e riprendere almeno gli scritti sulla cultura germanica e sul rapporto con Pascoli. Pur rimanendo convinto del presupposto di sempre circa l’assoluta vitalità solare, esistenziale del suo autore, attraverso gli anni Mariano era pervenuto a un discorso di sintesi («linea greca», nelle sue pagine) che diagnosticava una struttura fondamentale nella letteratura italiana di cui d’Annunzio era semplicemente il punto terminale: prima di costui, Leo- pardi e Foscolo, e più a monte ancora, Poliziano e taluni umanisti: poco a che fare col neoclassicismo, bensì linea di materialismo assoluto, cultura del mito come conoscenza vissuta. Una maniera non banale di riprendere Nietzsche. Gli studenti ne rispettavano lo scrupolo didattico e la vastità di orizzonte. Noi eravamo soliti scherzare accusandolo di insegnare agli studenti un Leopardi alcionico. La sua era una presenza fantasiosa. Spesso per le correzioni estive dei temi d’esame si veniva convocati al Vittoriale: gite di lavoro, coronate da una cena ospitale e un invito a teatro.
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