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Gabriele D´Annunzio (1863-1938)


Italian poet, novelist and dramatist, military hero, and supporter fascist political ideas. Gabriele D'Annunzio combined in his work naturalism, symbolism, and erotic images, becoming the best interpreter of European Decadence in post-Risorgimento Italy. His love affairs, relationship with the world-famous actress Eleanora Duse, heroic adventures during World War I, and his occupation of Fiume in 1919 made him a legend in his own time.

"He always tried to express himself with the accuracy and demonstrative precision which the works of the analysts had taught him; but, in the monologues, the formulæ by which he interpreted his inner inquiry exaggerated and modified the mental condition under observation, while, in his dialogues, the preoccupation caused by being perspicacious often obscured the sincerity of his emotion and led him to err as to the secret motives which he claimed to discover in others. His brains, encumbered by a man of psychological observations, personal or gathered from books, ended by confounding and confusing evenrything both as regarded himself and others."
(The Triumph of Death by Garbriele D'Annunzio, translated by Arthur Hornblow, George H.Richmond & Co., 1986, pp. 4-5)

Gabriele D`Annunzio was born in Pescara (Abruzzi), in Central Italy on the Adriatic coast. This environment provided him with inspiration for many his books. His father was a wealthy landowner, dealer in wine and agricultural products, and later mayor of the town – originally his name was Francesco Paolo Rapagnetta. At the age of 13 he had been adopted by his uncle, Antionio D'Annunzio, and he legally added the 'D'Annunzio' to his name. In 1858 he married Luisa De Benedictis; they had three daughters and two sons.

D'Annunzio studied at the Liceo Cicognini in Prato – the school was one of the best in Italy at that time. As a poet D'Annunzio made his debut at the age of sixteen with  Primo vere (1879). The poems were inspired by Giosuè Carducci's Odi barbare (1877). Carducci received the Nobel Prize for Literature in 1906, but he never became as famous as D'Annunzio. In 1881 he entered the University of Rome, where he fully participated in the capital's social and cultural life, and contributed to newspapers, particularly Fanfulla della Domenica, Capitan Francassa, and Cronaca Bizantina. After D'Annunzio's father was reluctant to give his blessing to his son's intention to marry his first love, Giselda Zucconi, D'Annunzio broke with him. It is also generally agreed that in Il trionfo della morte (1894, The Triumph of Death) D'Annunzio portrayed him as an incurable womanizer, as he was in real life.

In 1883 D'Annunzio married Maria Hardouin di Gallese, a duke's daughter. They had three sons; the marriage ended in 1891. His unfaithfulness drove her to attempt suicide – she threwn herself from the window of their apartment. During these years D'Annunzio produced much hack work in order to support the expensive life style of his titled wife. However, he also published several important books of lyrics. His last book, Teneo te, Africa, came out in 1936 in Tutte Le Opere; the title of the work, which hailed the Italian conquest of Ethiopia, referred to the words attributed to Ceasar ("I have you, Africa!").

A new source of inspiration, in the form of Elvira Natalia Fraternali, came to D'Annunzio's life in 1887. Known better as Barbara Leoni, she appeared under the pseudonym Vittoria Doni in Elegie romane (1892), written during their love affair. Barbara was an accomplished pianist. She had left her husband after a few weeks of married life; the marriage had left her with a uterine illness. She died at the age of 86 in poverty in a pensione run by nuns. D'Annunzio's works in the 1880s,  Canto novo (1882), Terra vergine (1882), and Intermezzo di rime (1883), expressed the sensuous joys of life. His short stories showed the influence of the popular French writer Guy de Maupassant.

Il piacere (1889, The Child of Pleasure) was D'Annunzio's first full-length novel. The story of a snobbish but weak-willed decadent was a parody of contemporary French decadent fiction. "Wrapped in her ample furs, her veil drawn down, her hands encased in thick chamois leather gloves, Elena sat and mutely watched the passing landscape. Andrea breathed with delight the subtle perfume of heliotrope exhaled by the costly fur, while he felt Elena's arm warm against his own. They felt themselves far from the haunts of men— alone—although from time to time the black carriage of a priest would flit past them, or a drover on horseback, or  herd of cattle." (Ibid., translated by Georgina Harding, Geo. H. Richmond & Son, 1898, p. 60) D'Annunzio's next novel, L'innocente (1898, The Intruder), was a story where an unfaithful husband Tullio Hermil, forces his chaste wife, Giuliana, into adultery. Tullio arranges the death of her illegitimate baby. Feeling no remorse, he thinks: "Man's justice does not touch me. No earthly tribunal could judge me." 

D'Annunzio's best-known novel,  The Triumph of Death, featured Nietzschean hero as his next major novel Le vergini delle rocce (1896). In The Triumph of Death Barbara Leoni served as the model for the character Ippolita Sanzio, the mistress of the hero, a writer obsessed with death. At the end he kills himself, by jumping from a precipice, and takes Ippolita with him. " . . . it is a repulsive and immature tale, by one who has turned himself into an arch-decadent by means of misunderstanding  Niezsche . . . but it is written in an irresistibly vivid style, and has considerable descriptive power – as in a scene of cripples seeking a miraculous cure. The main theme is hedonistic eroticism; this could have become good art only if D'Annunzio had approached the subject pornographically rather than, as he thought, passionately and philosophically." (The New Guide to Modern World Literature by Martin Seymour-Smith, Peter Bedrick Books, 1985, p. 776)

After Barbara, D'Annunzio began a liaison with the Sicilian Princess Maria Gravina Gruyllas di Ramacca, the wife of Count Fernando Anguissola di San Damiano. Their daughter, Eva Renata Adriana, was born in 1893. D'Annunzio described Gravina's hair in the poem 'La passeggiata' in Il poema paradisiaco (1893) as "dark as dark fallen leaves, / but vital and wild like the writhing / snakes of Gorgon; I fear them rebellious / and full of terrible mystery." (Gabriele D'Annunzio: Defiant Archangel by John Robert Woodhouse, Oxford University Press, 2001, p. 103) D'Annunzio was condemned in 1893 to five months in prison for adultery; the sentence was lifted in the next year.

The drama La figlia di Iorio (1904, The Daughter of Jorio) gained much attention and was enthusiastically imitated. The visionary, excited imagination of the poet, led him to an exaggerated nationalism, and ultimately, in the 1920s and 1930s, to his support of Mussolini: he saw the dictator in the light of mythical heroes, who embodied the spirit of the nation. D'Annunzio himself claimed to be the inventor of Fascism. His correspondence with Mussolini appeared in 1971.

In the early 1890s D'Annunzio moved to Naples, where his novel, The Intruder, was serialized in Il corriere di Napoli. After a long liaison with the Countess Gravina Auguissola, D´Annunzio began in 1894 an affair with the actress Eleonora Duse. Their relationship started after D'Annunzio's journey to the Aegean islands. Inspired by Duse, he wrote several dramas for her, including La Gioconda (1899) and Francesca da Rimini (1901).

In La Gioconda Lucio Settàla, a sculptor, has attempted suicide. He is recovering in the home of his wife Silvia, whom he had abandoned. Lucio's realizes that he is still in love with his mistress and creative inspiration, La Gioconda. When the two woman confront, La Gioconda tries to destroy Lucio's masterpiece – Silvia saves it but her hands are smashed. Lucio returns to his art and his mistress. The play was a fiasco. However, Leonardo da Vinci's Mona Lisa – or La Gioconda as it was called in Italy – remained D'Annunzio's obsession. He had already in 1889 composed a poem on mysteriously smiling dame, and republished its shortened version in Il Giornale d'Iltalia after the painting was stolen in 1911. "Ne la bocca era il sorriso / fulgidissimo e crudele / che il divino Leonardo / perseguì / ne le sue tele." Later D'Annunzio claimed that he had seen the painting before it was smuggled to Italy and wrote a treatment for a film, 'The Man who stole the Gioconda'.

In 1897 D'Annunzio was elected to parliament for a three-year term, aligning himself in the beginning with the extreme right but moving then to the left. In 1899 D'Annunzio settled in a luxurious Tuscan villa, La Capponcina. He was defeated in the elections next year, but continued to live over his income. Accumulating debts forced D´Annunzio eventually to flee in 1910 to France, in Arcachon near Cap Ferret. There he began a new career as a writer. Le Martyre de Saint Sébastien (1911), a play-with-music, was made with the French composer Claude Debussy. In its premiere, starring Ida Rubinstein, the writer Marcel Proust considered Ida's legs were the most interesting thing about the event. The work is still performed because of the celebrated music.

When World War I broke out, D'Annunzio returned to Italy and started successful career as a military leader. D'Annunzio had yearned years for war which would change Italy's position as a second-rate power. He made speeches, wrote articles exhorting his countrymen to assist the Allied cause, and joined the air force, becoming one of Italy's most celebrated heroes. In 1916, D'Annunzio lost the sight of his right eye – he dashed his head against the forward machine-gun while making an emergency landing on the sea at Grado. His prose pieces in Notturno (1921), deciphered by his daughter Eva Renata, were composed when he was recovering from the injury and his both eyes were bandaged. After participating in the Beffa di Buccari, a daring motor torpedo boat attack into Dalmatia, he was given another bronze medal for valour.

It has been said that "D'Annunzio practiced what Nietzsche preached." (Heroism and wisdom, Italian Style: From Roman Imperialists to Sicilian Magistrates by Raymond Angelo Belliotti, 2022, p.171) Annoyed that Italy had lost the town of Fiume, D´Annunzio's troops occupied the contested port in 1919. D'Annunzio ruled his miniature state as a dictator for eighteen months until 1920. Lenin allegedly  described D'Annunzio as the only man in Italy capable of starting a  revolution, but most likely he did not believe that he was a real comrade, a model communist. Noteworthy, the Soviet Union was the only state that recognized the existence of Fiume. Also the Dada Club in Berlin supported Fiume.

Many of D'Annunzio's legionaries shaved their heads  to resemble "the Comandante" himself; D'Annunzio called them "Iron Heads". The near absolute power which he held was, for him, a means to fulfill his desires. There were plenty of women to choose from and under his rule, drugs became widely avilable. Most  of his evenings D'Annunzio spent at the Restaurant Ornitorinco, where he drank champagne. At one point D'Annunzio declared war against Italy but was finally forced to retreat. Following the Treaty of Rapallo, Fiume was ceded to Yugoslavia and the premier of Italy ordered D'Annunzio's residence to be bombarded. After  D'Annunzio left Fiume, he had a greedy cocaine habit. The Irish travel writer Walter Starkie said in The Waveless Plain: An Italian Autobiography (1938):  "Poor decript old bard! I pity him. The youth of Italy has turned away from him." (Gabriele D'Annunzio: Defiant Archangel by John Woodhouse, 1998, p. 350)

Although Mussolini was much influenced by the tactics of D'Annunzio, the writer never held an important post in the Fascist government. D'Annunzio retired to his home on Lake Garda and spent his last years writing. In 1924 he was created Prince of Monte Nevoso and in 1937, following the death of Marconi, he was made president of the Italian Royal Academy. D'Annunzio died of a stroke at his desk on March 1, 1938. He was given a state funeral by Mussolini. D´Annunzio´s collected works were published in the 1950s.

Stern: Joyce said that the three great talents of the nineteenth century were Tolstoy, Kipling and—can you guess?
That's a comedown.
I haven't read enough to say.
I've read very little D'Annunzio, and the very fact that I've read very little of him is my judgment of him. Tolstoy, Kipling and D'Annunzio. I wonder how you can admire all three. He had a very catholic mind.
(Jorge Luis Borges and Richard Stern in 1966, Jorge Luis Borges: Conversations, edited by Richard Burgin, University Press of Mississippi, 1998, pp. 10-11)

After World War II D'Annunzio's reputation declined in the new literary atmosphere. His fin-de-siècle works are now mostly forgotten and his plays are rarely performed. His aim at a kind of aesthetic perfection has been labelled as hollow and unconvincing.

However, D'Annunzio's life has fascinated several biographers. The poet Eugenio Montale said: "D'Annunzio is, in the recent Italian tradition, a little like Hugo in his French posterty, from Baudelaire on down: he is present in everyone because he experimented with or touched upon every stylistic and prosodic possibility of our time. In this sense to have learned nothing from him would be a very bad sign." ('For "Baroque Songs and Other Lyrics"' by Eugenio Montale, in The Collected Poems of Lucio Piccolo, Princeton University Press, 1972, p. 201)

Among D'Annunzio's more enduring works is  Il fuoco (1900, The Flame of Life), where the writer portrays himself as Stelio Effrena, a young writer infatuated with a famous actress. The novel is a fictionalized account of his love affair with Duse, and created a onsiderable scandal at the time of its publication. Their relationship ended in 1910, when the Marchioness Alessandra di Rudini-Carolotti found an admirer from the author.

For further reading: Wingless Victory: A Dual Biography of Gabrie D'Annunzio and Eleanora Duse by F. Winwar (1956); D'Annunzio: The Poet as Superman by A. Rhodes (1960); Gabriele D'Annunzio in France by G. Gullace (1966); D'Annunzio by P. Jullian (1972); The First Duce by M.A. Ledeen (1977); The Italian Stage from Goldoni to D'Annunzio by M. Carlson (1981);Gabriele D'Annunzio by C. Klopp (1988); Gabriele D'Annunzio by Charles Klopp (1988); Decadent Genealogies: The Rhetoric of Sickness from Baudelaire to D'Annunzio by Barbara Spackman (1989); Gabriele D'Annunzio: The Dark Flame by Paolo Valesio, et al (1992); D'Annunzio and the Great War by Alfredo Bonadeo (1995); Nationalism and Culture: Gabriele D'Annunzio and Italy After the Risorgimento by Jared M. Becker (1995); Gabriele D'Annunzio: Defiant Archangel by John Woodhouse (1998); Gabriele D'Annunzio – Poet, Seducer & Preacher of War by Lucy Hughes-Hallett (2013); Portraits of the Artist: Dionysian Creativity in Selected Works by Gabriele D'Annunzio and Thomas Mann by Jessica Wood (2017); D'Annunzio e il fascismo: eutanasia di un'icona by Raffaella Canovi (2019); 'Gabriele D'Annunzio (1863-1938): Pescaran Chameleon,' in Heroism and wisdom, Italian Style: From Roman Imperialists to Sicilian Magistrates by Raymond Angelo Belliotti (2022); D'Annunzio diplomatico e l'impresa di Fiume by Eugenio Di Rienzo (2022); D'Annunzio: la vita come opera d'arte by Giordano Bruno Guerri (2023) - Other writers with nazi or fascist sympathies: Ezra Pound, Louis-Ferdinand Céline, Curzio Malaparte, Knut Hamsun.

Selected works:

  • Primo vere, 1879 (rev. ed. 1880) [Early Spring]
  • Terra vergine, 1882 [Virgin Land]
  • Canto novo, 1882 [New Songs]
  • Intermezzo di rime, 1883 [An Interlude of Verses]
  • Il libro delle Vergini, 1884 [The Book of the Virgins]
  • Le novelle della Pescara, 1884-86 [Tales of My Native Town] 
  • San Pantaleone, 1886 [Saint Pantaleone]
  • Isaotta Guttadàuro ed altre poesie, 1886 (rev. ed., as L'Isoletto, La Chimera, 1890)
  • L’Armata d’Italia, 1888
  • Il Piacere, 1889
    - The Child of Pleasure (translated from the Italian by Georgina Harding, the verses translated and and introduction by Arthur Symons, 1898) / Pleasure (translated by Virginia S. Caporale, 2000)
    - film 1918, prod. Lombardo-Teatro, dir. Amleto Palermi, starring Vittoria Lepanto, Enrico Roma and Alberto Casanova
  •  L’Isotteo, 1889
  • La Chimera, 1889
  • L’innocente, 1891
    - The Intruder (translated by Arthur Hornblow, 1898) / The Victim (translated by Georgina Harding, 1899)
    - film 1976, prod. Rizzoli Film, Les Films Jacques Leitienne, Imp.Ex.Ci., dir. Luchino Visconti, screenplay Suso Cecchi d'Amico, Enrico Medioli, Luchino Visconti, starring Giancarlo Giannini, Laura Antonelli, Jennifer O'Neill, Rina Morelli, Massimo Girotti
  • Odi navali, 1891-1893
  • Giovanni Episcopo, 1891
    - Episcopo & Company (translated by Myrta Leonora Jones, 1896)
    - films: 1916, dir. Mario Gargiulo; Il delitto di Giovanni Episcopo, 1947, prod. Lux Film, Pao Film, dir. Alberto Lattuada, starring Aldo Fabrizi, Roldano Lupi, Yvonne Sanson, Ave Ninchi, Amedeo Fabrizi
  • Elegie romane 1887-1891, 1892
  • Poema paradisiaco, 1893
  • Il trionfo della morte, 1894
    - The Triumph of Death (translated by Arthur Hornblow, 1896; Georgina Harding, 1898)
    - Kuoleman riemuvoitto (suom. Jalmari Hahl, 1916)
  • L'Allegoria dell'autunno, 1895
  • Sonnets cisalpins, 1896
  • Le vergini delle rocce, 1896
    - The Maidens of the Rock (translated by Annetta Halliday-Antona and Giuseppe Antona, 1898) / The Virgins of the Rocks (translated by A. Hughes, 1899)
  • Sogno d'un mattino di primavera, 1897 (play, prod. 1897)
    - The Dream of a Spring Morning (translated by Anna Colby Schenck, 1911)
    - film 1911, prod. Società Anonima Ambrosio, dir.  Luigi Maggi, screenplay Arrigo Frustra 
  • La città morta, 1898 (play, prod. 1898)
    - The Dead City (translated by Arthur Symons, 1902; G. Mantellini, 1902)
  • Sogno d'un tramonto d'autunno, 1898 (play, prod. 1905)
    - The Dream of an Autumn Sunset (tr. 1903)
  • Laudi del cielo del mare della terra e degli eroi, 1899
  • La Gioconda, 1898 (play, prod. 1899)
    - Gioconda (translated by Arthur Symons, 1902)
    - films: 1910, dir.  Luigi Maggi; 1915, The Devil's Daughter, dir.  Frank Powell, starring Theda Bara; 1916, dir.  Eleuterio Rodolfi; 1951, dir.  Chano Urueta, starring Elsa Aguirre, Miguel Torruco
  • La Gloria, 1899 (play, prod. 1899) [Glory]
  • Il fuoco, 1900
    - The Fame of Life (translated by Kassandra Vivaria, 1900 / The Flame (tr.  Dora Knowlton Ranous, 1906; Susan Bassnett, 1991)
  • La Canzone di Garibaldi, 1901
  • Francesca da Rimini, 1901 (play, prod. 1901, rev. version, music by Riccardo Zandonai, prod. 1914)
    - Francesca da Rimini (translated by Arthur Symons, 1902)
    - films: 1910, dir.  Albert Capellani; 1911 dir.  Ugo Falena, starring Francesca Bertini; TV drama 1985,  prod. Metropolitan Opera, dir. Brian Large, libretto Tito Ricordi, starring Renata Scotto, Plácido Domingo and Cornell MacNeil
  • Novelle della Pescara, 1902
    - Tales of My Native Town (translated by Rafael Mantellini, with an introduction by Joseph Hergesheimer, 1920 )
  • Laudi del cielo, del mare, della terra e degli eroi: Anno 1903—Maia; Anno 1904—Elettra, Alcyone; Libro IV—Merope, 1903-12 (3 vols.)
  • Maia / Laus vitae, 1903 (part of Laudi del Cielo del Mare della Terra e degli Eroi)
  • Elettra, 1903 (part of Laudi del Cielo del Mare della Terra e degli Eroi)
  • La figlia di Iorio, 1904 (play, prod. 1904, rev. version, music by Alberto Franchetti, prod. 1906) [The Torch under the Bushel]
    - The Daughter of Jorio: A Pastoral Tragedy (translated by Charlotte Porter, Pietro Isola, and Alice Henry, 1907)
    - films: 1911, starring Mary Cleo Tarlarini; 1917, dir.  Edoardo Bencivenga, starring Irene-Saffo Momo, Mario Bonnard and Giovanna Scotto   
  • Alcyone, 1904 (part of Laudi del Cielo del Mare della Terra e degli Eroi)
    - Alcyone: A Selection (edited by J. R. Woodhouse, 1978) / Halcyon (translated by J.G. Nichols, 1988)   
  • La fiaccola sotto il moggio, 1905 (play, prod. 1905) [The Torch under the Bushel]
  • Prose scelte, 1906
  • Vita di Cola di Rienzo, 1906
  • Più che l’amore, 1907 (play, prod. 1906)
  • L'orazione e la canzone in morte di Giosuè Carducci, 1907
  • Canto nuovo: nuova edizione, 1907
  • La nave, 1908 (play, prod. 1908) [The Ship]
    - La Nave (translated by R.H. Elkins, 1919)
    - films: 1912, dir. Edoardo Bencivenga; 1920, dir. Gabriele D'Annunzio, Mario Roncoroni, starring Ida Rubinstein, Alfredo Boccolini, Ciro Galvani
  • Il libro delle vergini, 1908
    - The Book of the Virgins (translated by J.G. Nichols, foreword Tim Parks, 2003)
  • Fedra, 1909 (play, prod. 1909) [Phaedra]
  • Forse che sì forse che no, 1910
    - films: 1916, dir.  Mario Gargiulo, starring Tina Xeo; 1920, dir.  Gaston Ravel, starring Maria Carmi, Eugenia Masetti and Lunella
  • Le martyre de Saint Sébastien, 1911 (play, prod. 1911, music by Debussy and dances by Ida Rubenstein) [The Martyrdom of Saint Sebastian]
  • La Crociata degli Innocenti, 1911 (screenplay)
  • Contemplazione della morte, 1912 [Contemplation on Death]
  • La Pisanelle; ou, la mort parfumée, 1913 (play, prod. 1913, in Tutte le opere, 1935; music by Ildebrando Pizzetti and later by Pietro Mascagni) [Pisanella or Perfumed Death]
  • Merope / Canzoni d'oltremare, 1913 (part of Laudi del Cielo del Mare della Terra e degli Eroi) [Songs Beyond the Sea]
  • Parisina, 1913 (play, music by Mascagni)
  • Le faville del maglio, 1914
  • Il ferro, 1914 (play, prod. 1913)
    - The Honeysuckle (translated by Cecile Sartoris and Gabrielle Enthoven, 1911)
  • Cabiria, 1914 (film script; based on a book by Titus Livus)
    - film 12914, prod. Itala Film, dir. Giovanni Pastrone, starring Italia Almirante-Manzini, Lidia Quaranta, Bartolomeo Pagano, Carolina Catena, Lidia Quaranta
  • Canti della guerra latina, 1914-1918 (part of Laudi del Cielo del Mare della Terra e degli Eroi) [Songs of the Latin War]
  • Per la più grande Italia, 1915
  • La Leda senza cigno, 1916
  • La Crociata degli Innocenti, 1920 [The Children's Crusade]
    - film 1917, prod. Musical-Films, dir.  Alessandro Blasetti, Gino Rossetti, starring Bianca Virginia Camagni, Giulietta De Riso and Luigi Serventi
  • Notturno, 1921
    - Nocturne & Five Tales of Love & Death (translated and with a preface by Raymond Rosenthal, 1988)
  • Il venturiero senza ventura, 1924
  • Le Faville del maglio, 1924-28
  • Le città del silenzio, 1926
  • Tutte le Opere, 1928-36 (49 vols., edited by Angelo Sodini)
  • Il compagno dagli occhi senza cigli, 1928
  • Le cento e cento... pagine del libro segreto, 1935
  • Opera omnia, 1927-1936
  • Teneo te, Africa, 1936
  • Tutte le opere, 1939-50 (10 vols., edited by Egidio Bianchetti)
  • Tutto il teatro, 1939
  • Tutte le opere di Gabriele d'Annunzio, 1950-1976 (edited by E. Bianchetti)
  • Tutte le opere, 1954-56
  • Lettere a Barbara Leoni, 1955 (edited by B. Borletti)
  • Poesie, teatro, prose, 1966 (editedd by Mario Praz)
  • Carteggio d'Annunzio-Mussolini, 1971 (edited by Renzo de Felice and Emilio Mariano)
  • Una lettera di Gabriele d'Annunzio a Barbara Leoni, 1972
  • D'Annunzio vivente, 1973 (edited by Roberto Ducci)
  • Carteggio D'Annunzio - Duse: Superstiti missive: lettere, cartoline, telegrammi, dediche 1898-1923, 1975 (edited by Piero Nardi)
  • Poesia, 1978 (edited byFederico Roncoroni)
  • Lettere di D'Annunzio a Maria Gravina ed alla figlia Cicciuzza, 1978 (edited by Raffaele Tiboni)
  • Il libro delle vergini, 1980 (introduction Riccardo Scrivano)
  • Prose, 1983 (edited by Federico Roncoroni)
  • Lettere a Jouvence, 1988 (edited by Elena Broseghini)
  • Prose di romanzi, 1988-89 (2 vols., edited by Ezio Raimondi)
  • D'Annunzio e le donne al Vittoriale: Corrispondenza inedita con l'infermiera privata Giuditta Franzoni, 1996
  • Scritti giornalistici, 1996 (edited by Annamaria Andreoli)
  • Gabriele D'Annunzio e Arturo Toscanini: scritti, 1999 (editefd by Carlo Santoli)
  • Lettere a Fiammadoro, 2001 (edited by Vito Salierno)
  • Elegie romane, 2001 (edited by Maria Giovanna Sanjust)
  • Lettere d'amore, 2001 (ed. Annamaria Andreoli)
  • Interviste a D'Annunzio: 1895-1938, 2002 (edited by Gianni Oliva and Maria Paolucci)
  • Sarah Bernhardt e Gabriele d'Annunzio: la poesia del teatro: carteggio inedito 1896-1919, 2005 (edited by Franca Minnucci)
  • D'Annunzio e Antonino Liberi: carteggio 1879-1933, 2009 (edited by Franco Di Tizio)
  • Femmine e muse: epistolari e carteggi d'amore di Gabriele D'Annunzio, 2011 (edited by Franco Celenza)
  • Cara, cara mamma: lettere di Gabriele d'Annunzio alla madre, 2017 (edited by Franca Minnucci; preface by Lucia Arbace)
  • La miglior parte della mia anima: lettere alla moglie (1883-1893), 2018  (edited by Cecilia Gibellini)
  • Francesca da Rimini, 2021 (edizione critica a cura di Elena Maiolini)
  • Studi su Gesù: appunti, taccuini, parabole, 2021 (a cura di Angelo Piero Cappello; prefazione di Giordano Bruno Guerri)

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