m as one bringing a current of fresh air and the impulse
of a new vitality into the somewhat prim, lifeless work hitherto
produced.

Meanwhile the Review of Angelo Sommaruga perished in the midst of
scandal, and his group of young authors found itself dispersed. Some
entered the teaching career and were lost to literature, others threw
themselves into journalism. Gabriele d'Annunzio took this latter course,
and joined the staff of the _Tribuna_. For this paper, under the
pseudonym of "Duca Minimo," he did some of his most brilliant work, and
the articles he wrote during that period of originality and exuberance
would well repay being collected. To this period of greater maturity and
deeper culture belongs _Il Libro d' Isotta_ (1886), a love poem, in
which for the first time he drew inspiration adapted to modern
sentiments and passions from the rich colours of the Renaissance. _Il
Libro d' Isotta_ is interesting also, because in it we find most of the
germs of his future work, just as in _Intermezzo melico_ and in certain
ballads and sonnets we find descriptions and emotions which later went
to form the aesthetic contents of _Il Piacere_, _Il Trionfo della
Morte_, and _Elegie Romane_ (1892).

D' Annunzio's first novel _Il Piacere_ (1889)--translated into English
as _The Child of Pleasure_--was followed in 1891 by _L' Innocente_ (_The
Intruder_), and in 1892 by _Giovanni Episcopo_. These three novels
created a profound impression. _L' Innocente_, admirably translated into
French by Georges Herelle, brought its author the notice and applause of
foreign critics. His next work, _Il Trionfo della Morte_ (_The Triumph
of Death_) (1894), was followed at a short distance by _La Vergini della
Roccio_ (1896) and _Il Fuoco_ (1900), which in its descriptions of
Venice is perhaps the most ardent glorification of a city existing in
any language.

D' Annunzio's poetic work of this period, in most respects his finest,
is represented by _Il Poema Paradisiaco_ (1893), the _Odi Navali_
(1893), a superb attempt at civic poetry, and _Laudi_ (1900).

A later phase of d' Annunzio's work is his dramatic production,
represented by _Il Sogno di un mattino di primavera_ (1897), a lyrical
fantasia in one act; his _Cilia Morta_ (1898), written for Sarah
Bernhardt, which is certainly among the most daring and original of
modern tragedies, and the only one which by its unity, persistent
purpose, and sense of fate seems to continue in a measure the