D'Annunzio came to Rome. Not at once. A whole week elapsed after the Sagra at Quarto, the 5th of May, before he reached Rome—a week of growing tumult, of anti-Giolitti demonstrations, in which his glowing words could sink like hot wine into the hearts of the people. The delay was well considered. If the poet had seized the occasion of Quarto, he made his appearance on the larger scene after the interest of the whole nation had been heightened by reading his address.
I was one of the immense throng that awaited the arrival of the train bringing D'Annunzio to the capital. The great bare place before the terminal station was packed with a patient crowd. The windows of the massive buildings flanking the square were filled with faces. There were faces everywhere, as far as the recesses of the National Museum, around the flamboyant fountain, up the avenues. There were soldiers also, many of them, inside and outside of the station, to prevent any excessive disturbance, part of the remarkable precaution with which the Government was hedging every act. But the soldiers were not needed. The huge throng that waited hour after hour to greet the poet was not rabble: it was a quiet, respectable, orderly concourse of Romans. There was a preponderance of men over women, of youth over middle age, as was natural, but so far as their behavior went, they were as self-contained a "mob" as one might find in Berlin.
The train arrived about dusk, as the great electric lamps began to shine above the sea of white faces. To most the arrival was evident merely from the swaying of the dense human mass, from the cadence of the Garibaldian Hymn that rose into the air from thousands of throats. As room was made for the motor-car, one could see a slight figure, a gray face, swallowed up in the surging mass. Then the crowd broke on the run to follow the motor-car to the hotel on the Pincian where the poet was to stay. The newspapers said there were a hundred and fifty thousand people before the Regina Hotel in the Via Veneto and the adjacent streets. I cannot say. All the way from the Piazza Tritone to the Borghese Gardens, even to the Villa Malta where Prince von Bülow lived, the crowd packed, in the hope of hearing some words from the poet. The words of Mameli's "L'Inno" rose in the twilight air. At last the little gray figure appeared on the balcony above the throng….
It is impossible to give an adequate idea of the effect of what D'Annunzio said. His words fell like moulded bronze into the stillness, one by one, with an extraordinary distinctness, an intensity that made them vibrate through the mass of humanity. They were filled with historical allusions that any stranger must miss in part, but that touched the fibers of his hearers. He seized, as he had at Quarto, on the triumphant advance of the liberating Thousand and recounted the inspiring incidents of that day fifty years and more ago. As I stood in that huge crowd listening to the poet's words as they fell into the thirsty hearts of the people,—who were weary with too much negotiation,—I realized as never before that speech is given to man for more than reason. The words were not merely beautiful in themselves: they flamed with passion and they touched into flame that something of heroic passion in the hearts of all men which makes them transcend themselves. The crowd sighed as if it saw visions, and there rose instinctively in response the familiar strains of the Garibaldian Hymn.
Italy had found its voice! The poet did not speak of "compensations," a little more of Trent and Trieste, of a more strategic frontier. He stirred them with visions of their past and their future. He voiced their scorns. "We are not, we will not be a museum, an inn, a picnic ground, an horizon in Prussian blue for international honeymoons!… Our genius calls us to put our imprint on the molten matter of the new world…. Let there breathe once more in our heaven that air which flames in the prodigious song of Dante in which he describes the flight of the Roman eagle, of your eagle, citizens!… Italy is arming, not for the burlesque, but for a serious combat…. Viva, viva Roma, without shame, viva the great and pure Italy!"
That was the voice which called Italy into the war: the will that Italy should live "ever grander, ever purer, without shame." The poet spoke to the Latin in the souls of his hearers.
* * * * *
He spoke again a number of times. In those feverish days when the nation was in a ferment, the restless youth of Rome would rush in crowds to the hotel on the Pincian and wait there patiently for their poet to counsel them. He gratified their desire, not often, and each time that he spoke he stung them to a fuller consciousness of will. He spoke of the larger Italy to be, and they knew that he did not mean an enlargement of boundaries. He spoke clearly, briefly, intensely. It was once more the indubitable voice of the poet and prophet raised in the land of great poetry.
D'Annunzio grew bolder. He recognized openly his antagonist—the traitor. The most dramatic of his little speeches was at the Costanzi Theater where a trivial operetta was being given, which was quickly swept into the wings. After the uproar on his entrance had been somewhat stilled, he spoke of Von Bülow and Giolitti and their efforts to thwart the will of the nation.
"This betrayal is inspired, instigated, abetted by a foreigner. It is committed by an Italian statesman, a member of the Italian Parliament in collusion with this foreigner to debase, to enslave, to dishonor Italy."…. Traditore! I never thought to hear the word off the operatic stage. From D'Annunzio's lips it fell like a wave of fire upon that inflammable audience. A grizzled, well-dressed citizen suddenly leaped to his feet, yelling,—"I will drink his blood, the traitor…. Death to Giolitti!"….