Andrea is a man who has made a spectacle of his life, and seems to model his everyday ventures after some form on art. Rooms in his home seem to be set up as if they are the backdrop to a play that he has scripted out and is planning on performing sometime in the future. Could his anxiety, for example, about Elena not showing up simply be reflecting his worries that the show will not go on? Andrea is trying to fill some void in himself with superfluous activities, perhaps left by his father. Andrea's father was a man who valued art over reality, and may not have given his son the affection he required, instead view him as simply another piece of art that he had created. Andrea's tendency to view his life as a work of art stemmed, obviously, from his father, and his obsession with finding new sources of pleasure came from the lack of pleasure in his relationship with his father.

Andrea appeared upset when the women he loved did not reciprocate his feelings, but did he ever truly love them? He fell in love quickly, and did so with a relentless fury in which he would do anything to gain their affection. At the beginning of his relationship with Elena, he spent a ridiculous sum of money on an ivory skull which had no real use, but since she suggested he purchase it, he bid on the item as if his life depended on it. His lengthy declarations of love with both Elena and Maria were like the monologues of some drama. Andrea reveled in feeling passion, obsession, misery, and jealousy. However, when the women left his sight, he seemed to go back to his normal self. I don't believe that any of his declarations signify true love, but simply an act going on in his mind.

Analyzing Andrea's personality, it seems that he has a narcissistic personality disorder. Narcissists demonstrate grandiosity in their belief and behavior, something that Andrea often does. For example, he almost loses his life to simply take the lover of another man, who also happened to be married. Did he love this woman? I would say that no, he did not. Andrea simply enjoys being the center of attention, and succeeding in his ventures, especially when they are outlandish, gives him a high degree of pleasure. Narcissists also have a strong need for admiration yet lack empathy. We see over and over again in the book that Andrea worried about whether or not a woman loves him, or yearns for the approval of others but rarely does he express any sorrow on the behalf of someone else. When does Andrea think of the agonizing that must being going on in the minds of the women who are cheating on their husbands with him, or those who he is hurting? Never. He is always focused on his own triumphs or failures and does not think about anyone except for himself. I could go on and on with this point, but I will only address one more narcissist trait, which include the seeking of power. Andrea, while a man of high standing, does not view himself as being a powerful man unless he has manipulated others to act as he wants. When he does not have a woman to love, or loses a woman that he has invested a lot of time in, Andrea feels as if he is losing control over his life. The more women he has at one time, the more joy he seems to have, and the more powerful he feels. I wouldn't say that he is heartless, but I do believe that Andrea's obsession with love and order (the "props" in his home, and the artistic control of his life) have a lot to do with his desire to have power over as many things as he can.

Response to "Pleasure"

As a self-indulgent Hedonist, Andrea's personality is defined first and foremost by his constant attempts to feed his insatiable desires.  This conquest is characterized by consistent mood swings and dramatic changes of heart that not only present him as a volatile character, but as one incapable of emotional stability.  His love for Elena is compromised by his unfailing objectivity of women; yet, his addictive personality makes him incurably jealous and inseparable from her.  Andrea's materialistic desires stand apart from, for example Dorian's Gray's, because he associates with theses objects a certain soul.  This concept is undeniable when it comes to Elena who seems to add reassigned value to the things she touches, the same way Elena's value is reassigned when Andrea touches her.  Indubitably, Andrea's love for objects stems from his love for beauty, which is an element of his education.  In fact, he seems to view his conquests as the pursuit of art--modeling each adventure after some form of art.

Andrea's education is "not based so much on books as derived from the presence of human reality...his spirit corrupted by high culture..." (35).  Gifted with "the power of great sensibility," Andrea's life becomes a quest for the indulgence of pleasure early on.  The pleasure that Maria brings him is one of a soulful and intellectually engaging basis: she is for Andrea the opposite of what Elena was for him.  

                Andrea seems to be a womanizer similar to Don Juan, but upon close inspection, he shows characteristics of a man plagued with a broken heart. Elena’s cold distant attitude to Andrea has created a hole in his heart to which he feels must be filled with cheap meaningless sex with other women. In fact he goes as far as picturing each of the women he’s been with as Elena. This senseless passion is slowly devouring him and placing him into dangerous situations such as his duel with Rútolo which leaves him nearly dead. Prior to this, he seemed like a headstrong twenty-something year old with not enough regrets to have so he almost has a desire to create some with reckless abandonment. His attitude on life changes dramatically as he recovers. He becomes enlightened, almost poetic in describing his scope of the world.

                Gabrielle D’Annunzio was describing the italic nobility in very fond terms and found the democratic ways of modernity to be a scourge on the culture. He describes them in a very amiable style, claiming that the class “rendered all the splendor in the sweet life of the eighteenth century” (33). His reasoning is the way in which they lived provided a litany of remarkable accomplishments such as the writing of operas or poems. Since D’Annunzio was a decadence writer and used quite a bit of symbolism, this was probably his way of pushing his political beliefs into his books. Along with the fact that he was a well known proponent of fascism, in which there is a belief that the ruling class should remain in power and that social inequality will lead to failure. It also propagates the idea of Italian nationalism which is why he spoke specifically of italic nobility. Another tie into fascism is the invitation of the Japanese ambassador. The fact that he is at the party leads us to believe he is in fact respected amongst the other party-goers however he is said to only be there for the entertainment of the guests. They tend to mock him quite thoroughly and treat him as more of an object of fascination than a person. This can describe the tentative alliance between Japan and Italy at the time, where they have similar ideals and seem to respect one another, there is very little respect when the doors are closed.

            Andrea Spirelli, the protagonist of Pleasure is an extremely complex character who consistently lets his emotions get the best of him. Andrea experiences dramatic mood swings throughout Book 1 and so far through Book 2. In the first Book Andrea becomes love sick. He becomes addicted to Elena’s love. When she leaves him, he falls into a deep, deep depression that at times it seems almost dangerous. Andrea has very obsessive tendencies and cannot control his desire for love, which at times seems more like lust. This obsession is Andrea’s defining characteristic.

            The Italic Nobility of the era Pleasure is under a social magnifying glass. Every movement, action, or expression is analyzed in excruciating detail, misinterpreted and redistributed as fact. Even the minutest details are notice. D’Annunzio’s description of nobility stalking the dance floor at the ball in order to pick up anything, even subconscious movements that could be used as gossip is the most accurate description of the Italic Nobility of the time.

            In addition to Andrea, there are also numerous intriguing characters in the novel. One of which is Elena. Elena is the first character we meet besides Andrea and is therefore, the most important antagonist. Andrea is madly in love with Elena and believes to be her soul mate until she unexpectedly leaves Rome and Andrea. I believe that she will return eventually and that her return will dramatically alter the course of the story and Andrea’s world. Another interesting character is Maria. Maria doesn’t appear until Book 2, which makes me believe that she is less powerful than Elena. However, Andrea’s desire to be with her seems much stronger and more intense than when he was pursuing Elena. I believe Elena will ultimately win the heart of Andrea at the end of the novel.        

After reading the first two books of Pleasure, I was most impacted by the use of symbols throughout the writing. The objects surrounding the characters in each scene consistently depict the emotions that are exchanged and aid the reader in understanding the true nature of the characters.  This symbolism, to me, can be taken even further as a symbol itself of Andrea’s objectifying of women throughout the entire reading. Objects and the physical world are of upmost importance to Andrea, and even when he has his spiritual revelation after his injury, he very quickly resorts back to his previous one-dimensional thoughts. The use of symbolic scenery also helps the reader distinguish Andrea’s feelings towards Donna Elena and Donna Maria respectively. In a scene on page 159, Donna Maria approaches Andrea down the staircase, and he describes her as moving through trees, emerging behind a rosebush, and throwing leaves at him.  The use of nature depicts Donna Maria’s innocence and sweetness that Andrea sees in her. Whereas, the objects surrounding Donna Elena are often more seductive and luxurious, such as on page 88 when it says, “ the Scorpion took hold of her breasts; a great zodiacal strip of cloth dragged behind her on the carpet, drawing the roses along with it as it if she had already scattered them.” This scene is much more seductive and not as pure as Andreas interaction with Donna Maria.  My prediction is that although Andrea has moved from the more objectifying relationship with Donna Elena to a more innocent relationship with Donna Maria, he will not have a strong enough will to continue his moral progression.  I am curious how his relationships with the two lovers will intertwine and how Andrea will handle a potential opportunity to reunite with Donna Elena.

Andrea’s character is most intriguing to me because as I read the explanations of his thoughts and his perceptions of his surroundings and the women he is infatuated with, I find myself hoping that he will eventually change and almost talk himself into feeling an honest, true love as opposed to an objectifying, fleeting love. It is odd to me that he admits to objectifying the women and only being capable of infatuation, not true love.  On page 157, as he is pondering his feelings for Donna Maria, Andrea asks himself, “Do I love her, then?” The author continues to write, “he feared that delicate enchantment would disperse and disappear like a dream at dawn.” Andrea knows his own flaws, yet seems to be content that he is not a genuine lover.

Another character I am drawn to the character of the marchioness, Andrea’s cousin.  Pages 146-148 include a dialogue between her and Andrea, which is when the reader has the chance to understand their relationship more in depth.  I like this passage from the book because Andrea interacts with a woman that he doesn’t objectify or think of sexually.  The marchioness is the character that introduces Andrea to both Donna Elena and Donna Maria.  I hope further in the book we are able to learn more about her role as Andrea’s matchmaker.  I am curious as to whether or not she knows of her cousin’s shallow personality and manipulative nature when she introduces her female guests to him.

 Books 1 and 2 focus mainly on developing Andrea’s character and telling the story of his relationships with his two different lovers.  I am looking forward to seeing how the two different relationships develop and the person the Andrea ultimately becomes as a result of his relationships, and also who is able to stand strong against his manipulative, dangerous motives. 

After reading the first two books of Pleasure, I was most impacted by the use of symbols throughout the writing. The objects surrounding the characters in each scene consistently depict the emotions that are exchanged and aid the reader in understanding the true nature of the characters.  This symbolism, to me, can be taken even further as a symbol itself of Andrea’s objectifying of women throughout the entire reading. Objects and the physical world are of upmost importance to Andrea, and even when he has his spiritual revelation after his injury, he very quickly resorts back to his previous one-dimensional thoughts. The use of symbolic scenery also helps the reader distinguish Andrea’s feelings towards Donna Elena and Donna Maria respectively. In a scene on page 159, Donna Maria approaches Andrea down the staircase, and he describes her as moving through trees, emerging behind a rosebush, and throwing leaves at him.  The use of nature depicts Donna Maria’s innocence and sweetness that Andrea sees in her. Whereas, the objects surrounding Donna Elena are often more seductive and luxurious, such as on page 88 when it says, “ the Scorpion took hold of her breasts; a great zodiacal strip of cloth dragged behind her on the carpet, drawing the roses along with it as it if she had already scattered them.” This scene is much more seductive and not as pure as Andreas interaction with Donna Maria.  My prediction is that although Andrea has moved from the more objectifying relationship with Donna Elena to a more innocent relationship with Donna Maria, he will not have a strong enough will to continue his moral progression.  I am curious how his relationships with the two lovers will intertwine and how Andrea will handle a potential opportunity to reunite with Donna Elena.

Andrea’s character is most intriguing to me because as I read the explanations of his thoughts and his perceptions of his surroundings and the women he is infatuated with, I find myself hoping that he will eventually change and almost talk himself into feeling an honest, true love as opposed to an objectifying, fleeting love. It is odd to me that he admits to objectifying the women and only being capable of infatuation, not true love.  On page 157, as he is pondering his feelings for Donna Maria, Andrea asks himself, “Do I love her, then?” The author continues to write, “he feared that delicate enchantment would disperse and disappear like a dream at dawn.” Andrea knows his own flaws, yet seems to be content that he is not a genuine lover.

Another character I am drawn to the character of the marchioness, Andrea’s cousin.  Pages 146-148 include a dialogue between her and Andrea, which is when the reader has the chance to understand their relationship more in depth.  I like this passage from the book because Andrea interacts with a woman that he doesn’t objectify or think of sexually.  The marchioness is the character that introduces Andrea to both Donna Elena and Donna Maria.  I hope further in the book we are able to learn more about her role as Andrea’s matchmaker.  I am curious as to whether or not she knows of her cousin’s shallow personality and manipulative nature when she introduces her female guests to him.

 Books 1 and 2 focus mainly on developing Andrea’s character and telling the story of his relationships with his two different lovers.  I am looking forward to seeing how the two different relationships develop and the person the Andrea ultimately becomes as a result of his relationships, and also who is able to stand strong against his manipulative, dangerous motives. 

Pleasure Reflection

Part One and Two - What are Andrea's characteristics? His  concept of "Italic nobility"? How does time sequence play a part? Who are the different characters in the story?             

           After reading the foreword and introduction I was excited to meet Andrea and after reading part one and two I have very mixed feelings about what I think about Andrea’s character. In the opening chapter Andrea is a man lost in a heartbreaking love. He is fragile and very anxious. As the reader, I feel sorry for him and want Elena to fall back into his arms again. However, his passionate love for Elena turns obsessive very quickly. And the kind of obsessiveness he shows to possess is not attractive. Andrea states, “he needed her in order to live…he was completely penetrated by that love; all his blood was adulterated as if by poison, with no remedy. Why did she want to flee? He would wind himself around her, he would first suffocate her against his chest,” (D’Annunzio 13). He not only feels as if he has to have control of her and has to have her love, but he also throughout the first part of the book associates Elena with objects. Andrea talks about all the objects in his home that have witnessed his and Elena’s passion for each other, but he takes these objects and he gives them feelings. He makes them human and with Elena he takes her from a human and degrades her to an object. Since he views objects as an aspect to his love affair his lover is supposed to feel honored to be his object that he possesses, but it becomes sickening. He also completely lies to obtain her as a lover when he first meets her and tries to save her from going off with her new husband. Andrea is manipulative and controlling to get what he wants because he believes that he deserves the absolute best.

            Andrea’s family taught him “urbanity, elegant writing skills, a love of delicacy, a predilection for unusual studies, a mania for archaeology, refined gallantry,” (33). He grew up traveling and living an elegant life with his father. “He was, in truth, the ideal type of young Italian gentleman of the nineteenth century, the legitimate defender of a lineage of gentlemen and elegant artist, the last descendent of an intellectual race,” (34). Andrea is captivated with beauty and pleasure. He was shaped by high culture and experience. He had a great sense of sensibility, curiosity and moral strength. He is young, but intelligent. He wants to live in the world he grew up in where there are customs followed and beauty is at the center of it all. He makes note of all the objects in a room and how tables are decorated because that is what he loves. That is his Italy. Everything is done with such care and passion. He truly wants everything in the world for himself that is beautiful and he especially wants to find this in women.

            Therefore, throughout the book so far Andrea has possessed multiple lovers but the two great loves are that of Elena and Maria. Looking at his love with Elena he sees her as an object, something he can possess and something he wants to conquer. He falls hard for her beauty and confusing signals. She drives him crazy with self-doubt and that is what makes her desirable to him. He has to chase her, but once he gets her she is all his for a brief period of time. Then with Maria Andrea’s character changes drastically. Right at the beginning of part two when he is ill he has a life changing moments and he becomes a new man. He is reborn. He realizes “he had lied too much, had deceived too much, had debased himself too much. Revulsion of himself and his vice invaded him,” (130). This is when I begin to like Andrea and this where he turns to art as his lover. At this point in the book, he is a lover to his art and to Maria. However, this time Maria entrances him and he is not trying to conquer her at all but rather be a part of her heart in some small way. He agrees to bow out gracefully if she does not wish to accept his love. In fact he anticipates this when he confesses his love to her. What’s interesting to note about Andrea’s love for Maria is that he associates her with nature and not as an object. Andrea puts nature on a pedestal as the reader sees when he talks about the sea’s effect on him. Andrea this time does not have the power in this relationship and he is doing everything he can for Maria, but not doing everything he can to possess her.

            Throughout the entire book Andrea is extremely obsessive, but his obsessiveness does take on different levels with his different lovers. He was looking to possess Elena, but he was looking for Maria’s love because he was obsessively agonizing over whether or not she loved him. I think by starting with Elena and then going to Maria it shows Andrea’s development as a man and as a character. Starting the first chapter with Elena’s reappearance the reader sees how vulnerable Andrea is making the reader want to find out if he is going to get what he wants. Then by going back in time to how he met Elena showed his true colors and made the reader not like him, but by the time he meets Maria he has changed and the reader likes him again. It has been hard to put this book down because all of the characters are so realistic and it seems like a real love story. In the last chapter in part two the reader got to see Maria’s struggle, which made her human and not an object like Elena. The obsessiveness isn’t just in Andrea’s character, but in all of them. The passion, desire and sadness cross over all the characters.