L’efficacia delle immagini secondo Morselli. Primi appunti sulla stesura e la fonte dannunziana di "Un dramma borghese"

The paper proposes a brief analysis of the variations that affect the three initial pages of his first great novel, Un dramma borghese, the beginning that Sereni found unpleasant, identifying the effect the author aimed for, judging at least from the fixes examined: a cloistered narrative form, within a bare and lucid writing; something that also concerns Gabriele d’Annunzio’s Notturno