Photo album in red leather containing a signed and dated photo of d'Annunzio, 29 March 1906, next to a composer at the piano; 12 autographed sheets numbered from 3 to 14, bearing the full text of Undulna from Alcyone (ed. Critca published by Marsilio in 2018, pp. 363-370), 128 lines distributed in 32 alternate rhymes (ABAB), sheet size 170 x 230 mm., Sheet 3 contains the last lines of Litorea Dea , sheet 14 the first lines of Il Tessalo , numbering in top right again by the hand of the Poet, interventions in blue pencil under the title of Undulna and Tessalo , to indicate "small initial". Combined in lot 7 telegrams relating to the first in Palermo of the staging at the Biondo Theater (1904) of d'Annunzio's The daughter of Iorio by the Talli-Gramatica-Calabresi Company, together with a small packet containing 4 photo-portraits of the poet for printing and an enclosed note by d'Annunzio's hand.

** "MY TRUE CREATURE ALCIONIA": the original of one of D'Annunzio's most famous and important lyrics. It is well known that the real poetic revolution operated by d'Annunzio was that of unhinging the language and the verse to force them towards amazing, unheard-of, expressive results at the highest level. Alcyone represents the greatest example of the mythopoetic, synaesthetic and symbolist effort of the more mature d'Annunzio. Undulna is one of the mythopoetic inventions born from D'Annunzio's imagination, the transfiguration anthropoform born from the merger between Onda and Duna. But let us rely on the words of a scholar of D'Annunzio's lyric: "(...) Even more suggestive is the metamorphosis of Undulna , the wave that traces his dances on the beach, which becomes a marine divinity, mirror of the September beauty of summer, on which the alcionio diary closes, as the poet foretells in the lyric preceding the eponymous text (...) The lyric represents the development of a thematic nucleus preserved in ms. 424, ("Undulna - Reads the signs of the wave as written music"), and in ms. 425 ("Undulna - the goddess who presides over the curves of the waves on the sand - who guides the lines marked by the wave on the sand of the shore") and constitutes the most complete example of mythopoiesis in the plot of Alcyone , according to what the poet himself recognized, defining Undulna "My true alcyonian creature" . Divinity born from the transformation of the wave, bears the signs of change in a configuration in which the aqueous element persists and the dancing lightness of the signs traced on the sand dominates (…) In the figure of Undulna , the last deity of Alcyone, the gaze and voice of d'Annunzio are confused, who in this creation is once again a pupil of Ovid in using its poetic ideation for a completely original invention (...). (Maria Belponer, Ovid's legacy in Giovanni Pascoli and Gabriele d'Annunzio , in "Archivio d'Annunzio", Vol. 6 - October 2019, pp. 67-84). This copy is probably a nice copy produced for printing, just the indications on the form of the title of the lyrics of sure typographical destination. Therefore, the final draft of the poem bears.