Life imitating art is the reverse of the normal process whereby art is made to resemble life. The concept derives from an Oscar Wilde aphorism, "Life imitates art far more than art imitates Life." Wilde follows Ovid who, in Book 3 of the Metamorphoses, depicts a scene where "Nature in her genius had imitated art." The theme of art being more real than life is central in his only novel The Picture of Dorian Gray, one could see this novel as a philosophical manifesto at times. The plot revolves around a portrait of the eponymous character which may or may not have transformed in order to reflect the conscience of Dorian. This philosophy is linked with Wildian dandies and with the aesthetic movement of the turn of the 20th century.
Many examples exist in history. For example Italian nationalist Gabriele d'Annunzio, known as the "poet-warrior", scripted the epic Cabiria (1914), which used the Roman salute. D'Annunzio appropriated the salute when he occupied Fiume in 1919.[1] D'Annunzio has been described as the John the Baptist of Italian Fascism,[2] as virtually the entire ritual of Fascism was invented by D'Annunzio during his occupation of Fiume and his leadership of the "Italian Regency of Carnaro".[3] Besides the Roman salute, these included the balcony address, the cries of "Eia, eia, eia! Alala!", the dramatic and rhetorical dialogues with the crowd, and the use of religious symbols in new secular settings.[2] Like other neo-Imperial rituals utilized by D'Annunzio, the salute became part of the Italian fascist movements symbolic repertoire [1] and later adopted by Nazi Germany as the Hitler salute.
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