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Fair Verona, where we lay our scene...

  • MASTER OF VERONA cover
    These are images of Verona and the surrounding areas, all having to do with the novel The Master of Verona.

July 2008

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Dante

Dante Biography

Monday being the Actor Day Of Rest, I got to relax and hang out in Ann Arbor. Did some work on various writing projects, some related to the Mercutio series (as this is rapidly becoming known - Star-Cross'd was my first choice, but it sounds too much like a Romance series, doesn't it?), and some not.

But everything halted when the post arrived at noon. Dash was down for his nap, so I was free to open the package from the Amazon affiliate. It contained Barbara Reynolds new biography of the infernal poet, entitled DANTE - The Poet, The Political Thinker, The Man.

I cracked it right away. All I can say is, where was this book seven years ago? I'm only three chapters in, but already I've found a wealth of detail about the man, the age, and the arts. An exciting read (at least to me), I'm fascinated by her take on the poet and his attitudes. I'm also broken-hearted that Dante will never play a large part in the main story after the first book - though this makes me more determined than ever to write the interquel novel, DXV. I now have more ideas than ever for Dante's interaction with young Mercutio. I'm gonna need to do something with those ideas, or I'll split right down the middle.

The other joy, though, in reading this, is so far I have found nothing that directly contradicts my own take on Dante and his family. I may be a little fanciful in my rendering of the Alighieri family, but so far as I know I have stayed true to the essence of their story.

So, if you're out there counting the days until THE MASTER OF VERONA is released, I would highly reccommend Ms. Reynolds' book to fill the void.

Cheers,

DB

That Blasted Idiom

I was contacted by a reviewer this past weekend. She quite liked MV, confessing to pulling an all-nighter to finish it. Which is very cheering, despite my bizarre yet compelling need to apologize for keeping her awake.

She also had some questions. A couple were easy - what's the title of the sequel, and are we going to see Pietro and Cesco in it? (Answers: it keeps changing, and definitely). But one question gave me pause, as no one else had asked it. Then I mentioned it to my father, and he said, "You know, I had the same question." In fact, he had the gall to pull out a quote and throw it at me!

The question was this: Why do I have my characters speak in a modern idiom? The tone, cadence, and expressions are much more 21st century American English than 14th century Northern Italian. Why did I make this choice?

I wrote her back at length, giving the best answer I had. I have since been able to refine it even further, deputizing Dante as well as Shakespeare to come to my aid. So I thought I would share that answer, and also the response I gave my father on the phone this morning.   

As with everything else in this novel, I can point to its origins in Shakespeare. More specifically (and bizarrely), out of the dress code for Shakespeare's theatre company.

When I started to write this story, I began with the battle of Vicenza from Mariotto's point of view. In that false start, I attempted to create a style of speech that was more in keeping with the period. And I hated it. I felt distanced from my characters because I was forcing words into their mouths that they were having trouble swallowing. I was a poseur, a fraud. I don't think in those terms, they're not my patterns of speech. It felt forced and unnatural.

I was in the middle of an extended run of Shakespeare shows (it lasted something like three years of not doing anything but the Bard). And I got to thinking about Shakespeare's goal as a playwright - to convey the story to his audience. His audience, the people of his own time.

The best example is in the dress code for the King's Men. Say they were performing Julius Caesar. They wouldn't bother wearing togas and the like, but rather they would put on their own street clothes. Shakespeare was a believer in economy, yes, but also in creating as few barriers between his audience and the story as possible. And he invented one out of every ten words he used - he wasn't trying to harken back to the linguistics of a past time, he was interested in propelling the tale, whenever it was set, into the "now". Then I realized that Dante had done the same thing. Even though he used classical people and mythological characters, his Commedia was written in Italian, not Latin. He was writing it for the common man, not the literati. His audience was the common man.

So, as I started again, I gave myself permission to stop forcing these characters into speech patterns more in keeping with their age. But I also didn't want to make the similar mistake of imitating Shakespeare's own style, which is the equivilant to musical theatre today - people breaking into big speeches at the drop of a hat. As I sat down to start over, I realized I wasn't writing for a past audience, but a modern one, and so I adopted a modern style. Like Shakespeare and Dante, I want no barrier between the reader and the characters.

This is not to say I don't love and respect authors who can create such a world. Patrick O'Brian is a genius, and Dorothy Dunnett is my idol. But I can't imagine Lymond existing today, or Aubrey and Maturin out of their times. Shakespeare was interested in making Brutus not a Republican Roman, but a modern man, relevent to the people of today. Which, I believe, is why his plays are timeless. He was commenting on the continuing flaws and virtues of man, which are unchanging, no matter the gloss of the times.

I'm no Shakespeare, nor am I a Dunnett or an O'Brian. All of this is only a justification for letting the characters in my head speak in the words they wanted to use from the start.

On the other hand, my characters do use some of the period expressions, only in a modern context. Medieval Italians didn't give someone the finger - they gave the 'fig' (thumb sticking up between middle and ring fingers). Things like that. So when it reads, "Pietro gave him the fig," it is both historically accurate, and immediately clear to the modern reader what the underlying meaning is. That's the balance I've been striving for.

Now, on to my father's quote. In Chapter One of MV, Dante is complaining about "these blasted carriages." Pater said that this jumped up and smacked him as a very modern phrase. Which it is, to be sure.

But it's roots are in Shakespeare - specifically, Macbeth. Having played the part, I can think of two instances where Mac makes references to "blast": 1) When he first meets the witches, they disappear into the air and Mac cries after them, "Tell us...why upon this blasted heath you stop our way with such prophectic greeting!" 2) When he's imagining the deed, in the famous "If't were done" speech, he talks about how Duncan doesn't deserve to die, saying the Heaven would abhor the act - "And Pity, like a naked newborn babe striding the blast...shall blow the horrid deed in every eye that tears shall drown the wind."

I figure that Dante, writing about Hell, would pepper his speech with a certain liberatily of variations on damned. And, in this context, blasted means damned, or Damned. The heath has been ruined by battle. Striding the blast can mean a battlefield, or Hell. Take your pick.

So, there are my thoughts on idioms. I'm sure this won't be the last I hear of this. But, so far, it hasn't taken away from anyone's enjoyment. In fact, the review wondered if I wasn't starting a trend (which I don't think I am, since there are any number of other historicals that read much the same way. It's all a matter of context and balance).

Well, back to work. The research I'm doing for the third book is immensely enjoyable - The Name of the Rose, by Umberto Eco. I hadn't realized it took place in 1327, a year after book three begins. As often is the case, reading a fictional version of history is better than the history itself. As long as the research is good. In this case, it's superb. And it's almost tempting to make mention of Adso, since Cesco too will be spending some time at the court of Ludwig the Bavarian...

Cheers,

DB

Chapter 5 - Part 1

Outside Verona

On a borrowed – stolen! – horse, Pietro tried to keep up with Mariotto and Antony as they tore after the Capitano. Already he was out of sight. Blessedly they’d taken the time to saddle their horses, something Cangrande hadn’t bothered with.

It was not hard to trace the path he had taken. He’d barreled through streets, dodging or jumping all obstructions, shouting out curt warnings. Shaken citizens were just recovering as three more horses dashed past, two of their riders whooping and hollering. All assumed it was another of the Capitano’s games – a hunt through the streets, with a live rider as the prey. Stranger things had happened.

Even though they followed the path he made for them, somehow the three riders were unable to catch up to the lord of Verona. When they reached the bridge on the bank of the Adige, they were stymied by a caravan of millet-bearing mules. But before they had passed a dozen words with the onlookers, the dog Jupiter dashed past them, heading north toward a smaller bridge atop the Adige's oxbow embrace of the city.

Mariotto watched the greyhound go and cried, “He's making for the Ponte di Pietro!”

Wheeling their horses around, they followed in the dog’s wake. The stone and wood bridge was not as sturdy as the Roman one, and thus was less crowded. Passing under the open gate they left the city, hoping against hope to catch up to the madman leading them on.

Pietro could already feel the stiff leather saddle biting into him. The stirrups hurt his slippered feet. It had been almost a year since he had ridden this hard, in sport, not war. Not that Capecelatro acknowledged the difference. He shouted as though this were nothing but a great adventure, and Pietro could tell that Mariotto was infected with the Capuan’s joy.

Pietro wished he could feel it, too, but his misgivings held him in check. What is the Scaliger thinking? He can’t take on the whole Paduan army single-handed!

He won’t be single-handed if we can catch him, insisted the devil’s advocate in his head.

And what can we do? he retorted. We don’t even have knives! Stupid wedding etiquitte!

Still, he didn’t turn back. Seventeen years old, he’d been raised on stories of the battle of Campaldino, where a certain young cavalryman named Durante from the undistinguished house of Alighieri had fought with distinction. Poet, lawyer, politician, and soldier. So much to live up to. Pietro spurred on.

The hound Jupiter, trailing behind the horses, his tongue dangling, again dashed ahead and barked. Seconds later Cangrande came into view. He glanced back but didn’t slow down, counting on the boys to catch up to him. He didn’t stop until they reached a bridge just south of San Martino.

A man was bathing on the near bank of the Fibbio. He leapt from the water and, throwing a grubby cloak over his nakedness, ran to collect his toll. Cangrande looked back with an abashed grin. “Anyone have any money?”

Pietro reached into his meager purse and paid the hermit for their passage. “Well,” said Cangrande. “Come on!” Soon they left the road, angling north through patches of wood and hills.

“Wait!” cried Antony. "Where are we going?"

Cangrande was already pulling ahead, leaving the three boys riding together. Mariotto said, “If he keeps going he'll pass the castle at Illasi. He took it last year, rebuilt it, and filled it with loyal men. We'll probably change horses there and gather troops. To get there we have to ford the Illasi River."

"Lead the way!" roared Antony. Taking his place in the rear, Pietro winced as the saddle jumped under him.

Chapter 4 - Part 1

The good humor on the loggia gave way to hunger as the smells drifting from the dining-hall – wine, spiced meat, melting cheese, warm bread and olive-oil – started men salivating.

Pietro was singing a ribald chorus with the groom’s friends, hoping his father wasn’t listening, when he noticed a woman in the great doorway. She was older than he might have thought, but lovely, done up in the new fashion, with her dark hair in wavy curls framing her oval face. Dressed in hanging panels of brocaded gold and burgundy, she glided into the room. Giovanna of Antioch, great grand-daughter of Emperor Frederick, sister to Cecchino’s mother, and wife to the Capitano of Verona.

Removing himself from the cluster of men, Cangrande strode over to her, the wiry greyhound dogging his heels. She went up on her toes and spoke in his ear.

At the corners of the doorway beyond her two children appeared. Pietro nudged Mariotto and whispered, “I thought Cangrande didn’t have an heir.”

“Not by his wife, anyway,” replied Mariotto dourly. Realizing he’d spoken aloud, he colored. “I apologize. Those are his brother's sons, Alberto and Mastino.”

From Mariotto’s indicating nods, Alberto was the larger of the pair, and must have been about eight or nine years old. He was a pleasant enough looking child. Indeed, he seemed embarrassed to be where he knew he shouldn't. The youngest man in the room was probably Pietro’s own brother at fourteen years, almost a man, also a guest. Alberto knew the world of adults was still outside his sphere.

But just behind him, prodding him onward, young Mastino looked to be about six. Undoubtedly a della Scala, his face bore all of the easy magnificence that graced his uncle. Yet in watching him Pietro saw a little devil at work. Mastino pressed his brother on into the room. When Alberto wasn’t scolded, little Mastino strode boldly past his pliable older brother. He stood on his heels, hands on hips, looking around the room as if he owned it. He was a genuinely gorgeous child.

Cangrande bowed to his wife, stepping back as she addressed his guests. “Gentlemen, lords, and honored guests! The wedding feast is prepared!” A cheer. “I regret to say, though, that my husband has shamed me. Shamed me, his loving wife, by offering his nephew a feast that far outstrips the one for our own nuptials all those years ago. He has done me shame by offering to you what he never gave to me. So you must all assist him by making sure there is no evidence left!” Laughter, more appreciative cheers.

Cangrande draped an arm around his wife’s shoulders. “Someone, assist the groom to his seat at the head of the table. He seems to have found the courage he needs to face his wedding night – if only he can remember what to do!” With an accompanying roar the group broke apart and prepared to move into the feasting hall below.

A hand slapped Pietro’s shoulder. “Nice job of wriggling.”

Pietro didn’t bother to turn. “You’re just jealous, Poco. You couldn’t have done it.” This was said to Jacopo, Pietro’s brother, whose name Pietro had had such trouble with as a boy he’d reversed the sounds, turning it into Poco. As Pietro grew older, the nickname became an appropriate joke. Jacopo was short for his age. He’d also inherited their father’s protruding lower lip, which set his young face in a perpetual pout.

“Who needs Aristotle?” asked Poco.

“Anyone with sense,” came the voice that made them both stiffen. Dante’s fingers clipped his younger son a light flick on the ear. “Pietro, who is your new friend?” Pietro told him. The poet looked surprised and uttered a mysterious, “Interesting.” Before Pietro could say anything, though, Dante said, “Come along, Jacopo. Pietro, I’ll see you downstairs.”

Cowed, Poco trailed closely behind as Dante made for the exit. The bridegroom was being physically carried out the same doors by three friends while a fourth friend plied him with bread and water. Little Mastino and Alberto followed, poking the groom in the ribs to see if they could make him vomit.

Mariotto and Pietro hung back from the crowd of guests wandering out to their various suites to change for the meal. It would be at the least another half hour before they were all seated and able to eat, and the perfect time for Mariotto to approach the young Capuan.

The fellow was staring out the arched palisade at a rider galloping into the courtyard below. The Capuan’s doublet and hose were very fine, but showed a reckless neglect around the elbows and knees. His muscles looked about as slack as a sackful of horsefeed. Hearing footsteps on the marble behind him he turned, face haughty. “I'll be there in a minute.” He must have thought they were servants.

“Ah, good day,” said Pietro. “I’m, ah, my name is Pietro…”

“He’s Pietro Alaghieri of Florence,” said Mari, making sure to pronounce it correctly. “He’s the son of the great poet Dante. I’m Mariotto Montecchio.”

“Veronese?”

“Just like the best horses, I was born and bred right here.”

After a brief pause the sandy-haired stranger realized he had not reciprocated the introduction. “I’m Antony – Antonio Capecelatro, second son of Ludovico Capecelatro of Capua.”

Mariotto nodded. “We were wondering if you'd care to explore the city with us.”

Antony frowned. “I thought you said you lived here?”

“I do,” said Mariotto.

“Don't you know it already, then?”

For the first time Mariotto was flustered. “Well, yes – I do. But Alaghieri here is new to Verona. So are you. I thought we might go out after dinner and explore the city together. Maybe we can find some contests or games to take part in.”

“Games?” said Antony, livening up. “Are there games here?”

“All the time, when the Capitano is in residence. Didn't you hear – he commanded games for tomorrow.”

The Capuan was skeptical. “All princes do that – and they’re always pitiful!”

Mariotto smiled knowingly. “You haven't seen Cangrande’s games. He held a Corte Bandita three years ago and eight men died. Three more lost an eye apiece.” His own eyes gleamed. “There are cat-battings and bear-baitings. And there’s the Palio every year. That's known as the toughest race in Italy.”

The Capuan was intrigued. “Inventive, is he?”

“You have no idea,” said Mariotto. “Now, do you want to come with us tonight – or would you rather wait here with the old men and the women?”

Antony clapped Mariotto on the shoulder. “I should throw you over the balcony for that, pipsqueak.”

Eyes beaming, Mariotto said, “Try it! Look, we can find our supper in the city, and perhaps meet some women. Tomorrow there'll be knife fights and wrestling matches on the bridge – maybe even a goose-pull!”

To a mental list of Mariotto’s attributes, Pietro added fickle. He felt himself being relegated to the role of tagalong. He said, “Maybe we can have a swimming race in the Adige.” Swimming was one Arena Pietro excelled in.

Antonio reached out a hand to grip Pietro’s shoulder. Though not taller than either youth, his bulk and wide peasant hands made him seem gigantic. “I will follow you two to the end of the earth, if it means not another minute of poetry – no offense, Alaghieri.”

“None taken,” said Pietro, moving out of range of Antonio’s grasp and serrupitiously rubbing life back into his arm.

One of the huge falcons let loose a cry. The birds were all still on their perches, waiting for the Master of the Hunt to return them to the aviary. They were fidgety, having been disturbed by the noisy dance.

“Do you want to see my bird?” asked Mariotto. He raced over to the far end of the loggia where a young sparrow-hawk, just growing to maturity, was sitting. “Dilios!” The red hawk twisted its blindfolded head towards its master’s voice. Montecchio reached out a hand to lift the creature from the stand. He unhooked the tether on its leg and transferred the hawk to his own arm. “It's still small enough that I can hold him without protection,” he said, indicating his arm. It bore only one sheath of leather from the light colored farsetto. Had the bird been grown, it could have easily pierced Mariotto’s arm with its pounces. “Here, Dilios. There’s a good boy.”

“Dilios?” said Antonio, puzzled. “What kind of name is that?”

“It’s Greek.” Mariotto produced the new jesses Pietro had bought him.

“The only survivor of Thermopolie,” supplied Pietro.

Antonio look a little embarrassed. He said, “I’m a dunce about literature.” Mariotto and Pietro shared an amused look.

Montecchio had just begun placing the new jesses on Dilios' leg when a door slammed, causing all the hawks and falcons in the hall to cry out, startled. The three youths turned to see Cangrande della Scala stalking into the empty palisade, a parchment in his hand. His air of languid amusement was gone. In its place was the crisp, clipped stride of the general.

Trailing behind the Capitano was a dust-covered messenger, no more than thirteen years old, breathless and exhausted. No one came to wash his hands or stop his shoes leaving tracks across the marble. Behind them capered Jupiter, the Scaliger's greyhound, tail stiff, head low.

Something was happening. With a quick look between them the trio of youths quickly slipped behind the nearest curtain. Mariotto used the loop that hung from Dilios' blindfold to clamp his beak closed. From their hiding place at the far end of hall they watched and listened.

Chapter 3 - The Prince's Near Allies pt. 3

The Abbot of San Zeno was about to continue the argument, but the Capitano had evidently heard enough. Canting his head to one side, he addressed his fool. “This talk of poetry has put me in the mind to hear some. Come, rascal, entertain us briefly before we dine.”

Pietro had met the short clown the night before. Emanuele di Salamone dei Sifoni, better known as Manoello Giudeo, but best known as Manuel the Jew, cynic, bawd, and Master of Revels for my lord Cangrande’s court. He bowed, a comical sight in itself. From somewhere a rebec and bow appeared. A sprightly jig filled the hall. This was not a poem of lofty aims. The Jewish fool hopped in step, causing the bells on his sleeves to ring in time with the music. When he sang it was in the coarsest Veronese dialect:

Indeed a crown

Verona wears,

This trumpet blown

This deed declares!

Warhorse and charger,

Fighting man, banner,

Cuirass and sword,

All a-charging!

Hear the tramp, tramp,

Foot soldiers stamp.

Tramp tramp tramp tramp tramp!

Hear how they go!

As he bellowed, he mimicked the soldiers he sang of and the palisade echoed with roars of approval. He then threw his hips forward and his shoulders back imitating Cangrande’s own stride. The Capitano’s chest heaved and his eyes watered. Even the grizzled Bishop tapped his toe on the marble floor in time with the rhythm. The greyhound by the Capitano’s feet watched the Bishop's toe, ready to pounce.

The falcons caw caw

The hounds grr grr

The greyhounds grr rr rr

So they can have their sport!

Enjoying the song as much as anyone, Pietro looked about to share it with his new friend. Mariotto was standing close to the elder Montecchi. His body language indicated he was put out.

Here are great sports

For all and for few

And I’ve seen a joust

Played with firy swords!

Clapping hands encouraged Emanuele to move in wider and wider circles through the crowd as he rushed about imitating the butting of rams. Dante, politely sitting and gazing out the window, flinched as the jester dashed by.

Pietro slipped away from his father's side to join Mariotto. Sotto voce, he asked, “What's wrong?”

“I’m in trouble. I was supposed to greet the son of another visiting noble as well as you.” He shook his head. “Seems like a –”

Detecting a snobbery that, in truth, didn't surprise him, Pietro said, “Like a what?”

“See for yourself. He’s over there.” He pointed to the burly youth who had been interested in the war discussion. The fellow was obviously enjoying the improvised song, stomping his feet and clapping loudly.

For love is in the hall

Of the Lord of the stair

Where even without wings

I seemed to fly!

“He’s from Capua,” whispered Mariotto. “His father is thinking about relocating the family business here.”

“His family’s in business? I thought –”

“Yes, I know. They are noble. But it's a nobility that cost them.”

“Ah.” Mari didn’t have to say more. The greatest blight on the nobility was the sale of noble titles by kings, popes, and emperors. When a noble died without heir, the local ruler was able to take the defunct title and the land attached and sell it for a profit to any wealthy, ambitious member of the merchant class. They often lived as nobles before nobility was granted them. These gente nuova dressed in noble fashion, kept house, ate, read, traveled exactly as the nobility did. A disgrace to be sure, but a growing practice nonetheless.

There was another side, of course. Though the nobility was loath to admit it, the influx of new blood into their ranks often helped maintain their thinning numbers. Many who were noble today came from ignoble origins – such as the della Scalas. No one was crass enough to ever point that out, though.

“I’m to show him around the city,” said Mariotto.

“You ought to charge a fee.” The attempt at levity fell on young Montecchio’s ears with all the aplomb of a wounded duck. “What if I joined you?”

Mariotto looked up. “Would you? Would your father let you?”

“It might take some doing, but I think I can arrange it.” Pietro grimaced. “We might have to bring my little brother with us.”

Mariotto brightened. “My thanks, nevertheless…,”

The noise rose to a deafening pitch, drowning out Montecchio’s words. The Master of Revels was bringing his song to a crashing end.

And this is the lord

With great valor,

Whose grand honor

Is spread on earth and sea!

Cangrande didn't wait for the accompanying music to stop. He jumped to his feet and embraced the diminutive genius, kissing him on both cheeks. Then he turned to Dante, still unmoved by the revels around him. Eyes twinkling, the Capitano said, “I am astonished that this man who plays the fool has gained the favor of all, while you who are called wise can’t do the same.”

Dante Alaghieri looked up at the Lord of Verona, face devoid of expression. “You should not be astonished that fools find joy in other fools.”

At which Cangrande fell in beside the poet and laughed until he cried.

                               *                      *                      *                      *                      

The lone rider had tears streaming from his eyes when he was stopped by the guards at Verona’s Ponte Pietro, the gate leading east. “Where’s the fire, lad?” asked the captain of the guard.

“I know him,” said the seargent-at-arms. “Muzio. He’s a page to Lord Nogarola’s brother.”

Realizing this might be something serious, the captain of the guard’s tone grew more brusque. “What’s happened?”

The boy couldn’t speak. He reached for a wineskin at his hip but a soldier got to him first with a flask of spirits. The boy coughed, then croaked out his news. “Vicenza. It’s burning!”

Dispatches from Europe #13

Again from June, 2002. This is the last of our little dispatches from Italy.

Dear All,

It's hot... hot hot hot. Yes, I know from the CNN weather reports that it's hot in Chicago right now... and in Michigan... and basically all around the States... but, I've got to tell you, here in Italy, it's hot hot hot.

Yeah, I know... poor David and Jan. Poor, poor, hot David and hot Jan... I know you weep for us.

Thank you.

So, David sent out a dispatch to tell you about our morning with the Count (yes, he's lovely, yes, we have photos... we're supposed to keep in touch with him... Darice, I'll work on it) and the incredible amount of information being loaded on us by the Ministry of Culture and all that (can anyone tell me why we have no Ministry of Culture in the US? I mean, other than the fact that we don't have Ministries at all-- there should be some sort of equivalent...)-- but I think he left off before he told you about our walk with Daniella.

Daniella is a professor of art and art history at the University of Verona. She's lovely and bright and incredibly energetic-- for those of you who know Mary Locker, that's your visual-- and knows EVERYTHING about what's around Verona. She started the tour by taking us down streets and pointing out arches and edges in the sides of buildings that are remnants of Roman buildings. Apparently there was a major earthquake in Verona in 1166 or thereabouts and the entire Roman city was pretty well trashed. By that time, this area was trapped in the mire of the Dark Ages and had lost most of the knowledge of building and such from Roman times... so they just built up their homes using pieces of the remains of the Roman city. I mean, to the point of building their houses in the arena so they would have at least one wall that wouldn't fall down.

Anyway, Daniella showed us all of that-- explaining enthusiastically in her pidgeon English about the time periods for the frescoes and such as we responded in our pidgeon Italian (not nearly as strong as her English) and asked questions. She lead us down strange little alleys that we hadn't noticed before into courtyards full of medieval remains and paintings...

And then she took us into a shop. A regular old store like you'd find on any old Main Street, USA, and asked the woman behind the counter if we could see her basement. The woman said yes, and we went down some old stairs into their storage area... which also just happens to be an archeological dig of the Roman Forum.

Seriously.

There were digs all over town in the mid part of this century to find the Roman remains-- and the digs all went on in the basements of the shops. And since everything they found is "public historical property" the merchants can't cover it or build over it and they have to allow people who ask to see it. Only, no one really remembers it's all down there anymore-- other than the shopowners themselves who use the areas for wine cellars (we went into the basement of a four star restaurant and their wine cellar is a Roman street) and parking garages and storage rooms. The "dug-up" parts are covered over with some sort of plexiglass to allow the floors to be level, and it's all just down there. Pillars and plynths and remnants of mosaics... everything I thought we would find in the Forum in Rome itself, which was such a disappointment in its decay, we ended up finding in the basements of the main shopping district of Verona.

Can I just say, Amazing?

Yesterday we took a day trip by train out to Vicenza (after David hit Castelvecchio) and wandered her lovely, if hot, streets. The problem for David's research was that when the Venetians took Vicenza in the 15th century, they demolished everything and built Venetian-style (sans water). It makes for a lovely city-- wow, it's truly a walk through history to just wander those streets-- but is a couple of centuries after what we are looking for.

And then, last night, we went to the Piazza Signoria for a poetry reading of Dantè's Divine Comedy. Ok, not all of it... but set up in the town square was a pianist and a percussionist and a couple of music stands... and first the pianist played a few numbers, and then a lecturer came out and talked about Dantè (which probably would have been fascinating, but since we only understood every fifth or sixth word, the train of thought derailed quite often). And then the percussionist did a bit of "mood setting," and a young actor came out and read a couple of cantos from Il Inferno. And then there was percussion, and another, more seasoned, actor came out and read a couple of cantos from Il Purgatorio. And then there was some percussion, and a final, grande sire actor came out and read a couple of cantos from Il Paradiso. Now, again, it was all in Italian, so an awful lot of the meaning was lost-- but it was still incredible to listen to the metre and rhythm of the original, and to see the differences in technique. The first actor was a young, dark, brooding actor type... all vocal pyrotechnics and physical motion. he was interesting to watch just for his displays... and his big, puffy, vinyl, black shirt. The second actor reminded both of us of Joe Regalbuto (Frank from Murphy Brown) mixed with Enrico Collasanto (the alien guy from the Tim Allen Star Trek parody)... a working actor who knows how to let the words themselves work, how to get out of the way of the text and just let the story tell itself. And the third actor was the story. He was older and totally calm and controlled, he spoke the words with no affect, but everyone was rivetted to him... Dave says, think Mike Nussbaum.

My thoughts were that I enjoyed the performance of the first actor, I really understood the words (even though I didn't... funny, that) and the power of the poetry with the second actor. And the third actor I just wanted to keep talking and talking and talking-- a definite "he could read the phone book" type.

So, David and I spent the evening the Piazza drinking Valpolicella (which they serve in thick earthenware pitchers to be poured into huge-bowled wine glasses), eating gelati and cheeses, and listening to Dantè.

No, really.

So, tonight we're going to wander the city again. Verona by night is one of the most beautiful places on earth, and tomorrow we say farewell to Italy because it's off to Paris.

Thank you all for paying attention this far... and if there's anyone you can think of who should be receiving these and isn't, please let us know (sorry Gwen... I changed the address)... and vice versa, there's another month to go, and if you're so sick of us that you can't think straight, just let us know.

Hope you all are well and hope to hear from you soon.

Jan & David

Dispatches from Europe #12

On our honeymoon back in 2002, Jan and I made a point of stopping into internet cafes and sending off these massively fun e-mails to a huge number of friends. Oh so originally, we entitled these, "Dispatches from Europe." Since I've been talking about our time in Verona, I thought it would be fun to post a couple of these - really in the hope that some travel organization will see how brilliant they are and hire Jan to travel the globe to write more, with me in tow. I suspect that we would be great globe-trotters. In fact, we already are, but it would be even better to get paid for it.

So, from mid-June, 2002, here's one of the Dispatches (remember, 2002 was a World Cup year):

Hello Again All,

We're still here in Verona and what an amazing place this is and what an amazing time we are having (David has been teasing me about how I use the word "amazing" in these dispatches... so feel free to fasten your seatbelts, it's going to be a bumpy night...).

Yesterday morning we met with Antonella Leonardo, the secretary to the Minister of Culture in Verona. It's a very busy time for them as Opera in the Arena (yes, they actually use their Roman arena... and for grand opera-- isn't that the most amazing thing?) is gearing up and Aida is loading in. It's really fun to wander the Piazza Bra (the area around the Arena) and see it full of giant Tutankhamen heads and sphynxes and Aida stuff... and to see the giant posters everywhere advertising it-- with scenic design by Franco Zefferelli. He's also directing a piece later in the season with Jose Carrera, but he's the scenic organiser and designer for the season. Anyway, it's all really fun to be around.

So, we met with Antonella and she gave us lots of information to help in our Verona travels-- passes into an archeological dig about the Scaliger palace that are really hard to get, information on how to get in to other places... the phone number of a university professor here that David had been in contact with about the history in Verona, and the phone number of Count Alighieri... the last of the direct descendants of Dante and Pietro Alighieri-- about whom David's book revolves. So we called the professor-- Rita Severi (good Roman name)and made plans to meet at the civic library. When we met up with her, she showed us around the library, amazing, and introduced us to the head librarian whom David had been in contact with by e-mail but hadn't met. He spoke no English but was so excited about having a "scrittore" and a couple of "attori" who were interested in his collection that he went hog-mad, giving David copies of books and manuscripts and promising to dig more things up and grinning and laughing... he was so happy someone was interested I expected him to actually dance for us. So we left the library laden with material, and had drinks with Rita to discuss literature (she's the drama literature professor at the university... her main field of study is Oscar Wilde... but Shakespeare seems fine to her as well) and she ended up inviting us back to the university to meet her husband and check the place out.

So off we went. At the University we just happened to run into the head of the Humanities department, who is an internationally recognised post-medieval scholar... and chatted a bit with him (actually, he speaks no English, so we spoke our pidgeon Italian and Rita translated) while he frowned over the idea of silly Romeo & Juliet stuff, but smiled broadly over the Cangrande and the Della Scala aspects of David's book. Again, he offered help if needed.

We love these people-- the Veronese are so helpful and interested and interesting... as long as it's not about Romeo & Juliet-- about which they are terrible snobs. I am so with them.

And then we met Rita's husband Paolo who is a medieval history specialist who writes mainly about the lives and stories of medieval saints (we didn't think it would be good to tell him about our Saint-Baby/Muppet idea...) and he was lovely ("you're so young!" he exclaimed upon meeting us... you've got to love that!) and they invited us out to dinner and to wander the city with them.

So, we raced home to call the Count (we had to call the Count at 8... that was a fun sentence to write) and managed to connect with him. We have an appointment for brunch with the Count tomorrow morning-- he'll show us the Alighieri estates and vineyards (I gotta tell you, these are fun sentences to write!) and he seems like a kind if crotchety old man... with a teenaged daughter... these Counts, what can you do?

And then we went to dinner with Rita and Paolo and their eleven-year-old daughter Julia. We mentioned the Count and our appointment and then had a lovely chat with our new Marxist friends (did I mention they're avid Marxists?) about how this is a Republic and there are no titles anymore... ok, I know that, but he's still
"the Count" to me.

One ring of Dante's inferno... ah-ah-ah... two rings, two rings of Dante's inferno... ah-ah-ah...

And we had a lovely dinner at a Pizzaria on the other side of the Adige (with a lovely Valpolicello and the mushrooms on the 'za were to die for... I've been told I don't mention the food enough in these dispatches... I'll write a brief mini-dispatch about that another time... and the limoncello is great) and talked history with
Paolo and Rita.

It was great to wander the city with people who both love it and know all about it. They showed us where the people built houses into the Roman walls in the early Dark Ages because the old walls were stronger than anything they could build, and they took us down old streets to show us where bits of fresco still exist... they pointed out which bridges were still there from the 13th century and which bridges were there, but had dropped by now.

And then we all walked to the top the old Roman hill (where the Roman theatre is-- and yes, that's in use as well... they use it for a Shakespeare festival in the summer and we were able to watch them rehearse a bit of Julius Caesar... in Italian) to look down and across the Adige at Old Verona City.

Once you get past the outer suburb-type areas, which are highly industrial, the Old City is amazing... I believe quite the most beautiful place we've been so far. It's delightful.

And we discussed coming back to lecture on theatre and possibly David's book when it's out... and all that jazz. And they want to come to the States at some point to check out our Universities... and it was a truly wonderful night.

Today we wandered and climbed the Arena (a surreal experience with all the Italian IATSE guys loading in the Egyptian Aida set) and are now trying to avoid the heat heat heat.

Tomorrow, brunch... then the US/Germany game... then we're meeting another University Professor... And then Saturday we'll hit Vincenza and Padua briefly (they're just short day trips away... like visiting Naperville from Chicago) and then see about Mantua.

We're having a wonderful time, and again, we wish you were all here with us... ok, maybe not all of you... but a large percentage of you.

Hope you're well.

Jan & David


The Count - pt. 4

Continuing Jan's account of our meeting with - The Count:

At this point in the conversation, the Count switched gears and asked, “Would you like coffee?” He then stood, walked over to the door, and called “Marco!” out into the hall.  After a pause, he called “Marco!” again.  He then spoke quietly to someone in the hallway and then returned to his seat.

David asked a question about the original size of the land purchase and they continued their discussion.  After a few minutes, a man tall man in a suit appeared in the doorway with a tray and silver coffee service.  The Count stopped his narrative while the man placed the tray on the coffee table. "Gratzi, Marco," he murmured as the man left the room.  The Count then picked up his description of the original planting of the vineyards where he had left off.

My husband and the Count chatted on for a while as I continued to look around the room and admire the small pieces around me.  After a couple of minutes, I wondered about the coffee. It was just sitting there on the table between us.  The Count's manservant (his manservant.... teehee) didn't do anything with it and didn't appear to be coming back.

And then it occurred to me... I am woman. 

Hear me roar.

Oh-- and the Count seemed to be waiting for me to pour.

Seriously.

I was sitting in a 14th century villa in the Italian countryside with my husband and a Count and they were expecting me to pour their coffee.

After a few calming breaths and a mental gathering of the all the societal morays I had culled from Jane Austin's novels, I reached out and took the handle of the coffee pot and asked, “Shall I pour?”

The Count waived assent with one hand and continued to talk to David about the outbuildings and when they were added to the original plan.

I sat on the settee with the coffeepot in one hand, picking up the cups and saucers in the other and trying to keep my hands still enough that the china didn't rattle as I asked at appropriate breaks in the conversation, “How do you like your coffee?”

The Count likes his with a little cream.

Somehow I managed to serve, feeling like I was having tea with the Queen. And feeling incredibly American and incredibly 21st century. And feeling a little bit angry with my feminist self who wouldn't shut up and stop whispering in my ear, “Why can't he pour his own damn coffee?”

The Count - pt. 3

Continuing Jan's account of our meeting with - The Count:

He lead us into a large paved in stones courtyard framed by the vineyard building we had just left, a large square barn-like building, a long, two-storied stone building, and the house.

The house.  A lovely, stone, Italian house that looked both fresh and inviting and also as if it had been there forever, carved out of the countryside.  It had large double doors in the center of the first floor that led us into a two-storied entry-way.  The stone floor was polished to an almost mirror-like sheen, the center of the floor containing an inlaid heraldic crest.  David and I skirted the crest, trying to study it and the rest of the room surreptitiously while following the Count.  He noticed our appraisal of the floor and said “That was updated in the 1470s when the Serego Counts married the Alighieri.  It was originally just the Alighieri symbol – now it is much more.”

David told him that the main character of his book was Pietro Alighieri and that we were very interested in the home that he had built – and that we were fascinated to find that his descendant still lived there.

The Count smiled briefly and said—“Then you will appreciate this.” He opened a large cabinet against a wall in the entryway and pulled out a poster-sized piece of parchment.  He held it up for us to see, and as we tried to decipher the Italian of the document he said, “The original deed to the property.”  Seriously.  He just happened to have a document from the 14th century in a cabinet in his entryway.  “Let me show you around.”

Piere-Alvins Serego-Alighieri is an elegant man.  I can't think of any other word to describe him.  He is soft spoken, his low voice easy to hear and relaxed with a lovely Italian accent to his fluent English.  He uses his hands occasionally as he speaks – not in the stereotypical Mediterranean style, but simply, casually, with fluid motions from the wrists.  He is the kind of man who seems to use no excess energy as he moves or speaks – he is perfectly balanced and perfectly calm and perfectly natural in the incredible grace of his home.  He smoked quite a bit while we were there, but the smoking had a quiet, cavalier quality instead of the rat-like energy most Americans have when they smoke.

We followed him through his home, through rooms that had been decorated in the 14th century and redecorated throughout the centuries since.  Antiques from seven centuries lived together in this house.  As we walked from room to room, I was reminded of the different villas and homes and museums we had toured in our travels through Italy that summer and felt that these rooms were no less opulent or stylish, their contents no less rare or extraordinary than the rooms that were blocked off by red-velvet ropes to preserve their treasures.  And, interesting to me, mixed in among the 15th and 19th century antique chairs, tables, paintings, and chests were a new stereo system on a consol table, family photos in bright plastic frames, and recently published paperbacks and magazines on a sofa here or on a desk there.  In the midst of this museum of a house was a home, with a teenaged girl living there. Amazing.

We ended up in a small study – small being a comparative word choice. It was smaller than some of the rooms we'd been in – one in particular that held the wedding coaches the bride and the groom rode in when the Alighieris married the Seregos – but larger than our Chicago apartment.  Like the entry foyer, this room had a crest in the stone floor and also a large fireplace and floor to ceiling French doors.  We sat on an upholstered settee and the Count sat across a large coffee table from us in a leather club chair.

He and David discussed some of the history of the Alighieri family while I tried not to gape at the room we were in.  Apparently, the Alighieri sons had the tendency, in the generations following Pietro, to join the priesthood, and by the late 15th century there were no marriageable males left.  At that point in the family's history, there was only one daughter, the sons both having taken holy orders.  The daughter was courted by the Count of Serego and, when he asked her brothers to marry her, they agreed on one condition – that they not allow the name of Dante Alighieri to die out.  They would give the Count Serego their sister if, in return, he took their name and passed it along to their children.  It was at this time that the family became Serego-Alighieri.

The Count - pt. 2

I’ve asked Jan to tell the story of our meeting with the Count. She recalls it a little differently than I do, and probably much better. Remember, this is the woman who sacrificed a week of her honeymoon to wander with me around Verona, hunting up this house or this street or some underground ruin. I was in a daze, especially for our meeting with the Count. So she’s the one who tells the tale at dinner parties, and she tells it so well I’ve twisted her arm and convinced her to write it up.. She fought me, saying, “I don’t write like you!” I said, “Thank God for that, just write it!” She did, and I think it’s great. Thanks, honey.

This is the first part, starting just about where I started in my last post about the Count. Enjoy!

The afternoon before, we got the message:

“If you'd like to meet the Count, he's available tomorrow afternoon-- give him a call,” and she left us a number.  The message had come from the Secretary of Culture in Verona-- a lovely woman we had met a few days earlier and who had gotten us in contact with some fascinating experts on the history and culture of Verona.  The first time we met her, she gave us a list of places to go, people to talk to, and, in passing, handed David a card saying, “And, of course, you'd like to talk to the Count of Serego-Alighieri – he still lives on the estate purchased by Dante's son.”

Well, yes... of course we would... ummm... wow... the Count has a card. Ok.

So then we got the message.

And we sat on the bed in our hotel room debating just what one should say to a Count when one calls to set up a chat.  Finally, deciding our natural paralysis was a bit ridiculous, David, in a burst of confidence and devil-may-care energy, called the number we had been given... and reached the Count's teenaged daughter.  She was irritated to be interrupted in her phone call to get her father, and groused to him audibly in the background as he picked up.  In short sentences, punctuated by comments in the background of the daughter, it was decided that David and I would take a cab out to the estate the next day at 2 pm.  “Ring the bell.”

That night, David and I had a wonderful dinner with a couple of college professors we had met in Verona... true academics and Marxists to the core.  The meal was lovely – other than the argument we had when we mentioned our next day's excursion: “Italy is a democracy!  There are no Counts anymore!”  Well, ok, then... but we were still set to meet the direct descendant of Dante Alighieri at the home and vineyard Pietro Alighieri purchased in 1353.  Call us starstruck, but that was pretty cool in our minds. We whispered to each other in the cab on the way home from dinner “And he is SO a Count.”

The next morning we took a cab from our hotel to the address we had been given – many miles outside of the city down winding country roads.  The cabbie stopped the car next to a rather nondescript 15 foot high stone wall.  In garbled Itanglish, we asked “Is this it?”  He nodded and pointed at the wall.

As we approached the place at which he had pointed, the cab drove away.  David noticed that there were some buzzer buttons placed high on the wall – the kind you find at the front door of many Chicago 3 flat buildings, little white buttons with little white nametags made on a labeling machine next to them.  They said things like "Vineyard Business Office" and "First Floor Office" – in Italian, of course – and one said "Count Serego-Alighieri."  Giggling like five-year-olds, we pressed that button.  After a moment, a low voice came over a small speaker, "Si?" Immediately sobering, David said, "Hello.  My name is David Blixt and I have an appointment to meet with the Count."  After a pause, "Si, yes, turn the corner and go in the Vineyard office." 

About 20 feet from the little buttons, the wall made a turn. We walked to that point and saw that where the wall seemed to end was a door into a large, rustic, wood paneled and beamed room full of racks and barrels – the walls covered with bottles of wine and vinegar.  There was a counter on one wall with two young women wrapping bottles for shipment and a desk near a door on the far side of the room with a young man who appeared to be doing accounts.  David and I stood in the dim room nervously waiting – for what we weren't sure.  The workers in the room glanced up at us and returned to their work.  A moment or two later, the far door opened and a man entered. He was of medium height, slight of weight,  and had straight brown hair, greying at the temples, in an expensive cut.  He was wearing a linen button-down white shirt with the sleeves rolled to the elbows and open at the neck and grey linen trousers. He looked at the two of us and approached with a hand outstretched. “Hello, I am Piere-Alvins Serego-Alighieri and you must be David and Mrs. Blixt.”  We nodded and smiled as David shook hands with him and he nodded in greeting to me.

“Why don't we go into the house.” And he turned and walked towards the door from which he came.