My Photo

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

Sun Mon Tue Wed Thu Fri Sat
    1 2 3 4 5
6 7 8 9 10 11 12
13 14 15 16 17 18 19
20 21 22 23 24 25 26
27 28 29 30 31    
Blog powered by TypePad

Verona

Favorite Search Ever

I occasionally check to see how people are finding the site. Mostly it's my name, or "tomorrow and tomorrow," or else "Montague-Capulet," but every now and then a fun search pops up to amuse me.

At least once a month someone finds this site by searching for "Camilla the Chicken." Likewise for "Lew Zeeland." (These are muppets, based on a post I did a year ago casting two Shakespeare shows with the muppet characters).

But today I think I saw my favorite search ever: "Was Verona a real place?"

Ah, the imaginary land of Verona, a floating city where lovers meet to die.

I'm going to be smiling all day.

The rest is silence...

If I've been remiss in updating this blog, it's only because I'm deep, deep in research for the new novel. I have, however, hit upon an entertaining diversion for the next week or so, for those who have been missing me. More on that tomorrow.

A quick note - VOICE OF THE FALCONER has been pushed back to Winter, 2009. This sounds dire (at least, those friends I've told are mourning), but really it's a good thing. It was done at the suggestion of Dan Conaway, my new agent, for reasons to do with profitable release times and book-momentum, in connection to THE MASTER OF VERONA coming out in trade paperback in Fall of this year. My only sadness is that I wanted a novel out in 2008. But a delay of three months is apparently a boon, so I will take it as such.

Lastly, I recently opened the mail to discover a marvelous little treasure from my friend Rita Severi. She was the translator for the poetry of Mauello Guidio in MV. She just sent me a copy of her latest work, a side-by-side translation of Maurice Hewlett's MADONNA DEL PESCO, aka MADONNA OF THE PEACH TREE. It's labelled una storia di Verona. Published in Bologna, 2007. Thank you, Rita - I can't wait for a break in the research to crack it.

Okay, back to Romans and Jews.

Breaking News - Amazon Short Available!

Just in time for Kindle...

VARNISHED FACES, an Amazon Short Story by David Blixt.

VARNISHED FACES is from a line from The Merchant of Venice. Shylock refers to the celebrations taking place outside his home as the Venetians revel in masks. He warns his daughter against those "varnish'd faces," meaning the leather masks - and also the men behind them.

In Romeo & Juliet, Romeo and his friends crash the Capulet ball in masks. Lord Capulet tries to recall when he last wore a mask to a party, and "Old Capulet" replies that it was at "Lucentio's wedding."

All these elements are brought together in my first short story, published through Amazon Shorts, and available here for only 49 cents. A steal.

This is the first of nine stories I'll be publishing as a lead-up to the sequel to THE MASTER OF VERONA. Due next Fall, it's entitled VOICE OF THE FALCONER.

For those keeping score, VARNISHED FACES falls between chapters 27 and 28 in MV, at the very beginnng of the Fourth Act entitled The Exiles.

There are several reasons why this story pleases me. First off, it fills in a few deficencies in the novel - we get to meet Giotto here, whereas he's only referenced in the book. We get a good long glimpse of Padua, a place only visited at night in MV's Prologue. And while the rivalry between Pietro and Carrara has a nice arc, I never really touch on the natural anger that Antony has for the Paduan knight. Understandably, Antony blames Mariotto for the ending of their friendship, and that's what plays out in the book. But Carrara had a hand in those events as well, and Antony certainly would not have forgotten that fact.

But my favorite reasons for writing this story are the Paduans themselves. While the novel takes place in and around Verona (hence the title), Padua was one of Shakespeare's favorite places to reference. In this story I'm able to bring all those references together. Characters from Much Ago, Shrew, Merchant, and R&J all meet up in Baptista's garden.

So while you wait to see what happens to Cesco, Pietro, Cangrande and the rest, use this to help fill the void. I promise, it's worth every penny.

The real Capulets & Montagues

Someone just found this site by Googling the names "ANTONIO CAPULLETTO" and "MARIOTTO MONTECCHIO." Which is flattering, as the only way that person could have gotten those names is by reading my novel.

Because I made them up.

With that in mind, I feel honor-bound to make clear a bit about names and history.

There were Montagues and Capulets, they were real families - Montecchi e Cappelletti. Dante is the most famous person to mention them (PURGATORIO, canto VI), but they are in many histories and period chronicles as well. They actually clashed more in the area of Cremona than Verona, but were so famous for their squabbles (and famously mentioned) that their names became synonyms for "feuding families" - much as Hatfield and McCoy are today.

My only answer as to why so many writers connected them with Verona is that there is a castle and a village between Verona and Vicenza, both called Montecchio. Naturally, one would assume that the Montecchi lived there, no?

Actually, most often period Italian names indicate the place of origin, not the place you currently resided. If I was born in Parma, but lived in Venice, I would be David of Parma. Everybody would know who that was. Then, after a few generations, the name is still there. My son would be Dash of Parma, even though he'd never been to Parma in his life.

Now, there were Montecchi who were intimately involved in Veronese affairs - but that wasn't the branch of the family famous for fueding. It's more likely that the Montecchi in Cremona originally came from the village of Montecchio, and were neither the owners of that castle nor the masters of that village.

However, all of that is mere speculation on my part, as my research has been focused on the area around Verona and how to mesh Shakespeare with history. Presupposing that both families lived in Verona, I invented histories to both.

All of which is a long way of saying that Antony and Mari are fictional characters, their names stolen from elsewhere.

Mariotto's name was taken from the poet Masuccio Salernitano’s 33rd Novel from IL NOVELLINO - an early version of the R&J story.

The name Antonio I borrowed from Luigi da Porto, a native of Vicenza and the first person to name the famous lovers Romeo & Giulietta. In his version he mentions that the young girl's father is called Antonio.

That's where those names came from. Instead of working forward from history, I worked backwards from the play, setting Shakespeare's characters in among the true historical figures. Because, by the time of the novel, most of the Capulets and Montagues had died off, or moved away - notably, to England, where there is a famous family called Montagu.

Which brings the whole thing full circle and is enough to make a grown man weep.

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 2

“This happened this morning?” The Capitano’s eyes scanned the few written lines again and again, ripping every ounce of meaning from them.

“Just – before dawn,” gasped the rider. “Ant– Ant–”

The Scaliger looked up. “When you can! Don't waste my time!” The youth cowed, Cangrande’s tone softened. “Get your breath back, then tell. You did well getting this past the enemy. A minute more won't break us.” The parchment was glanced at once more. A wry grin came to the thin lips. “Good for you, Ponzoni. I didn't think you had it in you.”

Cangrande turned his full attention to the messenger. “I’m going to put some questions to you. You will answer with nods. Understand?”

The young rider started to speak, then caught himself and nodded.

“Vicenza’s suburb is taken?”

Nod.

“They put up a fight?”

Shake.

“They went willingly?”

A hesitant, almost fearful, nod. There was no change in the face that questioned him.

“Antonio da Nogarola is in charge in the city?”

Nod.

“Bailardino must still be in the north.”

It wasn't a question, but the young messenger nodded anyway.

“Has he fortified the inner city wall?”

A nod, but there was some hesitation.

“He was just ordering it when you left.”

A vigorous nod, then the lad opened his mouth. His breath had returned. “Not only the walls – Ser Nogarola ordered the houses in San Pietro fired – to deprive the enemy of cover.”

“Excellent!” He clapped a hand on the messenger’s shoulder. “You've done well. One more question – was there any sign of the Count of San Bonifacio?”

“They say he lead the assault into the suburb.”

Cangrande swore, then patted the boy on the shoulder. “What is your name, youngster?”

“Muzio, lord.”

“Muzio, you've completed your charge. You may now have any bed in the palace. Just repeat what you told me to my master-at-arms below. Ask for Nico da Lozzo. Tell him I said muster as many men as he can and ride to Vicenza.” His eyes flickered to a wineskin hanging from the lad's belt. “Is it full?” Without being asked the boy unslung it from his belt and handed it to the Capitano. “My thanks,” said Cangrande, gripping the skin in one hand while the other made a fist to gently prod the boy's shoulder. “Now go, tell Nico what you know. And tell him I've gone already.”

Full of new energy, the boy made to run off when the great man touched his shoulder. “One last question. Is the wife of Bailardino de Nogarola well?”

“She was when I saw her, lord. She was helping Signore da Nogarola give the orders.”

“Of course she was. Go now, lad.”

The sound of the boy’s footsteps echoed among the empty loggia. For a moment the great man stood alone. He lifted the wineskin to his lips and drank off the contents in a single pull, then tossed the empty bladder aside.

In a flurry of movement, the Scaliger moved towards one of the perches. His hands moved among several of the birds waiting there. They made noise as he released the tether from one of them. It was the same merlin he had petted earlier. With a light step the blindfolded bird was on his shoulder.

To the seemingly empty hall he said, “If you’re coming, try to keep up.”

Then Cangrande took a step and disappeared behind the billowing curtains of the nearest arch of the loggia. Seconds later Jupiter began to whimper. The three hidden watchers emerged a second later. Save for the greyhound and the falcons, they were quite alone.

Glancing around, Antonio said, “Where the hell...?”

“Was he talking to us?” wondered Mariotto.

“He didn’t know we were here,” said Antonio with certainty.

Pietro ran to the arch Cangrande had disappeared behind. The lord of Verona was gone. The only thing here was the greyhound, straining against the railing to the balcony. Looking at the cobbled street one level below Pietro said, “He jumped.”

“What?” Mariotto and Antonio joined him, arriving just in time to see a golden-headed blur race out from the stables below them, heading east down a private street. Not bothering with stairs, Cangrande had found a horse and started out for Vicenza.

Pietro shared blank looks with Mariotto and Antonio. In unison Mariotto and Antonio imitated Cangrande, leaping off the balcony to the stables below, Mariotto still bearing the bird on his arm.

Pietro thought they were both crazy. But already he had swung his own legs over the rail and dropped hard to the cobbled street. In moments he was joining them in their search for horses.

Above them the greyhound raced for the door, down the stairs to the stable, determined not to be left behind.

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.

XV - Music for Writing

Ah, sweet, sweet music.

Some writers like to sit in bustling cafes, smoking their cigarillos and drinking coffee and Bailey’s. Some sit outdoors, with the sounds of nature. Some lock themselves away from the smallest pin-drop. Some don’t care what noise surrounds them. And some listen to music.

I am a combination of the last two. If I have been writing for hours, I couldn’t care less what sounds abound. But getting started, when I’m susceptible to the phone ringing or my wife listening to NPR and Air America, I like to put on my headphones and play music just loud enough to drown everything else out.

While I have listened to various and sundry tracks in the years that this book has gestated, there are certain albums that I have to credit with helping me along.

First and foremost, Sting’s Ten Summoner’s Tales. Again and again I would listen to this when nothing else seemed right, and in moments I was having another eight-thousand word day. There are only a handful of perfect albums out there, and they’re always a pleasure to find.

Another perfect album is Peter Gabriel’s Us. So is almost perfect, but Us has a complete balance of style and mood, along with a vibratory grounding that sends me right along.

Third in the list of perfect albums is Paul Simon’s Graceland. Sadly, both Us and Graceland had been my background for my first serious attempt at a novel, and for a long time I connected them with first-person narrative. Not so any more, thankfully, they’re back in rotation.

Then there’s Tori Amos. Dear God, I love her voice. And her piano playing. And her hair. And that she’s friends with Neil Gaiman. And that she understands the power of orange knickers. Anyway, Boys For Pele is incredible. I first heard in on a train on the way to Istanbul – I had bought the cassette in an open market that day because I’d been in Europe for months and had gotten sick of all my music. She will forever be exotic to me.

During my first year of writing I listened to Sinead O’Conner’s Universal Mother quite a bit. Not a perfect album, but it has many great moments.

Unfortunately by the time I was deeply into writing this book I had already overdosed on the amazing, vibrant, brilliant Afro Celt Sound System. These days I make sure to listen in moderation. Nonetheless, Release is the album I want playing when I die.

Out of the pop music world for a moment, John Williams soundtrack for Superman probably got more play than anything else. Then a couple years ago, I got the soundtrack to Master and Commander. Already one of my favorite films – like perfect albums, this one really is a perfect piece of film-making – the score is now one of my standbys.

Another favorite is the entire body of work by the Vince Guaraldi Trio, especially the Peanuts music. It’s summertime music for me, always excepting the Christmas album.

Benny Goodman played a large part in editing the book. The collection called All The Cats Join In is my favorite.

Last year I fell in love with the Black Eyed Peas, especially Monkey Business. Again, it’s probably because it was the only song that wasn’t by Coldplay being played in Italy the summer of 2005. Not that I don’t enjoy Coldplay, but they were on tour in Italy at the time and you couldn’t escape them.

Oddly enough, they were playing in Verona on my birthday. In the Arena Dante had used as the model for Hell. Jan and I looked at each other and said, “Well, if that’s not a sign…” and promptly looked for scalpers.

I have a similar love for Shakira. Long before her hips began lying to me we heard her as we strolled through Verona in 2002. Music is often connected to the places I heard it. When I’m trying to conjure the place, I listen to the music.

For the rest of my background, I listen to a lot of Dar Williams, Moxy Fruvous, Smokey Robinson and the Mircales, the Beatles, Evanescence, Cat Stevens, Martin Sexton, the Nields, Vienna Teng, and U2.

Certainly more than anyone needed to know, but I like to spread the credit around.

And the blame.

- DB

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