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	<title>Chronicles: A Magazine of American Culture &#187; Convivio</title>
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		<title>Florence Diary I: Getting There</title>
		<link>http://www.chroniclesmagazine.org/2009/02/17/florence-diary-i-getting-there/</link>
		<comments>http://www.chroniclesmagazine.org/2009/02/17/florence-diary-i-getting-there/#comments</comments>
		<pubDate>Tue, 17 Feb 2009 21:12:00 +0000</pubDate>
		<dc:creator>Thomas Fleming</dc:creator>
				<category><![CDATA[Hard Right]]></category>
		<category><![CDATA[Convivio]]></category>
		<category><![CDATA[Florence]]></category>
		<category><![CDATA[Italy]]></category>
		<category><![CDATA[Travel]]></category>
		<category><![CDATA[Tuscany]]></category>

		<guid isPermaLink="false">http://www.chroniclesmagazine.org/?p=1247</guid>
		<description><![CDATA[I shall begin with a confession.  I have never really liked Florence.  My initial negative impression was formed while spending a few days with the late Leo Raditsa at Ulivello, his family’s villa outside Florence.  The first half day was spent in the Santa Maria Novella Station, trying in vain to reach our host.  Leo lived at a greater distance than I had imagined, and as a result I was not putting enough gettoni into the slot.  I finally paid something like 80,000 lire to a taxi driver, who explained I had to pay for both ways.]]></description>
			<content:encoded><![CDATA[<p><em>Note: I had intended to publish a Florence diary while I was gone, but computer problems made that project impossible.  This reconstruction is based on notes and memories.</em></p>
<p>I shall begin with a confession.  I have never really liked Florence.  My initial negative impression was formed while spending a few days with our friend the late Leo Raditsa at Ulivello, his family’s villa outside Florence.  The first half day was spent in the Santa Maria Novella Station, trying in vain to reach our host.  Leo lived at a greater distance than I had imagined, and as a result I was not putting enough <em>gettoni</em> into the slot.  I finally paid something like 80,000 lire to a taxi driver, who explained I had to pay for both ways.  I knew just enough Italian in those days to know what he was saying.  Zipping down the Strada in Chianti, I noticed a crazy driver weaving all over the road in an old jalopy (perhaps a last specimen of the extinct Cit).  It could only be Leo, a man whose passionate reading was matched by his indifference to everyday concerns.</p>
<p><span id="more-1247"></span>It was a hot end-of-August, but Ulivello (which Leo had inherited from his grandfather, the great scholar-journalist Guglielmo Ferrero) was an island of peace and coolness.  When we returned to the hot city the next day, it was crammed with mass-tourists and American women buying overpriced gold on the Ponte Vecchio.  The next week, staying in Pisa, I refused to accompany my wife on a trip to see the Uffizi.  On the half a dozen or so later visits I made, I was struck only by the bad food, acid wine, and cynicism offered by restaurateurs who knew they could get away with anything.  Once I was so exasperated by the crowds that thronged the streets between the Piazza dell Signoria and the Cathedral that I turned back and took a train to anywhere but Florence.</p>
<p>That is why in planning a Convivium in Tuscany in May of 2002, I arranged for two thirds of the time to be spent in Pisa and Siena, and even our three days in Florence seemed too much, marred by crowds of tourists and the rowdy Italian teenagers and indifferent staff at the Hotel Basilea.</p>
<p>Once only, on a brief trip to visit the Navrozovs in a cold December, did I see any charm in the city, deserted (as it was) by all but the inhabitants. I spent a morning prowling through an empty Uffizi, and, one chilly afternoon with snow in the air, I ate an amazing <em>bollito</em> with <em>salsa verde</em> at a street vendor outside one of the city gates.  My few days in December, shivering from cold weather and a miserable cold caught on the airplane, were good enough to encourage me to plan a Winter School program in Florence.  It turned out to be the right decision.  I did not care if it snowed, so long as the city was empty.</p>
<p>We had hoped to fly direct to Rome and spend a few days seeing friends, but the retarded sadists who work for Alitalia were determined to disrupt air travel just one last time before Berlusconi succeeded in reorganizing the bankrupt company.  Instead, we opted for a United flight to Frankfurt, with a Lufthansa connection to Florence.  In both directions, the connections worked perfectly, so perfectly that I am afraid to test my luck by trying it again: I may have exhausted my entire stock of luck with Lufthansa.</p>
<p>Here is a piece of advice.  If you have to change planes, when going to Europe, be sure to change over there, where it is much simpler on the way over, and, what is more important, it makes returning to the States a breeze.  Getting your bags and taking them through customs in New York or Dulles is no fun.  Also, if you are able, do not switch airlines or at least stay within one of the two allied species, the Star or One World alliances.  Otherwise you will often not get a boarding pass for the second flight and in general be treated as excess baggage. “I’m sorry,” the American Airlines clerks will all say, “Air France (or Olympic or KLM) won’t give us that information.”</p>
<p><img class="alignright" title="Mark Beesley" src="http://www.chroniclesmagazine.org/images/florence_log_1/florence_beesley.jpg" alt="" width="240" height="180" />Our friend Mark Beesley talked us (my wife and I, Chris Check and his son Nicholas) into getting a limousine to the airport.  He booked the wrong time, which would have meant arriving at O’Hare at take-off time, and since I (the old and senile one) caught the mistake, Mark kindly sprang for champagne on the ride.  It is always something of a chore to stay sober on a trip, and Beesley was not making it any easier.  After surprisingly good sandwiches at the O’Hare Berghoff, we spent nine hours listening to a two year old Arab scream as his parents looked the other way.  This is not, I remarked, Al Qaeda material, or, if it is, we do not have much to worry about.  A culture that refuses to repress spoiled brats is as doomed as our own.  A bigot sitting in our row made pointed remarks about all the “A-rabs and Chinamen” on the plane, and he reminded us of the old airline commercials that portrayed passengers flying steerage with gypsies and chickens.  As any frequent flier can tell you, that is no longer a joke.  Being good Americans, however, we refused to give the bigot the satisfaction of a smile at his racist humor.</p>
<p>We arrived two nights early and on Mark Beesley took us to a restaurant he liked, <a href="http://www.firenzerestaurant.net/ing.html" target="_blank">Ristorante Leo</a>.  Leo’s has been around a long time, and the restaurant, while a bit upscale for the Santa Croce neighborhood, is showing its age—a plus so far as I am concerned.  I was determined, as I declared to anyone who would listen, to eat like a pig the first night, and I did my best on a large mixed antipasto, followed by “Ravioli Leo”—an unpromising dish of spinach and ricotta stuffed ravioli with a shrimp and asparagus sauce (just the sort of food I loathe) but it was delicious.</p>
<p>The triumph, though, was the <em>bistecca fiorentina</em> the three of us shared.  We needed a couple of Checks to finish it off, but they were not man enough to stay awake for dinner.  I was so stuffed I barely found the room for a grappa Toscana.  The proprietor, coming to pour wine, was mildly annoyed at where my wife had placed her water glass and treated us to a lesson on table setting, explaining that the waiter had to know to aim the wine just north of the knife, a position to be kept free of cutlery and water glasses.  He was charmingly grumpy on this and future occasions, talking us into the dishes he had prepared and had not been able to serve—the place was virtually empty at the end of January.</p>
<p style="text-align: center;"><img class="aligncenter" title="Derrick and Rick Culley" src="http://www.chroniclesmagazine.org/images/florence_log_1/culleys.jpg" alt="" width="350" height="263" /></p>
<p>The second time at Leo’s we dined with our friends the Culleys and Mark Kennedy, and I went through the entire menu with them, more than once.  (Rick Culley enjoys his dinner and has as insatiable an appetite for information as for good food.)  The proprietor watched the performance and jokingly offered me a job.  We stayed so late that evening he practically threw us out, after providing free grappa.  As I heard him walk by, he was saying to himself, “So quiet, so peaceful.  I love this time of year, before Easter.”  He has obviously been successful enough not to worry about money, but he expressed my sentiments about Italy exactly.  As Rick Culley said, from now on he would always prefer to go to Italy in the Winter.</p>
<p>Before arriving in Florence on the 20th of January, I had several misgivings.  The first was over the <a href="http://www.hotelmediterraneo.com/" target="_blank">Hotel Mediterraneo</a>, which we had booked for our thirty-some participants.  The Mediterraneo, which mostly caters to groups and Italian businessmen, is not my sort of place, but it was much better than expected.  The bar was a lively place, and many of our guests spent a good deal of time, soaking in the atmosphere.</p>
<p style="text-align: center;"><img class="aligncenter" title="Hotel Bar" src="http://www.chroniclesmagazine.org/images/florence_log_1/bar1.jpg" alt="" width="350" height="263" /></p>
<p style="text-align: center;"><img class="alignnone" title="Hotel Bar 2" src="http://www.chroniclesmagazine.org/images/florence_log_1/bar2.jpg" alt="" width="350" height="263" /></p>
<p>Our rooms were comfortable, and even spacious, especially after the Murphy beds were pushed up into the wall.  Chris Check was able to entertain about 15 people with wine and trail mix.  Even the inexpensive prezzo-fisso dinners were more than edible.</p>
<p style="text-align: center;"><img class="alignnone" title="Hotel Restaurant 1" src="http://www.chroniclesmagazine.org/images/florence_log_1/restaurant_1.jpg" alt="" width="350" height="263" /></p>
<p style="text-align: center;"><img class="alignnone" title="Hotel Restaurant 2" src="http://www.chroniclesmagazine.org/images/florence_log_1/restaurant_2.jpg" alt="" width="350" height="263" /></p>
<p style="text-align: center;"><img class="alignnone" title="Hotel Restaurant 3" src="http://www.chroniclesmagazine.org/images/florence_log_1/restaurant_3.jpg" alt="" width="350" height="263" /></p>
<p>The only drawback was the 12 minute walk from Santa Croce, which translates into 20-25 minutes from the Cathedral.</p>
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		<title>The Politics of Dante</title>
		<link>http://www.chroniclesmagazine.org/2009/01/06/the-politics-of-dante/</link>
		<comments>http://www.chroniclesmagazine.org/2009/01/06/the-politics-of-dante/#comments</comments>
		<pubDate>Tue, 06 Jan 2009 15:23:41 +0000</pubDate>
		<dc:creator>Thomas Fleming</dc:creator>
				<category><![CDATA[Booklog]]></category>
		<category><![CDATA[Convivio]]></category>
		<category><![CDATA[Dante]]></category>
		<category><![CDATA[De Monarchia]]></category>
		<category><![CDATA[Holy Roman Empire]]></category>
		<category><![CDATA[poilitical theory]]></category>

		<guid isPermaLink="false">http://www.chroniclesmagazine.org/?p=842</guid>
		<description><![CDATA[<p> I propose, in the two weeks I have before going to Florence, that we look at two works of Dante: the <em>Convivio</em> and the <em>De Monarchia</em> .  Although the whole of the <em>Convivio</em> is worth our attention, I am only going to talk about Book IV, in which Dante talks about the empire, Rome, the authority of Aristotle, <em>etc</em> .</p>
<p><a href="http://www.tonykline.co.uk/klineasconvivio.htm" target="_blank"> Here</a> is a link to a translation of the <em>Convivio</em> .</p>
<p>The Italian text is found at <a href="http://www.liberliber.it/biblioteca/a/alighieri/convivio_edizione_busnelli_vandelli/html/testo.htm" target="_blank">a very useful site</a> .</p>
<p>The Italian text of the <em>De Monarchia </em> is available <a href="http://www.greatdante.net/texts/monarchia/monarchia.html" target="_blank">here</a> .</p>
<p><a href="http://books.google.com/books?id=yDATAAAAQAAJ&#38;printsec=frontcover&#38;dq=dante+de+monarchia+english&#38;as_brr=1" target="_blank">Wicksteed's translation</a> is in Google books.</p>
<p>More later today.</p>
<p>Much of the <em>Convivio</em> is taken up with Dante's explanation of why he wrote the work in Italian, rather than in Latin.  The simple answer is that he wanted it to reach a large Italian audience, whereas in the De Monarchia and in his work on the use of Vernacular, he wanted to reach an international readership.  Book IV begins with a Canzone, which (as is his method in this work and in the earlier <em>La Vita Nouva</em> ) he proceeds to expound, both the themes and the structure. The canzone's relevance to the work lies in the question of nobility--is it inherited, as aristocrats believe, or is it a personal quality.</p>
<p>Dante is in a curious position.  As a member of the bourgeois elite (though not from a very elevated family), he was able, on the basis of his obvious talents, to serve Florence in many official capacities, until he was exiled by Corso Donati--the brother of his good friend Forese Donati.  Most of the Florentine Guelph elite families were not noble, and even the Ghibellines, who supported the Empire and were more like English Tories, were predominately from the merchant class.  The obvious exceptions are the families of rustic nobility--the Counts Guidi of the Casentino, for example--and some old families with obviously Germanic surnames, who had settled in Florence and intermarried with the merchant elite: the Uberti and the Alberti.  The situation is complicated by the tendency of the merchant elite to ape the nobility--adopting surnames and coats of arms, manufacturing knighthoods, etc.</p>
<p>Now, Dante is, as I observed, in a curious position.  Although rather a shirttail member of the Guelph elite, he has gone far in life and in exile consorts with people like the Guidi of the Casentino, Guido Novello da Polenta of Ravenna, Can Grande della Scala of Verona, et al.  But, as he reminds us in several places in the Commedia, his remote ancestor Cacciaguida was knighted by the emperor for his services on Crusade.  Closer to his own time, one of his ancestors married a girl whose sister was given by the emperor to Guido the Old, the founder of the fortunes of the Guidi of the Casentino.   So, Dante is no upstart who wants to deny the significance of inherited nobility.</p>
<p>His canzone, he tells us, is really about the nature of goodness, and the beautiful lady represents philosophy:</p>
<p><em> "Among the errors was one I condemned the most, which is dangerous and harmful not only to those who display it but also those who condemn it, to whom it brings pain and suffering. That error was one concerning human goodness, to the extent that it is seeded in us naturally and should be called ‘nobility’; an error so entrenched through bad habit and lack of intellect that almost all opinion was thereby rendered false. From false opinion false judgment sprang, and from false judgment inappropriate reverence or disdain, resulting in the good being held in vile contempt and the bad being honored and exalted. It created the worst of confusions, as is clear to anyone who considers carefully the result of such confusion. Since my lady’s looks had altered somewhat in their tenderness towards me, and especially in those features I gazed at while trying to discover whether [...]]]></description>
			<content:encoded><![CDATA[<p><img class="alignnone size-medium wp-image-845 alignright" style="float: right;" src="http://www.chroniclesmagazine.org/wp-content/uploads/dante.jpg" alt="" width="153" height="154" /> I propose, in the two weeks I have before going to Florence, that we look at two works of Dante: the <em>Convivio</em> and the <em>De Monarchia</em> .  Although the whole of the <em>Convivio</em> is worth our attention, I am only going to talk about Book IV, in which Dante talks about the empire, Rome, the authority of Aristotle, <em>etc</em> .</p>
<p><a href="http://www.tonykline.co.uk/klineasconvivio.htm" target="_blank"><span id="more-842"></span> Here</a> is a link to a translation of the <em>Convivio</em> .</p>
<p>The Italian text is found at <a href="http://www.liberliber.it/biblioteca/a/alighieri/convivio_edizione_busnelli_vandelli/html/testo.htm" target="_blank">a very useful site</a> .</p>
<p>The Italian text of the <em>De Monarchia </em> is available <a href="http://www.greatdante.net/texts/monarchia/monarchia.html" target="_blank">here</a> .</p>
<p><a href="http://books.google.com/books?id=yDATAAAAQAAJ&amp;printsec=frontcover&amp;dq=dante+de+monarchia+english&amp;as_brr=1" target="_blank">Wicksteed's translation</a> is in Google books.</p>
<p>More later today.</p>
<p>Much of the <em>Convivio</em> is taken up with Dante's explanation of why he wrote the work in Italian, rather than in Latin.  The simple answer is that he wanted it to reach a large Italian audience, whereas in the De Monarchia and in his work on the use of Vernacular, he wanted to reach an international readership.  Book IV begins with a Canzone, which (as is his method in this work and in the earlier <em>La Vita Nouva</em> ) he proceeds to expound, both the themes and the structure. The canzone's relevance to the work lies in the question of nobility--is it inherited, as aristocrats believe, or is it a personal quality.</p>
<p>Dante is in a curious position.  As a member of the bourgeois elite (though not from a very elevated family), he was able, on the basis of his obvious talents, to serve Florence in many official capacities, until he was exiled by Corso Donati--the brother of his good friend Forese Donati.  Most of the Florentine Guelph elite families were not noble, and even the Ghibellines, who supported the Empire and were more like English Tories, were predominately from the merchant class.  The obvious exceptions are the families of rustic nobility--the Counts Guidi of the Casentino, for example--and some old families with obviously Germanic surnames, who had settled in Florence and intermarried with the merchant elite: the Uberti and the Alberti.  The situation is complicated by the tendency of the merchant elite to ape the nobility--adopting surnames and coats of arms, manufacturing knighthoods, etc.</p>
<p>Now, Dante is, as I observed, in a curious position.  Although rather a shirttail member of the Guelph elite, he has gone far in life and in exile consorts with people like the Guidi of the Casentino, Guido Novello da Polenta of Ravenna, Can Grande della Scala of Verona, et al.  But, as he reminds us in several places in the Commedia, his remote ancestor Cacciaguida was knighted by the emperor for his services on Crusade.  Closer to his own time, one of his ancestors married a girl whose sister was given by the emperor to Guido the Old, the founder of the fortunes of the Guidi of the Casentino.   So, Dante is no upstart who wants to deny the significance of inherited nobility.</p>
<p>His canzone, he tells us, is really about the nature of goodness, and the beautiful lady represents philosophy:</p>
<p><em> "Among the errors was one I condemned the most, which is dangerous and harmful not only to those who display it but also those who condemn it, to whom it brings pain and suffering. That error was one concerning human goodness, to the extent that it is seeded in us naturally and should be called ‘nobility’; an error so entrenched through bad habit and lack of intellect that almost all opinion was thereby rendered false. From false opinion false judgment sprang, and from false judgment inappropriate reverence or disdain, resulting in the good being held in vile contempt and the bad being honored and exalted. It created the worst of confusions, as is clear to anyone who considers carefully the result of such confusion. Since my lady’s looks had altered somewhat in their tenderness towards me, and especially in those features I gazed at while trying to discover whether the primal matter of the elements was contained in God – such that I refrained from entering the field of her gaze for a while – and living, as it were, in her absence, I began to consider the defect in man reflected by the said error. To avoid idleness, which is the lady’s great enemy, and to eradicate that error, which robs her of so many friends, I decided to call out to those treading this evil path, so that they might rediscover the true way. I therefore began a canzone with the words: Those sweet rhymes of love, in which I intended to return men to the true path with respect to the right conception of nobility, as can be seen by grasping the meaning of the text which I shall now explain. And since I wished to provide an essential remedy in the canzone, I thought it more effective not to use figurative language, but to supply the medicine the fastest way, so that health might be swiftly restored where it had been so undermined by poison that it was rushing towards foul death. </em></p>
<p><em><br />
So it will not be necessary to unveil allegory in explaining the canzone, but simply discuss the literal meaning. By my lady I mean that same lady whose symbolic meaning I fully revealed in the previous canzone, namely that most virtuous of lights, Philosophy, whose rays make flowers bloom so they might bear the fruit of mankind’s true nobility."</em></p>
<p>The relationship between nobility of character and nobility of birth is a powerful theme of the Odysssey, and nothing so connects the world of Dante with the world of early Greece as this difficulty--however easy it seems to us.  Now, on to chapter IV "On imperial authority," which is the reason I begin with this work.</p>
<p>To understand Dante's argument, we have to get rid of fixed notions like republican virtue or the merits of non-centralized societies or our horror of monarchy.  In Medieval Tuscany, there were two ultimate sources of authority--Pope and Emperor--and they were almost always in conflict.  As a Guelph, Dante might have supported the Pope's universal claims to rule, but, in fact, he hated the most powerful Pope of his day, Boniface VIII.  Tuscan cities were ferociously competitive:  It was city against city, nominally  pro-imperial Ghibellines against nominally pro-papal Guelphs, neighborhood against neighborhood, family against family.  Dante's older friend, Guido Cavalcanti, was the finest poet before Dante, as well as a student of philosophy, and yet he was the gang leader for his faction in its street fights against Corso Donati's boys.  Florence was always at war--with Sienna, Arezzo, or Pisa, and, later, Milan--while Sienna was always at war with Arezzo and Pisa with Lucca.  In Siena, the rivalry of the neighborhoods was conducted first in a violent form of Lacrosse in which people were regularly killed.  The famous Palio delle Contrade--a horse race--later took its place as a less violent alternative.  Thus, when Dante talks about peace, he does not have in mind anything he has ever experienced, nor does he have in mind some totalitarian world-order.</p>
<p>Also, we should bear in mind that he is an Aristotelian and a Thomist, and he takes it for granted--and who cannot?--that the ethical end of human activity is happiness.  Hence his recapitulation of Aristotle's theory of political development--substituting, as Thomas did, neighborhood for village--from family to neighborhood to city to kingdom to Empire.  But note that at every stage, the object is fulfillment, happiness, sufficienza for that stage.  In other words, he has a well worked out theory of subsidiarity, a fine theory until Pope John XXIII began turning it upside down to justify the powers of government.</p>
<p>Then, in a nutshell, Empire and Emperor are necessary to maintain peace--though not to stifle local autonomy and creativity, as might be assumed--which is an indispensable precondition for happiness.</p>
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