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Dante in Love [Hardcover]

A. N. Wilson
4.3 out of 5 stars  See all reviews (3 customer reviews)
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Book Description

1 Jun 2011
For Yeats, Dante Alighieri was 'the chief imagination of Christendom'; for Eliot he was of supreme importance, both as a poet and philosopher; Coleridge championed his introduction to an English readership. Tennyson based his poem 'Ulysses' on lines from the Inferno and Byron chastised an 'Ungrateful Florence' for exiling him. The Divine Comedy resonates across five hundred years of our literary canon. In Dante in Love, A N Wilson presents a glittering study of an artist and his world, arguing that without an understanding of medieval Florence, it is impossible to comprehend the meaning of Dante's great poem. He explains how the Italian States were at that time locked into violent feuds, mirrored in the ferocious competition between the Holy Roman Empire and the papacy. He explores Dante's preoccupations with classical mythology, numerology and the great Christian philosophers which inform every line of the Comedy. Dante in Love also lays bare the enigma of the man who never wrote about the mother of his children, yet immortalized the mysterious Beatrice, whom he barely knew. With a biographer's eye for detail and a novelist's comprehension of the creative process, A N Wilson paints a masterful portrait of Dante Alighieri and unlocks one of the seminal works of literature for a new generation of readers.

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Product details

  • Hardcover: 400 pages
  • Publisher: Atlantic Books (1 Jun 2011)
  • Language: English
  • ISBN-10: 1848879482
  • ISBN-13: 978-1848879485
  • Product Dimensions: 18.2 x 24.4 cm
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon Bestsellers Rank: 392,088 in Books (See Top 100 in Books)

More About the Author

A.N. Wilson was born in 1950 and educated at Rugby and New College, Oxford. A Fellow of the Royal Society of Literature, he holds a prominent position in the world of literature and journalism. He is an award-winning biographer and a celebrated novelist, winning prizes for much of his work. He lives in North London.

Product Description


"The most illuminating guide to Dante and his world I have read." --Sarah Bradford, author of "Lucrezia Borgia: Life, Love, and Death in Renaissance Italy" "The narrative is exceptionally lucid and the detail always vivid. This is biography as done by a novelist at the height of his powers." -- Jonathan Bate, "The Sunday Telegraph""" "If Dante gives us a universe, then Wilson provides a splendid survey of the world in which it was conceived . . . His criticism is generous, open-ended and patient." --Tom Payne, "The Telegraph""" "A thoughtful investigation . . . Wilson is an excellent 21st-century Virgil for anyone who has ever lost their way in Dante's dark wood, or who has yet to venture in." --Sarah Bakewell, "Sunday Times Magazine""" ""Dante in Love" is not just a thoroughly readable, illuminating story but, with its fascinating store of detail, a practical reference volume. It is a worthy vade mecum with which to explore Dante's masterpiece itself." -- Fiona Sampson, "The Independe

About the Author

A N Wilson was born in 1950 and educated at Rugby and New College, Oxford. A Fellow of the Royal Society of Literature, he holds a prominent position in the world of literature and journalism. He is a prolific and awarding-winning biographer and celebrated novelist. His most recent novel, Winnie and Wolf, was longlisted for the 2007 Man Booker Prize. He lives in North London.

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Most Helpful Customer Reviews
38 of 38 people found the following review helpful
5.0 out of 5 stars Loving Dante 16 July 2011
Format:Hardcover|Verified Purchase
An erudite and yet easily readable book on a most complicate topic: Dante's genius.

T.S. Eliot stated that "Dante and Shakespeare divide the modern world between them, there is no third." Wilson tackles with the first, and the task is herculean. However, he's no stranger to feats of this genre, having written a very interesting book on Jesus (which, strangely enough, he later recanted - possibly due to his "re-acquired" faith).
But back to Dante.

With Italian as my father tongue - my mother tongue being semitic - I was quite curious to see how an anglophone would perceive the Supreme Poet's poetical universe and his paramount craftmanship. Having just read another brilliant book on Dante (Dante's Invention by J. Burge), I must say that I thoroughly enjoyed this one as well, mainly due to its excellent portrait of the Florentine juxtaposed with his contemporary society, since without an understanding of medieval Florence, it would be impossible to grasp the meaning of Dante's great poem, the Divine Comedy.

So, notwithstanding the difficult problem of making people appreciate a masterpiece in translation, Wilson succeeds in doing it and presents a pleasurable work of high biographical/critical standards, interspersed with acute references to modern literature and its profound debt to the Tuscan Poet.

Now go back to the Comedy and re-read it: you'll enjoy it much more after this book, I'm sure.
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3 of 3 people found the following review helpful
5.0 out of 5 stars infernal mutterings 18 Sep 2012
Format:Kindle Edition
I bought this in spite of Will Self's dyspeptic review.
It is a fascinating book which opens up insights into Dante's world and thought.
For me it brought me back to a re-reading of the epic poem with fresh eyes; and that can only be a good thing I think.
My grandson is thoroughly enjoying it now and if it inclines his scientific mind even slightly toward reading in the arts for pleasure I will feel well rewarded.
I recommend this as a non-threatening starter to understanding Dante's world.
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3 of 4 people found the following review helpful
3.0 out of 5 stars AN Wilson - Dante in Love 4 Nov 2012
Format:Kindle Edition|Verified Purchase
An interesting introduction to the life of one of the world's greatest poets. The background given on some of the characters in Dante's Commedia is particularly valuable. Unfortunately Wilson then begins to take himself too seriously and gives the reader pages and pages of philosophising which, at best is mildly interesting and at worst pure self-aggrandisement on the part of the author. Given that fully one third of (the Kindle edition of) the book is taken up with an Appendix of reference works, this could and should have been a much weightier tome.
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Amazon.com: 3.9 out of 5 stars  10 reviews
23 of 25 people found the following review helpful
5.0 out of 5 stars MYSTERIOUS DANTE 21 Feb 2012
By Gary Kern - Published on Amazon.com
Format:Hardcover|Verified Purchase
Dante Alighieri (1265-1321) is the great mystery man of Western literature. Like a vagabond, which he was forced to become, or a saint, which he practically became for some Christian readers, he left behind a fragmentary record of himself: a dozen or so letters, called epistles, displaying extremely disparate moods; a scattering of some fifty lyrical poems composed on various occasions, collected by others; and a variety of documents bearing his name and attesting to his participation in government, one of which banishes him from his native Florence in 1302 and another which sentences him to death at the stake. Three of his large non-fictional works are riddled with problems and left unfinished: IL CONVIVIO ("The Banquet"), DE VULGARI ELOQUENTIA ("On the Eloquence of the Vernacular") and DE MONARCHIA ("On the Monarchy"). The first biographies devoted to him, beginning with that of Giovanni Boccaccio, were written after his death and rely on legend, hearsay and imagination to fill in the gaps. Were all of this material the sum of his heritage, he would be one among many curious figures of the remote past left to dissolve in the corrosive mists of time.

But Dante, of course, wrote two other works--his first and his last--that established him as a classic. Both are supremely autobiographical. The first, LA VITA NUOVA ("The New Life"), tells of his youthful love for a fair lady named Beatrice. The last, LA COMMEDIA, called LA DIVINA COMMEDIA by later generations, tells of his imaginary journey with the classical poet Virgil as his guide through hell and purgatory, where he meets people he knew or knew about, and presents Beatrice as his guide into paradise, where he will behold the radiance of God. These two works, taken together, but especially the second, exerted an influence on the Western mind that has rarely if ever been equalled. When Christians talk about heaven and hell, and to a certain extent about divine love between man and woman, they are usually talking about Dante, not the Bible.

The task for the biographer of this great figure is therefore monumental. It is to link him to all the persons and events indicated by the fragmentary historical record--the usual task of a scholar; and also to all the persons and events in his autobiographical literary works--possibly a unique task. These persons and events, which have their own histories, form as it were a mould around Dante and place him in a well-defined society. His thoughts and feelings within this mould, or historical context, can be guessed from what his literary persona says or does in these works. In other words, the biography of Dante is worked out backwards; the people around him, known only piecemeal, or largely by his literary treatment of them, are treated as historical material and used to shape the author into a flesh-and-blood man. Overall, the histories of the thirteenth and fourteenth centuries coalesce around him to form the largest, most important man of the period.

No wonder that to be a Dante scholar is a lifetime profession; no wonder that nearly seven centuries of scholarship have gone into the process of piecing Dante together. To be a Dante scholar means to know classical philosophy (Aristotle and numerous other works that Dante read), medieval theology (St. Francis, St. Thomas Aquinas), church history (the popes and their doctrines), medieval history (the wars between emperors and popes, the battles between the Guelphs and the Ghibillines), the history of Florence, the Italian language, a bit of linguistics, ancient and medieval poetics, all Dante's works and everything written about him.

At the beginning of his biography, DANTE IN LOVE, A.N. Wilson confesses himself unworthy of the task, not an expert, but merely an amateur since his teenage years. He tells how he grabbed old books in used-book stores, took classes, learned Italian, built up his notes over the years while pursuing other goals. Then, of course, he unfurls a scroll of seemingly universal knowledge, which obviously exceeds that of thousands of ordinary Dantephiles and millions of casual Dante readers who haven't a clue. It's a good way to persuade the novice reader that he is a worthy guide, someone who understands the difficulty of the journey and will make the going easy, which he proceeds to do.

His first chapter of the biography proper begins in spectacular fashion at Easter time in the year 1300. Tens of thousands of believers, Dante among them, are making a pilgrimage to Rome at the turn of the century--the first Holy Year in the Catholic church's history. The auspicious occasion gives Wilson the opportunity to explain that the Christian holy places in the Middle East were now under Muslim control, the preceding century of technical progress in Europe had produced the windmill and the mechanical clock, the doctrine of purgatory had been codified less than three decades before and would be enshrined in Western consciousness by Dante himself, who accepted it, the Vatican had declared that pilgrims who visited the shrines of Peter and Paul would enjoy a remission of sins, and clerics at the second shrine were literally raking in the cash, described by one witness as "pecuniam infinitam." From these matters Wilson turns to the powerful new pope, Boniface VIII, his legal background and his sinister character, and recounts Dante's mission as a city official to bring the pope a message from Florence. The meeting between poet and pope will have monumental consequences for the former and will cause such a break in his life that he will make the three days of Easter 1300 the time of his literary journey through the DIVINE COMEDY.

It's a wonderful chapter that thrusts us into the middle of the late Middle Ages, or early Renaissance, acquaints us with its people, places and things, and prepares us for the multilinear progress of Dante's life: the factual events, their literary representation and Dante's allegorical interpretation. At the same time it makes us, like Dante in the COMEDY, an Everyman who journeys through an unfamiliar terrain seeking knowledge, self-knowledge and possible redemption, with Wilson serving as Virgil. He explains that the term "comedy" signified for Dante the opposite of tragedy, a work that would move toward a happy ending.

Succeeding chapters take us through Dante's Florence, acquaint us with his family, his beloved Beatrice and his wife Gemma. We learn of his education, his politics, his military battles, his love of falconry, his interest in art, his poetic ambition. Wilson peppers his account with dashes of modern slang, disputes the views of other choice scholars, dares to reconstruct the genesis of Dante's masterpiece and even reconstructs the process of his thought. At times his prose sweeps up to the heights with swells of inspiration. Describing Dante's state after a painful falling in love, he writes:

"After this trauma, Dante is 'turned inside out.' He discovers a way of writing finely wrought verse which both dramatizes his own emotional and spiritual crisis, and allows him to reflect on what had interested him all along--namely, the Nature of Everything--the crisis in the Church, the crisis in the Empire, the recent history of Italy, the destiny of the human race in general, and of each and every human soul in particular as, made in the image and likeness of God, soiled, wrecked and ruined, we each turn towards Him for healing, or away from Him to our own damnation."

He teaches you Dante and makes you feel Dante's crises, at the same time enriching your understanding of the present by comparing it to a remarkable and largely unsuspected past. DANTE IN LOVE is constantly informative and does not have a single boring page. Nevertheless, at the end, Dante remains mysterious--a brooding, dark man you have met who goes off wandering in the mist. Perhaps it is good that no one has the minutiae, the details of his daily round, so that he can remain aloof, an exile, a hero and in many ways an ideal.
7 of 7 people found the following review helpful
3.0 out of 5 stars Opinionated hodge-podge but worth reading nonetheless 3 Jun 2013
By Michael Hoffman - Published on Amazon.com
Format:Paperback|Verified Purchase
Mr. Wilson has thrown everything but the proverbial kitchen sink into his highly opinionated book on Dante Alighieri. It is at turns illuminating and frustrating, in that he makes elementary mistakes that have caused me to only quote him if I can corroborate him. On p. 8 he's already sounding like a tabloid Fleet Street flake: "For these medieval poets, the central concerns of life were obsessions with sex in general, girls in particular; ditto with God." This is awful writing and it's obtuse. As with nearly everyone alive in the medieval period, concerns about God and more specifically the question of either eternal punishment or salvation after death, was the first concern haunting people high and low.

Just eight pages later we encounter this statement: "...any who visited the Holy City of Rome during the year which brought the turbulent thirteenth century to an end would receive a plenary indulgence -- that is, a completely clean slate, forgiveness of all their sins."

Wrong. An indulgence is only a remission of the purgatorial punishment for sin. To be forgiven, the sin must be first confessed to a priest by a sinner who then receives "absolution." After making this Confession and receiving absolution, Catholic theology holds that the sinner is still subject to be punished in purgatory if he or she has not expiated the consequences of their sins through suffering on earth. Sinners who have not confessed their sins and have not therefore received absolution, receive no benefit whatsoever from an indulgence. An indulgence according to Catholic dogma is quite simply remission of part or all of the time a penitent sinner would have had to serve in Purgatory before entering Heaven. However, if additional sins are committed and then forgiven through the process of Confession, more time in purgatory is accrued. For someone whose book concerns, in part, a study of Dante's "Purgatory," this level of blunder threatens the credibility of Wilson's entire text.

As sloppy as some parts of the book are, A.N. Wilson can almost never be entirely dismissed. His range is too wide and his attempt at erudition is often successful enough to merit continued reading. He does a decent job of explaining Purgatory as Dante shapes its contours, and of weaving Dante's life and times, though methinks Wilson expects us to accept that more of Dante's life is known to Wilson than other biographers have been willing to concede. I read "Dante in Love" partly because I was searching for insight into Dante's extraordinary establishment of a usury-and-sodomy connection (as reflected in his text) which is, of course, the now politically incorrect "major flaw" which causes the new academic inquisitors to object to Dante. Wilson doesn't share their objections, but he offers very little on this controversial linkage....He does well delineating the dizzying Ghibelline-Guelf clans and warfare, and in clarifying the roles and influence of Virgil, Beatrice, and Saints Francis and Bernard.

If I had only one book to choose as an aid to studying Dante this would not be it. That distinction belongs to Dorothy L. Sayers and her "Introductory Papers on Dante" (continued in her equally worthwhile second volume, "Further Papers on Dante"). Sayers, a medievalist and a conservative Anglican with strong Catholic sympathies, conveys the spirit of the anti-modernist philosophy of Dante far better than Wilson, which makes his insulting dismissal of Sayers all the more tawdry. This is the remarkable aspect of Dante which Sayers captures: an avant-garde writer with a profoundly anti-modernist orientation. Who today can elucidate accurately the medieval wholisitic vision of money breeding money leading to the sterility of contraception, abortion and sodomy? Surely not Wilson. He can mention it but he can't fathom it. Unlike Sayers, he is thoroughly modern in spirit and outlook, if nominally a Christian.

If I could choose ten books on Dante, I suppose I would put Wilson's volume in there somewhere. His lively mind casts a wide net and he is keen to make Dante comprehensible to post-modernist readers. "Dante in Love" also contains spectacular full-color illustrations. You could do worse than to choose Wilson. You can do much better with Sayers.

A digression: for English translations of Dante's "Inferno," may I recommend Michael Palma first; then Robert and Jean Hollander; in third place I venture to place Robert Durling (all of the preceding translators are very good, so it's a close call). Robin Kirkpatrick in the Penguin edition of "The Divine Comedy" is, in my opinion, definitely only fourth. Surprisingly, Sayers' own translation is not ideal, but at least it's a cut above that of Rev. Henry Cary's 19th century warhorse (a favorite of Wilson). Cary's footnotes are worth consulting, but his translation is creaky, though not as poor as Longfellow's.
7 of 8 people found the following review helpful
4.0 out of 5 stars A Poet for Everyone 9 April 2012
By John Morris - Published on Amazon.com
Format:Kindle Edition
"Dante can never be read with detachment... The 'Comedy'... becomes an allegory of the reader's own life."
A.N. Wilson is a professional writer and a lifelong enthusiast of Dante's work. For him this book is obviously a labor of love. All the more admirable (as he himself admits) in the early 21st century, when most people don't have a grounding in the mythology and literature of classical Greece and Rome, much less a grasp of medieval theology or 13-14th-century Italian politics.
What's daunting, of course, is the sheer complexity of his subject. How does one present-- in 340 pages-- a biography, an overview of the poet's world and of his life work, a closer examination of his magnum opus, one's own interpretation of the many open questions regarding this writer from 700 years ago, and still have space to deliberate on what his work might mean to a contemporary reader? Somehow Wilson manages it.
If you've never had the time (or the self-confidence) to tackle "The Divine Comedy," this book might be just what you need to realize that Dante isn't just for experts. You don't need Italian or Latin. You don't need to be a Catholic or an historian. You can take heart in Wilson's assurance that any decently educated person, with a little application and perseverance, can come to share his enthusiasm and admiration for the greatest European poet of at least the Middle Ages.
2 of 2 people found the following review helpful
4.0 out of 5 stars Understanding Love 8 Jan 2014
By Stephen N. Greenleaf - Published on Amazon.com
Format:Kindle Edition|Verified Purchase
Along with Shakespeare, Dante is the greatest literary figure in the Western tradition. In an awards contest, I'd give Dante the award for the greatest single work, while Shakespeare would receive the award for the greatest lifetime body of work. Such conjectures and contests are always a bit of a silly exercise. Both are great. But Dante, even more than Shakespeare, is daunting. Shakespeare wrote at the end of the Northern Renaissance and therefore helps lay the very foundations of our modernity. Dante wrote at the apex of the Middle Ages, when Pope Boniface VIII faced off with Phillip the Fair, king of France, over the competing claims of Church and State in the medieval world.

Dante, St. Thomas Aquinas, and the great Gothic cathedrals loom as the great cultural icons of the Middle Ages. However, despite some interest in the Middle Ages, and a pretty good introduction to the high points of the Western tradition, I didn't approach Dante until my mid-30s, when I decided that this was a seminal work that I should engage. I thought—rightly so—that it requires a degree of maturity to appreciate. (I hope that for me, however, that it did not mark midway on my life’s journey!) Reading Dante is not easy. References to contemporary Italian politics, as well as Classical and Biblical figures, abound. The work is one of poetry, so we have the rich metaphors and other figures of speech that challenge those of us who live in our prosaic world. I don't recall what translation I read, but the experience proved worthwhile. I've been reading Dante and his commentators ever since. I now can add A.N. Wilson's Dante in Love to the list of fellow Dante readers—nay, enthusiasts—who have found the effort of the Commedia intriguing and enlightening.

Wilson emphasizes that he is not a Dante scholar, but he's been reading and appreciating Dante since his late teens, and so he's a fellow enthusiast who also happens to be an experienced and talented writer of biography, history, and fiction. Wilson writes that he intends his book to serve as an introduction and appreciation of Dante’s life and works in all their complexity. He intends to provide a guide for others like him who aren’t scholars, but interested readers. He succeeds in his intention. This book is the best single volume appreciation of Dante and his masterwork (and some of his lesser works) that I've encountered. His title references his central premise: Dante is the poet and philosopher of love in all its manifestations.

Love is the central trope of Dante’s work. Love, for Dante, can be quite worldly, following the cultural lead of the troubadours, or quite ethereal, as we see with Beatrice, the idealized neighbor from his youth. Or it can be the Lady in the Window, the personification of philosophy. (Wilson speculates that perhaps Dante’s wife Gemma, whom Dante never names in his work, is the Lady in the Window.) However, in addition to his love poetry, Dante is a political actor, and it’s his political connections that lead to his exile from Florence. The treachery and confusion of Italian politics didn’t begin with the fellow Florentine Machiavelli and the Renaissance; the turmoil was rampant in Dante’s time, with Popes, Emperors, and city-states vying for political supremacy. Thus, to understand Dante, one must attempt grasp both human and divine love as well as Italian politics. It can seem daunting, but Wilson’s book helps answer the challenge.

We can—and perhaps should—spend a lifetime reading and studying Dante. We could do much worse with our time. But whether you’re making a passing acquaintance or you decide to dive in headfirst, Wilson can serve as a personal Virgil to help you along the way. Indeed, as Wilson is quick to point out, there are many such guides, but his may have the widest scope and easiest access of any that I’ve encountered.

Pick up Dante, read, and remember that you’re trying to understand “the Love that moves the sun and other stars”.
2 of 3 people found the following review helpful
4.0 out of 5 stars A Secular Study 6 Feb 2014
By Michael Haig - Published on Amazon.com
Format:Kindle Edition|Verified Purchase
A. N. Wilson brings a humanist horror of the medieval world to his study of Dante in this book. While he pays some homage to him, he is also concerned to debunk him in the name of secular humanism -- anti-Christian, anti-puritan, pro-homosexual. With one hand he distances himself from Dante's Christianity: with the other, he thrusts him into a twenty-first century pigeon-hole, insisting that he be measured against the values of today's society. Not the kind of treatment, one might think, that might reveal Dante's various qualities.

Wilson is sufficiently well-informed to be able to write: "The periodic proclamation of orthodoxy has always been the assertion of a paradox, a wrestling with something which, even to the brilliant and contorted mind of Augustine in the fourth century..." But when he tries to extrapolate from his researches to comment upon the modern world or upon human nature in general the results can be crude: "Sex itself was suspect. The body was suspect. Christianity lives, to this hour, with those old Cathar falsehoods -- as is demonstrated from time to time when 'orthodox' Christians rise up to persecute, for example, gays in the twenty-first century." Spotting a similarity between Cathar doctrines and Christianity he relies upon an assumption that Cathar doctrines are false to condemn both Cathar doctrines and Christianity with one shot. Then he swings, without call, into a pro-gay standpoint, without adducing any arguments for or against homosexuality. It is a bit slapdash.

Wilson does manage to turn Christianity on its head: "The Church has always borrowed most shamelessly from those whose viewpoints it claimed most articulately to deplore." This is like Robert Graves's argument in "The White Goddess" that Christianity "iconotropically" appropriated mythical elements from paganism. But, whereas Graves's argument (almost fatally for Christianity) looks like an open-and-shut case, Wilson's argument is probably full of holes: "The Church owed much to the 'heretical' Albigensians. Much of its own asceticism derived from theirs.... It was no accident or paradox that in the years when the Cathar threat to Catholicism rose to its height, the Church should have seen a revival of ascetic monasticism..."

"Dante in Love" is quite an engaging read (it manages to be something of a page-turner), but it probably doesn't quite get to the heart of the kind of pressures, desires and passions that made Dante the man and poet that he was.
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