/lit/ - Literature

>>22670488
Here is an unrelated song https://www.youtube.com/watch?v=4nXLb7bpzhs
and an anecdote about Mussolini being erudite

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

Why are fascists so /lit/ in general?

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>>22155478
It's always darkest before the dawn.

>Individuals form classes according to the similarity of their interests, they form syndicates according to differentiated economic activities within these interests; but they form first, and above all, the State, which is not to be thought of numerically as the sum-total of individuals forming the majority of the nation. And consequently Fascism is opposed to Democracy, which equates the nation to the majority, lowering it to the level of that majority.

>Fascism, in short, is not only the giver of laws and the founder of institutions, but the educator and promoter of spiritual life. It wants to remake, not the forms of human life, but its content, man, character, faith. And to this end it requires discipline and authority that can enter into the spirits of men and there govern unopposed.

>The theory of Fascist authority has nothing to do with the police State. A party that governs a nation in a totalitarian way is a new fact in history. References and comparisons are not possible. Fascism takes over from the ruins of Liberal Socialistic democratic doctrines those elements which still have a living value.

>In the Fascist State the individual is not suppressed, but rather multiplied, just as in a regiment a soldier is not weakened but multiplied by the number of his comrades. The Fascist State organizes the nation, but it leaves sufficient scope to individuals; it has limited useless or harmful liberties and has preserved those that are essential.

https://counter-currents.com/2018/07/mussolini-or-the-will-to-power/

https://counter-currents.com/2013/10/jefferson-and-or-mussolini-part-1/

Daily reminder that if you're curious about a right wing author or philosopher but don't know where to start, you should see if Counter Currents has a "Remembering" article for them

https://counter-currents.com/2022/10/remembering-ezra-pound-12/

https://counter-currents.com/2020/01/remembering-pierre-drieu-la-rochelle-7/

https://counter-currents.com/2021/09/remembering-martin-heidegger-11/

https://counter-currents.com/2022/09/remembering-t-s-eliot-9/

https://counter-currents.com/2021/10/remembering-louis-de-bonald-9/

https://counter-currents.com/2022/07/remembering-carl-schmitt-11/

https://www.youtube.com/watch?v=vow1qFOTmEw

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>>21332251
>Can't share any lines I specifically liked as I'm reading a German translation.
>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

The spirit of Mussolini is watching over our reading

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>>20219213
>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

I sometimes read Counter-Currents and skim for interesting articles on cultural or philosophical topics, like this one recently
https://counter-currents.com/2021/12/fichte-the-self-assertion-of-the-ego/

Plus using American Renaissance (https://www.amren.com/)), Occidental Observer (https://www.theoccidentalobserver.net/)), unz (https://www.unz.com/)) and things as news aggregators.

>>19654013
I hadn't heard of this, thanks anon.

Some nice right-wing journals are Sezession and Junge Freiheit:
https://sezession.de/
https://jungefreiheit.de/

And in French it's still worth reading
https://www.revue-elements.com/
https://www.revue-elements.com/categorie-produit/revues/nouvelle-ecole/

>>19590081
>>19590073
>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>>19336750
Bonus Mussolini for you.

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

>>19277134
you never made any argument against what I said, ever. all you say is
>oh IT's CRINGEEEY sTOP
I am right and you are wrong
>>19277142
>nope
yes.

>>19228834
I find it hilarious that Musso was so /lit/. Before he was head of Avanti! he had a panel where he would write literary criticism. Russian novels were his favorite.

>Bräuninger recounts a remarkable incident in which Mussolini invited the German – and incidentally Jewish – translator of Dante, Rudolf Borchardt, to a private audience in 1933, and quotes from Rudolf Borchardt’s Besuch bei Mussolini (Visit to Mussolini):

>'I could only be astonished that this man, the ruler of Italy, with all the burdens of the day’s work on his shoulders, found time to discuss with me the precise translation of individual words and expressions . . . He opened the first Canto and began to read. “That is a literal translation,” he remarked, and then said, “I understand it is written in a modern German style. Wait, what is this?” He pointed to a word he did not know, and I had to explain it to him. . . . Concentrated willpower and a positive sort of decisiveness mastered in large part the rounded and complete gestures of the kind one might expect from a dignitary of the Church or an aristocratic poet, reminding me of some pictures of the later Goethe. . . . Schlegel, Schelling, Hegel, King Johann of Saxony, Vossler, George – he made a brief appraisal of each. “Now to the fifth circle of the Inferno,” he exclaimed, adding rapidly and almost merrily, “Francesca da Remini.” . . . He went to the last stanzas, read out my German translation, then recited the original Italian verses from memory, read more German, and compared them exactly with the verses which he knew by heart. He pointed to a subtlety of tone in the Italian original and wanted to be sure that I had successfully reproduced it in German, reading out my German version slowly and carefully, with a strong but accurate pronunciation. Finally, he interrupted his own criticisms and suggestions by excusing himself, adding that he was only a layman and a mere reader. He closed the book, opened it once more, and finally closed it for good. “Thank you,” he said earnestly, and shook my hand warmly.' (p. 163)

>So much for the ignorant dictator! It would be interesting to know how many professors of Italian literature today could today offer an informed critique of a translation of Dante’s Inferno, citing stanzas by heart, let alone how many mere laymen and readers could do so. Bräuninger tells us that Mussolini was an avid reader of the Classics and a keen opera aficionado, something which tends to be ignored in post-war mainstream historical accounts.

>Much else tends to be downplayed as well, which Bräuninger highlights, including the enormous popularity of Mussolini’s economic and social policies.

Mussolini as an individual is my role model.

What is it about Romance novels that attract Dictators? Benito Mussolini wrote The Cardinal's Mistress, Napoleon Bonaparte wrote Clisson et Eugénie, and Saddam Hussein wrote Zabibah and the King.