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丕賱丿賷賰丕賲賷乇賵賳
"丕賱丿賷賰丕賲賷乇賵賳" 賴賷 鬲丨賮丞 亘賵賰丕鬲卮購賵 丕賱賳丕丿乇丞貨 亘賱 廿丨丿賶 乇賵丕卅毓 丕賱廿亘丿丕毓 丕賱毓丕賱賲賷貙 毓賱賶 賲賻乇 丕賱毓氐賵乇. 丨丕賱丞賹 賮乇賷丿丞賹 賲賳 丕賱丨賻賰賷 丕賱賲鬲賵丕氐賱貙 亘賱丕 丕賳鬲賴丕亍貨 賵毓丕賱賲賹 爻丕丨乇 賷鬲賵賱賾賻丿 賲賳 賲夭賷噩 丕賱賵丕賯毓 賵丕賱禺賷丕賱 賲毓賸丕貙 亘賱丕 禺胤賵胤 丨賲乇丕亍貙 賵賱丕 鬲禺賵賲.
賲丕卅丞 賯氐丞 兀賵 丨賰丕賷丞貙 鬲鬲賵夭毓 賮賷 丕賱噩睾乇丕賮賷丕鬲 賵丕賱鬲賵丕乇賷禺 賵丕賱兀爻丕胤賷乇貙 鬲賰卮賮- 賮賷 毓賲賯賴丕- 丕賱噩賵賴乇 丕賱廿賳爻丕賳賷 賵丕賱丨囟賵乇 丕賱丿丕賲睾 賱噩丿賱賷丞 丕賱乇賵丨 賵丕賱噩爻丿.
賵賴賷 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 丕賱兀賵賱賶 丕賱賰丕賲賱丞 毓賳 丕賱兀氐賱 丕賱廿賷胤丕賱賷貨 賮賷賲丕 鬲噩賲毓 亘賷賳 丕賱丿賯丞- 丕賱賲丨丕賮賽馗丞 毓賱賶 丕賱爻賲丕鬲 丕賱兀爻賱賵亘賷丞 賱亘賵賰丕鬲卮賵- 賵爻賱丕爻丞 丕賱兀丿丕亍 丕賱賱睾賵賷 賵丕賱兀爻賱賵亘賷貙 賮賷 丌賳.
賲丕卅丞 賯氐丞 兀賵 丨賰丕賷丞貙 鬲鬲賵夭毓 賮賷 丕賱噩睾乇丕賮賷丕鬲 賵丕賱鬲賵丕乇賷禺 賵丕賱兀爻丕胤賷乇貙 鬲賰卮賮- 賮賷 毓賲賯賴丕- 丕賱噩賵賴乇 丕賱廿賳爻丕賳賷 賵丕賱丨囟賵乇 丕賱丿丕賲睾 賱噩丿賱賷丞 丕賱乇賵丨 賵丕賱噩爻丿.
賵賴賷 丕賱鬲乇噩賲丞 丕賱毓乇亘賷丞 丕賱兀賵賱賶 丕賱賰丕賲賱丞 毓賳 丕賱兀氐賱 丕賱廿賷胤丕賱賷貨 賮賷賲丕 鬲噩賲毓 亘賷賳 丕賱丿賯丞- 丕賱賲丨丕賮賽馗丞 毓賱賶 丕賱爻賲丕鬲 丕賱兀爻賱賵亘賷丞 賱亘賵賰丕鬲卮賵- 賵爻賱丕爻丞 丕賱兀丿丕亍 丕賱賱睾賵賷 賵丕賱兀爻賱賵亘賷貙 賮賷 丌賳.
958 pages, Paperback
First published January 1, 1349
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About the author
Giovanni Boccaccio
1,693听books552听followersGiovanni Boccaccio (1313 鈥� 21 December 1375) was an Italian author and poet, a friend and correspondent of Petrarch, and an important Renaissance humanist in his own right and author of a number of notable works including the Decameron, On Famous Women, and his poetry in the Italian vernacular. Boccaccio is particularly notable for his dialogue, of which it has been said that it surpasses in verisimilitude that of just about all of his contemporaries, since they were medieval writers and often followed formulaic models for character and plot.
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August 30, 2021
Il Decamerone = The Decameron, Giovanni Boccacccio
The Decameron is a collection of novellas by the 14th-century Italian author Giovanni Boccaccio (1313鈥�1375).
The book is structured as a frame story containing 100 tales told by a group of seven young women and three young men sheltering in a secluded villa just outside Florence to escape the Black Death, which was afflicting the city.
Boccaccio probably conceived of The Decameron after the epidemic of 1348, and completed it by 1353.
The various tales of love in The Decameron range from the erotic to the tragic. Tales of wit, practical jokes, and life lessons contribute to the mosaic.
In addition to its literary value and widespread influence (for example on Chaucer's The Canterbury Tales), it provides a document of life at the time. Written in the vernacular of the Florentine language, it is considered a masterpiece of classical early Italian prose.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賴卮鬲賲 賲丕賴 賮賵乇蹖賴 爻丕賱 2018賲蹖賱丕丿蹖
毓賳賵丕賳: 丿讴丕賲乇賵賳 貨 賳賵蹖爻賳丿賴: 噩賵賵丕賳蹖 亘賵讴丕趩蹖賵貨 賲鬲乇噩賲: 丕丨賲丿禺丕賳 丿乇蹖丕亘蹖诏蹖貨 亘賵卮賴乇貙 責貙 1282貨
毓賳賵丕賳: 丿讴丕賲乇賵賳 - 丨丕賵蹖 蹖讴氐丿 丨讴丕蹖鬲 賮乇丨 丕賳诏蹖夭貨 賳賵蹖爻賳丿賴: 噩賵賵丕賳蹖 亘賵讴丕趩蹖賵貨 賲鬲乇噩賲: 丨亘蹖亘 卮賳賵賯蹖貨 鬲賴乇丕賳貙 诏賵鬲賳亘乇诏貙 1338貙 丿乇 丿賵 噩賱丿貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖鬲丕賱蹖丕 - 爻丿 14賲
毓賳賵丕賳: 丿讴丕賲乇賵賳 - 丨丕賵蹖 蹖讴氐丿 丨讴丕蹖鬲 賮乇丨 丕賳诏蹖夭貨 賳賵蹖爻賳丿賴: 噩賵賵丕賳蹖 亘賵讴丕趩蹖賵貨 賲鬲乇噩賲: 賲丨賲丿 賯丕囟蹖貨 鬲賴乇丕賳貙 賲丕夭蹖丕乇貙 1379貙 丿乇 876氐貨 趩丕倬 丿賵賲 1393貨 卮丕亘讴 9789645676108貨
丿讴丕賲乇賵賳貙 賲卮賴賵乇鬲乇蹖賳 丕孬乇 芦噩賵賵丕賳蹖 亘賵讴丕趩蹖賵禄貙 賳賵蹖爻賳丿賴 蹖 爻丿賴 蹖 趩賴丕乇丿賴賲 賲蹖賱丕丿蹖 讴卮賵乇 芦丕蹖鬲丕賱蹖丕禄貙 賵 丿丕乇丕蹖 蹖讴氐丿 丿丕爻鬲丕賳 讴賵鬲丕賴 丕爻鬲貨 芦亘賵讴丕趩蹖賵禄 丕蹖賳 讴鬲丕亘 乇丕貙 亘賴 爻亘讴 芦賴夭丕乇 賵 蹖讴 卮亘禄 賳诏丕卮鬲賴 丕賳丿貙 賵 賲賵丕丿 禺丕賲 賯氐賴鈥� 賴丕 乇丕貙 丕夭 丕賮爻丕賳賴鈥� 賴丕蹖 芦蹖賵賳丕賳蹖禄貙 芦乇賵賲蹖禄貙 賵 丿蹖诏乇 讴卮賵乇賴丕蹖 賲卮乇賯 夭賲蹖賳貙 賵 诏丕賴貙 丕夭 夭賳丿诏蹖 乇賵夭賲乇賴 蹖 賲乇丿賲丕賳貙 賵丕賲 亘诏乇賮鬲賴鈥� 丕爻鬲貙 丕蹖卮丕賳 丕蹖賳 讴鬲丕亘 乇丕貙 亘賱丕賮丕氐賱賴 倬爻 丕夭 卮蹖賵毓 芦胤丕毓賵賳 爻丕賱 1348賲蹖賱丕丿蹖禄貙 丿乇 卮賴乇 芦賮賱賵乇丕賳爻禄 亘賳賵卮鬲賳丿貨 趩丕乇趩賵亘 乇丕賵蹖丕賳 丕氐賱蹖 芦丿讴丕賲乇賵賳禄 乇丕貙 芦賴賮鬲 夭賳禄貙 賵 芦爻賴 賲乇丿禄貙 鬲卮讴蹖賱 賲蹖鈥屫囐嗀� 讴賴 亘乇丕蹖 诏乇蹖夭 丕夭 亘賱丕蹖 芦胤丕毓賵賳禄貙 芦賮賱賵乇丕賳爻禄 乇丕 鬲乇讴 讴乇丿賴貙 亘賴 禺丕賳賴鈥� 賴丕蹖 蹖蹖賱丕賯蹖 丕胤乇丕賮 卮賴乇貙 倬賳丕賴 賲蹖鈥屫ㄘ辟嗀� 賵 丿乇 丌賳噩丕貙 亘乇丕蹖 丕蹖賳讴賴 匕賴賳 禺賵丿 乇丕貙 丕夭 丌賳 乇禺丿丕丿 丿賵乇 讴賳賳丿貙 亘賴 賯氐賴鈥� 诏賵卅蹖 亘乇丕蹖 蹖讴丿蹖诏乇 賲蹖鈥屬矩必ж操嗀� 賵 趩賵賳 禺賭購賱賯 賵 禺賵蹖 丿丕爻鬲丕賳鈥屭堐屫з� 诏賵賳丕诏賵賳 丕爻鬲貙 丿丕爻鬲丕賳鈥屬囏� 丿丕乇丕蹖 诏蹖乇丕卅蹖貙 賵 诏賵賳丕诏賵賳蹖 亘爻蹖丕乇 丕爻鬲貨
賳賵蹖爻賳丿賴 亘賴 乇賵丨 亘卮乇蹖貙 賵 丕卮禺丕氐 丿丕爻鬲丕賳 丌卮賳丕 賴爻鬲賳丿貙 賵 賯賴乇賲丕賳鈥屬囏й� 丌賳 夭賳丿賴貙 賵 倬乇 丕夭 卮賵乇 夭賳丿诏蹖貙 賵 噩丕賳賵乇丕賳 丿丕爻鬲丕賳鈥屬囏й� 芦丿讴丕賲乇賵賳禄 賳蹖夭 賴賲丕賳賳丿 賯賴乇賲丕賳賴丕蹖 丿丕爻鬲丕賳 倬乇 丕夭 卮賵乇 夭賳丿诏丕賳蹖 賴爻鬲賳丿貙 丕蹖賳 讴鬲丕亘 亘毓丿賴丕 丿乇 丕丿亘蹖丕鬲 亘乇禺蹖 讴卮賵乇賴丕貙 丕夭 噩賲賱賴 丿乇 芦丕賳诏賱爻鬲丕賳禄 賳蹖夭貙 賲賵乇丿 丕賯鬲亘丕爻 賵 鬲賯賱蹖丿 賯乇丕乇 诏乇賮鬲貨 亘爻蹖丕乇蹖 丕夭 賳賵蹖爻賳丿诏丕賳貙 丕夭 噩賲賱賴 芦賵蹖賱蹖丕賲 卮讴爻倬蹖乇禄 賳丕賲 丌卮賳丕貙 丕夭 賯氐賴鈥� 賴丕蹖 丌賳貙 亘乇丕蹖 賳诏丕卮鬲賳 賳賲丕蹖卮賳丕賲賴鈥� 賴丕蹖 禺賵丿貙 爻賵丿 亘乇丿賳丿貨
賳禺爻鬲蹖賳 亘乇诏乇丿丕賳 賮丕乇爻蹖 芦丿讴丕賲乇賵賳禄貙 丿乇 丿賵乇賴 蹖 芦賳丕氐乇鈥屫з勜屬嗏€� 卮丕賴 賯丕噩丕乇禄 亘賵丿貙 讴賴 芦丕丨賲丿禺丕賳 丿乇蹖丕亘蹖诏蹖禄 丿乇 賮丕氐賱賴 蹖 爻丕賱賴丕蹖 1280賴噩乇蹖 禺賵乇卮蹖丿蹖貙 鬲丕 爻丕賱 1282賴噩乇蹖 禺賵乇卮蹖丿蹖貙 賳禺爻鬲 丿乇 乇賵夭賳丕賲賴 蹖 芦賲馗賮乇蹖 亘賵卮賴乇禄貙 賵 爻倬爻 亘賴 氐賵乇鬲 趩丕倬 爻賳诏蹖貙 賵 丿乇 賯胤毓 亘夭乇诏 丌賳乇丕 亘賴 爻丕賱1282賴噩乇蹖 禺賵乇卮蹖丿蹖貙 趩丕倬 讴乇丿賳丿貨
亘乇诏乇丿丕賳 丿賵賲 乇丕 夭賳丿賴 蹖丕丿 芦丨亘蹖亘 卮賳賵賯蹖禄貙 丿乇 丿賵 噩賱丿 賵 丿乇 蹖讴 賲噩賱丿貙 丿乇 爻丕賱 1338賴噩乇蹖 禺賵乇卮蹖丿蹖 賲賳鬲卮乇 讴乇丿賳丿貙 賵 爻乇丕賳噩丕賲 鬲乇噩賲賴 蹖 爻賵賲貙 讴賴 鬲乇噩賲賴 丕蹖 丿賯蹖賯 賵 讴丕賲賱 丕爻鬲貙 鬲賵爻胤 夭賳丿賴鈥� 蹖丕丿 芦賲丨賲丿 賯丕囟蹖禄貨 丿乇 爻丕賱 1379賴噩乇蹖 禺賵乇卮蹖丿蹖貙 丿乇 丕賳鬲卮丕乇丕鬲 賲丕夭蹖丕乇 賲賳鬲卮乇 卮丿貨 丕賱亘鬲賴 诏夭蹖賳卮蹖 丕夭 丿丕爻鬲丕賳賴丕蹖 芦丿讴丕賲乇賵賳禄 乇丕 賳蹖夭貙 亘丕賳賵 芦胤丕賴乇賴 亘丿蹖毓蹖禄 丿乇 70氐貙 丿乇 爻丕賱 1381賴噩乇蹖 禺賵乇卮蹖丿蹖 賲賳鬲卮乇 讴乇丿賴 丕賳丿貨 毓賳賵丕賳 讴鬲丕亘 蹖毓賳蹖 芦丿讴丕賲乇賵賳禄貙 丕夭 賲毓丕丿賱 蹖賵賳丕賳蹖 丿賵 賵丕跇賴 蹖 芦丿賻賴禄貙 賵 芦乇賵夭禄貙 诏乇賮鬲賴 卮丿賴 丕爻鬲貨 爻丕禺鬲丕乇 芦丿讴丕賲乇賵賳禄貙 丿乇 爻丕賱 1351賲蹖賱丕丿蹖 (賵 蹖丕 亘賴 乇賵丕蹖鬲蹖 亘賴 爻丕賱 1353賲蹖賱丕丿蹖) 亘賴 倬丕蹖丕賳 乇爻蹖丿賴 丕爻鬲貨 讴鬲丕亘 亘丕 卮乇丨蹖 丕夭 芦賵亘丕 (賲乇诏 爻蹖丕賴)禄 丌睾丕夭貙 賵 亘賴 賲毓乇賮蹖 芦賴賮鬲 夭賳禄 賵 芦爻賴 賲乇丿 噩賵丕賳禄 賲蹖乇爻丿貙 讴賴 丕夭 芦賮賱賵乇丕賳爻禄 芦賵亘丕禄 夭丿賴貙 亘賴 丿賴丕鬲蹖 丿乇 丨賵丕卮蹖 芦賮蹖爻賱禄貙 亘乇丕蹖 丿賵 賴賮鬲賴貙 賮乇丕乇 賲蹖讴賳賳丿貨 亘乇丕蹖 诏匕卮鬲 夭賲丕賳貙 賴乇 卮亘貙 賴賲賴 蹖 丕毓囟丕貙 賴乇 讴丿丕賲貙 丿丕爻鬲丕賳蹖 乇丕 亘丕夭诏賵 賲蹖讴賳丿貨 丕诏乇趩賴 趩賴丕乇丿賴 乇賵夭 賲蹖诏匕乇丿貙 丿賵 乇賵夭 丿乇 賴乇 賴賮鬲賴貙 亘乇丕蹖 讴丕乇賴丕蹖 丿蹖诏乇 丕爻鬲: 蹖讴 乇賵夭 亘乇丕蹖 賵馗丕蹖賮貙 賵 蹖讴 乇賵夭 賲賯丿爻貙 讴賴 賴蹖趩讴爻 丿乇 丌賳乇賵夭 賴蹖趩 讴丕乇蹖 賳賲蹖鈥屭┵嗀� 亘丿蹖賳爻丕賳 丿乇 倬丕蹖丕賳 丿賴 乇賵夭貙 氐丿 丿丕爻鬲丕賳 亘丕夭诏賵 賲蹖卮賵賳丿
賴乇 讴丿丕賲 丕夭 卮禺氐蹖鬲賴丕 亘賴 賳賵亘鬲 亘賴 毓賳賵丕賳 芦卮丕賴禄貙 賵 蹖丕 芦賲賱讴賴禄貙 亘乇丕蹖 蹖讴蹖 丕夭 丌賳 丿賴 乇賵夭貙 亘乇诏夭蹖丿賴 賲蹖卮賵賳丿貨 賵馗蹖賮賴 (卮丕賴 賵 蹖丕 賲賱讴賴)貙 诏夭蹖賳卮 賲賵囟賵毓 丿丕爻鬲丕賳貙 亘乇丕蹖 丌賳乇賵夭 丕爻鬲貙 賵 賲賵囟賵毓丕鬲 賴賲賴 蹖 乇賵夭賴丕貙 亘賴 丕爻鬲孬賳丕蹖 丿賵 乇賵夭貙 賲毓蹖賳 賲蹖诏乇丿賳丿: 芦賯丿乇鬲 丿丕乇丕蹖蹖禄貙 芦賯丿乇鬲 禺賵丕爻鬲 丌丿賲蹖禄貙 芦丿丕爻鬲丕賳賴丕 蹖 毓丕卮賯丕賳賴 讴賴 睾賲 丕賳诏蹖夭 亘賴 倬丕蹖丕賳 賲蹖乇爻賳丿禄貙 芦丿丕爻鬲丕賳賴丕蹖 毓丕卮賯丕賳賴 讴賴 倬丕蹖丕賳蹖 禺賵卮 丿丕乇賳丿禄貙 芦倬丕爻禺賴丕蹖 賴賵卮賲賳丿丕賳賴 丕蹖 讴賴 噩丕賳 蹖讴 爻禺賳诏賵 乇丕 丨賮馗 賲蹖讴賳賳丿禄貙 芦丨賯賴 賴丕蹖蹖 讴賴 夭賳丕賳 亘賴 賲乇丿丕賳 賲蹖夭賳賳丿禄貙 芦丨賯賴 賴丕蹖蹖 讴賴 賲乇丿賲 亘胤賵乇 毓丕賲 亘賴 賴賲 賲蹖夭賳賳丿禄貙 賵 芦丿丕爻鬲丕賳賴丕蹖蹖 丕夭 毓賮鬲 賵 倬丕讴丿丕賲賳蹖禄貨
鬲賳賴丕 芦丿丕蹖賵 賳蹖賵禄 讴賴 賴乇 乇賵夭 丿丕爻鬲丕賳 丿賴賲 乇丕 賲蹖诏賵蹖丿貙 亘乇丕蹖 鬲蹖夭賴賵卮蹖 讴賴 丿丕乇丿貙 丨賯 丌賳乇丕 丿丕乇丿貙 讴賴 賴乇 丿丕爻鬲丕賳蹖 乇丕 讴賴 丿賱卮 亘禺賵丕賴丿 亘丕夭诏賵 賳賲丕蹖丿貨 賳賵蹖爻賳丿賴 賴丕蹖 亘爻蹖丕乇蹖貙 賲蹖丕賳丿蹖卮賳丿 讴賴: 芦丿丕蹖賵 賳蹖賵禄貙 賳賯胤賴 賳馗乇丕鬲 禺賵丿 芦亘賵诏丕趩蹖賵禄 乇丕 亘蹖丕賳 賲蹖讴賳丿貨 賴乇 乇賵夭貙 毓賱丕賵賴 亘乇 乇賵丕蹖鬲貙 卮丕賲賱 蹖讴 賲賯丿賲賴 賵 賳鬲蹖噩賴 賲禺鬲氐乇 賳蹖夭 賴爻鬲賳丿貙 鬲丕 賯丕賱亘 丿丕爻鬲丕賳賴丕貙 亘賴 睾蹖乇 丕夭 丿丕爻鬲丕賳诏賵蹖蹖貙 賵 丕夭 乇丕賴 鬲賵囟蹖丨 賮毓丕賱蹖鬲賴丕蹖 乇賵夭丕賳賴 賳蹖夭貙 丕丿丕賲賴 蹖丕亘丿貨 丕蹖賳 賮丕氐賱賴 蹖 賲蹖丕賳 倬乇丿賴 丕蹖貙 卮丕賲賱 丌賵丕夭賴丕蹖 賲丨賱蹖 (賮賵賱讴賵乇) 芦丕蹖鬲丕賱蹖丕蹖蹖禄 丕爻鬲貨 乇丕亘胤賴 蹖 亘蹖賳 丿丕爻鬲丕賳賴丕蹖 蹖讴乇賵夭貙 亘丕 乇賵夭賴丕蹖 丿蹖诏乇貙 丌賳诏賵賳賴 讴賴 芦亘賵诏丕趩蹖賵禄貙 乇禺丿丕丿賴丕蹖 倬蹖卮蹖賳 乇丕 亘賴賲 賲蹖鬲賳丿貙 蹖讴 讴賱蹖鬲 乇丕 鬲卮讴蹖賱 賲蹖丿賴賳丿貨 賲賵囟賵毓 倬丕蹖賴 丕蹖 丿丕爻鬲丕賳賴丕: 芦亘賴 乇蹖卮禺賳丿 诏乇賮鬲賳 卮賴賵鬲 賵 胤賲毓 讴卮蹖卮賴丕禄貙 芦鬲賳卮 亘蹖賳 胤亘賯賴 蹖 孬乇賵鬲賲賳丿 鬲丕噩乇賴丕 賵 禺丕賳賵丕丿賴 賴丕蹖 丕卮乇丕賮蹖禄貙 賵 芦禺胤乇丕鬲 賵 賲丕噩乇丕噩賵蹖蹖賴丕蹖 亘丕夭乇诏丕賳丕賳 丿乇 爻賮乇賴丕蹖 鬲噩丕乇蹖禄 賴爻鬲賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 17/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 07/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
The Decameron is a collection of novellas by the 14th-century Italian author Giovanni Boccaccio (1313鈥�1375).
The book is structured as a frame story containing 100 tales told by a group of seven young women and three young men sheltering in a secluded villa just outside Florence to escape the Black Death, which was afflicting the city.
Boccaccio probably conceived of The Decameron after the epidemic of 1348, and completed it by 1353.
The various tales of love in The Decameron range from the erotic to the tragic. Tales of wit, practical jokes, and life lessons contribute to the mosaic.
In addition to its literary value and widespread influence (for example on Chaucer's The Canterbury Tales), it provides a document of life at the time. Written in the vernacular of the Florentine language, it is considered a masterpiece of classical early Italian prose.
鬲丕乇蹖禺 賳禺爻鬲蹖賳 禺賵丕賳卮: 乇賵夭 賴卮鬲賲 賲丕賴 賮賵乇蹖賴 爻丕賱 2018賲蹖賱丕丿蹖
毓賳賵丕賳: 丿讴丕賲乇賵賳 貨 賳賵蹖爻賳丿賴: 噩賵賵丕賳蹖 亘賵讴丕趩蹖賵貨 賲鬲乇噩賲: 丕丨賲丿禺丕賳 丿乇蹖丕亘蹖诏蹖貨 亘賵卮賴乇貙 責貙 1282貨
毓賳賵丕賳: 丿讴丕賲乇賵賳 - 丨丕賵蹖 蹖讴氐丿 丨讴丕蹖鬲 賮乇丨 丕賳诏蹖夭貨 賳賵蹖爻賳丿賴: 噩賵賵丕賳蹖 亘賵讴丕趩蹖賵貨 賲鬲乇噩賲: 丨亘蹖亘 卮賳賵賯蹖貨 鬲賴乇丕賳貙 诏賵鬲賳亘乇诏貙 1338貙 丿乇 丿賵 噩賱丿貨 賲賵囟賵毓 丿丕爻鬲丕賳賴丕蹖 賳賵蹖爻賳丿诏丕賳 丕蹖鬲丕賱蹖丕 - 爻丿 14賲
毓賳賵丕賳: 丿讴丕賲乇賵賳 - 丨丕賵蹖 蹖讴氐丿 丨讴丕蹖鬲 賮乇丨 丕賳诏蹖夭貨 賳賵蹖爻賳丿賴: 噩賵賵丕賳蹖 亘賵讴丕趩蹖賵貨 賲鬲乇噩賲: 賲丨賲丿 賯丕囟蹖貨 鬲賴乇丕賳貙 賲丕夭蹖丕乇貙 1379貙 丿乇 876氐貨 趩丕倬 丿賵賲 1393貨 卮丕亘讴 9789645676108貨
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賳賵蹖爻賳丿賴 亘賴 乇賵丨 亘卮乇蹖貙 賵 丕卮禺丕氐 丿丕爻鬲丕賳 丌卮賳丕 賴爻鬲賳丿貙 賵 賯賴乇賲丕賳鈥屬囏й� 丌賳 夭賳丿賴貙 賵 倬乇 丕夭 卮賵乇 夭賳丿诏蹖貙 賵 噩丕賳賵乇丕賳 丿丕爻鬲丕賳鈥屬囏й� 芦丿讴丕賲乇賵賳禄 賳蹖夭 賴賲丕賳賳丿 賯賴乇賲丕賳賴丕蹖 丿丕爻鬲丕賳 倬乇 丕夭 卮賵乇 夭賳丿诏丕賳蹖 賴爻鬲賳丿貙 丕蹖賳 讴鬲丕亘 亘毓丿賴丕 丿乇 丕丿亘蹖丕鬲 亘乇禺蹖 讴卮賵乇賴丕貙 丕夭 噩賲賱賴 丿乇 芦丕賳诏賱爻鬲丕賳禄 賳蹖夭貙 賲賵乇丿 丕賯鬲亘丕爻 賵 鬲賯賱蹖丿 賯乇丕乇 诏乇賮鬲貨 亘爻蹖丕乇蹖 丕夭 賳賵蹖爻賳丿诏丕賳貙 丕夭 噩賲賱賴 芦賵蹖賱蹖丕賲 卮讴爻倬蹖乇禄 賳丕賲 丌卮賳丕貙 丕夭 賯氐賴鈥� 賴丕蹖 丌賳貙 亘乇丕蹖 賳诏丕卮鬲賳 賳賲丕蹖卮賳丕賲賴鈥� 賴丕蹖 禺賵丿貙 爻賵丿 亘乇丿賳丿貨
賳禺爻鬲蹖賳 亘乇诏乇丿丕賳 賮丕乇爻蹖 芦丿讴丕賲乇賵賳禄貙 丿乇 丿賵乇賴 蹖 芦賳丕氐乇鈥屫з勜屬嗏€� 卮丕賴 賯丕噩丕乇禄 亘賵丿貙 讴賴 芦丕丨賲丿禺丕賳 丿乇蹖丕亘蹖诏蹖禄 丿乇 賮丕氐賱賴 蹖 爻丕賱賴丕蹖 1280賴噩乇蹖 禺賵乇卮蹖丿蹖貙 鬲丕 爻丕賱 1282賴噩乇蹖 禺賵乇卮蹖丿蹖貙 賳禺爻鬲 丿乇 乇賵夭賳丕賲賴 蹖 芦賲馗賮乇蹖 亘賵卮賴乇禄貙 賵 爻倬爻 亘賴 氐賵乇鬲 趩丕倬 爻賳诏蹖貙 賵 丿乇 賯胤毓 亘夭乇诏 丌賳乇丕 亘賴 爻丕賱1282賴噩乇蹖 禺賵乇卮蹖丿蹖貙 趩丕倬 讴乇丿賳丿貨
亘乇诏乇丿丕賳 丿賵賲 乇丕 夭賳丿賴 蹖丕丿 芦丨亘蹖亘 卮賳賵賯蹖禄貙 丿乇 丿賵 噩賱丿 賵 丿乇 蹖讴 賲噩賱丿貙 丿乇 爻丕賱 1338賴噩乇蹖 禺賵乇卮蹖丿蹖 賲賳鬲卮乇 讴乇丿賳丿貙 賵 爻乇丕賳噩丕賲 鬲乇噩賲賴 蹖 爻賵賲貙 讴賴 鬲乇噩賲賴 丕蹖 丿賯蹖賯 賵 讴丕賲賱 丕爻鬲貙 鬲賵爻胤 夭賳丿賴鈥� 蹖丕丿 芦賲丨賲丿 賯丕囟蹖禄貨 丿乇 爻丕賱 1379賴噩乇蹖 禺賵乇卮蹖丿蹖貙 丿乇 丕賳鬲卮丕乇丕鬲 賲丕夭蹖丕乇 賲賳鬲卮乇 卮丿貨 丕賱亘鬲賴 诏夭蹖賳卮蹖 丕夭 丿丕爻鬲丕賳賴丕蹖 芦丿讴丕賲乇賵賳禄 乇丕 賳蹖夭貙 亘丕賳賵 芦胤丕賴乇賴 亘丿蹖毓蹖禄 丿乇 70氐貙 丿乇 爻丕賱 1381賴噩乇蹖 禺賵乇卮蹖丿蹖 賲賳鬲卮乇 讴乇丿賴 丕賳丿貨 毓賳賵丕賳 讴鬲丕亘 蹖毓賳蹖 芦丿讴丕賲乇賵賳禄貙 丕夭 賲毓丕丿賱 蹖賵賳丕賳蹖 丿賵 賵丕跇賴 蹖 芦丿賻賴禄貙 賵 芦乇賵夭禄貙 诏乇賮鬲賴 卮丿賴 丕爻鬲貨 爻丕禺鬲丕乇 芦丿讴丕賲乇賵賳禄貙 丿乇 爻丕賱 1351賲蹖賱丕丿蹖 (賵 蹖丕 亘賴 乇賵丕蹖鬲蹖 亘賴 爻丕賱 1353賲蹖賱丕丿蹖) 亘賴 倬丕蹖丕賳 乇爻蹖丿賴 丕爻鬲貨 讴鬲丕亘 亘丕 卮乇丨蹖 丕夭 芦賵亘丕 (賲乇诏 爻蹖丕賴)禄 丌睾丕夭貙 賵 亘賴 賲毓乇賮蹖 芦賴賮鬲 夭賳禄 賵 芦爻賴 賲乇丿 噩賵丕賳禄 賲蹖乇爻丿貙 讴賴 丕夭 芦賮賱賵乇丕賳爻禄 芦賵亘丕禄 夭丿賴貙 亘賴 丿賴丕鬲蹖 丿乇 丨賵丕卮蹖 芦賮蹖爻賱禄貙 亘乇丕蹖 丿賵 賴賮鬲賴貙 賮乇丕乇 賲蹖讴賳賳丿貨 亘乇丕蹖 诏匕卮鬲 夭賲丕賳貙 賴乇 卮亘貙 賴賲賴 蹖 丕毓囟丕貙 賴乇 讴丿丕賲貙 丿丕爻鬲丕賳蹖 乇丕 亘丕夭诏賵 賲蹖讴賳丿貨 丕诏乇趩賴 趩賴丕乇丿賴 乇賵夭 賲蹖诏匕乇丿貙 丿賵 乇賵夭 丿乇 賴乇 賴賮鬲賴貙 亘乇丕蹖 讴丕乇賴丕蹖 丿蹖诏乇 丕爻鬲: 蹖讴 乇賵夭 亘乇丕蹖 賵馗丕蹖賮貙 賵 蹖讴 乇賵夭 賲賯丿爻貙 讴賴 賴蹖趩讴爻 丿乇 丌賳乇賵夭 賴蹖趩 讴丕乇蹖 賳賲蹖鈥屭┵嗀� 亘丿蹖賳爻丕賳 丿乇 倬丕蹖丕賳 丿賴 乇賵夭貙 氐丿 丿丕爻鬲丕賳 亘丕夭诏賵 賲蹖卮賵賳丿
賴乇 讴丿丕賲 丕夭 卮禺氐蹖鬲賴丕 亘賴 賳賵亘鬲 亘賴 毓賳賵丕賳 芦卮丕賴禄貙 賵 蹖丕 芦賲賱讴賴禄貙 亘乇丕蹖 蹖讴蹖 丕夭 丌賳 丿賴 乇賵夭貙 亘乇诏夭蹖丿賴 賲蹖卮賵賳丿貨 賵馗蹖賮賴 (卮丕賴 賵 蹖丕 賲賱讴賴)貙 诏夭蹖賳卮 賲賵囟賵毓 丿丕爻鬲丕賳貙 亘乇丕蹖 丌賳乇賵夭 丕爻鬲貙 賵 賲賵囟賵毓丕鬲 賴賲賴 蹖 乇賵夭賴丕貙 亘賴 丕爻鬲孬賳丕蹖 丿賵 乇賵夭貙 賲毓蹖賳 賲蹖诏乇丿賳丿: 芦賯丿乇鬲 丿丕乇丕蹖蹖禄貙 芦賯丿乇鬲 禺賵丕爻鬲 丌丿賲蹖禄貙 芦丿丕爻鬲丕賳賴丕 蹖 毓丕卮賯丕賳賴 讴賴 睾賲 丕賳诏蹖夭 亘賴 倬丕蹖丕賳 賲蹖乇爻賳丿禄貙 芦丿丕爻鬲丕賳賴丕蹖 毓丕卮賯丕賳賴 讴賴 倬丕蹖丕賳蹖 禺賵卮 丿丕乇賳丿禄貙 芦倬丕爻禺賴丕蹖 賴賵卮賲賳丿丕賳賴 丕蹖 讴賴 噩丕賳 蹖讴 爻禺賳诏賵 乇丕 丨賮馗 賲蹖讴賳賳丿禄貙 芦丨賯賴 賴丕蹖蹖 讴賴 夭賳丕賳 亘賴 賲乇丿丕賳 賲蹖夭賳賳丿禄貙 芦丨賯賴 賴丕蹖蹖 讴賴 賲乇丿賲 亘胤賵乇 毓丕賲 亘賴 賴賲 賲蹖夭賳賳丿禄貙 賵 芦丿丕爻鬲丕賳賴丕蹖蹖 丕夭 毓賮鬲 賵 倬丕讴丿丕賲賳蹖禄貨
鬲賳賴丕 芦丿丕蹖賵 賳蹖賵禄 讴賴 賴乇 乇賵夭 丿丕爻鬲丕賳 丿賴賲 乇丕 賲蹖诏賵蹖丿貙 亘乇丕蹖 鬲蹖夭賴賵卮蹖 讴賴 丿丕乇丿貙 丨賯 丌賳乇丕 丿丕乇丿貙 讴賴 賴乇 丿丕爻鬲丕賳蹖 乇丕 讴賴 丿賱卮 亘禺賵丕賴丿 亘丕夭诏賵 賳賲丕蹖丿貨 賳賵蹖爻賳丿賴 賴丕蹖 亘爻蹖丕乇蹖貙 賲蹖丕賳丿蹖卮賳丿 讴賴: 芦丿丕蹖賵 賳蹖賵禄貙 賳賯胤賴 賳馗乇丕鬲 禺賵丿 芦亘賵诏丕趩蹖賵禄 乇丕 亘蹖丕賳 賲蹖讴賳丿貨 賴乇 乇賵夭貙 毓賱丕賵賴 亘乇 乇賵丕蹖鬲貙 卮丕賲賱 蹖讴 賲賯丿賲賴 賵 賳鬲蹖噩賴 賲禺鬲氐乇 賳蹖夭 賴爻鬲賳丿貙 鬲丕 賯丕賱亘 丿丕爻鬲丕賳賴丕貙 亘賴 睾蹖乇 丕夭 丿丕爻鬲丕賳诏賵蹖蹖貙 賵 丕夭 乇丕賴 鬲賵囟蹖丨 賮毓丕賱蹖鬲賴丕蹖 乇賵夭丕賳賴 賳蹖夭貙 丕丿丕賲賴 蹖丕亘丿貨 丕蹖賳 賮丕氐賱賴 蹖 賲蹖丕賳 倬乇丿賴 丕蹖貙 卮丕賲賱 丌賵丕夭賴丕蹖 賲丨賱蹖 (賮賵賱讴賵乇) 芦丕蹖鬲丕賱蹖丕蹖蹖禄 丕爻鬲貨 乇丕亘胤賴 蹖 亘蹖賳 丿丕爻鬲丕賳賴丕蹖 蹖讴乇賵夭貙 亘丕 乇賵夭賴丕蹖 丿蹖诏乇貙 丌賳诏賵賳賴 讴賴 芦亘賵诏丕趩蹖賵禄貙 乇禺丿丕丿賴丕蹖 倬蹖卮蹖賳 乇丕 亘賴賲 賲蹖鬲賳丿貙 蹖讴 讴賱蹖鬲 乇丕 鬲卮讴蹖賱 賲蹖丿賴賳丿貨 賲賵囟賵毓 倬丕蹖賴 丕蹖 丿丕爻鬲丕賳賴丕: 芦亘賴 乇蹖卮禺賳丿 诏乇賮鬲賳 卮賴賵鬲 賵 胤賲毓 讴卮蹖卮賴丕禄貙 芦鬲賳卮 亘蹖賳 胤亘賯賴 蹖 孬乇賵鬲賲賳丿 鬲丕噩乇賴丕 賵 禺丕賳賵丕丿賴 賴丕蹖 丕卮乇丕賮蹖禄貙 賵 芦禺胤乇丕鬲 賵 賲丕噩乇丕噩賵蹖蹖賴丕蹖 亘丕夭乇诏丕賳丕賳 丿乇 爻賮乇賴丕蹖 鬲噩丕乇蹖禄 賴爻鬲賳丿
鬲丕乇蹖禺 亘賴賳诏丕賲 乇爻丕賳蹖 17/07/1399賴噩乇蹖 禺賵乇卮蹖丿蹖貨 07/06/1400賴噩乇蹖 禺賵乇卮蹖丿蹖貨 丕. 卮乇亘蹖丕賳蹖
January 19, 2021
賲丕夭賱鬲購 兀鬲匕賰乇 丕賱賷賵賲 丕賱匕賷 鬲賵丕賮乇鬲 賮賷賴 丕賱丿賷賰丕賲賷乇賵賳 兀賲丕賲賷 賱賱丕爻鬲毓丕乇丞 賮賷 胤亘毓丞 孬賲賷賳丞 賵亘丕賱丕賳噩賱賷夭賷丞
賵兀賳丕 噩丿 爻毓賷丿丞 兀賳賳賷 鬲賰丕爻賱鬲 毓賳 賯乇丕亍鬲賴丕
賱兀賳賴 賱丕 鬲乇噩賲丞 賲孬賱 鬲乇噩賲丞 毓賱賲丕賳賷
賵賱丕 兀馗賳賳賷 賰賳鬲 賱兀賯乇兀 賴匕丕 丕賱毓賲賱 賲乇鬲賷賳
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鬲匕賰乇賳賷 丕賱賯氐氐 兀賵 丕賱丨賰丕賷丕鬲 賰賷 兀賰賵賳 兀丿賯 亘睾乇丕卅亘 兀賱賮
賱賷賱丞 賵賱賷賱丞
賵賱賷丕賱賷 噩賱賵爻賷 噩賵丕乇 兀賲賷 兀爻鬲賲毓 廿賱賷賴丕 毓亘乇 丕賱兀孬賷乇
亘丌丿丕亍 賱胤賷賮 賵兀丨賷丕賳丕 賲賮鬲毓賱 賱賲賲孬賱賷 丕賱廿匕丕毓丞
賮賯丿 卮毓乇鬲 兀賳賳賷 毓丿鬲 亘丕賱夭賲賳 賵丕賱丨賰丕賷丕鬲 鬲鬲丕亘毓
亘丨賱賵賴丕 賵爻禺賷賮賴丕
賵賱賰賳 丕賱毓丕賲賱 丕賱賲卮鬲乇賰 賴賳丕 賴賵 噩丕匕亘賷丞 鬲賱賰 丕賱賳賵毓賷丞 賲賳 丕賱賰鬲亘
賮賴賷 鬲毓賷丿賰 亘胤乇賷賯丞 賲丕 廿賱賶 胤賮賵賱鬲賰
賵鬲毓胤賷賰 噩乇毓丞 禺賷丕賱 賱丕 亘兀爻 亘賴丕
賵賮賷賴丕 賲賳 丨爻 丕賱丿毓丕亘丞 賵丕賱賲乇丨 賲丕 賷爻賱賷 賵賷賲囟賷 丕賱賵賯鬲
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丕賱賰鬲丕亘 鬲噩乇亘丞 賱匕賷匕丞 賱丕 鬲賳爻賶
賵賯丿 毓乇賮鬲 毓賳賴丕 賱兀賵賱 賲乇丞 賮賷 賲乇丕賴賯鬲賷 賲賳 賰鬲亘 丕賱氐丿賷賯 丕賱賵賮賷
兀丿賷亘賳丕 兀賳賷爻 賲賳氐賵乇
賵賲噩丿丿丕
氐丕賱丨 毓賱賲丕賳賷
卮賰乇丕 丿賵賲丕 毓賱賶 噩賲丕賱賰
August 31, 2024
Cine n-a citit Decameronul n-ar face deloc r膬u s膬-l r膬sfoiasc膬 acum. E momentul cel mai potrivit. Boccaccio a redactat cartea dup膬 epidemia de cium膬 din 1347-1348, opera a circulat 卯n manuscris, 卯ntr-un cerc restr卯ns, dar prima ei edi葲ie s-a tip膬rit abia 卯n 1470. Decameronul a intrat numaidec卯t 卯n 鈥濱ndex librorum prohibitorum鈥�, lista c膬r葲ilor interzise, un semn de 卯nalt膬 pre葲uire din partea Sf卯ntului Scaun. 脦苍 introducere, autorul prezint膬 ravagiile molimei 卯n Floren葲a 葯i reac葲iile c卯torva personaje.
10 tineri (7 fete 葯i 3 b膬ie葲i, un raport rezonabil) se retrag 卯ntr-o cetate 葯i, pentru a-葯i trece timpul cu folos, 卯葯i spun pove葯ti / povestiri. Multe s卯nt de un haz nebun. Am citit cartea lui Boccaccio de at卯tea ori 卯nc卯t mi-ar fi u葯or s膬 v-o povestesc 卯n 卯ntregime cu am膬nunte 葯i ilustra葲ii. N-o voi face chiar azi, ca s膬 nu v膬 r膬pesc cu totul pl膬cerea lecturii. Iat膬 doar dou膬 exemple, poate reu葯esc s膬 v膬 conving...
Aleg mai 卯nt卯i povestea a doua din ziua a doua. Are 葯i aventur膬, 葯i 卯ntors膬turi de soart膬, 葯i dialog, 葯i..., are de toate. Asculta葲i:
脦苍ainte de a porni la un drum lung, un anume Rinaldo din Asti spune, prev膬z膬tor, o rug膬ciune sf卯ntului Iulian. Umbl膬 c卯t umbl膬, c膬l膬tore葯te c卯t c膬l膬tore葯te 葯i, la un moment dat, intr膬 卯n bucluc. Este jefuit de trei t卯lhari. R膬m卯ne descul葲, numai 卯n c膬ma葯膬, 卯n pustietate. O porne葯te am膬r卯t spre Castel Guiglielmo, dar afl膬 por葲ile ora葯ului 卯nchise, cu pun葲ile ridicate. E noapte, frig, cerul este sticlos, 卯nghe葲at. Se pl卯nge 卯n g卯nd sf卯ntului Iulian. Lacrimile lui au efect.
鈥濩i sf卯ntul Iulian, sub paza lui 葲in卯ndu-l, f膬r膬 z膬bav膬 卯i r卯ndui altminteri culcu葯ul鈥�. O v膬duv膬 鈥瀎rumoas膬 la trup ca nimeni alta鈥� 卯l aude 葯i-i deschide o porti葲膬 secret膬 卯n cetate. Rinaldo intr膬 卯n casa femeii 葯i este primit cu mult膬 bun膬voin葲膬 葯i pricepere. V膬duva cea frumos膬 卯l pofte葯te 卯n baie, s膬 se cure葲e 葯i s膬 se 卯nc膬lzeasc膬. 脦i d膬 ve葯minte proaspete 葯i-l cheam膬 la mas膬. Iar pentru c膬 Rinaldo e chipe葯, 卯l cheam膬 葯i 卯n pat. 脦苍 zori, c卯nd d膬 s膬 plece, eroul pove葯tii 卯i vede pe cei trei t卯lhari prin葯i 葯i lega葲i. Depune m膬rturie 葯i prime葯te 卯napoi banii, hainele 葯i calul. Spre sear膬 se 卯ntoarce acas膬. Nu 卯nainte de a 葯opti o rug膬ciune de mul葲umire sf卯ntului Iulian.
A doua:
脦苍 ultima povestire din ziua a 葯asea a Decameronului, un c膬lug膬r h卯tru, pe nume Cipolla (id est Ceap膬!), negustor de moa葯te, pretinde c膬 a v膬zut 葯i a pip膬it el 卯nsu葯i, pe c卯nd a mers la Ierusalim, urm膬toarele relicve c卯t se poate de abstracte:
Enumerarea lui Boccaccio - fantezist膬, fire葯te - face toate paralele. Eu v膬d 卯n ea primul poem suprarealist din istoria literaturii.
Dar cum se cuvine b膬gat dracul 卯n iad 葯ti葲i? Nuuuuuuuuu? Ia vede葲i instruc葲iunile eremitului Rustico, men葲ionate 卯n ultima povestire din ziua a treia. Mai mult nu v膬 zic.
10 tineri (7 fete 葯i 3 b膬ie葲i, un raport rezonabil) se retrag 卯ntr-o cetate 葯i, pentru a-葯i trece timpul cu folos, 卯葯i spun pove葯ti / povestiri. Multe s卯nt de un haz nebun. Am citit cartea lui Boccaccio de at卯tea ori 卯nc卯t mi-ar fi u葯or s膬 v-o povestesc 卯n 卯ntregime cu am膬nunte 葯i ilustra葲ii. N-o voi face chiar azi, ca s膬 nu v膬 r膬pesc cu totul pl膬cerea lecturii. Iat膬 doar dou膬 exemple, poate reu葯esc s膬 v膬 conving...
Aleg mai 卯nt卯i povestea a doua din ziua a doua. Are 葯i aventur膬, 葯i 卯ntors膬turi de soart膬, 葯i dialog, 葯i..., are de toate. Asculta葲i:
脦苍ainte de a porni la un drum lung, un anume Rinaldo din Asti spune, prev膬z膬tor, o rug膬ciune sf卯ntului Iulian. Umbl膬 c卯t umbl膬, c膬l膬tore葯te c卯t c膬l膬tore葯te 葯i, la un moment dat, intr膬 卯n bucluc. Este jefuit de trei t卯lhari. R膬m卯ne descul葲, numai 卯n c膬ma葯膬, 卯n pustietate. O porne葯te am膬r卯t spre Castel Guiglielmo, dar afl膬 por葲ile ora葯ului 卯nchise, cu pun葲ile ridicate. E noapte, frig, cerul este sticlos, 卯nghe葲at. Se pl卯nge 卯n g卯nd sf卯ntului Iulian. Lacrimile lui au efect.
鈥濩i sf卯ntul Iulian, sub paza lui 葲in卯ndu-l, f膬r膬 z膬bav膬 卯i r卯ndui altminteri culcu葯ul鈥�. O v膬duv膬 鈥瀎rumoas膬 la trup ca nimeni alta鈥� 卯l aude 葯i-i deschide o porti葲膬 secret膬 卯n cetate. Rinaldo intr膬 卯n casa femeii 葯i este primit cu mult膬 bun膬voin葲膬 葯i pricepere. V膬duva cea frumos膬 卯l pofte葯te 卯n baie, s膬 se cure葲e 葯i s膬 se 卯nc膬lzeasc膬. 脦i d膬 ve葯minte proaspete 葯i-l cheam膬 la mas膬. Iar pentru c膬 Rinaldo e chipe葯, 卯l cheam膬 葯i 卯n pat. 脦苍 zori, c卯nd d膬 s膬 plece, eroul pove葯tii 卯i vede pe cei trei t卯lhari prin葯i 葯i lega葲i. Depune m膬rturie 葯i prime葯te 卯napoi banii, hainele 葯i calul. Spre sear膬 se 卯ntoarce acas膬. Nu 卯nainte de a 葯opti o rug膬ciune de mul葲umire sf卯ntului Iulian.
A doua:
脦苍 ultima povestire din ziua a 葯asea a Decameronului, un c膬lug膬r h卯tru, pe nume Cipolla (id est Ceap膬!), negustor de moa葯te, pretinde c膬 a v膬zut 葯i a pip膬it el 卯nsu葯i, pe c卯nd a mers la Ierusalim, urm膬toarele relicve c卯t se poate de abstracte:
a) degetul Sf卯ntului Duh, nev膬t膬mat 葯i 卯ntreg,
b) o unghie de heruvim,
c) un petic din ve葯m卯ntul sfintei Credin葲e catolice,
d) c卯teva raze din steaua urmat膬 c卯ndva cu 卯ncredere de magii de la R膬s膬rit,
e) falca mor葲ii sf卯ntului Laz膬r,
f) un sf卯nt canin din sf卯nta dantur膬 a Sfintei Cruci,
g) o f膬r卯m膬 din sunetul clopotelor ad膬postite 卯n templul lui Solomon,
h) o pan膬 din aripile arhanghelului Gabriel, c膬zut膬 卯n timpul Bunei Vestiri...
Enumerarea lui Boccaccio - fantezist膬, fire葯te - face toate paralele. Eu v膬d 卯n ea primul poem suprarealist din istoria literaturii.
Dar cum se cuvine b膬gat dracul 卯n iad 葯ti葲i? Nuuuuuuuuu? Ia vede葲i instruc葲iunile eremitului Rustico, men葲ionate 卯n ultima povestire din ziua a treia. Mai mult nu v膬 zic.
Want to read
March 15, 2020I guess this might be a good time to finally finish reading this? (I started this book twice in the past, in 2010 and 2014 but never managed to finish.)
January 11, 2018
After a couple of years, two attempts and two different editions, I have finally finished this book. The first great literary accomplishment of 2016.
All I can say is that the history of humanity lies on every page of this book. Virtues and defects that have illuminated and darkened human existence were eloquently expressed by Boccaccio's brilliant pen that concocted, with mastery and otherworldly wit, one hundred tales told by seven young ladies and three young men who, to contextualize this fine collection, fled the magnificent city of Florence (a place I adore and with which I have a bond that goes beyond the origin of my name and ancestry), trying to escape from the Black Death. These stories are mostly about the connections between intelligence and fortune and how the sort of picaresque characters manage to achieve success. Often involving eroticism (Boccaccio must have been the E.L. James of his time but, you know, with writing skills), these tales accentuate the distance from medieval ideals, focusing on the actual human being.
Anyway, I started reading this collection in 2013 and failed miserably.
Statistics
06/25/2013 marked as: currently-reading
09/22/2013 page 590 64.0%
01/02/2014 marked as: will-i-ever-finish-it
12/10/2015 marked as: started reading from page 1, clandestinely
12/20/2015 marked as: currently-reading, officially
02/13/2016 marked as: finished
But, as you see, this year I made it. It ended up being a rather special read for me, since I happen to have a photo of a loyal companion sitting by my side, a devoted witness of my struggle with his beautiful amber eyes on me, which I can only visualize now.
A lovely memory is now attached to this wonderful book.
May 9, 16
* Also on .
** Photo credit: Charlie and book / me.
All I can say is that the history of humanity lies on every page of this book. Virtues and defects that have illuminated and darkened human existence were eloquently expressed by Boccaccio's brilliant pen that concocted, with mastery and otherworldly wit, one hundred tales told by seven young ladies and three young men who, to contextualize this fine collection, fled the magnificent city of Florence (a place I adore and with which I have a bond that goes beyond the origin of my name and ancestry), trying to escape from the Black Death. These stories are mostly about the connections between intelligence and fortune and how the sort of picaresque characters manage to achieve success. Often involving eroticism (Boccaccio must have been the E.L. James of his time but, you know, with writing skills), these tales accentuate the distance from medieval ideals, focusing on the actual human being.
Anyway, I started reading this collection in 2013 and failed miserably.
Statistics
06/25/2013 marked as: currently-reading
09/22/2013 page 590 64.0%
01/02/2014 marked as: will-i-ever-finish-it
12/10/2015 marked as: started reading from page 1, clandestinely
12/20/2015 marked as: currently-reading, officially
02/13/2016 marked as: finished
But, as you see, this year I made it. It ended up being a rather special read for me, since I happen to have a photo of a loyal companion sitting by my side, a devoted witness of my struggle with his beautiful amber eyes on me, which I can only visualize now.
A lovely memory is now attached to this wonderful book.
May 9, 16
* Also on .
** Photo credit: Charlie and book / me.
February 7, 2022
Colourful, elegant, hilarious euphemisms for sexual exploits and double-entendres applied by Boccaccio to produce texts agreeable with cultural norms of his time are the best things my eyes have been blessed with.
This story had a happy ending, too. 馃い
But the 10th story of the 3rd day, when Rustico teaches Alibech how to put the devil in Hell?
Now let me climb the bed I have fallen off while rereading this masterpiece.
To those of you who have never opened The Decameron, I have only one thing to say:
Then after many kisses they went to bed together and took delight and pleasure one of another almost all that night, hearing the nightingale sing many a time.
This story had a happy ending, too. 馃い
There he held a lavish and honourable wedding-feast and afterwards went after nightingales with her, in peace and solace and at length, both by night and by day, to his heart's content.
But the 10th story of the 3rd day, when Rustico teaches Alibech how to put the devil in Hell?
'What you have there is the pit of Hell,' said Rustico, 'and I have to say that I believe God sent you here for the salvation of my soul.
For even if this devil torments me so mercilessly, if you will take pity on me and let me stuff him back into Hell, you'll give me great consolation and you'll really please God and serve Him, if that's what you've come to these parts to do, like you told me.'
The girl answered him in all good faith: 'Oh, my father, seeing that I have this pit of Hell, let it be done whenever you like.'
'Bless you, my daughter!' said Rustico then. 'Let us go then and stuff him back in there right away, so he'll leave me in peace afterwards.'
And with these words, he led the young girl over to one of their little beds, and showed her how one sets about imprisoning that cursed enemy of the Lord.
The young girl, who had never had any devil in her pit of Hell before that moment, felt some pain the first time, and so she said to Rustico, 'There's no doubt, father, that this devil must be a wicked thing altogether, and a real enemy of God, for even the pit of Hell, let alone anything else, is sore when he's stuffed back in there.'
Now let me climb the bed I have fallen off while rereading this masterpiece.
To those of you who have never opened The Decameron, I have only one thing to say:
December 22, 2015
In the 14th century in Europe, during the devastating times of the Black Death, a group of young Florentines - seven women and three men - decide to flee to seek shelter and escape from the plague in a villa outside of the city of Florence. This is the basic frame used by Italian author to tell us one hundred tales of life, love and fortune with .
After leaving the city, in order to pass the time, an idea of telling stories is brought up and each one of the young group - Pampinea, Fiammetta, Filomena, Emilia, Lauretta, Neifile, Elissa, Panfilo, Filostrato and Dioneo - must tell one story per day. Starting on the second day, Filomena, who was appointed as the queen of the day - they all took turns into being the queen or king - decided that the stories to be told in each day should all pertain to a theme previously chosen by the one in charge. The only exception to that rule is Dioneo, who asked to have the privilege to be the last one to tell his tale each day and to be freed of the requirement of complying to the day's theme. It's been argued that Dioneo served as a way for Boccaccio to express his own views through his stories.
I had a lot of pleasant days in the company of the young Florentines, such as the eighth day, where Lauretta chose as a theme stories of tricks women play on men or that men play on women which, of course, is packed with hilarious stories and clever stratagems; or the last day, when Panfilo asked that tales about deeds of generosity be told. I wonder if Boccaccio intended to leave a hopeful message to his readers after many cases of betrayals and misfortunes.
But two days were more enjoyable than others:
THIRD DAY
As the queen of the day, Neifile ruled that stories where a person has painfully acquired something or has lost it and then regained it should be told for everyone's amusement. In that day, Panfilo narrates a very funny tale (the fourth one) of Dom Felice who, desiring to spend some 'quality time' with Friar Puccio's wife, tells her husband that he should do a penance to gain blessedness. Let's just say that Dom Felice should do a lot of penance after that tale...
Other two stories from that early day remained as some of my favorites:
FIRST TALE
Filostrato tells the story of Masetto da Lamporecchio, a young and handsome man who, deciding to pass as being mute, finds work in a convent of women as a gardener after hearing the old one is no longer there. While working, he is noticed by two of the nuns who, curious to find out what's the sensation of being with a man, decide to lie with him. As word spreads out, Masetto finds himself working very long extra hours.
Boccaccio once again writes an humorous tale packed with religious satire and catholic church criticism. Even the abbess, from whom you'd expect better discernment and leadership towards what's rightful, can't help but to share of Masetto's services.
TENTH TALE
Dioneo tells the tale of a beautiful and young girl named Alibech who, not being religious but hearing many Christians talking about faith and serving God, wished to find out what it was all about. After hearing their response and wandering into the desert in an attempt to become closer to God, she finally meets a monk named Rustico that, tempted by her looks, decided to teach her how to "put the devil back into hell".
This tale was so "graphic" that in John Payne's translation of The Decameron he decided to include Boccaccio's original words instead of translating them, stating that it was "...impossible to render the technicalities of that mysterious art into tolerable English..."
FOURTH DAY
On the fourth day, Filostrato, who was appointed re del giorno, demanded his friends to tell stories of lovers whose relationship ended in disaster. Fiammetta narrates the first tale of the day, telling the story of Tancredi who, after slaying his daughter Ghismonda's lover, sends her his heart in a golden cup. She, then, decides to fill the cup with poison, drinks it and dies.
Among other tragic stories, my favorite is the one that follows:
FIFTH TALE
Filomena tells the sad story of Lisabetta who has her lover Lorenzo murdered by her brothers. In a dream, he tells her where they buried his body and she decides to take his head and to set it in a pot of basil, whereon she daily weeps a great while.
Boccaccio's language and wit in writing here is similar to Cervantes in , as he was able to write about violence, sex or even scatological humor, for example, successfully turning those themes into very light reads, making the episodes funny and enjoyable without shocking his readers. Not that he seemed to be in any way afraid of being offensive and raising some eyebrows: his tales about clergyman being deceitful - or "hypocrites", to borrow one of the adjectives he employed in one of the narratives - or nuns having sex seem to be a direct criticism and a mockery to their status as holy people.
One of the aspects that really amused me was the role of women in his work. Boccaccio directly spoke to the "gracious ladies" with the words below in the first day, defining them as the main audience to his book.
On the fourth day, once again, he addressed the ladies by writing about having been criticized for liking the ladies too much and thinking solely of pleasuring them with his tales:
Setting the discussion aside of why he would include that odd defense (it seems he was being defensive without having been actually attacked?) on Decamerone, I was amazed by the extensive portraits Boccaccio painted of women: they were cunning, sad, some were cheaters, others were passionate, subjugated and the roles go on. For living in a time where men loved - and idolized, and described women as being the most beautiful things to have ever walked on the earth - women so much, constantly elevating them to goddesses status, it seems that Boccaccio masterfully wrote an array of human-like characters with great range of emotions.
Film adaptation: there's been many adaptations, but I've only watched one: 1971's by Italian director Pier Paolo Pasolini. Who would be better than the ever so controversial filmmaker to add extra layers of mockery, satire and erotica to Boccaccio's already teasing tales? The director nicely connected nine of the stories through the fifth tale of the sixth day where Pasolini played the painter Giotto. This film is in no way necessary to complement the book, but it was a great one hour and a half of pure fun!
Rating: Boccaccio's work proved to be a fine companion as I often read his stories on my commute to work and found myself giggling all the time. I can see myself re-reading some tales from time to time, like you would with a daily reflections book. For that, 4 stars.
After leaving the city, in order to pass the time, an idea of telling stories is brought up and each one of the young group - Pampinea, Fiammetta, Filomena, Emilia, Lauretta, Neifile, Elissa, Panfilo, Filostrato and Dioneo - must tell one story per day. Starting on the second day, Filomena, who was appointed as the queen of the day - they all took turns into being the queen or king - decided that the stories to be told in each day should all pertain to a theme previously chosen by the one in charge. The only exception to that rule is Dioneo, who asked to have the privilege to be the last one to tell his tale each day and to be freed of the requirement of complying to the day's theme. It's been argued that Dioneo served as a way for Boccaccio to express his own views through his stories.
I had a lot of pleasant days in the company of the young Florentines, such as the eighth day, where Lauretta chose as a theme stories of tricks women play on men or that men play on women which, of course, is packed with hilarious stories and clever stratagems; or the last day, when Panfilo asked that tales about deeds of generosity be told. I wonder if Boccaccio intended to leave a hopeful message to his readers after many cases of betrayals and misfortunes.
But two days were more enjoyable than others:
THIRD DAY
As the queen of the day, Neifile ruled that stories where a person has painfully acquired something or has lost it and then regained it should be told for everyone's amusement. In that day, Panfilo narrates a very funny tale (the fourth one) of Dom Felice who, desiring to spend some 'quality time' with Friar Puccio's wife, tells her husband that he should do a penance to gain blessedness. Let's just say that Dom Felice should do a lot of penance after that tale...
Other two stories from that early day remained as some of my favorites:
FIRST TALE
Filostrato tells the story of Masetto da Lamporecchio, a young and handsome man who, deciding to pass as being mute, finds work in a convent of women as a gardener after hearing the old one is no longer there. While working, he is noticed by two of the nuns who, curious to find out what's the sensation of being with a man, decide to lie with him. As word spreads out, Masetto finds himself working very long extra hours.
"'Alack!' rejoined the other, 'what is this thou sayest? Knowest thou not that we have promised our virginity to God?'
'Oh, as for that,' answered the first, 'how many things are promised Him all day long, whereof not one is fulfilled unto Him! An we have promised it Him, let Him find Himself another or others to perform it to Him.'"
Boccaccio once again writes an humorous tale packed with religious satire and catholic church criticism. Even the abbess, from whom you'd expect better discernment and leadership towards what's rightful, can't help but to share of Masetto's services.
TENTH TALE
Dioneo tells the tale of a beautiful and young girl named Alibech who, not being religious but hearing many Christians talking about faith and serving God, wished to find out what it was all about. After hearing their response and wandering into the desert in an attempt to become closer to God, she finally meets a monk named Rustico that, tempted by her looks, decided to teach her how to "put the devil back into hell".
"Whereupon Rustico, seeing her so fair, felt an accession of desire, and therewith came an insurgence of the flesh, which Alibech marking with surprise, said: 'Rustico, what is this, which I see thee have, that so protrudes, and which I have not?'
'Oh! my daughter,' said Rustico, ''tis the Devil of whom I have told thee: and, seest thou? he is now tormenting me most grievously, insomuch that I am scarce able to hold out.'"
This tale was so "graphic" that in John Payne's translation of The Decameron he decided to include Boccaccio's original words instead of translating them, stating that it was "...impossible to render the technicalities of that mysterious art into tolerable English..."
FOURTH DAY
On the fourth day, Filostrato, who was appointed re del giorno, demanded his friends to tell stories of lovers whose relationship ended in disaster. Fiammetta narrates the first tale of the day, telling the story of Tancredi who, after slaying his daughter Ghismonda's lover, sends her his heart in a golden cup. She, then, decides to fill the cup with poison, drinks it and dies.
Among other tragic stories, my favorite is the one that follows:
FIFTH TALE
Filomena tells the sad story of Lisabetta who has her lover Lorenzo murdered by her brothers. In a dream, he tells her where they buried his body and she decides to take his head and to set it in a pot of basil, whereon she daily weeps a great while.
"...nor did she ever water these with other water than that of her tears or rose or orange-flower water."-----------------
Boccaccio's language and wit in writing here is similar to Cervantes in , as he was able to write about violence, sex or even scatological humor, for example, successfully turning those themes into very light reads, making the episodes funny and enjoyable without shocking his readers. Not that he seemed to be in any way afraid of being offensive and raising some eyebrows: his tales about clergyman being deceitful - or "hypocrites", to borrow one of the adjectives he employed in one of the narratives - or nuns having sex seem to be a direct criticism and a mockery to their status as holy people.
One of the aspects that really amused me was the role of women in his work. Boccaccio directly spoke to the "gracious ladies" with the words below in the first day, defining them as the main audience to his book.
"As often, most gracious ladies, as, taking thought in myself, I mind me how very pitiful you are all by nature, so often do I recognize that this present work will, to your thinking, have a grievous and a weariful beginning, inasmuch as the dolorous remembrance of the late pestiferous mortality, which it beareth on its forefront, is universally irksome to all who saw or otherwise knew it."
On the fourth day, once again, he addressed the ladies by writing about having been criticized for liking the ladies too much and thinking solely of pleasuring them with his tales:
"There are then, discreet ladies, some who, reading these stories, have said that you please me overmuch and that it is not a seemly thing that I should take so much delight in pleasuring and solacing you; and some have said yet worse of commending you as I do."
Setting the discussion aside of why he would include that odd defense (it seems he was being defensive without having been actually attacked?) on Decamerone, I was amazed by the extensive portraits Boccaccio painted of women: they were cunning, sad, some were cheaters, others were passionate, subjugated and the roles go on. For living in a time where men loved - and idolized, and described women as being the most beautiful things to have ever walked on the earth - women so much, constantly elevating them to goddesses status, it seems that Boccaccio masterfully wrote an array of human-like characters with great range of emotions.
Film adaptation: there's been many adaptations, but I've only watched one: 1971's by Italian director Pier Paolo Pasolini. Who would be better than the ever so controversial filmmaker to add extra layers of mockery, satire and erotica to Boccaccio's already teasing tales? The director nicely connected nine of the stories through the fifth tale of the sixth day where Pasolini played the painter Giotto. This film is in no way necessary to complement the book, but it was a great one hour and a half of pure fun!
Rating: Boccaccio's work proved to be a fine companion as I often read his stories on my commute to work and found myself giggling all the time. I can see myself re-reading some tales from time to time, like you would with a daily reflections book. For that, 4 stars.
January 30, 2019
Amazing.
I'm utterly flabbergasted by how good this is. Forty years before The Canterbury Tales took England by storm, a little tiny place called Italy was having a full-blown RENAISSANCE. So why the hell have I been avoiding all these fantastic pieces of art, anyway? Because they're in Italian? For SHAME.
Fortunately, this translation is fantastic... and you know what? It really holds up. It has everything a public who wants to be entertained could ever desire. A hundred short stories framed by nobles hiding out while the Black Plague ravages Europe, eating, frolicking, and telling stories every night for ten nights.
Do you think a quarantine is a recipe for depression and disaster? Muahahahahaha NO. Let's just put it this way... there's more sex, laughter, trickery, sex, adultery, sex, theft, cons, sex, and hilarious situations in these stories than you'd find in the entire works of Shakespeare. And let's put this in perspective... Chaucer and Shakespeare stole a TON of s**t from Boccaccio. All of it funny and light and clever and wickedly perverse.
I always knew that literature, in general, is an incestuous lot, but between these many classic tales of spouses pulling fast ones on each other or selfless tales of true love or steadfastness or tales of corruption, greed, and confidence games, I'm tempted to just throw in the hat and say this guy has it ALL.
I know it ain't true. I've read enough Italians from more than a millennia prior to put paid to that idea. But STILL. This is entertaining as hell. And I thought Chaucer was a RIOT, too.
It just goes to show... never judge a book by its cover. You might be losing out on some GREAT comedy.
I'm utterly flabbergasted by how good this is. Forty years before The Canterbury Tales took England by storm, a little tiny place called Italy was having a full-blown RENAISSANCE. So why the hell have I been avoiding all these fantastic pieces of art, anyway? Because they're in Italian? For SHAME.
Fortunately, this translation is fantastic... and you know what? It really holds up. It has everything a public who wants to be entertained could ever desire. A hundred short stories framed by nobles hiding out while the Black Plague ravages Europe, eating, frolicking, and telling stories every night for ten nights.
Do you think a quarantine is a recipe for depression and disaster? Muahahahahaha NO. Let's just put it this way... there's more sex, laughter, trickery, sex, adultery, sex, theft, cons, sex, and hilarious situations in these stories than you'd find in the entire works of Shakespeare. And let's put this in perspective... Chaucer and Shakespeare stole a TON of s**t from Boccaccio. All of it funny and light and clever and wickedly perverse.
I always knew that literature, in general, is an incestuous lot, but between these many classic tales of spouses pulling fast ones on each other or selfless tales of true love or steadfastness or tales of corruption, greed, and confidence games, I'm tempted to just throw in the hat and say this guy has it ALL.
I know it ain't true. I've read enough Italians from more than a millennia prior to put paid to that idea. But STILL. This is entertaining as hell. And I thought Chaucer was a RIOT, too.
It just goes to show... never judge a book by its cover. You might be losing out on some GREAT comedy.
Read
April 12, 2020The Decameron is a set of one hundred stories told to each other by a group of ten people, seven women and three men, over ten days. All these stories exist within one story which is about this group of people who come together in Florence during an outbreak of the plague and how they react to it - which is by going off into the surrounding countryside and recreating a kind of temporary Eden outside the ravages of the times. Beyond that there are the author's intentions and his defence of his work, which are a further frame to the whole work. Boccaccio sees stories as a form of education - in this case to teach his reader, which he largely assumed to be women since references to potential male readers are rare, about love. Love is a vague word in English, you can love to have tea with your chips, you might love your dog, or the colour yellow on a bedroom door. None of those feature in the Decameron, love here is of the sexual or occasionally of the romantic kind.
The new society of the ten people is based on affinity and trust. They live in common, although apparently using the estates of other people, and they benefit from the labour of servants so this is socially exclusive, unlike in which people come from a mix of social backgrounds. The new society is time bound and intended from the first, like reading itself, to be a temporary respite from events. They have a monarch to rule each day, but each of the ten in turn gets one day to rule
One of the advantages of taking part in a group read - like our one of the Decameron - is benefiting from the contributions that all the other readers make. ReemK10 pointed out that that there is a wealth of meaning in the character names and in the complex of numbers (three men and seven women, the importance of ten and so on) but as a reader all of that largely passed me over. The only character who really stood out for me was Dioneo, and not because he was Dionysian but because he got to tell the last story of everyday. This at last was a reference point - everything else was in flux for me. I felt at one moment that Panfilo was an author stand in, but that moment passed and life returned to normal.
In other words the Decameron has intricate foundations but they don't interfere with the appearance of the building. For the reader there are simply one hundred stories, divided into ten days set in a framing narrative with some linking text.
The stories give an impression of the world view of leisured middle to upper class urban people (socially below the nobility but of high enough status and wealth to be able to look down on people who are overly concerned with business) of mid-fourteenth century north Italy. The geographical scope ranges over the entire Mediterranean, with a couple of stories set in France and England (England is as exotic here as Saladin, a fantasy destination where dreams can become true) there are no stories set in China or other far eastern locations despite . gives an idea of just how natural and everyday that geographical scope was to those involved in commerce in Italy at that time. The stories are set throughout history, some in antiquity, others in the recent past, many are roughly contemporary to Boccaccio's time. Boccaccio may not have invented any of the stories. Many are recognisable retellings, and some will in turn be retold by Chaucer in The Canterbury Tales, others like the horrible Griselda story seem to have been widely known at the time and pop up in a variety of sources as a role model for a good woman (see for instance .
In The Canterbury Tales Chaucer reuses and adapts a few stories from Decameron and takes Boccaccio's idea of a framing narrative however he makes an important change. Chaucer's storytellers cover a fairly broad social spectrum , Boccaccio's reflect one view point that of Florentine urban Patrician families. They own landed estates, but don't have aristocratic titles , they admire aristocratic values and although their family wealth probably comes from trade and commerce, too pronounced an interest in business is felt to be improper.
Being chaste, or more to the point being seen to be chaste, is an important attribute for the women of this class and governs how they are perceived in society. Therefore the ability to conduct extramarital relationships with discretion is lionised. Oddly although their own reputation is important, persuading a servant to have sexual relations with an over eager suitor or to receive a beating in place of the heroine in exchange for a gift such a suit of clothes is seen as laudable, even by a bishop. Morality is a social attribute, what is appropriate depends on the social position of the person, rather than an absolute set of values that is immutable throughout the whole of society
Having said that women of a low social class can be exemplary - pre-eminently Griselda, and can have some concern for their virtue, equally the poor (broadly speaking) can be dismissed as simple minded and herd like, ripe to be fooled by any passing quick witted Friar who is prepared to claim that a parrot's feather, in fact, came from an angel's wing. It is difficult, and without doubt very unwise, to do what I am doing and attempt to generalise about one hundred stories told by ten narrators as there always seem to be exceptions and nuances of opinion from one story to the next. Perhaps if read with paper to hand and a pencil behind the ear, setting out in columns the attitudes revealed in each story, patterns might emerge consistent to particular narrators, or maybe that each day had a particular tone.
But all of this is perhaps besides the point, this is a compendium of stories. Few if any would have been original to Boccaccio, many have deep roots and have been endlessly retold. What he has done is collect, adapt and present them within the frame work of this group of seven young women and three men moving between various estates, not many miles outside Florence, over a period of a few days while the plague runs it's course within the city.
The stories are lively, often funny, and vivid. They feature lecherous men (particularly priests and friars), cunning plans and generally the victory of the witty. Love and Fortune are capitalised and at times appear to be forces in their own right in the universe alongside God and one law of nature seems to be that one woman can keep a man happy but it takes many men to please one woman. This, given the social importance for a woman of appearing chaste, provides drama and humour in many of the tales. Some of the stories have a savage twist , not always condemned by narrator or his in book audience, a few see a man getting the woman he wants despite her lack of interest, some marriages are between partners of unequal ages, which doesn't seem to have been particularly unusual for the times, and this can be a narrative driver for the pursuit of extra-marital pleasures. The idea of marriage as a romantic union between two people is a rather unusual one if one takes a broad view of it. Marriage in Boccaccio in common with most of human history is a business like affair, for love to develop in it (or despite it) takes particular skill and the triumph of the witty over the wilful .
So overall what can be concluded about the Decameron? Perhaps nothing other than that people have to read it for themselves and that it may not be the medieval Europe that you expected to find.
The new society of the ten people is based on affinity and trust. They live in common, although apparently using the estates of other people, and they benefit from the labour of servants so this is socially exclusive, unlike in which people come from a mix of social backgrounds. The new society is time bound and intended from the first, like reading itself, to be a temporary respite from events. They have a monarch to rule each day, but each of the ten in turn gets one day to rule
One of the advantages of taking part in a group read - like our one of the Decameron - is benefiting from the contributions that all the other readers make. ReemK10 pointed out that that there is a wealth of meaning in the character names and in the complex of numbers (three men and seven women, the importance of ten and so on) but as a reader all of that largely passed me over. The only character who really stood out for me was Dioneo, and not because he was Dionysian but because he got to tell the last story of everyday. This at last was a reference point - everything else was in flux for me. I felt at one moment that Panfilo was an author stand in, but that moment passed and life returned to normal.
In other words the Decameron has intricate foundations but they don't interfere with the appearance of the building. For the reader there are simply one hundred stories, divided into ten days set in a framing narrative with some linking text.
The stories give an impression of the world view of leisured middle to upper class urban people (socially below the nobility but of high enough status and wealth to be able to look down on people who are overly concerned with business) of mid-fourteenth century north Italy. The geographical scope ranges over the entire Mediterranean, with a couple of stories set in France and England (England is as exotic here as Saladin, a fantasy destination where dreams can become true) there are no stories set in China or other far eastern locations despite . gives an idea of just how natural and everyday that geographical scope was to those involved in commerce in Italy at that time. The stories are set throughout history, some in antiquity, others in the recent past, many are roughly contemporary to Boccaccio's time. Boccaccio may not have invented any of the stories. Many are recognisable retellings, and some will in turn be retold by Chaucer in The Canterbury Tales, others like the horrible Griselda story seem to have been widely known at the time and pop up in a variety of sources as a role model for a good woman (see for instance .
In The Canterbury Tales Chaucer reuses and adapts a few stories from Decameron and takes Boccaccio's idea of a framing narrative however he makes an important change. Chaucer's storytellers cover a fairly broad social spectrum , Boccaccio's reflect one view point that of Florentine urban Patrician families. They own landed estates, but don't have aristocratic titles , they admire aristocratic values and although their family wealth probably comes from trade and commerce, too pronounced an interest in business is felt to be improper.
Being chaste, or more to the point being seen to be chaste, is an important attribute for the women of this class and governs how they are perceived in society. Therefore the ability to conduct extramarital relationships with discretion is lionised. Oddly although their own reputation is important, persuading a servant to have sexual relations with an over eager suitor or to receive a beating in place of the heroine in exchange for a gift such a suit of clothes is seen as laudable, even by a bishop. Morality is a social attribute, what is appropriate depends on the social position of the person, rather than an absolute set of values that is immutable throughout the whole of society
Having said that women of a low social class can be exemplary - pre-eminently Griselda, and can have some concern for their virtue, equally the poor (broadly speaking) can be dismissed as simple minded and herd like, ripe to be fooled by any passing quick witted Friar who is prepared to claim that a parrot's feather, in fact, came from an angel's wing. It is difficult, and without doubt very unwise, to do what I am doing and attempt to generalise about one hundred stories told by ten narrators as there always seem to be exceptions and nuances of opinion from one story to the next. Perhaps if read with paper to hand and a pencil behind the ear, setting out in columns the attitudes revealed in each story, patterns might emerge consistent to particular narrators, or maybe that each day had a particular tone.
But all of this is perhaps besides the point, this is a compendium of stories. Few if any would have been original to Boccaccio, many have deep roots and have been endlessly retold. What he has done is collect, adapt and present them within the frame work of this group of seven young women and three men moving between various estates, not many miles outside Florence, over a period of a few days while the plague runs it's course within the city.
The stories are lively, often funny, and vivid. They feature lecherous men (particularly priests and friars), cunning plans and generally the victory of the witty. Love and Fortune are capitalised and at times appear to be forces in their own right in the universe alongside God and one law of nature seems to be that one woman can keep a man happy but it takes many men to please one woman. This, given the social importance for a woman of appearing chaste, provides drama and humour in many of the tales. Some of the stories have a savage twist , not always condemned by narrator or his in book audience, a few see a man getting the woman he wants despite her lack of interest, some marriages are between partners of unequal ages, which doesn't seem to have been particularly unusual for the times, and this can be a narrative driver for the pursuit of extra-marital pleasures. The idea of marriage as a romantic union between two people is a rather unusual one if one takes a broad view of it. Marriage in Boccaccio in common with most of human history is a business like affair, for love to develop in it (or despite it) takes particular skill and the triumph of the witty over the wilful .
So overall what can be concluded about the Decameron? Perhaps nothing other than that people have to read it for themselves and that it may not be the medieval Europe that you expected to find.
April 14, 2016
鈥淣othing is so indecent that it cannot be said to another person if the proper words are used to convey it.鈥�
鈥� Giovanni Boccaccio, The Decameron
Like , , , etc., "The Decameron" is an early masterpiece of literature. It is one of those books I avoided because I thought it would be stilted and boring. Hells NASTY Bells was I wrong. Boccaccio is funny, flippant, irreverent, libidinous, provocative, inspiring, insulting, crazy and always -- always entertaining.
100 stories told during the the summer of 1348 as the Black Death is ravaging Florence (and Europe). Ten aristocratic youths take to the country to escape the death, stink and bodies of the City and to hang out and amuse themselves on stories of love and adventure and sex and trickery. Bad priests, evil princes, saints, sinners, and various twists and turns paints a detailed picture of Italy from over 660 years ago that seems just as modern and funky as today. Things have certainly changed, but lords and ladies it is incredible just how many things have stayed the same.
鈥� Giovanni Boccaccio, The Decameron
Like , , , etc., "The Decameron" is an early masterpiece of literature. It is one of those books I avoided because I thought it would be stilted and boring. Hells NASTY Bells was I wrong. Boccaccio is funny, flippant, irreverent, libidinous, provocative, inspiring, insulting, crazy and always -- always entertaining.
100 stories told during the the summer of 1348 as the Black Death is ravaging Florence (and Europe). Ten aristocratic youths take to the country to escape the death, stink and bodies of the City and to hang out and amuse themselves on stories of love and adventure and sex and trickery. Bad priests, evil princes, saints, sinners, and various twists and turns paints a detailed picture of Italy from over 660 years ago that seems just as modern and funky as today. Things have certainly changed, but lords and ladies it is incredible just how many things have stayed the same.
October 3, 2021
El 鈥淒ecameron鈥� de Giovanni Boccaccio es uno de esos libros que pueden incluirse dentro de una tr铆ada junto a 鈥淟os cuentos de Canterbury鈥� de Geoffrey Chaucey, y el 鈥淐anzoniere鈥� de Francesco Petrarca, verdaderos s铆mbolos de la literatura medieval.
En realidad, el Decameron es un libro que se ubica entre la edad medieval y el Renacimiento y es el fiel reflejo del pensamiento europeo del siglo XIV.
Boccaccio, digno sucesor de Dante Alighieri y disc铆pulo de Petrarca logr贸 reconocimiento y fama eterna a partir de la publicaci贸n de este libro que tambi茅n gener贸 ciertas pol茅micas por el subido tono de muchos de sus cuentos.
Un punto importante a tener en cuenta es que el libro se ubica hist贸ricamente durante la 茅poca en que la peste negra o "bub贸nica" (por la naturaleza de c贸mo se manifestaba en los enfermos) devast贸 parte de Asia, Africa y Europa entre 1348 y 1351.
Algunos historiadores llegaron a estimar que su avance de la peste negra ceg贸 la vida de veinticinco millones de personas. Bocaccio escribe el 鈥淒ecameron鈥� entre 1351 y 1353.
El libro en s铆 narra brevemente la historia de siete doncellas (Pampinea, Filomena, Neifile, Fiammetta, Elisa, Lauretta y Emilia) y tres mancebos (Dioneo, Fil贸strato y P谩nfilo) quienes, escapando de la peste se establecen en un castillo en un campo de las afueras de Florencia y a partir de all铆 deciden que contar cuentos durante diez d铆as para despejarse y entretenerse hasta que la peste vaya desapareciendo.
Cada uno a su turno es proclamado "rey" y este indica el tema o t贸pico a utilizarse en la narraci贸n de los cuentos.
Lo m谩s fuerte del libro es precisamente el proemio de Boccaccio puesto que describe con lujo de detalles y en forma muy cruda los efectos de la peste negra en Italia y cu谩les son los efectos de esta en los habitantes. El grado descriptivo es realmente escalofriante e incre铆blemente, parece mentira que semejante inicio cambie radicalmente a partir de los alegres cuentos de estos j贸venes florentinos.
La estructura del libro es clara. Posee el proemio escrito por el autor seguido de diez jornadas de cuentos (una por d铆a) de diez cuentos cada una, lo que da un total de cien relatos que el autor describe como 鈥漜ien cuentos, f谩bulas, par谩bolas e historias o como quieran llamarlas y es correcta esta aclaraci贸n puesto que el lector pasa de simples cuentos anecd贸ticos a mini novelas que involucran historias m谩s complejas.
La tem谩tica utilizada en las diez jornadas del Decameron es la siguiente:
Jornada primera: Cada cual habla de lo que m谩s le agrada.
Jornada segunda: Se habla de aquellas personas que, abrumadas por diversos infortunios, consiguen llegar a dichoso t茅rmino.
Jornada tercera: dedicada a quienes con gracia e inteligencia lograron alguna cosa largamente deseada, o recobraron lo que hab铆an perdido.
Jornada cuarta: historias de amor con final desgraciado.
Jornada quinta: historias de amor con final feliz.
Jornada sexta: sobre aquellos que se defendieron con alguna respuesta aguda, evitaron da帽os y afrentas e hicieron callar a los necios.
Jornada s茅ptima: burlas que por amor o por miedo, hacen las mujeres a sus maridos, con o sin el conocimiento de ellos.
Jornada octava: burlas que con frecuencia se hacen hombres y mujeres entre s铆.
Jornada novena: tema libre.
Jornada d茅cima: grandes haza帽as.
Dentro de las distintas tem谩ticas propuestas por los distintos "reyes" de turno, s贸lo Dioneo es el que est谩 libre de sujetarse a un t贸pico en especial, por lo que sus historias siempre son las m谩s atractivas.
El libro produjo mucho revuelo en su 茅poca (consideremos que fue le铆do por primera vez en 1353) por el alto tono de contenido sexual de muchos relatos, que giran en su gran mayor铆a en el adulterio, las infidelidades y la corrupci贸n carnal de personas dentro del 谩mbito eclesi谩stico (monjas, frailes y 谩bates) y en otros aspectos hay que resaltar ciertos aspectos extremadamente machistas o mis贸ginos que ser铆an totalmente repelidos hoy en d铆a en el que el la sociedad y especialmente las mujeres de hoy no admite bajo ning煤n concepto y con justa raz贸n algunas de las discriminaciones expuestas en ciertas historias.
El libro fue prohibido durante la Inquisici贸n y todos aquellos lectores que lo tuvieran eran severamente castigados o ejecutados.
Una de las historias, que yo defino como la m谩s fuerte y tal vez chocante de la historia en la que una ni帽a de 14 a帽os es pr谩cticamente violada repetidas veces bajo el enga帽o de "mandar a guardar al diablo en el infierno" por parte de un hombre que no tiene ning煤n escr煤pulo en abusar de ella.
Creo que el lector sabr谩 interpretar la desacertada frase entre comillas.
Muchas veces, los finales de los cuentos intentan transmitirle al lector el hecho de gozar esos placeres descriptos en el argumento del mismo, pero es como que precisamente se ofrece seguir el camino del adulterio o la infidelidad, algo que demuestra cierta displicencia de Bocaccio principalmente en la mujer a la que considera bajo el control total del hombre en todos sus aspectos, m谩s all谩 de considerarla un ser fr谩gil, d茅bil, etc., etc.
Creo que esa es la 煤nica caracter铆stica que no comparto para nada del libro. Tal vez pueda aceptarse que es el tipo de pensamiento del hombre medieval y que uno como lector en el siglo XXI sabr谩 claramente reconocer, pero en algunos cuentos resulta un tanto chocante e innecesario.
De todos modos, el tenor de much铆simos otros cuentos es realmente divertido, distendido y en algunos casos, el de las par谩bolas edificantes para los personajes ofician a modo de redenci贸n luego de las penurias sufridas.
En el ep铆logo Boccaccio reconoce que fue atacado por los aspectos que ya coment茅, pero en cierta manera se desliga del tema record谩ndole al lector que puede hacer uso de su libre albedr铆o y de no leer el Decameron en caso de que 茅ste hiera sus susceptibilidades.
M谩s all谩 de lo expuesto, creo que el Decameron es uno de los libros fundacionales de la literatura, porque posicion贸 a Boccaccio en el altar de los m谩s grandes escritores que dio Italia y la literatura mundial, trono que comparte con grandes como Dante Alighieri, Cervantes o Shakespeare, s贸lo por nombrar algunos de los m谩s insignes.
En realidad, el Decameron es un libro que se ubica entre la edad medieval y el Renacimiento y es el fiel reflejo del pensamiento europeo del siglo XIV.
Boccaccio, digno sucesor de Dante Alighieri y disc铆pulo de Petrarca logr贸 reconocimiento y fama eterna a partir de la publicaci贸n de este libro que tambi茅n gener贸 ciertas pol茅micas por el subido tono de muchos de sus cuentos.
Un punto importante a tener en cuenta es que el libro se ubica hist贸ricamente durante la 茅poca en que la peste negra o "bub贸nica" (por la naturaleza de c贸mo se manifestaba en los enfermos) devast贸 parte de Asia, Africa y Europa entre 1348 y 1351.
Algunos historiadores llegaron a estimar que su avance de la peste negra ceg贸 la vida de veinticinco millones de personas. Bocaccio escribe el 鈥淒ecameron鈥� entre 1351 y 1353.
El libro en s铆 narra brevemente la historia de siete doncellas (Pampinea, Filomena, Neifile, Fiammetta, Elisa, Lauretta y Emilia) y tres mancebos (Dioneo, Fil贸strato y P谩nfilo) quienes, escapando de la peste se establecen en un castillo en un campo de las afueras de Florencia y a partir de all铆 deciden que contar cuentos durante diez d铆as para despejarse y entretenerse hasta que la peste vaya desapareciendo.
Cada uno a su turno es proclamado "rey" y este indica el tema o t贸pico a utilizarse en la narraci贸n de los cuentos.
Lo m谩s fuerte del libro es precisamente el proemio de Boccaccio puesto que describe con lujo de detalles y en forma muy cruda los efectos de la peste negra en Italia y cu谩les son los efectos de esta en los habitantes. El grado descriptivo es realmente escalofriante e incre铆blemente, parece mentira que semejante inicio cambie radicalmente a partir de los alegres cuentos de estos j贸venes florentinos.
La estructura del libro es clara. Posee el proemio escrito por el autor seguido de diez jornadas de cuentos (una por d铆a) de diez cuentos cada una, lo que da un total de cien relatos que el autor describe como 鈥漜ien cuentos, f谩bulas, par谩bolas e historias o como quieran llamarlas y es correcta esta aclaraci贸n puesto que el lector pasa de simples cuentos anecd贸ticos a mini novelas que involucran historias m谩s complejas.
La tem谩tica utilizada en las diez jornadas del Decameron es la siguiente:
Jornada primera: Cada cual habla de lo que m谩s le agrada.
Jornada segunda: Se habla de aquellas personas que, abrumadas por diversos infortunios, consiguen llegar a dichoso t茅rmino.
Jornada tercera: dedicada a quienes con gracia e inteligencia lograron alguna cosa largamente deseada, o recobraron lo que hab铆an perdido.
Jornada cuarta: historias de amor con final desgraciado.
Jornada quinta: historias de amor con final feliz.
Jornada sexta: sobre aquellos que se defendieron con alguna respuesta aguda, evitaron da帽os y afrentas e hicieron callar a los necios.
Jornada s茅ptima: burlas que por amor o por miedo, hacen las mujeres a sus maridos, con o sin el conocimiento de ellos.
Jornada octava: burlas que con frecuencia se hacen hombres y mujeres entre s铆.
Jornada novena: tema libre.
Jornada d茅cima: grandes haza帽as.
Dentro de las distintas tem谩ticas propuestas por los distintos "reyes" de turno, s贸lo Dioneo es el que est谩 libre de sujetarse a un t贸pico en especial, por lo que sus historias siempre son las m谩s atractivas.
El libro produjo mucho revuelo en su 茅poca (consideremos que fue le铆do por primera vez en 1353) por el alto tono de contenido sexual de muchos relatos, que giran en su gran mayor铆a en el adulterio, las infidelidades y la corrupci贸n carnal de personas dentro del 谩mbito eclesi谩stico (monjas, frailes y 谩bates) y en otros aspectos hay que resaltar ciertos aspectos extremadamente machistas o mis贸ginos que ser铆an totalmente repelidos hoy en d铆a en el que el la sociedad y especialmente las mujeres de hoy no admite bajo ning煤n concepto y con justa raz贸n algunas de las discriminaciones expuestas en ciertas historias.
El libro fue prohibido durante la Inquisici贸n y todos aquellos lectores que lo tuvieran eran severamente castigados o ejecutados.
Una de las historias, que yo defino como la m谩s fuerte y tal vez chocante de la historia en la que una ni帽a de 14 a帽os es pr谩cticamente violada repetidas veces bajo el enga帽o de "mandar a guardar al diablo en el infierno" por parte de un hombre que no tiene ning煤n escr煤pulo en abusar de ella.
Creo que el lector sabr谩 interpretar la desacertada frase entre comillas.
Muchas veces, los finales de los cuentos intentan transmitirle al lector el hecho de gozar esos placeres descriptos en el argumento del mismo, pero es como que precisamente se ofrece seguir el camino del adulterio o la infidelidad, algo que demuestra cierta displicencia de Bocaccio principalmente en la mujer a la que considera bajo el control total del hombre en todos sus aspectos, m谩s all谩 de considerarla un ser fr谩gil, d茅bil, etc., etc.
Creo que esa es la 煤nica caracter铆stica que no comparto para nada del libro. Tal vez pueda aceptarse que es el tipo de pensamiento del hombre medieval y que uno como lector en el siglo XXI sabr谩 claramente reconocer, pero en algunos cuentos resulta un tanto chocante e innecesario.
De todos modos, el tenor de much铆simos otros cuentos es realmente divertido, distendido y en algunos casos, el de las par谩bolas edificantes para los personajes ofician a modo de redenci贸n luego de las penurias sufridas.
En el ep铆logo Boccaccio reconoce que fue atacado por los aspectos que ya coment茅, pero en cierta manera se desliga del tema record谩ndole al lector que puede hacer uso de su libre albedr铆o y de no leer el Decameron en caso de que 茅ste hiera sus susceptibilidades.
M谩s all谩 de lo expuesto, creo que el Decameron es uno de los libros fundacionales de la literatura, porque posicion贸 a Boccaccio en el altar de los m谩s grandes escritores que dio Italia y la literatura mundial, trono que comparte con grandes como Dante Alighieri, Cervantes o Shakespeare, s贸lo por nombrar algunos de los m谩s insignes.
February 1, 2025
'The Decameron' must have been a major breakthrough in the 14th century promoting realism and humanistic values, placing the primary focus on a human being, his/her virtues and limitations. When we read these stories today, in the 21st century, certain norms of the medieval society make us frown, especially the ones concerning the gender equality. On the other hand, 'The Decameron' is a fascinating window into le mode de vie of the people of all walks of life in the medieval Europe. That made 'The Decameron' a very entertaining read to me. And I loved the satire and humour, of course.
'Every person born into this world has a natural right to sustain, preserve, and defend his own life to the best of his ability.'
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'A sin that's hidden is half forgiven.'
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'Wrongs committed in the distant past are far easier to condemn than to rectify.'
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'Do as we say, not as we do.'
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'The nature of wit is such that its bite must be like that of a sheep rather than a dog, for if it were to bite the listener like a dog, it would no longer be wit but abuse.'
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'Charming ladies, the beauty of a flock of white doves is better enhanced by a black crow than by a pure white swan.'
'Every person born into this world has a natural right to sustain, preserve, and defend his own life to the best of his ability.'
------------------------------------------------------------------------------
'A sin that's hidden is half forgiven.'
------------------------------------------------------------------------------
'Wrongs committed in the distant past are far easier to condemn than to rectify.'
----------------------------------------------------------------------------
'Do as we say, not as we do.'
------------------------------------------------------------------------------
'The nature of wit is such that its bite must be like that of a sheep rather than a dog, for if it were to bite the listener like a dog, it would no longer be wit but abuse.'
------------------------------------------------------------------------------
'Charming ladies, the beauty of a flock of white doves is better enhanced by a black crow than by a pure white swan.'
November 20, 2021
Decameron is a collection of hundred stories told in ten days by seven young women and three young men who have stationed themselves in an estate in the outskirts of Florence. In the wake of the Black Death, these young men and women have decided to flee together from the city of Florence to a countryside estate to avoid the contagion. Having come to the estate, they discuss how best to enjoy their time and company during the limited stay. And storytelling was decided on as a part of their entertainment. Excepting two days, the stories are told according to a theme set by the leader of the day whom they called the King/Queen, and the stories run on love, lust, greed, deception, betrayal, and human wit and follies. This then is the backdrop of Boccaccio's masterpiece.
The majority of stories were centered on love and lust, and Boccaccio brings in clergy and women as his main characters to form these stories. I wasn't initially happy with his choice of characters. It seemed to me like he was bailing out the men. But this was written in the fourteenth century; one mustn't judge it looking through modern lenses. Women at Boccaccio's time lived secluded lives, always living under the authority and protection of their male relatives. Their needs and feelings were disregarded. If one looks a little deeper into these stories, one can see that Boccaccio's satire is not aimed at women. Rather, it is aimed at the society and the conventions that place women in such a state. However, his meaning regarding the clergy was much more baffling. I couldn't draw a proper conclusion whether his satire was on or against them. During the Black Death, peoples' faith in the Church was somewhat diminished, and this general fallout might have prompted Boccaccio to view the clergy in not so a reverent light. Or else, it is possible that Boccaccio was led on by a need to show that even God's servants are subjected to human follies and succumb to the temptations of human flesh.
I was at first surprised at how bawdy and coarse the stories were and was thinking to myself that this was a funny masterpiece. Then I remembered that authors of most of the classics set in the Middle Ages and the Early Modern Period haven't much concerned themselves with refinement. So, I was able to reconcile with Boccaccio's style. But bawdy they may be, ribaldry they may be, they were no less entertaining. Boccaccio's humour and satire get the better of the coarseness. However, these are hundred stories. No genius can write them equally interesting, and no reader will find them so. It was the same with me. I enjoyed some more than the others. Many of them were interesting, some boring, and a few nonsensical. But overall, it was an entertaining work. I enjoyed it more than The Canterbury Tales, with which it is often compared.
One word must be said about the translation. It is the first time that I wasn't content with the Oxford University Press edition. It was easier to read, I admit, but being made easier to read means that the language was too modern for the time it was written. This is a personal peculiarity, but I do like to have the translation resembling the time period in which a classic is written no matter how hard it may be to read.
The majority of stories were centered on love and lust, and Boccaccio brings in clergy and women as his main characters to form these stories. I wasn't initially happy with his choice of characters. It seemed to me like he was bailing out the men. But this was written in the fourteenth century; one mustn't judge it looking through modern lenses. Women at Boccaccio's time lived secluded lives, always living under the authority and protection of their male relatives. Their needs and feelings were disregarded. If one looks a little deeper into these stories, one can see that Boccaccio's satire is not aimed at women. Rather, it is aimed at the society and the conventions that place women in such a state. However, his meaning regarding the clergy was much more baffling. I couldn't draw a proper conclusion whether his satire was on or against them. During the Black Death, peoples' faith in the Church was somewhat diminished, and this general fallout might have prompted Boccaccio to view the clergy in not so a reverent light. Or else, it is possible that Boccaccio was led on by a need to show that even God's servants are subjected to human follies and succumb to the temptations of human flesh.
I was at first surprised at how bawdy and coarse the stories were and was thinking to myself that this was a funny masterpiece. Then I remembered that authors of most of the classics set in the Middle Ages and the Early Modern Period haven't much concerned themselves with refinement. So, I was able to reconcile with Boccaccio's style. But bawdy they may be, ribaldry they may be, they were no less entertaining. Boccaccio's humour and satire get the better of the coarseness. However, these are hundred stories. No genius can write them equally interesting, and no reader will find them so. It was the same with me. I enjoyed some more than the others. Many of them were interesting, some boring, and a few nonsensical. But overall, it was an entertaining work. I enjoyed it more than The Canterbury Tales, with which it is often compared.
One word must be said about the translation. It is the first time that I wasn't content with the Oxford University Press edition. It was easier to read, I admit, but being made easier to read means that the language was too modern for the time it was written. This is a personal peculiarity, but I do like to have the translation resembling the time period in which a classic is written no matter how hard it may be to read.
December 21, 2019
My plan for 2020 is to explore the history of the novel by returning to its origins, beginning with Rabelais and Cervantes. And so I decided to close this year with The Decameron as a sort of introduction to the project, in order to be able to better recognise the stylistic innovations introduced by those later writings. I don't think I would have read it otherwise.
In all honesty, The Decameron offers very little to a modern reader. It is very much of its time, filled with witty references to local people and places, which would have been easily understood and considered very clever at the time, but which are more or less lost on us today, even with the benefit of footnotes. Its themes are not universal. It is concerned, on the whole, with trifling subjects, witty turns of phrase, and bawdy adventures. While the stories can be entertaining, they lack the sort of substance we have come to expect today. But is difficult to criticise the book on this basis given its place in history. It was certainly outstanding in its own historical context, as is apparent in its influence on literature for many hundreds of years.
One thing I found notable about the book is its high cynicism; its lack of reverence for political and religious figures, as well as a lack of credence for religious ideas in general. There is rarely a moral element to these stories, which focus instead on material and corporeal concerns. This is contrary to what I had expected, given the position and authority of the Church at the time.
This is as good a time as any to note that the rating system doesn't really hold for books like The Decameron, and others I intend to read next year. The Decameron doesn't deserve anything less than five stars given its historical importance. But I feel that automatically giving the maximum rating to the "classics" is not all that helpful an indication as to whether a book is still relevant and worth reading today. So I will try find a balance in my rating between historical context and my own reaction as seems appropriate.
In all honesty, The Decameron offers very little to a modern reader. It is very much of its time, filled with witty references to local people and places, which would have been easily understood and considered very clever at the time, but which are more or less lost on us today, even with the benefit of footnotes. Its themes are not universal. It is concerned, on the whole, with trifling subjects, witty turns of phrase, and bawdy adventures. While the stories can be entertaining, they lack the sort of substance we have come to expect today. But is difficult to criticise the book on this basis given its place in history. It was certainly outstanding in its own historical context, as is apparent in its influence on literature for many hundreds of years.
One thing I found notable about the book is its high cynicism; its lack of reverence for political and religious figures, as well as a lack of credence for religious ideas in general. There is rarely a moral element to these stories, which focus instead on material and corporeal concerns. This is contrary to what I had expected, given the position and authority of the Church at the time.
This is as good a time as any to note that the rating system doesn't really hold for books like The Decameron, and others I intend to read next year. The Decameron doesn't deserve anything less than five stars given its historical importance. But I feel that automatically giving the maximum rating to the "classics" is not all that helpful an indication as to whether a book is still relevant and worth reading today. So I will try find a balance in my rating between historical context and my own reaction as seems appropriate.
April 1, 2019
鈥� nothing is so indecent that it cannot be said to another person if the proper words are used to convey it鈥�
I did not think that a collection of tales from the late Middle Ages would be so raunchy and ribald. While artisans were busy erecting gothic cathedrals鈥攕ymbols of humanity鈥檚 insignificance before an omnipotent deity鈥擝occaccio was busy writing this most human of books. Indeed, the Decameron can be seen as the humanistic reply to Dante鈥檚 Divine Comedy: a celebration of our very worldliness. In Boccaccio鈥檚 world, the keystone virtue is not holiness nor piety, but cunning; and those who lack it are sure to be the victims of those who possess it.
Seen from the present day, Boccaccio鈥檚 masterpiece seems progressive in many respects. For one, he treats of nobles and peasants indifferently; and in the final (and incredibly sadistic) story he even asserts that these distinctions are of no importance compared with personal merit. More shocking is Boccaccio鈥檚 frank portrayal of female sexuality, something that would be taboo for much of European history. At times Boccaccio even seems like a proto-feminist: Women are central to the book, as Boccaccio frames the collection of stories as a diversion for women who have been forced into idleness by their social position. To be sure, there are many regressive and even alarming views about women mixed in with his more 鈥渁dvanced鈥� ideas; even so, he does a better job than, say, Dickens often does.
Another surprising feature of these stories is Boccaccio鈥檚 open anticlericalism. The way he speaks of monks and nuns would be scandalous even now. There are many moments in the book in which he seems to be advocating a kind of hippy-ish tolerance for the pleasures of the flesh, condemning all opponents to sensual delight as hypocrites and fools. He even portrays homosexuality as an amusing foible rather than a deadly sin. Considering all this, it is difficult to imagine the reaction if it had been published considerably later. It seems that tolerance does not progress in a neat line.
Boccaccio鈥檚 chief virtue as a storyteller is his ability to manipulate plot. In this he is the exact reflection of Shakespeare (one of Boccaccio鈥檚 borrowers), who had every gift except plot. Boccaccio鈥檚 characters are never round nor indeed memorable; they can for the most part be interchanged at random. But each of these 100 tales, with very few exceptions, is thoroughly charming for having all the elements of a good story: a setup (inevitably involving a man and a woman), a problem (normally somebody trying to sleep with someone else), a clever trick to solve it (and a dunce to suffer as a consequence), a dramatic climax (the heroes are almost foiled), and a satisfying conclusion. All together, these 100 stories are a treasure trove which every responsible storyteller must pilfer mercilessly. If you are going on a camping trip, you could do much worse than to bring a copy of the Decameron along for the evenings.
February 8, 2016
Permit me to offer another roar of support for reading (The) Decameron. A divine mathematical structure (ten parts of ten chapters with ten characters told over ten days) props up this rollicking ride of classic storytelling. A modern translation (this ed from J.G. Nichols) renders the original in all its libidinous, virtuous mischief, making each page a rapturous pleasure to turn. This book needs no further endorsement from me. Make arrangements to read (The) Decameron before your fatal heart attack.
January 11, 2020
Preface to the Second Edition
Translator's Introduction
Select Bibliography
--The Decameron
Notes
Maps
Index to Stories
Index to Translator's Introduction and Notes
Translator's Introduction
Select Bibliography
--The Decameron
Notes
Maps
Index to Stories
Index to Translator's Introduction and Notes
August 31, 2024
Decameron is a set of one hundred novels in which Boccaccio tells the story of seven women and three men who, fleeing the plague in 1348, retire to the countryside near Florence. For ten days, everyone tells a story. And, between one journey and another, the story of the ten adventurers unfolds. First is the structure basis of the Decameron; from then on, novels began to teach (a total of one hundred) unrelated to the story of its ten narrators, the main characters.
These novels 鈥� sentimental, satirical, tragic, or passionate 鈥� portray life in the 15th century in a style that has become a model in Italian prose.
Boccaccio is considered the creator of Italian prose. However, the circumstances of his birth are not known. Earlier biographies thought him Parisian (his mother was probably French), but Italian Romantics believed he was born in Tuscany (like his father).
These novels 鈥� sentimental, satirical, tragic, or passionate 鈥� portray life in the 15th century in a style that has become a model in Italian prose.
Boccaccio is considered the creator of Italian prose. However, the circumstances of his birth are not known. Earlier biographies thought him Parisian (his mother was probably French), but Italian Romantics believed he was born in Tuscany (like his father).
July 6, 2011
The Decameron is obviously a hugely influential piece of literature (actually, it's just plain huge), so it's no wonder I'd get around to it eventually. I'm not a huge fan of Chaucer, really, but I did recognise a couple of the source texts he used in this, and I imagine that the choice of frame narrative for the Canterbury Tales might've been suggested to Chaucer by The Decameron. Certainly The Decameron was an influence, anyway.
The Decameron also inspired a song by one of my favourite singers, Heather Dale, 'Up Into The Pear Tree', about Pyrrhus and Lydia and their trick on Lydia's husband. It's a lovely song, playful and quite in keeping with the tone of The Decameron.
Despite its length, The Decameron is very easy to read. It's a collection of a hundred short stories -- or perhaps a hundred and one, if you count the frame story -- split into ten 'days' with the conceit that a group of ten young men and women meet outside Florence during the plague years, and to entertain themselves, they elect a king or queen from their number each day, who dictates a theme for the stories that they tell. The stories are quite similar at times, when they revolve around a specific theme, but overall there's a lot of different stories, often funny, and often to do with sex. You get the impression that no women in medieval Italy (with the exception of Griselda and Zinevra) were ever faithful to their husbands!
Being a medieval work, it's unsurprisingly not terribly good about subjects like rape or feminine strength. Sometimes it praises women to the skies and at other times blames them for what isn't their fault, or what certainly isn't a fault in all women. Still, it didn't make me uncomfortable most of the time, and there are plenty of clever and strong women in the tales as well.
The Penguin translation, by G.H. McWilliam, is extremely good, in the sense of always being very readable and entertaining, rather than dry, and this edition comes with a wealth of notes on context and on each specific story. There are maps and an index, too. Even if you're not reading this for study, it's worth getting -- perhaps especially so, because it explains things clearly no matter what your level of expertise on the subject.
The Decameron also inspired a song by one of my favourite singers, Heather Dale, 'Up Into The Pear Tree', about Pyrrhus and Lydia and their trick on Lydia's husband. It's a lovely song, playful and quite in keeping with the tone of The Decameron.
Despite its length, The Decameron is very easy to read. It's a collection of a hundred short stories -- or perhaps a hundred and one, if you count the frame story -- split into ten 'days' with the conceit that a group of ten young men and women meet outside Florence during the plague years, and to entertain themselves, they elect a king or queen from their number each day, who dictates a theme for the stories that they tell. The stories are quite similar at times, when they revolve around a specific theme, but overall there's a lot of different stories, often funny, and often to do with sex. You get the impression that no women in medieval Italy (with the exception of Griselda and Zinevra) were ever faithful to their husbands!
Being a medieval work, it's unsurprisingly not terribly good about subjects like rape or feminine strength. Sometimes it praises women to the skies and at other times blames them for what isn't their fault, or what certainly isn't a fault in all women. Still, it didn't make me uncomfortable most of the time, and there are plenty of clever and strong women in the tales as well.
The Penguin translation, by G.H. McWilliam, is extremely good, in the sense of always being very readable and entertaining, rather than dry, and this edition comes with a wealth of notes on context and on each specific story. There are maps and an index, too. Even if you're not reading this for study, it's worth getting -- perhaps especially so, because it explains things clearly no matter what your level of expertise on the subject.
August 14, 2008
My encounter with this book has been a delightful surprise. Expecting a dry and difficult medieval text, I was shocked to find myself unable to put it down. This is a completely rich text that is complex, yet easy and fun to read. Boccaccio has such a fun sense of humor! I found myself laughing aloud. For me, the dirty stories stole the show, but the other stories by no means fall short. His characters and stories are so richly human and he is able to laugh at them, embrace their flaws, forgive them their hypocrisies. It's too bad we all can't view the world with Boccaccio's humor and sense of reason.
As a side note, his description of societal breakdown prompted by the plague is really interesting. I had the simple, but impressive realization that I was reading the actual first hand observations of someone who had lived through THE Plague. It's crazy- and so cool!
Admittedly, I know there is a lot of critical study around this text that I am missing and things that I have failed to recognize, but Boccaccio's brilliance lies in the fact that he is able to create a work that is valid and entertaining. It's the perfect combination of study and pleasure. I would re-read this in a heartbeat. I recommend it, especially if you doubt that you will like it. (You will.)
As a side note, his description of societal breakdown prompted by the plague is really interesting. I had the simple, but impressive realization that I was reading the actual first hand observations of someone who had lived through THE Plague. It's crazy- and so cool!
Admittedly, I know there is a lot of critical study around this text that I am missing and things that I have failed to recognize, but Boccaccio's brilliance lies in the fact that he is able to create a work that is valid and entertaining. It's the perfect combination of study and pleasure. I would re-read this in a heartbeat. I recommend it, especially if you doubt that you will like it. (You will.)
November 28, 2020
Oh. Well. A faint shadow of discontent had crossed my face as I had finished reading the last page of this famous and highly praised book. I held the book in my hands and for some time had lingered in a state of dissatisfaction. Oh. Well. That can happen too. Why not?
It was my first read and the fact that both my mother and sister had read it long back (I don鈥檛 think it鈥檚 really suitable for 5th grade as my mother said she had read it around that age, but more for high-school period as my sister read it) had made me have me a feeling of kinship for it 鈥� the book I mean 鈥� as if I had been 鈥渟elected鈥� (although it was my choice, basically, or so I want to believe it) for the glamorous adventure of the Middle Ages, chosen for a high destiny that transcended the fact that I am nonetheless living in the 21st century, or so it looks according to an official calendar (I am sorry I don鈥檛 remember now which is that calendar).
The truth is that I have given an attentive ear, not just eager eyes, to every page I have turned now and then. But still. Oh. Well. I am left vaguely dissatisfied with its slightly visible indifference 鈥� the book I mean, its lack of feeling for the important issues, though apparently it does cover some strong themes, its slowness in attacking on deeper level some important things, although it is chiefly about the human relationships. Oh. Well. Maybe I ought not go ahead dispiritedly talking about it.
It鈥檚 true that something peculiar lingers a bit with me now, however it鈥檚 quite clear that Boccaccio, who himself confessed that all these stories are written to drive away a lady鈥檚 melancholy (yes, it鈥檚 true, it helped me too, and I found it mostly as a human comedy, finding myself laughing too much) alludes to a sentiment he expresses strongly in the text: his compassion for women deprived of free speech and social liberty, confined to their homes and, at times, lovesick. That state of things is put in contrast with the life of men free to enjoy hunting, fishing, riding, falconry, and of course, free to delight into whatever sexual intercourses.
It began like that and continued, with varying shades of intensity, on such a note right up to the denouement. I found the opening words and the afterword very satisfactory and intense in the details given for the reader. There was clarity and resolution in these words: 鈥淭o have compassion for those who suffer is a human quality which everyone should possess.鈥� Also, the dialogues and comments exchanged between the participants at this merry company are insightful and thoughtful, giving some sensual pleasure of both body and thought, through some interesting arguments and points of view.
The tales in themselves are pretty clear and straightforward in their hidden message - whatever she/he wanted she/he went after with the full pressure of her/his charm. In some cases, both men and women are belittled, and there are shown a very little mental side to their affairs. In other cases, women simply make men conscious to the highest degree of their physical loveliness. Overall, deficiencies were knit up with a passionate energy that transcended and justified them, but there was enough light shed on how women and men seem to enjoy the living.
On one side, the worthy young ladies seem to agree that: 鈥渨omen do not know how to reason in a group when they are without the guidance of some man who knows how to control them. We are fickle, quarrelsome, suspicious, timid, and fearful. Men are truly the leaders of women, and without their guidance, our actions rarely end successfully. 鈥�
Oh. Well. That is a big part of truth. For example, let鈥檚 take this declaration when she whispers something like this: 鈥淚 don鈥檛 know what鈥檚 the matter with me. Last night I thought I was in love with a man and tonight I think I am in love with you鈥�. This seems a beautiful and romantic thing to say. At least for this moment. Needless to say after a short time you are compelled to view the same quality in a different light. People fall in and out of love pretty easily, but always very passionately, with a burning desire that takes whatever control over them.
On the other side, If assailed too strongly, women immediately resolve the affairs to a physical basis, and under the magic of their physical splendor. 99% of the tales talk about beautiful, gorgeous, full of wit and charming women. I think Middle Ages was under an auspicious context from this point of view. But then, both men and women are entertained chiefly by the gratification of their desires and by the direct exercise of their own charm. In a similar proportion, 99% of the men presented are young, handsome, wealthy, nobleman, etc, to make long story short they are eligible young men, popular and with social aspirations.
Put face to face, or in another direct fashion, the men and women getting in touch bring to themselves ecstatic happiness and intolerable agony of spirit. They caused themselves untold inconveniences and not a little trouble. The thing of love 鈥� the most discussed topic 鈥� is deep in people. They are too strong and alive for it to die lightly. It gives a sense of solidity but also a splitting headache. In some tales, I confess I was filled with a sudden excitement. I could even say that was my own self outpouring. But I don鈥檛 want to profane the moment.
Just to conclude, I think I like the way the characters of the tales loved. Like they could never love anybody else but one. Like they could fall madly in love. I wish we could be like that again. Why, these things are no longer in the world! They had existed and they exist no longer. Long ago, there was something in me, but now that thing is gone. I cannot cry. I cannot care. That thing will come back no more. Oh. Well.
It was my first read and the fact that both my mother and sister had read it long back (I don鈥檛 think it鈥檚 really suitable for 5th grade as my mother said she had read it around that age, but more for high-school period as my sister read it) had made me have me a feeling of kinship for it 鈥� the book I mean 鈥� as if I had been 鈥渟elected鈥� (although it was my choice, basically, or so I want to believe it) for the glamorous adventure of the Middle Ages, chosen for a high destiny that transcended the fact that I am nonetheless living in the 21st century, or so it looks according to an official calendar (I am sorry I don鈥檛 remember now which is that calendar).
The truth is that I have given an attentive ear, not just eager eyes, to every page I have turned now and then. But still. Oh. Well. I am left vaguely dissatisfied with its slightly visible indifference 鈥� the book I mean, its lack of feeling for the important issues, though apparently it does cover some strong themes, its slowness in attacking on deeper level some important things, although it is chiefly about the human relationships. Oh. Well. Maybe I ought not go ahead dispiritedly talking about it.
It鈥檚 true that something peculiar lingers a bit with me now, however it鈥檚 quite clear that Boccaccio, who himself confessed that all these stories are written to drive away a lady鈥檚 melancholy (yes, it鈥檚 true, it helped me too, and I found it mostly as a human comedy, finding myself laughing too much) alludes to a sentiment he expresses strongly in the text: his compassion for women deprived of free speech and social liberty, confined to their homes and, at times, lovesick. That state of things is put in contrast with the life of men free to enjoy hunting, fishing, riding, falconry, and of course, free to delight into whatever sexual intercourses.
It began like that and continued, with varying shades of intensity, on such a note right up to the denouement. I found the opening words and the afterword very satisfactory and intense in the details given for the reader. There was clarity and resolution in these words: 鈥淭o have compassion for those who suffer is a human quality which everyone should possess.鈥� Also, the dialogues and comments exchanged between the participants at this merry company are insightful and thoughtful, giving some sensual pleasure of both body and thought, through some interesting arguments and points of view.
The tales in themselves are pretty clear and straightforward in their hidden message - whatever she/he wanted she/he went after with the full pressure of her/his charm. In some cases, both men and women are belittled, and there are shown a very little mental side to their affairs. In other cases, women simply make men conscious to the highest degree of their physical loveliness. Overall, deficiencies were knit up with a passionate energy that transcended and justified them, but there was enough light shed on how women and men seem to enjoy the living.
On one side, the worthy young ladies seem to agree that: 鈥渨omen do not know how to reason in a group when they are without the guidance of some man who knows how to control them. We are fickle, quarrelsome, suspicious, timid, and fearful. Men are truly the leaders of women, and without their guidance, our actions rarely end successfully. 鈥�
Oh. Well. That is a big part of truth. For example, let鈥檚 take this declaration when she whispers something like this: 鈥淚 don鈥檛 know what鈥檚 the matter with me. Last night I thought I was in love with a man and tonight I think I am in love with you鈥�. This seems a beautiful and romantic thing to say. At least for this moment. Needless to say after a short time you are compelled to view the same quality in a different light. People fall in and out of love pretty easily, but always very passionately, with a burning desire that takes whatever control over them.
On the other side, If assailed too strongly, women immediately resolve the affairs to a physical basis, and under the magic of their physical splendor. 99% of the tales talk about beautiful, gorgeous, full of wit and charming women. I think Middle Ages was under an auspicious context from this point of view. But then, both men and women are entertained chiefly by the gratification of their desires and by the direct exercise of their own charm. In a similar proportion, 99% of the men presented are young, handsome, wealthy, nobleman, etc, to make long story short they are eligible young men, popular and with social aspirations.
Put face to face, or in another direct fashion, the men and women getting in touch bring to themselves ecstatic happiness and intolerable agony of spirit. They caused themselves untold inconveniences and not a little trouble. The thing of love 鈥� the most discussed topic 鈥� is deep in people. They are too strong and alive for it to die lightly. It gives a sense of solidity but also a splitting headache. In some tales, I confess I was filled with a sudden excitement. I could even say that was my own self outpouring. But I don鈥檛 want to profane the moment.
Just to conclude, I think I like the way the characters of the tales loved. Like they could never love anybody else but one. Like they could fall madly in love. I wish we could be like that again. Why, these things are no longer in the world! They had existed and they exist no longer. Long ago, there was something in me, but now that thing is gone. I cannot cry. I cannot care. That thing will come back no more. Oh. Well.
March 29, 2023
Ho studiato l鈥檕pera per un esame universitario, sicuramente non 猫 una lettura facile. Il Decameron 猫 considerato il primo grande libro della narrativa occidentale moderna.
Proprio per complessit脿 e cura rientra nell'ambito dello stile tragico, infatti c鈥櫭� questa unione continua di forme e di stili alti, sublimi e forme diverse. Boccaccio riesce a mettere insieme elementi del tragico e del comico e pone le fondamenta della novella moderna.
Il proemio 猫 famosissimo 鈥淐omincia il libro chiamato Decameron, cognominato prencipe Galeotto, nel quale si contengono cento novelle, in diece d矛 dette da sette donne e da tre giovani uomini.鈥� Stessa cosa per quanto riguarda la conclusione: 鈥淨ui finisce la decima e ultima giornata del libro chiamato Decameron, cognominato prencipe galeotto.鈥� Se notiamo bene, il libro si chiude con una trascrizione finale che riprende esattamente la rubrica iniziale e che sottolinea l鈥檕rganizzazione del libro chiuso ad anello.
Uno dei grandi modelli letterari di Boccaccio 猫 stato il Sommo Poeta, Dante Alighieri e ci貌 si nota moltissimo all鈥檌nterno delle pagine del Decameron: basti pensare alle 100 novelle scritte in 10 giorni e narrate da 10 persone (la famosissima onesta brigata). Il 100 non 猫 un numero occasionale, ma 猫 legato ad all'idea letteraria dei 100 canti della Comed矛a. Inoltre anche l鈥檌nizio delle due opere 猫 simile: mentre Dante inizia la sua Comed矛a nella selva oscura, Boccaccio introduce quello che chiama 鈥渙rribile cominciamento鈥� cio猫 la peste nera che ha colpito l鈥檌ntero mondo nel 1348.
Un libro particolare, geniale e significativo allo stesso tempo. Le novelle nonostante fossero veramente molto lunghe, risultano leggibili e coinvolgenti.
Proprio per complessit脿 e cura rientra nell'ambito dello stile tragico, infatti c鈥櫭� questa unione continua di forme e di stili alti, sublimi e forme diverse. Boccaccio riesce a mettere insieme elementi del tragico e del comico e pone le fondamenta della novella moderna.
Il proemio 猫 famosissimo 鈥淐omincia il libro chiamato Decameron, cognominato prencipe Galeotto, nel quale si contengono cento novelle, in diece d矛 dette da sette donne e da tre giovani uomini.鈥� Stessa cosa per quanto riguarda la conclusione: 鈥淨ui finisce la decima e ultima giornata del libro chiamato Decameron, cognominato prencipe galeotto.鈥� Se notiamo bene, il libro si chiude con una trascrizione finale che riprende esattamente la rubrica iniziale e che sottolinea l鈥檕rganizzazione del libro chiuso ad anello.
Uno dei grandi modelli letterari di Boccaccio 猫 stato il Sommo Poeta, Dante Alighieri e ci貌 si nota moltissimo all鈥檌nterno delle pagine del Decameron: basti pensare alle 100 novelle scritte in 10 giorni e narrate da 10 persone (la famosissima onesta brigata). Il 100 non 猫 un numero occasionale, ma 猫 legato ad all'idea letteraria dei 100 canti della Comed矛a. Inoltre anche l鈥檌nizio delle due opere 猫 simile: mentre Dante inizia la sua Comed矛a nella selva oscura, Boccaccio introduce quello che chiama 鈥渙rribile cominciamento鈥� cio猫 la peste nera che ha colpito l鈥檌ntero mondo nel 1348.
Un libro particolare, geniale e significativo allo stesso tempo. Le novelle nonostante fossero veramente molto lunghe, risultano leggibili e coinvolgenti.
July 7, 2022
It took me almost a year to get through this collection of stories, doing them one at a time with spaces in between. A significant historical work, I could admire Boccaccio's writing, but many of the stories were difficult to engage with and I did not establish any feeling of connection to the storytellers who were fleeing the plague.
Glad to have read it, glad to have it behind me. It did not engage me nor entertain me as Chaucer's Canterbury Tales did, although that was what I was expecting when I began.
Glad to have read it, glad to have it behind me. It did not engage me nor entertain me as Chaucer's Canterbury Tales did, although that was what I was expecting when I began.
February 8, 2016
In Florence, in 1350, Giovanni Boccaccio writes the Decameron, a collection of 100 stories told ostensibly by a group of noblemen and women hiding in the countryside from the Black Plague, the effects of which are described at the beginning of the Decameron in one of the world鈥檚 most horrifying pieces of journalism. The stories themselves are generally bawdy and funny, and in fact this was made into a porno in 1970, and here are some butts to prove it:
butts
It was influenced in part by the brilliant collection of Middle Eastern tales, the Arabian Nights. It was a big hit in its time; it was probably read by Chaucer, who probably borrowed parts of it for his great epic The Canterbury Tales.
I've read a bunch of non-fiction books recently that at least touch on Italy in the 14th century, and I keep thinking, "Yeah, I understand this from Boccaccio." Corruption in the church, the role of women, the lives of the nobles and the common people... I get a better sense of these things from the Decameron than from the history books. So if Boccaccio's goal was to describe what life was like in his time, from every imaginable point of view, he has nailed it.
Some are bawdy and funny, yes, but there are also a number stories about violence and rape. Like II.7, for example, in which a woman is kidnapped and raped by eight different men in succession, and they're often played as sorta funny and I haven't been sure how to deal with that, but it's true that Boccaccio's exposing the darker things that were happening in his time - along with all the other things. It's an unflinching tour, but it's misted by this irreverent tone that throws you off balance.
The intro to this edition claimed that Boccaccio was in some ways a sort of feminist, because his female characters are as strong and willful as his male ones, and this is one of the first times we have female characters portrayed as enjoying sex. I see the point, but it's also true that they're handed around like paperbacks pretty often.
I've been reminded recently how grotesquely hateful the last story in this collection is, and I feel like it's a public service to warn potential future readers about it: it leaves a very bad taste in your mouth. Horrifically misogynist. Skip it - or at least read it out of order, somewhere around the middle, so it's not your last impression.
Apparently Boccaccio himself wasn't crazy about the Decameron, but I think it's pretty dope.
Translation
Not that I have anything to compare it to, but I found Michael Musa's translation easy to read and entertaining, modern without being over-modern. Thumbs up to that.
This is a lot of stories, shit
I consulted two different lists of the "best" stories in The Decameron, reading any story that appeared on either list, around 2/3 of them in all. The first was translator Mike Musa's, from the introduction to my edition; the second was Jack Murnighan's, from a book called Beowulf on the Beach, which is fine but Murnighan can be a bit of a twit. Here are the lists:
Introduction
I
Musa: 1 - 3
Murnighan: 1, 5
II
Musa: 4 - 7, 10
Murnighan: 1 - 6, 7, 10
III
Musa: 1, 2, 9, 10
Murnighan: 1 - 4, 6, 10
IV
Musa: Prologue, 1, 2, 5, 9
Murnighan: 1, 5
V
Musa: 1, 4, 8 - 10
Murnighan: 4, 9, 10
VI
Musa: 1,4,5,7,10
Murnighan: 5, 6, 9
VII:
Musa: 2,9,10
Murnighan: 2, 5, 9, 10
VIII:
Musa: 3, 5-10
Murnighan: 1, 2, 6 - 9
IX:
Musa: 2,3,5,6,10
Murnighan: 2, 3, 6, 7, 9, 10
(Murnighan actually says 9 is "ultra-misogynistic and not to my taste," but after a comment like that you sortof have to read it, right? Turns out it's ultra-misogynistic and not to my taste.)
X:
Musa: 3,4,8-10
Murnighan: 4, 7, 9, 10
butts
It was influenced in part by the brilliant collection of Middle Eastern tales, the Arabian Nights. It was a big hit in its time; it was probably read by Chaucer, who probably borrowed parts of it for his great epic The Canterbury Tales.
I've read a bunch of non-fiction books recently that at least touch on Italy in the 14th century, and I keep thinking, "Yeah, I understand this from Boccaccio." Corruption in the church, the role of women, the lives of the nobles and the common people... I get a better sense of these things from the Decameron than from the history books. So if Boccaccio's goal was to describe what life was like in his time, from every imaginable point of view, he has nailed it.
Some are bawdy and funny, yes, but there are also a number stories about violence and rape. Like II.7, for example, in which a woman is kidnapped and raped by eight different men in succession, and they're often played as sorta funny and I haven't been sure how to deal with that, but it's true that Boccaccio's exposing the darker things that were happening in his time - along with all the other things. It's an unflinching tour, but it's misted by this irreverent tone that throws you off balance.
The intro to this edition claimed that Boccaccio was in some ways a sort of feminist, because his female characters are as strong and willful as his male ones, and this is one of the first times we have female characters portrayed as enjoying sex. I see the point, but it's also true that they're handed around like paperbacks pretty often.
I've been reminded recently how grotesquely hateful the last story in this collection is, and I feel like it's a public service to warn potential future readers about it: it leaves a very bad taste in your mouth. Horrifically misogynist. Skip it - or at least read it out of order, somewhere around the middle, so it's not your last impression.
Apparently Boccaccio himself wasn't crazy about the Decameron, but I think it's pretty dope.
Translation
Not that I have anything to compare it to, but I found Michael Musa's translation easy to read and entertaining, modern without being over-modern. Thumbs up to that.
This is a lot of stories, shit
I consulted two different lists of the "best" stories in The Decameron, reading any story that appeared on either list, around 2/3 of them in all. The first was translator Mike Musa's, from the introduction to my edition; the second was Jack Murnighan's, from a book called Beowulf on the Beach, which is fine but Murnighan can be a bit of a twit. Here are the lists:
Introduction
I
Musa: 1 - 3
Murnighan: 1, 5
II
Musa: 4 - 7, 10
Murnighan: 1 - 6, 7, 10
III
Musa: 1, 2, 9, 10
Murnighan: 1 - 4, 6, 10
IV
Musa: Prologue, 1, 2, 5, 9
Murnighan: 1, 5
V
Musa: 1, 4, 8 - 10
Murnighan: 4, 9, 10
VI
Musa: 1,4,5,7,10
Murnighan: 5, 6, 9
VII:
Musa: 2,9,10
Murnighan: 2, 5, 9, 10
VIII:
Musa: 3, 5-10
Murnighan: 1, 2, 6 - 9
IX:
Musa: 2,3,5,6,10
Murnighan: 2, 3, 6, 7, 9, 10
(Murnighan actually says 9 is "ultra-misogynistic and not to my taste," but after a comment like that you sortof have to read it, right? Turns out it's ultra-misogynistic and not to my taste.)
X:
Musa: 3,4,8-10
Murnighan: 4, 7, 9, 10
June 4, 2022
Boccaccio, 1348'de ba艧lay谋p, 1351'de bitirdi臒i Decameron'da salg谋n g眉nlerinde Floransa鈥檇a ya艧an谋lanlar谋 anlat谋r ve salg谋ndan ka莽an yedisi kad谋n toplumun 眉st s谋n谋f谋na ait 10 ki艧inin 10 g眉n boyunca anlat谋臒谋 100 枚yk眉 ile kitab谋n谋 tamamlar. Kitapta her 枚yk眉ye bir 莽izim e艧lik ediyor.
Kitap yaz谋ld谋臒谋 莽a臒谋n olduk莽a ilerisinde bir kitap, din bask谋s谋, ruhban s谋n谋f谋n谋n rezillikleri, cinsiyet ayr谋m谋 sert bazen mizahi dille anlat谋l谋r. Yalan, a艧k, a莽g枚zl眉l眉k, sevda, kibir, dostluk, k谋skan莽l谋k, kurnazl谋k, cinsel d眉rt眉ler gibi insan davran谋艧 ve duygular谋 hikayelerin ana temalar谋n谋 olu艧turuyor. Hikayeler 莽ok basit, bu nedenle 莽ok h谋zl谋 okunuyor, 莽眉nk眉 c眉mleler ve i莽erikleri 莽ok sade.
Kitab谋n 枚nemi 莽evirmenin 枚ns枚zde belirtti臒i gibi 陌talyanca d眉z yaz谋 gelene臒ini ba艧latmas谋 ve kendinden sonraki y谋llarda etkili olmas谋d谋r. Bir klasik oldu臒u i莽in ve son okudu臒um 鈥淧eynir ve Kurtlar鈥� adl谋 kitapta ad谋 s谋k莽a ge莽ti臒inden okuma gereksinimi duydum, ancak okumasayd谋m bir kayb谋m olmazd谋. Yazar谋n Dante鈥檔in 莽a臒da艧谋 oldu臒unu da hat谋rlatmakta yarar var.
Beni kitapta etkileyen belki de tek yer yazar谋n veba salg谋n谋n谋 莽ok iyi anlatt谋臒谋 giri艧 b枚l眉m眉 oldu. Bu b枚l眉mde 艧u c眉mleler 莽ok 莽arp谋c谋; 鈥渧eba sal颅g谋n谋, erkekler ve kad谋nlara 枚yle bir korku salm谋艧t谋 ki, erkek karde艧 erkek karde艧ten, amca ye臒enden, k谋z karde艧 erkek karde艧ten, dahas谋 koca kar谋s谋ndan ka莽ar olmu艧tu. En 枚nemlisi, belki inanmayacaks谋n谋z, analar babalar 莽ocuklar谋 sanki kendilerinin de臒ilmi艧 gibi davran谋yor, onlar谋 g枚rmeye gitmiyor, yard谋m ellerini uzatm谋yorlard谋鈥�.
Kitab谋n kapak d眉zenlenmesi kitab谋n i莽eri臒ine uymuyor, nihayetinde ne bir porno kitab谋 ne de Sade tarz谋nda yaz谋lm谋艧 erotik bir kitap de臒il.
Kitap yaz谋ld谋臒谋 莽a臒谋n olduk莽a ilerisinde bir kitap, din bask谋s谋, ruhban s谋n谋f谋n谋n rezillikleri, cinsiyet ayr谋m谋 sert bazen mizahi dille anlat谋l谋r. Yalan, a艧k, a莽g枚zl眉l眉k, sevda, kibir, dostluk, k谋skan莽l谋k, kurnazl谋k, cinsel d眉rt眉ler gibi insan davran谋艧 ve duygular谋 hikayelerin ana temalar谋n谋 olu艧turuyor. Hikayeler 莽ok basit, bu nedenle 莽ok h谋zl谋 okunuyor, 莽眉nk眉 c眉mleler ve i莽erikleri 莽ok sade.
Kitab谋n 枚nemi 莽evirmenin 枚ns枚zde belirtti臒i gibi 陌talyanca d眉z yaz谋 gelene臒ini ba艧latmas谋 ve kendinden sonraki y谋llarda etkili olmas谋d谋r. Bir klasik oldu臒u i莽in ve son okudu臒um 鈥淧eynir ve Kurtlar鈥� adl谋 kitapta ad谋 s谋k莽a ge莽ti臒inden okuma gereksinimi duydum, ancak okumasayd谋m bir kayb谋m olmazd谋. Yazar谋n Dante鈥檔in 莽a臒da艧谋 oldu臒unu da hat谋rlatmakta yarar var.
Beni kitapta etkileyen belki de tek yer yazar谋n veba salg谋n谋n谋 莽ok iyi anlatt谋臒谋 giri艧 b枚l眉m眉 oldu. Bu b枚l眉mde 艧u c眉mleler 莽ok 莽arp谋c谋; 鈥渧eba sal颅g谋n谋, erkekler ve kad谋nlara 枚yle bir korku salm谋艧t谋 ki, erkek karde艧 erkek karde艧ten, amca ye臒enden, k谋z karde艧 erkek karde艧ten, dahas谋 koca kar谋s谋ndan ka莽ar olmu艧tu. En 枚nemlisi, belki inanmayacaks谋n谋z, analar babalar 莽ocuklar谋 sanki kendilerinin de臒ilmi艧 gibi davran谋yor, onlar谋 g枚rmeye gitmiyor, yard谋m ellerini uzatm谋yorlard谋鈥�.
Kitab谋n kapak d眉zenlenmesi kitab谋n i莽eri臒ine uymuyor, nihayetinde ne bir porno kitab谋 ne de Sade tarz谋nda yaz谋lm谋艧 erotik bir kitap de臒il.
March 16, 2020
Lido h谩 d茅cadas e recordado agora em tempos de pandemia.
Este livro tem por subt铆tulo 芦Pr铆ncipe Galeotto禄. Foi escrito por Boccaccio entre os anos de 1348 e 1353. Cont茅m cem novelas que, em dez dias (da铆 o t铆tulo), contaram sete donzelas e tr锚s donz茅is.
Esses dez jovens tinham decidido abandonar a cidade e retirarem-se para o campo com o prop贸sito de fugir aos perigos da peste negra. Para ocupar o tempo inventaram uma brincadeira: cada um contaria uma hist贸ria durante o per铆odo mais quente do dia.
E assim foi! No primeiro dia, cada um tratou do assunto que mais lhe agradou; noutros dias, o tema foi previamente escolhido.
Uma leitura fascinante!
Este livro tem por subt铆tulo 芦Pr铆ncipe Galeotto禄. Foi escrito por Boccaccio entre os anos de 1348 e 1353. Cont茅m cem novelas que, em dez dias (da铆 o t铆tulo), contaram sete donzelas e tr锚s donz茅is.
Esses dez jovens tinham decidido abandonar a cidade e retirarem-se para o campo com o prop贸sito de fugir aos perigos da peste negra. Para ocupar o tempo inventaram uma brincadeira: cada um contaria uma hist贸ria durante o per铆odo mais quente do dia.
E assim foi! No primeiro dia, cada um tratou do assunto que mais lhe agradou; noutros dias, o tema foi previamente escolhido.
Uma leitura fascinante!
February 15, 2019
丨賱賵丕蹖 鬲賳鈥屫嗀з嗃屫� 鬲丕 賳禺賵乇蹖 賳丿丕賳蹖
丿讴丕賲乇賵賳 蹖讴蹖 丕夭 賳賲賵賳賴鈥屬囏й� 亘乇噩爻鬲賴鈥屰� 丕丿亘蹖丕鬲賽 鬲睾夭賾賱蹖 賵 丿丕爻鬲丕賳 賴丕蹖 毓丕卮賯丕賳賴 丕爻鬲. 亘賵讴丕趩蹖賵 丿乇 丕蹖賳 讴鬲丕亘 讴賴 丿乇 丨賯蹖賯鬲 蹖讴 賲噩賲賵毓賴 丿丕爻鬲丕賳 讴賵鬲丕賴賽 賲賳爻噩賲 亘賴 卮賲丕乇 賲蹖丕丿貙 丿丕爻鬲丕賳 賴丕蹖蹖 丿乇亘丕乇賴鈥屰� 禺蹖丕賳鬲鈥屬囏й� 夭賵噩蹖賳 賵 毓卮丕賯 賵 乇丕賴 賴丕蹖 賵氐丕賱 賵 賮乇丕賯 賵 毓卮賯鈥屫ㄘж槽� 讴乇丿賳鈥屬囏й� 丕賵賳賴丕 乇賵 賳賵卮鬲賴. 亘賵讴丕趩蹖賵 蹖讴蹖 丕夭 丿賵爻鬲丕賳 丿丕賳鬲賴 亘賵丿賴.
倬蹖乇 倬丕卅賵賱賵 倬丕夭賵賱蹖賳蹖貙 亘乇 丕爻丕爻 丕蹖賳 讴鬲丕亘 賮蹖賱賲蹖 亘賴 賴賲蹖賳 賳丕賲 爻丕禺鬲賴 讴賴 丕夭 賱丨丕馗 噩匕丕亘蹖鬲 丕氐賱丕賸 亘賴 倬丕蹖 丕蹖賳 讴鬲丕亘 賳賲蹖 乇爻賴 丕賲丕 丿乇 丕賵賳 賮蹖賱賲 趩賳丿 丿丕爻鬲丕賳 乇賵 賳卮賵賳 賲蹖丿賴 讴賴 丿乇 賳爻禺賴 蹖 賮丕乇爻蹖 丕蹖賳 讴鬲丕亘 爻丕賳爻賵乇 卮丿賴鈥屬�.
賯爻賲鬲鈥屬囏й屰� 睾蹖乇 丿丕爻鬲丕賳蹖 丕夭 賲鬲賳 讴鬲丕亘 乇賵 亘乇丕蹖 丌卮賳丕蹖蹖 亘丕 卮禺氐蹖鬲 賳賵蹖爻賳丿賴 丕蹖賳噩丕 賲蹖丕乇賲:
丕夭 丕蹖賳 賴丕 诏匕卮鬲賴貙 賳賲蹖 丿丕賳賲 趩賴 亘诏賵蹖賲 亘賴 讴爻丕賳蹖 讴賴 丕蹖賳 賴賲賴 亘乇 诏乇爻賳诏蹖 賲賳 丿賱 賲蹖 爻賵夭丕賳賳丿 賵 亘賴 賲賳 丕賳丿乇夭 賲蹖 丿賴賳丿 讴賴 丿乇 倬蹖 鬲丨氐蹖賱 賳丕賳 亘丕卮賲. 丕賱亘鬲賴 丕诏乇 賳蹖丕夭賿 賲乇丕 亘賴 丌賳 噩丕 亘讴卮丕賳丿 讴賴 亘乇賵賲 賵 丕夭 丕蹖卮丕賳 趩蹖夭蹖 亘禺賵丕賴賲 賳賲蹖 丿丕賳賲 趩賴 噩賵丕亘蹖 亘賴 賲賳 禺賵丕賴賳丿 丿丕丿貙 賵 亘爻蹖丕乇 讴賳噩讴丕賵賲 讴賴 倬丕爻禺 丌賳丕賳 乇丕 亘丿丕賳賲貙 賱蹖讴賳 丨丿爻 賲蹖 夭賳賲 讴賴 亘賴 賲賳 禺丕賴賳丿 诏賮鬲: 芦亘乇賵 禺賵丕爻鬲賴 丕鬲 乇丕 丿乇 賯氐賴 賴丕蹖鬲 亘噩賵蹖!禄 賵 賲爻賱賾賲丕賸 卮丕毓乇丕賳 丿乇 丿丕爻鬲丕賳 賴丕蹖 爻乇賵丿賴 蹖 禺賵蹖卮 亘蹖卮 丕夭 丌賳 蹖丕賮鬲賴 丕賳丿 讴賴 亘爻蹖丕乇蹖 丕夭 孬乇賵鬲賲賳丿丕賳 丿乇 诏賳噩蹖賳賴 賴丕蹖 禺賵丿貙 賵 丨鬲丕 亘爻蹖丕乇蹖 丕夭 卮丕毓乇丕賳 亘賴 丿賳亘丕賱 爻乇賵丿賴 賴丕蹖 禺賵蹖卮 毓賲乇蹖 丿乇丕夭 賵 卮讴賵賮丕賳 丿丕卮鬲賴 丕賳丿貙 賵 丨丕賱 丌賳讴賴 诏乇賵賴蹖 亘蹖 卮賲丕 丕夭 丌夭賲賳丿丕賳 夭乇 丕賳丿賵夭 讴賴 丿乇 讴爻亘 爻賵丿 鬲丕亘毓 賴蹖趩 毓賯賱 賵 賲賳胤賯蹖 賳亘賵丿賴 賵 亘蹖賲丕乇蹖 噩賲毓 丌賵乇蹖 亘蹖卮 丕夭 賳蹖丕夭賽 禺賵蹖卮 丿丕卮鬲賴 丕賳丿 亘賴 倬蹖乇蹖 賳丕乇爻蹖丿賴 賲乇丿賴 丕賳丿.
賮賯乇 賵 鬲賳诏丿爻鬲蹖 賴蹖趩 诏丕賴 賳鬲賵丕賳爻鬲賴 丕爻鬲 賱胤賲賴 丕蹖 亘賴 卮乇丕賮鬲 賵 丕氐丕賱鬲 匕丕鬲蹖 丌丿賲蹖 亘夭賳丿貙 賵 鬲賳賴丕 讴丕乇蹖 讴賴 賲蹖 讴賳丿 丕蹖賳 丕爻鬲 讴賴 賳賲蹖 诏匕丕乇丿 丌丿賲 孬乇賵鬲賲賳丿 亘丕卮丿.
丕蹖 丿賵爻鬲丕賳 噩賵丕賳 賵 夭蹖亘丕 乇賵蹖 賲賳{夭賳丕賳蹖 讴賴 亘丕 丕賵 丿賵爻鬲 亘賵丿賴鈥屫з嗀瘆貙 亘乇禺蹖 丕夭 禺乇丿賴鈥屫ㄛ屬嗀з� 賲蹖 诏賵蹖賳丿 讴賴 賲賳 丿乇 丕蹖賳鈥屭┵� 賲蹖 讴賵卮賲 禺賵卮丕蹖賳丿 胤亘毓 卮賲丕 賵丕賯毓 卮賵賲 賵 丕夭 卮賲丕 亘爻蹖丕乇 禺賵卮賲 賲蹖 丌蹖丿 亘賴 乇丕賴 禺胤丕 賲蹖 乇賵賲. 賵賱蹖 賲賳 亘丕 讴賲丕賱 氐乇丕丨鬲 丕賯乇丕乇 賲蹖 讴賳賲 讴賴 丌乇蹖貙 丕夭 卮賲丕 亘爻蹖丕乇 禺賵卮賲 賲蹖 丌蹖丿 賵 爻禺鬲 丿乇 鬲賱丕卮賲 鬲丕 賲诏乇 卮賲丕 賳蹖夭 丕夭 賲賳 禺賵卮鬲丕賳 亘蹖丕蹖丿. 賵 丨丕賱 丕夭 丕蹖賳 賳丕讴爻丕賳 賲蹖 倬乇爻賲 讴賴 讴噩丕蹖 丕蹖賳 丕賲乇 鬲毓噩亘 丿丕乇丿... 賲賳 賴賲賵丕乇賴 賲丨賵 鬲賲丕卮丕蹖 卮蹖賵賴 蹖 丿賱倬匕蹖乇 乇賮鬲丕乇 卮賲丕貙 夭蹖亘丕蹖蹖 丨爻丿 丕賳诏蹖夭 卮賲丕貙 丨爻賳 爻賱蹖賯賴 丕蹖 讴賴 丿乇 倬賵卮卮 賵 丌乇丕蹖卮 禺賵丿 亘讴丕乇 賲蹖 亘乇蹖丿 賵 丕氐丕賱鬲 賵 賳噩丕亘鬲蹖 讴賴 禺丕氐賾 卮賲丕 丕爻鬲 亘賵丿賴 丕賲 賵 賴爻鬲賲... 賲賳 鬲丕 倬丕蹖丕賳 毓賲乇賲 賴乇诏夭 卮乇賲賳丿賴 賳禺賵丕賴賲 亘賵丿 丕夭 丕蹖賳讴賴 賲胤亘賵毓鈥屫坟ㄘ� 賱毓亘鬲丕賳 爻蹖賲鈥屫嗃� 賯乇丕乇 亘诏蹖乇賲 讴賴 丿丕賳鬲賴 賵 讴丕賵丕賱讴丕賳鬲蹖 丿乇 丌賳鈥屫� 讴賴 爻賳賾 賵 爻丕賱蹖 丕夭 丕蹖卮丕賳 诏匕卮鬲賴 亘賵丿 賵 趩蹖賳賵 丿丕倬蹖爻鬲賵卅蹖丕 丿乇 丌賳 夭賲丕賳 讴賴 倬蹖乇賽倬蹖乇 卮丿賴 亘賵丿 鬲噩賱蹖賱卮丕賳 賲蹖 讴乇丿賳丿 賵 丿乇 爻鬲丕蹖卮 丨購爻賳 賵 噩賲丕賱卮丕賳 丿丕丿賽 爻禺賳 賲蹖 丿丕丿賳丿. 丌乇蹖貙 禺賵卮丕蹖賳丿 胤亘毓 亘丕賳賵丕賳 亘賵丿賳貙 賵丕賱丕鬲乇蹖賳 丌乇夭賵蹖 丌賳 亘夭乇诏 賲乇丿丕賳 亘賵丿!
夭賳丕賳 丿乇 胤賵賱 毓賲乇賲 丕賱賴丕賲 亘禺卮 賴夭丕乇丕賳 卮毓乇 亘賴 賲賳 亘賵丿賴 丕賳丿貙 賵 丨丕賱 丌賳讴賴 禺丿丕蹖丕賳 卮毓乇 賵 丕丿亘 丨鬲丕 蹖讴 亘丕乇 胤亘毓 賲乇丕 亘乇賳蹖丕賳诏蹖禺鬲賴 賵 蹖讴 卮毓乇 賴賲 亘賴鈥� 賲賳 丕賱賴丕賲 賳亘禺卮蹖丿賴鈥屫з嗀�.
亘乇乇爻蹖 鬲胤亘蹖賯蹖
噩賵賵丕賳蹖 亘賵讴丕趩蹖賵 賲鬲賵賱丿 爻丕賱 1313 賲蹖賱丕丿蹖貙 賵 丨丕賮馗 卮蹖乇丕夭蹖 賲鬲賵賱丿 爻丕賱 1315賲蹖賱丕丿蹖 亘賵丿賳
賴賲趩賳蹖賳 丿丕賳鬲賴 賲鬲賵賱丿 爻丕賱 1265 賲蹖賱丕丿蹖貙 賵 賲賵賱丕賳丕蹖 賲鬲賵賱丿 爻丕賱 1207 賲蹖賱丕丿蹖 亘賵丿賳:
丿乇 夭賲丕賳蹖 讴賴 丿乇 賮乇賴賳诏賽 賲丕 丕購丿賻亘丕 鬲乇賵蹖噩 毓乇賮丕賳 賲蹖鈥屭┴必� 賵 丕夭 賲毓卮賵賯賽 賳丕丿蹖丿賳蹖 賲蹖鈥屬嗁堌簇嗀� 丿乇 丕蹖鬲丕賱蹖丕貙 賳賵蹖爻賳丿賴鈥屭з� 賵 卮毓乇丕 亘丕 賳賵卮鬲賳 讴鬲丕亘賴丕蹖蹖 賲孬賱 讴賲丿蹖 丕賱賴蹖 賵 丿讴丕賲乇賵賳 亘丕 鬲乇賵蹖噩 毓卮賯鈥屬囏й� 丌爻賲丕賳蹖 賵 禺乇丕賮丕鬲 賲賯丕亘賱賴 賲蹖鈥屭┴必団€屬�.
趩賵賳 丕賳诏蹖夭賴鈥屰� 禺賵丿賽 賲賳 丕夭 賲胤丕賱毓賴鈥屰� 丕蹖賳 讴鬲丕亘貙 丌卮賳丕蹖蹖 亘丕 丿丕爻鬲丕賳鈥屬囏й� 讴賵鬲丕賴賽 讴賴賳 亘賵丿貙 爻亘讴 丿丕爻鬲丕賳 賳賵蹖爻蹖賽 亘賵讴丕趩蹖賵 乇賵 賲賴賳丿爻蹖 賲毓讴賵爻 讴乇丿賲 賵 亘乇丕蹖 禺賵丕賳賳丿賴鈥屰� 毓賱丕賯賴鈥屬呝嗀� 亘賴 丿丕爻鬲丕賳鈥屬嗁堐屫驰� 丕蹖賳噩丕 賲蹖丕乇賲
亘賵讴丕趩蹖賵 丕亘鬲丿丕 亘賴 鬲賵氐蹖賮 賯賴乇賲丕賳賽 丿丕爻鬲丕賳 賲蹖 倬乇丿丕夭賴.
爻倬爻 亘賴 鬲賵氐蹖賮 卮乇丕蹖胤 丨丕讴賲 亘乇 賲丨蹖胤蹖 讴賴 賯賴乇賲丕賳 丿乇 丕賵賳 夭賳丿诏蹖 賲蹖鈥屭┵嗁� 賲蹖 倬乇丿丕夭賴.
爻倬爻 賯賴乇賲丕賳賽 丿蹖诏乇 蹖丕 賯乇亘丕賳蹖賽 丿丕爻鬲丕賳 乇賵 鬲賵氐蹖賮 賲蹖 讴賳賴.
爻倬爻 丕蹖賳 丿賵 賳賮乇 乇賵 賵丕乇丿 鬲毓賱蹖賯蹖 毓卮賯蹖/卮賴賵丕賳蹖 賲蹖 讴賳賴.
爻倬爻 倬丕蹖 賮乇賴賳诏 賵 爻賳賾鬲 蹖丕 爻乇倬乇爻鬲鈥屬囏й� 賯賴乇賲丕賳丕賳{賵丕賱丿/賴賲爻乇} 乇賵 亘賴 丿丕爻鬲丕賳 亘丕夭 賲蹖 讴賳賴 賵 鬲毓賱蹖賯蹖 丕禺賱丕賯蹖 亘賵噩賵丿 賲蹖丕乇賴.
賵 丿乇 丕賳鬲賴丕 丕夭 丿丕爻鬲丕賳 賳鬲蹖噩賴鈥屰� 丕禺賱丕賯蹖 蹖丕 毓丕胤賮蹖 賲蹖鈥屭屫辟�.
丕蹖賳 讴鬲丕亘 賲噩賲賵毓丕賸 丕夭 100 丿丕爻鬲丕賳 鬲卮讴蹖賱 卮丿賴 賵 亘賴鈥屬傎勝� 賲丨賲丿 賯丕囟蹖 鬲乇噩賲賴 賵 鬲賵爻胤 丕賳鬲卮丕乇丕鬲 賲丕夭蹖丕乇 (亘丕 丨匕賮 13 丿丕爻鬲丕賳) 趩丕倬 賵 賲賳鬲卮乇 卮丿賴.
丿讴丕賲乇賵賳 蹖讴蹖 丕夭 賳賲賵賳賴鈥屬囏й� 亘乇噩爻鬲賴鈥屰� 丕丿亘蹖丕鬲賽 鬲睾夭賾賱蹖 賵 丿丕爻鬲丕賳 賴丕蹖 毓丕卮賯丕賳賴 丕爻鬲. 亘賵讴丕趩蹖賵 丿乇 丕蹖賳 讴鬲丕亘 讴賴 丿乇 丨賯蹖賯鬲 蹖讴 賲噩賲賵毓賴 丿丕爻鬲丕賳 讴賵鬲丕賴賽 賲賳爻噩賲 亘賴 卮賲丕乇 賲蹖丕丿貙 丿丕爻鬲丕賳 賴丕蹖蹖 丿乇亘丕乇賴鈥屰� 禺蹖丕賳鬲鈥屬囏й� 夭賵噩蹖賳 賵 毓卮丕賯 賵 乇丕賴 賴丕蹖 賵氐丕賱 賵 賮乇丕賯 賵 毓卮賯鈥屫ㄘж槽� 讴乇丿賳鈥屬囏й� 丕賵賳賴丕 乇賵 賳賵卮鬲賴. 亘賵讴丕趩蹖賵 蹖讴蹖 丕夭 丿賵爻鬲丕賳 丿丕賳鬲賴 亘賵丿賴.
倬蹖乇 倬丕卅賵賱賵 倬丕夭賵賱蹖賳蹖貙 亘乇 丕爻丕爻 丕蹖賳 讴鬲丕亘 賮蹖賱賲蹖 亘賴 賴賲蹖賳 賳丕賲 爻丕禺鬲賴 讴賴 丕夭 賱丨丕馗 噩匕丕亘蹖鬲 丕氐賱丕賸 亘賴 倬丕蹖 丕蹖賳 讴鬲丕亘 賳賲蹖 乇爻賴 丕賲丕 丿乇 丕賵賳 賮蹖賱賲 趩賳丿 丿丕爻鬲丕賳 乇賵 賳卮賵賳 賲蹖丿賴 讴賴 丿乇 賳爻禺賴 蹖 賮丕乇爻蹖 丕蹖賳 讴鬲丕亘 爻丕賳爻賵乇 卮丿賴鈥屬�.
賯爻賲鬲鈥屬囏й屰� 睾蹖乇 丿丕爻鬲丕賳蹖 丕夭 賲鬲賳 讴鬲丕亘 乇賵 亘乇丕蹖 丌卮賳丕蹖蹖 亘丕 卮禺氐蹖鬲 賳賵蹖爻賳丿賴 丕蹖賳噩丕 賲蹖丕乇賲:
丕夭 丕蹖賳 賴丕 诏匕卮鬲賴貙 賳賲蹖 丿丕賳賲 趩賴 亘诏賵蹖賲 亘賴 讴爻丕賳蹖 讴賴 丕蹖賳 賴賲賴 亘乇 诏乇爻賳诏蹖 賲賳 丿賱 賲蹖 爻賵夭丕賳賳丿 賵 亘賴 賲賳 丕賳丿乇夭 賲蹖 丿賴賳丿 讴賴 丿乇 倬蹖 鬲丨氐蹖賱 賳丕賳 亘丕卮賲. 丕賱亘鬲賴 丕诏乇 賳蹖丕夭賿 賲乇丕 亘賴 丌賳 噩丕 亘讴卮丕賳丿 讴賴 亘乇賵賲 賵 丕夭 丕蹖卮丕賳 趩蹖夭蹖 亘禺賵丕賴賲 賳賲蹖 丿丕賳賲 趩賴 噩賵丕亘蹖 亘賴 賲賳 禺賵丕賴賳丿 丿丕丿貙 賵 亘爻蹖丕乇 讴賳噩讴丕賵賲 讴賴 倬丕爻禺 丌賳丕賳 乇丕 亘丿丕賳賲貙 賱蹖讴賳 丨丿爻 賲蹖 夭賳賲 讴賴 亘賴 賲賳 禺丕賴賳丿 诏賮鬲: 芦亘乇賵 禺賵丕爻鬲賴 丕鬲 乇丕 丿乇 賯氐賴 賴丕蹖鬲 亘噩賵蹖!禄 賵 賲爻賱賾賲丕賸 卮丕毓乇丕賳 丿乇 丿丕爻鬲丕賳 賴丕蹖 爻乇賵丿賴 蹖 禺賵蹖卮 亘蹖卮 丕夭 丌賳 蹖丕賮鬲賴 丕賳丿 讴賴 亘爻蹖丕乇蹖 丕夭 孬乇賵鬲賲賳丿丕賳 丿乇 诏賳噩蹖賳賴 賴丕蹖 禺賵丿貙 賵 丨鬲丕 亘爻蹖丕乇蹖 丕夭 卮丕毓乇丕賳 亘賴 丿賳亘丕賱 爻乇賵丿賴 賴丕蹖 禺賵蹖卮 毓賲乇蹖 丿乇丕夭 賵 卮讴賵賮丕賳 丿丕卮鬲賴 丕賳丿貙 賵 丨丕賱 丌賳讴賴 诏乇賵賴蹖 亘蹖 卮賲丕 丕夭 丌夭賲賳丿丕賳 夭乇 丕賳丿賵夭 讴賴 丿乇 讴爻亘 爻賵丿 鬲丕亘毓 賴蹖趩 毓賯賱 賵 賲賳胤賯蹖 賳亘賵丿賴 賵 亘蹖賲丕乇蹖 噩賲毓 丌賵乇蹖 亘蹖卮 丕夭 賳蹖丕夭賽 禺賵蹖卮 丿丕卮鬲賴 丕賳丿 亘賴 倬蹖乇蹖 賳丕乇爻蹖丿賴 賲乇丿賴 丕賳丿.
賮賯乇 賵 鬲賳诏丿爻鬲蹖 賴蹖趩 诏丕賴 賳鬲賵丕賳爻鬲賴 丕爻鬲 賱胤賲賴 丕蹖 亘賴 卮乇丕賮鬲 賵 丕氐丕賱鬲 匕丕鬲蹖 丌丿賲蹖 亘夭賳丿貙 賵 鬲賳賴丕 讴丕乇蹖 讴賴 賲蹖 讴賳丿 丕蹖賳 丕爻鬲 讴賴 賳賲蹖 诏匕丕乇丿 丌丿賲 孬乇賵鬲賲賳丿 亘丕卮丿.
丕蹖 丿賵爻鬲丕賳 噩賵丕賳 賵 夭蹖亘丕 乇賵蹖 賲賳{夭賳丕賳蹖 讴賴 亘丕 丕賵 丿賵爻鬲 亘賵丿賴鈥屫з嗀瘆貙 亘乇禺蹖 丕夭 禺乇丿賴鈥屫ㄛ屬嗀з� 賲蹖 诏賵蹖賳丿 讴賴 賲賳 丿乇 丕蹖賳鈥屭┵� 賲蹖 讴賵卮賲 禺賵卮丕蹖賳丿 胤亘毓 卮賲丕 賵丕賯毓 卮賵賲 賵 丕夭 卮賲丕 亘爻蹖丕乇 禺賵卮賲 賲蹖 丌蹖丿 亘賴 乇丕賴 禺胤丕 賲蹖 乇賵賲. 賵賱蹖 賲賳 亘丕 讴賲丕賱 氐乇丕丨鬲 丕賯乇丕乇 賲蹖 讴賳賲 讴賴 丌乇蹖貙 丕夭 卮賲丕 亘爻蹖丕乇 禺賵卮賲 賲蹖 丌蹖丿 賵 爻禺鬲 丿乇 鬲賱丕卮賲 鬲丕 賲诏乇 卮賲丕 賳蹖夭 丕夭 賲賳 禺賵卮鬲丕賳 亘蹖丕蹖丿. 賵 丨丕賱 丕夭 丕蹖賳 賳丕讴爻丕賳 賲蹖 倬乇爻賲 讴賴 讴噩丕蹖 丕蹖賳 丕賲乇 鬲毓噩亘 丿丕乇丿... 賲賳 賴賲賵丕乇賴 賲丨賵 鬲賲丕卮丕蹖 卮蹖賵賴 蹖 丿賱倬匕蹖乇 乇賮鬲丕乇 卮賲丕貙 夭蹖亘丕蹖蹖 丨爻丿 丕賳诏蹖夭 卮賲丕貙 丨爻賳 爻賱蹖賯賴 丕蹖 讴賴 丿乇 倬賵卮卮 賵 丌乇丕蹖卮 禺賵丿 亘讴丕乇 賲蹖 亘乇蹖丿 賵 丕氐丕賱鬲 賵 賳噩丕亘鬲蹖 讴賴 禺丕氐賾 卮賲丕 丕爻鬲 亘賵丿賴 丕賲 賵 賴爻鬲賲... 賲賳 鬲丕 倬丕蹖丕賳 毓賲乇賲 賴乇诏夭 卮乇賲賳丿賴 賳禺賵丕賴賲 亘賵丿 丕夭 丕蹖賳讴賴 賲胤亘賵毓鈥屫坟ㄘ� 賱毓亘鬲丕賳 爻蹖賲鈥屫嗃� 賯乇丕乇 亘诏蹖乇賲 讴賴 丿丕賳鬲賴 賵 讴丕賵丕賱讴丕賳鬲蹖 丿乇 丌賳鈥屫� 讴賴 爻賳賾 賵 爻丕賱蹖 丕夭 丕蹖卮丕賳 诏匕卮鬲賴 亘賵丿 賵 趩蹖賳賵 丿丕倬蹖爻鬲賵卅蹖丕 丿乇 丌賳 夭賲丕賳 讴賴 倬蹖乇賽倬蹖乇 卮丿賴 亘賵丿 鬲噩賱蹖賱卮丕賳 賲蹖 讴乇丿賳丿 賵 丿乇 爻鬲丕蹖卮 丨購爻賳 賵 噩賲丕賱卮丕賳 丿丕丿賽 爻禺賳 賲蹖 丿丕丿賳丿. 丌乇蹖貙 禺賵卮丕蹖賳丿 胤亘毓 亘丕賳賵丕賳 亘賵丿賳貙 賵丕賱丕鬲乇蹖賳 丌乇夭賵蹖 丌賳 亘夭乇诏 賲乇丿丕賳 亘賵丿!
夭賳丕賳 丿乇 胤賵賱 毓賲乇賲 丕賱賴丕賲 亘禺卮 賴夭丕乇丕賳 卮毓乇 亘賴 賲賳 亘賵丿賴 丕賳丿貙 賵 丨丕賱 丌賳讴賴 禺丿丕蹖丕賳 卮毓乇 賵 丕丿亘 丨鬲丕 蹖讴 亘丕乇 胤亘毓 賲乇丕 亘乇賳蹖丕賳诏蹖禺鬲賴 賵 蹖讴 卮毓乇 賴賲 亘賴鈥� 賲賳 丕賱賴丕賲 賳亘禺卮蹖丿賴鈥屫з嗀�.
亘乇乇爻蹖 鬲胤亘蹖賯蹖
噩賵賵丕賳蹖 亘賵讴丕趩蹖賵 賲鬲賵賱丿 爻丕賱 1313 賲蹖賱丕丿蹖貙 賵 丨丕賮馗 卮蹖乇丕夭蹖 賲鬲賵賱丿 爻丕賱 1315賲蹖賱丕丿蹖 亘賵丿賳
賴賲趩賳蹖賳 丿丕賳鬲賴 賲鬲賵賱丿 爻丕賱 1265 賲蹖賱丕丿蹖貙 賵 賲賵賱丕賳丕蹖 賲鬲賵賱丿 爻丕賱 1207 賲蹖賱丕丿蹖 亘賵丿賳:
丿乇 夭賲丕賳蹖 讴賴 丿乇 賮乇賴賳诏賽 賲丕 丕購丿賻亘丕 鬲乇賵蹖噩 毓乇賮丕賳 賲蹖鈥屭┴必� 賵 丕夭 賲毓卮賵賯賽 賳丕丿蹖丿賳蹖 賲蹖鈥屬嗁堌簇嗀� 丿乇 丕蹖鬲丕賱蹖丕貙 賳賵蹖爻賳丿賴鈥屭з� 賵 卮毓乇丕 亘丕 賳賵卮鬲賳 讴鬲丕亘賴丕蹖蹖 賲孬賱 讴賲丿蹖 丕賱賴蹖 賵 丿讴丕賲乇賵賳 亘丕 鬲乇賵蹖噩 毓卮賯鈥屬囏й� 丌爻賲丕賳蹖 賵 禺乇丕賮丕鬲 賲賯丕亘賱賴 賲蹖鈥屭┴必団€屬�.
趩賵賳 丕賳诏蹖夭賴鈥屰� 禺賵丿賽 賲賳 丕夭 賲胤丕賱毓賴鈥屰� 丕蹖賳 讴鬲丕亘貙 丌卮賳丕蹖蹖 亘丕 丿丕爻鬲丕賳鈥屬囏й� 讴賵鬲丕賴賽 讴賴賳 亘賵丿貙 爻亘讴 丿丕爻鬲丕賳 賳賵蹖爻蹖賽 亘賵讴丕趩蹖賵 乇賵 賲賴賳丿爻蹖 賲毓讴賵爻 讴乇丿賲 賵 亘乇丕蹖 禺賵丕賳賳丿賴鈥屰� 毓賱丕賯賴鈥屬呝嗀� 亘賴 丿丕爻鬲丕賳鈥屬嗁堐屫驰� 丕蹖賳噩丕 賲蹖丕乇賲
亘賵讴丕趩蹖賵 丕亘鬲丿丕 亘賴 鬲賵氐蹖賮 賯賴乇賲丕賳賽 丿丕爻鬲丕賳 賲蹖 倬乇丿丕夭賴.
爻倬爻 亘賴 鬲賵氐蹖賮 卮乇丕蹖胤 丨丕讴賲 亘乇 賲丨蹖胤蹖 讴賴 賯賴乇賲丕賳 丿乇 丕賵賳 夭賳丿诏蹖 賲蹖鈥屭┵嗁� 賲蹖 倬乇丿丕夭賴.
爻倬爻 賯賴乇賲丕賳賽 丿蹖诏乇 蹖丕 賯乇亘丕賳蹖賽 丿丕爻鬲丕賳 乇賵 鬲賵氐蹖賮 賲蹖 讴賳賴.
爻倬爻 丕蹖賳 丿賵 賳賮乇 乇賵 賵丕乇丿 鬲毓賱蹖賯蹖 毓卮賯蹖/卮賴賵丕賳蹖 賲蹖 讴賳賴.
爻倬爻 倬丕蹖 賮乇賴賳诏 賵 爻賳賾鬲 蹖丕 爻乇倬乇爻鬲鈥屬囏й� 賯賴乇賲丕賳丕賳{賵丕賱丿/賴賲爻乇} 乇賵 亘賴 丿丕爻鬲丕賳 亘丕夭 賲蹖 讴賳賴 賵 鬲毓賱蹖賯蹖 丕禺賱丕賯蹖 亘賵噩賵丿 賲蹖丕乇賴.
賵 丿乇 丕賳鬲賴丕 丕夭 丿丕爻鬲丕賳 賳鬲蹖噩賴鈥屰� 丕禺賱丕賯蹖 蹖丕 毓丕胤賮蹖 賲蹖鈥屭屫辟�.
丕蹖賳 讴鬲丕亘 賲噩賲賵毓丕賸 丕夭 100 丿丕爻鬲丕賳 鬲卮讴蹖賱 卮丿賴 賵 亘賴鈥屬傎勝� 賲丨賲丿 賯丕囟蹖 鬲乇噩賲賴 賵 鬲賵爻胤 丕賳鬲卮丕乇丕鬲 賲丕夭蹖丕乇 (亘丕 丨匕賮 13 丿丕爻鬲丕賳) 趩丕倬 賵 賲賳鬲卮乇 卮丿賴.
June 15, 2024
The Decameron is presented as a set of morally uplifting fables for the benefit of young ladies 鈥� but really, the whole joy of Boccaccio is that he prioritises pleasure over morals, simplicity over obscurity, and life over an afterlife. He wants above all to be fun; the rest is just gesturing towards convention.
What jumps out at you in his worldview is the thoroughgoing anticlericalism, the secular sensibility, the lack of superstition, and the love of physical pleasures: sex, good food, friendship and jokes. Unlike earlier medieval collections 鈥� the French fabliaux, say, or the Thousand and One Nights 鈥� there is almost no magic here, and only minor traces of folklore or fairytale.
This goes double for religion. In Dante (whom Boccaccio revered as a writer), God and Christ are awe-inspiringly present, described with reverence, acting concretely in the world. In Boccaccio, they're just swearwords. In the Decameron, religion is the ultimate hypocrisy, and hypocrisy 鈥� how it works and how it's uncovered 鈥� is the predominant engine that drives Boccaccio's storytelling.
His writing became quite overtly misogynistic later in his career, but here things are much more fascinatingly mixed. There is a lot of conventional stuff about how women are 鈥榝ickle, quarrelsome, suspicious, weak, and fearful鈥�, but most of it is put into the mouths of other people and undercut in comic ways. We also see here, laid out in detail, the pre-eighteenth-century idea that women were the higher-libido sex, and although it's sometimes just a comic device, there's often something very freeing and contemporary about the way this is taken for granted.
鈥楤ecause of my husband's absence, I find myself unable to resist the promptings of the flesh,鈥� one woman explains, with a sense of evident logic. 鈥楢s long as it remains hidden, I don't think there's any harm in it.鈥� Another, upbraided by her husband for adultery, rounds on him in turn: 鈥榊ou should have been smart enough to see that fresh, lively young women like me need more than food and clothing, even if modesty prevents them from saying so.鈥� One gets the strong impression that Boccaccio is on their side in these debates. They culminate in a remarkable courtroom scene in which Madonna Filippa, on trial for adultery and facing the death sentence, stares down the judge and delivers a storming broadside against sexist legislation:
She walks free, and the law is taken off the books too.
I quote above from the Wayne A. Rebhorn translation, published by Norton, which I'm afraid to say never entirely won me over. His approach is an uneasy blend of foreignisms (people are called 鈥楳esser鈥� instead of 鈥榮ir鈥� and refer cheerfully to canonical hours like tierce and nones) with contemporary American colloquialisms (鈥業 went around at night with my buddies on the lookout for women鈥 remember a night when there was one of them, a skinny gal鈥︹€�). It can be a jarring combination. Compare the following passage (from the introduction to the sixth day):
鈥ith the McWilliam translation from 1995:
I think the second is simply better; even allowing for different choices in terms of how 鈥榦ld-fashioned鈥� you want it to sound, it just reads as more naturally English. I was also slightly bemused by Rebhorn's endnotes, which have a strange fixation on how many of the characters can be traced in the historical record. If, in passing, we have a reference to 鈥榓 certain Messer Guasparrino Doria鈥�, you can be sure there will be a note explaining who the Doria family was and regretting that 鈥榯here is no record of any of its members having the name of Guasparrino鈥�. It's hard to think of anything of less interest in these stories than how historically 鈥榯rue鈥� they are.
Overall, the sense of Rebhorn that emerges through the translation is a gentle one 鈥� calm, competent, workmanlike, fussy, a little pedantic, somewhat bland. Arguably, these are good qualities for a translator, but personally I found myself craving a little more wit, a little more brio. Boccaccio has that in spades, and there's often a sense that, tonally speaking, the translator is not quite keeping up.
Linguistically, of course, Boccaccio is a hero because he made such a point of writing 鈥� as he says 鈥� 鈥榠n the Florentine vernacular, in prose, and in the homeliest and lowest style possible鈥� (in istilo umilissimo e rimesso). This made it possible for Chaucer to imagine something similar in his vernacular; it also, among other things, helped to cement Boccaccio's own (Tuscan) dialect as standard 鈥業talian鈥�.
A lot of the pleasure I get from Chaucer is in the language, perhaps the moreso because he is writing poetry: the same could be said for Dante, who I read in translation, but still thought of as someone whose value comes very much from his phrasing, his combinations of words and ideas. With Boccaccio it's not like that. He is all about the life-affirming joy of sharing pleasure. 鈥楾hey were able,鈥� he says of the lovers at the end of one tale, 鈥榯o go on enjoying that love of theirs time and time again. And may God grant that we enjoy ours as well.鈥� That's what he wants from us in a nutshell, and resistance is futile.
What jumps out at you in his worldview is the thoroughgoing anticlericalism, the secular sensibility, the lack of superstition, and the love of physical pleasures: sex, good food, friendship and jokes. Unlike earlier medieval collections 鈥� the French fabliaux, say, or the Thousand and One Nights 鈥� there is almost no magic here, and only minor traces of folklore or fairytale.
This goes double for religion. In Dante (whom Boccaccio revered as a writer), God and Christ are awe-inspiringly present, described with reverence, acting concretely in the world. In Boccaccio, they're just swearwords. In the Decameron, religion is the ultimate hypocrisy, and hypocrisy 鈥� how it works and how it's uncovered 鈥� is the predominant engine that drives Boccaccio's storytelling.
His writing became quite overtly misogynistic later in his career, but here things are much more fascinatingly mixed. There is a lot of conventional stuff about how women are 鈥榝ickle, quarrelsome, suspicious, weak, and fearful鈥�, but most of it is put into the mouths of other people and undercut in comic ways. We also see here, laid out in detail, the pre-eighteenth-century idea that women were the higher-libido sex, and although it's sometimes just a comic device, there's often something very freeing and contemporary about the way this is taken for granted.
鈥楤ecause of my husband's absence, I find myself unable to resist the promptings of the flesh,鈥� one woman explains, with a sense of evident logic. 鈥楢s long as it remains hidden, I don't think there's any harm in it.鈥� Another, upbraided by her husband for adultery, rounds on him in turn: 鈥榊ou should have been smart enough to see that fresh, lively young women like me need more than food and clothing, even if modesty prevents them from saying so.鈥� One gets the strong impression that Boccaccio is on their side in these debates. They culminate in a remarkable courtroom scene in which Madonna Filippa, on trial for adultery and facing the death sentence, stares down the judge and delivers a storming broadside against sexist legislation:
鈥淏ut as I'm sure you know, laws should be impartial and should only be enacted with the consent of those affected by them. In the present case, these conditions have not been met, because this law applies only to us poor women who are much better than men at giving satisfaction to a whole host of lovers. Moreover, when it was passed, not only were there no women present to give their consent to it, but since then, not once have they ever been consulted about it. And that's why, for all these reasons, it could with justice be called a bad law.鈥� [6.7]
She walks free, and the law is taken off the books too.
I quote above from the Wayne A. Rebhorn translation, published by Norton, which I'm afraid to say never entirely won me over. His approach is an uneasy blend of foreignisms (people are called 鈥楳esser鈥� instead of 鈥榮ir鈥� and refer cheerfully to canonical hours like tierce and nones) with contemporary American colloquialisms (鈥業 went around at night with my buddies on the lookout for women鈥 remember a night when there was one of them, a skinny gal鈥︹€�). It can be a jarring combination. Compare the following passage (from the introduction to the sixth day):
鈥淢y lady, this guy wants to teach me all about Sicofante鈥檚 wife, and just as if I weren鈥檛 acquainted with her at all, he would have me believe that the first night Sicofante went to bed with her, Messer Mace entered Black Mountain by force and with much bloodshed. But let me tell you, that鈥檚 not true; he entered it peacefully and to the general contentment of those inside.鈥�
鈥ith the McWilliam translation from 1995:
鈥楳adam, this fellow thinks he knows Sicofante鈥檚 wife better than I do. I鈥檝e known her for years, and yet he has the audacity to try and convince me that on the first night Sicofante slept with her, John Thomas had to force entry into Castle Dusk, shedding blood in the process; but I say it is not true, on the contrary he made his way in with the greatest of ease, to the general pleasure of the garrison.鈥�
I think the second is simply better; even allowing for different choices in terms of how 鈥榦ld-fashioned鈥� you want it to sound, it just reads as more naturally English. I was also slightly bemused by Rebhorn's endnotes, which have a strange fixation on how many of the characters can be traced in the historical record. If, in passing, we have a reference to 鈥榓 certain Messer Guasparrino Doria鈥�, you can be sure there will be a note explaining who the Doria family was and regretting that 鈥榯here is no record of any of its members having the name of Guasparrino鈥�. It's hard to think of anything of less interest in these stories than how historically 鈥榯rue鈥� they are.
Overall, the sense of Rebhorn that emerges through the translation is a gentle one 鈥� calm, competent, workmanlike, fussy, a little pedantic, somewhat bland. Arguably, these are good qualities for a translator, but personally I found myself craving a little more wit, a little more brio. Boccaccio has that in spades, and there's often a sense that, tonally speaking, the translator is not quite keeping up.
Linguistically, of course, Boccaccio is a hero because he made such a point of writing 鈥� as he says 鈥� 鈥榠n the Florentine vernacular, in prose, and in the homeliest and lowest style possible鈥� (in istilo umilissimo e rimesso). This made it possible for Chaucer to imagine something similar in his vernacular; it also, among other things, helped to cement Boccaccio's own (Tuscan) dialect as standard 鈥業talian鈥�.
A lot of the pleasure I get from Chaucer is in the language, perhaps the moreso because he is writing poetry: the same could be said for Dante, who I read in translation, but still thought of as someone whose value comes very much from his phrasing, his combinations of words and ideas. With Boccaccio it's not like that. He is all about the life-affirming joy of sharing pleasure. 鈥楾hey were able,鈥� he says of the lovers at the end of one tale, 鈥榯o go on enjoying that love of theirs time and time again. And may God grant that we enjoy ours as well.鈥� That's what he wants from us in a nutshell, and resistance is futile.
July 11, 2016
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March 29, 2022
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