Tag: The Decameron

The Portrayal of Religion in Italian Literature 

Throughout this semester, we have learned and read the works of several Italian writers and poets, including Dante Alighieri, Francesco Petrarca, Giovanni Boccaccio, and Niccolò Machiavelli. While one topic in these texts was women, it was apparent that religion was a runner-up in terms of significance and popularity. In fact, the majority of these writers followed the Christian, Catholic religions and discussed their points of view on the religion as a whole. 

Dante’s Nine Circles of Hell

Firstly, this can be viewed in Dante Alighieri’s Divine Comedy. Dante states unequivocally that Christianity is the only genuine religion. Belief in Jesus’ divinity is required for admission to Paradiso (heaven), Purgatorio (purgatory), and, in most cases, Inferno (hell). Dante believes that non-belief is not excused by ignorance of Jesus’ presence. He considers Christianity to be not only the path to happiness but also a necessary component of his concept of what it is to be a virtuous, genuine person, which in turn is a strong opinion for one to have in today’s society since there are so many religions and ways of life. Dante’s devotion to orthodox Christianity and criticism of priests reflect his fears and concerns about the Church’s foundation. He was also very adamant about his beliefs of the separation of church and state. He describes his constant anger for church officials who abandon their religious duties in order to obtain wealth and power. For instance, in Canto 33, Archbishop Ruggieri is found in the second band of the ninth circle. Here Ugolino, an innocent man found guilty alongside his four sons by Ruggieri, is found chewing on Ruggieri’s head. Since the archbishop left them locked in a tower and starved them to death after Ugolino clearly put his trust in the archbishop, he was now condemned to Antenora, the traitor’s band of the ninth circle, with his head being chewed off by the man he betrayed forever. This is one of many stories portrayed in the Divine Comedy by Dante that clergymen are punished due to their wrongdoings in life. 

Illustrations of Laura and Petrarca

 Additionally, religion, though not the main factor in Il Canzoniere by Francesco Petrarca, is a vital factor in the development of the text. His poems, mainly inspired by his lover, Laura, show him on his path to reach happiness and glory. However, he realizes that only faith in Christianity is how he can achieve this glow and happiness. This leaves him in a constant war with himself regarding love and religion. In Canzoniere 264, Petrarca states “I go thinking, and so strong a pity for myself assails me in thought, that I’m forced sometimes to weep with other tears than once I did: for seeing my end nearer every day, I’ve asked God a thousand times for those wings with which our intellect can rise from this mortal prison to heaven.” (“Petrarch (1304–1374) – The Complete Canzoniere: 245-305”) This depicts Petrarca contemplating the cost of his devotion to Laura. He is in excruciating pain as a result of it. He considers his love for Laura to be a threat and distraction to his faith. 

Although Catholicism was prominent during this time, Boccaccio on the other hand made it clear that he did not approve of the Church’s activities and behavior, remarkably similar to Dante. Religion was seen to be practiced by foolish people in The Decameron. He saw that the church was a breeding ground for evil, and “marriage” was a meaningless transaction. The Decameron Web also describes that these texts were seen to be “a favorite topic of mockery” when it came to religion. His Day One, Story One in The Decameron regarded a man that made many sins, by the name of Messire Chappelet du Prat, but because he confessed all of his sins before he died, The Friar left thinking that this enormous sinner was a truly holy man. This man was declared a saint and was admired by Catholics. The main narrative was criticism of saint adoration and the Catholic Church’s organization and infrastructure, but not on Catholicism as a religion. 

Also similar to Dante, Machiavelli attempted to subjugate religion to the state and give the state a non-religious character by totally separating religion from politics. He considered politics to be a separate activity with its own set of rules and regulations. In The Prince, Machiavelli frequently argued that religion was fabricated and that it was utilized to impose oppressive laws, additionally believing that Christianity made people unproductive and weak. The Prince cannot be bound by moral or religious reasons and he exists beyond morality. He may achieve his goals by depending on faith. Religion has no power over politics, and the church has no authority over the state. As a result, he proposed separating religion, morality, and politics. In political concerns, the king has the last say, and all other centers must be subject to political authority. In Chapter 18, he instructs Lorenzo with astounding, if not reckless, honesty, “There is nothing more important than appearing to be religious.” Here he is stating that even if a Prince may act the opposite, he should always be perceived as religious amongst other things. Machiavelli understands that many individuals are prepared to accept all types of dishonesty as long as their country is wealthy, prosperous, and peaceful. The most problematic component of Machiavelli’s life was his views on religion, particularly Christianity because the worst aspect of the age in which he lived was the prevalent corruption and greed among the Italian authorities and church officials. 

Overall, religion is a common theme amongst these writers. Though many of them are known to be religious, they do not agree with Church. In other words, they disagreed with the Christian and Catholic infrastructure because of the constant corruption found and had no issue sharing their opinions on this. Many were in fact known as humanists of the Renaissance era. 

The Portrayal of Women In Italian Literature

Over the course of this class, we’ve discussed and analyzed many famous Italian authors who are widely regarded as some of the greats within their field. However, while these authors remain influential today, their works were published at a point in history where women were generally considered to be inferior to men and were often forced into lesser roles in society. As a result of this, we can see the influence of gender roles and its impact on the representation of women in Dante’s ‘Divine Comedy’, Boccaccio’s ‘The Decameron’, and Petrarch’s ‘Canzoniere’. 

‘The Divine Comedy’ focuses on the journey that Dante, the pilgrim, takes through Hell, Purgatory, and eventually Heaven (referred to as ‘Paradise’ within the text). Over the course of this journey, Dante speaks to countless souls that have moved on to the afterlife and writes about their stories. However, men tend to dominate these conversations while women are sidelined. In fact, there are only two significant women in ‘The Divine Comedy’ that we discussed: Francesca and Beatrice. Francesca first appears in Canto 5, which centers around the second circle of Hell – lust; Dante asks Francesca and Paolo ended up being damned, to which Francesca recounts the story of reading ‘Lancelot du lac’ with her lover and that “one point alone was the one that overpowered us” (canto 5, lines 131-132). While Dante feels pity for the couple, as apparent from him fainting as the canto ends, he still believes that they should be punished for their love. In canto 3, the gates of Hell read “Justice moved my high maker; divine power made me, highest wisdom, and primal love” (Canto 3, lines 4-6), which makes it evidently clear that Dante believes all souls in Hell deserve their punishment, no matter how much pity he feels. On the other hand, we have Beatrice, who plays a significant role in Dante’s literature as a whole. In ‘The Divine Comedy’, Beatrice is the woman who made Dante’s journey possible in the first place. As opposed to Francesca, who Dante shuns for her sin, Beatrice is the exact opposite; he reveres Beatrice as graceful, beautiful, and holy. This is especially evident once we reach ‘Paradiso’, as Beatrice is the woman who allows Dante to come into contact with God, which is shown in the quote “The role that Dante assigns to her is reminiscent of the role that Christ plays in allowing humans to know God and achieve Heaven” (Carey, 2007, p.93). The portrayal of these two women are obviously very different, which makes it clear that Dante believes women should embody purity like Beatrice, and that those like Francesca who do not, should be punished. 

An illustration of Beatrice guiding Dante by Gustave Dore in 1857 (from: Gustave Doré – Dante Alighieri – Inferno – plate 7 (Beatrice Stock Photo. Alamy . (n.d.). Retrieved December 23, 2021, from https://www.alamy.com/stock-photo-gustave-dor-dante-alighieri-inferno-plate-7-beatrice-137875413.html)

On the other hand, we have ‘The Decameron’ which features several stories centering around women. As opposed to Dante, Boccaccio depicts many strong, witty women that are able to stand up for themselves despite the stigma around doing so at the time. A prime example of this is seen in the story of the Madonna Filippa, which is the 7th story of the 6th day; This story centers around Filippa, who is caught cheating on her husband and is then taken to trial, where she could be put to death if found guilty. Instead of denying her crime, she admits to the judge that she was guilty of adultery and defends her actions by stating that she’s never denied her husband anything, that she simply has surplus love to give and asks the judge “Am I to cast it to the dogs? Is it not much better to bestow it on a gentleman that loves me more dearly than himself, than to suffer it to come to nought or worse?” (line 17). Seemingly through her wit alone, she’s able to get the crowd and judge on her side, and gets the law changed such that only women who commit adultery for money are punished. However, upon further inspection, this story isn’t as empowering as it seems. Firstly, while many women in The Decameron stand up for themselves (which was revolutionary in literature at the time), they generally don’t challenge specific laws or roles placed on women by society. This rings true for Filippa as well. She does challenge the law on her own, but even after her defense, it remains put in place and is only changed such that “thenceforth only such women as should wrong their husbands for money should be within its purview” (line 18); Filippa is only able to change the law to fit her given circumstances rather than calling for the abolition of said statute, or to have men included in it’s punishment. Additionally, Boccaccio seems to allude that Filippa’s beauty played a big part in her success. As Marcel Janssens states, women in The Decameron are often able to succeed in defending themselves “provided she is beautiful, witty, and tricky” (Wright, 1991, p. 27), and Filippa falls into this category as well. Early on in this story, it’s stated that Filippa’s beauty and poised nature caused the judge to feel sympathetic towards her, as shown in the quote “The Podestà, surveying her, and taking note of her extraordinary beauty, and exquisite manners, and the high courage that her words evinced, was touched with compassion for her” (line 11). While Filippa made a compelling argument that was able to get the crowd on her side, the prior quote begs the question: If Filippa did not have her “extraordinary beauty”, would she have been as successful?

Finally, we have Petrarch, whose work is unique as it only focuses on one woman: Laura. Despite nearly all of Petrarch’s poems being centered around his love for Laura (even after her death), she never actually speaks in any of his work. Instead, Petrarch decides to speak about her and describe how much he loves her, rather than depicting any direct interactions the two may have had. Similar to the depictions of Beatrice in ‘The Divine Comedy’, Petrarch describes Laura as if she’s a holy figure rather than a normal woman. This is especially seen in sonnet 90, where he states “The way she walked was not the way of mortals but of angelic forms;” (lines 9-10) and refers to her as “a godly spirit and a living sun” (line 12). While Petrarch clearly loves Laura deeply and praises her highly, this does little to let the reader know who she was as a person in real life. Due to Laura’s lack of a voice within the text, Nancy Vickers points out that “bodies fetishized by a poetic voice logically do not have a voice of their own; the world of making words, of making texts, is not theirs” (Cox, 2005, p. 3). Ultimately, Petrarch’s depiction of Laura is one that many women deem to be fetishizing, as she seemingly has no thoughts or words of her own and is only seen through the eyes of the poet.

An engraving that depicts both Laura and Petrarch done by Antonio Salamanca (from: Antonio Salamanca (1500-62) – Laura and Petrarch. Royal Collection Trust. (n.d.). Retrieved December 23, 2021, from https://www.rct.uk/collection/809553/laura-and-petrarch)

Overall, Dante, Boccaccio, and Petrarch are all very influential authors, and their works should still be taught and read today due to how much they’ve impacted literature as we know it. However, it’s also important to note that these works were products of their time, which is evidently clear from how each author portrays women; ranging from Boccaccio’s depiction of women who use their wits and beauty to get what they want, to Petrarch and Dante’s love interests who embody holiness. 

Citations:

  1. Dante, A. D. (1996). The divine comedy of dante alighieri : Inferno. Oxford University Press USA – OSO. 
  2. Carey, Brooke L., “Le Donne di Dante: An Historical Study of Female Characters in The Divine Comedy” (2007). Syracuse University Honors Program Capstone Projects. 573. https://surface.syr.edu/honors_capstone/573
  3. Decameron web. Decameron Web | Texts. (2010, February 15). Retrieved December 23, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0607&lang=eng 
  4. WRIGHT, E. C. (1991). Marguerite Reads Giovanni: Gender and Narration in the “Heptaméron” and the “Decameron.” Renaissance and Reformation / Renaissance et Réforme, 15(1), 21–36. http://www.jstor.org/stable/43445607 
  5.   Cox, V. (2005). Sixteenth-century women Petrarchists and the legacy of Laura. Retrieved December 23, 2021, from https://www.projectcontinua.org/wp-content/uploads/2013/06/16th-C-Women-Petrarchists-and-the-Legacy-of-Laura.pdf  
  6. Petrarca, Francesco, Selected Poems from the Canzoniere
  7. Antonio Salamanca (1500-62) – Laura and Petrarch. Royal Collection Trust. (n.d.). Retrieved December 23, 2021, from https://www.rct.uk/collection/809553/laura-and-petrarch  
  8. Gustave Doré – Dante Alighieri – Inferno – plate 7 (Beatrice Stock Photo. Alamy . (n.d.). Retrieved December 23, 2021, from https://www.alamy.com/stock-photo-gustave-dor-dante-alighieri-inferno-plate-7-beatrice-137875413.html 

The Divine Feminine

The role of women in our society has long been a topic of discussion. Though it is much more common to see examples of liberated women in today’s literature and in all respective forms of media, this wasn’t always the case. Female writers were often excluded from the scene, which meant that their stories were usually told through the lens of men. This is part of the reason why there was such a profuse amount of dependent and submissive female roles in literary work. However, there is always an exception to every rule; three Italian writers, who aside from contributing to the Renaissance, also displayed forward-thinking in their writing. Dante Alighieri, Francesco Petrarca, and Giovanni Boccaccio have all credited women for being their main source of inspiration. They have also presented strong examples of female characters which reinforces the idea that women have a right to occupy spots in literary spaces.

In The Divine Comedy, Alighieri takes us on a journey through the different realms that are commonly referred to as the Christian afterlife: Inferno, Purgatorio, and Paradiso. When Dante the pilgrim wakes up in a dark forest, right beyond the entrance of Inferno, he is visibly frightened and in need of some guidance. That is where Beatrice steps in; his savior in the story, but also his muse in the real world. She watched as Dante strayed further away from his faith, and wanted nothing more than to guide him to the light. She sends Virgil to protect Dante while he makes his way through Hell and witnesses all the atrocities first-hand. At one point, Dante confesses, “Oh full of pity she who has helped me! and you courteous, who have quickly obeyed the true words she offered you! Your words have so filled my heart with desire to come with you, that I have returned to my first purpose” (Inferno, Canto 2). In other words, Dante is attributing his will to Beatrice’s generosity and kindness. Perhaps the most interesting thing about Beatrice’s role in The Divine Comedy, is that Dante characterizes her as a religious figure rather than a normal lover. She has an undisputed divine nature throughout the story and plays such an important role in the pilgrim’s salvation (Beatrice: Inspiration, Divine Love, and the Key to Salvation). Although her moments in the Comedy were few and far between, she strikes me as one of the most notable figures in the entire story and the antithesis of a woman who relies on a man.

Beatrice depicted by Dante Gabriel Rosetti.

In Il Canzoniere, Petrarca professes his love for his muse with hundreds of poems. The vast majority of these poems are written in sonnet form and they detail an array of emotions, from when he first fell in love with Laura to when she passed away. In sonnet 90, for example, he describes her appearance to us in a thoughtful manner and portrays her as a source of light in his life. He says, “She’d let her gold hair flow free in the breeze and whirled it into thousands of sweet knots … The way she walked was not the way of mortals but of angelic forms, and when she spoke more than an earthly voice it was that sang.” Though it was not uncommon for Italian poets to dedicate sonnets for the women they admired, Petrarca’s love for Laura was especially haunting because his passion for her only multiplied after she passed. He expressed his heavy feelings about her death in sonnet 319, where he says that his days seem to just pass him by now that she’s gone. Furthermore, he calls the world “wretched” and “arrogant” for taking Laura away and leaving him in a broken state. It’s evident that Petrarca thinks very highly of Laura, but more than anything, I think this also communicates just how much he values the women in his life. After her death, Petrarca had a tough time getting by because of how lost and abandoned he felt. When her soul moved on to the Heavens, as he said, a piece of him died too. Without her, he felt vulnerable and incomplete.

Petrarch and Laura de Noves, Ashmolean Museum.

Boccaccio’s The Decameron was written at the height of the Bubonic plague. Death and grief overtook all of Europe as sickness spread from one person to another. One of the main reasons he wrote The Decameron was, of course, for entertainment. As you could imagine, humor and joy were very scarce given the circumstances. However, Boccaccio also mentions in the preface of The Decameron, that he’s dedicating this work to women. He writes, “the ladies just mentioned will, perhaps, derive from the delightful things that happen in these tales both pleasure and useful counsel, inasmuch as they will recognize what should be avoided and what should be sought after. This, I believe, can only result in putting an end to their melancholy.” Simply put, he hopes that the women reading his work will take notice of the good and the bad, and possibly apply it to their own lives. Boccaccio also gives women the opportunity to recount the parables in The Decameron, as well as lead them. In a lot of the stories, there’s a common theme of men who try to outsmart their female counterparts, to no avail. With this, he implies that women can in fact be superior in terms of skill, which is something that has long been missing in fictional and historical texts alike (Kulshrestha).

To conclude, imbedded in these three written pieces by revolutionary contemporaries are high commends for the women who make them feel complete. Whether it’s done by depicting them as religious figures, describing how lost they feel without them or dedicating their work to them, these men gave women a leading role in their stories during a time period where women were seen as subordinate to men.

Work Cited

Alighieri, Dante. “The Divine Comedy of Dante Alighieri: Inferno” ProQuest eBook Central, 29 Feb. 1996, https://ebookcentral.proquest.com/lib/ccny-ebooks/reader.action?docID=693941

“Beatrice: Inspiration, Divine Love, and the Key to Salvation” Digication EPortfolio, Boston University, 24 Oct. 2010, https://bu.digication.com/wr100B1_challenerjn/Final_Draft2 

Petrarca, Francesco. “Il Canzoniere”

Boccaccio, Giovanni. “The Decameron”

Kulshrestha, Sujay. “Giovanni Boccaccio’s ‘the Decameron’ and the Roles of Men and Women.” Inquiries Journal, 1 Dec. 2010, http://www.inquiriesjournal.com/articles/344/giovanni-boccaccios-the-decameron-and-the-roles-of-men-and-women

The Roles of Men and Women in “The Decameron”

Giovanni Boccaccio’s “The Decameron” is set at a time period in which in society women were generally held at lower social standings than those of men. In The Decameron although women were demonstrated to have no significant social status, it is seeming that women did have an upperhand in some aspects. Throughout the 100 stories when it did come down to Boccaccio comparing men and women he did seem to favor the women as better in the terms of evil and good. Taking a closer look into female/male relationships in the stories Boccaccio has shown the idea that women are much more stronger, cunning and lustful than men. 

While men are portrayed to be “strong” the women have to tolerate a lot more adversity than men, which follows back to women having a lack of alternatives. Women must bear the hardships because they have no sense of power to eliminate them. For example, the tenth day, tenth story in The Decameron the story of Griselda is told in which she puts up with such horrors and abuse of power acted upon by Gualtieri, her supposed husband.  Gualtieri uses his role and power to temper with Griselda’s emotions through various “tests”, which was fine at first but he got carried away and put her through a lot of emotional distress but her reaction was rather the same through it all. She was sad and heartbroken but had no choice but to put up with it because she vowed to do anything to keep him happy. In the Decameron web it states, “My lord, do with me as thou mayst deem best for thine own honour and comfort, for well I wot that I am of less account than they, and unworthy of this honourable estate to which of thy courtesy thou hast advanced me. ” [ 029 ] By which answer Gualtieri was well pleased, witting that she was in no degree puffed up with pride by his, or any other’s, honourable entreatment of her. [ 030 ] A while afterwards, having in general terms given his wife to understand that the vassals could not endure her daughter, he sent her a message by a servant. So the servant came, and: “ Madam, ” quoth he with a most dolorous mien, “ so I value my life, I must needs do my lord’s bidding. He has bidden me take your daughter and . . . ” [ 031 ] He said no more, but the lady by what she heard, and read in his face, and remembered of her husband’s words, understood that he was bidden to put the child to death. Whereupon she presently took the child from the cradle, and having kissed and blessed her, albeit she was very sore at heart, she changed not countenance, but placed it in the servant’s arms,” Boccaccio’s descriptive language use detailing the cruel acts Gualtieri made towards Griselda serves to prove how women are much more able to tolerate more adversity than men and show his point of view.

Furthermore, Boccaccio had also depicted women to be superior to men because of their cunning ways. Women have ways of outsmarting men in this society, though men are viewed to be the more physically able, “smart” and powerful they did not possess the capabilities of women. In The Decameron Boccaccio writes about the story of a young woman, Madonna Fiordaliso who creates a great plan to outsmart  Andreuccio on the second day, fifth story. Andreuccio goes about his way with merchant friends to purchase some horses in Naples, he was unable to come to an agreement with any sellers. As a result he went around showing the gold florins within his purse, as a way of basically showing the sellers that he was actually serious about purchasing the horses. Unfortunately for  him many others were able to see his revealed purse including  Madonna Fiordaliso. Along with her was a woman who was Sicilian like her who is much older, and she claims to recognize Andreuccio and greets him. The older woman also tells  Madonna Fiordaliso that she knows a whole lot about him, as a result Fiordaliso uses the information to her advantage and creates a wicked plan. She invites him to her home and plays the trick that they are somehow siblings. After doing so he goes to quickly use the bathroom and is encountered with the trap she has set, he stays stuck while she is able to attain his purse. In The Decameron Web it states, “ It was a very hot night; so, no sooner was Andreuccio alone than he stripped himself to his doublet, and drew off his stockings and laid them on the bed’s head; and nature demanding a discharge of the surplus weight which he carried within him, he asked the lad where this might be done, and was shewn a door in a corner of the room, and told to go in there. [ 038 ] Andreuccio, nothing doubting, did so, but, by ill luck, set his foot on a plank which was detached from the joist at the further end, whereby down it went, and he with it. By God’s grace he took no hurt by the fall, though it was from some height, beyond sousing himself from head to foot in the ordure which filled the whole place, which, [ 039 ] that you may the better understand what has been said, and that which is to follow, I will describe to you.” 

There have also been times in which men have both outsmarted and used power against women in The decameron but they have only done so through their own depravity and not because their intellicity superior. An example of so is presented in the Decameron fifth day, third story in which the story of Pietro di Vinciolo and his wife is told.  Pietro finds his wife’s lover in their chicken coop and decides the suitable punishment for them would be for the man to have sex with them both. Pietro was only able to obtain what he desires not through superior cunning or intellect but through his fortune in catching his wife’s lover.

Boccaccio’s The Decameron, touches on a variety of topics and themes, providing a significant amount of  perspectives on the differing characteristics of men and women. The stories propose that women are significantly superior in many aspects. In the stories, the various narrators compare both male and female attempts with characteristics to provide a reference of which to compare the genders.

Sources:

Tenth Day – tenth story (February 15, 2010)

https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov1010&lang=eng

Second day- fifth story (february 15, 2010)

https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0205&lang=eng

Fifth day- third story  (february 15, 2010)

https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0503&lang=eng

Representation of Women in the Decameron (their roles in the stories)

Giovanni Boccaccio created The Decameron in a time period back when women were seen as inferior to men, and quite frankly anyone else in society. They were seen as individuals holding lower social positions than men. In The Decameron, women are mostly always shown as severely restricted, and unable to do or act in ways that they wish they could. They were depicted in a way where they were not allowed to hold power or have a significant position in society, and that is exactly the way they lived their lives in the 14th-century. Instead, they were made to maintain their positions of stay-at-home wives and mothers, whose primary focus was to solely care for their families. However, In The Decameron, Boccaccio showcased women as being a lot more independent and more powerful for the most part (not all female characters showed this.) He surpasses the roles and expectations of women from that time period, by illustrating women as more intelligent, more patient, and way more lustful than they normally would be. He even shows women as being a lot more capable than men to endure a lot of hardships, heartache, and pain that others have put them through. All things considered, Boccaccio seemed to have been feminist, as seen by a lot of these stories.

The Decameron is a collection of stories or novellas by the 14th-century Italian author. In this series of stories, women have been represented in many different ways, both good and bad. One of the many representations being women outwitting men, and surprisingly, is something that happened pretty often. He tends to showcase women as coming out on top in most predicaments that they’re in, or doing things that at that time were probably frowned upon (An example of this being in the fifth story of the second day). In this story, a young and beautiful Sicilian woman named Madonna Fiordaliso sees Andreuccio’s open wallet filled with a ton of money and decides that she wants to take it from him. Fiordaliso uses all the information that she gathered from her older companion to devise a devious plan, inviting him into her home, and tricking him into believing that they are siblings. When he goes to the restroom, he falls into her trap, quite literally because he steps onto a loose plank and drops into an alley. He is left high and dry, while his wallet stays in her home.

He also showcases these women as very loyal, in these stories, enduring things that many of us would have most likely walked away from. (An example of this is on the ninth story of the third day.) In this story, the protagonist, Gillette, is very infatuated and crazy in love with Bertrand. She watched and learned her father’s medical skills, and implemented them on the king who unfortunately became sick. By successfully curing him in one week, she was able to get married to whomever she chose, which unsurprisingly was Bertrand. However, he wasn’t too happy with this because she was a working-class woman and not of a higher class. Ultimately, the only way for him to live with her is if she were to have his kids and a ring from him (which he thinks would never happen.) Since he is actually cheating on her with someone, she tricks him into giving her his ring & sleeping with her by pretending to be her. 

These two stories differ in this aspect because 2.5 shows a woman outwitting a man negatively, to get his wallet, while 3.9 shows a woman outwitting a man to get a positive outcome. As Monica Donaggio stated in Implications of Gender Reversal Disguise, “The idea of “putting oneself to the test/mettersi alla prova” is one of the main narrative situations in the Decameron. The character is able to use his or her disguise to accomplish something specific, but, as Donaggio carefully notes, when this is done, the character is able to return to his or her previous identity (which hasn’t ever really been forgotten).“ In these stories Boccaccio had these women go through great lengths and detailed plans to get what they want from these men, masking their true intentions. This is clearly shown with Donna Zinevra (second day, ninth story), who dresses as a young man in order to escape her husband Bernabò. 

This same concept can be seen in reverse where men are the ones outwitting women (An example of this being the fifth day, eighth story.) In this story, Anastasio, a Gentleman of the Family of the Honesti, fell in love with the Daughter of Signior Paulo Traversario. However, the feelings were not mutual and she was very unkind to him. Seeing that his attempts to make her fall in love with him were not working, he moved away. While he was walking in the forest he saw a naked woman being chased by an angry knight and dogs, but soon came to realize that they were already dead. He used this to his advantage and showed the woman with whom he was in love with this crazy event, scaring her into thinking that if she did not fall in love with him, he would do the same to her. This goes to show that although Boccaccio tried to show a positive side of women, in this case, their independence and intelligence, this story along with others are very counterintuitive. They show how women in fact still have a weaker, less intelligent, dependent side of them that others can easily notice and manipulate in their favor. All in all, women are depicted in both negative and positive ways in The Decameron, and we are given a glimpse of these different illustrations of them in all of the stories.

      Citation;

Desiderio, Inganno e Fortuna

Bibliothèque de l’Arsenal, Paris
Illustration from a French edition of The Decameron, fifteenth century

Desiderio, inganno e fortuna sono tre temi ricorrenti nel Decameron di Giovanni Boccaccio. Questi tre temi diventano sempre più evidenti quando compaiono in storie improbabili sui monaci in I-4. L’articolo di Marga Cottino-Jones, Desire and the Fantastic in the Decameron: The Third Day, pubblicato nel 1993 dall’American Association of Teachers of Italian, spiega che Boccaccio intende sfidare il modo moralmente imposto in cui vengono viste determinate figure della società. Come bussole morali, ci si aspetta che i monaci diano l’esempio di purezza; proprio per questo Boccaccio li usa come soggetti perfetti per mostrare che le persone soccomberanno alla loro natura umana quando i loro desideri saranno spinti a limiti straordinari.
Il primo giorno di narrazione, Dioneo intrattiene il gruppo con la quarta storia di un monaco e un abate che vivevano in un monastero appartato. Qui Boccaccio allude ai dettagli specifici della posizione del monastero, creando una cornice per rendere possibile un evento improbabile. Un giorno un monaco, giovane e virile, nota una giovane ragazza che raccoglieva delle erbe nei loro campi, ed è subito colpito da una passione sensuale e desiderio carnale per la ragazza. Qui si può apprezzare come i suoi impulsi curiosi e naturali confrontano la castità del monaco. Dopo un po’ di conversazione, rendendosi conto che la ragazza era ben disposta alle sue avances, il monaco la porta di nascosto nella sua camera mentre gli altri dormivano. Ad un certo punto un abate si sveglia e si rende conto di ciò che sta succedendo all’interno della camera del giovane monaco. Allo stesso tempo, Il monaco è consapevole che l’abate lo aveva scoperto e lascia la ragazza nella sua stanza con la scusa che deve finire il suo lavoro e la rinchiude nella sua stanza per non essere scoperti. Poi dà la chiave all’abate che li aveva trovati. Quando l’abate entra nella stanza del monaco e vede la giovane, anche lui è tentato dalla giovane. Dopo aver preparato la sua trappola, il giovane monaco attende che l’abate cada vittima dei suoi desideri carnali. Una volta che l’abate esce dalla stanza del monaco, il monaco decide di tornare. A quel punto torna, l’abate lo affronta su ciò che ha trovato nella sua stanza. Il monaco risponde che è nel monastero da poco tempo e che non ha ancora appreso tutti gli insegnamenti. Tuttavia, ora che ha visto esattamente come l’abate gestisce una situazione del genere, sa come agirci se dovesse accadere di nuovo. Rendendosi conto che il monaco era consapevole della sua perversità con la donna, l’abate ritiene inopportuno castigare il monaco per lo stesso errore che lui stesso ha commesso. Lo perdona, e insieme scortano la giovane donna fuori dal monastero ma continuerà a visitarli. Alla fine della storia, la fortuna premia le malefatte del monaco e del suo complice (l’abate) permettendoli di continuare con i suoi impulsi naturali.

Desire and the Fantastic in the Decameron: The Third Day

https://www-jstor-org.ccny-proxy1.libr.ccny.cuny.edu/stable/479985?Search=yes&resultItemClick=true&searchText=desire+the+decameron+iii%2C+9&searchUri=%2Faction%2FdoBasicSearch%3FQuery%3Ddesire%2Bthe%2Bdecameron%2Biii%252C%2B9%26so%3Drel&ab_segments=0%2Fbasic_search_gsv2%2Fcontrol&refreqid=fastly-default%3A9f84f139219efe03b9c41542b2ef8913&seq=1#metadata_info_tab_contents

Woman and Romance in the Decameron: 4.5 and 10.10

A Woman Weeping - Wikipedia
“A weeping woman” by  Rembrandt in 1644

As discussed multiple times in class, women were to be seen not heard in the time when Boccaccio wrote The Decameron, but Boccaccio really dismissed that idea in the stories of the Decameron. Women are included as main characters in a lot of his stories, and one of the topics most spoken of is that of romance and lust. Throughout the stories, he writes a lot about the drama that often comes when women engage in romance, especially in day 4 story 5 and day 10 story 10.

On day 4 story 5, Filomena tells the story of Lisabetta, the sister of 3 merchants who fell in love with one of their employees. The 3 brothers do not approve and end up murdering him but Lisabetta keeps the head of her dead lover inside a flower pot. This story was very farfetched and crazy and I think Boccaccio did this on purpose to show the reader the grasp that love has on people. especially on women who are sometimes deprived( as Lisabetta was) of who they want to be with. This story in particular showcases how women can go insane from a lack of romance, in my opinion. I infer that Boccaccio views romance as something beautiful yet crazy.

In addition, the Decameron also shows women who are in very tumultuous relationships, as shown in the telling of Griselda’s story on day 10 story 10. Griselda’s husband, Marquis of Saluzzo, tests her to see how “worthy” she was to be his wife, even going as far as to pretend to kill her children; Griselda is still submissive and tolerates all his tests and still loves him. I think this story is a hyperbole to show the extreme lengths women would go to please their husband. I definitely think Bocaccio included this story to mock how submissive some women are when they shouldn’t be. I also think he thinks that women are more able to handle tough situations than men are, in day 4 story 5 Lisabetta’s brothers couldn’t even handle their sister being in love with their client, while Griselda could tolerate the cruelty her husband showed her. According to Sujay Kulshrestha in her article, Giovanni Boccaccio’s “The Decameron” and the Roles of Men and Women, Griselda’s story demonstrates that Boccacio believes “that women tolerate more adversity than men do.” Both Griselda and Lisabetta are examples of the power that love has on people but especially women in a society where they are either stripped of their lover or face cruelty from their husbands.

Citation:

Kulshrestha, Sujay. “Giovanni Boccaccio’s ‘The Decameron’ and the Roles of Men and Women.” Inquires Journal, vol. 2, no. 12, 2010, www.inquiriesjournal.com/articles/344/giovanni-boccaccios-the-decameron-and-the-roles-of-men-and-women.

Women in the Decameron: 6.7 and 10.10:

‘The Story of Griselda, Part 1: Marriage” commission by the noble Spannocchi family in 1494 (The story of Griselda, part I: Marriage. The National Gallery. (n.d.). Retrieved November 14, 2021, from https://www.nationalgallery.org.uk/paintings/master-of-the-story-of-griselda-the-story-of-griselda-part-i-marriage.)

The Decameron by Giovanni Boccaccio is a collection of stories told by 10 young people, comprised of 7 women and 3 men, told over the course of 10 days after fleeing to the Italian countryside to escape the Black Plague. While it might not seem like it on the surface, each story has a greater message and is often a commentary of issues that plagued Italy at the time, such as corruption in the church and social hierarchy. What makes The Decameron so unique is the fact that many of it’s stories focus on the theme of women, particularly the role of women in society, which is something that not many writers of Boccaccio’s era were daring enough to cover.

In Day 6, story 7, Filostrato tells the story of a woman speaking out against the strict laws that often targeted women more strictly than men. In the city of Prato, the law states that a woman will be put to death and burned if she’s caught committing adultery whether it’s with someone she loves or a complete stranger. This story focuses on Madonna Filippa, who is caught cheating on her husband, Rinaldo de’ Pugliesi, with Lazzarino de’ Guazzagliotri. Instead of “falling upon them and killing them on the spot”, Rinaldo resorted to charging Filippa with adultery to have her killed. In an act of courage, Filippa showed up on the day she was summoned despite her family and friends’ attempts to dissuade her, as she would rather speak the truth and face the possible consequences than flee and live in exile. When questioned about whether or not she’s guilty of her crime, she simply responds with “True it is, Sir, that Rinaldo is my husband, and that last night he found me in the arms of Lazzarino, in whose arms for the whole-hearted love that I bear him I have ofttimes lain; nor shall I ever deny it…” She then elaborates on her admission, stating that this law is unjust as it was put in place without the consent of women, despite the fact that it only impacts women who cheat and not men. In her closing statement, she defends her actions by stating that she has “surplus” love to give, and that she deemed it better to show that love to a man who loves her as well than to “cast it to the dogs”. The crowd which has gathered around to see the trial ends up siding with Filippa, and doesn’t leave until the Podesta amends the law so that women who love the person they’re cheating with aren’t punished. In this story, Boccaccio essentially shows that women should be allowed to love whoever they please, even if it involves adultery. In my opinion, Boccaccio also shows how powerful just one woman can be, as Filippa was able to single handedly avoid persecution through her testimony, but was also able to get the law changed by getting the townspeople on her side.  

On the other hand, we have the story of Griselda on day 10, the 10th story. This story focuses on the relationship between Griselda, a woman of low nobility, and Gualtieri, the Marquis of Saluzzo. Gualtieri takes Griselda as his wife despite the fact that she’s not royalty or rich, and they have an extravagant wedding. However, Gualtieri suddenly wants to test his wife’s loyalty and puts her through multiple trials. He sends away Griselda’s children (a daughter and a son), making her believe the children are dead when they’re actually in the care of someone else. He also tells her that he’s taking another woman as his wife, and again, she puts up with this behavior and encourages him to be happy with his new wife. Gualtieri then reveals that he was testing Griselda’s loyalty all along, and the story ends with them remaining happily married together. The story closes with the line “Who but Griselda had been able, with a countenance not only tearless, but cheerful, to endure the hard and unheard-of trials to which Gualtieri subjected her?”, which many interpret to mean that women are able to deal with hardship better than men.

While many commend Boccaccio for his inclusion of women, some believe that his representation of women is actually harmful. In Gender, Power, and the Female Reader, Mihoko Suzuki argues that Griselda’s story doesn’t have the message of how strong women can be, but is actually about Gualtieri’s dominance over his wife. Suzuki contrasts Griselda with other women that we’ve seen in The Decameron; while women in previous stories have been shown to disobey men (either through adultery or by outwitting them), Griselda is the complete opposite. As Suzuki puts it “And that is precisely the point: Dineo all but erases her sexuality and makes her an embodied fantasy of a constant and obedient wife…” (page 234). She then elaborates by stating that because Griselda’s personality has been watered down to that of an obedient wife and nothing else, Boccaccio is playing into the fantasy that men should have “total control and power” over their wives. 

Sources:

  1. The story of Griselda, part I: Marriage. The National Gallery. (n.d.). Retrieved November 14, 2021, from https://www.nationalgallery.org.uk/paintings/master-of-the-story-of-griselda-the-story-of-griselda-part-i-marriage.
  2. Decameron web. Decameron Web | Texts. (n.d.). Day 6, story 7. Retrieved November 14, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0607&lang=eng.
  3. Decameron web. Decameron Web | Texts. (n.d.). Day 10, Story 10. Retrieved November 14, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov1010&lang=eng.
  4. Suzuki, M. (1993). Gender, Power, and the Female Reader: Boccaccio’s “Decameron” and Marguerite de Navarre’s “Heptameron”. Jstor. Retrieved November 14, 2021, from https://www.jstor.org/stable/40246888.

Generosity in the Decameron

The Decameron is a series of stories written by Giovanni Boccaccio. These stories are told by three men and seven women in the year 1348, during the rise of the Black Plague. In these texts, there are many mentions of themes, morals, and lessons learned throughout. One of the many themes that often came up in his writing is generosity. This theme is greatly shown throughout Day 10, Novel 3 and Day 1, Novel 1. 

In Day 10, Novel 3, which is narrated by Filostrato. In this story, Nathan, a wealthy and generous man, has a palace built so he can provide help and places to stay for any travelers that may need assistance on the way. He is met with Mithridanes, a man who is jealous of Nathan’s very giving nature, and is set to be more generous than Nathan, as he sees it as a competition. He creates a plan to kill Nathan, and ends up meeting Nathan himself without realizing. Once Mithridanes realizes the faults in his plan to kill Nathan after meeting him, he instantly backs down. Nathans suggests switching bodies with Mithridanes, as he still believed in giving Mithridanes what he needed. Ultimately, this gives Nathan a stronger sense of accomplishment with his generosity. Day 10, Novel 3 states, “Nathan for some days honourably entreated Mithridanes; Mithridanes, being minded to return home with his company, took his leave of Nathan ”. Nathan fulfills his promise, always giving people what they want and need, and Mithridanes becomes the person who is known for giving, additionally learning how to be generous. 

Another example of generosity is in Day 1, Novel 1, as told by Panfilo. In this story the main character, Master Ciappelletto, is known as the towns’ ‘fool’. He goes against many rules, he creates fake documents and testimonies, never goes to church, and often uses profanities. Due to this, many people were not fond of him, his actions or personality. He ended up moving to continue his practice, but became ill when staying at the house of two Florentine lenders. This became an issue for them, as if Master Ciappelletto did die, no one would bury him, but instead leave them with the body. Ciappelletto, however, was listening in on this conversation between the two lenders, and came up with a plan: meeting a friar to give his confessions before he died. The friar goes to see Ciappelletto,  but ends up getting tricked, as Ciappelletto he ends up lying about his confessions and creating lies. The friar ended up believing him, and Ciappelletto died that same day. Since he lied to the friar, he ended up getting buried at the friar’s convent, as he believed Ciappelletto was holy enough. Day 1 Story in the Decameron states, “The holy man was mightily delighted with these words, which seemed to him to betoken a soul in a state of grace”. At the end of this story, the narrator explains how this is an example of generosity on friar’s end, as he still gave Ciappelletto his rights, despite the opinion of others. He states that this story was a mix of good and evil in the main character, Master Ciappelletto, that had “an end with generosity glorified for its own sake and for God” (The Frame Characters of the Decameron: A Progression of Virtues). 

Annotations:

Decameron web. Decameron Web | Texts. (n.d.). Retrieved November 14, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov0101&lang=eng.

Decameron web. Decameron Web | Texts. (n.d.). Retrieved November 14, 2021, from https://www.brown.edu/Departments/Italian_Studies/dweb/texts/DecShowText.php?myID=nov1003&lang=eng.

Joan M. Ferrante, The Frame Characters of the “Decameron”: A Progression of Virtues (n.d.). Retrieved November 14, 2021, from https://www-jstor-org.ccny-proxy1.libr.ccny.cuny.edu/stable/44940122?seq=14#metadata_info_tab_contents. 

Salvatore Postiglione (1861–1906)

Women Outwitting Men in the Decameron; 3.9 & 2.5

The Decameron is a collection of stories or novellas by the 14th-century Italian author Giovanni Boccaccio. In this series of stories, women outwitting men is something that happened pretty often. Two of these instances happen to fall on Day 3 story 9, and Day 2 story 5. 

    On the second day, fifth story, Fiammetta is the storyteller, and the protagonist is Andreuccio. The story starts off with him going down to Naples with his merchant friends to buy horses. Andreuccio takes 500 gold florins with him, but despite the horses being cheap, he failed to strike a bargain with anyone. He kept opening his purse for everyone to see, and this was his way of saying that he meant business when it came to buying one of these horses. Consequently, the horse traders were not the only ones to see the purse because a young and beautiful Sicilian woman named Madonna Fiordaliso also sees it, and decides that she wants to take it from him. She has an older woman with her that recognizes Andreuccio, and the older woman states that she knows everything about him. Fiordaliso uses all the information that her companion stated to devise a devious plan, inviting him into her home, and tricking him into believing that they are siblings. When he goes to the restroom, he falls into her trap, quite literally because he steps onto a loose plank and drops into an alley. He is left high and dry, while his wallet stayed in her home.

          On the third day, ninth story, Neifile is the storyteller, and the protagonist is Gillette. She is the daughter of a doctor that Count Roussillon has on standby. She is very infatuated and crazy in love with his son, Bertrand. Unfortunately, both of their fathers pass away, and Bertrand moves away to Paris, while she stays home. She is very distraught by this but somehow, fortune is on her side when the king of France has a chest tumor. She used this as a bargaining tool to finally reunite with Bertrand. Luckily for both Gillette and the King, she watched and learned her father’s medical skills. By successfully curing him in one week, she was able to get married to whomever she chose, which unsurprisingly was Bertrand. However, he wasn’t too happy with this because she was a working-class woman and not of a higher class. Ultimately, the only way for him to live with her is if she were to have his kids and a ring from him (which he thinks would never happen.) Since he is actually cheating on her with someone, she tricks him into giving her his ring & sleeping with her by pretending to be her. 

          All things considered, Boccaccio seemed to have been feminist, as seen by a lot of these stories. He tends to showcase women as coming out on top in most predicaments that they’re in, or doing things that at that time were probably frowned upon (like Fiordaliso taking Andreuccio’s wallet). He also showcases these women as very loyal, in these stories, enduring things that many of us would have most likely walked away from. These two stories differ in this aspect because 2.5 shows a woman outwitting a man negatively, to get his wallet, while 3.9 shows a woman outwitting a man to get a positive outcome. As Monica Donaggio stated in Implications of Gender Reversal Disguise, “The idea of “putting oneself to the test/mettersi alla prova” is one of the main narrative situations in the Decameron. The character is able to use his or her disguise to accomplish something specific, but, as Donaggio carefully notes, when this is done, the character is able to return to his or her previous identity (which hasn’t ever really been forgotten).“ In these stories Boccaccio had these women go through great lengths and detailed plans to get what they want from these men, masking their true intentions.

Citation;

  • (L.G.) Donaggio, Monica. “Il Travestimento nel Decameron,” Studi sul Decameron. Firenze: Le Lettere, 1988.