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Updated: May 29, 2025
The street by which I entered led me to the Carraja Bridge; crossing which, I kept straight onward till I came to the Church of Santa Maria Novella. Doubtless, it looks just the same as when Boccaccio's party stood in a cluster on its broad steps arranging their excursion to the villa. Thence I went to the Church of St.
Without impugning Boccaccio's veracity we can hardly but think that the Decameron would have seen the light, though Queen Joan had withheld her encouragement.
It seems sufficiently clear that Shelley is here glancing at a leading incident in Keats's poem of Isabella, or the Pot of Basil, founded upon a story in Boccaccio's Decameron. 'Hung over her sweet basil evermore, And moistened it with tears unto the core. I give Shelley's words 'true love tears' as they appear in the Pisan edition: 'true-love tears' might be preferable.
The conception of love as a civilizing and humanizing power already underlay the sensuous stanzas of the Ninfale fiesolano, while the later part of the romance was not uninfluenced by recollections of the Divine Comedy . It is true that a modern mind will with difficulty be able to reconcile the amorous confessions of the nymphs with the characteristics of the virtues, but in Boccaccio's day the tradition of the Gesta Romanorum was still strong, and the age that mysticized Vergil, and moralized Ovid, was capable of much in the way of allegorical interpretation .
The great merit of Boccaccio's composition consists in his easy elegance, his naivete, and, above all, in the correctness of his language.
It is difficult, however, in this instance as in many others, to discover with certainty Boccaccio's exact meaning, owing to his affectation of Ciceronian concision and delight in obscure elliptical forms of construction; whilst his use of words in a remote or unfamiliar sense and the impossibility of deciding, in certain cases, the person of the pronouns and adjectives employed tend still farther to darken counsel.
The description of the plague, in the introduction, is considered not only the finest piece of writing from Boccaccio's pen, but one of the best historical descriptions that have descended to us. The stories, a hundred in number, are varied with considerable art, both in subject and in style, from the most pathetic and sportive to the most licentious.
Lastly, I may mention Angelo Ingegneri's Danza di Venere, acted at Parma in 1583, and printed the following year. It contains the incident of a mad shepherd's regaining his wits through gazing on the beauty of a sleeping nymph, thus borrowing the motive of Boccaccio's tale of Cymon and Iphigenia.
"He covered it up, laughed, and dropped dead." "Gracious!" said Mr. Boniface Newt. "Or like Boccaccio's basil-pot," continued Abel, calmly; pouring forth smoke, while his befogged papa inquired, "What on earth do you mean by Boccaccio's basil-pot?"
is commented upon in one of Boccaccio's letters to his friend Petrarch. It is true both Peters were of Ravenna, but whereas Blessed Pietro Il Peccatore was of the Onesti family, as was S. Romuald, S. Pietro Damiano was not; the last died in 1072 at Faenza as we have seen, the first as we may think in 1119.
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