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Updated: June 29, 2025
For instance, I cannot, even now, read the more erotic of Boccaccio's stories without a good deal of sexual excitement and restlessness, which can be relieved only by vigorous exercise or masturbation. The first ten years of my life were passed on a farm, most of the time without playmates or companions of my own age.
As I lingered round it I thought of my own town-pump in old Salem, and wondered whether my townspeople would ever point it out to strangers, and whether the stranger would gaze at it with any degree of such interest as I felt in Boccaccio's well. O, certainly not; but yet I made that humble town-pump the most celebrated structure in the good town.
The Queen of NAVARRE'S Tales are gross imitations of Boccaccio's; but she herself was a princess of irreproachable habits, and had given proof of the most rigid virtue; but stories of intrigues, told in a natural style, formed the fashionable literature of the day, and the genius of the female writer was amused in becoming an historian without being an actor.
The charm of Boccaccio's book, apart from the independent merits of the Introduction, lies in the admirable skill and unflagging vivacity with which the "novels" themselves are told. The scheme of the "Canterbury Tales," on the other hand, possesses some genuinely dramatic elements.
A far higher developement of our literature sprang from the growing influence which Italy was exerting, partly through travel and partly through its poetry and romances, on the manners and taste of the time. Men made more account of a story of Boccaccio's, it was said, than of a story from the Bible.
At the present day Fiesole has degenerated into a mere suburb of Florence, which, indeed, it had almost become when Lorenzo the Magnificent held his country court at the Villa Mozzi, or even earlier, when Boccaccio's lively narrators fled from the plague to the gardens of the Palmieri, though it still retains the dignity of its ancient cathedral, its municipal palace, its gigantic seminary, and its great overgrown Franciscan monastery, that replaces the citadel on the height above the town.
It followed the path of sensuous dalliance trod by the people of Boccaccio's tales. It differentiated itself from the secular song of the northern musicians as clearly as the architecture of Venice distinguished itself from all other Gothic art.
Gemma forbade any mention of politics in her drawing-room, and it was natural that Faustina should be glad to escape from the solemn conclaves of the palazzo Siviano to a house where life went as gaily as in that villa above Florence where Boccaccio's careless story-tellers took refuge from the plague.
One of the most popular books of the preceding century had been Lydgate's version of Boccaccio's poems on the calamities of illustrious men, a vast monody in nine books, all harping on that single chord of the universal mutability of fortune. Lydgate's Fall of Princes had, by the time that Mary ascended the throne, existed in popular esteem for a hundred years.
Of Boccaccio's early years we know nothing more than that his first preceptor was the Florentine grammarian, Giovanni da Strada, father of the poet Zanobi da Strada, and that, when he was about ten years old, he was bound apprentice to a merchant, with whom he spent the next six years at Paris, whence he returned to Florence with an inveterate repugnance to commerce.
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