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Updated: June 29, 2025
It was from Whetstone, a contemporary English writer, that Shakespeare derived the outline of Cinthio's "rare history" of Promos and Cassandra, one of that numerous class of Italian stories, like Boccaccio's Tancred of Salerno, in which the mere energy of southern passion has everything its own way, and which, though they may repel many a northern reader by a certain crudity in their colouring, seem to have been full of fascination for the Elizabethan age.
Professor Baldwin, after a careful examination of the hundred tales in Boccaccio's "Decameron," concluded that only two of them were short-stories in the modern critical sense, and that only three others approached the totality of impression that depends on conscious unity of form.
Stagg and I used to stroll up to Fiesole, by the villa where Boccaccio's party of story-tellers met, and look up old pictures in the village church; we measured the proportions of the chapel on the hill of Saint Miniato, and he endeavored in vain to imitate the hue of the light as it fell through the veined marble of Serravezza; we spent contemplative afternoons in the house of Michael Angelo, and went up to Vallambrosa, at the risk of our necks, to look at a Giotto no bigger than a tea-plate.
I should be sorry to have the church go to decay, because it was here that Boccaccio's dames and cavaliers encountered one another, and formed their plan of retreating into the country during the plague. . . . . At the door we bought a string of beads, with a small crucifix appended, in memory of the place.
We have BOCCACCIO'S own words for a proof of his early natural tendency to tale-writing, in a passage of his genealogy of the gods: "Before seven years of age, when as yet I had met with no stories, was without a master, and hardly knew my letters, I had a natural talent for fiction, and produced some little tales." Thus the "Decamerone" was appearing much earlier than we suppose.
I should be sorry to have the church go to decay, because it was here that Boccaccio's dames and cavaliers encountered one another, and formed their plan of retreating into the country during the plague. . . . At the door we bought a string of beads, with a small crucifix appended, in memory of the place.
A true child of pleasure-loving Sydney, she might have posed with very little preparation as a Juliet or a Desdemona, and to my youthful fancy carried about with her the charming gaiety and romantic tenderness of the most delightful among Boccaccio's ladies.
This letter has been adduced as an evidence of Dante's poem having transpired during his lifetime: a thing which, in the teeth of Boccaccio's statement to that effect, and indeed the poet's own testimony , Foscolo holds to be so impossible, that he turns the evidence against the letter.
Away with the thorny subtleties of dialectics; they are abuses, things by which our lives can never be amended: take the plain philosophical discourses, learn how rightly to choose, and then rightly to apply them; they are more easy to be understood than one of Boccaccio's novels; a child from nurse is much more capable of them, than of learning to read or to write.
For many years, according to Boccaccio's account, Guido had waged a grievous war with the Lord Malatesta of Rimini, and finally, when peace was brought about between them through the mediation of friends, it was thought advisable to cement the friendship with as close a tie as possible.
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