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The fairy mythology of the Arabians was introduced into Europe in the eleventh century by the Troubadours and writers of the romances of chivalry, and through them it became an important element in the literature of Europe. It constituted the machinery of the Fabliaux of the Trouveres, and of the romantic epics of Boccaccio, Ariosto, Tasso, Spenser, Shakspeare, and others.
In the quiet of evening, on an island, in the Seine, beneath poplars instead of the Neapolitan cypresses dear to the friends of Boccaccio, amid the continuous murmur of the valley, and no longer to the sound of the Pyrennean streams that murmured a faint accompaniment to the tales of Marguerite's cavaliers, the master and his disciples took turns in narrating some striking or pathetic episode of the war.
Ordinarily we are not apt to think of the early fourteenth century as an especially productive period in human history, but such it is. Dante's Divine Comedy was entirely written during Chauliac's life. Petrarch was born within a few years of Chauliac himself; Boccaccio in Italy, and Chaucer in England, wrote while Chauliac was still alive.
In the village of Certaldo is still shown the house of BOCCACCIO; and on a turret are seen the arms of the Medici, which they had sculptured there, with an inscription alluding to a small house and a name which filled the world; and in Ferrara, the small house which ARIOSTO built was purchased, to be preserved, by the municipality, and there they still show the poet's study; and under his bust a simple but affecting tribute to genius records that "Ludovico Ariosto in this apartment wrote."
Lucretia was still sometimes designated as the Pope's niece. Gianandrea Boccaccio to Duke Ercole, Rome, February 25, 1493. Ms. Memoirs of Pesaro, by Pietro Marzetti and Ludovico Zacconi, in the Bibl. Oliveriana of Pesaro.
Barnes of New York," a work by Giovanni Boccaccio, a Bible, "The Arabian Nights' Entertainment," "Studies of the Human Form Divine," "The Little Minister," and a clutter of monthly magazines and illustrated weeklies of about that crispness one finds in such articles upon a doctor's ante-room table.
He who made pretensions to fame was compelled to write in Latin, and the choice of the vulgar tongue was the indication of a humorous subject. The language had developed since the time of Boccaccio a character of naivete mingled with satire, which still remains, and which is particularly remarkable in Ariosto.
Like the hero of Maud, the speaker has a period of madness and illusion; while the third part, "The Golden Supper" suggested by a story of Boccaccio, and written in maturity is put in the mouth of another narrator, and is in a different style. The discarded lover, visiting the vault which contains the body of his lady, finds her alive, and restores her to her husband.
How much Greek Boccaccio learned from him, and how far he may have been beholden to him in the compilation of his elaborate Latin treatise De Genealogia Deorum, in which he essayed with very curious results to expound the inner meaning of mythology, it is impossible to say.
We may call Boccaccio and Chaucer 'realists', but it is only in Marlowe and Webster, and above all in Shakespeare, that we reach reality itself. We all know the world of Shakespeare, how he ranges from Falstaff to Hamlet, from Bottom to Lear, from Mrs.
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