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Updated: June 3, 2025
It was long before Narcissus was able to fall asleep, for he kept picturing the elder woman with burning cheek and open eyes in a kind of 'listening fear' beneath the coverlet; and the oddity of the thing was so original, so like some conte of a Decameron or Heptameron, with the wickedness left out.
There was too much joy of the south in Monticelli's bones to concern himself with the cruel imaginings of the Orient or the grisly visions of the north. He was Oriental au fond; but it was the Orientalism of the Thousand and One Nights. He painted scenes from the Decameron, and his fêtes galantes may be matched with Watteau's in tone.
Their loves are only half real, a vain effort to prolong the imaginative loves of the middle age beyond their natural lifetime. They write love-poems for hire. Like that party of people who tell the tales in Boccaccio's Decameron, they form a circle which in an age of great troubles, losses, anxieties, amuses itself with art, poetry, intrigue.
I have in the first place read Boccacio's Decameron, a tale of a hundred cantos. He is a wonderful writer. Whether he tells in humorous or familiar strains the follies of the silly Calandrino, or the witty pranks of Buffalmacco and Bruno, or sings in loftier numbers Dames, knights, and arms, and love, the feats that spring From courteous minds and generous faith,
For malice, spite, indecency and unfairness, his works would be hard to match even in the vilest literature of the eighteenth century. As his books came out in rapid succession, the picture he drew grew more and more disgusting. He wrote in a racy, sometimes jocular style; and, knowing the dirty taste of the age, he pleased his public by retailing anecdotes as coarse as any in the "Decameron."
The Gypsy hag of Badajoz, who proposed to poison all the Busne in Madrid, and then away with the London Caloro to the land of the Moor his Greek servant Antonio, even though he begins with "Je vais vous raconter mon histoire du commencement jusqu'ici." the Italian whom he had met as a boy and who now regretted leaving England, the toasted cheese and bread, the Suffolk ale, the roaring song and merry jests of the labourers, and Antonio again, telling him "the history of the young man of the inn," these story-tellers are not merely consummate variations upon those of the "Decameron" and "Gil Blas."
Yet in only two instances in the Canterbury Tales does he relapse into prose. The Teseide in Chaucer's hands, retaining its poetic medium, is converted into the Knight's Tale; while the Reeve's Tale, the Franklin's, and the Shipman's, each borrowed from the prose version of the Decameron, are given by him a poetic setting.
It seems extraordinary at first sight that when such models of advanced technique were set before them, Englishmen were so slow to follow; for though Professor Baldwin is probably correct in his analysis of the Decameron when he states that, of the hundred tales, over fifty are not much more than anecdotes, about forty are but outlined plots, three follow the modern short-story method only part way, and, of the hundred, two alone are perfect examples, yet those two perfect examples remained and were capable of imitation.
He had the brilliant and innovating precedent of the Decameron, and yet, while adopting some of its materials, he abandoned its medium. He was given the opportunity of ante-dating the introduction of technique into the English prose short-story by four hundred and fifty years, and he disregarded it almost cavalierly. How is such wilful neglect to be accounted for?
The custode showed us an ancient manuscript of the Decameron; likewise, a volume containing the portraits of Petrarch and of Laura, each covering the whole of a vellum page, and very finely done. They are authentic portraits, no doubt, and Laura is depicted as a fair-haired beauty, with a very satisfactory amount of loveliness.
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