Here is a great resobconto Julie, full of interesting links and tips for reading! There are also passages from the Introduction to Day IV, the conclusions of the author and the novel and Grisella Ciappelletto The problem with having one hundred short stories is to structure the narrative and not just a numerical problem (comparing with A Thousand and One Nights is only partial at the time of Boccaccio, there was no "Corina" East of the collection. Then they called Sinbad the Sailor). .
* Boccaccio, in his "Conslusione author, talks about stories are not new, so called because of short stories (etiomologica whose root is "new", "novelty") these stories? Boccaccio says that the stories are not new. In fact, a large part of the stories has its pmatrice storiue in ancient (classical) or the Middle Ages. The big news, however, is in the organization.
says the text of the conclusions of the author of the Decameron:
adventure for some of you will say that I have write these stories in the license used too ... So I deny, for that is something none so dishonest, that, with honest words saying it, it cancels to anyone;
[That is, some of the women who read this text will say that I used too much "license", that the novels are too "pushed" too bold (or erotic!)]
But assume that it is (I do not intend to beg you, I win),
[Let that is so (that the stories are too bold)].
the quality of the stories they Enquiry Form ... tis not recount them.
usually cancels the men and women to tell everyone to "hole and ankle and mortar and pestle, and sausage and mortadella, and full of things similar computations. Without my pen ought not be allowed unless the authority is that the brush of the painter ... he is Christ and Eve male woman.
[The quality of the novels is that he has asked for this audacity. On the other hand it was impossible to tell these stories in a different form. Generally, men and women use ambiguous metaphors (or obscene) and that for the ankle, alluding to the symbols and dirty words.
It is necessary that I should be given the same auytorità (you can use descriptions bold) that is given to the male painter who is Christ (ie with organigenirttali and all) and Eva female.]
* Dante was numerologist. The Divine Comedy, having a hundred songs: 34 Hell, 33 and 33 in purgatory to heaven.
[If you want, read Dante in the site or browse the manuscripts of the time:
http://www.danteonline.it/english/home_ita.asp ] At the time of Boccaccio
numerology had wide influence on life. It was crucial because it was recently identified the relationship between letters and permutation. An example: Roma - Amor
- Phonetically we can establish a relationship between words, especially in the figures of poetry, through paronomasia, alliteration, etc.. This report turns into sense and logic, because when you read the juxtaposition between Rome and Love is natural to think of a sense of closeness between the two words. After
Masetto Masetto is an introduction to the fourth day, whose narrator is Giovanni Boccaccio (somewhat paradoxical, because it increases the number of narrators of text). On this day, Boccaccio and expands its position as well as author and narrator also becomes a protagonist, and tells a story of decisive importance, because it treats the problem of eroticism from a metaphorical point of view.
We can make an immediate comparison with The Divine Comedy, because Dante is himself a storyteller, author and protagonist.
Introduction to the fourth day: The story of Filippo Balducci
[Source:
http://digilander.libero.it/letteratura/Medioevo/4intro.htm ]
The story of Filippo Balducci is the only one in which ' author of short stories by intervening directly, the rest of the Decameron, as is known, the role of 'narrator' is delegated to the ten people who together constitute the "praiseworthy company." The novel is set in a large intervention in defense work and has the stated aim of demonstrating that the strength of the attraction is irresistible erotic (concept-based teaching Boccaccio's love). The young son of Filippo Balducci, kept unaware of any fact in the world, met a group of women (young, beautiful, elegant) and, while not knowing what they are (the father, indeed, to say I'm the sviarlo "ducks"), is immediately seized by the desire to have one and take it away with them: they lose value, compared with women, all new and beautiful things in the city, so far, had seemed piena.Conclusione: the father, "you feel more incontinent nature of force that his genius 'belief that Boccaccio repeats later, addressing the women:' the others and I, who love you, of course we operate, to whose laws, that of nature, forces want to fight too much need, and often not only vain but with great loss of Faticanti s'adoperano. Love is therefore a force of nature, which is useless or harmful to be resisting.
stilnovistiche had appeared already in the theories of concepts love triangle-kind heart-nature nature Guinizzelli was invoked to emphasize how the individual can not avoid the love that has the heart nice. But in the Decameron is not sublimation, in the sense stilnovistico: love is instinct and giving happiness only to the extent that it is also physical satisfaction. Boccaccio indicates that his conception of love through the language itself dell'apologo before us: the image of women-duck and beat Filippo Balducci ("you do not know whence elle s'imbeccano" = metaphor for the act sexual).
- The subject is justified in relation to the erotic genre chosen by the author, one of the tidings new, hybrid genre, which included a variety of reasons (from fabliaux, from novels, from classical culture), featuring - says Boccaccio - by the prose, the use Florentine style of the vernacular and "low" (and this is not entirely true: the Decameron as a whole is rather an example of a mixture of styles, from comic to tragic). The new kind is allowed on the theme of love changes with respect to existing models. The work of fiction, in the vernacular, in prose, was accessible to a wider audience, of different social composition, also including non-specialists in literary matters and, simultaneously, could accommodate elements (the fun, the grotesque, the materiality of bodies, the melange of styles) and the lyrical forms excluded or confined to minor genres. Its purpose was pleasure, "pleasure" and "consolation," says Boccaccio spoken to the women, his imaginary interlocutors .- Referring to the criticism from detractors, Boccaccio summarizes the alternatives that's facing them: a.
"Starmie with the Muses on Parnassus' b. "I think from where I had to have bread." Then write the tales is set in opposition to two other types of intellectual production: a. the sublime poetry of abstract content and highly idealized (Mount Parnassus is the image of a place separate from the world and inaccessible) b. work effort, aimed economico.Boccaccio profit stood at a defensive position: it seems to underline the degree to which lower ranks compared to other genres and styles, the work he is writing, but Indeed it asserts the autonomy and the dignity of literature. Let us read the second part of self. We have established two principles: - between the stories in prose and poetry ("poetry" in the medieval sense of invention is governed by precise rules of language and adorned with rhetorical devices), which was practiced by Guido Cavalcanti, Cino da Pistoia and Dante Alighieri no substantial difference in quality, the muse can also visit the writer of short stories ('elle have come with me several times in Stars'), - the author remains faithful to women, that is faithful to his subject. In the choice of this matter and rhetorical skill applied to a new literary genre, the author indicates, controversially, the importance the Decameron .. Other
introduction to the Gion district:
http://it.wikisource.org/wiki/Decameron/4a_giornata/Introduzione ]
Before news of the sixth day: "Madonna Oretta" VI, 1.
[Source:
http://digilander.libero.it/decamerone.plinio/_private/PAGINE/VI% 20GIORNATA.htm ]
Filomena will demonstrate what women are capable of witticisms, and how they are appropriate for woman herself, and to this end gives the example of how a woman fell silent knight incapable. Madonna Oretta was respected and well known, and one day, with people traveling together, he received a Knight of the proposal get on his horse and be entertained by him. Oretta then climbed on the horse but the rider was unable to tell the stories, and so exasperated at the end told him that the horse had a course too hard for her and therefore would have preferred to continue on foot. He put in
abîme
This is um uma particolarietà concept that identifies the literary text: When quetso (the literary system itself) brings in a mirror where the text is contained, because it has (or tell) a similar case ( much more abstract). The text has a reference to itself.
[Source:
http://www.lifeproof.fr/mon_weblog/2008/01/mise-en-abîme-by-christelle.html ]
The "mise en abîme" is a figure of speech which is to include a scene in one way or another reason or another scene, like a picture within a picture, a story in the story, the theater in the theater, etc. .. This principle is often described as a mirror effect.
abîme put in, in Portuguese:
http://www2.fcsh.unl.pt/edtl/verbetes/M/mise_en_abime.htm Report for between the first and last novella of the Decameron: Ciappelletto X Griselda. The news of
Ciappelletto [Source:
http://spruzzine.forumcommunity.net/?t=12405078 ]
Ciappelletto Ser, described by Boccaccio as "the worst man that ever was born, a forger is ready to use all its means to twist the reality, a skillful liar and a ruthless disseminator of quarrels and conflicts within the family and friends; murderess, blasphemer , traitor to the Church and religion (which of course does not follow), thief, pimp against men and women is, moreover, an avid wine drinker, a man, therefore, no stranger to sin ... is hired by Musciatto Franzesi for the management of its business spread across many regions intricate. During his trip, was welcomed into the home of two brothers moneylenders and here, unexpectedly, is the victim of an illness. The two owners, fearful of the impact that the spread of news of the death of a character similar in their home without the last rites would entail, they begin to wonder what to do. Their dialogue, however, does not escape the vigilant ears of the dying man, who assures his guests by providing them with no worries about the future. Precisely for this reason, orders to come to his bedside, a Monaco, the most "holy" as possible for his first and last confession. During the visit of the priest, Ciappelletto him believe to be a God fearing man, a frequent visitor of the Church and Christian used to give alms, to warn sinners to calibrate accurately any more shameless little action and every tiniest thought in accordance with the laws of the Lord. The monk, surprised by such candor and such purity, after the death of the man, gathers all his brothers in a meeting with the sole purpose of singing the praises of the deceased. At the funeral back in an equally solemn vigil, attended by a large number of people who believe that what has been said about the dead is true at all, they love her body as if it were an individual deserves to be beatified and adored. The story of Griselda
[Source:
http://skuola.tiscali.it/appunti-italiano/boccaccio/decameron/la-novella-di-griselda.html ]
"Gualtieri, Marquis of Saluzzo, driven by his subjects to marry against her will, chooses to marry a poor girl, (which is nice), named Griselda. Griselda turns out to be so sweet, kind and gentle and behaves with such dignity and honourability that everyone will soon learn to love her. After a fair amount of time a child is born. Gualtieri is happy but "insane brutality," decided to test the patience of his wife to see if it really is quite obedient and submissive to his will. Before beginning to "sting" by saying that everyone is talking bad about her because she is of plebeian origin. The child is not frowned upon just because it's his daughter and he is criticized because he has married and perhaps risk the throne. Then he sends her a "family" that takes away the girl into believing that her father wants her dead. Griselda, though suffering much, not rebels, we only ask to be buried forever if the husband has not ordered otherwise. Then a male and born after the initial joy, Gualtieri makes you take away. Also this time Griselda suffer in silence. Gualtieri actually sent their children to Bologna where he is raising them by a relative, but no one knows, not even the very subjects who criticize him because of his cruelty. He apparently does not listen to anyone, and, PUE being very impressed by the "constancy" of the wife who tells him just fine (if he had seen with his eyes tenderness and love with which he treated the children, might even suspect him of indifference), does not waive his project. It's been thirteen years Gualtieri and Griselda decides to submit the final test. The call is before the whole court and told her he had asked the Pope for a dispensation to marry another woman, a noble, because she is too lowly for him. Now that the Pope gave permission she must leave immediately as there was from the palace entrance. Griselda, the wedding day Gualtieri had dressed from head to foot before taking him away from his wretched hovel, just wondering, if possible, potersene shirt and go as I was not naked, of course, entry, because it is not not good for him that his subjects naked see the mother of his children and because the only gift he had brought with him was his virginity that he can not return more. Gualtieri, generously allows him ("And it brings you a shirt"). Griselda returns to silence by his father, who had long expected such a thing. After some 'time ago Gualtieri be hidden from Bologna his children, telling everyone that the girl (dodicenne!) will be his new wife and who is the daughter of the Counts of Panagia. Then he called Griselda and orders her to tidy up the building and prepare everything to perfection for remarriage. Griselda obeyed without a murmur. The day of the banquet everyone admires the young girl, even Griselda that says it is beautiful. Gualtieri called over and asked what he thinks of his choice. Griselda replied that the girl is beautiful but please spare the "sting" which led to her because you see I was raised "in the delicacy" and not "continue efforts" and can not do as she would bear them. Finally Gualtieri considered successfully completed his experiment and reveals the truth: those are his children (who were not dead, far from it), he loves her more than ever is now back together and will live happily ever after. It was just a joke. He just wanted to test his "obedience" and its "constant"!
From an architectural perspective the Decameron is possible to think that the two works are the mirror of each other, have a negative nature. Ciappelletto is the worst man to become holy and Griuselda, possibly to be called the most holy woman, becomes almost perverse, when consent to the (false) killing children. In this sense, this architecture antithetical and contradictory signs show the irony of the reversal of the reversal, which allows you to read the Decameron as a narrative machine, rather than as a system of short stories "realist"
On the contradiction of life of Boccaccio
Read more about the life and work of Boccaccio sites:
http://fondamentidellaletteraturaitaliana.wordpress.com/2009/09/28/decameron-boccaccio-leilane/ http://www.letteraturaitaliana.org/giovanniboccaccio.html http://www.letteraturaitaliana.net/autori/giovanni_boccaccio_3.html http://www.classicitaliani.it/desan/desan09a . htm http://www.letteratura.it/boccaccio/index.htm http://baciabbracci.forumcommunity.net/?t=10662436 
