Leading into his story, Panfilo says that all of God’s virtues “can clearly be seen in the tale I propose to relate; and I say clearly because it is concerned not with the judgement of God but with that of men” (69). This not only matches his original description of the work as a pastime but also matches the nature of the framework that the stories are being told in: escapism.As a literal escape from the plague, the ten men and women flee the city and isolate themselves. He also compares his work to wine, fire, arms, and even the bible, all of which are good for humans but also bad “being put to a bad purpose, may work manifold mischief. The irony that he has a holy name and being a bad person, while also serves a comedic purpose, also serves to show Boccaccio’s dislike of the church. Roman husbands generally did greatly appreciate the institution of marriage and their wives. Still, why has Dioneo decided to go so far in his sexual story? In order to understand why the friar was so eager to believe Ciappelletto and preach his saintly reputation one must recall the aftermath of Ciappelletto’s death. While Boccaccio does acknowledge in his epilogue that his stories can be perceived as amoral, he ultimately argues that morality is not the purpose of his book, and that readers can avoid being offended. Use these keywords to filter essays below: Introduction Giovanni Boccaccio’s medieval masterpiece “The Decameron” is a collection of stories, chronicled over ten days, which highlights the best and worst of human nature. Nonetheless, his role in the first three days of the Decameron are essential to developing the open discussion of sex and more taboo topics considered lewd in the first day, and to the fascination the ten Florentines have with various sexual illegitimacy. Programmed to react to the masculine plot, they cannot assimilate the transposing of gender roles, represented symbolically by Amadour’s place in the bed” (Choakian 102). While this shift in time marked many changes, one notable difference can be identified in the societal gender structure of the European community. This appreciation manifested in the influential counsel women provided their husbands. Marilyn Migiel also recognizes this in her essay, “Beyond Seduction: A Reading of the Tale of Alibech and Rustico (Decameron III, 10)”, in which she says “on Day II, it is the three male narrators and Pampinea (never to be outdone by one of her male companions) who tell of sexual encounters” (161). Day IV tells the story of the young Lisabetta, described as a “right fair and well-mannered maiden, whom, whatever might have been the reason thereof, they had not yet married” (P. 217). Though the audience is not meant to perceive the lady Lisetta in the most positive light, she is introduced as “frivolous and scatterbrained” (344), we also must remember that she is a religious woman. Madonna Francesca uses her intelligence to simply put herself above these two men and in doing so exemplifies the daring, socially defiant woman that Boccaccio tried to loyally to illustrate in “The Decameron.” The overt sexuality exhibited by certain women in “The Decameron” thus stems from their need to rebel against the social structures which constrained them. This proven in the story about Saint Ciappelletto and the friar who wanted so badly for Ciappelletto to be a saint that he believed his outrageous lies. People were so excited about Saint Ciappelletto that “everyone thronged round the body”(80) at the church of the friar. In The Decameron a group of people tell tales to pass the time, as they shelter outside Florence, to escape the bubonic plague that rages in the city. Boccaccio apparently does not mind having lowering his standards, as he does not consider a purpose of passing ladies’ time to be intellectually degrading or insulting. Dante believes that committing fraud and deception are the worst sin's and he illustrates that through Geryons physical traits, and where Geryon leads them, Malebolge. One must trust their religious institutions, the word of those with religious authority, or the experiences of those deemed to be trustworthy. She, Madam Giovanna, was a widow with many riches left by her husband. However the reader does get a sense that Boccaccio is providing a snide response when he takes his claimed lack of seriousness in the work to a comic extreme: “I affirm that I am not of gravity; on the contrary I am so light that I float on the surface of the water; and considering that the sermons which the friars make, when they would chide folk for their sins, are to-day, for the most part, full of jests and merry conceits, and drolleries, I deemed that the like stuff would not ill beseem my stories, written, as they were, to banish women’s dumps. Kleinhenz argues that this lenient treatment of clergy who give in to sexual desire is symptomatic of Boccaccio’s greater underlying ideology that “all human beings” should be able to “act naturally and follow their natural desires, inclinations, and instincts to fulfillment” (102). Elena also questions her lover in this style that Dante questions the sinners in hell while her companion (in Dante’s case, Virgil) keeps watch: “You keep quiet while I talk to him, and we’ll hear what he has to say. When the women finally do so, he changes his role into a figure within the frametale, but then returns to controversial storytelling to create his own image as the Decameron’s most dramatic narrator. While this act of adultery is committed more discretely, the underlying implications are the same. As Boccaccio explains in the introduction of “The Decameron,” “In this extremity of our city’s suffering and tribulation the venerable authority of laws, human and divine, was abased and all but totally dissolved for lack of those who should have administered and enforced them, most of whom, like the rest of the citizens, were either dead or sick or so hard bested for servants that they were unable to execute any office; whereby every man was free to do what was right in his own eyes.” Acknowledgment of female sexuality was now more widely accepted, as opposed to in Classical Antiquity. Before the era known as The Middle Ages (approximately beginning in 500 AD) there was the period known as Classical Antiquity (spanning from around eighth century BC to 400 AD). In conclusion, Boccaccio addresses morality in The Decameron first by deflecting claims that his work is amoral in the epilogue, then by giving the reader a sense that he values human action as a kind of morality more than the corrupt veils of Church morality. Nonetheless, Dioneo still seeks to push the boundaries of their discussions, and he does so in his tale of Alibech and Rustico, which is perhaps the most controversial story yet in the Decameron. This is crucial because it solidifies the assertion that it is not just particular instances of trickery that happen to coincide with religion. He goes on for another page or so, describing the grace and good deeds of his god, describing him as “He from whom nothing is hidden” (69). He says his work was not written seriously nor intended to be (ironically) part of scholarly study, rather “’twas to none but leisured ladies that I made proffer of my pains” (021). To resist or take a lover, though it may be morally justified, means disgrace, heartbreak, and sometimes even death. In the second story of the fourth day, our story teller Pampinea is more inclined to delight rather than dispirit her audience. JSTOR.org. (P. 262). “Officials” can be interpreted to mean clergymen, “sick persons” can mean criminals, and “numerous instructions” can mean the work of the church. This is due to Ricciardo being of the acceptable social and economic class, suitable for Caterina. However, time seems to go by slowly when nothing is happening, so to pass the time they agree to each tell one story every day. United States: Southern Illinois University Press, 1991. Moreover, Boccaccio tends to portray many of his characters that are part of the church as immoral by their exploitation of their status of the church. Many of the underlying themes and plot lines provide women with examples for how to carry out their lives and relationships. With fame comes people, with people comes increased reputation, and when the reputation of a church increases, so does the amount of offerings and money the church receives. London: Penguin Books, 1995. Gender disparities are very common in Boccaccio’s writing, but often times women are portrayed as selfless and fearless, caring not about consequence they may face from a man. The controversy again comes from the fact that Gemmata does not understand Don Gianni is taking advantage of her sexually, similar to Alibech with the Devil and Hell metaphors. Therefore, “In the end…he got the punishment he deserved, and repented in vain for the crimes he had committed” (Boccaccio 312). We get the sense that while Boccaccio outwardly claims this is a frivolous work, he may attach a kind of value to his stories. Unlike Boccaccio’s description of the garden, Augustine emphasizes the beauty of the pear not by describing the pear itself but by describing the pear as a work of God. Once again, the story of Griselda is a cautionary tale to women. Giovanni Boccaccio’s medieval work of art The Decameron highlights both the righteous and sinful ways of humans, through the telling of short stories. Historical Literary Context Giovanni Boccaccio wrote “The Decameron” following the Black Plague and essentially dedicated the book to women. Having started the tales of illegitimate sex, Dioneo pushes these boundaries not only because he enjoys pushing boundaries, but also because he wants the women to speak more freely. For example, in the Second Tale of the Fourth Day, a man becomes a friar and convinces a silly woman to sleep with him by telling her that his body is inhabited by the Angle Gabriel. Since the women of the time were interpreted to have stronger sexual lusts then men, this theme is not as surprising. Athenian women were equally as submissive. Not only did women in The Decameron initiate their own relationships and seek out sexual pleasure, many of them also refused to submit to men, and some even went as far as to commit suicide rather than lose control of their own bodies. The queen of the day, Pampinea, elects Panfilo to begin with one of his stories, allowing him to speak on whichever topic he prefers. This view can be seen consistently throughout the Decameron. Historical Context To understand why the characteristics displayed of women in “The Decameron” were so uncommon and never before seen, one must first understand the societal barriers they dealt with during their day to day lives.
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