The Decameron (Signet Classics) [Paperback]

Giovanni Boccaccio (Author), Mark Musa (Translator), Peter Bondanella (Translator), Thomas G. Bergin (Introduction)

Book Description

Publication Date: December 3, 2002

Set against the background of the Black Death of 1348, the hundred linked tales in Boccaccio's masterpiece are peopled by nobles, knights, nuns, doctors, lawyers, students, artists, peasants, pilgrims, servants, spendthrifts, thieves, gamblers, police-and lovers, both faithful and faithless.

Product Details

• Paperback: 848 pages
• Publisher: Signet Classics (December 3, 2002)
• Language: English
• ISBN-10: 0451528662
• ISBN-13: 978-0451528667
• Product Dimensions: 7.3 x 4.6 x 1.6 inches
• Shipping Weight: 14.4 ounces
• Average Customer Review: 4.9 out of 5 stars  See all reviews (13 customer reviews)
• Amazon Best Sellers Rank: #211,645 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

58 of 61 people found the following review helpful:

5.0 out of 5 stars You can read it in 10-minute chunks, July 17, 2003

By 

Philip Greenspun (Cambridge, MA USA) - See all my reviews
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This review is from: The Decameron (Signet Classics) (Paperback)

Don't be intimidated by this medieval masterpiece. It is actually just a collection of very loosely related short stories, most of which are rather comical. You need not read them in one sitting and you need not read them all. In fact, the editors provide a list of their favorite stories (an alternative view is that they are telling you which ones to skip).

Great modern translation.

47 of 49 people found the following review helpful:

5.0 out of 5 stars What a book!, November 1, 2004

By 

K. Huff (Radnor, PA) - See all my reviews
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This review is from: The Decameron (Signet Classics) (Paperback)

Unlike a lot of the writers who sprung out of the medieval period, the Decameron is extremely readable. 100 stories organized into 10-day chunks makes this book a classic piece of literature... and unlike Chaucer's Canterbury Tales, you don't have to wade through the language to get at the meaning (part of this has to do with the translation of Italian into modern English).

During the Plague of the mid-14th century, ten people (7 women and 3 men) escape the city of Florence to the then-countryside of Fiesole. Each day they elect a king or queen, who dictates the theme of the day's stories. Centering around love, lust, sex, and relationships between people, the stories in the Decameron transcend stereotypes of the middle ages and created a scintillating and fresh approach to the art of storytelling. The Decameron is one of my favorite novels; this is the second time I've read it, and it never ceases to amaze me by the depth of human life represented.

In addition, this is an excellent translation of the original; the translators manage to get at Boccaccio's meaning without destroying his prose.

30 of 32 people found the following review helpful:

5.0 out of 5 stars Bawdy tales of love, April 30, 2007

By 

Michael A Neulander "Political Philosophy" (VA) - See all my reviews
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This review is from: The Decameron (Signet Classics) (Paperback)

This was required reading for a graduate course in medieval history.
The "Decameron" is a collection of 100 novellas by Italian author Giovanni Boccaccio, probably begun in 1350 and finished in 1353. It is a medieval allegorical work best known for its bawdy tales of love, appearing in all its possibilities from the erotic to the tragic. Other topics such as wit and witticism, practical jokes and worldly initiation also form part of the mosaic. Beyond its entertainment and literary popularity, it remains an important historical document of life in the fourteenth century.

Decameron is structured in a frame narrative, or frame tale. Boccaccio begins with a description of the Black Death and leads into an introduction of a group of seven young women and three young men who flee from plague-ridden Florence to a villa in the (then) countryside of Fiesole for two weeks. To pass the time, each member of the party tells one story for each one of the nights spent at the villa. Although fourteen days pass, two days each week are set aside: one day for chores and one holy day during which no work is done. In this manner, 100 stories are told by the end of the ten days. Each of the ten characters is charged as King or Queen of the company for one of the ten days in turn. This charge extends to choosing the theme of the stories for that day, and all but two days have topics assigned: examples of the power of fortune; examples of the power of human will; love tales that end tragically; love tales that end happily; clever replies that save the speaker; tricks that women play on men; tricks that people play on each other in general; examples of virtue. Only Dioneo, who usually tells the tenth tale each day, has the right to tell a tale on any topic he wishes, due to his wit. Each day also includes a short introduction and conclusion to continue the frame of the tales by describing other daily activities besides story telling. These frame tale interludes frequently include transcriptions of Italian folk songs. The interactions among tales in a day, or across days, as Boccaccio spins variations and reversals of previous material, forms a whole and not just a collection of stories. The basic plots of the stories including mocking the lust and greed of the clergy; tensions in Italian society between the new wealthy commercial class and noble families; the perils and adventures of traveling merchants. The title is a portmanteau, or combination of two Greek words meaning "ten" and "day". Boccacio made similar Greek etymological plays of words in his other works. The subtitle is Prencipe Galeotto, which derives from the opening material in which Boccaccio dedicates the work to ladies of the day who did not have the diversions of men (hunting, fishing, riding, falconry) who were forced to conceal their amorous passions and stay idle and concealed in their rooms. Thus, the book is subtitled Prencipe Galeotto, that is Galehaut, the go-between of Lancelot and Guinevere, a nod to Dante's allusion to Galeotto in "Inferno V", who was blamed for the arousal of lust in the episode of Paolo and Francesca.

Throughout Decameron, the mercantile ethic prevails and predominates. The commercial and urban values of quick wit, sophistication, and intelligence are treasured, while the vices of stupidity and dullness are cured, or punished. While these traits and values will seem obvious to the modern reader, they were an emerging feature in Europe with the rise of urban centers and a monetized economic system beyond the traditional rural feudal and monastery systems, which placed greater value on piety and loyalty. Beyond the unity provided by the frame narrative, Decameron provides a unity in philosophical outlook. Throughout runs the common medieval theme of Lady Fortune, and how quickly one can rise and fall through the external influences of the "Wheel of Fortune". Boccaccio had been educated in the tradition of Dante's Divine Comedy, which used various levels of allegory to show the connections between the literal events of the story and the hidden Christian message. However, Decameron uses Dante's model not to educate the reader, but to satirize this method of learning. The Roman Catholic Church, priests, and religious belief become the satirical source of comedy throughout. This was part of a wider historical trend in the aftermath of the Black Death, which saw widespread discontent with the church. Many details of the Decameron are infused with a medieval sense of numerological and mystical significance. For example, it is widely believed that the seven young women are meant to represent the Four Cardinal Virtues (Prudence, Justice, Temperance, and Fortitude) and the Three Theological Virtues (Faith, Hope, and Charity). It is further supposed that the three men represent the classical Greek tripartite division of the soul (Reason, Spirit, and Lust, see Book IV of Republic). Boccaccio himself notes that the names he gives for these ten characters are in fact pseudonyms chosen as "appropriate to the qualities of each". The Italian names of the seven women, in the same (most likely significant) order as given in the text, are: Pampinea, Fiammetta, Filomena, Emilia, Lauretta, Neifile, and Elissa. The men, in order, are: Panfilo, Filostrato, and Dioneo.

Recommended reading for anyone interested in literature and medieval history.