[40] It will be noted that this is Boccaccio's third variant of his hero's name (the others being Ciapperello and Cepparello) and the edition of 1527 furnishes us with a fourth and a fifth form i.e. Ciepparello and Ciepperello.
[41] i.e. a story.
[42] i.e. of God's benignness.
[43] Lit. cardinal brethren (fratelli cardinali).
[44] Lit. losing (perdendo), but this is probably some copyist's mistake for podendo, the old form of potendo, availing.
[45] i.e. stood sponsor for him.
[46] Lit. amorous (amorose), but Boccaccio frequently uses amoroso, vago, and other adjectives, which are now understood in an active or transitive sense only, in their ancient passive or intransitive sense of lovesome, desirable, etc.
[47] Compagne, i.e. she-companions. Filomena is addressing the female part of the company.
[48] Lit. his church (sua chiesa); but the context seems to indicate that the monastery itself is meant.
[49] Lit. a pressure or oppression (priemere, hod. premere, to press or oppress, indicative used as a noun). The monk of course refers to the posture in which he had seen the abbot have to do with the girl, pretending to believe that he placed her on his own breast (instead of mounting on hers) out of a sentiment of humility and a desire to mortify his flesh ipsâ in voluptate.