CHAPTER V
BOCCACCIO
We have hitherto discussed the development of poetry almost exclusively; and this is justifiable, for in Italy, as in all other countries, the development of prose as a form of literature comes after that of poetry. Petrarch wrote no prose in Italian; and although Dante wrote his Banquet and, in part, his New Life in prose, yet the former is couched in scholastic phraseology and the prose portion of the latter is of small compass. Giovanni Boccaccio, although not so great a poet as Dante, or so great a scholar and master of form as Petrarch, is yet of high importance in the history of Italian literature from a double point of view, as the first great writer of prose and the founder of the modern novel.
We can only give here a brief outline of his life and character, before passing on to his works. He was born in Paris in 1313, the son of a Florentine merchant and a young French gentlewoman. Going to Florence with his father, he was sent to school and is said to have written verses before the age of seven. His father, a merchant himself, wished his son to follow the same career, and at the age of fourteen the boy was taken to Naples with this purpose in view. In this "great, sinful city" Boccaccio passed his youth, at first in business, then in the study of law, both of which, however, he heartily disliked. Making the acquaintance of some well-known scholars, he was inducted into a love for study, and resolved to devote himself to a literary career.
About 1340 he left Naples and returned to Florence, which henceforth became his residence, although he was frequently absent from it on matters of business and pleasure. For he soon became known as a scholar and poet, and, in accordance with the customs of the times, he was honored by his city by being sent on frequent embassies. In this capacity he went, in 1350, to Ravenna, to the daughter of Dante; in 1354, to Pope Innocent VI., at Avignon; and in 1351, to Petrarch at Padua, in order to induce the great poet and scholar to reside in Florence. This meeting with the great apostle of the New Learning was an important event in Boccaccio's life, who from henceforth became an enthusiastic admirer of Petrarch. He plunged still more eagerly into the study of classic antiquity; and although not so great a scholar as Petrarch, he accomplished some things which the latter had not been able to do. Thus he learned Greek, imperfectly, however, and introduced to the western world a knowledge of that language (unknown to the Middle Ages) by bringing Leontius Pilatus to Florence as a professor in the university. It was at the dictation of the latter that Boccaccio wrote down his Latin translation of the Homeric poems, which, worthless as it now seems, then excited widespread admiration.
Boccaccio differed from Petrarch in being an ardent admirer and indefatigable student of Dante. Petrarch had once declared that he had never read the Divine Comedy. The influence of Dante on Boccaccio is seen on almost every page of his poetry, and it was in reward of his services in promoting the study of the former's works that in 1373 he was invited by Florence to lecture on the Divine Comedy (for the first time in Italy) in the university.
Boccaccio's character was in many respects an attractive one; he was honest, sincere, and modest; a faithful friend, a lover of true literature; and, above all, of a lovable and gentle disposition; Giovanni della Tranquillità, his friends called him—"John of the quiet mind," as we may translate it. The gravest accusation made against him, and one, alas! only too well founded, is his immorality. In his early years, and even later in life, his manners were light, and the effects thereof are too often reflected in his books. Before condemning him too harshly, however, we must bear in mind the low state of morals that marked all society at that time. Toward the end of his life Boccaccio became converted by a strange event. It seems that a certain Carthusian monk, Pietro de' Petroni—who, by the austerity of his life and his religious exaltation, had won a reputation for holiness—died at Siena, May 29, 1361. Fourteen days before his death he entered into a trance, in which he had a vision of the saints in heaven and the damned in hell. When he awoke he declared that he had been commanded by Christ to warn a number of distinguished men of the error of their ways. Among these was Boccaccio. Being too sick to go himself, Petroni sent his disciple, Gioachino Ciani, to fulfill his commission. The latter came to Florence, told Boccaccio of his master's vision, and then, in fiery language, urged him to see to the salvation of his soul, and to repudiate his immoral writings, else he would soon die and his soul be lost forever. Boccaccio was deeply affected by this strange embassy. In the first moments of depression he resolved to give up all study, burn his books, write no more, and spend the rest of life in religious exercises. From this violent action, however, he was saved by a sensible letter from Petrarch. Yet the effect did not pass away. Ever after this he was more serious and thought more of religious matters. He lost his former zest in life; his gaiety and serenity of temper became clouded. After a youth of enjoyment the evening of life came on gray and cold.
He died December 21, 1375, in Certaldo, not far from Florence.
Boccaccio, like Petrarch, wrote much in Latin, chief among such writings being the historical or biographical compilations on Illustrious Women and the Vicissitudes of Great Men, and especially his Genealogy of the Gods, which for one hundred years and more became the standard hand-book of mythology. In Italian poetry he was far more voluminous than Petrarch. Among the best known of his poems are the Vision of Love; Filostrato, which tells the story of Troilus and Cressida, afterwards imitated by Chaucer and Shakespeare; and the Theseid, imitated by Chaucer in his Knight's Tale. His Ninfale Fiesolana describes the beautiful suburbs of Florence, while his pastoral poem, Ameto, is the first example of that popular branch of poetry, which found its highest development in Sannazaro's Arcadia, Tasso's Aminta, and Guarini's Pastor Fido.
All these, however, are now almost forgotten. The one book by which Boccaccio is known to-day, not only in Italy, but the world over, is his Decameron, a collection of short stories in prose. In this book he becomes epoch-making in a double sense, for it begins both Italian prose and the modern novel. The name of the book is composed of two Greek words, meaning "ten days," and is explained by the fact that there are one hundred stories in all, told ten at a time, on ten successive days.