Boccaccio has been accused of plagiarism, particularly by French critics, who correctly state that the subjects of many stories in the Decameron are borrowed from their literature. A similar objection might be raised against Chaucer, Shakespeare, Goethe (in Faust), and indeed most of the master minds of all nations. Power of invention is not the only nor even the chief criterion of a great poet. He takes his subjects indiscriminately from his own fancy, or from the consciousness of his and other nations. Stories float about in the air, known to all yet realized by few; the poet gathers their disjecta membra into an organic whole, and this he inspires and calls into life with the breath of his genius. It is in this sense that Boccaccio is the creator of those innumerable beautiful types and stories, which have since become household words amongst civilized nations. No author can equal him in these contributions to the store of international literature. There are indeed few great poets who have not in some way become indebted to the inexhaustible treasure of Boccaccio’s creativeness. One of the greatest masterpieces of German literature, Lessing’s Nathan the Wise, contains a story from Boccaccio (Decameron, Day 1st, tale iii.), and the list of English poets who have drawn from the same source comprises, among many others, the names of Chaucer, Lydgate, Dryden, Keats and Tennyson.
For ten years Boccaccio continued to reside in Florence, leaving the city only occasionally on diplomatic missions or on visits to his friends. His fame in the meantime began to spread far and wide, and his Decameron, in particular, was devoured by the fashionable ladies and gentlemen of the age. About 1360 he seems to have retired from the turbulent scenes of Florence to his native Certaldo, the secluded charms of which he describes with rapture. In the following year took place that strange turning-point in Boccaccio’s career which is generally described as his conversion. It seems that a Carthusian monk came to him while at Certaldo charged with a posthumous message from another monk of the same order, to the effect that if Boccaccio did not at once abandon his godless ways in life and literature his death would ensue after a short time. It is also mentioned that the revelation to the friar on his deathbed of a secret known only to Boccaccio gave additional import to this alarming information. Boccaccio’s impressionable nature was deeply moved. His life had been far from virtuous; in his writings he had frequently sinned against the rules of morality, and worse still, he had attacked with bitter satire the institutions and servants of holy mother church. Terrified by the approach of immediate death, he resolved to sell his library, abandon literature, and devote the remainder of his life to penance and religious exercise. To this effect he wrote to Petrarch. We possess the poet’s answer; it is a masterpiece of writing, and what is more, a proof of tenderest friendship. The message of the monk Petrarch is evidently inclined to treat simply as pious fraud, without, however, actually committing himself to that opinion. “No monk is required to tell thee of the shortness and precariousness of human life. Of the advice received accept what is good; abandon worldly cares, conquer thy passions, and reform thy soul and life of degraded habits. But do not give up the studies which are the true food of a healthy mind.” Boccaccio seems to have acted on this valuable advice. His later works, although written in Latin and scientific in character, are by no means of a religious kind. It seems, however, that his entering the church in 1362 is connected with the events just related.
In 1363 Boccaccio went on a visit to Naples to the seneschal Acciajuoli (the same Florentine who had in 1344 persuaded the elder Boccaccio to permit his son’s return to Naples), who commissioned him to write the story of his deeds of valour. On his arrival, however, the poet was treated with shameful neglect, and revenged himself by denying the possibility of relating any valorous deeds for want of their existence. This declaration, it must be confessed, came somewhat late, but it was provoked by a silly attack on the poet himself by one of the seneschal’s indiscreet friends.
During the next ten years Boccaccio led an unsettled life, residing chiefly at Florence or Certaldo, but frequently leaving his home on visits to Petrarch and other friends, and on various diplomatic errands in the service of the Republic. He seems to have been poor, having spent large sums in the purchase of books, but his independent spirit rejected the numerous splendid offers of hospitality made to him by friends and admirers. During this period he wrote four important Latin works — De Genealogia Deorum libri XV., a compendium of mythological knowledge full of deep learning; De Montium, Silvarum, Lacuum, et Marium nominibus liber, a treatise on ancient geography; and two historical books — De Casibus Virorum et Feminarum Illustrium libri IX., interesting to the English reader as the original of John Lydgate’s Fall of Princes; and De Claris Mulieribus. To the list of his works ought to be added Il Ninfale Fiesolano, a beautiful love-story in verse, and Il Corbaccio ossia Il Laberinto d’Amore, a coarse satire on a Florentine widow who had jilted the poet, written about 1355, not to mention many eclogues in Latin and miscellaneous Rime in Italian (the latter collected by his biographer Count Baldelli in 1802).
In 1373 we find Boccaccio again settled at Certaldo. Here he was attacked by a terrible disease which brought him to the verge of death, and from the consequences of which he never quite recovered. But sickness could not subdue his intellectual vigour. When the Florentines established a chair for the explanation of the Divina Commedia in their university, and offered it to Boccaccio, the senescent poet at once undertook the arduous duty. He delivered his first lecture on the 23rd of October 1373. The commentary on part of the Inferno, already alluded to, bears witness of his unabated power of intellect. In 1374 the news of the loss of his dearest friend Petrarch reached Boccaccio, and from this blow he may be said to have never recovered. Almost his dying efforts were devoted to the memory of his friend; urgently he entreated Petrarch’s son-in-law to arrange the publication of the deceased poet’s Latin epic Africa, a work of which the author had been far more proud than of his immortal sonnets to Laura.
In his last will Boccaccio left his library to his father confessor, and after his decease to the convent of Santo Spirito in Florence. His small property he bequeathed to his brother Jacopo. His own natural children had died before him. He himself died on the 21st of December 1375 at Certaldo, and was buried in the church of SS. Jacopo e Filippo of that town. On his tombstone was engraved the epitaph composed by himself shortly before his death. It is calm and dignified, worthy indeed of a great life with a great purpose. These are the lines: —
“Hac sub mole jacent cineres ac ossa Joannis;
Mens sedet ante Deum, meritis ornata laborum
Mortalis vitae. Genitor Boccaccius illi;
Patria Certaldum; studium fuit alma poesis.”
A complete edition of Boccaccio’s Italian writings, in 17 vols., was published by Moutier (Florence, 1834). The life of Boccaccio has been written by Tiraboschi, Mazzuchelli, Count Baldelli (Vita di Boccaccio, Florence, 1806), and others. In English the best biography is Edward Hutton (1909.) The first printed edition of the Decameron is without date, place or printer’s name; but it is believed to belong to the year 1469 or 1470, and to have been printed at Florence. Besides this, Baldelli mentions eleven editions during the 15th century. The entire number of editions by far exceeds a hundred. A curious expurgated edition, authorized by the pope, appeared at Florence, 1573. Here, however, the grossest indecencies remain, the chief alteration being the change of the improper personages from priests and monks into laymen. The best old edition is that of Florence, 1527. Of modern reprints, that by Forfoni (Florence, 1857) deserves mention. Manni has written a Storia del Decamerone (1742), and a German scholar, M. Landau, who published (Vienna, 1869) a valuable investigation of the sources of the Decameron, subsequently brought out in 1877 a general study of Boccaccio’s life and works. An interesting English translation of the Decameron appeared in 1624, under the title The Model of Mirth, Wit, Eloquence and Conversation. (F. H.)
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Collected Works of Giovanni Boccaccio Page 499
