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BOCCACCIO


What is the woman who Boccaccio proposes in his works?
From a formal point of view, she is still presented as an angel, but compared to the ideal female run from Stilnovo we are certainly faced with an original figure and many innovative features.
The Queen of Boccaccio, in fact, it is humbly folded in his naivete, all imbued with spiritual values \u200b\u200band moral strength of its caste dignity, as we have seen in the figures of Beatrice and Laura, but rather the woman's Decameron " the shadow of a thousand leafy trees, dressed in graceful and dainty lace curtains with eyes and with vague womanish nonsense. "
This is a most charming and flirtatious female figure, always fell in a context of common life, the poet, however, continues to celebrate traditional and Platonic form, as can be seen from reading this sonnet :


sat on the stern of a boat,

that the sea 's pay had risen by sawing,

my lady together with other,

or a singing, song or the other.

Now this Lito and now quell'isoletta.

And now this and now that other company.

of women visiting, was targeted

What new little angel come down from heaven.

I saw that following her

be met on all sides to gaze

Folks, I saw novo as a miracle:

me in my mind every waking

felt, and lovingly commending the

vague never see the good I feel .

On the one hand, therefore, the use of a more conventional literary form and the constant re-use of topoi typical of courtly poetry, the other content in many ways new. A scene from the taste everything "Neapolitan" is to outline the figure of the woman he loved, surprised while he went to sea with some friends to visit "the other party of women", singing songs, reading and cheerful.
Boccaccio still turns to the woman calling her "little angel", but it is easy to see how the image now proposal deviates in many respects from traditional.

Inside Decameron (1348-53), also comes to the female figure are extremely important.
In the second half of the preface, from paragraph 3, Boccaccio identifies women in the audience of his work.
found here are specific allusions to the fifth canto of 'Inferno Dante: How Frank ("How many pleasant thoughts": If . V, 113), women's public- Decameron brood 'different thoughts' (Preface Dec., 10) and, like Paolo and Francesca ( If . V, 113, 82, 120), women's Decameron are driven by the desire of love.
indicating a recovery in both authors, a final overcoming of the concept of courtly love and stilnovo. This excess is evolving, however, in two directions completely autonomous. Boccaccio
In fact, the "nice" (Dec. Proem , 4) and "new thoughts" (Dec. Proem , 11), namely, literature and stories, have a responsibility to overcome the boredom that comes from the feeling of love, in the conception, therefore, not a literature to promote the awareness of sin and repentance, as in Dante, but the faculties of intelligence and lucid rationality (not for the purposes of repression, but the control of the passions).
Boccaccio identifies the audience of women as the ideal audience as for a number of limitations arising from their role in society, they are more aware and live more intensely the feeling of love.
When Boccaccio recovers women as ideal audience, as the privileged recipient of his work falls allusion in disagreement with Dante, because this audience is made up of women who are not limited to housekeeping, to a life of quiet hard work, but live a fantastic and creative dimension, without suppressing their imagination
"" Then, so that partly because I love each sin of fortune, which was where less force, as we see us in dainty women, there was more grudging support, the rescue and shelter for those who love, for what other the needle and is very 'el'arcolaio the time, I intend to tell one hundred short stories, or fables or parables or histories that we want to say, told in ten days by a band of honest seven women and three young men in the death of the last time pistelenzioso made, and some songs sung by those women at their pleasure . "
(Dec. Proem, 13)

Here Boccaccio exclude the public from its readers and poor women of spirit who are content with the needle, the spindle and dell'arcolaio, an expression that refers to the following verses of Dante with value, however, perfectly antithetical:

Behold the wretched, who left the needle, the spool and
'the zone, and fecersi 'ndivine (If. XX, 121-122)

Dante In fact, women who have betrayed the chores are depicted negatively, as they are exalted women of ancient Florence, who are humble and devoted exclusively to domestic work.
Boccaccio, just alluding to the lines of the Commedia, lists among the tools the household ' August, the time and the spinning wheel (see spool ): his perspective is, however, completely reversed.
In the conclusion of the preface, Boccaccio reiterates, through allusions to the new part V of the Inferno, his conception of the function of literature, which is Dante dangerous if it is not filtered by a decoding ethics and this accounts for the image of Paul and Francesca, who read for pleasure and that's why you lose, "We floated a day for pleasure / Of Launcelot, how Love did him enthrall 'If . V, 127-128).
Boccaccio opposed to all this the ideal image of a player you will receive from the use of the Decameron with delight and "useful advice."

Another important work to capture the traits of the female figure proposed by Boccaccio is another novel in prose, the 'Elegia di Madonna Fiammetta (1343-44), which precedes the drafting of the Decameron .
The narrative proceeds according to the point of view of a Neapolitan lady, Fiammetta, abandoned by the lover Panfilo. The woman waits in vain for his return, recalling happy time of love, yearning of passion and jealousy.
The work takes the form of a long letter, addressed to women in love. Fiammetta
The protagonist is at the end of a long series of abandoned heroines of ancient poetry (from ' Ariann to the poem of Catullus LXIV to Dido IV of the song' Aeneid), and work are continuous references and citations seized.
However, it is very important that here the word is given to the woman herself, whether it follows the pattern of the lament of the abandoned. In the courtly tradition, in fact, the woman was only one object of yearning on the part man, remote and unreachable idol, deprived of its subjectivity, but here, the woman becomes the subject confesses his love and passion and sentimental at the same time sensual.
Once again, an antecedent can be found in the V Francesca sings the 'Inferno , who confesses his love for Paul in terms boldly sensual. However, as for Dante, the unhappy heroine was a negative example of lust to be condemned, Fiammetta, full of passion, all the sympathy and participation of the author.
works here, in fact, a naturalistic conception of love, no longer considered a sin, but as a natural instinct entirely legitimate.
Boccaccio's character, born of this conception, can be seen then as a reversal of the figure of Beatrice, born of a spiritual conception, ennobling love.