The Decameron, vol. 1 | Page 6

by her side, and dies; he is borne to the church, where Salvestra lays herself by his side, and dies.
Nova IX. - Sieur Guillaume de Roussillon slays his wife's paramour, Sieur Guillaume de Cabestaing, and gives her his heart to eat. She, coming to wit thereof, throws herself from a high window to the ground, and dies, and is buried with her lover.
NOVEL X. - The wife of a leech, deeming her lover, who has taken an opiate, to be dead, puts him in a chest, which, with him therein, two usurers carry off to their house. He comes to himself, and is taken for a thief; but, the lady's maid giving the Signory to understand that she had put him in the chest which the usurers stole, he escapes the gallows, and the usurers are mulcted in moneys for the theft of the chest.
ILLUSTRATIONS TO THE DECAMERON
VOLUME I.
The lady and the friar (third day, third story) - Frontispiece
The three rings (first day, third story)
The dinner of hens (first day, fifth story)
Rinaldo D'Asti and the widow lady (second day, second story)
Alatiel dancing (second day, seventh story)
The wedding party (fourth day, introduction)
The daughter of the King of Tunis (fourth day, fourth story)
Simona and Pasquino (fourth day, seventh story)
INTRODUCTION
Son of a merchant, Boccaccio di Chellino di Buonaiuto, of Certaldo in Val d'Elsa, a little town about midway between Empoli and Siena, but within the Florentine "contado," Giovanni Boccaccio was born, most probably at Paris, in the year 1313. His mother, at any rate, was a Frenchwoman, whom his father seduced during a sojourn at Paris, and afterwards deserted. So much as this Boccaccio has himself told us, under a transparent veil of allegory, in his Ameto. Of his mother we would fain know more, for his wit has in it a quality, especially noticeable in the Tenth Novel of the Sixth Day of the Decameron, which marks him out as the forerunner of Rabelais, and prompts us to ask how much more his genius may have owed to his French ancestry. His father was of sufficient standing in Florence to be chosen Prior in 1321; but this brief term of office--but two months--was his last, as well as his first experience of public life. Of Boccaccio's early years we know nothing more than that his first preceptor was the Florentine grammarian, Giovanni da Strada, father of the poet Zanobi da Strada, and that, when he was about ten years old, he was bound apprentice to a merchant, with whom he spent the next six years at Paris, whence he returned to Florence with an inveterate repugnance to commerce. His father then proposed to make a canonist of him; but the study of Gratian proved hardly more congenial than the routine of the counting-house to the lad, who had already evinced a taste for letters; and a sojourn at Naples, where under the regime of the enlightened King Robert there were coteries of learned men, and even Greek was not altogether unknown, decided his future career. According to Filippo Villani his choice was finally fixed by a visit to the tomb of Vergil on the Via Puteolana, and, though the modern critical spirit is apt to discount such stories, there can be no doubt that such a pilgrimage would be apt to make a deep, and perhaps enduring, impression upon a nature ardent and sensitive, and already conscious of extraordinary powers. His stay at Naples was also in another respect a turning point in his life; for it was there that, as we gather from the Filocopo, he first saw the blonde beauty, Maria, natural daughter of King Robert, whom he has immortalized as Fiammetta. The place was the church of San Lorenzo, the day the 26th of March, 1334. Boccaccio's admiring gaze was observed by the lady, who, though married, proved no Laura, and forthwith returned his love in equal measure. Their liaison lasted several years, during which Boccaccio recorded the various phases of their passion with exemplary assiduity in verse and prose. Besides paying her due and discreet homage in sonnet and canzone, he associated her in one way or another, not only with the Filocopo (his prose romance of Florio and Biancofiore, which he professes to have written to pleasure her), but with the Ameto, the Amorosa Visione, the Teseide, and the Filostrato; and in L'Amorosa Fiammetta he wove out of their relations a romance in which her lover, who is there called Pamfilo, plays Aeneas to her Dido, though with somewhat less tragic consequences. The Proem to the Decameron shews us the after-glow of his passion; the lady herself appears as one of the "honourable company," and her portrait, as in the act of receiving the laurel wreath at the close of the Fourth Day, is a masterpiece of