The Decameron, vol. 1 | Page 7

tender and delicate delineation.
Boccaccio appears to have been recalled to Florence by his father in 1341; and it was probably in that year that he wrote L'Amorosa Fiammetta and the allegorical prose pastoral (with songs interspersed) which he entitled Ameto, and in which Fiammetta masquerades in green as one of the nymphs. The Amorosa Visione, written about the same time, is not only an allegory but an acrostic, the initial letters of its fifteen hundred triplets composing two sonnets and a ballade in honour of Fiammetta, whom he here for once ventures to call by her true name. Later came the Teseide, or romance of Palamon and Arcite, the first extant rendering of the story, in twelve books, and the Filostrato, nine books of the loves and woes of Troilus and Cressida. Both these poems are in ottava rima, a metre which, if Boccaccio did not invent it, he was the first to apply to such a purpose. Both works were dedicated to Fiammetta. A graceful idyll in the same metre, Ninfale Fiesolano, was written later, probably at Naples in 1345. King Robert was then dead, but Boccaccio enjoyed the favour of Queen Joan, of somewhat doubtful memory, at whose instance he hints in one of his later letters that he wrote the Decameron. Without impugning Boccaccio's veracity we can hardly but think that the Decameron would have seen the light, though Queen Joan had withheld her encouragement. He had probably been long meditating it, and gathering materials for it, and we may well suppose that the outbreak of the plague in 1348, by furnishing him with a sombre background to heighten the effect of his motley pageant, had far more to do with accelerating the composition than aught that Queen Joan may have said.
That Boccaccio was not at Florence during the pestilence is certain; but we need not therefore doubt the substantial accuracy of his marvellous description of the state of the stricken city, for the course and consequences of the terrible visitation must have been much the same in all parts of Italy, and as to Florence in particular, Boccaccio could have no difficulty in obtaining detailed and abundant information from credible eye-witnesses. The introduction of Fiammetta, who was in all probability at Naples at the time, and in any case was not a Florentine, shews, however, that he is by no means to be taken literally, and renders it extremely probable that the facetious, irrepressible, and privileged Dioneo is no other than himself. At the same time we cannot deem it either impossible, or very unlikely, that in the general relaxation of morale, which the plague brought in its train, refuge from care and fear was sought in the diversions which he describes by some of those who had country-seats to which to withdraw, and whether the "contado" was that of Florence or that of Naples is a matter of no considerable importance. (1) It is probable that Boccaccio's father was one of the victims of the pestilence; for he was dead in 1350, when his son returned to Florence to live thenceforth on the modest patrimony which he inherited. It must have been about this time that he formed an intimacy with Petrarch, which, notwithstanding marked diversity of temperament, character and pursuits, was destined to be broken only by death. Despite his complaints of the malevolence of his critics in the Proem to the Fourth Day of the Decameron, he had no lack of appreciation on the part of his fellow-citizens, and was employed by the Republic on several missions; to Bologna, probably with the view of averting the submission of that city to the Visconti in 1350; to Petrarch at Padua in March 1351, with a letter from the Priors announcing his restitution to citizenship, and inviting him to return to Florence, and assume the rectorship of the newly founded university; to Ludwig of Brandenburg with overtures for an alliance against the Visconti in December of the same year; and in the spring of 1354 to Pope Innocent VI. at Avignon in reference to the approaching visit of the Emperor Charles IV. to Italy. About this time, 1354-5, he threw off, in striking contrast to his earlier works, an invective against women, entitled Laberinto d'Amore, otherwise Corbaccio, a coarse performance occasioned by resentment at what he deemed capricious treatment by a lady to whom he had made advances. To the same period, though the date cannot be precisely fixed, belongs his Life of Dante, a work of but mediocre merit. Somewhat later, it would seem, he began the study of Greek under one Leontius Pilatus, a Calabrian, who possessed some knowledge of that language, and sought to pass himself off as a Greek by birth.
Leontius was of coarse manners and uncertain temper, but Boccaccio was