Showing posts with label Decameron. Show all posts
Showing posts with label Decameron. Show all posts

Wednesday, September 20, 2023

Paolo and Francesca

In the 2nd circle of Hell in Dante's Inferno, Dante and Virgil see two lovers, Paolo and Francesca, condemned for lust (see the illustration by Dante Gabriel Rossetti). Just as they allowed themselves to be swept away by their passions, they are buffeted by heavy winds. Francesca tells her story, while a silent Paolo weeps in the background.

She was seized with a powerful passion while reading the story of Galehaut (mentioned in yesterday's post). the theme of such a strong love "overpowered" the two. Unfortunately, she was married to Paolo's brother, who killed the two for their affair.

The two were historical figures: Francesca da Polenta, married to Giovanni Malatesta, and Giovanni's brother Paolo Malatesta (who was also married). The marriage was not one of love. Francesca's father was at odds with Giovanni's father, who was lord of Rimini. The marriage was designed to make peace between two noble and powerful families. Some time in the early 1280s, Giovanni found the two in Francesca's bedroom, and killed them.

In Dante's telling, Francesca blames the overwhelming power of Love for her actions and misfortune, accepting no blame on the part of the two lovers. Despite this, she becomes for Dante an example of the love poetry he himself wrote about earlier in his career. She tells her story without interruption, and becomes a symbol of a strong woman condemned by circumstance outside her control, because of the power of the story of Galehaut. Dante draws a parallel between the great love tale from literature and the real love tale before him.

So now we come to the point of what we started yesterday: why did Boccaccio subtitle his Decameron with Prencipe Galehaut? Boccaccio uses Galehaut—especially through the lens of his hero Dante's use of Galehaut as inspiration for Francesca's and Paolo's actions—as a symbol of his regard and compassion for women who have never been allowed the freedom of men to do as they wished. It is his acknowledgement that women should be given agency: as the women in the Decameron not only share equal social standing with the men in their ten-day community, but also in the stories told of women who manage by their wits or gain the outcomes they want.

If they were historical figures, was their affair so well-known that Dante would know the details? As it happens, remember that I told you here that he spent his final years in Ravenna? His host was Guido Novello, also known as Guido Il da Polenta, lord of Ravenna from 1316 to 1321, and the nephew of Francesca da Polenta!

Ravenna must be a little interesting, since Dante chose it for his retirement. Let's learn the delights of Ravenna next time.

Tuesday, September 19, 2023

The Titles of the Decameron

Giovanni Boccaccio played around with titles, and not only for his own works. Dante Alighieri's magnum opus was called by the author Commedia, "Comedy," but in later years it began being referred to as the "Divine Comedy" by Boccaccio, and the name stuck. Boccaccio had a good reason for tacking that adjective onto Dante's work, and not just because of the obvious reason.

When Boccaccio wrote his Decameron (c.1353), he apparently thought of it as a parallel or complement to Dante's work, because Boccaccio sometimes called his tale of ten young people telling ten stories per day for ten days  l'Umana commedia ("the Human comedy").

Besides that, Boccaccio also had a subtitle for the Decameron that is often overlooked, and the explanation for it has a couple of layers. His subtitle (seen above in an early Italian edition) was Prencipe Galeotto, or "Prince Galehaut." Who was that, and why was it important to Boccaccio? What message did it convey to his audience?

Galehaut was well-known to the medieval literary crowd as a prince from the Arthurian legends, specifically from the French Lancelot cycle. Galehaut was a half-giant who brings a massive army to challenge King Arthur's rule over Logres. Galehaut's forces are superior, but he is so enamored of the prowess of a Black Knight fighting for Arthur's side that he stops the battle solely for the opportunity to meet this knight and spend time with him. TheBlack Knight turns out to be a young Lancelot, and thus begins a deep friendship between the two, interpreted by some as a strong chivalric bond and by some as a homosexual bond.

Enter Guinevere. Galehaut realizes Lancelot's love for Guinevere, and steps back from Lancelot to avoid being "in the way." Later, when Guinevere is accused oof infidelity to Arthur and flees, Lancelot and she find refuge in Galehaut's castle. Galehaut dies at the age of 39 from his unrequited longing for the man he gave up. He is laid in a magnificent tomb that he had built to commemorate their friendship. Lancelot at his death is also laid in that tomb, side by side with Galehaut.*

Galehaut becomes a symbol of greatness, abandoning one's own desires for the sake of another's. How does this apply to the Decameron

For that, we need to turn to Dante again, and visit the second circle of Hell where we meet two lovers, Paolo and Francesca. Come back tomorrow, and we will start to put it all together.

*Malory changes this story, using the name Galahad.

Sunday, September 17, 2023

Giovanni Boccaccio

Giovanni Boccaccio (1313 - 1375) was eight years old when Dante died, but he revered the man and wrote a biography about him. He even gave a series of lectures in Florence on Dante's works—a first for a non-Classical Era writer. He was more than just a fan of another, however, becoming a treasured poet in hid own right.

Like Dante, Bocaccio wrote in Tuscan vernacular rather than Latin, and he wrote in prose, telling stories that captured the imagination and inspired others, including Geoffrey Chaucer.

Boccaccio grew up in Florence. His father worked for the banking/trading company of the Bardi; Giovanni worked there for a brief time, deciding that it was not a profession to his liking. His father came head of a branch in Naples, taking the family there, and Giovanni persuaded his father to let him study law at what is now the University of Naples (where Thomas Aquinas had been 100 years earlier). Six years of studying canon law taught him that he liked that profession no more than he liked banking.

Two good things came from his time in Naples. One was his love for Fiametta. That was not her name; simply what he called her in his writings. If she existed, she was really Maria d'Aquino, illegitimate daughter of King Robert the Wise of Naples, whom he saw and with whom he fell in love. He wrote a novel about her, and mentions her in many other writings.

The other good thing from his time in Naples was that he began writing. He produced works such as Il Filostrato, about star-crossed lovers during the Trojan War (which became a source for Chaucer's Troilus and Criseyde and Shakespeare's Troilus and Cressida), and Teseida, nominally about Theseus but dominated by the rivalry of two young knights over a woman (and the source of Chaucer's "The Knight's Tale" in The Canterbury Tales).

He also wrote the first Italian prose novel, Il Filocolo, the story (well-known in Europe) of Florio and Biancifiore, two lovers from different stations in life. Fiametta appears as the "queen" of a "noble brigade" who pose questions to each other about love.

Perhaps his best-known work is the Decameron ("Ten Days"), in which a group of young men and women flee who flee Florence during the Black Death to the hills outside, where they spend ten days telling stories. More on that tomorrow.

Thursday, April 14, 2016

Saluzzo and England and Griselda

Saluzzo, a town and principality in northern Italy, had some interesting connections to England. It was a simple tribal city-state in Roman times, but during the time of the Carolingians it became the hereditary property of the Marquesses of Saluzzo, who extended their control over a wider region in the north. It was frequently in conflict with its powerful neighbor, the Duchy of Savoy, which eventually assumed much of Saluzzo's territory. The Savoys were so powerful that the kings of England and France treated them very well.

Griselda's daughter is carried away [source]
One of the first strategic marriages between English and Italian noble families, however, was with Saluzzo. Alice of Saluzzo (d.1292) married Richard Fitzalan, the 8th Earl of Arundel. The marriage had been arranged by Eleanor of Provence, Queen to Henry III. Alice's father, Thomas I of Saluzzo, was an exemplary ruler under whom Saluzzo flourished like never before. This probably had a lot to do with choosing to form an alliance with Saluzzo by marriage.

Not all Marquesses of Saluzzo came off so well in history—or literature.

In Geoffrey Chaucer's Canterbury Tales, The Clerk's Tale tells of Griselda, whose hand in marriage is sought by Marquess Walter of Saluzzo. He marries her on the condition that she will always obey him, no matter what. She agrees. When she gives birth to a daughter, Walter decides to test her obedience: he has a soldier remove her daughter. Although Griselda has every reason to believe her daughter is being killed (actually, the girl is sent to be raised by Walter's sister), she remains obedient and kind to her husband.

Four years later, she gives birth to a son. Walter chooses a further test: he tells her son has to go as well, that he has permission from the pope to divorce her, and that she is to return to her father taking nothing but the smock she wears under her fine dress. She returns home, showing no signs of distress.

Years later, Walter summons Griselda to him. He tells her he is marrying again, a young wife this time, and wants Griselda to help prepare the house for a new young bride. Unbeknownst to Griselda, the new young bride is actually her now-grown daughter. Griselda patiently asks Walter to be kind to his new bride, who might not be able to endure his tests the way a woman raised in poverty could. Walter, much moved by her patience and faithfulness, confesses that they are still married, that her children are alive, and promises never to test her again. They live happily ever after.

Chaucer did not invent this story. He probably got it from Boccaccio's Decameron, and the folktale of patient Griselda was around for a long time. Why the "villain" is a Marquess of Saluzzo is the mystery. But then, not all Marquesses were as beloved as Thomas I.  In Boccaccio's lifetime, Saluzzo experienced some civil strife. Manfred V of Saluzzo was forced to give up a claim to the throne in 1334 after being caught in a sex scandal with his own mother, then usurped the throne in 1341, but was forced to give it up a year later. 

Friday, January 17, 2014

Scholar of the Supernatural

[I am on a brief vacation, so here is a post from the past. This post first appeared 23 August 2012.]

In Dante's Inferno, the eighth circle is reserved for sorcerers, astrologers, and false prophets. There the narrator sees Michael Scot. You might think, if someone were so well-known after his death, that we would know more about him. Well, we know a little, but we have some cool stories.

Michael Scot, depicted here tearing up the Scriptures.*
Michael Scot was no doubt born in Scotland, although other locations (like Salerno and Toldeo) have tried to claim him. Dates of 1175-c.1232 seem to work for what little we know of his life. We know that Pope Honorius wrote to Stephen Langton on 16 January 1223, urging him to grant Scot a religious position, and that Honorius himself nominated Scot for Archbishop of Cashel. If Scot was educated sufficiently to be offered these positions, he would not have lived until 1290, which is the date Sir Walter Scott offers for his death. (Scott was confusing Scot with a Sir Michael Scot who lived later.)

Scot turned down the position in Cashel; it looks like he did hold benefices in Italy, however, spending time in Bologna and Palermo before going to Toledo in Spain. It was probably in Spain that he learned Arabic, which helped get him invited to the court of Holy Roman Emperor Frederick II. Besides translating texts for Frederick, he was a court astrologer, saying of the work:
Every astrologer is worthy of praise and honor, since by such a doctrine as astrology he probably knows many secrets of God, and things which few know.
This was not likely to endear him to the Roman Catholic Church.

Although he was known in his lifetime as a brilliant Aristotelian scholar, and Fibonacci's Liber Abaci was dedicated to him, his books on alchemy and astrology and the occult sciences earned him a reputation for magic. A Bronze Age circle of stones in northwest England called "Long Meg and Her Daughters" was supposedly a coven of witches turned to stone by Scot. Other stories have him hosting feasts served by invisible spirits. Boccaccio refers to him in the Decameron as a magician. It is also told (long after the fact) that he predicted he would die from a small stone falling on his head from a great height. He always wore an iron cap to prevent it, but he removed the cap when entering a church one day (more not to stand out than for reverence of God, we are told), and a small stone of the size he predicted fell on his head. He picked up the stone, recognized that his prophecy was coming true, put his affairs in order, and died of the head wound shortly after! His reputation (helped by the dearth of facts) has made him a prime subject for fiction right up to the present day.

*From a fresco painted between 1366 and 1388 by Andrea Bonaiuti in the Cappellone degli Spagnoli of Santa Maria Novella in Florence. St. Dominic preaches to the crowd.