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The Decameron Italian Decamerondekameron dekamern dekameron or Decameronedekamerone, subtitled Prince Galehaut Old Italian Prencipe Galeottoprentipe aletto prntipe, is a collection of novellas by the 1. Italian author Giovanni Boccaccio 1. The book is structured as a frame story containing 1. Florence to escape the Black Death, which was afflicting the city. Boccaccio probably conceived the Decameron after the epidemic of 1. The various tales of love in The Decameron range from the erotic to the tragic. Tales of wit, practical jokes, and life lessons contribute to the mosaic. In addition to its literary value and widespread influence for example on Chaucers The Canterbury Tales, it provides a document of life at the time. Written in the vernacular of the Florentine language, it is considered a masterpiece of classical early Italian prose. The books primary title exemplifies Boccaccios fondness for Greek philology Decameron combines two Greek words, dka ten and, hmra day, to form a term that means ten day event. Ten days is the period in which the characters of the frame story tell their tales. Boccaccios subtitle, Prencipe Galeotto Prince Galehaut, refers to Galehaut, a fictional king portrayed in the Lancelot Grail who was sometimes called by the title haut prince high prince. Galehaut was a close friend of Lancelot and an enemy of King Arthur. When Galehaut learned that Lancelot loved Arthurs wife, Guinevere, he set aside his own ardor for Lancelot in order to arrange a meeting between his friend and Guinevere. At this meeting the Queen first kisses Lancelot, and so begins their love affair. In Canto V of Inferno, Dante compares these fictional lovers with the real life paramours. Francesca da Rimini and Paolo Malatesta, whose relationship he fictionalises. In Inferno, Francesca and Paolo read of Lancelot and Guinevere, and the story impassions them to lovemaking. Dantes description of Galehauts munificence and savoir faire amidst this intrigue impressed Boccaccio. By invoking the name Prencipe Galeotto in the alternative title to Decameron, Boccaccio alludes to a sentiment he expresses in the text his compassion for women deprived of free speech and social liberty, confined to their homes and, at times, lovesick. He contrasts this life with that of the menfolk, who enjoy respite in sport, such as hunting, fishing, riding, and falconry. Frame storyeditIn Italy during the time of the Black Death, a group of seven young women and three young men flee from plague ridden Florence to a deserted villa in the countryside of Fiesole for two weeks. To pass the evenings, every member of the party tells a story each night, except for one day per week for chores, and the holy days during which they do no work at all, resulting in ten nights of storytelling over the course of two weeks. Thus, by the end of the fortnight they have told 1. Each of the ten characters is charged as King or Queen of the company for one of the ten days in turn. This charge extends to choosing the theme of the stories for that day, and all but two days have topics assigned examples of the power of fortune examples of the power of human will love tales that end tragically love tales that end happily clever replies that save the speaker tricks that women play on men tricks that people play on each other in general examples of virtue. Only Dioneo, who usually tells the tenth tale each day, has the right to tell a tale on any topic he wishes, due to his wit. Many authors have argued that Dioneo expresses the views of Boccaccio himself. Each day also includes a short introduction and conclusion to continue the frame of the tales by describing other daily activities besides story telling. These frame tale interludes frequently include transcriptions of Italian folk songs. The interactions among tales in a day, or across days, as Boccaccio spins variations and reversals of previous material, forms a whole and not just a collection of stories. The basic plots of the stories including mocking the lust and greed of the clergy tensions in Italian society between the new wealthy commercial class and noble families the perils and adventures of traveling merchants. AnalysiseditThroughout the Decameron the mercantile ethic prevails and predominates. The commercial and urban values of quick wit, sophistication, and intelligence are treasured, while the vices of stupidity and dullness are cured, or punished. While these traits and values may seem obvious to the modern reader, they were an emerging feature in Europe with the rise of urban centers and a monetized economic system beyond the traditional rural feudal and monastery systems which placed greater value on piety and loyalty. Beyond the unity provided by the frame narrative, the Decameron provides a unity in philosophical outlook. Throughout runs the common medieval theme of Lady Fortune, and how quickly one can rise and fall through the external influences of the Wheel of Fortune. Boccaccio had been educated in the tradition of Dantes Divine Comedy, which used various levels of allegory to show the connections between the literal events of the story and the Christian message. However, the Decameron uses Dantes model not to educate the reader but to satirize this method of learning. The Roman Catholic Church, priests, and religious belief become the satirical source of comedy throughout. This was part of a wider historical trend in the aftermath of the Black Death which saw widespread discontent with the church. Many details of the Decameron are infused with a medieval sense of numerological and mystical significance. For example, it is widely believedby whom that the seven young women are meant to represent the Four Cardinal Virtues Prudence, Justice, Temperance, and Fortitude and the Three Theological Virtues Faith, Hope, and Charity. It is further supposedby whom that the three men represent the classical Greek tripartite division of the soul Reason, Spirit, and Appetite, see Book IV of Republic. Boccaccio himself notes that the names he gives for these ten characters are in fact pseudonyms chosen as appropriate to the qualities of each. The Italian names of the seven women, in the same most likely significant order as given in the text, are Pampinea, Fiammetta, Filomena, Emilia, Lauretta, Neifile, and Elissa. The men, in order, are Panfilo, Filostrato, and Dioneo. Boccaccio focused on the naturalness of sex by combining and interlacing sexual experiences with nature. Literary sourceseditThe Banquet in the Pine Forest 1. Sandro Botticellis series The Story of Nastagio degli Onesti, which illustrates events from the Eighth Story of the Fifth Day. Boccaccio borrowed the plots of almost all his stories just as later writers borrowed from him. Although he consulted only French, Italian and Latin sources, some of the tales have their origin in such far off lands as India, Persia, Spain, and other places. Some were already centuries old. For example, part of the tale of Andreuccio of Perugia II, 5 originated in 2nd century Ephesus in the Ephesian Tale. The frame narrative structure though not the characters or plot originates from the Panchatantra, which was written in Sanskrit before AD 5. Boccaccio through a chain of translations that includes Old Persian, Arabic, Hebrew, and Latin. Even the description of the central current event of the narrative, the Black Plague which Boccaccio surely witnessed, is not original, but based on the Historia gentis Langobardorum of Paul the Deacon, who lived in the 8th century. Some scholars have suggested that some of the tales for which there is no prior source may still not have been invented by Boccaccio, but may have been circulating in the local oral tradition, with Boccaccio simply the first person known to have recorded them.