LA FIAMMETTA

BY

GIOVANNI BOCCACCIO

TRANSLATED BY JAMES C. BROGAN

1907.

INTRODUCTION

Youth, beauty, and love, wit, gayety and laughter, are the component parts of the delightful picture conjured up by the mere name of Giovanni Boccaccio, the prince of story-tellers for all generations of men. This creator of a real literary epoch was born in Paris, in 1313, (in the eleventh year of Dante's exile), of an Italian father and a French-woman of good family. His father was a merchant of Florence, whither he returned with his son when the child was seven years old. The boy received some education, but was placed in a counting-house when he was only thirteen, and at seventeen he was sent by his father to Naples to enter another commercial establishment. But he disliked commerce, and finally persuaded his father to allow him to study law for two years at the University of Naples, during which period the lively and attractive youth made brisk use of his leisure time in that gay and romantic city, where he made his way into the highest circles of society, and unconsciously gleaned the material for the rich harvest of song and story that came with his later years. At this time he was present at the coronation of the poet Petrarch in the Capitol, and was fired with admiration for the second greatest poet of that day. He chose Petrarch for his model and guide, and in riper manhood became his most intimate friend.

By the time he was twenty-five, Boccaccio had fallen in love with the Lady Maria, a natural daughter of King Robert of Naples, who had caused her to be adopted as a member of the family of the Count d'Aquino, and to be married when very young to a Neapolitan nobleman. Boccaccio first saw her in the Church of San Lorenzo on the morning of Easter eve, in 1338, and their ensuing friendship was no secret to their world. For the entertainment of this youthful beauty he wrote his Filicopo, and the fair Maria is undoubtedly the heroine of several of his stories and poems. His father insisted upon his return to Florence in 1340, and after he had settled in that city he occupied himself seriously with literary work, producing, between the years 1343 and 1355, the Teseide (familiar to English readers as "The Knight's Tale" in Chaucer, modernized by Dryden as "Palamon and Arcite"), Ameto, Amorosa Visione, La Fiammetta, Ninfale Fiesolona, and his most famous work, the Decameron, a collection of stories written, it is said, to amuse Queen Joanna of Naples and her court, during the period when one of the world's greatest plagues swept over Europe in 1348. In these years he rose from the vivid but confused and exaggerated manner of Filocopo to the perfection of polished literary style. The Decameron fully revealed his genius, his ability to weave the tales of all lands and all ages into one harmonious whole; from the confused mass of legends of the Middle Ages, he evolved a world of human interest and dazzling beauty, fixed the kaleidoscopic picture of Italian society, and set it in the richest frame of romance.

While he had the Decameron still in hand, he paused in that great work, with heart full of passionate longing for the lady of his love, far away in Naples, to pour out his very soul in La Fiammetta, the name by which he always called the Lady Maria. Of the real character of this lady, so famous in literature, and her true relations with Boccaccio, little that is certain is known. In several of his poems and in the Decameron he alludes to her as being cold as a marble statue, which no fire can ever warm; and there is no proof, notwithstanding the ardor of Fiammetta as portrayed by her lover—who no doubt wished her to become the reality of his glowing picture—that he ever really received from the charmer whose name was always on his lips anything more than the friendship that was apparent to all the world. But she certainly inspired him in the writing of his best works.

The best critics agree in pronouncing La Fiammetta a marvelous performance. John Addington Symonds says: "It is the first attempt in any literature to portray subjective emotion exterior to the writer; since the days of Virgil and Ovid, nothing had been essayed in this region of mental analysis. The author of this extraordinary work proved himself a profound anatomist of feeling by the subtlety with which he dissected a woman's heart." The story is full of exquisite passages, and it exercised a widespread and lasting influence over all the narrative literature that followed it. It is so rich in material that it furnished the motives of many tales, and the novelists of the sixteenth century availed themselves freely of its suggestions.

After Boccaccio had taken up a permanent residence in Florence, he showed a lively interest in her political affairs, and fulfilled all the duties of a good citizen. In 1350 he was chosen to visit the lords of various towns of Romagna, in order to engage their cooperation in a league against the Visconti family, who, already lords of the great and powerful city of Milan, desired to extend their domains beyond the Apennines. In 1351 Boccaccio had the pleasure of bearing to the poet Petrarch the news of the restoration of his rights of citizenship and of his patrimony, both of which he had lost in the troubles of 1323, and during this visit the two geniuses became friends for life. They delved together into the literature of the ancients, and Boccaccio determined, through the medium of translation, to make the work of the great Greek writers a part of the liberal education of his countrymen. A knowledge of Greek at that time was an exceedingly rare accomplishment, since the serious study of living literatures was only just beginning, and the Greek of Homer had been almost forgotten. Even Petrarch, whose erudition was marvelous, could not read a copy of the Iliad that he possessed. Boccaccio asked permission of the Florentine Government to establish a Greek professorship in the University of Florence, and persuaded a learned Calabrian, Leonzio Pilato, who had a perfect knowledge of ancient Greek, to leave Venice and accept the professorship at Florence, and lodged him in his own house. Together the Calabrian and the author of La Fiammetta and the Decameron made a Latin translation of the Iliad, which Boccaccio transcribed with his own hand. But his literary enthusiasm was not confined to his own work and that of the ancients. His soul was filled with a generous ardor of admiration for Dante; through his efforts the Florentines were awakened to a true sense of the merits of the sublime poet, so long exiled from his native city, and the younger genius succeeded in persuading them to establish a professorship in the University for the sole study of the Divine Comedy, he himself being the first to occupy the chair, and writing a Life of Dante, besides commentaries on the Comedy itself.

Mainly through his intimacy with the spiritual mind of Petrarch, Boccaccio's moral character gradually underwent a change from the reckless freedom and unbridled love of pleasure into which he had easily fallen among his associates in the court life at Naples. He admired the delicacy and high standard of honor of his friend, and became awakened to a sense of man's duty to the world and to himself. During the decade following the year 1365 he occupied himself at his home in Certaldo, near Florence, with various literary labors, often entertaining there the great men of the world.

Petrarch's death occurred in 1374, and Boccaccio survived him but one year, dying on the twenty-first of December, 1375. He was buried in Certaldo, in the Church of San Michele