![]() ![]() It "takes a set of medieval genres and fills them with Renaissance themes and characters." (xxvi) More women, more merchants, more ribaldry and fewer nobles than before. ![]() These, of course, kept his reputation, more than what Chaucer took from the classical tales and moralistic concerns before and after the hundred tales. Rebhorn reckons that Boccaccio followed the Renaissance-minded Petrarch in turning away from the medieval mindset, as well as the vernacular which Dante had championed, but luckily Boccaccio took time from his classic endeavors to copy his manuscript and to preserve it from a pious mood later in his life when he threatened to burn it and the other salacious or sly stories. Around 1348, nearly half a century after the Commedia took place and the Inferno began, this Florentine set his prose in the wake of the Black Death. of Texas professor emphasizes in his helpful introduction, "being in the middle of things" not only sums up Dante as he started his epic, but Giovanni Boccaccio. This interpreter of Dante a generation before, and friend (or rival?) of Petrarch occupies the third position in fame among the Italians who championed energetic tales and vivid verse. This handsome edition fulfills the need for a brisk American English version of these hundred tales. ![]()
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