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The Decameron: A New Translation (Norton Critical Editions), by Giovanni Boccaccio
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This volume contains twenty-one of the hundred novelle that comprise Boccaccio’s masterpiece.
The stories have been chosen to represent the most notable of the author’s themes and the most characteristic and influential examples of his narrative technique. All are in new translations by Mark Musa and Peter Bondanella which successfully capture Boccaccio’s variations in diction and sentence structure.
"Contemporary Reactions" includes Petrarch’s letters to Boccaccio after completion of The Decameron and the responses of such Italian Renaissance figures as Leonardo Bruni, Filippo Villani, Giannozzo Manetti, and Ludovico Dolce, all of which have been translated for this edition.
"Modern Criticism" includes interpretations by Ugo Foscolo, Francesco De Sanctis, Erich Auerbach, Aldo D. Scaglione, Wayne Booth, Tzvetan Todorov, Robert J. Clements, and Marga Cottino-Jones.
Thomas G. Bergin’s important historical overview is published here for the first time, while Ben Lawton’s study of Pier Paolo Pasolini’s filming of The Decameron and a general essay by the editors were written specially for this volume.
- Sales Rank: #434980 in Books
- Published on: 1977-07-17
- Original language: English
- Number of items: 1
- Dimensions: 8.40" h x .80" w x 5.20" l, .73 pounds
- Binding: Paperback
- 334 pages
Language Notes
Text: English, Italian (translation)
About the Author
Peter E. Bondanella is Professor of Italian Emeritus at Indiana University, an NEH Younger Humanist and Senior Fellow, and the author of Machiavelli and the Art of Renaissance History and Francesco Guiccardini.
Mark Musa is Professor of Italian Emeritus at Indiana University and a Guggenheim Fellow. He has translated Dante’s Divine Comedy and La Vita Nuova and is the author of Advent at the Gates: Dante’s Comedy.
Most helpful customer reviews
1 of 1 people found the following review helpful.
In-depth review: 1977 Norton Critical Edition
By John L Murphy
The first baby steps in Italian prose, away from the mystical, the ascetic, the heavenly, the Papacy towards the sensuous, the sexual, the clever, and the bourgeoisie, were taken by Boccaccio in his hundred tales, Decameron. These lively (if sometimes awkward or hesitantly told) stories reveal everyday men--and many women, at last--keeping up appearances, fooling priests and potentates, and striving to express their fleshly, calculating, and grasping desires. Narrated by seven young ladies and three gentlemen fleeing Florence during the Black Plague of 1348, these clever schemers may succeed or fail, but their ambitions energize these tales. They promote the Renaissance humanist, eager to hear from his peers.
Twenty-one representative novelle were chosen for a 1977 Norton Critical Edition; the somewhat ironically surnamed Francisco De Sanctis sums up their appeal as human comedy: "The flesh entertains itself at the expense of the spirit." Considered in the triad if below Dante, we get the next two conversing, via the letters of Petrarch, who chides his old friend Boccaccio for recanting (I wonder if Chaucer knew this when he abandoned his frame-tale scheme for his Canterbury project?) and threatening in a state of guilt to burn his manuscripts. Colleagues tended in their biographical accounts to admire not these "new" tales so much as his more edifying ones, inspired by the classics.
Later, scholars weigh in. Seeing this was issued in 1977, I'd reckon as with other Norton Critical Editions (yes, this has a few footnotes if not many), that a revision with some newer scholarship might enhance its value. As to what's in this version, I sympathize intuitively with literary historian Ugo Foscolo, who advances the idea of Boccaccio separating his concerns from Church and urging the expression of the female, the mercantile, even the roguish voices, along with those of the elite and the clerics who had long dominated the conversation of who should act how, in fact as well as fable. Erich Auerbach follows with an excerpt from Mimesis analyzing stylistic variety, and Aldo Scaglione takes on nature and love as the concerns supplanting those of piety and renunciation. Wayne Booth explains how Boccaccio tries out both telling and showing as a narrator early in the evolution of a longer set of fictional tales.
Similarly, Tzvetan Todorov as to structure and Robert Clements as to collections illustrate the sorting process within stories and among them. Marga Cottino-Jones argues how patient Griselda's account uses the Christian figurative mode to elevate her status, and how despite however moderns react, for the audience of Boccaccio, such a presence resonated with Christ-like ideals of endurance and sacrifice. Ben Lawton defends Pasolini's 1971 film as true to some of the spirit of the source, even as it skips from a medieval time and place to a jarringly modern one, if but two-thirds of a bold triptych.
Translators Mark Musa and Peter Bondanella, who later published a Signet edition of all hundred stories, conclude by pointing to the meaning of them all. Beyond the purported audience of "idle ladies," the impact of the Decameron reverberates in themes of love, intelligence, and fortune. Instead of God's will governing this universe, men and women seek to procure not heavenly but earthly fame.
9 of 10 people found the following review helpful.
Left me wanting more ...
By doc peterson
Boccaccio's _Decameron_ is a collection of 100 tales: 10 stories told by 10 refugees from the Black Death. This collection only includes 21 of them, which was a disappointment - I had hoped to read all 100. (My mistake for not paying closer attention.) With that said, the selections included were fantastic and certainly whetted my appetite for more.
The literary criticism of the stories was of only passing interest, but did provide some depth to my understanding of the stories, the author and the times.
For those seeking a taste of the Decameron, I highly recommend it. If, like me you were looking for the entire collection, look elsewhere. Regardless, a very worthwhile read.
30 of 34 people found the following review helpful.
The art of storytelling...
By FrKurt Messick
'The Decameron' is a series of 100 stories, ten stories told each night by ten different people who had left the city for a country sojourn to escape a time of plague. Giovanni Boccaccio, an Italian author known as part of the founding trinity of Italian literature (the others are Dante and Petrarca), was born in 1313, and produced most of his literary works by his mid-30s. The ten characters in 'The Decameron' were all young people, much like Boccaccio, and the passions, interests and issues of his own age is illustrated among these folk -- Boccaccio's possibly-fictitious love, Fiammetta, is similarly one of the characters here.
This edition by Norton does not include all 100 stories, but rather 21 selected stories, many of the more popular ones, selected by professors Mark Musa and Peter Bondanella (professors at my university when I was there 20 years ago), who are also known for their editing and translation of works by Dante and Machiavelli. There are selections from each 'day' (set of 10 stories), as well as a few of the extra texts, such as a prologue, introduction, and overall conclusion by Boccaccio. These are edited to fit together, as Boccaccio's tales often would wind from one story to the next, making a selection of disconnected stories difficult in transition without editing.
There are also two different kinds of critical analytical materials included in this Norton Critical Edition. The first includes personal correspondence samples, particularly between Boccaccio and Petrarca; these date even after the writing of 'The Decameron', showing the interest and reactions. These materials include other contemporary and closely-following generations' reactions and influences from 'The Decameron'.
The second part of the critical materials includes more modern scholarship and analysis. These deal with history, philology, philosophy, and other literary criticism topics (structuralism, formalism, rhetoric, etc.). It also includes a study of a film interpretation of 'The Decameron', filmed by Pier Paolo Pasolini.
While purists will probably be disappointed with the abridgement of the text, the essays deal with the whole of the work of 'The Decameron'. Hopefully those who read the stories here will be motivated to continue their reading with a full-copy edition of 'The Decameron'. The translations are interesting and lively, and the stories continue to make connections with audiences today.
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