Download Adventures in Speech: Rhetoric and Narration in Boccaccio's by Pier Massimo Forni PDF

By Pier Massimo Forni

The Decameron is a story account of a scenario during which narration takes place-a choice of 100 tales set inside a bigger tale. by means of exhibiting how the Decameron marks a brand new level within the improvement of vernacular realism, Forni additionally charts a brand new direction in Boccaccio feedback. Adventures in Speech maps the cognitive poetic tactics that rule the advanced authorial community of relationships related to speech, occasion, bought tradition, and narrative items.

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Extra info for Adventures in Speech: Rhetoric and Narration in Boccaccio's Decameron

Sample text

Nello, the relative who informs Tessa of Calandrino's affair, makes explicit reference to that beating when exhorting her to take revenge (IX 5, 5152). Later Tessa, having seen "la Niccolosa addosso, a Calandrino' (IX 5, 62); "Calandrino lying there on his back, straddled by Niccolosa" (708), exclaims: "Alla fé di Dio, egli non era ora la Tessa quella che t'impregnava" (IX 5, 64); "God's faith, it wasn't your wife who was getting you with child this time' (708). This is a reference to the preposterous notion at the core of Filostrato's story in this same Day (IX 3).

Though it possesses a certain degree of autonomy, this story, like every other story in the Decameron, is a tessera in a series of discursive and narrative mosaics. The smallest mosaic in which it finds a place is the cycle of four stories that have Calandrino as their protagonist: Calandrino, and the heliotrope (VIII 3), Calandrino and the stolen pig (VIII 6), Calandrino pregnant (IX 3), Calandrino in love (IX 5). Fiammetta's story can be seen as a reply to those that Elissa, Filomena and Filostrato have already told, not only because of the choice of protagonist, but also because elements from these previous stories are put to use in its configuration.

This is where we are, with the sequence of our storiesFiammetta seems to be saying. And being where we are, this new Calandrino story will be pleasurable, not in spite of our having tapped this source three times before, but for that very reason: a fourth the story is needed to complete the cycle. Just as in stories such as Lisabetta's and Alibech's, Boccaccio plays with the notion of source, he plays here with that of truth. There the offered origin of a popular song and saying was a screen behind which the origin of the story itself could be glimpsed.

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