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Decameron (novelle scelte) (Audio-eBook)

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Giovanni Boccaccio può essere considerato, insieme con Dante e Petrarca, il più importante autore del XIV secolo, sia in Italia che in tutta Europa. Boccaccio si distingue però dagli altri due per il suo stile centrato su tematiche terrene e per il suo relativo disinteresse per le problematiche morali, religiose, teologiche e politiche. Il Decameron è la più importante ope Giovanni Boccaccio può essere considerato, insieme con Dante e Petrarca, il più importante autore del XIV secolo, sia in Italia che in tutta Europa. Boccaccio si distingue però dagli altri due per il suo stile centrato su tematiche terrene e per il suo relativo disinteresse per le problematiche morali, religiose, teologiche e politiche. Il Decameron è la più importante opera di questo autore: si tratta di una raccolta di cento novelle collegate in una trama narrativa generale. L'interpretazione in voce di sei tra le novelle più conosciute restituirà all'ascoltatore la suggestiva immagine del mondo, vivace e dalle mille sfaccettature, descritto dall'autore. Un Audio-eBook importante per la didattica e per tutti coloro che desiderano conoscere meglio la lingua del 'Bel Paese dove 'l sì suona' (Dante). La lettura è affidata a Moro Silo. Questo Audio-eBook è in formato EPUB 3. Un Audio-eBook contiene sia l'audio che il testo e quindi permette di leggere, di ascoltare e di leggere+ascoltare in sincronia. Può essere letto e ascoltato su eReader, tablet, smartphone e PC. Per i requisiti tecnici e una guida alla fruizione potete consultare la GUIDA ALL'AUDIO-EBOOK per utilizzare al meglio questo prodotto. http://support.ultimabooks.it/knowled...


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Giovanni Boccaccio può essere considerato, insieme con Dante e Petrarca, il più importante autore del XIV secolo, sia in Italia che in tutta Europa. Boccaccio si distingue però dagli altri due per il suo stile centrato su tematiche terrene e per il suo relativo disinteresse per le problematiche morali, religiose, teologiche e politiche. Il Decameron è la più importante ope Giovanni Boccaccio può essere considerato, insieme con Dante e Petrarca, il più importante autore del XIV secolo, sia in Italia che in tutta Europa. Boccaccio si distingue però dagli altri due per il suo stile centrato su tematiche terrene e per il suo relativo disinteresse per le problematiche morali, religiose, teologiche e politiche. Il Decameron è la più importante opera di questo autore: si tratta di una raccolta di cento novelle collegate in una trama narrativa generale. L'interpretazione in voce di sei tra le novelle più conosciute restituirà all'ascoltatore la suggestiva immagine del mondo, vivace e dalle mille sfaccettature, descritto dall'autore. Un Audio-eBook importante per la didattica e per tutti coloro che desiderano conoscere meglio la lingua del 'Bel Paese dove 'l sì suona' (Dante). La lettura è affidata a Moro Silo. Questo Audio-eBook è in formato EPUB 3. Un Audio-eBook contiene sia l'audio che il testo e quindi permette di leggere, di ascoltare e di leggere+ascoltare in sincronia. Può essere letto e ascoltato su eReader, tablet, smartphone e PC. Per i requisiti tecnici e una guida alla fruizione potete consultare la GUIDA ALL'AUDIO-EBOOK per utilizzare al meglio questo prodotto. http://support.ultimabooks.it/knowled...

30 review for Decameron (novelle scelte) (Audio-eBook)

  1. 4 out of 5

    Huda Yahya

    مازلتُ أتذكر اليوم الذي توافرت فيه الديكاميرون أمامي للاستعارة في طبعة ثمينة وبالانجليزية وأنا جد سعيدة أنني تكاسلت عن قراءتها لأنه لا ترجمة مثل ترجمة علماني ولا أظنني كنت لأقرأ هذا العمل مرتين :::::::::::::: تذكرني القصص أو الحكايات كي أكون أدق بغرائب ألف ليلة وليلة وليالي جلوسي جوار أمي أستمع إليها عبر الأثير بآداء لطيف وأحيانا مفتعل لممثلي الإذاعة فقد شعرت أنني عدت بالزمن والحكايات تتابع بحلوها وسخيفها ولكن العامل المشترك هنا هو جاذبية تلك النوعية من الكتب فهي تعيدك بطريقة ما إلى طفولتك وتعطيك جرعة خيال مازلتُ أتذكر اليوم الذي توافرت فيه الديكاميرون أمامي للاستعارة في طبعة ثمينة وبالانجليزية وأنا جد سعيدة أنني تكاسلت عن قراءتها لأنه لا ترجمة مثل ترجمة علماني ولا أظنني كنت لأقرأ هذا العمل مرتين :::::::::::::: تذكرني القصص أو الحكايات كي أكون أدق بغرائب ألف ليلة وليلة وليالي جلوسي جوار أمي أستمع إليها عبر الأثير بآداء لطيف وأحيانا مفتعل لممثلي الإذاعة فقد شعرت أنني عدت بالزمن والحكايات تتابع بحلوها وسخيفها ولكن العامل المشترك هنا هو جاذبية تلك النوعية من الكتب فهي تعيدك بطريقة ما إلى طفولتك وتعطيك جرعة خيال لا بأس بها وفيها من حس الدعابة والمرح ما يسلي ويمضي الوقت :::::::::::::: الكتاب تجربة لذيذة لا تنسى وقد عرفت عنها لأول مرة في مراهقتي من كتب الصديق الوفي أديبنا أنيس منصور ومجددا صالح علماني شكرا دوما على جمالك

  2. 5 out of 5

    Ahmad Sharabiani

    Il Decamerone = The Decameron, Giovanni Boccacccio The Decameron is a collection of novellas by the 14th-century Italian author Giovanni Boccaccio (1313–1375). The book is structured as a frame story containing 100 tales told by a group of seven young women and three young men sheltering in a secluded villa just outside Florence to escape the Black Death, which was afflicting the city. Boccaccio probably conceived of The Decameron after the epidemic of 1348, and completed it by 1353. The various Il Decamerone = The Decameron, Giovanni Boccacccio The Decameron is a collection of novellas by the 14th-century Italian author Giovanni Boccaccio (1313–1375). The book is structured as a frame story containing 100 tales told by a group of seven young women and three young men sheltering in a secluded villa just outside Florence to escape the Black Death, which was afflicting the city. Boccaccio probably conceived of The Decameron after the epidemic of 1348, and completed it by 1353. 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 Chaucer's 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. تاریخ نخستین خوانش: روز هشتم ماه فوریه سال 2018 عنوان: دکامرون ؛ نویسنده: جووانی بوکاچیو؛ مترجم: احمدخان دریابیگی؛ بوشهر، ؟، 1282؛ عنوان: دکامرون - حاوی یکصد حکایت فرح انگیز؛ نویسنده: جووانی بوکاچیو؛ مترجم: حبیب شنوقی؛ تهران، گوتنبرگ، 1338، در دو جلد؛ موضوع: داستانهای نویسندگان ایتالیایی - سد 14 م عنوان: دکامرون - حاوی یکصد حکایت فرح انگیز؛ نویسنده: جووانی بوکاچیو؛ مترجم: محمد قاضی؛ تهران، مازیار، 1379، در 876 ص؛ چاپ دوم 1393؛ شابک: 9789645676108؛ دکامرون، مشهورترین اثر: «جووانی بوکاچیو»، نویسنده ی سده ی چهاردهم میلادی کشور ایتالیاست، که دارای یکصد داستان کوتاه است. «بوکاچیو» این کتاب را، به سبک هزار و یک شب نگاشته است، و مواد خام قصه‌ ها را، از افسانه‌ های: «یونانی»، «رومی»، و دیگر کشورهای مشرق زمین، و گاه، از زندگی روزمره ی مردمان، وام گرفته‌ است. ایشان این کتاب را، بلافاصله پس از شیوع طاعون سال 1348 میلادی، در «فلورانس» نوشتند. چارچوب راویان اصلی دکامرون را، هفت زن، و سه مرد، تشکیل می‌دهند، که برای گریز از بلای طاعون، «فلورانس» را ترک کرده، به خانه‌ های ییلاقی اطراف شهر، پناه می‌برند؛ و در آنجا، برای اینکه ذهن خود را، از آن رخداد دور کنند، به قصه‌ گوئی برای یکدیگر می‌پردازند؛ و چون خـُلق و خوی داستان‌گویان متفاوت است، داستان‌ها دارای گیرائی و تنوع بسیار است. نویسنده ی آشنا به روح بشری، و اشخاص داستان، و قهرمان‌های آن زنده، و پر از شور زندگی، و جانوران داستان‌های «دکامرون» نیز چنین هستند. این کتاب بعدها در ادبیات برخی کشورها، از جمله در انگلستان، مورد اقتباس و تقلید قرار گرفت. بسیاری از نویسندگان، از جمله « ویلیام شکسپیر»، از قصه‌ های آن، برای نوشتن نمایشنامه‌ های خود، سود بردند. نخستین برگردان فارسی «دکامرون»، در دوره ی «ناصر‌الدین‌ شاه قاجار» بود، که «احمدخان دریابیگی» در فاصله ی سالهای 1280 هجری خورشیدی تا سال 1282 هجری خورشیدی، نخست در روزنامه ی: «مظفری بوشهر»، و سپس به صورت چاپ سنگی، و در قطع بزرگ آن را به سال 1282 هجری خورشیدی، چاپ کردند. برگردان دوم، توسط: «حبیب شنوقی» در دو جلد و در یک مجلد، در سال 1338 هجری خورشیدی منتشر شد، و سرانجام ترجمه سوم، که ترجمه ای دقیق و کامل است، توسط زنده‌ یاد: «محمد قاضی»؛ در سال 1379 هجری خورشیدی، در انتشارات مازیار منتشر شد. البته منتخبی از داستانهای دکامرون را نیز، بانو: «طاهره بدیعی» در 70 ص، در سال 1381 منتشر کرده است. عنوان کتاب یعنی: «دکامرون»، از دو واژه ی یونانی «ده»، و «روز»، گرفته شده است. ساختار دکامرون، در سال 1351 میلادی (و یا به روایتی به سال 1353 میلادی) به پایان رسیده است. کتاب با شرحی از وبا (مرگ سیاه) آغاز، و به معرفی «هفت زن» و «سه مرد جوان» میرسد، که از «فلورانس» وبا زده، به دهاتی در حواشی «فیسل»، برای دو هفته، فرار میکنند. برای گذشت زمان، هر شب، همه ی اعضا، هر کدام، داستانی را تعریف میکند. اگرچه چهارده روز میگذرد، دو روز در هر هفته، برای کارهای دیگر اختصاص مییابند: یک روز برای وظایف، و یک روز مقدس، که هیچ کس در آنروز هیچ کاری نمی‌کند. بدینسان در پایان ده روز، صد داستان بازگو میشود. هرکدام از شخصیتها به نوبت به عنوان: «شاه»، و یا «ملکه»، برای یکی از آن ده روز، برگزیده میشوند. وظیفه (شاه و یا ملکه)، شامل: انتخاب موضوع داستان، برای آنروز میباشد، و موضوعات همه ی روزها، به استثنای دو روز، معین میگردند: «قدرت دارایی»، «قدرت خواست آدمی»، «داستانها ی عاشقانه که غم انگیز به پایان میرسند»، «داستانهای عاشقانه که پایانی خوش دارند»، «پاسخهای هوشمندانه ای که جان یک سخنگو را حفظ میکنند»، «حقه هایی که زنان به مردان میزنند»، «حقه هایی که مردم بطور عام به هم میزنند»، و «داستانهایی از عفت و پاکدامنی». تنها «دایو نیو» که هر روز داستان دهم را میگوید، به خاطر ذکاوتی که دارد، حق آنرا دارد، که هر داستانی را که میخواهد تعریف کند. نویسنده های بسیاری، میاندیشند که: «دایو نیو»، نقطه نظرات خود «بوگاچیو» را بیان میکند. هر روز، علاوه بر روایت شامل یک مقدمه و نتیجه مختصر نیز هستند، تا قالب داستانها، به غیر از داستانگویی، و از راه توضیح فعالیتهای روزانه نیز، ادامه یابد. این فاصله ی میان پرده ای، شامل آوازهای محلی (فولکور) ایتالیایی ست. رابطه ی بین داستانهای یکروز، با روزهای دیگر، آنگونه که «بوگاچیو»، رخدادهای پیشین را بهم میتند، یک کلیت را تشکیل میدهند. موضوع پایه ای داستانها: «به ریشخند گرفتن شهوت و طمع کشیشها»، «تنش بین طبقه ی ثروتمند تاجرها و خانواده های اشرافی»، و «خطرات و ماجراجوییهای بازرگانان در سفرهای تجاری» هستند. ا. شربیانی

  3. 4 out of 5

    Renato Magalhães Rocha

    In the 14th century in Europe, during the devastating times of the Black Death, a group of young Florentines - seven women and three men - decide to flee to seek shelter and escape from the plague in a villa outside of the city of Florence. This is the basic frame used by Italian author Giovanni Boccaccio to tell us one hundred tales of life, love and fortune with The Decameron. After leaving the city, in order to pass the time, an idea of telling stories is brought up and each one of the young g In the 14th century in Europe, during the devastating times of the Black Death, a group of young Florentines - seven women and three men - decide to flee to seek shelter and escape from the plague in a villa outside of the city of Florence. This is the basic frame used by Italian author Giovanni Boccaccio to tell us one hundred tales of life, love and fortune with The Decameron. After leaving the city, in order to pass the time, an idea of telling stories is brought up and each one of the young group - Pampinea, Fiammetta, Filomena, Emilia, Lauretta, Neifile, Elissa, Panfilo, Filostrato and Dioneo - must tell one story per day. Starting on the second day, Filomena, who was appointed as the queen of the day - they all took turns into being the queen or king - decided that the stories to be told in each day should all pertain to a theme previously chosen by the one in charge. The only exception to that rule is Dioneo, who asked to have the privilege to be the last one to tell his tale each day and to be freed of the requirement of complying to the day's theme. It's been argued that Dioneo served as a way for Boccaccio to express his own views through his stories. I had a lot of pleasant days in the company of the young Florentines, such as the eighth day, where Lauretta chose as a theme stories of tricks women play on men or that men play on women which, of course, is packed with hilarious stories and clever stratagems; or the last day, when Panfilo asked that tales about deeds of generosity be told. I wonder if Boccaccio intended to leave a hopeful message to his readers after many cases of betrayals and misfortunes. But two days were more enjoyable than others: THIRD DAY As the queen of the day, Neifile ruled that stories where a person has painfully acquired something or has lost it and then regained it should be told for everyone's amusement. In that day, Panfilo narrates a very funny tale (the fourth one) of Dom Felice who, desiring to spend some 'quality time' with Friar Puccio's wife, tells her husband that he should do a penance to gain blessedness. Let's just say that Dom Felice should do a lot of penance after that tale... Other two stories from that early day remained as some of my favorites: FIRST TALE Filostrato tells the story of Masetto da Lamporecchio, a young and handsome man who, deciding to pass as being mute, finds work in a convent of women as a gardener after hearing the old one is no longer there. While working, he is noticed by two of the nuns who, curious to find out what's the sensation of being with a man, decide to lie with him. As word spreads out, Masetto finds himself working very long extra hours. "'Alack!' rejoined the other, 'what is this thou sayest? Knowest thou not that we have promised our virginity to God?' 'Oh, as for that,' answered the first, 'how many things are promised Him all day long, whereof not one is fulfilled unto Him! An we have promised it Him, let Him find Himself another or others to perform it to Him.'" Boccaccio once again writes an humorous tale packed with religious satire and catholic church criticism. Even the abbess, from whom you'd expect better discernment and leadership towards what's rightful, can't help but to share of Masetto's services. TENTH TALE Dioneo tells the tale of a beautiful and young girl named Alibech who, not being religious but hearing many Christians talking about faith and serving God, wished to find out what it was all about. After hearing their response and wandering into the desert in an attempt to become closer to God, she finally meets a monk named Rustico that, tempted by her looks, decided to teach her how to "put the devil back into hell". "Whereupon Rustico, seeing her so fair, felt an accession of desire, and therewith came an insurgence of the flesh, which Alibech marking with surprise, said: 'Rustico, what is this, which I see thee have, that so protrudes, and which I have not?' 'Oh! my daughter,' said Rustico, ''tis the Devil of whom I have told thee: and, seest thou? he is now tormenting me most grievously, insomuch that I am scarce able to hold out.'" This tale was so "graphic" that in John Payne's translation of The Decameron he decided to include Boccaccio's original words instead of translating them, stating that it was "...impossible to render the technicalities of that mysterious art into tolerable English..." FOURTH DAY On the fourth day, Filostrato, who was appointed re del giorno, demanded his friends to tell stories of lovers whose relationship ended in disaster. Fiammetta narrates the first tale of the day, telling the story of Tancredi who, after slaying his daughter Ghismonda's lover, sends her his heart in a golden cup. She, then, decides to fill the cup with poison, drinks it and dies. Among other tragic stories, my favorite is the one that follows: FIFTH TALE Filomena tells the sad story of Lisabetta who has her lover Lorenzo murdered by her brothers. In a dream, he tells her where they buried his body and she decides to take his head and to set it in a pot of basil, whereon she daily weeps a great while. "...nor did she ever water these with other water than that of her tears or rose or orange-flower water." ----------------- Boccaccio's language and wit in writing here is similar to Cervantes in Don Quixote, as he was able to write about violence, sex or even scatological humor, for example, successfully turning those themes into very light reads, making the episodes funny and enjoyable without shocking his readers. Not that he seemed to be in any way afraid of being offensive and raising some eyebrows: his tales about clergyman being deceitful - or "hypocrites", to borrow one of the adjectives he employed in one of the narratives - or nuns having sex seem to be a direct criticism and a mockery to their status as holy people. One of the aspects that really amused me was the role of women in his work. Boccaccio directly spoke to the "gracious ladies" with the words below in the first day, defining them as the main audience to his book. "As often, most gracious ladies, as, taking thought in myself, I mind me how very pitiful you are all by nature, so often do I recognize that this present work will, to your thinking, have a grievous and a weariful beginning, inasmuch as the dolorous remembrance of the late pestiferous mortality, which it beareth on its forefront, is universally irksome to all who saw or otherwise knew it." On the fourth day, once again, he addressed the ladies by writing about having been criticized for liking the ladies too much and thinking solely of pleasuring them with his tales: "There are then, discreet ladies, some who, reading these stories, have said that you please me overmuch and that it is not a seemly thing that I should take so much delight in pleasuring and solacing you; and some have said yet worse of commending you as I do." Setting the discussion aside of why he would include that odd defense (it seems he was being defensive without having been actually attacked?) on Decamerone, I was amazed by the extensive portraits Boccaccio painted of women: they were cunning, sad, some were cheaters, others were passionate, subjugated and the roles go on. For living in a time where men loved - and idolized, and described women as being the most beautiful things to have ever walked on the earth - women so much, constantly elevating them to goddesses status, it seems that Boccaccio masterfully wrote an array of human-like characters with great range of emotions. Film adaptation: there's been many adaptations, but I've only watched one: 1971's Il Decameron by Italian director Pier Paolo Pasolini. Who would be better than the ever so controversial filmmaker to add extra layers of mockery, satire and erotica to Boccaccio's already teasing tales? The director nicely connected nine of the stories through the fifth tale of the sixth day where Pasolini played the painter Giotto. This film is in no way necessary to complement the book, but it was a great one hour and a half of pure fun! Rating: Boccaccio's work proved to be a fine companion as I often read his stories on my commute to work and found myself giggling all the time. I can see myself re-reading some tales from time to time, like you would with a daily reflections book. For that, 4 stars.

  4. 4 out of 5

    Florencia

    After a couple of years, two attempts and two different editions, I have finally finished this book. The first great literary accomplishment of 2016. All I can say is that the history of humanity lies on every page of this book. Virtues and defects that have illuminated and darkened human existence were eloquently expressed by Boccaccio's brilliant pen that concocted, with mastery and otherworldly wit, one hundred tales told by seven young ladies and three young men who, to contextualize this fin After a couple of years, two attempts and two different editions, I have finally finished this book. The first great literary accomplishment of 2016. All I can say is that the history of humanity lies on every page of this book. Virtues and defects that have illuminated and darkened human existence were eloquently expressed by Boccaccio's brilliant pen that concocted, with mastery and otherworldly wit, one hundred tales told by seven young ladies and three young men who, to contextualize this fine collection, fled the magnificent city of Florence (a place I adore and with which I have a bond that goes beyond the origin of my name and ancestry), trying to escape from the Black Death. These stories are mostly about the connections between intelligence and fortune and how the sort of picaresque characters manage to achieve success. Often involving eroticism (Boccaccio must have been the E.L. James of his time but, you know, with writing skills), these tales accentuate the distance from medieval ideals, focusing on the actual human being. Anyway, I started reading this collection in 2013 and failed miserably. Statistics 06/25/2013 marked as: currently-reading 09/22/2013 page 590 64.0% 01/02/2014 marked as: will-i-ever-finish-it 12/10/2015 marked as: started reading from page 1, clandestinely 12/20/2015 marked as: currently-reading, officially 02/13/2016 marked as: finished But, as you see, this year I made it. It ended up being a rather special read for me, since I happen to have a photo of a loyal companion sitting by my side, a devoted witness of my struggle with his beautiful amber eyes on me, which I can only visualize now. (view spoiler)[Hey, he's not dead! He's just not with me anymore. (hide spoiler)] A lovely memory is now attached to this wonderful book. May 9, 16 * Also on my blog. ** Photo credit: Charlie and book / me.

  5. 4 out of 5

    Jan-Maat

    The Decameron is a set of one hundred stories told to each other by a group of ten people, seven women and three men, over ten days. All these stories exist within one story which is about this group of people who come together in Florence during an outbreak of the plague and how they react to it - which is by going off into the surrounding countryside and recreating a kind of temporary Eden outside the ravages of the times. Beyond that there are the author's intentions and his defence of his wo The Decameron is a set of one hundred stories told to each other by a group of ten people, seven women and three men, over ten days. All these stories exist within one story which is about this group of people who come together in Florence during an outbreak of the plague and how they react to it - which is by going off into the surrounding countryside and recreating a kind of temporary Eden outside the ravages of the times. Beyond that there are the author's intentions and his defence of his work, which are a further frame to the whole work. Boccaccio sees stories as a form of education - in this case to teach his reader, which he largely assumed to be women since references to potential male readers are rare, about love. Love is a vague word in English, you can love to have tea with your chips, you might love your dog, or the colour yellow on a bedroom door. None of those feature in the Decameron, love here is of the sexual or occasionally of the romantic kind. The new society of the ten people is based on affinity and trust. They live in common, although apparently using the estates of other people, and they benefit from the labour of servants so this is socially exclusive, unlike The Canterbury Tales in which people come from a mix of social backgrounds. The new society is time bound and intended from the first, like reading itself, to be a temporary respite from events. They have a monarch to rule each day, but each of the ten in turn gets one day to rule One of the advantages of taking part in a group read - like our one of the Decameron - is benefiting from the contributions that all the other readers make. ReemK10 pointed out that that there is a wealth of meaning in the character names and in the complex of numbers (three men and seven women, the importance of ten and so on) but as a reader all of that largely passed me over. The only character who really stood out for me was Dioneo, and not because he was Dionysian but because he got to tell the last story of everyday. This at last was a reference point - everything else was in flux for me. I felt at one moment that Panfilo was an author stand in, but that moment passed and life returned to normal. In other words the Decameron has intricate foundations but they don't interfere with the appearance of the building. For the reader there are simply one hundred stories, divided into ten days set in a framing narrative with some linking text. The stories give an impression of the world view of leisured middle to upper class urban people (socially below the nobility but of high enough status and wealth to be able to look down on people who are overly concerned with business) of mid-fourteenth century north Italy. The geographical scope ranges over the entire Mediterranean, with a couple of stories set in France and England (England is as exotic here as Saladin, a fantasy destination where dreams can become true) there are no stories set in China or other far eastern locations despite The Travels of Marco Polo. The Merchant of Prato gives an idea of just how natural and everyday that geographical scope was to those involved in commerce in Italy at that time. The stories are set throughout history, some in antiquity, others in the recent past, many are roughly contemporary to Boccaccio's time. Boccaccio may not have invented any of the stories. Many are recognisable retellings, and some will in turn be retold by Chaucer in The Canterbury Tales, others like the horrible Griselda story seem to have been widely known at the time and pop up in a variety of sources as a role model for a good woman (see for instance Le Menagier de Paris. In The Canterbury Tales Chaucer reuses and adapts a few stories from Decameron and takes Boccaccio's idea of a framing narrative however he makes an important change. Chaucer's storytellers cover a fairly broad social spectrum (view spoiler)[albeit with a southern English bias (hide spoiler)] , Boccaccio's reflect one view point that of Florentine urban Patrician families. They own landed estates, but don't have aristocratic titles (view spoiler)[ at least not yet, they are probably the kinds of people who with judicious marriages or helpful 'gifts' to the right persons might reasonably hope to acquire one in time (hide spoiler)] , they admire aristocratic values and although their family wealth probably comes from trade and commerce, too pronounced an interest in business is felt to be improper. Being chaste, or more to the point being seen to be chaste, is an important attribute for the women of this class and governs how they are perceived in society. Therefore the ability to conduct extramarital relationships with discretion is lionised. Oddly although their own reputation is important, persuading a servant to have sexual relations with an over eager suitor or to receive a beating in place of the heroine in exchange for a gift such a suit of clothes is seen as laudable, even by a bishop. Morality is a social attribute, what is appropriate depends on the social position of the person, rather than an absolute set of values that is immutable throughout the whole of society (view spoiler)[ and that society is strange to modern eyes, within the stories Sicily and southern Italy are seen as different to northern Italy which is however seen as similar to France, or maybe this is not such an unusual viewpoint after all! (hide spoiler)] Having said that women of a low social class can be exemplary - pre-eminently Griselda, and can have some concern for their virtue, equally the poor (broadly speaking) can be dismissed as simple minded and herd like, ripe to be fooled by any passing quick witted Friar who is prepared to claim that a parrot's feather, in fact, came from an angel's wing. It is difficult, and without doubt very unwise, to do what I am doing and attempt to generalise about one hundred stories told by ten narrators as there always seem to be exceptions and nuances of opinion from one story to the next. Perhaps if read with paper to hand and a pencil behind the ear, setting out in columns the attitudes revealed in each story, patterns might emerge consistent to particular narrators, or maybe that each day had a particular tone. But all of this is perhaps besides the point, this is a compendium of stories. Few if any would have been original to Boccaccio, many have deep roots and have been endlessly retold. What he has done is collect, adapt and present them within the frame work of this group of seven young women and three men moving between various estates, not many miles outside Florence, over a period of a few days while the plague runs it's course within the city. The stories are lively, often funny, and vivid. They feature lecherous men (particularly priests and friars), cunning plans and generally the victory of the witty. Love and Fortune are capitalised and at times appear to be forces in their own right in the universe alongside God (view spoiler)[ like the plague they sweep through society without regard to status or duty (hide spoiler)] and one law of nature seems to be that one woman can keep a man happy but it takes many men to please one woman. This, given the social importance for a woman of appearing chaste, provides drama and humour in many of the tales. Some of the stories have a savage twist (view spoiler)[ not all of which were comfortable reading (hide spoiler)] , not always condemned by narrator or his in book audience, a few see a man getting the woman he wants despite her lack of interest, some marriages are between partners of unequal ages, which doesn't seem to have been particularly unusual for the times, and this can be a narrative driver for the pursuit of extra-marital pleasures. The idea of marriage as a romantic union between two people is a rather unusual one if one takes a broad view of it. Marriage in Boccaccio in common with most of human history is a business like affair, for love to develop in it (or despite it) takes particular skill and the triumph of the witty over the wilful (view spoiler)[ some reminded me of the kind of folktales in which the main character has to complete seemingly impossible tasks (hide spoiler)] . So overall what can be concluded about the Decameron? Perhaps nothing other than that people have to read it for themselves and that it may not be the medieval Europe that you expected to find.

  6. 4 out of 5

    Darwin8u

    “Nothing is so indecent that it cannot be said to another person if the proper words are used to convey it.” ― Giovanni Boccaccio, The Decameron Like The Canterbury Tales, The Life and Opinions of Tristram Shandy, Gentleman, The Arabian Nights: Tales from a Thousand and One Nights, etc., "The Decameron" is an early masterpiece of literature. It is one of those books I avoided because I thought it would be stilted and boring. Hells NASTY Bells was I wrong. Boccaccio is funny, flippant, irreverent, “Nothing is so indecent that it cannot be said to another person if the proper words are used to convey it.” ― Giovanni Boccaccio, The Decameron Like The Canterbury Tales, The Life and Opinions of Tristram Shandy, Gentleman, The Arabian Nights: Tales from a Thousand and One Nights, etc., "The Decameron" is an early masterpiece of literature. It is one of those books I avoided because I thought it would be stilted and boring. Hells NASTY Bells was I wrong. Boccaccio is funny, flippant, irreverent, libidinous, provocative, inspiring, insulting, crazy and always -- always entertaining. 100 stories told during the the summer of 1348 as the Black Death is ravaging Florence (and Europe). Ten aristocratic youths take to the country to escape the death, stink and bodies of the City and to hang out and amuse themselves on stories of love and adventure and sex and trickery. Bad priests, evil princes, saints, sinners, and various twists and turns paints a detailed picture of Italy from over 660 years ago that seems just as modern and funky as today. Things have certainly changed, but lords and ladies it is incredible just how many things have stayed the same.

  7. 4 out of 5

    Bradley

    Amazing. I'm utterly flabbergasted by how good this is. Forty years before The Canterbury Tales took England by storm, a little tiny place called Italy was having a full-blown RENAISSANCE. So why the hell have I been avoiding all these fantastic pieces of art, anyway? Because they're in Italian? For SHAME. Fortunately, this translation is fantastic... and you know what? It really holds up. It has everything a public who wants to be entertained could ever desire. A hundred short stories framed by Amazing. I'm utterly flabbergasted by how good this is. Forty years before The Canterbury Tales took England by storm, a little tiny place called Italy was having a full-blown RENAISSANCE. So why the hell have I been avoiding all these fantastic pieces of art, anyway? Because they're in Italian? For SHAME. Fortunately, this translation is fantastic... and you know what? It really holds up. It has everything a public who wants to be entertained could ever desire. A hundred short stories framed by nobles hiding out while the Black Plague ravages Europe, eating, frolicking, and telling stories every night for ten nights. Do you think a quarantine is a recipe for depression and disaster? Muahahahahaha NO. Let's just put it this way... there's more sex, laughter, trickery, sex, adultery, sex, theft, cons, sex, and hilarious situations in these stories than you'd find in the entire works of Shakespeare. And let's put this in perspective... Chaucer and Shakespeare stole a TON of s**t from Boccaccio. All of it funny and light and clever and wickedly perverse. I always knew that literature, in general, is an incestuous lot, but between these many classic tales of spouses pulling fast ones on each other or selfless tales of true love or steadfastness or tales of corruption, greed, and confidence games, I'm tempted to just throw in the hat and say this guy has it ALL. I know it ain't true. I've read enough Italians from more than a millennia prior to put paid to that idea. But STILL. This is entertaining as hell. And I thought Chaucer was a RIOT, too. It just goes to show... never judge a book by its cover. You might be losing out on some GREAT comedy.

  8. 4 out of 5

    MJ Nicholls

    Permit me to offer another roar of support for reading (The) Decameron. A divine mathematical structure (ten parts of ten chapters with ten characters told over ten days) props up this rollicking ride of classic storytelling. A modern translation (this ed from J.G. Nichols) renders the original in all its libidinous, virtuous mischief, making each page a rapturous pleasure to turn. This book needs no further endorsement from me. Make arrangements to read (The) Decameron before your fatal heart a Permit me to offer another roar of support for reading (The) Decameron. A divine mathematical structure (ten parts of ten chapters with ten characters told over ten days) props up this rollicking ride of classic storytelling. A modern translation (this ed from J.G. Nichols) renders the original in all its libidinous, virtuous mischief, making each page a rapturous pleasure to turn. This book needs no further endorsement from me. Make arrangements to read (The) Decameron before your fatal heart attack.

  9. 5 out of 5

    Fernando

    El “Decameron” de Giovanni Boccaccio es uno de esos libros que pueden incluirse dentro de una tríada junto a “Los cuentos de Canterbury” de Geoffrey Chaucey, y el “Canzoniere” de Francesco Petrarca, verdaderos símbolos de la literatura medieval. En realidad, el Decameron es un libro que se ubica entre la edad medieval y el Renacimiento y es el fiel reflejo del pensamiento europeo del siglo XIV. Boccaccio, digno sucesor de Dante Alighieri y discípulo de Petrarca logró reconocimiento y fama eterna a El “Decameron” de Giovanni Boccaccio es uno de esos libros que pueden incluirse dentro de una tríada junto a “Los cuentos de Canterbury” de Geoffrey Chaucey, y el “Canzoniere” de Francesco Petrarca, verdaderos símbolos de la literatura medieval. En realidad, el Decameron es un libro que se ubica entre la edad medieval y el Renacimiento y es el fiel reflejo del pensamiento europeo del siglo XIV. Boccaccio, digno sucesor de Dante Alighieri y discípulo de Petrarca logró reconocimiento y fama eterna a partir de la publicación de este libro que también generó ciertas polémicas por el subido tono de muchos de sus cuentos. Un punto importante a tener en cuenta es que el libro se ubica históricamente durante la época en que la peste negra o "bubónica" (por la naturaleza de cómo se manifestaba en los enfermos) devastó parte de Asia, Africa y Europa entre 1348 y 1351. Algunos historiadores llegaron a estimar que su avance de la peste negra cegó la vida de veinticinco millones de personas. Bocaccio escribe el “Decameron” entre 1351 y 1353. El libro en sí narra brevemente la historia de siete doncellas (Pampinea, Filomena, Neifile, Fiammetta, Elisa, Lauretta y Emilia) y tres mancebos (Dioneo, Filóstrato y Pánfilo) quienes, escapando de la peste se establecen en un castillo en un campo de las afueras de Florencia y a partir de allí deciden que contar cuentos durante diez días para despejarse y entretenerse hasta que la peste vaya desapareciendo. Cada uno a su turno es proclamado "rey" y este indica el tema o tópico a utilizarse en la narración de los cuentos. Lo más fuerte del libro es precisamente el proemio de Boccaccio puesto que describe con lujo de detalles y en forma muy cruda los efectos de la peste negra en Italia y cuáles son los efectos de esta en los habitantes. El grado descriptivo es realmente escalofriante e increíblemente, parece mentira que semejante inicio cambie radicalmente a partir de los alegres cuentos de estos jóvenes florentinos. La estructura del libro es clara. Posee el proemio escrito por el autor seguido de diez jornadas de cuentos (una por día) de diez cuentos cada una, lo que da un total de cien relatos que el autor describe como ”cien cuentos, fábulas, parábolas e historias o como quieran llamarlas y es correcta esta aclaración puesto que el lector pasa de simples cuentos anecdóticos a mini novelas que involucran historias más complejas. La temática utilizada en las diez jornadas del Decameron es la siguiente: Jornada primera: Cada cual habla de lo que más le agrada. Jornada segunda: Se habla de aquellas personas que, abrumadas por diversos infortunios, consiguen llegar a dichoso término. Jornada tercera: dedicada a quienes con gracia e inteligencia lograron alguna cosa largamente deseada, o recobraron lo que habían perdido. Jornada cuarta: historias de amor con final desgraciado. Jornada quinta: historias de amor con final feliz. Jornada sexta: sobre aquellos que se defendieron con alguna respuesta aguda, evitaron daños y afrentas e hicieron callar a los necios. Jornada séptima: burlas que por amor o por miedo, hacen las mujeres a sus maridos, con o sin el conocimiento de ellos. Jornada octava: burlas que con frecuencia se hacen hombres y mujeres entre sí. Jornada novena: tema libre. Jornada décima: grandes hazañas. Dentro de las distintas temáticas propuestas por los distintos "reyes" de turno, sólo Dioneo es el que está libre de sujetarse a un tópico en especial, por lo que sus historias siempre son las más atractivas. El libro produjo mucho revuelo en su época (consideremos que fue leído por primera vez en 1353) por el alto tono de contenido sexual de muchos relatos, que giran en su gran mayoría en el adulterio, las infidelidades y la corrupción carnal de personas dentro del ámbito eclesiástico (monjas, frailes y ábates) y en otros aspectos hay que resaltar ciertos aspectos extremadamente machistas o misóginos que serían totalmente repelidos hoy en día en el que el la sociedad y especialmente las mujeres de hoy no admite bajo ningún concepto y con justa razón algunas de las discriminaciones expuestas en ciertas historias. El libro fue prohibido durante la Inquisición y todos aquellos lectores que lo tuvieran eran severamente castigados o ejecutados. Una de las historias, que yo defino como la más fuerte y tal vez chocante de la historia en la que una niña de 14 años es prácticamente violada repetidas veces bajo el engaño de "mandar a guardar al diablo en el infierno" por parte de un hombre que no tiene ningún escrúpulo en abusar de ella. Creo que el lector sabrá interpretar la desacertada frase entre comillas. Muchas veces, los finales de los cuentos intentan transmitirle al lector el hecho de gozar esos placeres descriptos en el argumento del mismo, pero es como que precisamente se ofrece seguir el camino del adulterio o la infidelidad, algo que demuestra cierta displicencia de Bocaccio principalmente en la mujer a la que considera bajo el control total del hombre en todos sus aspectos, más allá de considerarla un ser frágil, débil, etc., etc. Creo que esa es la única característica que no comparto para nada del libro. Tal vez pueda aceptarse que es el tipo de pensamiento del hombre medieval y que uno como lector en el siglo XXI sabrá claramente reconocer, pero en algunos cuentos resulta un tanto chocante e innecesario. De todos modos, el tenor de muchísimos otros cuentos es realmente divertido, distendido y en algunos casos, el de las parábolas edificantes para los personajes ofician a modo de redención luego de las penurias sufridas. En el epílogo Boccaccio reconoce que fue atacado por los aspectos que ya comenté, pero en cierta manera se desliga del tema recordándole al lector que puede hacer uso de su libre albedrío y de no leer el Decameron en caso de que éste hiera sus susceptibilidades. Más allá de lo expuesto, creo que el Decameron es uno de los libros fundacionales de la literatura, porque posicionó a Boccaccio en el altar de los más grandes escritores que dio Italia y la literatura mundial, trono que comparte con grandes como Dante Alighieri, Cervantes o Shakespeare, sólo por nombrar algunos de los más insignes.

  10. 5 out of 5

    Emm

    My encounter with this book has been a delightful surprise. Expecting a dry and difficult medieval text, I was shocked to find myself unable to put it down. This is a completely rich text that is complex, yet easy and fun to read. Boccaccio has such a fun sense of humor! I found myself laughing aloud. For me, the dirty stories stole the show, but the other stories by no means fall short. His characters and stories are so richly human and he is able to laugh at them, embrace their flaws, forgive My encounter with this book has been a delightful surprise. Expecting a dry and difficult medieval text, I was shocked to find myself unable to put it down. This is a completely rich text that is complex, yet easy and fun to read. Boccaccio has such a fun sense of humor! I found myself laughing aloud. For me, the dirty stories stole the show, but the other stories by no means fall short. His characters and stories are so richly human and he is able to laugh at them, embrace their flaws, forgive them their hypocrisies. It's too bad we all can't view the world with Boccaccio's humor and sense of reason. As a side note, his description of societal breakdown prompted by the plague is really interesting. I had the simple, but impressive realization that I was reading the actual first hand observations of someone who had lived through THE Plague. It's crazy- and so cool! Admittedly, I know there is a lot of critical study around this text that I am missing and things that I have failed to recognize, but Boccaccio's brilliance lies in the fact that he is able to create a work that is valid and entertaining. It's the perfect combination of study and pleasure. I would re-read this in a heartbeat. I recommend it, especially if you doubt that you will like it. (You will.)

  11. 5 out of 5

    Nikki

    The Decameron is obviously a hugely influential piece of literature (actually, it's just plain huge), so it's no wonder I'd get around to it eventually. I'm not a huge fan of Chaucer, really, but I did recognise a couple of the source texts he used in this, and I imagine that the choice of frame narrative for the Canterbury Tales might've been suggested to Chaucer by The Decameron. Certainly The Decameron was an influence, anyway. The Decameron also inspired a song by one of my favourite singers, The Decameron is obviously a hugely influential piece of literature (actually, it's just plain huge), so it's no wonder I'd get around to it eventually. I'm not a huge fan of Chaucer, really, but I did recognise a couple of the source texts he used in this, and I imagine that the choice of frame narrative for the Canterbury Tales might've been suggested to Chaucer by The Decameron. Certainly The Decameron was an influence, anyway. The Decameron also inspired a song by one of my favourite singers, Heather Dale, 'Up Into The Pear Tree', about Pyrrhus and Lydia and their trick on Lydia's husband. It's a lovely song, playful and quite in keeping with the tone of The Decameron. Despite its length, The Decameron is very easy to read. It's a collection of a hundred short stories -- or perhaps a hundred and one, if you count the frame story -- split into ten 'days' with the conceit that a group of ten young men and women meet outside Florence during the plague years, and to entertain themselves, they elect a king or queen from their number each day, who dictates a theme for the stories that they tell. The stories are quite similar at times, when they revolve around a specific theme, but overall there's a lot of different stories, often funny, and often to do with sex. You get the impression that no women in medieval Italy (with the exception of Griselda and Zinevra) were ever faithful to their husbands! Being a medieval work, it's unsurprisingly not terribly good about subjects like rape or feminine strength. Sometimes it praises women to the skies and at other times blames them for what isn't their fault, or what certainly isn't a fault in all women. Still, it didn't make me uncomfortable most of the time, and there are plenty of clever and strong women in the tales as well. The Penguin translation, by G.H. McWilliam, is extremely good, in the sense of always being very readable and entertaining, rather than dry, and this edition comes with a wealth of notes on context and on each specific story. There are maps and an index, too. Even if you're not reading this for study, it's worth getting -- perhaps especially so, because it explains things clearly no matter what your level of expertise on the subject.

  12. 4 out of 5

    Roy Lotz

    … nothing is so indecent that it cannot be said to another person if the proper words are used to convey it… I did not think that a collection of tales from the late Middle Ages would be so raunchy and ribald. While artisans were busy erecting gothic cathedrals—symbols of humanity’s insignificance before an omnipotent deity—Boccaccio was busy writing this most human of books. Indeed, the Decameron can be seen as the humanistic reply to Dante’s Divine Comedy: a celebration of our very worldlines … nothing is so indecent that it cannot be said to another person if the proper words are used to convey it… I did not think that a collection of tales from the late Middle Ages would be so raunchy and ribald. While artisans were busy erecting gothic cathedrals—symbols of humanity’s insignificance before an omnipotent deity—Boccaccio was busy writing this most human of books. Indeed, the Decameron can be seen as the humanistic reply to Dante’s Divine Comedy: a celebration of our very worldliness. In Boccaccio’s world, the keystone virtue is not holiness nor piety, but cunning; and those who lack it are sure to be the victims of those who possess it. Seen from the present day, Boccaccio’s masterpiece seems progressive in many respects. For one, he treats of nobles and peasants indifferently; and in the final (and incredibly sadistic) story he even asserts that these distinctions are of no importance compared with personal merit. More shocking is Boccaccio’s frank portrayal of female sexuality, something that would be taboo for much of European history. At times Boccaccio even seems like a proto-feminist: Women are central to the book, as Boccaccio frames the collection of stories as a diversion for women who have been forced into idleness by their social position. To be sure, there are many regressive and even alarming views about women mixed in with his more “advanced” ideas; even so, he does a better job than, say, Dickens often does. Another surprising feature of these stories is Boccaccio’s open anticlericalism. The way he speaks of monks and nuns would be scandalous even now. There are many moments in the book in which he seems to be advocating a kind of hippy-ish tolerance for the pleasures of the flesh, condemning all opponents to sensual delight as hypocrites and fools. He even portrays homosexuality as an amusing foible rather than a deadly sin. Considering all this, it is difficult to imagine the reaction if it had been published considerably later. It seems that tolerance does not progress in a neat line. Boccaccio’s chief virtue as a storyteller is his ability to manipulate plot. In this he is the exact reflection of Shakespeare (one of Boccaccio’s borrowers), who had every gift except plot. Boccaccio’s characters are never round nor indeed memorable; they can for the most part be interchanged at random. But each of these 100 tales, with very few exceptions, is thoroughly charming for having all the elements of a good story: a setup (inevitably involving a man and a woman), a problem (normally somebody trying to sleep with someone else), a clever trick to solve it (and a dunce to suffer as a consequence), a dramatic climax (the heroes are almost foiled), and a satisfying conclusion. All together, these 100 stories are a treasure trove which every responsible storyteller must pilfer mercilessly. If you are going on a camping trip, you could do much worse than to bring a copy of the Decameron along for the evenings.

  13. 4 out of 5

    Alex

    In Florence, in 1350, Giovanni Boccaccio writes the Decameron, a collection of 100 stories told ostensibly by a group of noblemen and women hiding in the countryside from the Black Plague, the effects of which are described at the beginning of the Decameron in one of the world’s most horrifying pieces of journalism. The stories themselves are generally bawdy and funny, and in fact this was made into a porno in 1970, and here are some butts to prove it: butts It was influenced in part by the brilli In Florence, in 1350, Giovanni Boccaccio writes the Decameron, a collection of 100 stories told ostensibly by a group of noblemen and women hiding in the countryside from the Black Plague, the effects of which are described at the beginning of the Decameron in one of the world’s most horrifying pieces of journalism. The stories themselves are generally bawdy and funny, and in fact this was made into a porno in 1970, and here are some butts to prove it: butts It was influenced in part by the brilliant collection of Middle Eastern tales, the Arabian Nights. It was a big hit in its time; it was probably read by Chaucer, who probably borrowed parts of it for his great epic The Canterbury Tales. I've read a bunch of non-fiction books recently that at least touch on Italy in the 14th century, and I keep thinking, "Yeah, I understand this from Boccaccio." Corruption in the church, the role of women, the lives of the nobles and the common people... I get a better sense of these things from the Decameron than from the history books. So if Boccaccio's goal was to describe what life was like in his time, from every imaginable point of view, he has nailed it. Some are bawdy and funny, yes, but there are also a number stories about violence and rape. Like II.7, for example, in which a woman is kidnapped and raped by eight different men in succession, and they're often played as sorta funny and I haven't been sure how to deal with that, but it's true that Boccaccio's exposing the darker things that were happening in his time - along with all the other things. It's an unflinching tour, but it's misted by this irreverent tone that throws you off balance. The intro to this edition claimed that Boccaccio was in some ways a sort of feminist, because his female characters are as strong and willful as his male ones, and this is one of the first times we have female characters portrayed as enjoying sex. I see the point, but it's also true that they're handed around like paperbacks pretty often. I've been reminded recently how grotesquely hateful the last story in this collection is, and I feel like it's a public service to warn potential future readers about it: it leaves a very bad taste in your mouth. Horrifically misogynist. Skip it - or at least read it out of order, somewhere around the middle, so it's not your last impression. Apparently Boccaccio himself wasn't crazy about the Decameron, but I think it's pretty dope. Translation Not that I have anything to compare it to, but I found Michael Musa's translation easy to read and entertaining, modern without being over-modern. Thumbs up to that. This is a lot of stories, shit I consulted two different lists of the "best" stories in The Decameron, reading any story that appeared on either list, around 2/3 of them in all. The first was translator Mike Musa's, from the introduction to my edition; the second was Jack Murnighan's, from a book called Beowulf on the Beach, which is fine but Murnighan can be a bit of a twit. Here are the lists: Introduction I Musa: 1 - 3 Murnighan: 1, 5 II Musa: 4 - 7, 10 Murnighan: 1 - 6, 7, 10 III Musa: 1, 2, 9, 10 Murnighan: 1 - 4, 6, 10 IV Musa: Prologue, 1, 2, 5, 9 Murnighan: 1, 5 V Musa: 1, 4, 8 - 10 Murnighan: 4, 9, 10 VI Musa: 1,4,5,7,10 Murnighan: 5, 6, 9 VII: Musa: 2,9,10 Murnighan: 2, 5, 9, 10 VIII: Musa: 3, 5-10 Murnighan: 1, 2, 6 - 9 IX: Musa: 2,3,5,6,10 Murnighan: 2, 3, 6, 7, 9, 10 (Murnighan actually says 9 is "ultra-misogynistic and not to my taste," but after a comment like that you sortof have to read it, right? Turns out it's ultra-misogynistic and not to my taste.) X: Musa: 3,4,8-10 Murnighan: 4, 7, 9, 10

  14. 5 out of 5

    David Lentz

    This great book is set in a country estate outside Florence during a plague. The meaning of the setting was not lost upon me: with death beckoning from all corners, one is wise to enjoy life and pass the hours sharing experience among those about whom one cares. These comic and tragic tales are told in rotation among a group of wealthy people killing time within a garden, a little island of civilization, a little Eden -- paradise. The vast majority of these 100 tales involve amusing stories abou This great book is set in a country estate outside Florence during a plague. The meaning of the setting was not lost upon me: with death beckoning from all corners, one is wise to enjoy life and pass the hours sharing experience among those about whom one cares. These comic and tragic tales are told in rotation among a group of wealthy people killing time within a garden, a little island of civilization, a little Eden -- paradise. The vast majority of these 100 tales involve amusing stories about unworthy men who are not attentive to the needs of their women. In this book the women are ardently pursued by other men who satisfy these women far better and the men roundly receive diverse forms punishment for their folly. Boccaccio could well have provided micro-plots for half the literature of his day, and thereafter, by virtue of his highly inventive story lines. There is a great deal of satire of clergy in diverse positions of power in the church, including insatiable nuns and perverse abbotts looking to overcome the unnatural restraints of their vows of celibacy. Everyone is fair game in this collection of bawdy and irreverent tales, especially the arrogant, proud, unfaithful and powerful. There's little under the surface here except the messages which emerge from the thwarting of immorality but they are amusing and the reading, although voluminous, is good fun. If you like great literature in the long form, then you'll be highly amused by "The Decameron."

  15. 4 out of 5

    Ahmed

    عشر شخصيات،سبع منهم نساء والباقي من الرجال،اهتدى بهم فكرهم للموت الهادئ البعيد عن صخب المدنية وأخطارها المتمثلة في وباء مميت،توافقت ميولهم وأذواقهم وجمعتهم الظروف،اختاروا العزلة وعاشوا في منتجع بعيد،وبدأوا في تسلية وقتهم لتكون أجمل تسلية،فخلال 10 أيام اتفقوا على تخصيص موضوع معين لكل يوم يقص منهم كل واحد قصة قصيرة، ليكون المجمل 100 قصة قصيرة سُجلت بحروف من نور في تاريخ الأدب العالمي واحتلت مكانة بارزة تستحقها،وأتت الأقاصيص جامعة للحب وحس الدعابة والظرف اللامتناهي،وكل يوم كان له عنوان رئيس وموضوع عشر شخصيات،سبع منهم نساء والباقي من الرجال،اهتدى بهم فكرهم للموت الهادئ البعيد عن صخب المدنية وأخطارها المتمثلة في وباء مميت،توافقت ميولهم وأذواقهم وجمعتهم الظروف،اختاروا العزلة وعاشوا في منتجع بعيد،وبدأوا في تسلية وقتهم لتكون أجمل تسلية،فخلال 10 أيام اتفقوا على تخصيص موضوع معين لكل يوم يقص منهم كل واحد قصة قصيرة، ليكون المجمل 100 قصة قصيرة سُجلت بحروف من نور في تاريخ الأدب العالمي واحتلت مكانة بارزة تستحقها،وأتت الأقاصيص جامعة للحب وحس الدعابة والظرف اللامتناهي،وكل يوم كان له عنوان رئيس وموضوع مخصص تدور في فلكه القصص من بنات أفكار الشخصيات،ولأن الكاتب كما يبدو كاره وناقم لتدخلات رجال الدين وازدواجيتهم فسلط عليهم سهام النقد كلما توافرت له الفرصة،ولكن الممتع حقا هو براعة بوكاتشو في تقمص الشخصيات وتعبيره المميز عن مشاعر الأنثى بالذات،وكيف أن الحب غالب في النهاية. العمل ممتع وبديع ومتناسق،خفيف الأثر على الروح جميلها.

  16. 5 out of 5

    Alp Turgut

    Giovanni Boccaccio’nun seven kadınların acılarını hafifletmeyi amaçlayarak yazdığı “Decameron”, Kara Veba, diğer bir değişle Büyük Veba Salgını’nın rönesansa nasıl ön ayak olduğunu ağır din eleştirileri yaparak okuyucuya sunduğu gerçek bir başyapıt. Yedi kadın üç erkek bir araya gelerek on gün boyunca yüz öykü anlattığı eserde papazlar başta olmak üzere insanların tüm kirli çamaşırlarını ortaya döktüğü hikayeler anlatılmakta. Bir yandan güldürürken diğer yandan düşündüren Boccaccio’nun müstehcen Giovanni Boccaccio’nun seven kadınların acılarını hafifletmeyi amaçlayarak yazdığı “Decameron”, Kara Veba, diğer bir değişle Büyük Veba Salgını’nın rönesansa nasıl ön ayak olduğunu ağır din eleştirileri yaparak okuyucuya sunduğu gerçek bir başyapıt. Yedi kadın üç erkek bir araya gelerek on gün boyunca yüz öykü anlattığı eserde papazlar başta olmak üzere insanların tüm kirli çamaşırlarını ortaya döktüğü hikayeler anlatılmakta. Bir yandan güldürürken diğer yandan düşündüren Boccaccio’nun müstehcen diliyle zamanının çok ötesinde bir eser yazdığını belirtmek gerek. Dante’den ilham alarak kendinden sonraki Geoffrey Chaucer, William Shakespeare ve Edgar Allan Poe gibi bir sürü büyük yazara ilham kaynağı olan İtalyan yazarın hikayelerini okudukça insanlığın en şeytani alışkanlığı olan dini bir silah gibi kullanması olgusuna bir kere daha tanıklık ediyoruz. Boccaccio’nun bu konudaki eleştirilerini hiç çekinmeden okuyucuya sunduğunu zaten eseri okudukça görüyorsunuz. Buna ek olarak, ahlak kavramı üzerinde duran eserde doğru ile yanlışın ne olduğunun üzerinde de ciddi bir şekilde duruluyor. Her edebiyat severin kesinlikle okuması gereken kilometre taşı niteliğindeki eseri okuduktan sonra ünlü İtalyan yönetmen Pier Paolo Pasolini’nin 1971 tarihli aynı adlı filmini izlemeyi sakın unutmayın. 25.04.2017 İstanbul, Türkiye Alp Turgut http://www.filmdoktoru.com/kitap-labo...

  17. 5 out of 5

    Katie

    The Decameron, a collection of 100 short (to short-ish) stories told by ten young Florentine men and women during the plague over ten days is a fun if often frustrating bit of fiction. The stories range from the dazzling, creative and surprising to the more rote and uninspired. First the good: there are all kinds of crazy shenanigans going on in throughout the course of the collection, and it’s quite a bit of fun to read stories written almost 700 years ago that ends with wife swapping, threesom The Decameron, a collection of 100 short (to short-ish) stories told by ten young Florentine men and women during the plague over ten days is a fun if often frustrating bit of fiction. The stories range from the dazzling, creative and surprising to the more rote and uninspired. First the good: there are all kinds of crazy shenanigans going on in throughout the course of the collection, and it’s quite a bit of fun to read stories written almost 700 years ago that ends with wife swapping, threesomes, and more torrid love affairs than you’ll be able to keep track of. A couple of endearing recurring characters pop up, namely the endlessly gullible Calandrino and his friends (it’s a loose term) Bruno and Buffalmalco, and Boccaccio is at his best in these stories. The way men and women interact, and are treated by each other, is a fascinating mess of complexities and contradictions. That said, some of the stories are simply not up to the standard of the others. Telling one hundred short stories in one go is an ambitious task for any author to undertake, and when Boccaccio isn’t at his best, it’s noticeable and the pace drags. Some stories are simply too long (Boccaccio himself even anticipated this complaint in his afterward, and states that these stories were designed for noblewomen who really had nothing better to do with their time anyway). And while the framing device is a fascinating concept (ten people escaping tragedy through storytelling), most of the narrators wind up seeming flat and interchangeable. The two exceptions, Dioneo and Philostrato, are occasionally fun or morbid, respectively. But the rest of the cast amounts to repeated iterations of the well-mannered, slightly witty young socialite, and I kept finding myself going back to figure out which narrator was telling which story. It doesn’t particularly damage the individual stories, but it’s quite a bit of wasted potential. The Decameron reminded me more than anything else of Dante’s Divine Comedy. The subject manner and tone are hugely different, with the Decameron more reminiscent of a cocktail party than The Divine Comedy’s theology seminar, but both works are framed by a distinctive and overarching structure. Both works are very, very conscious of time – Dante moves through the clearly delineated circles hell, purgatory and heaven over three distinctive days, with the movement of the sun consistently marked. The storytelling of the Decameron takes places over ten days (with two weekend breaks), with ten narrators per day. But while Dante’s framework gives him a solid platform to which to return after mystical and linguistic leaps, Boccaccio’s is more of a constraint, making a collection of so many varied and lively stories feel restricted and boxed-in. That said, it’s definitely worth a look if you’re at all interested in medieval culture. Given it’s weaknesses, I’d say it’s a great book to read in bits and pieces, a few stories here and there when you’re in the mood.

  18. 5 out of 5

    باقر هاشمی

    حلوای تنتنانی، تا نخوری ندانی دکامرون یکی از نمونههای برجستهی ادبیاتِ تغزّلی و داستان های عاشقانه است. بوکاچیو در این کتاب که در حقیقت یک مجموعه داستان کوتاهِ منسجم به شمار میاد، داستان هایی دربارهی خیانتهای زوجین و عشاق و راه های وصال و فراق و عشقبازی کردنهای اونها رو نوشته. بوکاچیو یکی از دوستان دانته بوده. پیر پائولو پازولینی، بر اساس این کتاب فیلمی به همین نام ساخته که از لحاظ جذابیت اصلاً به پای این کتاب نمی رسه اما در اون فیلم چند داستان رو نشون میده که در نسخه ی فارسی این کتاب سانسور شدهن. ق حلوای تن‌تنانی، تا نخوری ندانی دکامرون یکی از نمونه‌های برجسته‌ی ادبیاتِ تغزّلی و داستان های عاشقانه است. بوکاچیو در این کتاب که در حقیقت یک مجموعه داستان کوتاهِ منسجم به شمار میاد، داستان هایی درباره‌ی خیانت‌های زوجین و عشاق و راه های وصال و فراق و عشق‌بازی کردن‌های اونها رو نوشته. بوکاچیو یکی از دوستان دانته بوده. پیر پائولو پازولینی، بر اساس این کتاب فیلمی به همین نام ساخته که از لحاظ جذابیت اصلاً به پای این کتاب نمی رسه اما در اون فیلم چند داستان رو نشون میده که در نسخه ی فارسی این کتاب سانسور شده‌ن. قسمت‌هایی غیر داستانی از متن کتاب رو برای آشنایی با شخصیت نویسنده اینجا میارم: از این ها گذشته، نمی دانم چه بگویم به کسانی که این همه بر گرسنگی من دل می سوزانند و به من اندرز می دهند که در پی تحصیل نان باشم. البته اگر نیازْ مرا به آن جا بکشاند که بروم و از ایشان چیزی بخواهم نمی دانم چه جوابی به من خواهند داد، و بسیار کنجکاوم که پاسخ آنان را بدانم، لیکن حدس می زنم که به من خاهند گفت: «برو خواسته ات را در قصه هایت بجوی!» و مسلّماً شاعران در داستان های سروده ی خویش بیش از آن یافته اند که بسیاری از ثروتمندان در گنجینه های خود، و حتا بسیاری از شاعران به دنبال سروده های خویش عمری دراز و شکوفان داشته اند، و حال آنکه گروهی بی شما از آزمندان زر اندوز که در کسب سود تابع هیچ عقل و منطقی نبوده و بیماری جمع آوری بیش از نیازِ خویش داشته اند به پیری نارسیده مرده اند. فقر و تنگدستی هیچ گاه نتوانسته است لطمه ای به شرافت و اصالت ذاتی آدمی بزند، و تنها کاری که می کند این است که نمی گذارد آدم ثروتمند باشد. ای دوستان جوان و زیبا روی من{زنانی که با او دوست بوده‌اند}، برخی از خرده‌بینان می گویند که من در این‌که می کوشم خوشایند طبع شما واقع شوم و از شما بسیار خوشم می آید به راه خطا می روم. ولی من با کمال صراحت اقرار می کنم که آری، از شما بسیار خوشم می آید و سخت در تلاشم تا مگر شما نیز از من خوشتان بیاید. و حال از این ناکسان می پرسم که کجای این امر تعجب دارد... من همواره محو تماشای شیوه ی دلپذیر رفتار شما، زیبایی حسد انگیز شما، حسن سلیقه ای که در پوشش و آرایش خود بکار می برید و اصالت و نجابتی که خاصّ شما است بوده ام و هستم... من تا پایان عمرم هرگز شرمنده نخواهم بود از اینکه مطبوع‌طبع لعبتان سیم‌تنی قرار بگیرم که دانته و کاوالکانتی در آن‌دم که سنّ و سالی از ایشان گذشته بود و چینو داپیستوئیا در آن زمان که پیرِپیر شده بود تجلیلشان می کردند و در ستایش حُسن و جمالشان دادِ سخن می دادند. آری، خوشایند طبع بانوان بودن، والاترین آرزوی آن بزرگ مردان بود! زنان در طول عمرم الهام بخش هزاران شعر به من بوده اند، و حال آنکه خدایان شعر و ادب حتا یک بار طبع مرا برنیانگیخته و یک شعر هم به‌ من الهام نبخشیده‌اند. بررسی تطبیقی جووانی بوکاچیو متولد سال 1313 میلادی، و حافظ شیرازی متولد سال 1315میلادی بودن همچنین دانته متولد سال 1265 میلادی، و مولانای متولد سال 1207 میلادی بودن: در زمانی که در فرهنگِ ما اُدَبا ترویج عرفان می‌کردن و از معشوقِ نادیدنی می‌نوشتن، در ایتالیا، نویسنده‌گان و شعرا با نوشتن کتابهایی مثل کمدی الهی و دکامرون با ترویج عشق‌های آسمانی و خرافات مقابله می‌کرده‌ن. چون انگیزه‌ی خودِ من از مطالعه‌ی این کتاب، آشنایی با داستان‌های کوتاهِ کهن بود، سبک داستان نویسیِ بوکاچیو رو مهندسی معکوس کردم و برای خواننده‌ی علاقه‌مند به داستان‌نویسی اینجا میارم بوکاچیو ابتدا به توصیف قهرمانِ داستان می پردازه. سپس به توصیف شرایط حاکم بر محیطی که قهرمان در اون زندگی می‌کنه می پردازه. سپس قهرمانِ دیگر یا قربانیِ داستان رو توصیف می کنه. سپس این دو نفر رو وارد تعلیقی عشقی/شهوانی می کنه. سپس پای فرهنگ و سنّت یا سرپرست‌های قهرمانان{والد/همسر} رو به داستان باز می کنه و تعلیقی اخلاقی بوجود میاره. و در انتها از داستان نتیجه‌ی اخلاقی یا عاطفی می‌گیره. این کتاب مجموعاً از 100 داستان تشکیل شده و به‌قلم محمد قاضی ترجمه و توسط انتشارات مازیار (با حذف 13 داستان) چاپ و منتشر شده.

  19. 5 out of 5

    Bettie☯

    This review has been hidden because it contains spoilers. To view it, click here. (view spoiler)[Bettie's Books (hide spoiler)]

  20. 4 out of 5

    فهد الفهد

    الديكاميرون القرن الرابع عشر، مدينة فلورنس، مدينة الورود كما يوحي اسمها، والأهم مدينة الفن والأدب في إيطاليا، مدينة دانتي وبترارك وجيوفاني بوكاشيو صاحب هذا الكتاب (الديكاميرون) أي (الأيام العشرة) باليونانية، وهي أيام عشرة بالفعل، وبمثابة فصول عشرة للكتاب، الذي يتكئ على الوباء الذي اجتاح فلورنس سنة 1348 م، وقضى على الآلاف من ناسها. في تلكم الظروف المحزنة، يتخيل بوكاشيو شبابا ً عشرة، ثلاثة رجال، وسبع نساء، يتركون المدينة الموبوءة ويلجئون إلى بستان خارجها، حيث يقررون البقاء هناك، بعيدا ً عن مشاهد ا الديكاميرون القرن الرابع عشر، مدينة فلورنس، مدينة الورود كما يوحي اسمها، والأهم مدينة الفن والأدب في إيطاليا، مدينة دانتي وبترارك وجيوفاني بوكاشيو صاحب هذا الكتاب (الديكاميرون) أي (الأيام العشرة) باليونانية، وهي أيام عشرة بالفعل، وبمثابة فصول عشرة للكتاب، الذي يتكئ على الوباء الذي اجتاح فلورنس سنة 1348 م، وقضى على الآلاف من ناسها. في تلكم الظروف المحزنة، يتخيل بوكاشيو شبابا ً عشرة، ثلاثة رجال، وسبع نساء، يتركون المدينة الموبوءة ويلجئون إلى بستان خارجها، حيث يقررون البقاء هناك، بعيدا ً عن مشاهد الموت ورائحة الموتى، يقضي العشرة أياما ً عشرة معا ً، يستمتعون بالمكان، وبالشباب، والأهم بمتعة القص، حيث يتفقون منذ اليوم الأول على أن يروي كلا ً منهم قصة واحدة في كل يوم، في موضوع يحدده من ينصب ملك أو ملكة اليوم، وهذا يعطينا مائة قصة شعبية إيطالية، جمعها بوكاشيو وضمنها في كتابه هذا، وكعادة القصص الشعبي تتناول أغلب هذه القصص الحيل التي يمارسها الرجل أو تمارسها المرأة للإيقاع بالآخر، والقصص الشعبية قصص علاقات، حيث تنسج وتروى لتبرز العلاقات داخل المجتمع، وأحوال الناس، وما يجري لهم، نادرا ً ما تنشغل القصص الشعبية بفكرة أو بفرد، لم يظهر هذا إلا في القصص الحديثة، عندما شعر الكاتب بفرديته، فعبر عنها عن طريق أبطاله. حبكة الديكاميرون، وهذا العدد الكبير من القصص التي تضمها، يستدعي لذاكرتنا مباشرة، ألف ليلة وليلة، كنص عربي استخدم قصة كبيرة، تنثال منها مئات القصص الصغيرة، حيث كانت شهرزاد تدفع السيف عن عنقها عن طريق القص، عن طريق استثارة فضول زوجها السلطان لمعرفة ما الذي سيحدث؟، هذه الشهوة، شهوة القص، وهذا الفضول، فضول أن نعرف ما الذي سيحدث للأبطال الذين تعلقنا بهم، هما المحرك وراء كل هذه الروايات والقصص التي نراها مرصوصة في المكتبات، وكلما نجح الكاتب في إثارة فضولنا، ونقلنا إلى عوالم غريبة ومذهلة، كلما شغفنا بالقصة، وتعلقنا بها أكثر، هذا ما خلق الروايات المسلسلة، هذا ما عقد الحبكات، هذا ما جعل الخيال الإنساني يندفع بحثا ً عن فكرة جديدة، أسلوب جديد، كل هذا لإرواء الشهوة والفضول، وسيف شهريار بالمناسبة لازال مصلتا ً، ولكنه لم يعد سيفا ً واحدا ً، وإنما انقلب إلى سيوف كثيرة، كل قارئ يحمل سيفه، إما أن يرفعه عن الكاتب، ويسعى للحصول على المزيد من كتبه، وإما أن ينزله فيقطع ما بينهما. أبطال بوكاشيو العشرة، فروا من الموت، لا سيف على رؤوسهم، ولكن الموت ليس سيفا ً فقط، الموت رائحة غامضة تملأ الجو، برودة تخترق الجسد، وتسلم الإنسان إلى اليأس، تخيل أنك في مدينة هائلة، مدينة مذهلة، أنجبت عباقرة، مدينة يمكنك أن تجول فيها، فترى في كل زاوية، وفي كل درب من دروبها، آثار من سبقوك من أبنائها، مدينة تعيش فيها، وتعيش فيك، ولكن الموت يفاجئك، لا... ليس موتا ً واحدا ً، وإنما موتا ً يأتي جملة، كل من تعرفهم يموتون، يتساقطون كأوراق الخريف، الأكثر إيلاما ً أنك لا تستطيع حتى الاقتراب منهم، لا تستطيع مشاركتهم لحظاتهم الأخيرة، لطالما تساءلت ما الذي يجعل الإنسان يكافح ليبقى في وجه هذه الجوائح؟ ما الذي يجعل الإنسان يشاهد مدينته تدمر، يشاهد أهلها يتحولون إلى توابيت مسمرة، ويعيش بعد هذا؟ يعيش الحياة بكل تفاهاتها وهمومها الصغيرة؟ ألا يفترض بهم كبير كهذا؟ أن يلغي كل شيء؟ يوقف الإنسان أمام لحظة وجودية خالدة؟ لحظة يتساءل ما الذي بقي لأعيش له؟ من أنا الآن؟ أفكر هكذا، عندما أشاهد المدن المدمرة، بالاحتلال، بالكوارث الطبيعية، آلاف الناس ماتت، ولكن السؤال الكبير، الآلاف الذين بقوا، كيف تجاوزوا أحزانهم؟ كيف يخرج أحدهم من تحت السقف الذي خر عليه بلا انتظار. نعرف كيف فعل بوكاشيو هذا، بالقص، العشرة الذين فروا من فلورنس، كانوا واحدا ً في الحقيقة، رجل قرر أن فلورنس لا يجب أن تموت، فلذا بعث قصصها، وظرافة أهلها ومغامراتهم، سنلاحظ هذا في الأيام الأخيرة من الكتاب، عندما تتركز القصص على الفلورنسيين. عالج بوكاشيو نفسه - كأي أديب - بالكتابة، الكتابة التي تخلق لنا عالما ً آخر، عالما ً جميلا ً، شبان وشابات، يجمعهم الشباب والجمال، يتجولون في حدائق خلابة، يغنون كأنما لا مدينة تموت على بعد كيلومترات قليلة منهم، يقدم لهم خدمهم ألذ المأكولات في كل يوم، ويسلون أنفسهم بالألعاب وبالقصص، نقلة زمنية مذهلة، ليس للكارثة أي صدى، كأنما هي حدث معزول، يحدث في أقاصي الأرض، استخدمت فقط لتوفر لهم هذا الملجأ الفردوسي، ولكن لمَ على الواقع الثقيل أن يمد ظلاله إلى هذه العوالم، ألم تصنع للفرار منه؟ القصص كما قلت من قبل، قصص علاقات غرامية في أغلبها، وسنلاحظ أن الأبطال يحاولون الاحتشام، وعدم إيراد تفاصيل فاضحة، وهو أمر لا ينجح دائما ً، كما سنلاحظ الصورة البشعة لرجل الدين المسيحي في تلكم القصص، حيث يبدو وكأنه لا يتورع عن أي شيء، وهذا كان قبل مارتن لوثر وثورته على الكنيسة بمائة وخمسين عاما ً تقريبا ً، حيث يبدو أن الأحوال ساءت تماما ً. الاختلاف الأساسي الذي سنلاحظه، والذي يفصل أيام بوكاشيو العشرة عن الليالي العربية هو في غياب الفنتازيا، القصص واقعية أو شبه واقعية، لا جن فيها، ولا عفاريت، ولا أي نوع من أنواع الخيالات التي نعرفها في ألف ليلة وليلة، ربما الاستثناء كان إحدى القصص التي ظهرت فيها أشباح، الأمر الآخر هو التشابه الذي سنلاحظه بين بعض قصص الديكاميرون وقصص أخرى قرأنا النسخة العربية منها، مثل هذه القصص أتمنى أن أعرف كيف انتقلت إلينا؟ ما هي الطريق الطويلة التي عبرتها لتتحول من لغتها وثوبها الغربي لتصبح عربية، أم أن الطريق كانت عكسية؟ لا أدري ولكني سأقدم أحدها كمثال. ففي اليوم الثالث تروي القصة الثانية الحيلة التي لجأ لها سائس عند ملك من الملوك، عندما اكتشف هذا الملك أنه عبث بزوجته مستغلا ً الظلام، عندها بدأ الملك يطوف على خدمه، ويتلمس قلوبهم وهم نائمون ليعرف من يتظاهر منهم بالنوم، عن طريق سرعة دقات قلبه، وعندما وصل إلى الآثم المرعوب، وحتى لا يثير فضيحة، جز شعره بحيث يعرفه في الصباح ويعاقبه، ولكن الخادم نهض حالما غادر الملك وقام بجز شعور الخدم كلهم بذات الطريقة، بحيث وجد الملك في الصباح أنه أمام أحد خيارين إما فضيحة، أو السكوت وتجاوز ما حدث. الشكل العربي للقصة قرأته في إحدى أساطير عبدالكريم الجهيمان الشعبية – والذي توفي قبل أيام رحمة الله عليه -، ولكن القصة العربية كانت أفضل بكثير، كانت أطول، والبطل فيها أكثر خبثا ً، حيث قام في البداية بقتل ثور السلطان الذي كان يعيث في المدينة فسادا ً من دون أن يتصدى له أحد، وأخذ لحمه إلى منزله، السلطان الذي اعتبر هذا الفعل تحدي لسلطته، فكر كيف يعرف هوية هذا المجترئ عليه، فكان أن قام كنوع من الحيلة برمي نقود ذهبية في السوق، وقد قدر أن من سيجرؤ على أخذها أمام أعين المحتسبين هو ذاته من تجرأ وقتل ثوره، ولكن الرجل استطاع أخذ النقود بحيلة، حيث وضع في باطن نعليه دبسا ً، جعل النقود تلتصق بهما، عندها أرسل عجوزا ً – والعجائز كن حسب الأساطير الشعبية مباحث ذلكم العصر – جعلت تدور على البيوت تتظاهر بالشحاذة، ولكنها كانت تفتش عن بقايا الثور، وعندما وجدتها، احتال عليها الرجل وأدخلها منزله وأحرقها في تنور بيته، عندها جن السلطان، فاقترحت عليه ابنته أن تحاول هي كشف الرجل بنفسها، من سيجترأ على ابنة السلطان غير هذا الرجل الغامض، وبالفعل خرجت بزينتها إلى السوق، فغازلها الرجل فكانت علامتها التي ستعلمه بها، هي أن أهدت له عطرا ً، دهن به رأسه ولحيته، فتساقط شعره، عرف الرجل أن أول ما يفعله السلطان في الصباح هو البحث عن الرجل الذي فقد لحيته وشعره، فلذا هرع إلى الجامع وصب في ميضأته العطر، وعندما توضأ المؤمنون في الصباح، سقطت شعورهم ولحاهم، عندها أعلن السلطان الأمان للرجل، ووعد بأن يقربه، على أن يأتي إليه ويقدم نفسه، فجاء الرجل، واستخدم ذكائه وحيله ليقبض على ملك عدو للسلطان، كانت هذه الحكاية العربية التي أورقت من تلكم القصة الإيطالية الصغيرة، أليست النسخة العربية أفضل؟

  21. 4 out of 5

    Sergio

    We need tales to survive in this world. To escape the Black Death a group of seven young women and three young men flee to a secluded villa outside Florence. And for two weeks they tell stories - a noble and reasonable way to pass the hard times. Now, The Human Comedy by Balzac comes to mind. In his multi-volume collection, the great novelist was depicting French society of the time. In Boccaccio’s Decameron I find a similar representation of “human comedies”, in a nutshell. The whole collection i We need tales to survive in this world. To escape the Black Death a group of seven young women and three young men flee to a secluded villa outside Florence. And for two weeks they tell stories - a noble and reasonable way to pass the hard times. Now, The Human Comedy by Balzac comes to mind. In his multi-volume collection, the great novelist was depicting French society of the time. In Boccaccio’s Decameron I find a similar representation of “human comedies”, in a nutshell. The whole collection is perfectly balanced. I imagine it as a polyptych painted al fresco by… Botticelli, yes, and in most cases, by Piero della Francesca, as I see it. I hit the button “I’m finished”. Instead, wouldn’t it be right just to “Save Progress”, go back to the beginning and start reading the book again? Our days aren’t much different from those times of the plague…

  22. 5 out of 5

    Scarlet Cameo

    10 personas. 10 días. 10 historias cada uno. Este es de esos libros que leí por primera vez en la escuela y que me gustó tanto que terminé leyendolos completos. Las historias son de calidad variables, hay algunas que sacan carcajadas, otrs un tanto bizarras y algunas muy tediosas, pero como nota común es que manejan cierto nivel de erotismo (adaptado a la época, osea que en realidad no hay nada explícito) y que cada día hay una nueva temática. Cada uno de los días tiene una introducción que es de 10 personas. 10 días. 10 historias cada uno. Este es de esos libros que leí por primera vez en la escuela y que me gustó tanto que terminé leyendolos completos. Las historias son de calidad variables, hay algunas que sacan carcajadas, otrs un tanto bizarras y algunas muy tediosas, pero como nota común es que manejan cierto nivel de erotismo (adaptado a la época, osea que en realidad no hay nada explícito) y que cada día hay una nueva temática. Cada uno de los días tiene una introducción que es de hecho bastante interesante, y los personajes tienen una voz que se reconoce, a pesar de que sus nombres no se quedan tan fijos. Comentario random: En una feria del libro conseguí una edición completa en tapas duras, a $10.00 pesos (algo así como $0.50 de dolar)

  23. 5 out of 5

    Czarny Pies

    So many people have read this book and so many great authors have borrowed from it, that a GoodReads critic really has no choice but to give it 5 stars. My favourite day, is the one dedicated to the theme and I quote: "When they are twenty, they need it plenty." Although, to be honest the book never at any point strays very far from the gutter which explains its perennial appeal. The problem with the Decameron is that people are terrified by the length. They think of the time required to read all So many people have read this book and so many great authors have borrowed from it, that a GoodReads critic really has no choice but to give it 5 stars. My favourite day, is the one dedicated to the theme and I quote: "When they are twenty, they need it plenty." Although, to be honest the book never at any point strays very far from the gutter which explains its perennial appeal. The problem with the Decameron is that people are terrified by the length. They think of the time required to read all 100 stories and back off. I solved the problem by resolving to read ten stories every year and finishing in ten years. Once you do this you can begin without fear of failure. Some people find that it helps to read the book in the Serengetti or at a café beside the Grande Canal of Venice. I read it in the patio in front of my steam bath in the Karelia. I still think that the 10 stories per year plan is the best. It allows you to stay in control of the process. To be honest in the third year, at the steam bath the stories acquired the taste of salty popcorn and I read the last 800 stories in three weeks.

  24. 4 out of 5

    TheSkepticalReader

    I hate to say I abandoned or DNF'd this but I just couldn't read any more. I'm happy to have to read the book til day 7 and story 2. The stories were often repetitive and despite the fact that each day offers a different theme, some of the stories easily overlapped and I got to the point where I have no idea what characters feature in which story or which story is even told by which person. I did try to leave days in between the days and then the stories themselves but overall I am still not in t I hate to say I abandoned or DNF'd this but I just couldn't read any more. I'm happy to have to read the book til day 7 and story 2. The stories were often repetitive and despite the fact that each day offers a different theme, some of the stories easily overlapped and I got to the point where I have no idea what characters feature in which story or which story is even told by which person. I did try to leave days in between the days and then the stories themselves but overall I am still not in the mood to read this entire book. Quite a few of the stories were also either a) just not good or b) not pleasant to read. (Some also made fun of women in such a crude way that it soured me a bit. And yes, I am aware that this is book written in the 14th century, but that doesn't make the reading any easier). I am glad to have read as much as I did and am content to leave it there.

  25. 5 out of 5

    Fede

    Giovanni Boccaccio's "Decameron" is a huge monument to Italy and to Italians - mercilessly, hilariously portrayed as they really are; when it comes to vices and virtues very little has changed in my country in the last seven centuries, you know. It's a great human mosaic. It's like getting lost in the crowd of a street market, in a kaleidoscope of colours and smells and noises and people pushing, screaming, laughing, sweating... mind your bag, by the way - Boccaccio's heroes never miss the chanc Giovanni Boccaccio's "Decameron" is a huge monument to Italy and to Italians - mercilessly, hilariously portrayed as they really are; when it comes to vices and virtues very little has changed in my country in the last seven centuries, you know. It's a great human mosaic. It's like getting lost in the crowd of a street market, in a kaleidoscope of colours and smells and noises and people pushing, screaming, laughing, sweating... mind your bag, by the way - Boccaccio's heroes never miss the chance. "Decameron": 'ten days'. Florence, Anno Domini 1348. The year of the Great Mortality. The plague hasn't spared the Italian peninsula in its devastating journey from the Asian stepppes. Boccaccio happens to be among the witnesses of such dreadful interregnum of death and despair and - in his gorgoeus, unforgettable introduction - he depicts the scenes of insanity and fear taking place in the city: the desperate attempts to survive, the bursts of violence, the courage , the meanness. Most of all, he cries over the spreading amorality of many and praises the heroic generosity of a few kind souls still clinging to their humanity. One day ten youths - three boys and seven girls, whose symbolic names are related to their peculiar qualities - meet in an unidentified Florentine church and decide to escape the city and its dreadful atmosphere. They reach the countryside, that marvellous Tuscan landscape of vineyards and cloisters and orchards, and settle in one of the girls' villa with plenty of flowers, exquisite food, music and games, determined not to be dragged down by the madness of the dying city. As soon as they get there though, our friends have a very good idea: every afternoon they will meet in the garden, where each of them will tell the company a tale. The daily theme of such tales will be picked by the 'leader', a role to be played by everyone in turn. Thus for ten days - hence the title - the plague, the horrors, the decay are left behind and almost fofgotten: all that really matters is the spring, the sun, the cool stream flowing by and the birds singing and chirping all around. Life. As for the stories, the author explores any possible genre and subject... with a penchant for eroticism, of course. One day is dedicated to happy-ending love adventures, to be followed by a gloomy day of love tragedies in which a grand-guignolesque atmosphere prevails. Then we find several tales of adventures, war, dangerous journeys, but also the praise of human industriousness and wit. One of the afternoons is indeed dedicated to the celebration of trickery: tales of adulterous affairs, commercial frauds, religious credulousness ruthlessly exploited by shrewd priests and friars... all quite familiar, isn't it? All in all, Boccaccio seems to master just any narrative technique. Take his love tales, for instance: they range from the innocence of a teenage romance to lots of satirical blasphemy to the most hilarious obscenity. His characters curse, insult each other, tell obscene jokes; their language is the true jargon of the streets. It's the hiss of a woman hiding his lover in a barrel, the whisper of a monk in the confessional, the screams of a raging prostitute and her drunken pimp.... the freshness and spontaneousness of his style are unique, far beyond any tradition - and this particular kind of heterogeneous collection has a very long one, even though only Chaucer will ever achieve, a few years later, such narrative perfection. This book is funny, intriguing, historically interesting, anthropologically unparalleled. It's the gargantuan depiction of a whole people and culture. I guess any non-Italian reader will perceive the atmosphere of the narrow streets of Florence, Naples, Venice - the most recurrent settings of these tales, along with remote lands like China and the Middle East. Moreover, Boccaccio's writing style is so delightfully straightforward that I'm sure nothing gets lost in translation. Forget our 'modern', stereotypical image of the late Middle Ages. Boccaccio's work shows how busy, hectic, lively those days were, when an ambitious middle class was already reshaping Europe: bankers, merchants, craftsmen, city officers were restlessly struggling to emerge and become the pivotal element of a radically new society - the beginning of the humanistic wave that would lead to the Renaissance in less than a century. Perhaps the Middle Ages were not much more afflicted by dirt, violence, famine, religious fanaticism than today's world is, except that nowadays we have learnt either to make them part of the show-business or turn our head and pretend they don't exist. Which is much easier. What these tragedies and ills lack today is only the blatant form in which they were universally known back then. This book is the best example of an intellectually and morally honest attitude toward reality we seem to have lost and need to be reminded of. In fact, no civil or religious institution is spared in these pages. A depraved friar with fake wings fitted on his back introduces himself as an Archangel in order to seduce a Venetian lady; a preacher carries around a box full of ashes, telling the peasants they belonged to a martyr burned by the Romans; a landlord kills his daughter for loving a servant; a female monastery recruits a dumb, young and good-looking male worker for illicit purposes... definitely this book wasn't put on the Index for nothing. This is Boccaccio's "Decameron", and so much more: a diabolically crowded fresco in which the reader loses himself like a time-travelling flaneur. P.S. See also the great film version by Pasolini, set in Naples instead of Florence.

  26. 4 out of 5

    Özgür Daş

    Boccaccio, bu büyük yapıtıyla La Fontaine, Chaucer, de Musset vs. gibi birçok yazarı etkilemiş eserlerinde esin kaynağı olmuştur. Boccaccio Decameron'daki öyküleri, kendi ahlak anlayışı ve erdemleri doğrultusunda kaleme almış ve kitabın sonundaki 'Yazarın Vardığı Sonuç' bölümünde gerekli açıklamasını yapmıştır. Bu durum bazı öykülerde okuyuculara ters gelebilir diye düşünüyorum. Öykülerin azımsanmayacak kadar büyük bir kısmında din adamlarını kıyasıya eleştirmiştir, kitabı kaleme aldığı döneme ba Boccaccio, bu büyük yapıtıyla La Fontaine, Chaucer, de Musset vs. gibi birçok yazarı etkilemiş eserlerinde esin kaynağı olmuştur. Boccaccio Decameron'daki öyküleri, kendi ahlak anlayışı ve erdemleri doğrultusunda kaleme almış ve kitabın sonundaki 'Yazarın Vardığı Sonuç' bölümünde gerekli açıklamasını yapmıştır. Bu durum bazı öykülerde okuyuculara ters gelebilir diye düşünüyorum. Öykülerin azımsanmayacak kadar büyük bir kısmında din adamlarını kıyasıya eleştirmiştir, kitabı kaleme aldığı döneme bakacak olursak bu durum takdire şayandır.

  27. 5 out of 5

    وائل المنعم

    الديكاميرون مثلها مثل ألف ليلة و ليلة حكايات بالأساس و لذلك لا يبحث القارىء عن أو يتوقع حبكة درامية أو أسلوب سرد مميز, ففي القرن الرابع عشر لا يتوقع الكاتب أن ينتشر عمله بالنسخ المطبوعة و إنما بالحكي, و لذلك فتقييم مثل هذه الأعمال يكون بمدى أصالة و طرافة الحكايات, و على هذا الأساس فإن قراءة الديكاميرون متعة و تسلية في نفس الوقت, و هما أقصى ما تسعى الحكايات لتحقيقه. يلفت النظر أن بازوليني في فيلمه الديكاميرون قام بإختيار عدد من الحكايات ليقدمها لنا, و لكنه تجاهل حكاية عندما قرأتها للمرة الأولى ظنن الديكاميرون مثلها مثل ألف ليلة و ليلة حكايات بالأساس و لذلك لا يبحث القارىء عن أو يتوقع حبكة درامية أو أسلوب سرد مميز, ففي القرن الرابع عشر لا يتوقع الكاتب أن ينتشر عمله بالنسخ المطبوعة و إنما بالحكي, و لذلك فتقييم مثل هذه الأعمال يكون بمدى أصالة و طرافة الحكايات, و على هذا الأساس فإن قراءة الديكاميرون متعة و تسلية في نفس الوقت, و هما أقصى ما تسعى الحكايات لتحقيقه. يلفت النظر أن بازوليني في فيلمه الديكاميرون قام بإختيار عدد من الحكايات ليقدمها لنا, و لكنه تجاهل حكاية عندما قرأتها للمرة الأولى ظننت بأنه كاتبها و هي الحكاية العاشرة في الليلة الثالثة - حكاية الراهب و الفتاة أو الشيطان و جهنم.

  28. 4 out of 5

    Argos

    Boccaccio, 1348'de başlayıp, 1351'de bitirdiği Decameron'da (on gün) salgın günlerinde Floransa da yaşanılanları anlatır ve salgından kaçan 10 kişinin 10 gün boyunca anlatığı 100 öykü ile kitabını tamamlar. Her öyküye bir çizim eşlik ediyor. Kitap yazıldığı çağın oldukça ilerisinde bir kitap, din baskısı, ruhban sınıfının rezillikleri, cinsiyet ayrımı sert bazen mizahi dille anlatılır. Yalan, aşk, açgözlülük, sevda, kibir, dostluk, kıskançlık, kurnazlık, cinsel dürtüler gibi insan davranış ve du Boccaccio, 1348'de başlayıp, 1351'de bitirdiği Decameron'da (on gün) salgın günlerinde Floransa da yaşanılanları anlatır ve salgından kaçan 10 kişinin 10 gün boyunca anlatığı 100 öykü ile kitabını tamamlar. Her öyküye bir çizim eşlik ediyor. Kitap yazıldığı çağın oldukça ilerisinde bir kitap, din baskısı, ruhban sınıfının rezillikleri, cinsiyet ayrımı sert bazen mizahi dille anlatılır. Yalan, aşk, açgözlülük, sevda, kibir, dostluk, kıskançlık, kurnazlık, cinsel dürtüler gibi insan davranış ve duyguları hikayelerin ana temalarını oluşturuyor. Hikayeler çok basit, bu nedenle çok hızlı okunuyor, çünkü cümleler ve içerikleri çok sade. Kitabın önemi çevirmenin önsözde belirttiği gibi İtalyanca düz yazı geleneğini başlatması ve kendinden sonraki yıllarda etkili olmasıdır. Bir klasik olduğu için ve son okuduğum “Peynir ve Kurtlar” adlı kitapta adı sıkça geçtiğinden okuma gereksinimi duydum, ancak okumasaydım bir kaybım olmazdı. Beni kitapta etkileyen belki de tek yer yazarın veba salgınını çok iyi anlattığı giriş bölümü oldu. Bu bölümde şu cümleler çok çarpıcı; “veba sal­gını, erkekler ve kadınlara öyle bir korku salmıştı ki, erkek kardeş erkek kardeşten, amca yeğenden, kız kardeş erkek kardeşten, dahası koca karısından kaçar olmuştu. En önemlisi, belki inanmayacaksınız, analar babalar çocukları sanki kendilerinin değilmiş gibi davranıyor, onları görmeye gitmiyor, yardım ellerini uzatmıyorlardı”.

  29. 4 out of 5

    El

    Being stuck on a couch for a day-and-a-half helps finish off books that have been taking too long to read on a regular basis. It was good to polish off Boccaccio. So the plot is pretty easy to understand. It's 14th century Florence, and there's this pesky plague thing (aka, the Black Death) hanging around cramping everyone's style. A handful of folks go off to some safe distance and amuse themselves by telling each other stories - 10 stories a day for 10 days. Cool, right? Almost. The problem is th Being stuck on a couch for a day-and-a-half helps finish off books that have been taking too long to read on a regular basis. It was good to polish off Boccaccio. So the plot is pretty easy to understand. It's 14th century Florence, and there's this pesky plague thing (aka, the Black Death) hanging around cramping everyone's style. A handful of folks go off to some safe distance and amuse themselves by telling each other stories - 10 stories a day for 10 days. Cool, right? Almost. The problem is the stories get a little repetitive and a lot tedious. They are best read as bedtime stories, and not probably as a tear-through-this-book kinda read. The stories range from quite sexual to pure politics to even a wee bit of religion thrown in, though other stories encompass all in one. You think stories of the clergy today are downright nasty? You should see what Boccaccio thought of religion in his day. The best part of this book is that you actually learn quite a bit about Italian history and politics by reading these stories. It's hard to imagine really, especially if you take the stories individually. But as a whole you realize that you're actually a little smarter at the end than you were at the beginning. I can't speak for all the different translations out there of this book, but Mark Musa and Peter Bondanella did a seemingly fantastic job. Their little footnotes were succinct and appropriate, leaving all pretension at the door. I think I just expected something different from this, and that's certainly not Boccaccio's fault. I'm actually more curious about him, The Man Behind the Book, so if someone knows of a decent Boccaccio biography I'm all ears. And I'm glad to have read this now - another one of those Italian heavyweights (aka, Italian Stallions) I can mark off my mental list. But let's be fair, shall we? Boccaccio was no Dante.

  30. 4 out of 5

    Laila

    Uzun zamandır okumak istediğim, sevgili Cemre'nin incelemesini görünce dayanamayıp başladığım kitap Decameron. Faucault Sarkacı'ndan sonra başladığım için ard arda iki yüksek sayfalı kitap okuyorum, boğulur muyum gibi bir endişem vardı ama sayfalar ilerledikçe gördüm ki yanılmışım. Dil oldukça sade ve anlatım çok akıcı, yazıldığı döneme göre bakacak olursak hikayelerde oldukça ağır eleştiriler var. Özellikle Hristiyan papazlara dair yapılan göndermeler döneme ışık tutacak özellikle. Yazıldığı yı Uzun zamandır okumak istediğim, sevgili Cemre'nin incelemesini görünce dayanamayıp başladığım kitap Decameron. Faucault Sarkacı'ndan sonra başladığım için ard arda iki yüksek sayfalı kitap okuyorum, boğulur muyum gibi bir endişem vardı ama sayfalar ilerledikçe gördüm ki yanılmışım. Dil oldukça sade ve anlatım çok akıcı, yazıldığı döneme göre bakacak olursak hikayelerde oldukça ağır eleştiriler var. Özellikle Hristiyan papazlara dair yapılan göndermeler döneme ışık tutacak özellikle. Yazıldığı yıllara dair araştırmalardan sonra hikayelerde anlatılanların çok da gerçek dışı olduğunu düşünmedim. Sadece "bazı" fantastik unsurları masalsı buldum. Bu bölümlerde de sıkıldım diyemem. Öyküler arasında bir bütünlük yok fakat bazı karakterleri başka öykülerde isim benzerliği bile olsa görebilmekteyiz. Bana ilginç gelen şeylerden biri de hikayelerin başında verilen kısa özetler çünkü içinde hikayenin vurucu kısmına dair önemli bilgiler içeriyor. Bu yüzden ilk kraliçenin belirlediği temaya göre söylenen on öyküden sonra bu özet kısımları okumak istemedim. Neler olacağını bilerek detaylarda bir şeyler bulmaya çalışmak bana çok çekici gelmedi açıkçası. Kitabı bitirince "decameron"un "on günün kitabı" anlamına geldiğini öğrendim ki kitap zaten onar öykülük bölümlerden oluşuyor. "Tarihte yazılmış ilk hikaye örneği" olduğunu okumuştum bir yerlerde. Bu bağlamda çok değerli bir eser. Boccacio'nun bu eseri kadınların gönlünü hoş etmek için yazdığı söylense de bence kendini özgür hissetmek ve kalemini kısıtlamalar olmaksızın kullanmak amacıyla yazmış. Kapak için de bir grafiker olarak ayrıca bir kaç söz etme hakkım olduğunu düşünüyorum. Bence bu eserin böyle bir kapağa ihtiyacı yok, zira içinde erotizmi çağrıştıran öyküler olsa da üslup çiğ değil. Yani göze batmıyor... Filmi de çekilmiş, ama izleyeceğimi sanmıyorum. Sayfa sayısının çokluğu sizi ürkütmesin, akıcı, hızla ilerleyen bir eser. Bazı hikayelerin benzerlik taşımasından dolayı ara sıra tekrarlama hissi yaşamış olsam da okumaya geç kalmışım diyebilirim. Kesinlikle tavsiye ederim!

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