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

By Pier Massimo Forni

The Decameron is a story account of a state of affairs during which narration takes place-a selection of 100 tales set inside of a bigger tale. through exhibiting how the Decameron marks a brand new level within the improvement of vernacular realism, Forni additionally charts a brand new direction in Boccaccio feedback. Adventures in Speech maps the cognitive poetic procedures that rule the advanced authorial community of relationships regarding speech, occasion, obtained tradition, and narrative items.

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Additional resources for Adventures in Speech: Rhetoric and Narration in Boccaccio's Decameron

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

What makes a story supportive of the common < previous page page_23 next page > < previous page page_24 next page > Page 24 good is evidently its functioning as an exemplum, its adaptability as a vehicle for wisdom and morality. It is an intuitive truthand one exploited by medieval writers and users of exemplathat an exemplary story which happens to be true, or presented as such, will be more effective. It is also a tenet of classical and medieval rhetoric that a good story (one capable of yielding narrative pleasure) must be true, or at least have an appearance of truth.

The disposition of the material in oppositional and complementary patterns is typical of the organizing and ideological strategy of the book. It is a strategy rooted in the sophistic principle of dual argumentation, and connected to the ambition (which parallels that of Dante's Comedy) to apprehend the world in its totality. Oppositional and complementary patterns are the product of the book's multiple perspective. In the Decameron, the so-called human comedy which responds to the divine one, a democratic visionthe different perspectives of the ten narratorsreplaces the tyranny of the Dantean eye.

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