Giovanni Boccaccio (16 June 1313 – 21 December 1375) was an Italian writer, poet, correspondent of Petrarch, and an important Renaissance humanist. Born in the town of Certaldo, he gained sufficient notoriety to be known simply as "the Certaldese". Boccaccio ranked among the most important figures in the European literary panorama of the fourteenth century. Some scholars (including Vittore Branca) define him as the greatest European prose writer of his time, a versatile writer who amalgamated different literary trends and genres, making them converge in original works, thanks to a creative activity exercised under the banner of experimentalism.
His most notable works are The Decameron, a collection of short stories, and On Famous Women. The Decameron became a determining element for the Italian literary tradition, especially after Pietro Bembo elevated the Boccaccian style to a model of Italian prose in the sixteenth century. Boccaccio wrote his imaginative literature mostly in Tuscan vernacular, as well as other works in Latin, and is particularly noted for his realistic dialogue that differed from that of his contemporaries, medieval writers who usually followed formulaic models for character and plot. The influence of Boccaccio's works was not limited to the Italian cultural scene, but extended to the rest of Europe, exerting influence on authors such as Geoffrey Chaucer, a key figure in English literature, and the later writers Miguel de Cervantes, Lope de Vega, and classical theatre in Spain.
Boccaccio is considered one of the "Three Crowns" of Italian literature along with Dante Alighieri and Petrarch. He is remembered for being one of the precursors of humanism, of which he helped lay the foundations in the city of Florence, in conjunction with the activity of his friend and teacher, Petrarch. He was the one who initiated Dante's criticism and philology: Boccaccio devoted himself to copying codices of the Divine Comedy and was a promoter of Dante's work and figure.
In the twentieth century, Boccaccio was the subject of critical-philological studies by Vittore Branca and Giuseppe Billanovich, and his Decameron was transposed to the big screen by the director and writer Pier Paolo Pasolini.
Childhood and youth, 1313–1330
The details of Boccaccio's birth are uncertain. He was born in Florence or in a village near Certaldo where his family was from. He was the son of Florentine merchant Boccaccino di Chellino and an unknown woman; he was likely born out of wedlock. Boccaccio's stepmother was called Margherita de' Mardoli.
Boccaccio grew up in Florence. His father worked for the Compagnia dei Bardi and, in the 1320s, married Margherita dei Mardoli, who was of a well-to-do family. Boccaccio may have been tutored by Giovanni Mazzuoli and received from him an early introduction to the works of Dante. In 1326, his father was appointed head of a bank and moved with his family to Naples. Boccaccio was an apprentice at the bank, but disliked the banking profession. He persuaded his father to let him study law at the Studium (the present-day University of Naples), where he studied canon law for the next six years. He also pursued his interest in scientific and literary studies.
His father introduced him to the Neapolitan nobility and the French-influenced court of Robert the Wise (the king of Naples) in the 1330s. Boccaccio became a friend of fellow Florentine Niccolò Acciaioli, and benefited from Acciaioli's influence with Catherine of Valois-Courtenay, widow of Philip I of Taranto. Acciaioli later became a counselor to Queen Joanna I of Naples and, eventually, became her Grand Seneschal.
It seems that Boccaccio enjoyed law no more than banking, but his studies allowed him the opportunity to study widely and make good contacts with fellow scholars. His early influences included Paolo da Perugia (a curator and author of a collection of myths called the Collectiones), humanists Barbato da Sulmona and Giovanni Barrili, and theologian Dionigi di Borgo San Sepolcro.
In Naples, Boccaccio began what he considered his true vocation of poetry. Works produced in this period include Il Filostrato and Teseida (the sources for Chaucer's Troilus and Criseyde and The Knight's Tale, respectively), The Filocolo (a prose version of an existing French romance), and La caccia di Diana (a poem in terza rima listing Neapolitan women). The period featured considerable formal innovation, including possibly the introduction of the Sicilian octave, where it influenced Petrarch.
Boccaccio returned to Florence in early 1341, avoiding the plague of 1340 in that city, but also missing the visit of Petrarch to Naples in 1341. He had left Naples due to tensions between the Angevin king and Florence. His father had returned to Florence in 1338, where he had gone bankrupt. His mother may have died shortly afterward. Boccaccio continued to work, although dissatisfied with his return to Florence, producing Comedia delle ninfe fiorentine in 1341 (also known as Ameto), a mix of prose and poems, completing the fifty-canto allegorical poem Amorosa visione in 1342, and The Elegy of Lady Fiammetta in 1343. The pastoral piece "Ninfale fiesolano" probably dates from this time, also. In 1343, Boccaccio's father remarried, to Bice del Bostichi. The other children by his father's first marriage had all died, but his father had another son named Iacopo, who was born in 1344.
In Florence, the overthrow of Walter of Brienne brought about the government of popolo minuto ("small people", workers). It diminished the influence of the nobility and the wealthier merchant classes and contributed to the relative decline of Florence. The city was hurt further in 1348 by the Black Death, which killed some three-quarters of the city population and was later represented in Boccaccio's work The Decameron.
From 1347, Boccaccio spent much time in Ravenna, seeking new patronage and, despite his claims, it is not certain whether he was present in plague-ravaged Florence. His stepmother died during the epidemic and his father was closely associated with the government efforts as minister of supply in the city. His father died in 1349 and Boccaccio was forced into a more active role as head of the family.
Boccaccio began work on The Decameron around 1349. It is probable that the structures of many of the tales date from earlier in his career, but the choice of a hundred tales and the frame-story lieta brigata of three men and seven women dates from this time. The work was largely complete by 1352. It was Boccaccio's final effort in literature and one of his last works in Tuscan vernacular; the only other substantial work was Corbaccio (dated to either 1355 or 1365). Boccaccio revised and rewrote The Decameron in 1370–1371. This manuscript has survived to the present day.
From 1350, Boccaccio became closely involved with Italian humanism (although less of a scholar) and also with the Florentine government. His first official mission was to Romagna in late 1350. He revisited that city-state twice and also was sent to Brandenburg, Milan, and Avignon. He also pushed for the study of Greek, housing Leontius Pilatus, and encouraging his tentative translations of works by Homer, Euripides, and Aristotle. In these years, he also took minor orders.
In October 1350, he was delegated to greet Francesco Petrarch as he entered Florence and also to have Petrarch as a guest at Boccaccio's home, during his stay. The meeting between the two was extremely fruitful and they were friends from then on, Boccaccio calling Petrarch his teacher and magister. Petrarch at that time encouraged Boccaccio to study classical Greek and Latin literature. They met again in Padua in 1351, Boccaccio on an official mission to invite Petrarch to take a chair at the university in Florence. Although unsuccessful, the discussions between the two were instrumental in Boccaccio writing the Genealogia deorum gentilium; the first edition was completed in 1360 and this remained one of the key reference works on classical mythology for more than 400 years. It served as an extended defence for the studies of ancient literature and thought. Despite the Pagan beliefs at its core, Boccaccio believed that much could be learned from antiquity. Thus, he challenged the arguments of clerical intellectuals who wanted to limit access to classical sources to prevent any moral harm to Christian readers. The revival of classical antiquity became a foundation of the Renaissance, and his defence of the importance of ancient literature was an essential requirement for its development. The discussions also formalized Boccaccio's poetic ideas. Certain sources also see a conversion of Boccaccio by Petrarch from the open humanist of the Decameron to a more ascetic style, closer to the dominant fourteenth-century ethos. For example, he followed Petrarch (and Dante) in the unsuccessful championing of an archaic and deeply allusive form of Latin poetry. In 1359, following a meeting with Pope Innocent VI and further meetings with Petrarch, it is probable that Boccaccio took some kind of religious mantle. There is a persistent (but unsupported) tale that he repudiated his earlier works as profane in 1362, including The Decameron.