As well, I would like to mention how Chaucer formally uses Licisca’s interruption at the beginning of Day 6 in the Decameron (Biggs) where the specific narrative framework of that day is intertwined with its specific subject, when Chaucer creates his characters and their tales. Giovanni Boccaccio (J December 21, 1375) was an Italian author and poet, a friend and correspondent of Petrarch, an important Renaissance humanist in his own right and author of a number of notable works, including On Famous Women, the Decameron and his poems in the vernacular. In Medieval Italy, seven young women and three young men flee plague-ridden Florence for the countryside, where, over the course of ten carefree days. Among other points for comparison, I shall be looking at the narrative frames the pilgrim-narrators in Chaucer, who create a polyphonic text the ambiguous, ironic presentation of the “narrator” figure Chaucer, who soon leaves the narrative ordering to the Host. Although “quiting” has been seen, in general terms, as inherent to the construction of literary histories, (how inherited material is recast in new contexts), in Chaucer we find a degree of subversion of Boccaccio’s novella. Il Decamerone di messer Giouanni Bocchaccio nuouamente stampato con tre nouelle aggiunte. I would like to explore to what extent Chaucer’s Tales constitute a “quiting” of the Decameron. “Quiting” implies freeing, responding, retorting. I shall take the idea of “quiting” as proposed in the Prologue to The Canterbury Tales as a possible axis for a comparison of The Canterbury Tales and Il Decameron.
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