BO CC A C C I O A N D H I S I M I T A T O RS

N I H H I N GE RMA N , E GL S , FRE N C , I H N TA LI A N SPA N S , A D I LI T E RA T U RE

TH E DEC A M ERO N

FLOREN CE NIGHTINGALE JONES

I nst r uctor i n Romance Languages Univ ersi ty qf Illi nois

C HI C A GO

THE UNI V ERSI TY OF C HI C A GO PRESS

1 9 1 0 C OPYRI GHT 1 9 1 0 BY Tm: U NI V E RSI TY OF C HI C A GO

o Published Jannary I 9 I

C omposed and Printed By The U niversit y of C hicagoPress o

lin is U . S . A . C hicago, I l o , PREFAC E

The following list of the imitations of the tales found in the Decomeron is designed to give to the student of comparative literature some idea of the extent to which the novels of Boccaccio were used by later writers as d m d Th imi m l worke ver in o ems dra as an o eras . ese a ateria tobe o t po , , p t o an tions are arranged chronologically and are gr uped by countries. Germ y is placed first as leading all the other countries of Europe in its adapta ’ n En nd come next and hen he h f Boc s es. la s t t ree tio s o caccios tori g , t Latin countries I n thi s list are included all the rose or oetical narratives . p p m mm nl call d imitati n f Boccaccio N or dra as which are co o y e o s o . o attem t i made odiscuss the sources ofthese stories nor tosettle dis uted p s t , p

ue tions uch a whether an author imitated Boccaccio himsel or some q s , s s f imi B ci I i enou h that the lot in all its main eatu tator of occac o. t s g p f res D a r which wa di l or indirec it agrees with the ec meron stoy s rect y tly s source .

Several a em t f his kind have been made be ore : Du Méril in tt p s o t f , “ his H i stoire de la Poési e S candino've has a chapter entitled Des ” é a m i n unl in hi H is S u ce d D c méron t de i itat o s. o s tor o o r s u e ses D p , y f ’ Prose Fiction brings together a number of imitations ; Zambrini s

Biblio ra a Boccaccesca 1 8 is a i subtitle indicates a list of he g fi ( 75) , s ts , t “ Edizi ni d ll di i vanni Boc acci latine vol ari tradott o e e opere G o c , g , e et ” orm v l di u n arat stories of th Deca trasf ate . Se era stu es po sep e e meron

have been ubli hed such as that of Auschtitz N ovelte vom Fatken und p s , , i hre Verbreihm in der Li teratur and that of Schofield on the S eventh N eve! g ,

he S ev l has studied the influence of the talian of t enth Day . Koeppe I novel on the English literature of the sixt eenth century and Bourland the Dec on in aluable he e con ribu ion h v history of the amer in Spa . V as t s t t s a e ’ been for the fuller understanding of the extent of Boccaccios influence u n Eur ean literature it is ho ed that the results arrived at b those who po op , p y have thus studied the sub ect in certain as ects ma be of increased value j p , y , by being brought into comparison with those reached by other students fi ld in the same e . If the list of Boccaccio imitations which is here presented is a longer

l t than that iven b unlo Du Méril and Zambrini it is because is g y D p , , , within the last twenty-fi ve or thirty years a number of studies on Boccaccio v ared imila tothose mentioned above the results of which have ha e appe s r , l Nei he unl n r Zambrini hav been utilized in the following tab es. t r D op o e given a chronologically arranged list sumciently complete to furnish the student of comparative literature with the data which are necessary in iii iv BOCCACCIO AND HI S IMI TATORS order to arrive at an adequate idea of the extent towhich Boccaccio was imi at d in in cent in a cert n countr r h t e a certa ur ai o b a certain aut or . y, y, y A general view of the subject is often necessary to decide whether an author drew his ins iration rom Boccacc m m th p f io or fro so e o er source . The fact that six stories in the Canterbury Tales resemble those of the Decameron would certainly indicate that Chaucer had some acquaintance i h h b k w t t e oo .

Over ei ht hundred imitations are here brou ht to ether but the list g g g , does not include those ound in Scandinavian literature which would brin f , g num r h nd I t o d th t t w l the be up to at least a t ousa . is h pe a the lis il be ound reasonabl accurate but in all robabilit errors will be ound since f y , p y f , many of the works referred to could not be consulted and the so-called imitations had tobe accepted upon the authority of those who have con h m A ar lac d be h dat indicates h h imi a i n sulted t e . st p e fore t e e t at t e t t o ’ ha n v ifi d n f a w k I n n c nl d s s bee er ed by rea i g o the uthor s or . o e ase o y oe the star indicate second - t knowledge of the story and that is in the case of several Spanish authors where the outli ne of the story is given so fully by Miss Bourland as toleave nodoubt as toits similarity with the D to t i I n ecameron stor . As he dates it s ho ed that he are co t . y , p t y rrec eneral the date iven is the one which i believed tobe that of the first g , g s lic a nce of the work n m nu n I n h c of pub appe ra i a script or i print . t e ase ’ ’ some collections like Von der Hagen s Gesammtabentener or Lami s N ovelle letter ri e this rule ha not en llowed Wh er he ori in a s be o . eth t s es hese , f t t collections antedated Boccaccioor not their ublication in the nineteenth , p century may fairly entitle them tobe imitations of Boccaccio in the sense that they are thus brought before the modern reading public for a second

I t has seemed best not to incumber the following list with detailed nc w k w ic imi n cur Th ti l far as re ere es tothe or in h h the tatio oc s. e t e so f , it indicates the character of the stor has been iven whenever ossible y, g p , but re erences toeditions volumes a es would de eat the ob ect aimed at f , , p g , f j , which is tobrin to ether in the smallest com ass ossible the imitations g g , p p , f h Decam on in Eur n li e A fo cknowled men ofindebt o t e er opea t rature . s r a g t edness toothers the Biblio ra h ives the inci al source rom which this , g p y g pr p s f li h en made A a n h h ex d ha h li t n st as be up . g i t e ope is presse t t t e s is reaso w i w l . a n f h ic ab accurate i e . ccurate e ou h or t e ur ose for h h t as y , , g p p ’ intended tobrin to ether in a or ofbird -e e-view all fthe reworkin s , g g s t s y o g of the stories of the Decameron in rose or verse which number nearl , p , y a thousand and which form noinconsiderable part of the literature of the n w i six ce turies which ill soon have elapsed since the birth of Boccacc o. B D H M A O THE D C AM ON OC C AC C IO AN I S I IT T RS . E ER

If a twentieth-century playwright were to sit down with the Bible and the Decameron before him from which toselect plots towork over for the entertainment of the ublic the ver roximit of the twobooks would be p , y p y c id red c I n he ix n h c n r h w v n i ons e sa rile ious. t s tee t e tu o e er oless ous g y, , p a person than Hans Sachs drew almost equally from these twoworld-famed story-books for subjects for his poems and plays without shocking the good citizen fNurem r in h l t I n En land h w m elin s o be t e eas . t ere as the sa e e g g , f g “ in regard toBoccaccio; Roger Ascham complains bitterly of the Itali an “ ated En lishmen ofhi time whomake more account of a ale in Bocace g s , t ” n Bi N e t- k f his ri w com l t tha a story in the ble . o j s boo o t pe od as p e e without some stories rom the Decameron and Shaks ere Greene and Ben f , p , ,

n w n i n - h w son all dre u o the tal a or tellers for los. S ani riter Jo p I st y p t p s s, D l L i too used the ecameron ree . o e de e a wa too rolifi c a wr ter , f y p V g s p not to seize u on all the available material of his time for lots but the p p , fact that he took eight of them from Boccacciomust not be att ributed so much tolack of other material as tothe great popularity whic h Boccaccio en o d in j ye Spain .

I n tal Ser Giovanni Sercambi and Sac hetti whose collec ions of I y, , , c , t narratives all a eared be ore the close of the ourteenth centur retold pp f f y, many of the Decameron stories and from them the fashion spread toEng land where Chaucer was in spired towrite his Canterbury Tales in imitation of h I i n n t e tal a ovelists .

urin the fi teenth centur Boccaccio had w imit r Antoine D g f y fe ato s. de la Sale in hi ent N ouvelles N ouvelles imi ated he ramew rk , s C t t f o and a few f he inciden he Decameron wh a w k h o t ts of t , ile fe stories li e t ose

ri lda n hi n c of G se a d G smo da were retold in every oun try of Europe . The be innin of he ix een h cen ur however aw a Boccacciorenaissanc g g t s t t t y, , s e which appears tohave been most flouris hing in Germany under the leader shi of Hans Sachs who ound in the Decameron ma erial for more than p , f t ix S chw e Fastnachts i le and Mei st r esdn I n a s t nk e e e. he latter rt y a , p , g g t p of he cen u A a drama ized hal a dozen mo orie t t ry yrer lso t f or re of the st s. Numberless jest -books were compiled in imitation of the Decameron and ’ contained man of it narratives such as Pauli S chi m and Ernst 1 2 2 y s , s pf ( 5 ) early in the century and the five collections which appeared from about ’ ’ ’ 1 6 o1 66—Kirchof Wendunmuth Lind ner R it hlei n Wickram s 55 t 5 s , e s astb c , ’ ’ Rollwa en Schuman s N achtbitchlei n nd M r in M n nu s rten g , , a a t o ta s Ga BOCCACCIO AND HI S IMITATORS

s Ev n Lu h m gesell chaft . e t er ade use of some of these stories in his ’ T hr e I n n d P n o P initi isc ed n. E lan ai ter s Pal ace leasure ated a e f g , f seri s o i ti n k im ta o s of Boccaccio. This boo which amon man oher tale rom , g y t s f the I talian novelis ts contains sixteen rom the Decameron ranks as more f , than a mere translation and r tl influenced h Eliz n dra g ea y t e abetha matists . ’ I t was ollowed in 1 6 b Turberville s Tra ical Tales containin a num f 57 y g , g r of tical transla ions and b that curiou imita ion of B caccioand be poe t , y s t oc ’ ' Tar n r i d ante leta s N ewes out o Pu aton e. I n France N col e Tro es D , f g , as y , wh Grand Paran on de N on'oelles was ubli hed in 1 6 retold almost ose g p s 53 , m H as man tories as Hans Sachs but in rose or . enri E tienn in hi y s , p f s e, s ’ o r H er m r r Boccaccio A lo ie ou odote so e ea s later etells s tales in rose . p g p y , p The turn of France was tocome in the following century when La Fontaine retold in poetical form twenty or more stories with such art that it is hard w m nd w totell hich is the aster a hich is the pupil . The I talian novelists of the sixteenth century are too numerous and w known n mo h n m n n P bosco C inthio too ell to eed re t a a assin e tio . ara p g , , Grazzini Bandello Stra arola and Males ini —all of them included a , , p , p ’ w f B caccios ries in thei own c n The m bold- aced fe o oc sto r ollectio s. ost f borrowin however was racticed b Sansovino who included a lar e g, , p y , g ’ number of Boccaccios stories in his C entoN o'velle S celte and then refused know h d The irn o nce f hi coll i n however lies toac led e t e ebt . rta o t s ect o g p , , — ’ in the date when it was published (1 566) the same year in which Painter s ’ ’ P Pleasur a r d in En land Tirnon a Patranuelo nd Ali mo alace of e ppea e g , ed s a ’ de C ami nantes in S ain Estienne A olo i e our H erodote in France p , s p g p ,

nd a f w ear be ore of numerous est - ks in German Thi ar a e boo . s e , y s f , j y y . then ma be said to mark the culmination of the revival of interest in , y n r I n th ar f h v n n h Boccaccio in the sixteenth ce tu y . e e ly part o t e se e tee t century Lope de Vega wrote eight dramas based upon the Decameron and a few ofthe English dramatists ofthat time borrowed some ofthe incidents t urnish n r n c f a la but th onl imi f B c cci in of a sce e o a a t o p y , e y tator o oc a o

‘ th t centur worth of mention is La Fontaine who himsel became a a y y , f m cond Boccaccio ofar as i itators are concerned . For a hundred ears se , s y afterward the Fre nch stage echoed and re-echoed these twice-told tales in

com die and comic o ras all derivin their ins iration rom La Fontaine e s pe , g p f , as is plainly indicated by the title ofa work published by De Theis in 1 773 Si n e L F ine which contains a numb r ofBoccaccio- La Fontaine Le g de a onta , e i T la ua er of he ei hteen h centur saw a renewal of mitations . he st q rt t g t y m n the interest in Boccaccio which was especially marked in Ger a y . Goe ’ in 1 7 76 writes of a projected drama based upon the Falcon story ; Lessing s immortalized he tor ofthe three rin s Bur er N athan der Wei se (1 7 79) t s y g ; g , BOCCACCIO AND HI S I MITATORS

l h m nd or in ve e in his Lenardoand Blandi ne retod the G is o a st y rs , “ ” d n h S chw nke the Seven h of the Seventh . an La gbein, in is a t Paul Heyse versified the story of C ymon and I phigeni a in his Brant ’ van rn while Biilow s N ovellenbuch oder H undert N ovellen Cype ,

chen bearbeitet r i e i s ramework owes one tale to and deuts ( bes d s t f , “ ” D Thi awak nin of en hu iasm for Boccaccio Boccaccio er Genius . s e t s , g R n n T had its parallel among the omanticists of England a d Fra ce . hat “ ” only his premature death kept Keats from following up his Isabella (1 8 1 9) with other romances from Boccacciois shown by a letter of Reynolds “ n which thi ta ement i made : Two toi s rom Boccaccio the Garden i s s t s s r e f , ’ ’ F nc and h e fP vence were ohave been a iated wi h of lore e t e Lady o ro , t l fssoc t al rom he ame u ce intended to have been written b a riend t es f t s so r , y f n i a T n n and n ell eats . In 1 8 1 B rr ornwall a tic ed e n so Lo o (K ) 9, a y C p t y gf w ” ’ in hi s m of he Falcon and oll er Poetical Decameron 1 8 20 poe t , C i s ( ) ’ reviews Lewicke ve ion of he ver- o ula tor o Titus and i u s rs t e p p r s y f Ges pp s. Toward the middle of the centur the re-Ra haelite ainters Holman y p p p , “ Hunt and Millais both ainte ictures illustratin the t le of Lorenzo , p d p g a ” “ ” and sabella and Millais ainted C mon and hi enia a ub ect eated I , p y Ip g , s j tr ’ “ ” n 8 b F e ck i h n T nn son s lden i later i 1 8 4 y Sir red ri Le g to . e y Go Supper s ’ imitated either rom Turberville s Tra i cal Tales 1 6 or rom Boccaccio f g ( 57 ) f , and William Black in hi Sabi na Zembro 1 88 Auschtitz iv a e ume , s ( 9) ( ) , g es r s f h n k n m T nn n c n o t e falco story ta e either fro e yso or Bo caccio. Stra ge to ’ sa in this era of woman s ri hts a number of versions of the G lda y , g , rise a ilv and Morand m er narrative h ve appeared . S estre 893) wrote a yst e entitled Gri sd idis and Hau tman al ha roduced a Gri da drama , p so s p sel . Out of the hundred stories of the Decameron some have naturally been a h n h r Several have been worked over i n more popul r t a ot e s. poetical or dramatic orm as man as thirt or ort times while other hav b n f y y f y , s e ee n n Tha h ul of the did no d n n retold o ly o ce . t t e pop arity se tales t epe d e tire ly ’ upon Boccaccios skill as a story -teller but upon the story itself is shown by ’ the fact that those which in Landau s Quellen des Deeamerons have the longest pedigree are generally such as have been most often imitated since ’ B ci im From the Orient the Occiden h i h n occac os t e . t t t e a t ul ie d o , f f fr , the atient wife and the un ha lover have alwa a ealed to o ular p , ppy ys pp p p

s m ath while a oke which has in it enou h of humor torender it rev r y p y, j g fo e ’ lau hable uch a the one-le ed oose althou h Bocca o v i n g , s s gg g , g cci s ers o of it is not articularl well written counts more than twen imi ations p y , ty t . The narrative which leads in popularity in all the countries of Europe is the last tor of the Decameron—that of Patient Gri lda s y se (X, BOCCACCIO AND HI S IMITATORS

haucer Hans Sachs Lo e de e a Perrault and Goldoni have all C , , p V g , , ide a h availed themselves of this sub ect bes s ost of minor writers . As j , early as the end of the fourteenth century her story formed the subject of a r Al hou h riselda did n t rank a in her uflerin m m stl e. t G o as sa t s s see ed y g , g o w Na u n u l toentitle her toa place n t far belo them. t rally e o gh this recita was used topoint a moral in numerous Mi roi rs des Dames and Exemples de

bonnes et mauvai ses emmes while Lo e de e a entitles hi Griselda f , p V g s m T r w m la El ex e lode casadas . he sto as in S ain the ost o ular of p y, p y p p p T h an wh k h the Decameron . o t e jealous Sp i ard o ept is wife bolted and ind h r ni d window d w uld d m barred beh e balco e , Grisel a o in eed see a ” perfecta casada. A the resent da the conduct of Griselda a ears oolish and t p y, pp f k u mi iven m n I n unre asonable and her wea s b ss ess ost irritati . t is ecessar , g y emember however as has oten been ointed out that she was the to r , , f p , of th mar ui An n sometimes vassal as well as the wife e q s . other reaso assigned for the popularity of the story is the fact that the type of woman most commonly portrayed in the fabli au is weak and frivolous and that the character of Griselda is purposely exaggerated to show that an obedient n I n a r t of h la er h wife was altogether a immssibility . t ea ise t e tt part of t e

cen ur sometimes ascribed toAlbrecht von E b on the uestion fifteenth t y, y , q ” ni h h irathen the ne a ive side is su orted b h heirathen und c t e , g t pp y t e “ ” ment Die rauen sind hoflarti und herrstichti while the afi rma argu , f g g, “ ” E ieb viele heili e Frawen and ollows with he tale of tive asserts s g t g , f t ” rdi s Aside rom servin as an encoura ement to those patient Grisa . f g g m matrimon the Griselda stor was made b Petrarch o whoconte plate y, y y t f alle or a ersonifi cation of the human soul ami cted b serve as a sort o g y, p , y — heaven a suggestion which was taken up by countless preachers who r nd ver he well-wom sub ect until ever article of its worked ove a o t j , y p

-n u I hard now n didactic suitability was well igh exha sted . t is tou derstand e E r li r m r P the great authority exercised all ov r u ope in tera y atte s by etrarch. ment was final and when he took Griselda as a s ecimen of the His judg , p “ ” - of the ersecuted woman re asonable or unreasonable ever popular type p ,

h her conduct mi ht be and set her u in the niche of ame a saint thoug g , p f , she must always remain. The next most popular recital in the Decameron is that of Ghismonda

' which has been dramatized and set tomusic and ainted until its (IV, p Th ch er f hi m n renderings reach the number of forty . e aract o G s o da is h o osite of that of Griselda but the disobedient dau hter exactly t e pp , g in ti n e much th n appealed to the popular imag a o quit as as e obedie t wife . hin is certain however the fier Ghismonda is not uoted in an One t g , , y q y BOCCACCIO AND HI S IMITATORS

M r n m r d Th r w i o i i roi as a exa ple fo aughters tofollow. e stoy o es ts p pular ty i m ri n n in f h da r v to ts own e ts a d ot, as the case o t e Grisel na rati e, tothe w r m d i influence of Petrarch. A secret assa e a di scove ur er su cide p g y, y , , ,

- l d n n di i n o all ma e u a first c ass tra e the as ow. I n ad t o t all these d p g y, “ horrors the recital contains one version of the popular story of the eaten heart of which another version is contained in the account of the wife of Gu lielmo of Rossi lione which is in this same da of the Decameron g g y . ’ The heart of Ghismonda s lover is served up toher in a goblet by her father — a dramatic climax which appealed strongly toa sixteenth-century audience d n which reveled in the gloomy Senecan trage y . I t is the first Italian ovel w I n th hich was dramatized for the English stage . Italy e narrative was e eciall o ular—a dozen or more talian writers dramatized it and sp y p p I , Th a operas were composed upon the subject . e unh ppy lovers hence

th wer mentioned in literature alon with Paoloand Francesca Romeo for e g , and uliet T i t n and lde and were even used toadorn the back J , r s a Iso , s of

- n As c m ared wi h he Gri elda r with playing cards in Spai . o p t t s stoy its ha endin which made it a ter all a comed in the antean en e he ppy g f y D s s , t horrible endin of the Ghismonda incident makes of it a real tra ed an g g y, ’ ccumula ion f horr r hardl e ualed b an hin rom Seneca n a t o os y q y yt g f s pe . I n cheerful contrast to the foregoing narratives stands the seventh D c onna tor of the eventh da of the e ameron . Mad Beatri ce in te d s y s y , s a of bein er cu ed heroine is instead the er cutor f her hu b nd a e t se o . g p s , , , p s a ' She is the conventional heroine ofthefabliau and as such she is most pcpu ’ la in French lite ature where La Fontaine s witt version of the tal m r r , y e ade it sopopular that within the next century more than half a dozen comedies

itle Mari coca b c co I n t and li ht o eras bore the alm l ntent . s ead ofbein g p t , , g the heroine of onl one narrative the same lad under diflerent names y , y , . mas uerades in all the storie of the seventh book now hidin her lov q s , g er in ’ a cask now shuttin the door in her husband s ace and now makin him , g f , g h havin he e n t b li ve t at e es se s o . e e , g y , ’ With Ginevra who ranks as ourth in o ularit amon Boccac i , f p p y g c os heroines we have another ersecuted lad who atient and or ivin as , p y , , p f g g she shows hersel to be is far re moved rom the too humble Gri d f , f sel a.

The wa er with which the stor be ins is as old as the time of the Tar uins g y g q ,

n - in m h m n in Th villain and aflords a ever fail g ele ent of u a terest . e is as — vill in I Th old rvan who u s c deep dyed a a as ago. e se t ref se to arry out orders tokill the wife or children of his master is alsoa favorite character “ n fic n Then h re i the ever- ular reco nition scene nd i tio . t e s pop g a the m vill in Shak with hi unerrin ee in f h ent f the a . s ere s l w punis o p , g f g or hat ever w most o ular in the dramatic material at hand in his time iz d as p p , se e BOCCACCIO AND HI S I MITATORS

u on this one of the best-known stories of his time as th ub ect of hi p , , e s j s “ ” Cymbeli ne . While Ginevra is not the subject of a mystery as was ” Griselda she is the sub ect of a Miracle de Notre ame th scene , j D , e of which is laid in S ain the re usal of the old rvan o rr u h p , f se t t ca y o t is rd rs bein naturall at ributed o he in erven ion f i n o e g y t t t t t o the V rgi . ’ Boccaccios selection of feminine types of character would not be com le e without includin that ofthe sim leton he sill vain timent p t g p , t y, , sen al

woman Madonna Lisetta the enetian . lad who was er uaded b r , , V y p s y he con essor that the An el Gabriel was in love with her whose stor stran el f g , y, g y enou h is ound in the ourth book of the Decameron which be ins wi h g , f f g t “ un f hismonda and con ins nohin else u the acco t o G ta t g b t tragical tales . ’ Marmontel s version of this recital has become famous in French litera

ure and his Mari S l he which sati rized the eminine sentimentalism t , y p , f

of his time was both receded and ollowed b a number of tales of he , p f y t ‘ o e haracter and bearin the same ti le in whieh the vain c u s m c g t , , redulo s, sentimental young wife is held up to ridicule even more skilfully than in P ha i is no much o h m Boccaccio. er ps t t too t say t at a ore or less far fetched parallel can be found between almost every modern novel and D mer I n m k u m some stor of the eca on. a in s ch a co arison surel it y g p , y d r con n in m h might be sai that this stoy tai s ger t e plot of Madame Bovary . ’ This exhausts the list of Boccaccios most popular heroines and we now i n hi h Th i ul nd far turn to a discuss o of s eroes. e fa thf frie surpasses in popularity the un happy lover or any other masculine type presented by

Th hi or of Ti u and Ge i num . m cio. e st t s s us 8 b al ot Boccac y pp (X, ) ers s

as many imitations as the Griselda story . Just as the tale of Ginevra h the me theme the le end of Lucretia and the G ism nda dealt wit sa as g , h o and Guiscard narrative is that of several unhappy lovers of antiquity — r mus and Thisbe Hero and Leander so these two riend were Py a , f s o he ancien as amon and P thias Ore e and P de The known t t ts st s la s. l D y , y ’ story was especially popular in England where in Elyot s Governor the ’ a m el of wha a en leman c nd c incident is given as od t g t s o u t ought tobe . Sowell known was the story that it was mentioned whenever the subject d I n l h na iv m h n of friendship was discusse . Ita y t e rrat e see s to ave bee l o ular althou h it was one of the three which Beroaldo translated ess p p , g La in be ore the be innin of the sixteenth centur alon wi h the into t f g g y, g t nd ri d The m ulin mind romance of C ymon a that of G sel a. asc e perhaps more than the feminine loves to propose to itself diflicult questions of h m in ima ination l t in a m n n u duct and o ttle t e at eas a a imo s wa . con t se g , , g y

This stor is a Boccaccioversion of the eternal de ami citia theme of which V y , ’ mn und in Goldoni s I l v m the reductio ad absurd is fo ero a ico. Closely BOCCACCIO AND HI S IMITATORS related to the story of Titus and Gesippus in spirit is that of Federigo the aithful lover who sacrificed his beloved alcon to lease his (V, f f p H difi in lady. ere again a cult question of conduct is settled a way that accords with the ideals of the time in regard tounquestioning obedience to

he wish s ofth e lad and r rvan of h w of h i ali t e e lieg y pe fect obse ce t e la s osp t ty . Fed i oi h m im nd B id s er g s at t e sa e t e the perfect lover a the perfect host . es e these reasons the story probably owed much of its popularity to the fact that falconry was more than a favorite amusement with the nobles of the fifteenth and sixteenth cen I t wa a li n n a act which turies. s ru i g pass o , f made the sacrifice of Federigoseem almost equal tothat of a father sacri “ ” ficin i T h s child . he best short stor in an litera re as i has been g y y tu , t lled i al b n n m ca s so o ular conse t o e of he o ar. , y p p t ost p pul The Servant who gets the better of his master by means of a witty answer is too common in comedy and real life to escape the attention of V Boccaccio. C hichibio I the cook and his amou stor of the ( , , f s y one-legged crane seem to have been especially popular in German and En li h lit ra How it cam he n d and t ld s e ture . ocea g e across t , tobe tol re o b the ne roes of the Sou h seems at first hard toex lain but when it is y g t , p , remembered that the first colonists in Virginia probably brought with ’ them or related at able tale r m Tarletan s N ewes out o Pur atorie it i t s f o f g , s eas tosee how the vision of the oor cook sittin in ur ator for havin y p , g p g y g stolen the le of a chicken would a eal tothe ima ination and con cience g , pp g s ofthe old amil ne roes whotold and retold the stor until it was embodied f y g , y

Still another popular masculine type is that of the merchant whocomes totown and is robbed by a woman whopretends tobe his long-lost sister c a n An c P h h m c h n or ousin or u t . dreuc ioof eru ia t e orse er hant w owe t g , toNa les and who had robabl ot the better of his nei hbo in man p , p y g g r y a horse-deal and now finds himsel in a ridiculous li ht in a stran e cit , f p g g y, ’ was too good a subject for ridicule not to re nder popular Boccaccios narrative N o ima nin him h m . ext t i el a ero the avera n ve g g s f , ge a lo s to lau h ver h ellow- man wh i d d w m n g o is f o s upe by a o a . Sofar as the popularity of a narrative may be determined by the num ber of imita ions of it whic h have been discovered he six h stor of he t , t t y t v nth d ha of Madonna I s ll nd h tw l v m n x a r . se e y , t t abe a a er o o e s, co es e t

The o ularit of this seven h book of he Decameron which i sometimes p p y t t , s ’ ” called that of woman s wiles is shown b the act that his is the cond , y f t se stor m ha b k wh ch ha b n ad d d h m ul y fro t t oo i s ee ju ge to be t e ost pop ar . On oh b k he en urni he w h m la i e t er oo t t th s s t oof t e ost o u r tra c tales. , , f p p g Thus has the world made its unconscious selection of the narratives that 8 BOCCACCIO AND HI S IMITATORS

l m Difl n n v n d have p eased it ost . ere t perso s have e t ure tomake arbitrary “ ” lect ons of the t ories in he Decameron bu n n se i bes st t , t the u co scious judgment of posterity is a better criterion of the worth of a story than that n n n n B ci D ofa y o e perso or group ofperso s . occac ohimself in the ecameron “ ” made a el ction of the hundred be t s orie of hi ime ome whic s e s t s s t , s of h now seem ous far- etched and void ofinterest but si ted as he have n t f , f t y bee in he course of time these ten romances which are not merel twice-told t , , y tal but which have been retold ort and fi t time even contain in th m es f y f y s , e most of the elements of comedy and tragedy which fall within the range of human experience. The accompanying tables are intended to show the relative popularity ff n N f h Dec m I m kn w of the di ere t ovelle o t e a eron. t ust be ac o ledged that merely adding up the diflerent versions without regard totheir importance n a er ectl satisfactor test et it is erha s the best ha can b is ot p f y y , y p p t t e ’ i devised and gives a result that s approximately correct . No matter how

he imita ions ma be these re uent re etitions of a tal how ha poor t t y , f q p e s t t n w c h w d n v r row w it was o e of hi h t e orl e e g s eary .

Of the ten authors cited as the rinci al imitators of Boccacc io Hans p p , Sachs easily leads the rest in the quantity and La Fontaine in the quality haucer d Lo d f hi imitations . in En land an e e e a in S ain b o s C g p V g p , y imi tin the talian stor -teller contributed somethin new tothe litera ta g I y , g ’ v c n Whi h literar v m ture of their respecti e ou tries. le t e y alue of Serca bi s v ions i not reat he hel ed tokee alive in the minds of hi countr ers s g , p p s y m mor f B cci un l h inv n i n f rint n Martin men the e y o occa o ti t e e t o o p i g. Montanus in his Gartengesellschajt and Timoneda in his Ali viode los C c m ifi i n N mi nantes retell the old tales with few additions or od cat o s. icolas

m n m l l nd t an lat and an Tro es does the sa e . Pai ter ere se ects a r s es S de y y , ’ ovino whose collection is exactl contem oraneous with Painter s is an s , y p ,

- - w ckn wled i c out and out plagiarist ho refuses to a o ge h s debt toBoc accio.

ten authors then re resent the two classes of imitators those who These , , p , merely transcribed and those whomade out of the old tale a new literary w haucer and Sercambi belon to the sixteenth c . All but t o produ t , C , g century and are representative of a renaissance which resurrected Petrarch

and Boccaccioas well as Plautus and Seneca . The geographical remoteness of these diflerent authors shows with what comparative rapidity literary fashions spread from one country toanother.

H n Sach was turnin N ovelle intoS chw nke Nicolas de Tro es While a s s g a , y put out his Grand Parangon de N ouvelles and a little later Timoneda wrote fl F om Nurember toSeville Griselda was enshrined in the i ra s . r h s pat a g ,

l a domestic saint and the one- le ed crane crossed hearts of the popu ace as , gg BOCCACCIO AND HI S IMITATORS mountains and rivers and seas tobe finally metamorphosed intothe one le ed gg goose . I n estimatingthe popularity of Boccaccioin diflerent countries Germany is und to h r Th re veral x lanation for thi o sur the ot e . e are se e f pass s p s s . rman w n ll h un Ge y as earer geographica y to I taly than t e other co tries . “ ” Hans Sachs was indefatigable in his work of adapting the centonovella to the taste of his countrymen and influential enough to leave after him m M in n n n w k m n such en as art Mo ta us and Ayrer toco tinue the or . Ger a scholars with unwearying patience have ferreted out these metamorphosed N ovelle in their own litera ture more thoroughly than has bee n done in un mall num f imi i n und in other co tries. As for S ain the s ber o tat o s o the p , f literature of that country is partly due tothe fact that only recently has the fi l k The nd m h f h Dec meron e d be un to be wor ed . s irit a at os ere o t e a g p p , however ervades rom be innin to end that anorama-like succession , p f g g p e i d r n of p so es which makes up the pi ca esq ue ovel . I n his own countr the memor of Boccaccio was ke t alive b that y, y p y lon line of talian n velists which includes Sacchetti Bandello and Stra g I o , , arola noon f w m o r w d more than a dozen or twent tales rom p , e o ho b r o e y f ’ h m w mi n i n id l Bocc i t e aster but h a re ate ofi tatio s s co er b e. acc os , ose gg g s a mission here seems tohave been toelevate story-telling toa profession and

ll in xi n nal - eller to ca to e ste ce the professio story t .

‘ Amon the French the ramework ofthe Decameron seems tohave been g , f imitated even more than the novella in such collections as the ent N ow , C velles N onvelles the Jo enx Devis the Trésor des Recreations the om tes , y , , C p e H F da Monde aventureux the S rees and the e tameron . rance too , , p , , enjoys the distinction of being the only nation which has produced a rival toBoccaccio the incom arable La Fontaine towhose exam le and resti e , p , p p g is due a large number of the versions which gotoswell the number of Boc i im ta i n n t un The maller num of those o d in cacc o i t o s i hat co try . s ber f un English literature may be due tothe fact that until 1 620 nocomplete Eng h n D m lis tra slation of the ecameron was published . But whatever it ay lack in uantit i made u in ualit the enius of haucer and Shak q y s p q y , g C spere has added more tothe glory of Boccacciothan dozens of versions by l ess renowned imitators. BOCCACCIO AND HI S IMITATORS

TABLE A

T e ollowi n ta le ow h num r f n a ll h f g b sh s t e be o imitations of each ovell . As wi rea il be seen the ten most o ular ones are in or er of o ularit : X 1 0 IV 1 d y , p p d p p y , ; , ; VI I X 8 I 2 VII V V V 6 I . , 7 ; , ; II. 9; , ; , ; . 9 ; . 4 ; II. 5

Gi ornat a

I II V VI

1 0

Approxi 1 00 + 7 0 + 5 0

Total 850 + TABLE B

The ten authors a summar of whose imi tations of Boccacciois i ven i n the fol , y g lowin ta le are selecte two rom each countr German En lan France S ain g b , d, f y , y, g d, , p ,

d l toshow the wi e eo ra hical dist ri ution of these tales of the Decanteron . an Ita y, d g g p b This table shows that the ten most popular ones mentioned above have nearly all

been imitated by four or fi ve ofthese authors . GERMAN Y HANS Sacns Mn rm Mom mas

- . 5 8 .

- - 1 . . 3 7

- —- - 1 2 8 1 0. . 5

- 1 0.

—- 7 1 0.

- - - - - 4 5 6 7 8 .

- —- - ——— 6 1 0. . 1 2 3 4 7 9

- - - - —- - —- a 6 . 2 6 1 0 . . 1 3 4 5 7 9

- - - - 2 4 7 8 1 0. EN GLAN D

C a rmen BOCCACCIO AND HI S IMITATORS I I

FRANC E

N rcou ls Dr: Tnovns — 5

- —- ——— 1 . . 2 3 5 6 8 1 0

- - 6—— 3 8 9.

- - 7 1 0.

—- - 7 8 1 0.

- ——— 1 . . 2 4 7 8 1 —- - —— . 2 3 5 8 9

- —— - - — 1 - 2 4 5 6 7 8 9

SPAIN

ITALY

- IX . . 7 8 . Sachs ; Nic(olas) de T(royes) ; Lope de Vega; Timoneda;

Sercambi; C haucer.

1 ans Sachs ontanus Pai nter Nic. de . IV . H ; M ; ; T h on de L Fon Hans Sac s ; M tanus; Nic . T a taine ;

Sansovino.

on T T . n N mon d o a s Sachs tanus ic. de . i a e de e H ; M ; ; e ; L p V ga.

h N . d T . d n Hans Sac s ; ic e ; Timone a ; Sa sovi no. S h ontanus L Fon n Hans ac s ; M ; a tai e. c n Hans Sa hs ; Sa sovino. n h F Ha s Sac s ; La ontaine; Lope de Vega ; Sansovino. n h on T n d n vi Ha s Sac s ; M tanus ; imo e a ; Sa so no. n on nus P N d T T . on Ha s Sachs ; M ta ; ainter ; ic e . ; im eda; San 1 2 BOCCACCIO AND HI S IMITATORS

TABLE C The followi ng summary by days of the total number of imitations in diflerent h w n m o f m countri es s o s a approxi ate t tal o 850 i itations .

3 2 1 7 23 3 7 2 5 26 24 2 1 S 2 5 S 7 24 1 7 5 38 2 1 1 9 5 2 3 5 2 1 27 1 9 1 1 29 1 3 1 7

I . 1

Der Falsch ota us mit sei n r un hrha n B Ayrer : N ri e wa fte eicht.

lt Lettre S . A Monsei neur Pri nc r ai : a . le e de XXX su Vo re g ,

Rabelai s .

: era Olimpia Fulvia Morata Op .

I 2

“ S chwitnke D ud m mi n h H n Sach : er a ro sche of. a s s , J W dunmut h en h V n d r riimi chen Keuschheit . Kirc hof , o e s d rns i rn un E t 61 . S ch fol . Pauli : pf , i n : Ti schreden Der ud von W tte ber . Luther , J g

Bebelius : Facetiae. “ ’ m i aP d T e : Paran on D un ui ui de eurot aris . Nicolas e roy s g , J f q n Mme de Sévigné : Lettre aMonsieur de Coulo ges . ’ tte Ar L uze I . n i : orres ondance de S d l Lett . La t er C p y, CX

: era Olimpia Fulvia Morata Op .

I . 3 “ in n H n Sach : S chw nke Der ud mit den dre en r e . a s s a , J y g

f . P uli : S chi m und Ernst ol 8 . a pf , “ m H edi c Di G c hichte von de ute. Gellert : G hte, e es

r W Lessing: N athan de ei se. “ Paint : Pal ace o Pleasure The Three in s. er f , R g

“ onn M ni . n m Du lin : Saladin est assez c u . an Ano . poe , b ( )

I . 4 “ in n mon h arten esellscha t E u er c . Martin Montanus : G g f , j g

Mahrold : Rollma rschkasten .

I mbert : Fabliaux .

F l s et ontes Le moine rus . Guichard : ab e C , é

BOCCACCIO AN D HI S IMITATORS

Houda d la Mo : Tal is rt e tte Le man .

’ Lemonnier : Renaud d As i t .

’ R d ud d A a et : Rena st.

Lo e de Ve a: El lle ar en ocasion p g g . r mbi N ovelle De devoti n in l Se ca : o e u iano. , J

I I . 3

“ ’ P in : l ace o Pl Th Kin f En land a ter Pa easure e o s au ht r . f , g g D g e Nico de Tro es : Paran on Un n veu ui es n las y g , e q pousa u e fille ’ ” d Angleterre. “ S n vin : ento N ovelle S celte Tre Giovani m l a so o C , ale i loro n havere spende do.

I I . 4

“ S ch L n H n Sach : w nke a dol hus ein bur r. a s s a , p , ge ” l c o P s r L n R o P : Pa a e lea u e a d l ufl l . ainter f , ofo o “ uan Martoell : Ti rant lo Blanch ca C C L Un mercador J r , p. , ” v n un b r Farinelli . ha ia posat e a il . ( ) “ m N ov ll D re a n Se a bi : e e e st uro acta ortu a. rc , f per f “ N ov lle S n Rufl l n vino ento e te d l . Sa so : C cel , La ofo oo

I I . 5 “ hw nke H n Sach : Sc Andreuczomit un liick . a s s a , 3 g

‘ r n l h And reut Miigling: D ei u g ltc zo. A nd r o-H i stori a Martin Montanus : eiltz .

un Ernst f l Schim d o . . Pauli : pf , 35 l A r x Ayrer : Ein Fastnachtspie von nt eu o. “ : Pal ace o Pleasure Andruccio. Painter f , ov Aphra Behn : The R er . ’ N la d T es : Paran on D un marc hand de chevaux . ico s e roy g , “ ” : Promenades Blai Gou a d . Le Noble , se l r

Espinel : Marcos de Obregon.

P ino: I I l osoo commedia . . Aret fi f ( ) “ toN ovelle S celte Andreuccioda Peru ia venuto Sansovino: Cen , g li ” a Napo . m i B e . Vicentino: Andreucciod G. . (po ) BOCCACCIO AND HI S IMITATORS 1 5

N s Vita e Des rasie de Bi aso Valenti no oem Anon . : a ceta 1 748 . , g (p )

* “ T i ioni Po olari Siciliani Lu fi hiu tistardu . 1 . Pi é : r z 875 tr ad p , gg “ ” ianandrea : Tra i zioni marchi iane El mercante. 1 878 . G d g , “ ” : ov le montalesi Paolinoda Peru ia. 1 880 . Nerucci N el , g

I I 6 .

“ H D l f aw B i Han a Sachs : i stori c , ie ede r er tola.

The Blacksmith Stor of Ma i n r n : Perimedes a a. G ee e , , y r — ons Middleton : Blurt Master C table.

A hn : The Rover phra Be . ’ Nicola de T : Paran on Des ito ables ortunes d un s royes g , p y f e m m l ” noble fe me no mée Bricoe .

C inthio: Ecatonl mithi 8 esare Gravina si u e da Giraldi , V, , C f gg

N apoli . rar in in Scelt di Lami : N ovelle lette ie C ardu o also a . , ( C

“ * Nic la de T s : Paran on La fill du Soudan d Ba l n 1 6. o s ro e e e b o ie 53 y g , y . * F “ L Fi d i d ” L ontain : ontes a ancee u ro e Garbe . r666 . a e C ,

I I 8 .

* n i l vom er b n ra M in Mo tan : S e v trie e en en. 1 558 . art us p g f “ ’ ‘ ' * Kirchho : Wend unmuth Von den liickfal len ein flen v 6 . a n 1 5 3 f , g es gr o An i g ers.

' rmanu : omoedia des ohne schuld ver a ten ra 1 584. Ge s C j g g fiens von

* A : Der ra von An iers r G . 1 598 . yre f g t l : wu r r tl 1 601 Anon . play a Casse Van den nde ba en gl ckyltllen ei nes

non la t d n : omedi vom Gra vom An i A . a res e a en ers p y D C f g . “ ” B n D r V i bn Graf P he : allade e ert r e . Goet , e ( ) H mm H i stori scher Rosen arten Ro nol r : . a e g , se “ P t Pal ace o Pleasure The Earl of An i ain er : er . f , g s “ Forrest F nc mentioned The d E l En o a oo r e of er . f y ( ) , g g s or r a Vi Mar Pit : Violenta the ew rds o rtue . y , f “ ’ N icolas de Tro es : Paran on D un onte ui fut b. An ier y g , C q g s. ’ ovin : ntoN ov lle S celte I l ont d Anv an o e e e er . S s C , C sa 1 6 BOCCACCIO AND HI S IMITATORS

I I . 9

“ * H n C o D 1 8 . S h : mm i i a s ac s ed a e undulti au nu . 54 , g fr C a ra 1 6 Pa i : S chi m a Er . l ns f l u nd o . 1 t 0 . 5 3 pf ,

Anon . l t d at B H 1 596. p ay ac e reslau : i storic von ei nen Kaufmann

2 Kon chl : D unsch i b c c 1 68 . er uld s huldi en I nnoent an nsch l g g, e gt i U u d. “ ” * V n H n 1 8 0 . o der a e : Gesamrntabenteuer Von zwein Kaufm nn n 5 g , o e .

Freder ke o ennen n . : G Antw . An Print d e 1 1 8 o . r 5 y f e at p .

*1 2 59 . ’ * Westward or S melts Fi wi P h T l . 1 . e a e erha b 603 f , s f s ( ps pu lished

a Heywood : Ch llengefor Beauty . D Th n ured Pri ncess or t t l Wa er : i he a a . urfey e j , f g k k H w in Alte d rom Sha s ere. a g. ( re f p ) k d m k Garric . (Altere fro Sha spere. )

n The Beaut ul ar i ne A a i n o H uss rs . : a a . Ano if C ol . C pt f ’ Mi cl N D n l An on . : ra e de otre ante omme t e roi d E ai ne erdit , C sp g p

sa terre .

“ ’

Ni ola d Tro : Paran on D un marchand ui a es b, u c s e yes g , q g g n

I éne ou a r i i créte De aure : mo la G eu e nd s . j g , g ma d Timoneda: Patranuelo Finea fué uez de u ri o. , j s “ o G nov S n vino: entoN ovelle S celte B rnab da e a. a so C , e ” ica v Arte Poet Del vantodel iuoco etc . Castel etro: , g , “ ” a i renze P n Lami : N avella letter ri e di F , La ia ella . “ too or n i na d l Si n r Gi nni m n N av l i e t N v lla e o va . I bria i : o fl , o e g o “ ” Pitré : Fiabe Sicili ane, La Stivala.

I I . 1 0

Vi i d La Fontain : ontes Le alendrier ( les e llar s . e C , C “ ’ P d la x : ontes Turcs Histoire d un Tailleur . e Croi C , F mm ” e e.

s i Antreau : Le Galant Cor a re.

Duprez Le Calendrier des Vieillards . des Vi l s Paul de Kock : Le Calend rier e lard . M 1 BOCCACCIO AND HI S I ITATORS . 7

1 III .

“ Han Sach : S chw nke Ein stumm und die nonnen . s s a , “ M in n n e itr Ein b e kn ht art M ta u : W k zer un er au m ec . o s g , j g ’ ’ Nicola d Tro e : Paran on D un valet d une abba s e y s g , ye ” Nonnains . “

La Fon ine : ontes Mazet de Lam orecchio. ta C , p n Mazet m A seaume : (co édie) . h m i N ov D m min . Serca b : elle, e alitia o is

An n Boo nese ovv r asettoda Lam olecchio o . : El l e oM . g , p “ ’ Il i N ov e anti L l n d l m n t : ell Gal Ortoa o el e o ach . Cas , e

2 III .

“ ’ H n h S chw n e D r ku ni in kn a s Sac : k e fues echt . s a , g “ B w D mat S T F n in P arr orn all : ra ic cenes h lore t art . y C , e e y

La F n : L M i r o taine antes e ulet e . C , ’ D Am Travesti ubreuil : L ant .

G r in : Les Pa es du Due de Vendom e sa g e. P K k M aul de oc : Le uletier .

B n N ovelle 2 a d llo: I . e , , 5 B i La B l heri a converti ta V racc olini : u an . g , C to III

III . 3

“ ch D l m Hans Sachs : S wltnke er cu et iinich. , p “ ” Martin Montanu : Garten esellscha t Ein monch in d Beich s g f , er t . “ ” acet e Bebelius : F iae, D astutia mulierum. “ V n d r H n : mm e D P o a e Gesa tab nteuer hill i . e g , er Sc er zu ar s

Shar ham: The Flei re p . Ben n n : T D i s Ass Jo so he evil an . ’ h d : F or s V i R o es l a agar es . i D Fane : Love n the arke.

nn n liv Th Bus od A Susa ah C e t re : e b ct . y y , III “ ’ Henri Es i nne : A olo i e our H érodote Un mme d O t e p g p , e fe r ” leans .

“ ’ Des Périers : N ouvelles Recreations Une emme d O (II, f r ” l n ea s . li ’ i Mo ére : L Ecole des Mar s .

D im n : I or o t La femme ndustrieuse. 1 8 BOCCACCIO AND HI S IMITATORS

* La F n n : o t n . o tai n es L c nfid n l v 1 668 e a o e te sa s e ir . C , sa o

“ * mb : N ovelle D m . Serca i e mali i i d l . r3 75 , tia ul er s a u terae ’ d L Arcadia i n B enta 1 68 . o: r 4 Sagre .

III . 4

’ b r Tales h e e haucer : anter u T e Mill r s Tal . C C y , ’ ’ Nicolas de Tro es : Paran on D un bonhomme u on a elloit y g , q p ” P n uele . m N “ D Serca bi : ovelle e relatoadultero. , p

III . 5

Forrest o Fanc F n V Sei neor ra cisco er elis. f y, g g n n T D is n Ass Ben Jo so : he evil a . nn h C n v : Th Bus bod A I I Su tli . sa a e re e y y , ct “ ’ Nicolas de Tro es : Paran on D un valet ui donna un beau y g , q ”

cheval.

Bonavéniure des Périers : N ouvelles Récréations De maistre , ”

Berthaud .

Henri Estienne : Apatagia pour H érodote “ F n in ontes Le Ma nifi u La o ta e : e. C , g q B n d M : Le M i u o dart e la otte agn fiq e . ni Sedaine : Le Mag fiq ue.

’ astelvetro: Poetica d Aristotil e Ricciardo er la sua le iardia C , p gg ,

etc . 6 III . k “ D l m Han Sachs : S chw n e ie ii schaft i ad . s a , p p “ ’ Nicola de Tro e : Paran on D un homme ui mena la emme s y s g , q f ”

de son voisin aux estuves. “ d Min La Fontaine : ontes Richar utolo. C ,

M tt : Ric rd Mi o B ondart de la o e ha nutol . “ ov le Farinello Sacchetti : N el VI da ieti . , CC , R “ l i thi : Gli Ecatomm thi I X 6 Gerardi ama Gira di C n o i , , , ” e di FileboSpol tti .

III . 7

* M n : T u rm i M in nu l us nd E il na . 1 566 . art o ta s heda d mm n Di u Am i nda n me nl i l h u : etwald el a o . Gr e a e . s 1 670. s s ( y) * “ ’ m 6 Ni l d Tro : Paran on D un homme ui fut a oureux . 1 . coa e e 53 s y s g , q BoccaccroAND HI S rm'rA'rons 1 9

8 III .

H n S h : S c w nke D B w r in fe f w a s ac s h a , er a e g e er. Kirc hhof: Wend unmuth Von einem trunckenen H llan , o der. “ Von der Ha en : Gesammtabenteuer Der be rabene Ed m nn g , g el a . “ ’ Antoine de la Sale : ent N ouvelles N ouvelles D un vr i n C , y og e de H ” la aye . ’ Nicolas de Tro es : Paran on D un abb ui fut amoureux y g , é q .

“ La Fontaine ontes Fér nd ou l Pur a : C , o e e g toire .

: Alma nach des Muses L M r P Hardouin , e o t arlant .

Th r Fletcher : e N ight Walke . “ Sercambi : N ovelle De tradimento atto er monacum , f p .

: i ab c ne m Pi F e Si ilia Li tre cu ri . tre , m

III . 9

hi m und Ernst 8 Pauli : Sc fol . . pf , P Wisen Roet van Vro n I ersele ieter : we . “ Lambel : Ersdhl un en und S chw nke Daz Bl h g a , oc . Nicolas de Tro es : Paran on Un omte d R ill n y g , C e oss o . : Andreau Gillette de N arbonne (opera) . Painter : Pal ace o Pleasure Gil ta f nn f , et o Narbo e. ’ k : All s W T E W Sha spere ell hat nds ell .

“ Stra arola : N otti VI I 1 OrtodosioSimone mercan p , , , , te. ” Ba il : Pentamerone inti lla il i B s e , C e e re d elloPaese .

1 . III . 0

Von der Ha en : Gesammtabenteuer Die Teufe h g , lsac t . “ ” La Fontaine : ontes Le Diable n En e C , e f r. ’ Nicolas de Tro es : Paran on D un Hermi e y g , t . “ mbi : N ovelle D mi Serca e o to. , R “ Sacchetti : N ovelle 1 01 Giovanni e le tre ro , , mite. “ ” Masuccio: N ovelli no V I I Pa a a om , , p R a. “ ’ Il asti : N ovelle Gal anti I l Diavolonell I nf n C , er o. 20 BOCCACCIO AND HI S IMITATORS

I V . 1

n E b : is i on Albrecht vo y Gu cardound S gi sm da . “ N kl von W le : Translatzion Von Gui doun m i as scar d Si i unda. y , g s Hans Sach : Ei n kle lichen tra edi des ttrsten oncr ti s g g f C e . Martin Montanu : Gui scardus und Si s unda s gi m . m und Ernst l P li : S chi fo. . au pf , 45 An n Frank ort : Ei n ar erbdrmliche H is or o f g t y . rdoun l i ne Biirger : Lena d B and . Gi smunda hiltz: . W V . Sc .

hi s I mmermann : G monda . “ b r in t Simrock : Volks itche , E e schbne His ori e von dem Flirsten zu ” no ch ner Tochter Gi mond Saler s o s a.

William Walter : Amorous M sterie Gu tarde and S y , ys ygys

“ : P l o Pleasure Tan d nd Gi m nd Painter a ace cre a s o a. 1 566 . f , s H well : N ewe Sonets and retie Pam hl Thoma o ets . 1 568 . p p * anc a smond W mo : T red nd Gi . 6 . il t 1 5 8 . R

Henr Wotton : Pla lost . 1 574 . y y

ntliv : T Susannah C e re he Cruel Gift. n Ta ed Si m N m ncr and is . f T m o : unda a e r. Bocc . l t J . ho s g s ; p o ’ Ta i Blas rh. Saurin s ncred from G l (pe , F ’ H ward : The ather s Reven e. F. o g i u e m b i i i sm Jean Fleury : La p te s et la enta le h stor c de G ond . ’ e amours P v t : Les Re r ts d . Ant . re os g P an l e n las de Tro es : ar on De a bell Gismo da. Nico y g , ’ T m un r . Habert d Yssoud : fro Beroaldo. “ n i La d sd d firmezz Guevara : I ntercade oas, e icha a a. i n L Ar ino: De amore Guis card et Si ismu da . . et g “ ’ lti : Versi Poiche l amatocor vide resente. Acco , , p

! Benivieni : N ovella di Tancredi .

n de uobus amantibus Fabula Tanc di in Beroaldo: Carme d , re ”

latinum versa.

F ratoe Pam la Antonioda Pistoia : ilust fi . “ eida I Di orti 1 0 Gas aroe Bris . Parabosco: p , , p onda di Razzi : La Gi sm (trage a) . monda Guascoz La Ghis . t di Asinari : I l Tancredi ( rage a) . celta di Torelli : I l Tancredi (S C. i tra edia Campeggi : I l Tancred ( g ) .

22 BOCCACCIO AND HI S IMITATORS

I V . 4

* H n : 1 1 6 . a s Sachs H istoric on tan ia e bino 5 , C s c und G r . “ * ille a ca 1 6 . Turberv : Tr i l Tales The kin of Thunise had a 57 g , g ” dau h e g t r faire .

* Lami : N ovelle letterari d F ren v 1 . i i ze o ella di in e La N erb o. 755 , C

I V . 5

H n : H istoric D rmo nz a s Sachs , er e rt Lore . “ in M n : W kit r Mart o tan e rze n ra Li abets . us g , Ju gf u s “ ’ T urberville : Tra i cal Tales A m chan dau h g , er t s g ter h ’ bo brot er s y . “ I sa ella o h Po f : b r t e t o B il . Keats , as ornwall : The Sicilian Stor Barry C y . “ M i Liv ool a r I ab la : r G lle s ella. il s e p y, “ m n H : W lk A Hol a unt a er rt Galle I lla. ry, sabe

I V . 6

: H i storia Hans Sachs , Andreola mit Gabrioto.

a r ottou . Rei nha rd Wickram: G b i .

’ d Tro es : Paran on D un eune fille amoureu Nicolas e y g , e j se m i non jeune co pa g . Ecatommit i e iraldi C inthio: h V 6 Graziosa il odesth. G , , , p

V I . 7

“ * Hans Sachs : H i storic Wie zwei liebhabende von einen Sal 1 540 . , venstock stur “ * Turberville : Tra i cal Tales S mone likt of Pas uine assin 1 576. g , y q p g ll ” we .

V 8 I .

H t i nd m Hans Sachs : is ori a, Wie zwe liebhabe e enschen vor lieb ” starben.

nu : We kttrser Hieronimus hatt li Martin Monta s g , e eb cine

“ Wendunmuth Einer edelichen erson . Kirchhof , p m n r Frau n n : Gesam tc be teu er e treue. Von der Hage , “ ’ ical Tales A merchant sonn t Turberville : Trag , s e hat Girolamus

hight .

Forrest of Fancy. BOCCACCIO AND HI S IMITATORS 23

Barr onwall : Dramatic Scenes and Other Poems The Broken y C r , H ” eart .

“ ’ ” Ni a d : Paran on D un un fil ui m col Tro e e ouru . s e yes g , j s q t “ Mar uerite de Navarre : H e tcmeron La mort de deux ar ai g p , p f ts ” am n a ts .

via Alfred de Musset : Sil . Ti d Molina : Los aman s dc Teruel rso e te .

n N I 2 Ba dello: ovelle, , 0 . “ i IX 2 Rodolinoama V lan S : N ott io t . traparola , , , e

I V . 9

“ V H n am ben e r D H on der a e : Ges mta t ue as erz. g , ” m dh un n D He z m La bel : Erz l e as r e aere. g , “ ” T le Tra i T I n P v n we tw kni h urbervil : cal ales ro e ce re o ts . g , g “ ” En li sh ha book The onstant but nha Lovers . lous g C p , C U ppy (C

n P Tales. to : op. ) P r D d r Ni o d T o : a an on e eux C hevalie s . c las e r yes g , “ H E ienne : A ata i Un mari fit man e h as emme le cce . st p g a, g r f ur ’ ” n n mm d u ge tilho e . “ m mi i v i Serca bi : N ovelle De ava a c tia el oc etate . , pr s

IV . 1 0

* “ Han Sch itnke D u n lin in Kasten . 1 6. Sachs : w er e 54 s , j g g * Martin Montan us : Garten esellscha t Ein un lin in inem 1 557 g f , j g g e

* Antoine d la ale : ent N ouv N ann l s Le cur amou eux e S elles e le e r . 1 456. C ,

*1 536. * Di or n ane n n 1 Paraboco: I ti U iov c ascosoin u orziere . 0. 55 s p , 4, g f “ ‘ iraldi C in hio: Gli Ecatommithi Bice fa entrare il i dice 6 . G t u 1 5 5 , III , 3 , g ” n un coan i f o.

Han h : H i stori c Der edel un imon s Sac s , j g C . “ Ma in M ntanu : H i stori c C mon und I hi n rt o s e ia. , y p g W W dun mo sas al C n Gale . . g: y n : in En li v T n r e . An . h o ra s . g s e s P H D Br von r cut e n . . eyse : ie Cyp Greene : The Tritameron o Love C h mon more wealthie f , y , 24 BOCCACCIO AN D HI S IMI TATORS

T A leasant and i ht ul h r o esus . C . p del g f istoy fGal C ymon .

m n a d i Cy o (pl ye by Garr ck) . n Millais : C ymon and I phige i a. ir F k h n C m n and hi eni S rederic Leig to : y o Ip g a. Be do: M thi ca hi storic oc nnis B ii roal y J occccc . n L D i n Ingeg erl a cnza d Ve ere.

millo afa: imone m Ca C aj C (epic poe ) .

V . 2

* n im T n . : P s d 1 88 Gr er ide he Blacksmith C tanaa a Alcim . 5 ee e , , os edes

V . 3

* H n : P rus oh m s ner b S h et it ei li e en . 1 543 . a s ac s fl c * “ 1 6 . Nicolas de Tro es : Paran on De la rande in ortune de deux 53 y g , g f ”

amoureux . * o m N r P . r8 . I briani : ovella c entina II fi liolodel re di orto allo 77 j fi , g g

V . 4

V n d r H n : Gescm uer o e a e mtabente Die N hti all . g , ac g ’ N P n on D fi v icolas de Tro es : ara e la lle d un C he alier . y g , “ ” L F n in : ontes L i n a o ta e e oss ol . C , R g “ r o t N s L n Ver ie : n es cl ouvelle e ossi ol . g C , R g d : E ru sefi or S l Lope e Vega l y de evil a . “ n oN l Ri i doM n rd Sa sovin : ent ovel e S cel te cc ar a a i . o C , “ ” m N av le r ri e i Fi r ze L n La i : lla tte a d en a Lusi acca . e , g Gamerra : La C orneide anto VI , C XX “ R i nuol Il i : N ovelle II oss o. Cast , g

V . 5

* 2 rnw : Dramatic S cenes The Florentine P rt . 1 8 0 . B rr o all a a y C , y *1 L in : N athan der Wei se with I and . eas 779 g ( , 3 , X,

V 6 .

“ * d Tro : Paran D x man i uren 1 6 . Nicolas e es on e deu a s u t at 53 y g , q f ” tachés . * o ov e ce te ian di P ida ovino: ent N ell S l G roc . 1 6. Sans 55 C , * m t in n n T ss : Gerusale me Libera e Ol doa d Soro ia. 1 575 . a o , f BOCCACCIO AND HI S IMITATORS 2 5

V . 7 om “ Hans Sachs : media Die Violan eines ritters tochter. C , ta “ Forrest o Fanc Th dor enamoured of Maister Emeries f y, eo e d aughter. B m n T m h e eau o t and Fletcher : ri u p of Lov . Nicolas de Tro es : Paran on Du dan er en uo urent deux y g , g q y f m ” a oureux .

V . 8

“ Pauli : S chi m und Ernst Der Koler sach ein rauen und einen pf , f

Ritter . “ Hans Sachs : H istoric Wie der un edelman Anastasius ein , j g ” n ju gfrau erworb .

hri h T : A H istori o N stc ioand Tr v C stop er ye notable e f a g a ersari . “ Turberville : Tra ical Tales In I talic there is a citie hi ht g , g ” R nn ave a. “ Forres t o Fanc m ntion d I mi ht brin in Nasta io if I f y ( e e ) , g g g w ld ou .

H on i ch Shirley : A C ontention for our and R es . (

h : H onoria and Mammon P S irley . ( ) d n H Dry e : Theodore and onori a. B n D n ro : on Jua 1 0 1 06 . y , III , 5 , “ ’ Nicolas de Tro es : Paran on D une vision ui a arent a un y g , q pp ”

amoureux . Correggio(or Alunno) : four panels relating the tale of Nastagio Burli n ton Ma ( g g. ,

1 8 20 .

1 8 Paolo os : O ere La Donna di Guido de li Anasta e 39 C ta p , g g

(poem) . ’ * 1 875 Giacosa: Tri ch jo d Amore (secolo XI V) (not an imitation prob

* n D Ede alk H : er l . 1 543 . a s Sachs f d F lk n De a e . 1 8 H d n F bel n u . Erz hl un e r . a or : a 73 ge g , — De F ein L st i l Nationalth ter Wien : r alke. 1 6. M u e ea 77 on , sp , * a m n n 1 Goethe : Bri e an Frau von Stein Der F lhe e tio ed . 776. f , ( )

* B nw : Dramatic S cenes and Other Poems 1 8 1 . arr r ll 9 y Co a ,

“ ’ * d n T l Wa I nn Stu t Tal . 1 86 . L n ll w : a es o c side e s e 3 o gfe o f y , 2 6 BOCCACCIO AND HI S I MITATORS

T nn n : The Falcon St m T o . h n e s a e ater Londo . y ( J s e , ) “ ’ ” Wm Bl k S mbr F . : abi Ze o d ri n ac na r e o F . , Se e g s alco “ La Fontaine : ontes L Fau n e o . C , c ean Pala rat : Le Faucon n v la d int J p ( e er p ye or pr ed) . Dauvilliers : Le Faucon on to onstanc c m d e o . , C ( e y) Loui Fuzelie : Le Faucon c med s r ( o y) . Mll Barbier : Le Fa c m e ucon ( o edy) . D év ie : F et es B r et re Le aucon les Oy de occace. Sedaine : Le Faucon comic o era ( p ) . “ D Théi : Le Sin e de La Fo nie F i e s ntc ed li e . g , r erie ct C t

B Rad z Le F ucon t a . J . . a B bier : La olombe comic ar o era . J . C ( p ) e de Ve a : El H alcon de Federico Lop g . “ n vin : entoN avella S c lte F d od i Sa so o e e eri e li Alber chi . C , g g Bru iantino: entoN avella i n ri mc g C .

V 1 . 0

“ * h : S chw nke D mii in d f i H n Sac s ie ller un e r n . 6. a s rbe 1 54 a , “ * Martin Montan us : Garten esell schc t Eine rau der andem ftir r 557 . g f , f ”

libel hielt . * N M lini : ovelle . 2 . or 1 5 0 , XXX

VI . 1

* h D n e mi Han Sac s : er u ret riter t Oreta. 1 548 . s p “ ” m i N ovelle De m laci b : octu bili . Serca , p “ ” * vino: entoN avella S celte Monna B oret Sanso ta. 1 566 . C ,

VI 2 .

“ * in entoN ovelle S celte ti fo n la 6 Sansov o: As maioco una aro . 1 56 . C , p

vr.

“ ’ * N col de Tro es: Paran on D une ouvencell ui re i 6. i as e r t 1 53 y g , j q p ’ ” l evesque. * S cambi : N ovelle De ul cra re s onsione. 1 375 . er , p p ’ Ari oil II astelvetro: Poetica d st t e . 1 5 70 . C ,

VI . 4

“ * S chi m and Ernst Ein is sant ll nu r in in ha n 2 Pauli : so e be be . 1 5 2 . pf * : ch nke e Koch mit dem Kranich Hans Sachs S w D r . 1 540. a , BOCCACCIO AND HI S IMITATORS 2 7

“ *1 Martin Montan us : Garten esellschc t Ein koch illt ines 557 g f , st se ” h n erren zor .

Hermotimiu : De ruis edibus s g p .

Bid rman : to ic e U p .

’ Bechstein : e Lehe le c wab M rchen D r r s S h . a , “ Z c nes A n nd D fifli K hin ocher : S hones rit l e la ie e 6c . g p , p g ’ Ta k rletan s N w s out o Pur atorie The Tale of the oo e. e e f g , C Ho kinson Smith olonel arter o artersville The One p : C C f C , ” le ed oo gg G se. ’ D v l : La r toutes N ouv Ou i le fleu dc elles. “ Timoneda : Ali vio Por ue sedi o sé dl era ote sacara su , q j , j j ,

piema.

' San : F s rt c ta Cruz lorestc e pc ol .

oelh : ontos o ul r ortu es C o C p p a es p gu es . “ San ovino: entoN ovelle S celte C hichibi c oc s o u o. C , Sa redo: Arca ia i n Brentc g d .

VI . 5

“ H ch nke ans ach : S w Die zw n un erschafl n Ren . S s a , e g e ter

VI 6 .

’ astelve o: Potica Ari s C tr e d totile.

VI . 7

* 1 Martin Montan us : Garten esellschc t Ein wirt nimmt eine 557 g f ,

P i monum D ni n 1 1 . ere rinus : C onvivicl um er iber er e uve e 54 g S l , s s j ”

uxore .

“ ’ * i d T D mm i c 1 6. N colas e ro es : Paran on un ho e ui ava t ac us se 5 3 y g , q é ” emm f e.

VI . 8

VI . 9

* 1 62 . Sansovino: entoN ovalle S celte Guido av n 5 C , C alca ti . i 2 8 BOCCACCIO AND HI S IMITATORS

VI . 1 0

“ Be lius F t be : ace iae, De stationario. “ Hans Sachs : Der Munnich zwiefl l mi im h m e t se heylt u b . “ Martin Montanus : Garten esell scha t Ein stationierer zei t g f , g k hl f h m o en iir eiltu . “ irchho Wend unmuth eli uia mit K hle verwecksel K f , R q e o t . “ Hulsbusch : S lva sermonu m Hiero hanta ostendit oenum ro y , p f p ” r is eliq ui .

Lu he : Ti schr den 2 6 Ffi m n t r e ed r e a . , 3 , 5 , st

r : u r e i Ge lach E t ap l ae. Lan e : Deliciae Acc demicae g . “ B m A u c Di hlene au bach : benteuer nd S hw nke e esto Feder. a , g ’ “ Tarletan s N ewes out o Pur atorie Th Vick B m e ar of er a o. f g , g

Green : The S anish Mas uerado m n ion d o e p q ( e t e nly) . “ ’ Nicolas de Tro es : Paran on D un moine nomm frére y g , é

C iboulle .

E : A ol i n x n mm n o e i u o i n. H . stienne U reli e rere O o p g , g é f g “ P Di orti nd rto rabo : e 11 mo Lazaro. a sco p , 3 ( ) ,

VI I . r

* H n c : D r Far r on nz 1 . v 540 a s Sa hs e be Flore . “ ’ * obler o ounterburie Old Wiv T 1 0. C es ale . 59 C f , “ * N ot i hi n a o mla : t La i s o uroa m rit . 1 0. Stra a T s sc i l 55 p , V, 9, g

I VI . 2

i m : vi v ali um ermonu D ul ra. Gast C on S , e ad te

Martin Montanus : Garten esellschc t Eine rau verbar ins g f , f g f ” ol ass .

1 60 Sommer : Em lastrum C ornelianum Eine fraw in ein ass ver 9. p , f k ” stec te .

ti nn : A olo ie Une emme ui fit entrer son ami en un Es e e p g , f q

onneau t .

Verb t Les Delices de oq ue . “ L vi r : C ontes e u e . La Fontai ne , C Tonnelier o ra Audi not : Le ( pe ) . “ Morli ni : N ovellae, De viroin dolio.

I V I . 3

“ Monch Rin Martin Montanus : We ktl rzer aldus . 557 . g , m Mahrold : Roll arschkasten . 1 608 .

BOCCACCIO AND HI S IMITATORS

VI I . 6

“ Po io: Facetiae Muliebris afri gg , v tics.

ast : S rm s vi vi G e one Con ales . “ H n h : chw ti a s Sac s S nke Die lis B ulerin . a , g “ Kirchho : Wendunmuth Eincn cinti u i en rit er t u t f , g g t be re g seine ha fraw us .

Ha edorn : Versuch i n oetischen Fabeln und Ersdhl un en g p g . Van Eflen : (Euvres diver es Von einer eschwind n chalk s e S in. , g “ Von der Ha en : Gesammtcbenteuer Der Ritter und die N u g , sse ’ ” Mer Tales Of th inhold r w i d h wol v e e s e an er t o . y , y ers ’ “ Tcrleton s N ewes Th n l w e Ge t e oman of L ons . , y ’ har ham: u id s hir i S p C p W l gig. ’ Turneur : The Athei s s Tra ed t g y . Beaumont an d Fl ch r : W P ed I I et e omen leas , , 6 .

avenscrot : The London uckolds R f C . Antoine de la Sale : ent N ouvelles N cuvelles Unc dame ct ses C , deux co no mpaig ns . Estienne : A olo ie Une emme florcntine a ant deux aman p g , f y ts ” n m n e sa aiso .

Bouch t : Strees e .

’ D O vill : i des on u e El te C tes . D nc La P ri s a ourt : a ienne.

La Farce du Poulier a uatre ersonna es q p g . “ Ari n i : Le Porretc ne La mo li di m ch in t n e t e ar es o O tobuo i . , g “ P rabo co: I Di orti 1 6 Odericofa uscir di casa il marito a s . p , , ” Bandello v : N o elle, Una donna si trova aver tre innamorati .

ansovi : oN ovelle S celte Mad nn a ll c n Li n S o ent o a I s be a o o etto. n C , M ini alcsp : N ovelle .

VI I . 7

An on dem S chr ber on . : e V y .

An n Der S chr i er i m r n o . : e b Ga te .

' R lil : Der Mann i m r osenb t Ga ten .

t : S ermones onviviales Gas C . “ Burkhard Waldis : Eso us Vom al ten mann und seinem weib p , e . “ ” H ch : M is r V n in m un u n kn ch ans Sa s e te lied o e e etre e e t . , g

M M n n : S i vom un reu n K ch artin o ta us p el t e ne t . “ ” L in S chwd h D amm rdi n an be : n e er e e er . g , K “ Falk : S at rische Werke Frau in der maske der zoe vom man y , f nc ” ru l gep ge t . BOCCACCIO AND HI S IMITATORS 3 1

Mer T es f h w f d n al O t e c an her re t . C y , y p ys “ S ack ul o N ewes There was an old man that could no w f f , t ell see. abler o cunterburi C f C e. Daven rt : The N i po City ghtccp. F n : Lo i he D ke a e ve n t ar .

avenscrot : London uc R f C kolds . ’ Sin r : S haks ere s Jest Book ge p . Antoin de la al : N ouvelles N ouvel s La bour eoi e S e Cent le , g se ’ ” d orl n ea s.

Nicolas de Tro es : Paran on C omment une emme fi all r n y g , f t c so mari n nu rdin e ja . ’ “ ” D Ouvill : Elite des ontes Ai nsi il fut oocu battu t content e C , , c .

La E ntain : s L c cu b ten onte o attu ct con t . b e C , e , er o m B e H um Rog B nte s en ell eur. D T ancourt : Le uteur .

Wi : L M ri cocu b u con e comedi e e e a att et t nt c . g , , ( ) “ Kr tadia La emme dc marchand et le commis. yp , f “ im A i i Avi n al mu r h r T neda: v o a u deano e e mosa. o l , j ‘ Romancero General , Novela in redondillas .

n r A i o a Andrés Gil : E t emes del m g Verd dero. c one c l P Scr Giovanni : Pe or C e coodi eru ia. , g “ Po i : Facetiae De muliere uae virum defraudavit . gg o , q

Bandell : N ovelle I . o , , 5 “ M Sansovino: entoN ovelle S celte Ludovicodiscuo ra 3. adonna C , p B ” eatri ce.

Malcs ini : DucentoN ovelle 61 p , oXV Gamerra: La C orneide ant . , C III

VI I . 8

H n ach S chw nke Dcr Bawer mit dem Zo . a s S s : a , pf

A r r : Fastnachts i l Der liberwunden E flerer. y e p e , y “ W Von der Ha en : scmmtabenteuer Der vertreutc irth. g Ge , “ k W ” Lambel : Erzdhlun en Der ver et t e it t . g , “ Andrew Bord : Mad Men o Gotham Twel th Talc . e f , f “ ’ ” obler o C aunterburie Old Wives Tal c . C f , “ Westward for S mel The Fishwi e of Brainford. ts, f

An in l ouvell s N ouvelles Le bour eois to e de a Sale : Cent N e , g T ” ours. 3 2 BOCCACCIO AND HI S mrrAr oxs

’ Nicolas de Tro es : Paran on D une emme ue n mari a y g , f q so vait r v t ou ée . Del i s de erbo u te nér ux Les ce V q et Gé e . “ La Fontai ne : ontes La Ga eur troi ommer C , g e des s C es. “ Timoneda: Patranuelo A mar uina las nari c c rt . , q es o aron “ Firenzuola: Di scorsi de li ani mali La sventura n g , ta col aso ” mozzo.

2 1 55 . “ ovino: entoN ovelle S celte Un diviene l d a m lie Sans e oso ell . C , g og ovelle I I 0 Mal ini : N . 1 80. cs 5 p , , 4

62 am i : N ovelle due. 1 5 . C pegg

I V I . 9

“ i l d beron Sccht e35 n W an : O cs . e , g g ’ hau r : anterbur Tales Merchan Tal C ce C y , t s e.

“

P : Poetical Works anuar and Ma . ope , J y y ’ D uvill : Elite des ontes O e C . “ F n i n : ontes La G ure des ro C ommcre La o ta e a e t is s. C , g

L S : Les Trois omméres e age C . Poi rier Vadé : Le .

a eu e des T ois om r Desmares : G g r r C mé es .

VI I 1 0 .

“ ’ *1 6 Nicola dc Tro es : Paran on D un com a non ui 53 . s y g , p g q r ir even .

‘ VIII . I

Be lius : Facetiae Factum cu usdem Franci cna. be , j g “ ” ch ke Di u l rin H n ach : S w n e tro en c e . a s S s a , pe g p u n ba r s ss Frederici : Der nda k re f an o . “ ’ r T h hi man S or h u rbu ales T e S s t . C a cer : Cante y , p y

i d es : Paran on Une dame vouloit 200 N colas e Troy g , “ ” La Fontaine : ontes La Femme avec Galant Escroc. C ,

“ Th i : Si n e de La Fontc i ne La double attente. De é s Le g ,

s H L h r m u v ll i storiettes e marc o . I mbert : N cu e e , é p “ ” F iae A r venalis P io: acet nse . ogg , BOCCACCIO AND HI S IMITATORS 33

VI 2 II .

H V D chon ch i o cl z as s olts midtswe b. . g g H ach : D r mit in kor ck ans S s e pfarrer se o . “ Martin Montanus : Garten esellschc t Ein fafl icht seinen g f , p g ch rr ck m d o o zu pfan .

Lind nc : Ras bttchl ein D fafl u d rau B lc ra e r t er n e o . , p f Kirchho Wend unmuth Ein tudi u v rbul t in rock s o s c se . f , s

W : D S d t i att er tu en m t dem morser .

Nicolas de Tro es : Paran on Un entilhomme donna our y g , g p ” cin an e c l qu te sens d ve ours.

V III . 3

*1 H n h D chw r n un ich i n n in 6 . ac i 5 3 a s S s : e S a ze s t ge edle ste . * “ 1 66. Sansovino: ento N ovelle S celte C olandrino cercando la 5 C , ” Elitro ia p .

V III . 4

“ ” * h : h k D r r t Han c Sc w n e hum b . 1 . s Sa s e t o s 545 a , p H “ T l 1 8 2 Whetstone : e tameron h Priest of Fie e . 5 . p , e so *1 An in l v s v s n C h l 6. to e de a Sale : ent N ou elle N ou U eva ier de 45 C elle ,

“ ’ Nicolas de Tro es : Paran on D un restre ui y g , p q ” avec une emme f . Bouch t : S eri es e .

F c : R ille-m i n a et eve at .

P J di d A es uenta: ar n e mador .

B an dello: N ovelle I I , , 47 . “ I l Pr odi F l Sansovino: entoN ovelle S celte o ost iesoe . C , p M i ovelle alcsp ni : N .

V III . 5

V 6 III .

P c i m f u Er li nd nst f l . au : S h o . p , 74 h nk r ch di H n ach wa D a en b . a s S s : S c e, e p e

“ n vino: entoN ovelle S celte a oe Bufi almaccoimbolano Sa so C , un r a alandrino po co C . 3 4 BOCCACCIO AND HI S I MITATORS

V III . 7

Hans Sachs : D r Student im Schn e ee . “ Painter : Palace o Pleasure Helena f Fl nc f , o ore e .

Massin er : The Guardian g . ’ Nicolas de Tro es : Paran on D une emm ui tr m y g , f e q o pa c li r es o c .

LeSa c : Le Diable Boiteux Patri ce g , ct Lusita.

V 8 III .

Rosenblut : Die wiederver ltun ge g. Martin Montan : Garten esellschc t Zw n n us ee lle . g f , gese ” Lindener : Rcstbtlchl ein c u litt es llen , g g e . hr ld Ro marschkas n Ma o : ll te .

Der kurzweili e Arle uin Der tr fl buhl e a tc r. g q , g s c ” Lan bein : S chw nke Stille Rachc g a , . “ Von der Ha en : Gesammtabenteuer Di m ch g , e drei uni e ’ lmar Co . Adr s John Jones : a ta . Nicolas de Tro es : Paran on D d ux v i in y g , c e os s . Bonaventure des Periers : N cuvelles Récréations D l l , c ce u ’ ” h va l oreill ac c e .

Estienne : A olo ie Un cou turier dc Fl renc p g , s o e.

’ La F ntai n : s L f o e onte e aiscur d oreill . C , es ’ P tit d la roix : ontes Persans Hi t ire d Ar n a e c s o o . C C , g “ ” ui chard : ontes et ables La revanch G C F , e. “ l ” Kr tadic ean Mate ot . yp , J

Masuccio: N ovelli no 6 Dui cari com a ni . , 3 , p g

Parab : I Di orti Valerioe Teodoro. osco p , V, “ Stra arola : N otti VI 1 Si amanoinsieme duocom ari . p , , , p

V III . 9

* h D d c r im V nus r Hans Sac s : cr oto e e . 1 545 . p g * Ei n astncchts iel van Mei ster Si mon A rer : . 1 598 . y f p ’ “ A c i ci lv tr Poeti ca d ri stoile Bruno omm ni a a mostrarc . 1 0 . aste e o: t 57 C ,

I V 1 0 III .

“ * k ufi m n Hans Sachs : Fastncchts iel Nicola der a o . 1 550. p , * i d V a: El anzuelodc Fen sa. 1 61 7 . Lope c eg BOCCACCIO AND HI S IMITATORS 3 S

IX. 1

“ P li : S chi m und rns W au E t m drei erber. pf , U “ Hans Sachs : Fastnachts iel Die un erbcr witfraw Francisca. p , j g

Hulsbach : S lvc S ermonum y .

: Der B r Schauplatz et iger .

Prbhle : Ki nder und Volksmdrch en .

Ueber Land und Meer Di F ier d Witw , e re cs cs .

Lydgate : The Lady Prioress and H er Three Lovers (ballad) . Nicolas de Tro es : Paran on Dc deux amans ui a moint une y g , q y ” vcufve.

1 88 1 .

’ 1 88 Ortoli : ontes o ul i res dc i r . a l 3 C p p le de Cose. 1 8 1 Pin u : a o ul i res du oi o . a ntes a P t u 9 c C p p .

I X 2 .

: M h oso h c D inc c h e Gallus ensc il i c ic be mit d r os . p p , g Han Sachs : Meis erlied Di E thesin mit d r ru ch s t e e c . , p p “ Burkhard Wal : Eso V n in r arm n N nn n dis us o e o e . p , e e

Martin Montanus : Garten esell schc t Eine ab issen hat cin hose g f , t e ” a d m bau uf e pte . “ Somm r : Em lastrum orn ic num V n in b inen e C e o e er e . p l , g

Dachtimandcs : Die hosen des doktors i m nonnenkloster . “ ” Th Tw n : The S cho master I V f n t o. ol O h s e o es e t . y , , j s ’ r A s E d V 2 Wa ner : lbion n lan . g , , 7 ’ Nicolas dc Tro es : Paran on une abbesse ui vouloit bailler y g , D q ” d ci n is pli e .

E tienne : A olo i n a b i au a dc L m s e U e b a sse s o bardi . p g , p y e du F : M i é Noél ail at n es . “ F n : L P La o taine ontes e sautier . C ,

i : i n La F ai L n De Thé s Le S e de ont ne e al e o . g , C c “ ” V r i r : (Euvr s La ul tt e e e e . g , C o “

Grécourt : ( Euvres La ulotte et le ordelier . , C C “ Pulci : Mor ante Ma iore XVI uella Badessb. chc volle g gg , , 59, Q l fli ” tor a cu a. “ M rlini : N ovelle De bbati a u m ni al arri i o a ss ae o es ens . , q p “ ’ C inthio dei Fabrizu : Ori i ne dei roverbi O ni cums si scu a g p , g s

di notte. BOCCACCIO AND HI S IMITATORS

I X . 3

“ Hans Sachs : S chwanke Di kr ckh i in in , e an e t Kalandr , der c kind ” drue g.

Wickram: Rollwa enbttchl ei n Von einen radtsh rr n d r mi g , e e , e t ” ein m kind i n e g e g. ’ Nicolas de Tro es : Par n on D m d cin fi a un e ui t accroire . y g , é q ’ Kr tadia Le recteur en mal d enf yp , ant . “ Stra arola: N otti car afi c P S o. p , p ( )

I X. 4

! *1 H h S chwanke c ans Sac s : Der herr mit dem vers ilt kne ht . 545 , p

DI . 5

“ *1 H h : S chwanke D r 8 . an Sac s r n uc r 54 s e c ga st p le . “ ’ * 6 Nicola d Tro : P an on D mm m 1 . h s e es ar un o ari . 53 y g , e é

IX . 6

“ ” * H n ach : S chwanke Di zw im wi 1 a s S i ll n . 554 s , e e Gese e be rt “ * M in M n anu : es sc t w n un n I art o t s Garten ell ha Z ee eselle . ss7 g f , j g g “ * Lind n r : Rastbttchl ei n Zw n n h r r n inem 1 8 . e e e eselle e be e be e 55 , g gt y

L n in Gedich Di Wie a : te e e . gbe , g n mm zw n n Vo der Ha en : Gesa tabenteuer Von ain stude te . g , “ ’ ” h u r T s T R e Tal a c r : ante bur al e he eev s e . C e C y , f M n c ci H i stori e o the ylner of Abi ngto (not an imitation of Boc ac o) . o “ ” La Fontaine : C ntes, Le Berceau .

rc au Collé : Le B e e (opera) .

hi i Fabrizu : Ori i ne dei roverbi Lu vai cercando C int o de g p , ” Maria per Ravenna. “ ’ ic in r d n er eb zza Arte Poet a Dcll anno ece e te re . Castelvetro: , g p p

IX . 7

* “ w t m w Hans Sachs : S chw nke Das bbs eib i de ol . 1 546. a , m f * Sansovino: entoN ovelle S celte . 1 566 . C

8 IX .

“ * m r z Hans Sachs : S chwanke Die zwen Sch a oer. 1 547 . , * “ Nic las de Tro es : Paran on Dc Deux Gloutons . 1 536. o y g ,

38 BOCCACCIO AND HI S IMITATORS

X . 4

*r H n h : i mi d r a s Sac s nt le t toten awen . 544 . Ge er f “ *1 66 L h : Tischr n E delman hat ein chon un weib . ut er ede in E s 5 , j g hab ge t .

d : Di T an Lus u Uhlan e odten v tna . ( P P r l ainter : Palace o leasu e atharine of Boo na. f , C g ’ Tur rvill : Tra ical Tales ntile loved on Nicolucci s be e g , Ge e o wi ” fe. ’ “ T nn n : Lover s T Th ld n u e so ale e Go e S er . y , pp ’ Nicolas de Tro es : Paran on D un entilhomme dont la emme y g , g f ” u r f t ente rée. An i suci : mante r . on. La a tada

B d ll I I an e o: N ovelle, , 4 1 .

X . 5

’ ohann Valentin : Andrae s ch mische H ochzeit hri i ani J y , C st ”

Rosencreutz.

“ ’ h c r r h F au e : anterbu Tales T e ranklin s Tal . C C y , e

Pain r : Palace o Pleasur An ald nd Dian r te f e, s oa o a.

B aum nt and Fle ch r Tri h o H onour e o t e : ump f .

“ Lei h Hun : I talian Poets Th ar c n F i d t a e r en . g , e S s “ Nic las d Tr s : P an on L din d anvi r o e o e ar e ar e e . y g , j j “ Maria d Z N ovel as Amor sas ardi n n e a as : o e a oso. y , J g “ B r r oa do: O landoI nnamorato anto roldoe Tishina. j , C XII, I I mbriani : La nov l a a or e l j fi enti na .

6 X .

' “ * Han ach ch e Ritte t den 2 n n t . S : S wank Der r mi h e d h ern 1 s s c . 547 , sc o o

* 6 Nic l d Tr s : P r n on L r i h l m un r . oas e o e a a o ar es ai it e u lle e o ce . 53 y g , C p

X . 7

’ * H n ach : Koni P u f hi toria r 545 . a s S s g eter i n C icili a mit j ng rau Li sa ( s ) . * “ ’ ’ r 6. Nicolas de Tro es : Paran on D une fille ui fut amoureux d un 53 y g , q ” roy . * d d r8 0 . Al re Mu : r si 4 f e sset C a mo ne. BOCCACCIO AND HI S IMITATORS 39

8 X .

H n achs : Die e euen his oria a s S g tr heiden ( t ) . Hans Sachs : Titus and Gesi com di ppus ( e a) .

— Schwartzenbach : Camedi dari nnen rechte trew und freundschaft t ‘ furgestell wurtd .

M n : i l Ti isi artin Mo tanus Sp e van tus und G ppus . r : Die r u Kaspar Ve es zwei t ewen fre nde .

hr l : rsch s Ma od Rollma ka ten .

S iu : omoedi a l Titi et Gisi i amicitia Altdor pecc s C ce pp ( f) . “ Sommerklee und winter ritn Nicolau und Fran i u g , s c sc s. ” Acerr Philolo ica Historia des i i und Ti i a Ges t . g , pp tt r : Der mann den seine rau ni cht kennt Go e f .

' Widm n : Di kirni en s Ostens an e g de .

“ o El ot : The Governor The wonder ul histor of Titu Th . d y , f y s an ” Gesippus . William Walt : The H i stor o Titus si ran o er y f and Ge ppus (t s . f Beroaldo)

Edw Le wicke : H istor o Titus and Gesi us dr i . y f pp awen nto

Radclifi e : De Titi et Gi si i miciti a drama pp a ( ) . nd r onne : Ti tus and s lot e d us . Tho. U Ge ypp ( s ) P n Greene : hilomela (endi g) .

: M si r Thomas Fletcher on eu .

F i h u Friendshi or Al honsoand e ti mus ll a t l S a ad . f p , p p (b ) Gold mi h : The B Stor of Aleander and Se tim s t ee us . , y p ’ olli r : Poet D c meran revi w of L wi k v r io C e ical e a ( e e c e s e s n) . fi n : i si u ra ed n he Gerald Gri G s t Drur La e T ater . pp ( g y, y ) ’ Nicola de Tro es : Paran on D un m n n i s co ai on athe os . y g , p g Hard : Gesi e ou les Deux Amis y pp , .

he a : s D x Ami s C vre u Le eu .

B : M ri r su rc rie oissy Le a pa pe he . Timoneda : Patrafi uelo Por rbino Federico con Antoni a non , U , h ” cas .

Lo de Ve a: La Boda entre dos marido pe g s.

e : El uri d Parnas R yes C al e o.

B roaldo: D o i A i e e TitoR manoGis ppoq ue thenians . N rdi : Amioi com di a ti a ( e a) .

An n : i s os di r A i se Ti ui F o . R ta a m a to p C ide ten e Q nta ulvia. BOCCAC CIO AND HI S IMI TATORS

*1 i von Mon i T i Nobil te ulc ano: itus et Gi s o m Manni . 555 ~ p ppus (p e ) ( ) 6 oOddi : isi o c di aleott G ome . 1 1 3 . G pp ( a) “ 1 868 Libra di ov ntic ! S c t i ri i lett Di u lla he el a d cu os ta . d . n e a e e ( ,

*1 8 59 . * r : Pal P sur Th din int ace lea e or llo d a . 1 6 . Pa e o e an Sal e 5 7 f ,

* h h : N u r - A ra Be n The n o the ai r Vow B re ker . 1 6 0. a 9 p , f * h rn : T F M r Sout e he atal a ri a e. 1 694. g ’ * i ol d Tro : Par on D un C h vali r ui rec ut l 1 6. N c as e es an e e e e 53 y g , q udan So .

X . 1 0

inh Arigo(Ste owel) : Griselda . Hans Sachs : Die gedultig und gehorsam grafiin Griselda (comedia) i m E fo . 2 Pauli : S ch und rnst l . pf , 5 W on H D d un F rtunat Kirchho endunmuth V erzo uran o d o a. f , g M i i s com ia auric us : Gr elda ( ed ) .

r r r W ther Fiedle : Ma gg af al .

Nicola : Vermi schten Gedichte Griselda. y , “ ” r m A Di zw i H h i A ni : riel , e e te oc ze t .

hwab : Gri seldi s Volkssa e i n zehn Romanzen Sc , g .

Liideman : Gri seldis .

h e ri k : olksb r Eine n anmuthi e Histo c . Simroc V uche , sc o g ” e eldi Bechst in : Marchen, Gris s.

nn ri Hauptma : G selda . “ ’ h rk T haucer : anterbur Tal es T e le s ale . C C y , C d Doloney : Of Patient Grissel and a N oble Marq ues (balla ) .

H i o P ient i ss tr n rom th A Pleasant and Sweet story f at Gr el ( a s. f e i n I tal a ) . t i s rom the A true and admirable hi story of Patien Gr sill (trans . f F n h re c ) . * 1 603 . * 6 Pe s Di ar mention of a u et la Patient Gr ssel . 1 67 . py y ( p pp p y, y ) m 1 eo O le : Gual therus and Gri selda oe . 739 G . g (p ) BOCCACCIO AND HI S IMI TATORS 41

N ew Paradise o Dai nt D vic Death of Patien i f y e es, t Gr zel and A vi L d ce to adies.

h : P i tal Miss Sot by atient Gr selda (a e) . Edwin Ar nol : i s a d Gr elda ( tragedy) . B ddon M E : ri da P ce The er el rin ss at . ra , . . G s ( ) M i i Le ystére de Gr seldis (Par s) . Mi r m r s ouer d s em es ve tueuse La atien ri lidi . e f , p ce G se s Olivi r d la Mar h : Le Parement et Triom s D mes e e c e phe de a . “ ” Ni colas de Tro es : Paran on De Gri selidi s. y g , P rr i l i e ault : Gr se d s. Gillet : Griselde (comédi e en vers) D r i lidi s o r esfoges : Gr se ( pe a) . Silvestre et Morand : Gri selidi s (mystere) H i ri i Metge : sto a de las bellas v rtuts . sti os e doctri nes ue nu S abie dava a sus hi as Ca g q j . “ Tim n : Patr ft Por su bondad ri seldi fu ar ue o eda a uelo G s e m . , q sa

avarro: omedi a mu m lar m r s i N C y ex e p de la a q ue a de S al uz a .

L : x lo c ope de Vega El e emp de asadas . om ro n r — ri selda ua tero R ance Ge e al G y G l . “ H i stori a de Gri selda La ual lo mar ues Walter re ne or , q q p g p m ” uller .

’ “ Mi uel Planas : H istories d altre tem s lter Gri l a se da. q y p , V y Petrarc : D obedientia ac d i a e fi e uxor a . “

Sercambi : N ovelle De muliere costante. ,

Pinturicchio: Gri selda scenes rom National er ( f ) ( Gall y) .

o Od i s om di a Gale tto di : Gr elda (c e ) .

Mazzi : i s tra i omm dia mor Gr elda ( g c e ale) . M im : Gri selda tra ic mmedia ass o ( g o ) .

Ma i : r lda di u gg La G i se S al zzo. Z Apostolo eno: Gr iselda .

ld ni : La Gri selda Go o .

’ A ui l d A n n : i selda g l o g o e Gr (drama) .

MS XI V ( ) . BI BLI OGRAPHY‘

o ac i l hti tz . B cc c os N ovel v Fa E Ansc la om hen. rl n e a n 1 8 2 . , R g , 9 “

Bédi er . Les Fabliaux cha . vi Le Fablia u aux trus ses Paris 1 8 . , J , p , , 95 Boc and the . caccio Decameron i i ourland . n C ast lian nd n t B , C B a C atala Li era

ture Pa 1 0 . . ris, 9 5

' t di sul ecamer L . u D one Pa lletn S . rma 1 C a e 880. pp , , H ans achs ed i suoi r o i r no Amalia. S a rt con la lette atur esa a italiana. om C , pp R e,

1 904 . M E H istaire de la Paesie candi nave P il . . a Du ér S ris 1 8 . , , 39 — eschi chte der ros htu brecht . G P odic n lo Lie en . un erlin 1 8 1 . D p g B , 5 i ann Boccaccio w York 1 0 . on E Giov . Ne 1 Hutt , . , 9 tudieu zur Geschichte der i talienischen N ov isc oe el E . S elle i n der en l hen K pp , . g i des ahrhunder bu teratur XVI ts . 8 Strass 1 2 . L . J r g, 9 M c i hte der talienis hen . h c I c ovelle i . Lan u Ges N . enna 1 8 da , V , 75 i l n D kameron . r M. le e Landau D e ue des St t a t 1 88 1 . , Q ut g , tr i e stori co I llus az on i del Boccaccio. Florence 2 M nn . a i 1 . , D , 74 W The ource and H istor o the eventh ovel 0 the e e t Schofield . . S S N S v n h , V y f ]

Da . oston 1 8 . y B , 99 1 i n Tra lat — A El zabetha ns ions r the ia P M . M . L 6 om I tal n . A . 8 t . . ub . . 1 Scot , f , 95 9 Di e r eldis - a e i n der u hi chte W h lz . G ies Litterat r esc Hei 1 888 . e o S . d ber s ten g g el g,

Biblio ra a Boccaccesca . lo na 1 . Z mbrini Fr. o 8 a , g fi B g , 75 Bibliothek des Literarischen Vereins in Stuttgart

A rers Dramen eller. Stutt art 1 86 . y , K g , 5 b - H ans S achs eller. u in en 1 8 0 . , K T g , 7 79

m h . Ki rkho Wendun ut a terle tt ar 1 86 . i , O y Stu g t, 9

n h . Li ndeners chwa kbttcher Lic tens . tutt art 1 88 S , tei n S g , 3

Marti n Mantanu S chwanbucher olte. Stutt art 1 8 . h B g , 99 hi a S 1 866 . uli c m nd Ernst a terle . tutt art Pa . S pi , O y g , hl ein i ckram Rollwa enbuc olte. Stutt art 1 0 . W , g , B g , 9 3 Neudrucke Deutschen Li tteraturwerlre — — ie tz. 1 ns achs Fastnachs le Goe Halle 880 8 . H a S p , , 4 — ans achs Fabeln und S chwanke Goetz und Dm cher. Halle 1 8 H S , , 93

1 904 . Grands Ecrivai ns de la France — e i er Paris 1 88 0 . La Fontai ne n . , R g , 7 9

The above bibliography indicates only the principal monographs and edi tions c n ai ni n notes earin u on this su ect which have een use in of authors o t g b g p bj , b d pre r I n a more etaile i scussion of the difi erent N ovelle whi ch pari ng this wo k. d d d is n ration there will a ear a uller i lio ra h contai ni n references to arti c le i prepa , pp f b b g p y g s l i n various periodica s. ADDITI ONS

The following additions are not tobe classed as genuine imi tations of Boccaccio bein in most cases m r l tran lation or a a ion e e s s ad t t . , g, , y p s

I I . 9 M h b 1 . ar m i 755 s : Cy el ne (adapted) . B 1 8 . rook mb li d 77 e : Cy e ne (ad apte ) . m l i 1 . K : mb 806 e b e Cy el ne (adapted) . “ m in in Hin 1 880 . bel e a doo Pla house Eclec. ul Cy y ( J y,

I I I . 8

“ 1 801 . asti : N ovelle Il Pu a orio r t . C , g

V. 9 H “ 1 0 . G . . owland : Ten Best Stories The Falcon 9 5 C , , B n r m Th 1 08 . e G eet o an e Fal con . 9 C p y,

VI I . 1

“ B khar m i M r 1 8 . di m tlfl . ur d Wal s : Eso us Vo Studenten u . e ne e 54 p ,

I VI . 8 H “ : h D h r rin mi r . 1 8 . ans Sachs Sc wttnke ie c e e t de Nase 53 , S ” 1 8 K ll l D mit Erza n Pf d r Snu r . . e er : h u en er afi e e 55 g ,

8 X .

“ ” ’

i r L v r i n . 1 862 . Bechstein : M rchen Zwe wahre F eunde d ate s e s o a , ( y g )

X .

’ omen s BAS ED UPON sr r zs no LIB RE‘I‘TO c rust-zu m m o o s , P ll 1 0 o arolo enice . 7 1 . (V ) h ll ri 1 707 . C e e (Piacenza) .

1 7 1 0 . Capelli (Rovigo) .

1 1 1 Pro ri ol n 7 . die (B og a) . 2 rl dini l 1 0 . an n 7 O (Boog a) .

1 2 . ca tti 7 1 S rla (Rome) . i 1 2 2 . Bonon cini L n o 7 ( o d n) .