In the time of a devastating pandemic, seven women and three men withdraw to a country estate outside Florence to give themselves a diversion from the death around them. Once there, they decide to spend some time each day telling stories, each of the ten to tell one story each day. They do this for ten days, with a few other days of rest in between, resulting in the 100 stories of the Decameron. The Decameron was written after the Black Plague spread through Italy in 1348. Most of the tales did not originate with Boccaccio; some of them were centuries old already in his time, but Boccaccio imbued them all with his distinctive style. The stories run the gamut from tragedy to comedy, from lewd to inspiring, and sometimes all of those at once. They also provide a detailed picture of daily life in fourteenth-century Italy.

"Previously published as The decameron project."

When originally published in 1995, the volume represented a major, new departure from the "normal" sort of scholarship on Boccaccio's masterpiece, and its unique approach and contents are still valid and valuable today. The seventeen original essays in the volume focus on providing a comprehensive view of the Decameron through the analysis of particular aspects, particular problem areas in the reading and interpretation of the work. Each essay offers a critical window on a defined topic (indicated by the headwords), and, when taken together, these individual essays intersect with, supplement, and reinforce one another, thus emphasizing the harmonious nature of the work as a whole and the importance of examining it through a variety of lenses. The newness of the volume also consists in its introduction of innovative exegetical approaches and the identification of previously unidentified sources and influences. While not providing an orderly reading of the Decameron as a more traditional series of day-by-day lecturae would do, the essays examine multiple novelle from various Days and from differing perspectives so as to provide an assemblage of comprehensive views on the text. For the English-language edition two new items have been added: an update to Vittore Branca's essay on the history of the text of the Decameron and a bibliographical overview of North-American studies on the Decameron and, more generally, on Boccaccio's life, works and influence.

This carefully crafted ebook: "The Decameron: The Classic Translation of John Payne" is formatted for your eReader with a functional and detailed table of contents. John Payne's translation of The Decameron was originally published in a private printing for The Villon Society, London in 1886. Comprised of 100 novellas told by ten men and women over a ten day journey fleeing plague-infested Florence, the Decameron is an allegorical work famous for its bawdy portrayals of everyday life, its searing wit and mockery, and its careful adherence to a framed structure. The word "decameron" is derived from the Greek and means "ten days". Boccaccio drew on many influences in writing the Decameron, and many writers, including Martin Luther, Chaucer, and Keats, later drew inspiration from the book. Giovanni Boccaccio (1313-1375) was an Italian writer and humanist, one of the founders of the Renaissance. He studied business but abandoned it eventually to pursue his literary interests. In 1350 Boccaccio met Francesco Petrarca (Petrarch) (1304-1374), one the most important figures in the beginnings of the Renaissance and Humanism.

"The Decameron - Volume I" from Giovanni Boccaccio. Italian writer, poet, correspondent of Petrarch (1313 - 1375).

'Plunge a syringe filled with adrenaline into the heart of Twelve Angry Men and you've got The Holdout: the first legal thriller in thirty years - ever since Presumed Innocent and A Time to Kill electrified readers the world over - to rank alongside those two modern classics.' AJ Finn'The most gripping and satisfying thriller I've read in more than a decade' Sophie Hannah'Quite the tour de force! Twelve Angry Men meets Chinatown and creates something of its own' Sarah Pinborough'This is a tense, emotionally charged, scary-good, stand-out read that hooked me until the last page' Caroline KepnesOne juror changed the verdict. What if she was wrong?'Ten years ago we made a decision together...'Fifteen-year-old Jessica Silver, heiress to a billion-dollar fortune, vanishes on her way home from school. Her teacher, Bobby Nock, is the prime suspect. It's an open and shut case for the prosecution, and a quick conviction seems all but guaranteed. Until Maya Seale, a young woman on the jury, persuades the rest of the jurors to vote not guilty: a controversial decision that will change all of their lives forever.Ten years later, one of the jurors is found dead, and Maya is the prime suspect.The real killer could be any of the other ten jurors. Is Maya being forced to pay the price for her decision all those years ago?

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, each tells ten stories of intrigue and romance-100 tales in all. First published in the 1300s, these lusty tales are still as entertaining and diverting as they were during the Middle Ages. Here noblemen and ladies, peasants and princesses, cavort together in a magnificent collection of timeless tales brimming with life and love. The Decameron is a big book, and most publishers try to pack it into small newsprint pages with tiny, nearly unreadable type. This edition, on the other hand, has been newly designed and printed on large-format, high-quality paper with easy-to-read type, making it a deluxe volume at a still-reasonable price.

Poetry. Written under the spell of a medieval Welsh poetic form, the poems in Anthony Madrid's incantatory second book, TRY NEVER, each offer up their own strange world. They're full of erudition, humor, and rare magnificence. A single poem can contain "bottles and cans," Mount Everest, an upset stomach, Texas rain, a hawk, the evil queen, a "twice- mended lid," and Ralph; as if to say, anything's possible.

Divided into ten days of ten novellas each, Boccaccio’s Decameron is one of the literary gems of the fourteenth century. The Decameron Eighth Day in Perspective is an interpretive guide to the stories of the text’s Day Eight – a day dedicated to tales of tricks and practical jokes. By drawing on literary precursors such as fabliaux, epic, philosophy, exempla, Dante’s Commedia, and scripture, and by meditating on the dynamics of civic engagement in fourteenth-century Florence, Boccaccio develops in these stories of jests a self-consciously literary representation of the Florentine social imaginary. The essays in this volume, all written by prominent scholars, survey previous scholarship and open up new cultural and historical perspectives on Boccaccio’s sophisticated art of storytelling. They analyze both the literary sources that Boccaccio’s comic narratives transform, as well as the political, legal, and ethical contexts with which they engage. Each contributor tackles a single tale, yet their essays also register major themes and concerns that recur throughout Day Eight, allowing for close connections among the essays.

With The Ethical Dimension of the “Decameron” Marilyn Migiel, author of A Rhetoric of the “Decameron” (winner of the MLA’s 2004 Marraro Prize), returns to Giovanni Boccaccio’s masterpiece, this time to focus on the dialogue about ethical choices that the Decameron creates with us and that we, as individuals and as groups, create with the Decameron. Maintaining that we can examine this dialogue to gain insights into our values, our biases and our decision-making processes, Migiel offers a view of the Decameron as sticky and thorny. According to Migiel, the Decameron catches us as we move through it, obligating us to reveal ourselves, inviting us to reflect on how we form our assessments, and calling upon us to be mindful of our responsibility to judge patiently and carefully. Migiel’s focus remains unabashedly on the experience of readers, on the meanings they find in the Decameron, and on the ideological assumptions they have about the way that a literary text such as the Decameron works. She offers that, rather than thinking about the Decameron as “teaching” readers, we should think about it “testing” them. Throughout, Migiel engages in the masterful in-depth rhetorical analyses, delivered in lively and readable prose, that are her trademark. Whether she is examining the Italian of the Decameron, translations of the Italian into English, commentaries by scholars, newspaper articles, or student essays, she asks us always to maintain an ethical engagement with the words of others.