Love, Lust and Loss in Decameron Ten/Four

Little did I know that Finders keepers, losers weepers was a well established Medieval code of conduct. Yet in Decameron Ten/Four we find ourselves introduced to the absentminded Niccoluccio Caccianemico who seemingly has a bad habit of leaving his things lying about. Luckily, the generous Gentile de Garisendi happens upon the item Niccoluccio abando ned and, after a quick sexual assault, mends and repatriates Niccoluccios possession to him. The narrator draws attention to the generosity of Gentiles action in returning the item to Niccoluccio, as to keep the discarded object was decided unanimously in the story as entirely morally defensible. An interesting argument, especially considering the fact that the object in question is a human being. Touching upon the subjugation of women, commodification of human life, necrophelic overtones, and firmly based in a distinctly distended and warped sense of morality, Boccaccio truly outdoes himself this time. In a similar vein to Decameron Five/Eight a female narrates this startling tale which denigrates women at every turn. But the similarities run much deeper. The motives which led to Filomenas bitter satire have only strengthened since the fifth day, leading Lauretta to relate a tale even more pointedly, jarringly sarcastic than Filomenas. For example, in the earlier tale the male protaganist was a pitiful excuse for a man, but his lack of valuable masculine traits was balanced by a plethora of vices and failings of character. In Ten/Four Gentiles characterization is that of a warped, twisted, and vacuous caricature of a man. The narrator spends little time discussing Gentiles character, but Laurettas mention of his being summoned to Modena as chief magistrate (584) tells us that Gentile must be regarded as a fair and just man, at least by the peers who selected him as chief magistrate If Messer Garisendis conception of justice is in any way similar to his conception of generosity then we must weep for the poor citizens of Modena. Upon hearing that his unrequited love (Who happens also to be Niccoluccios wife) has perished Gentile rushes to her tomb, where he immediately takes advantage of her corpse. While you lived I never had a single glance from you, and so, now that you cant defend yourself, I shall certainly take a kiss from you, dead as you are (585). Unsatiated, he decides that a bit of groping is in order: Ah!, Why should I not just touch her breast, now that I am here? (585). Then; Overcome by desire, he placed his hand upon her breast. (585). As distasteful as this scene is, what is more important to the frame tale narrative and Boccaccios habit of social commentary is the way in which Lauretta relates this story. She states that Gentile enters cautiously, implying that her character of the magistrate is conscious that trespassing in a graveyard with the intent of necrophilia might be just a little bit unethical. Most male aggressors in the Decameron are excused with variations on the idea that they were suddenly overtaken by inexorable urges and therefore that any actions they take were unavoidable. But as any magistrate would know, a critical aspect to culpability is demonstrated intent which Lauretta heavily suggests is present through Gentiles cautious entry. Most crucially, she describes the progression of the assault in a way which makes a strong comment on the character of all men, and could potentially be making extremely significant comments on the rights of all women in regards to mens amorous desires.

But we know that mens appetites are never content to stay within limits and always want to go further, especially when they are lovers (585). The qualification is of particular significance; By specifying that this phenomenon is especially prominent when love is involved strongly insinuates that the omnipresent and insatiable male sexuality that permeates the Decameron is only aroused further by love, not effected by it. Furthermore, the concept that Lauretta presents of limits is extremely important. What limit is she referring to? Those implicit moral limits such as Dont commit rape or necrophilia? Those societal limits such as Dont love or lust outside of your social class, and also you probably shouldnt commit necrophilia? Or, most interestingly, perhaps she is actually referring to the limits which should be set by the woman herself in regards to her sexual interactions with men, a startling concept at the time. Seeing that those limits are inordinately difficult for a woman to set when she is dead, necrophilia would be fairly difficult to justify within this interpretation as well. Lauretta speaks ambiguously of socially normative limits to male ardour, but there is something else which Lauretta leaves for attentive readers to notice. Madonna Caterina spends the sexual encounter with Gentile in a state where very little life remained(585). She is comatose and therefore in an inherently vulnerable position, she is entombed; placed in an inescapable form of bondage by her family (without her consent, no less) and with no means to escape, and she has no choice but to be subjected to the sexual proclivities of a man whose love she does not return neither in sickness nor in health. It is not a stretch of ones imaginative faculties to contemplate the idea that Lauretta is prompting the reader to consider their views on arranged marriages. Disturbingly, this reading twistedly justifies the approbation Gentile receives for returning Madonna Caterina. Furthermore, it adds a new prism through which to view the banquet discussion scene as Niccoluccio agrees with Gentiles logic in a debate he believes to be purely hypothetical. He went on to say that they were all agreed in this opinion: the first man had no more right to his servant, since he had not only abandoned him but cast him away, whereas the second man had justly made the servant his by caring for him; also, by keeping the servant, he had done the first man no harm, no violence, no wrong. (587) Through a close reading of the rhetorical strategies employed and the way in which the stories are related by the members of the Brigata the reader can pull out subtexts and undertones of supreme significance to the text as a whole. Boccaccios piercing yet often prevaricating commentary on social norms vacillates between blatantly apparent and frustratingly subtle. In the case of Ten/Four Laurettas methods of conveying a thoughtful criticism of the womans place in a sexual encounter certainly fall on the latter end of the scale. But as illustrated in both Five/Eight and Ten/Four, it is precisely when Boccaccio takes great pains to obfuscate his criticism that the message is most significant.