Boccaccio has been accused of plagiarism, particularly by French critics, who correctly state that the subjects of many stories in the Decameron are borrowed from their literature. A similar objection might be raised against Chaucer, Shakespeare, Goethe (in Faust), and indeed most of the master minds of all nations. Power of invention is not the only nor even the chief criterion of a great poet. He takes his subjects indiscriminately from his own fancy, or from the consciousness of his and other nations. Stories float about in the air, known to all yet realized by few; the poet gathers their disjecta membra into an organic whole, and this he inspires and calls into life with the breath of his genius. It is in this sense that Boccaccio is the creator of those innumerable beautiful types and stories, which have since become household words amongst civilized nations. No author can equal him in these contributions to the store of international literature. There are indeed few great poets who have not in some way become indebted to the inexhaustible treasure of Boccaccio's creativeness. One of the greatest masterpieces of German literature, Lessing's Nathan the Wise, contains a story from Boccaccio (Decameron, Day 1st, tale iii.), and the list of English poets who have drawn from the same source comprises, among many others, the names of Chaucer, Lydgate, Dryden, Keats and Tennyson.
For ten years Boccaccio continued to reside in Florence, leaving the city only occasionally on diplomatic missions or on visits to his friends. His fame in the meantime began to spread far and wide, and his Decameron, in particular, was devoured by the fashionable ladies and gentlemen of the age. About 1360 he seems to have retired from the turbulent scenes of Florence to his native Certaldo, the secluded charms of which he describes with rapture. In the following year took place that strange turning-point in Boccaccio's career which is generally described as his conversion. It seems that a Carthusian monk came to him while at Certaldo charged with a posthumous message from another monk of the same order, to the effect that if Boccaccio did not at once abandon his godless ways in life and literature his death would ensue after a short time. It is also mentioned that the revelation to the friar on his deathbed of a secret known only to Boccaccio gave additional import to this alarming information. Boccaccio's impressionable nature was deeply moved. His life had been far from virtuous; in his writings he had frequently sinned against the rules of morality, and worse still, he had attacked with bitter satire the institutions and servants of holy mother church.
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This article is from the 1911 edition of an encyclopedia, which is out of copyright here in the U.S. See the encyclopedia main page for disclaimer and copyright information.
