The idea of this book was born, “The morphology of Boccaccio’s narrative..The Decameron as a model” by the Algerian critic Dr. Rachid Boushair in light of the Corona pandemic and the isolation it imposed. About an escape from the frustration and negative feelings that were accompanying this epidemic. And how much my surprise was when I discovered the similarities between “The Decameron” and “One Thousand and One Nights”!, which raises a serious question about Boccaccio’s relationship with the Arab-Islamic narrative heritage, and about the historical circumstances that led to To this communication, and whether this similarity is due to the impact of the hoof on the hoof. I was occupied with this topic after I turned the last page in the “Decameron”, and I intended to write an article about it to publish it in a cultural magazine, but the idea of the article expanded and became, a research, and then expanded to become Ultimate book.
“The Decameron”, or “The Ten Days” by the Italian writer Giovanni Boccaccio, according to which ten friends, including three men and seven women, wanted to escape from the contaminated city of Florence infested with plague to the countryside, where the picturesque nature and the open air that protects them from that pandemic, They agreed to tell entertaining stories that ward off the dust of sadness and depression that the epidemic has planted in themselves, provided that each of them tells an interesting story every day, over a period of ten days, until it reaches a hundred stories.
The book “The Decameron”, according to Boushair, occupies a high place in world literature, because it has made a great contribution to the development of narratives and making them more realistic and more expressive of people’s social, cultural and economic lives. It is also an encyclopedia of human life in the fourteenth century, which witnessed the rise of the bourgeoisie and the subsequent change in moral and spiritual values and conditions, as well as contributing to the elevation of the Florentine dialect to the level of literary language. International literature, and it suffices to point out that a theatrical poet like “Moliere” derived the hypocritical model “Tartouf”, which is the title of a comic play, from the tales of “The Decameron”, most likely. The Decameron, it seems, especially in the fourth story of the eighth day, where the high priest of the church in Fiesole fines a widow who does not want him, so she resorts to a trick to get rid of him, and make him have sex with her maid, and he is exposed in front of everyone, which is the plot of “Figaro’s marriage” that relates to a lady-in-waiting His wife deliberately exchanges roles between her and that maidservant. The wife wore the bridesmaid’s clothes, and re-dressed her for that maidservant, so he fell in love with her. Then the count saw the maidservant wearing his wife’s dress while she was with Figaro and doubted her, then Figaro revealed the game in front of everyone.
Bousheer points out that the playwright Racine also drew on the “decameron” in his play “Andromach”, especially in the seventh story of the eighth day, where a cultured man falls in love with a widow who loved another man. In “Andromach” Racine relates to “Orest”. With “Hermione” who loves “Perus” who loves “Andromach” who loves her late husband “Hector”. This is in addition to the influence of Boccaccio on the English “Chaucer” who inspired the “Decameron” in his book “Tales of the Countryside”, as we indicated in the preface. Boccaccio’s merit over European literature in particular is not denied. His literature had a great importance in establishing the rules of European realism. Renaissance playwrights relied on his stories, and found in them the embodiment of the victory of the human personality over the obstacles that prevent its liberation. He was one of the authors who relied on him. Shakespeare, Lope de Vega, Lessing, and Goethe.
Bousheer explains that Giovanni Boccaccio (1313-1375) is considered one of the pioneers of the first generation who made a profound contribution to lifting Europe from the ages of intellectual, literary and scientific stagnation, or the so-called Middle Ages, or the eras of decadence, and entering it into the Renaissance, such as Niccol Machiavelli , Michelangelo, Leonardo da Vinci, Francis Bacon, Rene Descartes, François Rabelais, Miguel de Cervantes, Martin Luther, and Galileo Galilei. These, and others, contributed to the renaissance of Europe from the fourteenth century to the seventeenth century. At this historical stage, the role of the church began to recede, and the feudal class began to erode to be replaced by the bourgeoisie, and these transformations were reflected in philosophy, literature, science and the plastic arts. Which gradually became entwined with reality, detaching it from the mantle of ideal utopian metaphysics, declining to draw closer to man, earth and applied sciences. The spark of the European Renaissance had been ignited in Italy following the fall of Constantinople and the investment of the sap of Arab-Islamic civilization in Andalusia. Boccaccio was born in the context of this The renaissance tide descended from the bourgeois class that flourished in “Florence” in particular, in Paris in 1313 from the illegal marriage of a father who was one of the major merchants of the city of Florence, in which “a group of the middle class prevailed, which influenced and removed the upper class from its throne.” His father wanted him to be a merchant like him, but the boy Boccaccio abandoned trade and immersed himself in a life of amusement and promiscuity, composing poetry and writing stories, following the example of the poet “Virgil” who visited his grave, vowing to give his life to literature.