One Day More: A Life After Theft Novella
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Excerpt from Ballerina Dad by Amy Aislin
The wife of a leech, deeming her lover, who has taken an opiate , to be dead, puts him in a chest, which, with him therein, two usurers carry off to their house. He comes to himself, and is taken for a thief; but, the lady's maid giving the Signory to understand that she had put him in the chest which the usurers stole, he escapes the gallows, and the usurers are fined for the theft of the chest. Dioneo, whose stories are exempt from being governed by the theme of each day, tells this tale of Buddhist origin. During the fifth day Fiammetta, whose name means small flame, sets the theme of tales where lovers pass through disasters before having their love end in good fortune.
Cimon, by loving, waxes wise, wins his wife Iphigenia by capture on the high seas, and is imprisoned at Rhodes. He is delivered by Lysimachus; and the twain capture Cassandra and recapture Iphigenia in the hour of their marriage. They flee with their ladies to Crete, and having there married them, are brought back to their homes. Like the tale in the introduction to the fourth day, Panfilo's tale seems to derive from the story of Barlaam and Josaphat.
Gostanza loves Martuccio Gomito and after hearing that he is dead, gives way to despair, and hies her alone aboard a boat, which is wafted by the wind to Susa. She finds him alive in Tunis , and makes herself known to him. Having gained high place in the king's favour by way of his council, he marries Gostanza and returns with her to Lipari.
Emilia narrates this tale, one part of which the motif of using extra fine bow strings supposedly is based on a real event, according to a chronicle by Giovanni Villani. Pietro Boccamazza runs away with Agnolella and encounters a gang of robbers. The girl takes refuge in the woods and is guided to a castle.
Pietro is taken but escapes from the robbers. After some adventures, he arrives at the castle and marries Agnolella; they return to Rome. Ricciardo Manardi is found by Messer Lizio da Valbona after an affair with his daughter, whom he marries, and remains at peace with her father. Filostrato narrates this tale, which some claim bears a resemblance to " Lai du Laustic " by the famed late 12th-century poet Marie de France. However, the resemblance is not strong and the story may be of either Boccaccio's invention or may come from oral tradition.
Guidotto da Cremona dies leaving a girl to Giacomino da Pavia. She has two lovers in Faenza, to wit, Giannole di Severino and Minghino di Mingole, who fight about her. She is discovered to be Giannole's sister, and is given to Minghino to wife. Gianni di Procida, being found with a damsel that he loves, and who had been given to King Frederick , is bound with her to a stake, so to be burned.
He is recognized by Ruggieri dell'Oria, is delivered, and marries her. Teodoro is sold to Messer Amerigo as a slave when still a child. He is christened and brought up together with Violente, the daughter of his master. The two fall in love and Violente eventually bears a boy. Threatened with death by her outraged father she names the father who is sentenced to the gallows. Amerigo orders his daughter to choose between knife or poison and the child to be killed. Traveling Armenian dignitaries recognize the condemned by a strawberry shaped birth mark.
Thus his life is saved as well as Violente's in the last minute.
The couple get the blessing of their father, get wedded to each other and live a happy life until old age. In his love for a young lady of the Traversari family, Nastagio degli Onesti squanders his wealth without being loved in return. He is entreated by his friends to leave the city, and goes away to Chiassi, where he sees a female ghost cursed to be hunted down and killed by a horseman and devoured by a pack of hounds every week. He finds out that the cursed horseman was in a similar situation to his own, and committed suicide while the woman died afterwards unrepentant for her role in his death.
Nastagio then invites his kinfolk and the lady he loves to a banquet at this same place, so the ghost woman is torn to pieces before the eyes of his beloved, who, fearing a similar fate, accepts Nastagio as her husband. Filomena's tale may originate from the early 13th century Chronicle of Helinandus. However, the tale was a widespread one and Boccaccio could have taken it from any number of sources or even oral tradition.
Federigo degli Alberighi, who loves but is not loved in return, spends all the money he has in courtship and is left with only a falcon, which, since he has nothing else to give her, he offers to his lady to eat when she visits his home; then she, learning of this, changes her mind, takes him for her husband, and makes him rich. Fiammetta's tale she is the speaker in this story, contrary to what a couple of incorrect sources may say is also told about the legendary Hatim Tai , who lived in the 6th century and sacrificed his favorite horse to provide a meal for the ambassador of the Greek Emperor.
This earliest version of the tale is of Persian origin. Pietro di Vinciolo goes from home to sup: his wife brings a boy into the house to bear her company: Pietro returns, and she hides her gallant under a hen-coop: Pietro explains that in the house of Ercolano, with whom he was to have supped, there was discovered a young man bestowed there by Ercolano's wife: the lady thereupon censures Ercolano's wife: but unluckily an ass treads on the fingers of the boy that is hidden under the hen-coop, so that he cries for pain: Pietro runs to the place, sees him, and apprehends the trick played on him by his wife, which nevertheless he finally condones, for that he is not himself free from blame.
As is custom among the ten storytellers, Dioneo tells the last and most bawdy tale of the day. During the sixth day of storytelling, Elissa is queen of the brigata and chooses for the theme stories in which a character avoids attack or embarrassment through a clever remark. Many stories in the sixth day do not have previous versions.
Boccaccio may have invented many of them himself. He certainly was clever enough to have created the situations and the retorts. A knight offers to carry Madonna Oretta a horseback with a story, but tells it so ill that she prays him to dismount her. Filomena narrates this tale, which many see as revealing Boccaccio's opinion of what makes a good or bad storyteller, just as portions of Hamlet and A Midsummer Night's Dream contain Shakespeare's opinion of what makes a good or bad actor.
Cisti, a baker, by an apt speech gives Messer Geri Spina to know that he has by inadvertence asked that of him which he should not. Monna Nonna de' Pulci by a ready retort silences the scarce seemly jesting of the Bishop of Florence. Chichibio, cook to Currado Gianfigliazzi, owes his safety to a ready answer, whereby he converts Currado's wrath into laughter, and evades the evil fate with which Currado had threatened him.
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Messer Forese da Rabatta, a knowledgeable jurist, and Master Giotto , a painter, make fun of each other's poor appearance while returning from Mugello. Michele Scalza proves to certain young men that the Baronci are the best gentlemen in the world and the Maremma, and wins a supper.
Madonna Filippa, being found by her husband with her lover, is cited before the court, and by a ready and clever answer acquits herself, and brings about an alteration of the statute. Filostrato narrates this tale which modern readers with their ideas of gender equality can appreciate. Fresco admonishes his niece not to look at herself in the glass, if it is, as she says, grievous to her to see nasty folk. Emilia narrates. Admonitions against the sin of vanity were common in the medieval era. Guido Cavalcanti by a quip neatly rebukes certain Florentine gentlemen who had taken him at a disadvantage.
Friar Cipolla Italian word meaning: onion promises to show certain country-folk a feather of the Angel Gabriel , in lieu of which he finds coals, which he avers to be of those with which Saint Lawrence was roasted. Dioneo narrates this story which mocks the worship of relics. The story originates in the Sanskrit collection of stories called Canthamanchari. This story—a classic from the collection—takes place in Certaldo , Boccaccio's hometown and the location where he would later die. Friar Cipolla's name means "Brother Onion," and Certaldo was famous in that era for its onions.
In the story one can sense a certain love on Boccaccio's part for the people of Certaldo, even while he is mocking them. During the seventh day Dioneo serves as king of the brigata and sets the theme for the stories: tales in which wives play tricks on their husbands. Gianni Lotteringhi hears a knocking at his door at night: he awakens his wife, who persuades him that it is a werewolf , which they fall to exorcising with a prayer; whereupon the knocking ceases. Emilia tells the first tale of the day.
In it Boccaccio states that he heard it from an old woman who claimed it was a true story and heard it as a child. Although we will never know if Boccaccio really did hear the story from an old woman or not it is possible , the story is certainly not true. It resembles an earlier French fabliau by Pierre Anfons called "Le revenant. The Italian word, fantasima describes a supernatural cat monkey creature or quite simply a ghost.
Her husband returning home, Peronella bestows her lover in a barrel; which, being sold by her husband, she avers to have been already sold by herself to one that is inside examining it to see if it be sound. Whereupon the lover jumps out, and causes the husband to scour the barrel for him while he has his way with the wife, and afterwards has the husband carry it to his house. Filostrato narrates this tale, which Boccaccio certainly took from Apuleius's The Golden Ass , the same source as tale V, Friar Rinaldo lies with his godchild's mother: her husband finds him in the room with her; and they make him believe that he was curing his godson of worms by a charm.
Elissa tells this tale, which has so many similar versions in French, Italian, and Latin, that it is impossible to identify one as a potential source for this one. The relationship between a child's godparent and biological parent was considered so sacred at the time that intercourse between them was considered incest. This belief is ridiculed by Boccaccio in a later tale VII, Tofano one night locks his wife out of the house: she, finding that by no entreaties may she prevail upon him to let her in, feigns to throw herself into a well, throwing therein a great stone.
Tofano comes out of the house, and runs to the spot: she goes into the house, and locks him out, and hurls abuse at him from within. Lauretta is the narrator of this very old tale.
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A later version from the 11th century is found in Disciplina Clericalis , which was written in Latin by Petrus Alphonsi , a Jewish convert to Christianity. The tale was very popular and appears in many vernacular languages of the era. A jealous husband disguises himself as a priest, and hears his own wife's confession: she tells him that she loves a priest, who comes to her every night. The husband posts himself at the door to watch for the priest, and meanwhile the lady brings her lover in by the roof, and tarries with him.
Madonna Isabella has with her Leonetto, her accepted lover, when she is surprised by Messer Lambertuccio, by whom she is beloved: her husband coming home about the same time, she sends Messer Lambertuccio forth of the house drawn sword in hand, and the husband afterwards escorts Leonetto home. Pampinea narrates this version of a common medieval tale which originates from the Hitopadesha of India.
Lodovico discovers to Madonna Beatrice the love that he bears her: she sends Egano, her husband, into a garden disguised as herself, and lies with Lodovico; who thereafter, being risen, hies him to the garden and cudgels Egano. Filomena's humorous tale probably derives from an earlier French fabliau. A husband grows jealous of his wife, and discovers that she has warning of her lover's approach by a piece of pack-thread, which she ties to her great toe at nights.
While he is pursuing her lover, she puts another woman in bed in her place. The husband, finding her there, beats her, and cuts off her hair. He then goes and calls his wife's brothers, who, holding his accusation to be false, subject him to a torrent of abuse. Neifile tells this tale. It comes originally from the Pantschatantra and later forms part of other tale collections in Sanskrit, Arabic, French, and Persian. Boccaccio probably used a French version of the tale. Lydia, wife of Nicostratus, loves Pyrrhus, who to assure himself thereof, asks three things of her, all of which she does, and therewithal enjoys him in presence of Nicostratus, and makes Nicostratus believe that what he saw was not real.
Panfilo narrates. Boccaccio combined two earlier folk tales into one to create this story. The test of fidelity is previously recorded in French a fabliau and Latin Lidia , an elegiac comedy , but comes originally from India or Persia. The story of the pear tree, best known to English speaking readers from The Canterbury Tales , also originates from Persia in the Bahar-Danush , in which the husband climbs a date tree instead of a pear tree.
Two Sienese men love a lady, one of them being her child's godfather: the godfather dies, having promised his comrade to return to him from the other world; which he does, and tells him what sort of life is led there. As usual, Dioneo narrates the last tale of the day. See the commentary for VII, 3 for information about the relation between a child's parent and godparent.
Lauretta reigns during the eighth day of storytelling. During this day the members of the group tell stories of tricks women play on men or that men play on women. Gulfardo borrows moneys of Guasparruolo, which he has agreed to give Guasparruolo's wife, that he may lie with her. He gives them to her, and in her presence tells Guasparruolo that he has done so, and she acknowledges that it is true.
Neifile narrates. This tale and the next one comes from a 13th-century French fabliau by Eustache d'Amiens. English speakers know it best from Chaucer 's " The Shipman's Tale ". Chaucer borrowed from the same fabliau as Boccaccio did. The priest of Varlungo lies with Monna Belcolore: he leaves with her his cloak by way of pledge, and receives from her a mortar. He returns the mortar, and demands of her the cloak that he had left in pledge, which the good lady returns him with a gibe. Calandrino , Bruno and Buffalmacco go in quest of the heliotrope bloodstone beside the Mugnone.
Thinking to have found it, Calandrino gets him home laden with stones. His wife chides him: whereat he waxes wroth, beats her, and tells his comrades what they know better than he. Elissa narrates this tale, the first in which Bruno and Buffalmacco appear. The two were early Renaissance Italian painters. However, both are known far better for their love of practical jokes than for their artistic work. Boccaccio probably invented this tale himself, though, and used well known jokers as characters.
The rector of Fiesole loves a widow lady, by whom he is not loved and, in attempting to lie with her, is tricked by the lady to have sex with her maid, with whom the lady's brothers cause him to be found by his Bishop. Three young men pull down the breeches of a judge from the Marches, while he is administering justice on the bench.
Bruno and Buffalmacco steal a pig from Calandrino, and induce him to deduce its recovery by means of pills of ginger and Vernaccia wine. Of the said pills they give him two, one after the other, made of dog-ginger compounded with aloes ; and it then appearing as if he had had the pig himself, they constrain him to buy them off, if he would not have them tell his wife. Filomena narrates. Just like Bruno and Buffalmacco, Calandrino was also in reality a 14th-century Italian Renaissance painter.
However, Calandrino was known as a simpleton by his contemporaries. It is possible that this tale may be true and Boccaccio recorded it first. The test that Bruno and Buffalmacco submit Calandrino to was really a medieval lie detector test and the tale is consistent with what we know about the characters of the three painters. A scholar loves a widow lady, who, being enamoured of another, causes him to spend a winter's night awaiting her in the snow.
He afterwards by a stratagem causes her to stand for a whole day in July, naked upon a tower, exposed to the flies, the gadflies, and the sun. Pampinea tells this story of revenge over spurned love, which has many common analogues in many languages in antiquity , the Middle Ages, the Renaissance, and early modern periods. Two men keep with one another: the one lies with the other's wife: the other, being aware of it, manages with the aid of his wife to have the one locked in a chest, upon which he then lies with the wife of him that is locked therein.
Fiammetta narrates this tale. Like many of the eighth day it has a theme in common with many tales from the ancient and medieval era and it is not possible to point to one source that served as Boccaccio's inspiration. Bruno and Buffalmacco prevail upon Master Simone, a physician, to betake him by night to a certain place, there to be enrolled in a company that go the course. Buffalmacco throws him into a foul ditch, and there they leave him. Lauretta narrates another tale about Bruno and Buffalmacco and their practical jokes.
This story is probably just a vehicle for Boccaccio's ability to coin word play , just as tale VI, 10 did. Towards the end of his life, Tolstoy become more and more occupied with the economic theory and social philosophy of Georgism. And it is impossible to do otherwise with his teaching, for he who becomes acquainted with it cannot but agree.
Some assume that this development in Tolstoy's thinking was a move away from his anarchist views, since Georgism requires a central administration to collect land rent and spend it on infrastructure. However, anarchist versions of Georgism have also been proposed since. It suggests the possibility of small communities with some form of local governance to manage the collective land rents for common goods; whilst still heavily criticising institutions of the state such as the justice system.
Tolstoy died in , at the age of Just prior to his death, his health had been a concern of his family, who were actively engaged in his care on a daily basis. During his last few days, he had spoken and written about dying. Renouncing his aristocratic lifestyle, he had finally gathered the nerve to separate from his wife, and left home in the middle of winter, in the dead of night.
She was outspokenly opposed to many of his teachings, and in recent years had grown envious of the attention which it seemed to her Tolstoy lavished upon his Tolstoyan "disciples". Tolstoy died of pneumonia  at Astapovo railway station, after a day's journey by train south. He was given injections of morphine and camphor. The police tried to limit access to his funeral procession, but thousands of peasants lined the streets.
Still, some were heard to say that, other than knowing that "some nobleman had died", they knew little else about Tolstoy. According to some sources, Tolstoy spent the last hours of his life preaching love, non-violence, and Georgism to his fellow passengers on the train. Both performers were nominated for Oscars for their roles. There is also a famous lost film of Tolstoy made a decade before he died.
Beveridge , the U. As the three men conversed, Holmes filmed Tolstoy with his mm movie camera. Afterwards, Beveridge's advisers succeeded in having the film destroyed, fearing that documentary evidence of a meeting with the Russian author might hurt Beveridge's chances of running for the U. From Wikipedia, the free encyclopedia. For other uses, see Tolstoy disambiguation. For the rural locality and the railway station in Lipetsk Oblast, Russia, see Lev Tolstoy rural locality.
Russian writer, author of War and Peace and Anna Karenina. This name uses Eastern Slavic naming customs ; the patronymic is Nikolayevich and the family name is Tolstoy. Sophia Behrs m. Leo Tolstoy's voice. Main article: Tolstoy family. The Power of Darkness. Schools of thought. Theory Practice. By region. Related topics. Play media. Main article: Leo Tolstoy bibliography. Russia portal Biography portal Politics portal. Nabokov, Vladimir.
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Lectures on Russian literature. Random House Webster's Unabridged Dictionary. Encyclopaedia Britannica. Retrieved 4 September Retrieved 8 March The Atlantic. Huffington Post. The New Yorker. University of California Press. Saint Petersburg: A. Suvorin Publishing House, p. The New York Times. Macmillan Publishers Limited. Retrieved 22 October Wilson, Tolstoy , p. Thirukkural: Pearls of Inspiration. New Delhi: Rupa Publications. The Literature Network. Retrieved 12 February Mathai; M. John; Siby K. Joseph eds. Linen-Measurer, Volume IV.
President of Russia. G Lukacs. Russian Book for Reading in 4 Volumes. Diary of Leo Tolstoy's Secretary. Moscow: Zakharov, pages, p. Retrieved 6 October The Cambridge Companion to Tolstoy. Leo Tolstoy. Recollections and Essays , Archived from the original on 23 November Retrieved 16 May International Political Science Association.
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Tolstoy articulated his Christian anarchist political thought between and , yet its continuing relevance should have become fairly self-evident already. The Russian review, Volume Moss An age of progress? Anthem Press. The Bear Watches the Dragon. But this state admits of its own quantitative categories, so that a relatively brief novel may be termed a novella or, if the insubstantiality of the content matches its brevity , a novelette , and a very long novel may overflow the banks of a single volume and become a roman-fleuve , or river novel.
Length is very much one of the dimensions of the genre. The stories are little new things, novelties, freshly minted diversions, toys; they are not reworkings of known fables or myths , and they are lacking in weight and moral earnestness. It is to be noted that, despite the high example of novelists of the most profound seriousness, such as Tolstoy , Henry James , and Virginia Woolf , the term novel still, in some quarters, carries overtones of lightness and frivolity. And it is possible to descry a tendency to triviality in the form itself.
The ode or symphony seems to possess an inner mechanism that protects it from aesthetic or moral corruption, but the novel can descend to shameful commercial depths of sentimentality or pornography. It is the purpose of this section to consider the novel not solely in terms of great art but also as an all-purpose medium catering for all the strata of literacy.
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In the fictional works, the medium is prose, the events described are unheroic , the settings are streets and taverns, not battlefields and palaces. There is more low fornication than princely combat; the gods do not move the action; the dialogue is homely rather than aristocratic. It was, in fact, out of the need to find—in the period of Roman decline—a literary form that was anti-epic in both substance and language that the first prose fiction of Europe seems to have been conceived.
The most memorable character in Petronius is a nouveau riche vulgarian; the hero of Lucius Apuleius is turned into a donkey; nothing less epic can well be imagined. The medieval chivalric romance from a popular Latin word, probably Romanice , meaning written in the vernacular , not in traditional Latin restored a kind of epic view of man—though now as heroic Christian, not heroic pagan. At the same time, it bequeathed its name to the later genre of continental literature , the novel, which is known in French as roman , in Italian as romanzo , etc. The English term romance, however, carries a pejorative connotation.
But that later genre achieved its first great flowering in Spain at the beginning of the 17th century in an antichivalric comic masterpiece—the Don Quixote of Cervantes, which, on a larger scale than the Satyricon or The Golden Ass , contains many of the elements that have been expected from prose fiction ever since. Novels have heroes, but not in any classical or medieval sense.