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It may also well be the case that Boccaccio, finding his affection for Fiammetta on the wane, anticipated Goethe by hastening to cleanse his bosom of the perilous stuff while it yet retained sufficient vitality for the purposes of art. However this may be, Fiammetta has the merits and defects of Werther, real pathos and truth to nature associated with the tedium hardly separable from a long monologue, however well composed; and Boccaccio’s style here, although a great advance on that of theFilocopo, still suffers from ambitious rhetoric and a superfluity of adjectives. Great part of the book, nevertheless, attains the level of true eloquence; and Boccaccio did much for prose when he proved it to be an apt medium for the expression of passions heretofore chiefly restricted to verse.

His fame, nevertheless, rests on hisDecameron, for here he attained the perfection which elsewhere he only indicated. Among many lights in which this epoch-making book may be regarded is that of an alliance between the elegant but superfine literature of courts and the vigorous but homely literature of the people. Nobles and ladies, accustomed to far-fetched and ornate compositions like theFilocopo, heard the same stories which amused the common people, told in a style which the uneducated too could apprehend and enjoy, but purged of all roughness and vulgarity, and, in truth, such masterpieces of clear, forcible prose as the greatest scholars had till then been unable to produce. All that we know of Boccaccio leads to the conclusion that his true mission was to have been a poet of the people, such an one as the unknown balladists who in simple ages have given immortal form to popular traditions, or as the Burnses and Heines who in artificial periods have gone back to the fountains of popular song. Neither of these was a possible part in the fourteenth century; but if Boccaccio is in no respect archaic, the sap of his best work is drawn from the soil of popular interest and sympathy.