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Few of the stories are of Boccaccio’s invention; the originals of some may be discovered in traditionary folk-lore, of others in French fabliaux or classical or Oriental writers; very many are probably true histories in every respect but for the alteration of the names. This is Boccaccio’s best defence against the charge of licentiousness—he did not, like so many others, write with the express purpose of stimulating the passions, but reproduced the ordinary talk of hours of relaxation, giving it the attraction of a pure and classic style. The share of the ladies as narrators of or listeners to these loose stories, so repugnant to ideal conceptions of the female character, is not only explained by the manners of the time, but has greatly contributed to the charm of his work by tempering its licence with a refinement best appreciated by comparison with such similar collections as theFacetiæ of Poggio. After all, the sensuous element, though conspicuous, is not predominant in the Decameron, and few books contain more or finer traits of courtesy, humanity, and generosity.