WorkGiovanni Boccaccio

Il Decamerone [The Decameron]

InferredFuller explicitly names Boccaccio in comparing the tales told among wounded patriots in a garden pavilion to "the gardens of Boccaccio," an unmistakable allusion to the framing conceit of the *Decameron*. She dcontasts her Roman circle's ethos—"with noble hope for men, with reverence for woman"—to Boccaccio's "often ribald, amoral storytelling,"

ReadMentioned

Documented 1849

Letters

Selected engagements, in chronological order.

Totals count documented engagements, once at the earliest witness. How we count →

Reprints, Memoirs passages, and repeat notes within a single manuscript are shown but never counted twice. Evidence for this work is selective, not exhaustive. Methodology →

When Fuller engaged with this work

I. Childhood

II. Adolescence

III. Self-Directed

IV. Transcendentalist

V. New York

VI. Europe1record

✦. Memoirs (1852)

1810

1820

1832

1836

1844

1846

1850

1849—

Letter to Ralph Waldo Emerson

p239

read

“tales were told as full of grace and pathos as in the gardens of Boccaccio, only in a very different spirit, — with noble hope for men, with reverence for woman.”

Fuller, Margaret. The Letters of Margaret Fuller. Edited by Robert N. Hudspeth. Vol. V. Ithaca: Cornell University Press, 1988.

Inferred Fuller explicitly names Boccaccio in comparing the tales told among wounded patriots in a garden pavilion to "the gardens of Boccaccio," an unmistakable allusion to the framing conceit of the Decameron. She dcontasts her Roman circle's ethos—"with noble hope for men, with reverence for woman"—to Boccaccio's "often ribald, amoral storytelling,"