At the beginning, Boccaccio’s Decameron has both male and woman narrators who hesitate to speak about sexual relations. Dioneo is the only narrator who introduces sex to the Florentines on Day 1. Dioneo is the first male narrator to emerge as the boldest of the Florentines. He is willing to challenge the unspoken limits that the Florentines have set for sex. In the first half, he plays a crucial role as he encourages other narrators in the Decameron to talk about illegitimate relationships. Dioneo has achieved his goal as a narrator/mediator and is no longer controversial. Dioneo’s stories have become less unique in Days 6, 7, and 8 of the Decameron. Dioneo may be the Decameron’s controversial narrative, but his actions on the outside speak louder than the stories. Dioneo’s role is crucial in the Decameron for establishing the discussion on sex in the first two days, as well as other taboo issues that were considered to be lewd.
Dioneo’s sexuality is discussed with surprising honesty on Day 1. In I.4, he introduces an abbot and monk who have both had sex with the young girl. The first shock comes from the fact that we already know how holy both the abbot and monk are. The monks’ sex acts are grave sins because they contradict their devotion to God. Dioneo refers to this as “misdemeanour”, but the monk also acknowledges it. Both the monks and the abbot, who are both holy men in the eyes of God, acknowledge the seriousness of their actions, but they still seem to ignore their devotion towards God to indulge in constant sex.
Before Dioneo’s story, the narrators only had heard three other stories, some of which were controversial. The narrators were likely to be offended by the story of Ser Cepparello, who defied Christianity. Dioneo, the story told by the female narrators is controversial because it openly discusses sex – and even forbidden sex. Dioneo’s story received laughter and praise, while the other three were praised. Dioneo is laughed at as well, but there’s also another reaction. This first reaction of embarrassment by the ladies shows how shocked they were. The Decameron shows that women are sensitive about sex. This is confirmed by the primary narrator, who says that the ladies “had reproved him gently, to make it clear such stories shouldn’t be told in front of ladies” (42). This would suggest that narrators’ stories about sex will cease to exist after reading it. But the opposite is true: sex has become a more interesting subject for them. Dioneo’s choice to open the first day of the course by discussing illegitimate sexual relations has given the Florentines a new and vast theme. This theme may even surpass all other themes. He will have a significant role to play in initiating and discussing other topics.
Dioneo establishes himself as a character essential and storyteller in the Day I Conclusion when he asks to speak on any topic and last every day. He explains his bold request for speaking last: “So no one will think I am asking this favor just because I don’t know many stories, I’m content from now to always be the last to talk” (57). Dioneo is proud of his storytelling and wants to show it to others. He asks to be the last one to speak to demonstrate his storytelling ability. She grants him his wish, knowing that “he was only asking for a favor to divert them with a humorous story, in case they got tired of the usual theme.” (57). Dioneo’s request is granted by the Queen. Dioneo’s right to speak about whatever he chooses is his alone, and so he uses it. The Queen, however, believes that Dioneo’s request is to simply tell funny and amusing stories. Dioneo is certainly a storyteller, but he also has a personal agenda. His freedom allows him to challenge the boundaries that the group seems to have set.
Dioneo reveals his sexuality to some of his narrators in Day 1, but they do not reveal it to the rest of them on Day 2. Marilyn Migiel, in her essay Beyond Seduction: a Reading of the Tale Alibech and Rustico (10, Decameron III), also acknowledges this. She writes, “On Day 2, the male narrators (and Pampinea) are the ones who talk about sexual encounters. Pampinea is the oldest woman and only two men feel brave enough to emulate Dioneo. Filostrato opens with the scandalous tale about Rinaldo (II.2) who had sex a woman that was already engaged to another man. Pampinea, having listened to Filostrato tell his story, then speaks about Alessandro who, without knowing it, had sex unknowingly with the daughter King of England and married her. Panfilo describes Alatiel as a young girl who, in order to hide her sexuality from the father of her family, marries king of Algarve II.7. Dioneo, in his Day I story, was reprimanded only by women. It was only the women who criticized Dioneo. The men are interested in a subject which the women find taboo. In Day II, most women stick to the sexuality beliefs they held on Day I by not discussing it. The women tell humorous stories to entertain their narrators. For example, the first story of the day. They also share many inspiring stories, which follow the theme “overcoming misfortunes”, but they do not mention sexuality. The sexual stories of Day II reveal that Dioneo’s efforts to defy Florentine modesty have begun.
Dioneo’s role as a Decameron narrator reaches its peak with the story of Alibech & Rustico. On the third day, almost all the narrators–both men and women–discuss sex. Day I’s supposed modesty has vanished. No one is scolding the women for their stories of illegitimate relations. The narrators are laughing at the stories. Migiel concurs, saying that “by Day 3, when the group moves into a beautiful enclosed garden, the desire for stories about sex, but especially illicit sexual relations, has spread like a plague” (161). Dioneo is still trying to push boundaries in their discussion. His story about Alibech Rustico may be the most controversial in the Decameron. This story, with its obvious sexuality, is more egregious than any other Day III story. The metaphorical use of the Devil as a symbol for sexual genitalia and the implied rape or child molestation are a further extension of the idea of sexual fantasy. Dioneo being the most daring storyteller, it is no surprise that he chose to tell this tale. Dioneo has chosen to tell a sexual tale that is so extreme. There’s almost a sense that this is a contest: Who can write the most scandalous tale? Dioneo was left when the majority discussed illicit sex during Day III. Since he started these stories, Dioneo must show leadership by going one step beyond. Alibech’s and Rustico’s story is deemed to be very lewd, unethical, and controversial. Dioneo, however, remains the most courageous and controversial narrator.
Dioneo is gradually replaced by others who tell controversial stories after Day III. Dioneo’s story on Day 4 is about the doctor’s lover and his wife. Dioneo does not mention their sexual experience, which is contrary to his usual style. He states that they had “enjoyed” themselves (290), and this is said so quickly that you can easily miss it. (I did the same thing when I read it for the first reading, thinking he was avoiding sexual topics). Dioneo usually spoke extensively about sex, but this time he is more subtle. Dioneo has changed. Day IV’s sexual subtly shows that he is no longer a narrator, but a person who does not always talk openly about sexuality. Dioneo is already pushing the group to talk as openly as he speaks about sex.
Dioneo, on Day V, reminds us about his role as a narrator in the Decameron. The Queen asks Dioneo to sing in the Conclusion. When asked to sing, the other narrators would do so without hesitation. Dioneo challenges Fiammetta, the Queen in the play. He refuses to be taken seriously and instead makes a joke. The Queen initially laughs, but soon becomes annoyed when he offers her crude songs. Dioneo offers songs like “‘Monna Aldruda’, come, raise your tail. You will be delighted by the news I have for you’ (361), an obscenely offensive song. Other songs of this nature are also offered by him. This section of the Decameron shows Dioneo, as we know him: an aggressive man who does not fear to challenge the sexual modesty and dignity of the women. Dioneo enjoys the attention and laughter from the ladies, which only makes him want to sing more bawdy music. The Queen, however, forbids Dioneo to continue his silly songs. He sings a serious love song instead. The ladies are more open to sexual fantasies in the stories but not outside them. Dioneo’s sexuality seems to be at its limit, and this may explain his final choice of a romantic love song. Dioneo has now transitioned from a controversial storyteller, to a controversial character in the frametale.
Dioneo’s choice of theme immediately elicits a response from some of the ladies: “tricks that, either for love or to preserve themselves, women have in the past played upon their husbands, with or without their husbands’ knowledge” (391). Some ladies immediately respond to his theme choice: “tricks ladies, out of love for their husbands or in order to protect themselves, have performed on them, with or against their husbands’ consent” (391). Dioneo’s choice of theme almost demands stories of illicit sexual activity. The tricks are only for husbands and not all men. This means that women in the stories would be committing major sins towards their husbands just by playing around with the theme. Dioneo knows how to stir up controversy. Dioneo is forced to make a speech because several of the women are so upset by this choice. Dioneo’s speech challenges women to be modest. He says that “if you are modest, then allow yourself a small amount of freedom to speak freely. Not to promote anything inappropriate but just to amuse both yourself and other people” (391). Dioneo continually wants the woman to question their own modesty. They should follow his lead and speak freely, just to amuse themselves. By selecting a controversial topic as Day VII’s subject, the female narrators will be able to express themselves.
Dioneo has shifted his focus from being a frame-figure to focusing on controversial storytelling. While we are aware that his stories for Days VI and VII were not very controversial, Day IX & X sees a return to controversy. Dioneo tells a story similar to Alibech & Rustico from Day III. A religious figure uses a metaphor in an attempt to conceal the true nature. The metaphor in this story is to turn Gemmata (as a mare’s tail) into a “fine head” (567). Again, the controversy stems from Gemmata failing to realize that Don Gianni was taking advantage of their sexual relationship. Dioneo reminds us that he is a storyteller by using a similar motif. Dioneo’s final story in the Decameron, X.10 (which discusses the cruelty of the Marquis de Saluzzo), is another controversial one. We can see him returning to his iconic role of storyteller. Dioneo’s goal is to leave both a legacy and a legacy of controversy for readers and narrators. He wants to be perceived as the most controversial Decameron narrator.
Dioneo is trying to get the women to talk as freely as him. The women’s words finally motivate him to change his role to a frametale character. However, he then goes back to his controversial storytelling style to build his own image as Decameron’s dramatic narrator. Dioneo’s stories about illegitimate love are a good example of him pushing the boundaries. He does this not just because he loves to push boundaries but also because it allows the women more freedom. Dioneo dislikes modesty. His stories demonstrate this, and he also encourages women not to be modest. In the Decameron’s second half, many controversial stories – both those with and without illegitimate relationships – are narrated by women. Dioneo’s stories have encouraged the women to speak out more than they might otherwise. Dioneo’s scandalous stories remind us of Dioneo’s place in the Decameron. In the Decameron, Dioneo speaks with such ease about sexual illegitimacy.
Works Cited
Migiel, Marilyn. Italica 75.2 (1998): 161 – 77. JSTOR.org. The American Association of Italian Teachers. Web. May 12, 2013.
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