Space
Giovanni Boccaccio’s Decameron is a collection of stories set in the context of the black death. In particular, Day 10, Story 9, tells the tale of Messer Torello and Saladin. This story is based on the reciprocal kindness and generosity shown by Messer Torello and Saladin, and is an element of the “turn from avarice to liberality [that is] designed in the frame of the Decameron” (Olson 131). This assignment will explore how Boccaccio utilizes elements of social and physical geography in order to emphasize the bonds between the characters. Specifically, the relations between Messer Torello and Saladin, as well as Messer Torello and his wife will be examined.
Firstly, Messer Torello’s kindness towards Saladin in Pavia is emphasized using elements of social and physical geography. In terms of the former, the social distance between Saladin and Messer Torello manifests since they are both aware that they are socially distinct. In fact, it is noted that “they reciprocally express magnanimity even though they typify characters who would presumably be sworn enemies” (Arduini 194). Saladin is spying on Christian leaders in preparation from the upcoming Crusade, while Messer Torello is a knight of Christendom. This fact in itself makes Messer Torello’s hospitality all the more impressive to Saladin, as Saladin would have pre-existing conceptions of him as the enemy. In fact, Saladin notes that “if the kings of Christendom are as good at being kings as [Messer Torello] is at being a knight, the Sultan of Babylon will be unable to resist even one of them, let alone all those we’ve been preparing to descend on him.” (Boccaccio 751). It is clear that Saladin is in awe at Messer Torello’s kindness, which is emphasized by the fact that he did not expect it. Thus, his high regard of Messer Torello is heightened. In contrast, Saladin’s disguise as a merchant puts him in a lower social class than Messer Torello. Since this story occurs in the 12th century, the feudal model of society was still predominant. Society was divided into three groups: knights, clergy, and peasants (Merchant Culture). Each of these groups contributed to society in a particular way. As a consequence, merchants were scorned due to the fact that they did not fit into these divinely ordained groups, and seemed to be selfishly skirting their societal duty in order to benefit themselves financially (Merchant Culture). This is relevant due to the fact that Messer Torello is a knight, while Saladin disguises himself as a merchant. The fact that Messer Torello’s kindness is neither expected nor proportional to what the average person would offer to a stranger is impressive to both Messer Torello and the audience. In fact, not only does Messer Torello give Saladin and his servants food and shelter, but he treats them as if they were extremely illustrious people. There are multiple examples of this, which include him inviting all the important members of Pavia to great Saladin, as well as gifting them robes which were “unlike the ones any merchant would wear” (Boccaccio 750) such that they were “afraid that [Messer Torello] had recognized who they really were” (Boccaccio 750). More potently, since Messer Torello is not aware of Saladin’s true identity, and in fact would rank higher than Saladin socially, he would not have considered any possible financial or social gain. As a result, if Messer Torello is able to treat a stranger and merchant with such kindness and consideration, it is reasonable for the audience to assume that Messer Torello’s actions are purely attributed to his purity of character and not any ulterior motives.
In addition, elements of space are utilized in Egypt to show Saladin’s love and appreciation for Messer Torello. At this point it should be noted that there has been a change in the social and physical geography. Saladin now presents himself as a lord, while Messer Torello has been reduced to a servant. Further, they are no longer in Pavia, but in Egypt. Despite these changes, the bond between the two men still remains unwavering. Firstly, Saladin is able to confirm Messer Torello’s identity by asking him to identify the robe which his wife gifted him. This robe is a symbol of Messer Torello’s kindness. The robe travels through geographic space from Pavia to Egypt. Thus, it may be interpreted that despite any changes in physical geography, or even social geography, Saladin continues to cherish Messer Torello for his generosity and will do all in his power in order to help him. In fact, this is what happens. One particular example of this is when Messer Torello learns that his wife is to be remarried. He feels intense despair due to the fact that the only way to stop the proceedings would be to arrive in Pavia before the ceremony, which seemed impossible due to the physical distance between there and Alexandria. When Saladin realizes the reason for Messer Torello’s grief, he “[scolds] him severely for not having told him about it before”, and that he would “arrange for [Messer Torello] to be in Pavia on the date prescribed” (Boccaccio 754). In addition, it is shown how Saladin rewards Messer Torello for his previous acts of kindness. Mirroring how Saladin was treated in Pavia, he “[dresses Messer Torello] in regal robes, and [presents] him to a gathering of his greatest lords” (Boccaccio 753). The symmetry between the treatment of Saladin in Pavia and the treatment of Messer Torello in Egypt serves to display that the strength of the bond between the two men is transcendental to physical and social geography. Finally, Saladin’s regard for Messer Torello is displayed by how he organizes the physical space around him. He physically displays his love for Messer Torello by decorating him with luxurious items. One particular instance of this is when Messer Torello falls asleep in the bed which is to transport him back to Pavia, Saladin lavishly gifts him many priceless treasures. It is noted that while Messer Torello sleeps, Saladin “[slips] a ring containing a ruby that gleamed like a torch and whose value could scarcely be assessed [onto Messer Torello’s finger]. Next, he had [Messer Torello] girded with a sword so richly ornamented that its value, too, would be difficult to determine, and in addition, he had them fasten a brooch on his chest with many other precious stones” (Boccaccio 756). Not only does his decoration of Messer Torello indicate how much he values him, as these treasures travel with him back to Pavia, it indicates that this further change in space will not impact their relationship. As a result, by observing the unfaltering nature of the bond between Messer Torello and Saladin despite changes in space, the audience is able to better understand the strength of the connection between the two men.
Lastly, space is employed in order to emphasize the love felt between Messer Torello and his wife in the situation of her remarriage. First, the interaction between Messer Torello and his wife in light of their imminent physical separation due to the Crusade is used to show his adoration for her. Specifically, Messer Torello asking his wife to remarry if he does not return home from the Crusade within a year and a month and a day is inherently an unselfish act. He recognizes that “if there’s the least suspicion of [his] death … [she will be subjected] to so much pressure [to remarry] that [she will] eventually be forced to comply with their wishes” (Boccaccio 752). He says this not because of a lack of regard for his wife, as evidenced by the intensity of his grief when he learns about his remarriage. Instead, it can be interpreted that he loves her enough to put her emotional needs before his, and does not wish for her to feel guilt should she remarry. This however does not mean that he does not despair while he is in Alexandria when he learns that she is to be remarried in Pavia. In fact, his grief is so potent that it is said that “he lost his appetite, lay down on his bed, and resolved to die” (Boccaccio 754). The potency of his grief is due to the fact that he believes that he would not be able to traverse the physical distance in order to stop his wife’s remarriage. His subsequent hopelessness allows the audience to truly understand the depth of his love for her. Thus, the distance between Pavia and Alexandria serves as a device in order to display the depth of his love for her, to the point where he would rather die than live with the knowledge that his wife has remarried. Space is further employed in order to show Messer Torello’s wife’s regard for him. One example of this is when he arrives at the wedding hall, where Messer Torello does not expose himself immediately. Instead, he employs the apparent difference in social geography between him and his wife in order to test his wife’s loyalty to him. By disguising himself as a foreigner, he was able to secretly send the ring that his wife had given him back to her under the guise of it being a foreign custom. After seeing and recognizing the ring, his wife “dashed over to where he was sitting, and without giving a thought to her clothing or any of the things on the table, she flung herself across it as far as she could and hugged him to her in a tight embrace” (Boccaccio 758). The audience is able to see the result of Messer Torello’s test and realize that she truly loved him. When examined in more detail, her actions also use space in order to display her devotion to him. In the beginning, the two are separated by a table. While they have been physically reconciled as they are now in the same city, they have not been emotionally reconciled. The table that remains between the two represents the rift that has been brought by her remarriage. Thus, the symbolism of her highly emotional response of throwing herself across the table with no regard for anything else upon recognizing Messer Torello serves as another device showing the love between the two. In conclusion, different elements of geography and space are utilized as stages upon which to show the strength of the relation between Messer Torello and his wife.
Digital Map
Using the digital map, an individual is able to follow the individual journeys of both Messer Torello and Saladin through space, providing tangible insight into the distances they have travelled. Under the perspective of the middle ages, it is obvious that there would not be as much knowledge of other countries and globalization as there is in the modern era. Thus, through the inclusion of the digital map, the audience is able to better understand certain aspects of the story. For one, one is able to comprehend another facet of the alienation and hostility that Messer Torello and Saladin felt while they were not in their home country. Looking at the map, a sense is gained of how far it is between Pavia and Egypt, and thus possibly the cultural discomfort they may have felt while in a hostile territory. Using this as a backdrop for their subsequent interactions, the audience is able to better understand the magnitude of comfort they must have felt when they were each offered kindness and comfort by the other in their home countries. Further, the visualization of the distance between Pavia and Egypt also serves to deepen one’s understanding of Messer Torello’s despair of not being able to reach his wife in order to halt her marriage, as well as the subsequent wondrous nature of the bed that is able to transport him there in a single night. The distance between the two locations is far even by modern standards, and thus it must have been unfathomable to Messer Torello that he would be able to reach Pavia by his wife’s wedding. Paired with the knowledge of his devotion and love for her, the sadness he felt was amplified when paired with the digital map. In contrast, when Saladin gives him the magic bed which transports him to his hometown in a single night, the audience is able to understand the sheer awe and gratitude Messer Torello must have felt. By comprehending the amount of land that the bed must have transported Messer Torello, one is exposed to the miraculous repayment of Saladin for Messer Torello’s previous kindness.
Through this course, students learned about many different types of medieval maps. Especially, it was emphasized that these maps were not always about navigation, rather some were made in order to tell a story or reflect the cultural and religious landscape at that point in time. These maps were often elaborately decorated with relevant illustrations which were able to better immerse the onlooker into the world of the map. Through this learning experience, this type of map was created. By mapping the important locations in which the story occurred, as well as providing relevant illustrations and objects, students were better able to bring the story to life. Thus, through this project, an individual was able to experience how maps may be used in order to bring realism to a narrative.
Works Cited
Arduini, Beatrice. “Messer Torello’s Magic Carpet Ride as Synecdoche.” Heliotropia, vol. 16, 2019, pp. 189-204.
Boccaccio, Giovanni. “Decameron.” The Norton Anthology of World Literature: Volume B, edited by Martin Puchner, Norton, 2018, pp. 746-759.
"Le livre appellé Decameron." Bibliotheque nationale de France, https://gallica.bnf.fr/ark:/12148/btv1b7100018t/f773.item#.
“Medieval Merchant Culture.” Decameron Web, https://www.brown.edu/Departments/Italian_Studies/dweb/society/structure/merchant_cult.php. Accessed March 10 2021.
Olson, Kristina M. “The Ethical and Sartorial Geography of the Far East: Tartar Textiles in Boccaccio’s Decameron and Esposizioni.” Le Tre Corone, vol. 6, 2019, pp. 125-39.
"Signet Ring." The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/465945?searchField=All&sortBy=Relevance&when=A.D.+1000-1400&where=Italy&ft=ring&offset=0&rpp=20&pos=1.