Character Clues
Character Analysis
Names
Because we don't get to know our storytellers that well, we have to take what we can get in terms of information. Lucky for us, this is a medieval text, which means that we can rely on things like names to open up interpretive possibilities for us. Of course, it helps to remember that this work is written in Italian, so the names have to be translated for our purposes.
(Amusing study break suggestion: find some Italian websites about The Decameron, and let Google translate.)
We've given you examples of this in our "Characters" section: Pampinea has a name that means "flourishing one" in Italian. Emilia, "she who allures," is especially beautiful. Filostrato is a pseudo-Greek portmanteau word that means "one prostrated by love." And he really is. Panfilo is really the anti-Filostrato. His name means "lover of all" or "full of love," and that's just what Panfilo is. He's an all around fun guy who is happy about being in love and wants everyone to know it. To sum up, everyone's name gives a small clue to their character.
Occupation and Social Class
In the case of the members of the brigata, lack of occupation is what's most telling. They're young people of independent means, members of the elite for whom the idea of work isn't on the radar screen. Given their social class, we don't need to be told that they're refined, educated, devout, and chaste.
Behavior
Our observation of the characters' behavior is limited. But we do see that, consistent with what we're meant to assume given their elite social status, they're generally happy, friendly and reasonable young people who behave themselves and are able to comply with a strictly established daily routine. They have their differences about what kinds of stories to tell, but there's not a lot of drama—at least not drama that erupts on the surface. No one wanders off or sulks in the corner. Filostrato alludes to his unhappiness in love, but manages to be discreet about which of the ladies have made him miserable. If there's acting out at all, it's in the way their choice of story sometimes seems aimed at another member of their group.
There's a lot of blushing on the part of the ladies after a particularly sexual tale, but Boccaccio shows us they aren't all that uptight:
As they listened to Filostrato's tale, the ladies at first felt a trifle embarrassed and showed it by the blush of modesty that appeared on their cheeks; but then they began to exchange glances with one another, and scarcely able to contain their laughter, they heard the rest of it with their faces wreathed in smiles. (VI.8.464)
As the days progress, the ladies seem more and more comfortable with the naughty stories and even praise Dioneo for his liveliness.
Some cracks do appear in the group as a result of Filostrato's depressing theme for the fourth day. He allows his own unhappiness to determine the theme of unhappy love, which seems to challenge the very purpose of their retreat—to enjoy carefree pleasure. Fiammetta's pretty put out about it and tells him so, but goes along with the plan with a story that could be an indirect dig at Filostrato. Pampinea refuses to tell a story that's a total downer.
Emilia's self-absorption is seen in a small but revealing episode where she hasn't been paying attention to the stories:
[…] Emilia, heaving a sigh as though she had just been awakened from a pleasant dream, began as follows:
'Fair young ladies, having been absorbed for a while in distant reverie, I shall now bestir myself to obey the Queen's command […]' (VI.8.465)
That's about as drama-queen as it gets in this book.
You'd think that being sequestered for 10 days with the same group of people might result in someone seriously getting on someone else's nerves; at the very least, there'd be a lot of gossip or cliques, or arguments. Plus, here's a bunch of young people thrown together in close proximity, away from the world, living in a garden of sensual delights, telling dirty stories. Shmoop is astounded that with all the shockingly graphic and stimulating sexual stories, there's no hanky-panky, no pairing off, no bed-hopping. What's that Freud said about sublimation? We guess all that sexual energy got channeled into creative storytelling.
Speech and Dialogue
All our storytellers are very well-spoken. Their frequent references to God show us their devout religious faith. They're able to spin tales on a wide variety of subjects, so it's easy to see that they've all been exposed to literature, history, and languages and have an acquaintance with other cultures. But we do get some insight into their histories and personalities by the kinds of stories they tell and the kinds of things they say. Right from the start, we see Pampinea's maturity and good sense by her proposal to her lady friends that they escape the city that's so full of death and sorrow. She doesn't seem to have that sense of invulnerability that young people like you are supposed to have. After describing the frightening situation in the city, she concludes:
'Or do we suppose that our own lives, unlike those of others, are bound to our bodies by such strong chains that we may ignore all those things which have the power to harm them? In that case we are deluded and mistaken. We have only to recall the names and the condition of the young men and women who have fallen victim to this cruel pestilence, in order to realize clearly the foolishness of such notions.' (I.Introduction.16)
Filostrato lets us know how he feels about relationships by insisting on a theme of disappointment in love. He has one very revealing speech:
'[…] I die a thousand deaths in the course of every hour that I live, without being granted the tiniest portion of bliss in return […] I will ask Pampinea to continue the proceedings by relating some gruesome tale that has a bearing on my own sorry state.' (IV.2.302)
That's a conversation stopper for sure. Bitter much? But Pampinea's self-confidence shows through when she disobeys his edict and tells a funny story because she trusts that she understands the needs of her companions better than Filostrato does. Filostrato's not amused, but he leaves it at that.
We learn about Panfilo through his stories, where love comes up against a variety of obstacles—a father's disapproval, being already married, the death of a lover—showing that he believes that love really does conquer all.
Dioneo shows us his independent, play-by-his-own-rules character by asking right away to be allowed freedom from the theme of the day and to be the last person to tell his story at the end of the day.
'I would ask you to grant me a special privilege, which I wish to have conferred upon me for as long as our company shall last, namely, that whenever I feel so inclined, I may be exempted from this law obliging us to conform to the subject agreed, and tell whatever story I please. But none shall think I desire this favour because I have a poor supply of stories, I will say at once that I am willing always to be the last person to speak.' (I.Conclusion.68)
He also insists on his topic for the seventh day, even when the ladies protest that it's inappropriate:
'Ladies, I know as well as you do that the theme I have prescribed is a delicate one to handle; but I am not to be deterred by your objections, for I believe that the times we live in permit all subjects to be freely discussed, provided that men and women take care to do no wrong.' (VI.Conclusion.478)
He's too charming and persuasive not to get his way.
One striking thing about all the members of the brigata is their openness to all the different perspectives and ideas in the stories they hear. They laugh, they feel sad, but by and large they're receptive and not too judgmental. Some scholars see this as Boccaccio's description of his ideal reader—open to hearing his stories without prejudice or preconceptions (source).