Page 174 - SUMMARIES OF GIOVANNI BOCCACCIO’S DECAMEON : A Visionary Journey In 100 Stories And 100 Etchings By Petru Russu
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Gulfardo and Guasparruolo


                                                                                   Boccaccio opens Day Eight with a delicious twist: the hunter isn’t
                                                                                   the flirtatious woman or the oblivious husband, but the calm and
                                                                                   calculating Gulfardo, who turns lust, debt, and deception into one
                                                                                   seamless transaction. If Day Seven celebrated clever wives, Day Eight

                                                                                   swings the pendulum, giving men a moment of strategic glory, with an
                                                                                   edge of cynical humor.


                                                                                   In Milan, Gulfardo, a German soldier with a reputation for integrity,

                                                                                   crafts a plan to win the affections of Ambrosia, the alluring wife
                                                                                   of Gasparuolo Sagastraccio, a well-known merchant. Ambrosia,
                                                                                   despite her vows, agrees to a paid rendezvous, demanding money
                                                                                   for her favor. Gulfardo accepts, but not by dipping into his own

                                                                                   funds. Instead, he borrows the agreed sum from her own husband,
                                                                                   who, trusting Gulfardo implicitly, lends him the money with no
                                                                                   suspicion.



                                                                                   The affair takes place, brief, transactional, and shameless. But
                                                                                   Gulfardo isn’t finished. His brilliance comes in the public repayment:
                                                                                   he waits for Gasparuolo to be present and hands the money straight
                                                                                   to Ambrosia, saying, “I’ve repaid my debt.” Caught off guard, she

                                                                                   confirms the payment, failing to realize she’s admitted the affair.
                                                                                   Her husband, stunned, pieces together the implication too late: he
                                                                                   unwittingly sponsored his wife’s indiscretion.



                                                                                   The novella ends with neither confrontation nor justice, just
                                                             COLORFUL GEOMETRIC
                                                          CONTRASTS AND DYNAMIC    humiliation, quiet defeat, and a sly chuckle from the reader. Gulfardo
                                                             MOVEMENT EVOKE THE    doesn’t rage or punish; his revenge is precise, ironic, and irrevocable.
                                                     CALCULATED SCHEME, ENSURING
                                                                                   Ambrosia is exposed, Gasparuolo is disgraced, and Gulfardo walks
                                                        THE PSYCHOLOGICAL TENSION
                                                                   REMAINS VIVID.  away with both the deed and the last word.
         DECAMERON        172                                                                                                                                              173
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