Abstract
In the conclusion of her article "La Griselda di Christine de Pizan," Giovanna Angeli ends her analysis on the sources and characteristics of Christine De Pizan's rewriting of Griselda by inviting critics to investigate the hints of Christine's attentive reading of the Decameron shining through La Cité des dames. Indeed, according to Angeli, the absence or insistence of certain narrative elements in relation to Boccaccio speaks volumes on Christine's re-elaboration of the source material. In Christine's hands, unexpected aspects of Griselda's personality are revealed, supporting a secular interpretation, instead of a religious one, which critics, first among all Petrarch, have traditionally ascribed to Boccaccio's novella. Specifically, by reimagining this character and reframing her story in the larger context of the project of the Cité, Christine rids Griselda of the aura of religious virtue that characterizes her in Boccaccio's Decameron and makes her a human heroine able to speak to the heart of Christine's female readership.