How we cite our quotes: (Day.Story.Page)
Quote #1
Being filled with compassion for Alessandro's misfortunes, [the Abbot] began to console him in tones of deep affection, telling him not to lose hope; for if he kept his courage, God would not only restore him to the position from which he had been toppled by Fortune, but set him even higher. (II.3.86)
The story of Alessandro and the Abbot is a gender-identity bending version of friends with benefits. If you take a close look at the language here, you might guess that the Abbot's admiration is teetering on the threshold of erotic appraisal. Stay tuned.
Quote #2
On noticing that Messer Geri passed by his door every morning with the Pope's emissaries, it occurred to Cisti that since the season was very hot he might as well do them the kindness of offering them some of his delicious white wine. But, being sensible of the difference in rank between himself and Messer Geri, he considered it would be presumptuous of him to issue an invitation and resolved to arrange matters in such a way that Messer Geri would come of his own accord. (VI.2.449, Pampinea's story of Cisti the Baker)
Cisti may only be a baker, but he is a prince among men. He has a delicate enough understanding of social etiquette to know that friendship between himself and a gentleman must be approached with a certain kind of finesse.
Quote #3
Being in the habit, like other folk, of going to church and listening to sermons, they had frequently heard about the glory and the suffering that awaited the souls of the dead, each according to his merits, in the world to come. But since they wanted to find out for certain about these matters, and could think of no other way of doing it, they promised one another that whichever of them died first would return, if possible, to the one who was still alive, and give him all the information he wanted; and they sealed this compact with a solemn oath. (VII.10.544, Dioneo's story of Tingoccio and Meuccio)
Tingoccio and Meuccio may not be the best of friends—they're both in love with the same woman who's off-limits—but they take their oaths seriously. Boccaccio uses the folktale motif of afterlife reportage to comment on the gullibility of layfolk like these two friends.
Quote #4
Not long ago, there lived in our city […] a painter called Calandrino, a simple, unconventional sort of fellow, who was nearly always to be found in the company of two other painters, whose names were Bruno and Buffalmacco. These latter were a very jovial pair, but they were also shrewd and perceptive, and they went about with Calandrino because his simple-mindedness and the quaintness of his ways were an endless source of amusement to them. (VIII.3.561)
Here's a relationship based on pleasure and usefulness—Calandrino's a good guy to make fun of alone. Even though these guys spend a ton of time together, they're not friends by any classical definition of the term. It's a superficial relationship.
Quote #5
'[...] since I can find another wife, but not another friend, with the greatest of ease, I prefer, rather than to lose you, not to lose her exactly, but as it were to transfer her. For I shan't lose her by giving her to you, but simply hand her over to my second self, at the same time changing her lot for the better.' (X.8.752, Filomena's tale of Titus and Gisippus)
For the moment, we're going to overlook the whole "woman as a piece of furniture" theme running through here and focus on what's going on between the guys. Boccaccio's playing on the motif of BFFs being mirror images of each other (remember that Titus and Gisippus also look alike) to show that the friends love each other as they love themselves. Sophronia clearly has a problem with this; that's because this version of friendship is a boys-only club.
Quote #6
Men may thus continue to desire throngs of relatives, hordes of brothers, and swarms of children, and as their wealth increases, so they may multiply the number of their servants. But what they will fail to perceive is that every one of these, no matter who he may be, is more apprehensive of the tiniest peril to himself than eager to save his father, brother, or master from a great calamity, whereas between two friends, the position is quite the reverse. (X.8.764, Filomena's tale of Titus and Gisippus)
With this concluding statement to her story, Filomena's just set up male friendship as the ideal for relationships that can exist among people. Perhaps she's doing this as a cautionary tale to the members of the brigata, especially since Boccaccio's already told us that the natural bonds between kinsmen have been perverted by plague-desperation. In other words, you might sell your mother down the river, but would never think of abandoning a friend.
Quote #7
'Now, I have no intention of explaining to you, here and now, that which the sacred laws of friendship require [w]hat a man should do for his friend, being content simply to have reminded you that the ties of friendship may be much more binding than those of blood or kinship. For our friends are of our own choosing, whereas our kinsfolk are those that Fortune has allotted to us.' (X.8. 755, Filomena's tale of Titus and Gisippus)
Titus is rather condescendingly explaining to Gisippus' family that they can't possibly understand the true meaning of friendship or they would have immediately understood the reasons that Gisippus gave his fiancée to Titus. The sentiment in the last sentence is one that also feels very modern. "You can't pick your relatives"—you know the old joke. We define ourselves by the people we surround ourselves with. By claiming a close "kinship" with Gisippus, Titus is re-defining his family and re-shaping cultural expectations. At least, he hopes so.
Quote #8
'God knows, Messer Torello, that I cannot blame you in the slightest for loving your wife so dearly and for being concerned at the thought of losing her to another [...] Nothing would have given me greater joy, since Fortune has brought you to Alexandria, than for us to have spent the rest of our lives together here, ruling as equals over the kingdom I now govern [...]' (X. 9. 777, Panfilo's story of Saladin and Messer Torello)
Saladin's love for Torello is the perfect example of intense classical friendship, funded in mutual virtue and respect. In this case, Saladin and Torello could be completely contented together forever, if sex didn't get in the way. Torello feels the pull of duty and the pleasures of the marriage bed just a bit more than he admires Saladin—but just by a hair. It's clear that these two fellows have a strong attraction for each other and would like to exclude the rest of the world to continue their friendship.
Quote #9
'[…] from what I have seen and heard, it seems to me that our proceedings have been marked by a constant sense of propriety, an unfailing spirit of harmony, and a continual feeling of brotherly and sisterly amity. All of which pleases me greatly, as it surely redounds to our communal honour and credit.' (X.Conclusion.795-796, Dioneo's wrap-up of their adventures).
Propriety, harmony, amity—but is it friendship? By classical standards, not really; more like amiable acquaintances. We don't really know how well the ladies knew each other prior to their retreat, and this gathering has had a utilitarian quality. Once they're done with the retreat, they might go their separate ways or they might end up lifelong friends. Unfortunately there's no sequel, so we can only speculate.