<rdf:RDF xmlns:rdf="http://www.w3.org/1999/02/22-rdf-syntax-ns#" xmlns:dcterms="http://purl.org/dc/terms/">
<rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274543">
    <dcterms:title><![CDATA[Chaucer&#039;s Miller, Pilate, and the Devil.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores associative and metaphoric links between Chaucer&#039;s Miller (GP and MilP), the devil, and Pilate, who was &quot;traditionally an agent of the devil.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274542">
    <dcterms:title><![CDATA[The Aesthetic of Chaucer&#039;s Art of Contrast.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s uses of thematic and stylistic contrast, antithesis, and contention, treating them not as examples of a divided mind &quot;but rather of a mind most aesthetically aware how best to state what is experienced most intensely.&quot; Draws examples from a range of Chaucer&#039;s works, CT most extensively.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274541">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Knight&#039;s Tale&quot; and the Theme of Appearance and Reality in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that by &quot;idealizing&quot; reality &quot;into unreality&quot; KnT opens the &quot;question of appearance and reality,&quot; a recurrent concern throughout CT which is resolved only in ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274540">
    <dcterms:title><![CDATA[Chaucer&#039;s Tender Trap: The Troilus and the &quot;Yonge, Fresshe Folkes.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;shock of contrast&quot; between the rejection of worldly love at the end of TC and the celebration of love found in earlier sections of the poem. The address to &quot;yonge, fresshe folks&quot; (5.1835) is consistent with the protagonists&#039; youthful love, part of Chaucer&#039;s sustained, coherent sequence of details and events that invite &quot;his audience to grow up&quot; and realize that &quot;service of the god of Love . . . [is] fundamentally pagan.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274539">
    <dcterms:title><![CDATA[Tragik und Komik in Chaucers &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Examines the tragic, comic, and ironic features of TC, comparing it with MkT in the genre of tragedy, and assessing its tragic, comic, tragicomic, and ironic aspects of  theme, situation, characterization, and dialogue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274538">
    <dcterms:title><![CDATA[The Two Tellers of &quot;The Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MerT &quot;characterizes the Merchant&quot; consistently, attributing several &quot;awkward&quot; passages in the Tale to the Merchant&#039;s engagement with an ongoing &quot;debate&quot; about marriage and considering his &quot;pretensions&quot; and &quot;intense personal involvement&quot; to be &quot;indispensable for our understanding of the ludicrous contrasts&quot; in the Tale--coarseness and courtliness, astrology and animalism, and deities and pettiness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274537">
    <dcterms:title><![CDATA[Chaucer&#039;s Icarus-Complex: Some Notes on His Adventures in Theology.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the &quot;quasi-heretical,&quot; &quot;so-called Augustinian&quot; views of sex in marriage as always sinful with those of Thomas Aquinas and others who treat sexual love in marriage as sinless when consistent with &quot;amicitia&quot; (friendship) and reason, arguing that the latter underlies Chaucer&#039;s view of sex in marriage in ParsT, analogous material in Peraldus&#039;s &quot;Summa Aurea de Virtutibus et de Vitiis,&quot; and PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274536">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of Function Words with Substantives.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates and analyzes Chaucer&#039;s use of function words before nouns and pronouns, showing that his usage &quot;resembles in the main that of modern English,&quot; although in at least one respect more similar to &quot;modern vulgar English than modern standard English.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274535">
    <dcterms:title><![CDATA[Augustinian Neurosis and the Therapy of Criticism.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in ClT Chaucer &quot;has successfully humanized the psychological motivation of both Walter and Griselda,&quot; de-emphasizing the &quot;supernatural&quot; aspects of the characterizations found in analogous narratives, and depicting his protagonists with motives &quot;consistent with the tenets of the psychological system promulgated by Saint Augustine.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274534">
    <dcterms:title><![CDATA[The Scansion of Two Lines in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Scans two lines of GP (49 and 173), &quot;usually felt to be awkward,&quot; arguing that in light of comparable Middle English examples the syllable counts and stress patterns of these lines are consistent with the &quot;iambic-decasyllabic theory.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274533">
    <dcterms:title><![CDATA[Froissart, Chaucer and Enclimpostair.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews attempts to clarify Chaucer&#039;s reference to Morpheus&#039;s companion &quot;Eclympasteyr,&quot; found in BD line 167 and also found in Froissart&#039;s &quot;Paradys d&#039;Amour&quot; as &quot;Enclimpostair.&quot; Argues on linguistic and literary grounds that the name in &quot;plain English&quot; means &quot;Supine, or Lean-Back,&quot; while &quot;[i]n America, the likes of him are called &quot;Lazy-Bones.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274532">
    <dcterms:title><![CDATA[Parody in the Pardoner&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in PardPT the Pardoner &quot;is parodying himself--deliberately magnifying his character and conduct in order to portray himself as a monster of evil&quot; exaggerating so that the other pilgrims will interpret him comically, as a &quot;charming rogue,&quot; while he obliquely confronts them with their own perfidy, much as the Old Man confronts the rioters.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274531">
    <dcterms:title><![CDATA[The Mixed Style of the &quot;Nun&#039;s Priest&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the &quot;stylistic virtuosity&quot; of NPT, consistent with its &quot;multiple perspective,&quot; commenting on the plain style of the widow frame, &quot;cinematic&quot; details in descriptions, the quality and comedy of direct dialogue, the &quot;graver rhetoric of the didactic style,&quot; &quot;dramatic economy,&quot; etc.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274530">
    <dcterms:title><![CDATA[Children in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that children in Chaucer&#039;s works are generally depicted with &quot;tender pity,&quot; discussing narratives in which children have relatively prominent roles:  MLT, MkT, ClT, PhyT, and PrT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274529">
    <dcterms:title><![CDATA[Chaucer&#039;s Artistic Accomplishment in Molding the &quot;Wife of Bath&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies &quot;traces of the primitive folk tale&quot; that underlie the Cupid and Psyche myth and WBT, and maintains Chaucer&#039;s familiarity with some version of the myth. Compares and contrasts aspects of the Tale with its English analogues, and argues that the superiority of Chaucer&#039;s version is due to the influence of the myth (especially evident in the motif of &quot;double transformation&quot;) as well as to the &quot;genius&quot; of Chaucer&#039;s &quot;narrative skill&quot; in combining various motifs.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274528">
    <dcterms:title><![CDATA[Thomas Hoccleve: A Study in Early Fifteenth-Century English Poetic.]]></dcterms:title>
    <dcterms:description><![CDATA[Defends the artistic qualities of Thomas Hoccleve as a poet, acknowledging his medieval conventionality, but emphasizing his originality in adapting conventions and source material, the competence of his meter, and the autobiographical elements of his verse, particularly examples of &quot;personal feelings.&quot; Surveys Hoccleve&#039;s corpus with frequent comparisons of his forms and themes with those of Chaucer, John Lydgate, and others. Also comments on his debt to Chaucer, the presumed friendship of the two poets, and the portraits of Chaucer in three manuscripts of Hoccleve&#039;s &quot;Regement of Princes,&quot; reproducing the one from Philadelphia, Rosenbach Museum and Library, MS 1083/10 (here cited as MS 594).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274527">
    <dcterms:title><![CDATA[Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s life and works, with an introduction to historical backgrounds, a chronology of events, a summary of critical reception, a bibliography for further reading, and an index. The biography emphasizes dates and events, and the survey of Chaucer&#039;s corpus includes a summary description of each work, attention to style and themes, and a synopsis of critical opinions. Treats CT and TC most extensively, but includes discussion of the translations (Rom, Bo, and Astr); the dream poems, here called &quot;Short Poems&quot; (BD, HF, PF, LGW, with Anel); and the short poems, here called &quot;Minor Poems,&quot; the latter considered individually or in groups (complaints, ballads, and envoys).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274526">
    <dcterms:title><![CDATA[The Comic Tales of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes each of the &quot;comic&quot; tales of CT, with appreciative, inferential, scene-by-scene commentary on techniques of characterization, situations, and enlivening details that make the Tales &quot;amusing.&quot; Essentially farcical, the action of MilT results more from &quot;character and situation&quot; than coincidence; similarly farcical, RvT provides enjoyment via &quot;poetic justice,&quot; opportunism, and &quot;mistakes in the night.&quot; ShT suffers from a &quot;thin plot,&quot; but offers clever talk and an &quot;intellectual&quot; climax. The simple action of NPT is well adorned with &quot;disproportions,&quot; &quot;incongruities,&quot; and &quot;comicalities,&quot; many of which burlesque MkT. The exchange of FrT and SumT succeeds because of balance among farce, satire, ironies, poetic justice, and surprise. MerT combines &quot;cool&quot; irony, &quot;biting&quot; satire, and indirection that produce rich innuendo and drama of character. Also comments on comic elements in Th, CkT, and CYT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274525">
    <dcterms:title><![CDATA[Chaucer: Poet of Mirth and Morality.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how Chaucer&#039;s &quot;mirth reveals his moral premises&quot; and conveys joy throughout his poetic corpus, explaining how the early dream poems, in varying degrees, communicate the progress of the comic narrators toward greater moral and philosophic realizations about kinds of love. At times reflecting PF, TC combines Boethius&#039;s &quot;divinely comic philosophy&quot; with Chaucer&#039;s awareness of human exuberance and excess to disclose the tragedy of fortune and human blindness. Generally, CT reveals the order and Providential justice implicit in human diversity and limitation. Part 1 lays out &quot;modes&quot; of comedy, complemented by the mirth of the religious tales and the dramatic interplay of the Marriage Group. Comedy &quot;unmasks&quot; vice in FrT, SumT, and PardPT, while Th, Mel, MkT, and NPT are more oblique in their expressions of moral philosophy. CYPT and ManPT diminish &quot;comic joy and zest&quot; but ParsT and Ret replace them with penitential forgiveness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274524">
    <dcterms:title><![CDATA[Exegetical Grammar in the &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Chaucer&#039;s summary of Virgil&#039;s &quot;Aeneid&quot; in Book 1 of HF as comic--a parody of several practices of &quot;exegetical grammar,&quot; including translation, &quot;dictiones ethicae&quot; (soliloquies), paraphrase, and moral interpretation. The purpose of the parody is &quot;to consider, and to reject, the uses of grammar for poetry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274523">
    <dcterms:title><![CDATA[English Literature: A Portrait Gallery.]]></dcterms:title>
    <dcterms:description><![CDATA[Reproduces in black and white the London National Portrait Gallery panel portrait of Chaucer (p. 2), preceded by a brief comment on Chaucer&#039;s life, with reference to William Dunbar&#039;s praise of him, mention of the TC frontispiece portrait (Cambridge, Corpus Christi College, MS 61), and the claim that the &quot;basis of the panel illustration&quot; is the illustration of Chaucer that accompanies Thomas Hoccleve &quot;Regement of Princes&quot; (British Library, MS Harley 4866, f. 88r).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274522">
    <dcterms:title><![CDATA[Middle Ages, Renaissance, and Reformation.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes a selection from GP (ll. 1-719) and PardPT in J. U. Nicolson&#039;s modern English translation (1939), with a brief appreciative introduction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274521">
    <dcterms:title><![CDATA[Archers&#039; Feathers in Chaucer and Ascham.]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces the testimony of modern archer, Robert P. Elmer, corroborating that peacock feathers are high quality material for fletching, and a notion thought to underlie Chaucer&#039;s reference in the GP description of the Yeoman (1.104).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274520">
    <dcterms:title><![CDATA[Longfellow&#039;s Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Explicates Henry Wadsworth Longfellow&#039;s Italian sonnet &quot;Chaucer,&quot; emphasizing its imitation of aspects of Chaucer&#039;s style, particularly drawn from BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274519">
    <dcterms:title><![CDATA[Chaucer&#039;s Friars: Swans or Swains? &quot;Summoner&#039;sTale,&quot; D 1390.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads the noun &quot;swan&quot; as &quot;swain&quot; in the rhyming comparison with &quot;Jovinyan&quot; in SumT 3.1930, adducing logic, consistency of imagery, and source material.]]></dcterms:description>
</rdf:Description></rdf:RDF>