<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/273876">
    <dcterms:title><![CDATA[Days and Months in Chaucer&#039;s Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Observes the presence of &quot;symmetrical numbers&quot; in the dates mentioned in Chaucer&#039;s poetry, e.g., third day of the third month equals May 3 when the annual calendar began in March rather than January. Comments on HF, TC, KnT, MerT, and FranT, as well as the use of such numbers in other literature.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273875">
    <dcterms:title><![CDATA[Modern Irish Versions of the Enchanted Pear Tree Episode.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates the plots and motifs of twenty-one modern Irish tales purported to be analogues of the pear tree episode in MerT, suggesting that those accounts which include the motif of optical illusion (rather than blindness) should not be considered analogues.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273874">
    <dcterms:title><![CDATA[The Urry &quot;Chaucer&quot; (1721) and the London Uprising of 1384: A Phase in Chaucerian Biography.]]></dcterms:title>
    <dcterms:description><![CDATA[Explains errors in the biography of Chaucer that is included in John Urry&#039;s edition of 1721, particularly those associated with the poet&#039;s spurious flight to the Continent in 1384 in the face of an accusation of treason. Attributes these errors to the belief that Chaucer wrote Thomas Usk&#039;s &quot;Testament of Love&quot; and to the 1717-18 political imbroglios of Thomas Hearne and members of his Oxford circle that produced or influenced the biography, originally composed by John Dart and &quot;corrected&quot; by William Thomas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273873">
    <dcterms:title><![CDATA[Reexamination of Chaucer&#039;s Old Man of the &quot;Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Considers theories of the nature of the Old Man in PardT, suggesting that he might be thought to combine feature of the Good Angel and the Bad Angel of medieval mystery and morality plays insofar as he seems to be &quot;extra-human,&quot; advising and endangering the rioters simultaneously.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273872">
    <dcterms:title><![CDATA[Characters and Crowds in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer&#039;s characterization of the lovers in TC is marked by their relationships with public opinion, especially with that of &quot;the impersonal mass of Trojans and Greeks&quot; who are the &quot;anti-characters&quot; of the poem. As fortune turns against the lovers, the narrator tries to evoke a new public sympathy for the lovers, that of the poem&#039;s audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273871">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Mistake&quot;: &quot;The Book of the Duchess,&quot; Line 455.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that in making the Black Knight 24 years old in BD (rather than 29, the age of John of Gaunt), Chaucer &quot;assigned his own age to his patron.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273870">
    <dcterms:title><![CDATA[Chaucer&#039;s Worldly Monk.]]></dcterms:title>
    <dcterms:description><![CDATA[Distinguishes between the &quot;clerical&quot; and &quot;non-clerical&quot; traditions of &quot;de casibus&quot; tragedy in medieval tradition, observing the emphasis on the goddess Fortuna in the latter, and claiming that MkT &quot;belongs to the non-clerical tradition.&quot; In ignoring or rejecting Boethian consolation and not regarding Fortune as God&#039;s agent, MkT &quot;advocates a dignified hedonism&quot; (rather than &quot;contemptus mundi&quot;), a view consistent with the &quot;worldly, unbookish Monk&quot; of GP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273869">
    <dcterms:title><![CDATA[John Lydgate: Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits twelve of Lydgate&#039;s poems, with end-of-text notes, glossary, and other apparatus. Includes &quot;On the Departing of Thomas Chaucer,&quot; a selection from the &quot;Troy Book,&quot; and &quot;The Temple of Glas,&quot; among others. The Introduction (pp. ix-xii) and the Notes (pp. 114-92) include frequent references to Chaucer and his influence on Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273868">
    <dcterms:title><![CDATA[The &quot;Clerk&#039;s Tale&quot; and the Theme of Obedience.]]></dcterms:title>
    <dcterms:description><![CDATA[Judges ClT to be &quot;more successful than it has been thought&quot; because it is a tale of  &quot;idealized obedience&quot; in which Griselda&#039;s submissiveness is an &quot;imitation&quot; of Christ&#039;s Passion and Resurrection and a demonstration that the human will can achieve sovereignty through submission and defeat of death through acceptance. Chaucer&#039;s &quot;humanizes&quot; Walter&#039;s tests and discloses that the &quot;unfathomable reality of death is conquered only by the supernatural death of the will.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273867">
    <dcterms:title><![CDATA[&quot;The Ancient Mariner&quot; and &quot;The Squire&#039;s Tale,&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that SqT 5.393-94 (description of the sun) may have inspired a detail in Coleridge&#039;s &quot;Ancient Mariner,&quot; line 180.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273866">
    <dcterms:title><![CDATA[Chaucer and the Tradition of Fame: Symbolism in &quot;the House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Confronts the &quot;deliberate obscurity&quot; of HF, seeking to resolve its apparent disjunctions and disunities by reading it as a &quot;poetic allegory&quot; on the &quot;subject of fame,&quot; influenced by scriptural tradition, by the dual aspects of Venus (secular and sacred love), and by Dante&#039;s &quot;Divine Comedy.&quot; The dream frame and the &quot;symbolic date&quot; of the poem invite attention to the &quot;outer and inner modes&quot; of allegory, the Dido and Aeneas account signals a dual concern with love and fame, and the eagle indicates a kind of rational pursuit of the dual ideals. Fame&#039;s hall is deeply symbolic and the narrator&#039;s quest is a pursuit for tidings of love both spiritual and earthly. Based on the author&#039;s 1959 Princeton University dissertation: &quot;Chaucer and the Tradition of Fame: A Study of the Symbolism in the &#039;House of Fame&#039;.&quot; ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273865">
    <dcterms:title><![CDATA[Ovid and the Wife of Bath&#039;s Tale of Midas.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares the Wife of Bath&#039;s version of the Midas exemplum with Ovid&#039;s original in &quot;Metamorphoses,&quot; suggesting that the divergences exemplify the Wife&#039;s penchant for misquoting and/or misunderstanding authorities and align with her deafness, a figurative version of &quot;wearing the ass&#039;s ears of Midas.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273864">
    <dcterms:title><![CDATA[Saint Cecilia&#039;s &quot;Chemical Wedding&quot;: The Unity of the &quot;Canterbury Tales,&quot; Fragment VIII.]]></dcterms:title>
    <dcterms:description><![CDATA[Demonstrates the &quot;relationship in theme and imagery&quot; between SNPT and CYPT and the &quot;controlling design that links them artistically.&quot; Posits that SNT may have been based on a Gnostic version of the Cecilia legend, an alchemical allegory of the &quot;chemical wedding,&quot; helping to account for the parallels and inversions between the two Tales: concern with work and busyness, unity and multiplicity, the imagery of fire, stones, and blindness, and such &quot;orthodox religious ideals such as zeal and perseverance.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273863">
    <dcterms:title><![CDATA[The Hunt is Up, Sir Thopas: Irony, Pun and Ritual.]]></dcterms:title>
    <dcterms:description><![CDATA[Discourages pursuit of ironic and sexual implications in details in Tho (7.748-59), suggesting that the mention of &quot;bukke and hare&quot; is best understood as parodic conjoining of two categories of hunted beasts.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273862">
    <dcterms:title><![CDATA[Note on Chaucer&#039;s Roundels and His French Models.]]></dcterms:title>
    <dcterms:description><![CDATA[Maintains that &quot;rondeaux tercet&quot; is the precise name for the verse form of the three stanzas of MercB and of the song at the end of PF.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273861">
    <dcterms:title><![CDATA[A Chaucer Allusion (Latin) 1619.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a reference to the Wife of Bath&#039;s equation of friars and incubi (WBT 3.865-80) in Richard Crakanthorp(e)&#039;s &quot;Introductio in Metaphysicam&quot; (1619).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273860">
    <dcterms:title><![CDATA[The Antifraternalism of the &quot;Summoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges arguments that seek to identify the friar of SumT with a specific fraternal order and adduces the Rules of various fraternal orders and commentaries on these Rules to show that &quot;general antifraternal literature&quot; underlies many details of Chaucer&#039;s ironic satire: the nature of glossing and the possession of books, church building, competition with the secular clergy, the equation of money or gold with flatulence, etc. Argues that the friar of SumT is &quot;a kind of &#039;stage friar&#039; who sums up everything that is wrong with the mendicant orders from a fourteenth-century English secular point of view.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273859">
    <dcterms:title><![CDATA[Our Host&#039;s &quot;Triacle&quot;: Some Observations on Chaucer&#039;s &quot;Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Questions some of critics&#039; claims about the Pardoner (particularly rejecting the claim that he is drunk), and argues that the Pardoner&#039;s character and his performance cohere and exhibit his &quot;craft and talent&quot; as well as his efforts &quot;to entertain and impress the pilgrims and to work towards the practical joke against the Host.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273858">
    <dcterms:title><![CDATA[Chaucer and Boethius &quot;De Musica.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes a &quot;flicker of humour&quot; in Chaucer&#039;s allusion to Boethius in NPT (7.3294-95), indicating that the poet disagrees with his authority on the point of musical sensitivity.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273857">
    <dcterms:title><![CDATA[The &quot;Place&quot; in &quot;The Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the five uses of &quot;place&quot; as a locational noun in the description of the tournament in KnT, arguing that it has a &quot;precise technical meaning,&quot; i.e., the &quot;grassy ground of the arena within the lists.&quot; This meaning is also found in Middle English descriptions of theatrical performance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273856">
    <dcterms:title><![CDATA[&quot;The Shipman&#039;s Tale&quot;: Chaucer and Boccaccio.]]></dcterms:title>
    <dcterms:description><![CDATA[Compares ShT with Boccaccio&#039;s &quot;Decameron&quot; 8.1 and 8.2 in order to &quot;see the two writers more minutely for what they are,&quot; arguing for Chaucer&#039;s &quot;clear, almost measurable superiority&quot; in matters of atmosphere, vitality, characterization, and moral subtlety. Also comments at length on Chaucer&#039;s other fabliaux, particularly MilT, RvT, FrT, and SumT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273855">
    <dcterms:title><![CDATA[Chaucer&#039;s Double Apology for the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the dramatic interchange between the Miller and the Reeve in MilP &quot;anticipates every important argument in Chaucer&#039;s formal defense&quot; of including the ribald MilT in CT. Together the two &quot;apologies&quot; constitute a &quot;richly comic but thematically significant double perspective of authorial ethics.&quot; ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273854">
    <dcterms:title><![CDATA[The World of Walls: The Middle Ages in Western Europe.]]></dcterms:title>
    <dcterms:description><![CDATA[Social history of western medieval Europe from the &quot;Barbarian Invasions&quot; to &quot;The Last of the Middle Ages,&quot; presented for young adults. The final section of the book (pp. 221-46) focuses on Chaucer, imaginatively reconstructing his daily life and biography, with recurrent comments on his literary works, especially CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273853">
    <dcterms:title><![CDATA[Medieval Culture: The Image and the City.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes selections and excerpts from medieval literature and history (most in modern English), offered for use as a textbook in social history. Includes GP, lines 1-274 (pp. 228-48), in normalized Middle English, with no notes or glosses, accompanied by b&amp;w details of four pages of the Ellesmere manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273852">
    <dcterms:title><![CDATA[Chaucer&#039;s Bawdy Tongue.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses Chaucer&#039;s &quot;vulgarisms&quot; for the ways that they &quot;reveal&quot; his &quot;expert insight into the uninhibited lives of the folk.&quot; Comments on Chaucer&#039;s depictions of incest, claims that Chaucer&#039;s uses 119 &quot;bawdy terms,&quot; and focuses on his robust vocabulary of sexuality and scatology, particularly as expressed by his &quot;lower characters.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>