<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/276798">
    <dcterms:title><![CDATA[Der Indefinite Agens von Chaucer bis Shakespeare: Die Wörter und Wendungen für &quot;Man.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the grammar and usage of the &quot;man&quot; and related locutions that convey independent agency in late Middle English and Early Modern English, considering pronouns, modals, and passive verbal forms as well as &quot;man&quot; and other generalized nouns. Uses examples from Bo, Rom, GP, KnT, and MilT, as well as works by writers other than Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276797">
    <dcterms:title><![CDATA[A College Treasury: Prose, Fiction, Drama, Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes PardP, translated by Theodore Morrison, as an example of narrative poetry, with brief commentary and a biographical note.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276796">
    <dcterms:title><![CDATA[[Reply to &quot;What is Chaucer&#039;s Borrow?&quot;]]]></dcterms:title>
    <dcterms:description><![CDATA[Responds to a query by Lisle C. John (Note and Queries 201 [1956]: 97-98), suggesting that &quot;borrow&quot; may mean borwe&quot; (pledge) or &quot;borough&quot; (referring to Canterbury).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276795">
    <dcterms:title><![CDATA[What is &quot;Chaucer&#039;s Borrow&quot;?]]></dcterms:title>
    <dcterms:description><![CDATA[Seeks advice in understanding the phrase &quot;Chaucer&#039;s borrow&quot; which appears Sir Nicholas H. Nicholas&#039;s &quot;Memoirs of the Life and Times of Sir Christopher Hatton&quot; (1847), where it is quoted from a letter to Hatton from William Dodington. Clarifies the context and posits that &quot;borrow&quot; may be a mistake for &quot;barrow&quot; and that the phrase could possibly refer to either Geoffrey or Thomas Chaucer. See the Reply by M. H. Dodds, Notes and Queries 201 (1956): 317-18.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276794">
    <dcterms:title><![CDATA[Troilus and Criseyde: Studies in Interpretation.]]></dcterms:title>
    <dcterms:description><![CDATA[Praises the art and skill of Chaucer&#039;s adaptations of sources and literary conventions in creating TC, comparing and contrasting the plot and characterizations of the work with those of a full range of its &quot;literary progenitors&quot; and exploring Chaucer&#039;s innovative transformations of the style and rhetoric of interpolated songs and letters, his dexterity with atmosphere and character psychology, and his uses of courtly conventions. Pays particular attention to Criseyde&#039;s laughter and Chaucer&#039;s admiration of her, the literary history of Diomedes, and Troilus&#039;s subjugation to the paradoxes of love. Reads much of the poem as expressing Chaucer&#039;s own views.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276793">
    <dcterms:title><![CDATA[&quot;Moedes or Prolaciouns&quot; in Chaucer&#039;s &quot;Boece.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the insertion of &quot;prolaciouns&quot; in Bo 2.pr.1 was intended as a technical clarification of the preceding &quot;moedes,&quot; potentially misleading to English readers who could read it as either &quot;mood&quot; or &quot;mode.&quot; The insertion may evince the musical sophistication of Chaucer or, perhaps, of the English author of a translation pony Chaucer may have used.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276792">
    <dcterms:title><![CDATA[Chaucer&#039;s Authorship of the &quot;Equatorie of the Planetis&quot;: The Use of Romance Vocabulary as Evidence.]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates the percentage of romance words in the works of Chaucer against the overall length of these works, suggesting that, in terms of its romance vocabulary, Equat &quot;is to be regarded as a work by Chaucer.&quot; Establishes a logarithmic formula for these calculations and includes statistical comparison with other writers, such as Gower, Mandeville, Shakespeare, and Milton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276791">
    <dcterms:title><![CDATA[They Tell of Birds: Chaucer, Spenser, Milton, Drayton.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes birds mentioned by four English poets, one chapter apiece. An opening chapter surveys classical backgrounds for zoological and interpretive ornithology, along with the uses of birds in medieval encyclopedias. The Chaucer chapter addresses bird-lists and birds in Rom, PF, and NPT, with attention to sources, moral implications of bird imagery, and Chaucer&#039;s development as an artist. Includes an Index to Birds Named by Chaucer, Spenser, Milton, and Drayton.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276790">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of the Mystery Plays in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies sources for a number of instances in MilT where Chaucer parodies, ridicules, or alludes to mystery plays--most evident in the characterizations of the Miller and Absolon as influenced by stage-versions of Pilate and/or Herod and the parody of a Noah play in the &quot;carpenter episode.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276789">
    <dcterms:title><![CDATA[Studies on Chaucer and His Audience.]]></dcterms:title>
    <dcterms:description><![CDATA[Includes four chapters, each devoted to a single poem as addressed on a particular occasion and/or to a particular audience, considered in light of rhetorical traditions, genre expectations, oral concerns, and sources: 1) SNT on the occasion of a royal visit to Norwich Cathedral Priory, perhaps to &quot;recognize the nomination of Adam Easton as cardinal priest of Santa Cecilia in Travestere&quot;; 2) PF as, at least in part, a response to the &quot;Pavo&quot; of Jordanus of Osnabruck and designed for an oral audience; 3) MLT, addressed to merchants, commemorating Constance of Castile, ca. 1382 or 1383, about the same time as SNT; and 4) Purse, and the political implications of referring to Henry IV as &quot;conquerour of Brutes Albyoun,&quot; a name for England Chaucer uses nowhere else. The Introduction to the volume includes commentary on features of orality in TC and other poems.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276788">
    <dcterms:title><![CDATA[Structure and Meaning in the &quot;Parlement of Foules.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that, although derived from differing sources, the three parts of PF--the prelude, the garden of love, and the debate--are unified in their presentation of three perspectives on love. Framed as a conventional love vision, the poem juxtaposes a stern, moralistic view of love, an exalted, courtly one, and a natural, &quot;realistic&quot; one. Together, the three provide a gentle &quot;comedy of attitudes&quot; that testifies to the power of love and the inadequacy of any single view of it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276787">
    <dcterms:title><![CDATA[An Early Newspaper Reference to Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a politically cautious reference to CT in the &quot;opening lines&quot; of the &quot;Kingdomes Weekly Intelligence,&quot; no. 241, &quot;covering the week of Dec. 28, 1647, to Jan. 4, 1648.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276786">
    <dcterms:title><![CDATA[Some Word-Play in Chaucer&#039;s Reeve&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the pun on &quot;hooly&quot; in RvT 1.3983-84 as &quot;holy&quot; and wholly&quot; encourages us to also see further word-play in the tale: &quot;panne&quot; as &quot;penny&quot; at 1.3944 and &quot;allye&quot; as &quot;alloy&quot; at 1.3945, both related to recognizing the connotations of &quot;bras&quot; as counterfeit at 1.3944. Adduces brass as alloy and counterfeit in ClT 4.1167-69]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276785">
    <dcterms:title><![CDATA[Sir Topas, 772-774.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s association between love-longing and the song-thrush in Th 7.772-74, clarifying the significance of the bird in patristic commentary, bestiaries, and poetic tradition, and suggesting that it may indicate  that Thopas&#039;s passion for the elf-queen is both absurd and carnal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276782">
    <dcterms:title><![CDATA[Pandarus a Devil?]]></dcterms:title>
    <dcterms:description><![CDATA[Considers manuscripts, editions, translations, and contemporary examples to explore Troilus&#039;s use of &quot;devel&quot; in TC 1.623, documenting variety in reading it as direct address, expletive, or exclamation. Shows that Troilus is not calling Pandarus a devil despite D. W. Robertson&#039;s ascertain that he was.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276781">
    <dcterms:title><![CDATA[Six Great Poets: Chaucer, Pope, Wordsworth, Shelley, Tennyson, the Brownings.]]></dcterms:title>
    <dcterms:description><![CDATA[The opening chapter offers subjective, impressionistic appreciation of Chaucer&#039;s life, language, poetry, and links among them, proclaiming Chaucer to be &quot;one of the most English of our poets&quot; in his &quot;tolerance, sweetness, and the lambent flame of an all-pervading irony,&quot; and one who &quot;stood alone&quot; in his own age for his realism, comedy, and acceptance of humanity, foibles and all. Includes summary descriptions of TC and CT, with emphasis on characterization and thematic generosity. Includes a b&amp;w reproduction of the National Portrait Gallery image.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276780">
    <dcterms:title><![CDATA[On the Pleasure of Meeting Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Appreciative criticism of CT, particularly Chaucer&#039;s realism, stylistic variety, and deft characterization, including that of his own persona. Comments on his life and language and on the appropriateness of individual tales to their tellers. Reads PrT as a &quot;weapon&quot; to help in the destruction of ignorance.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276779">
    <dcterms:title><![CDATA[The &quot;Shipman&#039;s Tale&quot; Was Meant for the Shipman.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges claims that the first-person feminine pronouns of ShT 7.11-19 indicate that the tale was originally intended to be told by the Wife of Bath, reading the lines as if they were presented in a &quot;miming male&quot; voice, and suggesting that the tale is particularly appropriate to the Shipman as a response to the Merchant, dramatization of antagonism between their two linked professions.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276778">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Fowle Ok&quot; and &quot;The Pardoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the portentous oak of PardT 6.765 (no species mentioned in analogues) gains dimension in light of Chaucer having been robbed at a &quot;fowle oak&quot; in Kent in 1390, and also suggests, therefore, that Chaucer must have been written PardT after this incident.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276777">
    <dcterms:title><![CDATA[The &quot;Wife of Bath&#039;s Tale&quot; and the Mirror Tradition.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on how &quot;the medieval mirror and wisdom metaphor is utilized&quot; in WBP and helps to characterize the Wife, ironically, as a figure of comic &quot;worldly prudence&quot; rather than true wisdom. Cites other examples from CT of ironic characterization &quot;built basically on a contrast between exemplary or mirror values and realistic details.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276776">
    <dcterms:title><![CDATA[Chaucer, the Man of Law&#039;s Introduction and Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Chaucer&#039;s dismissive reference to incest in MLP 77ff. alludes not to Gower&#039;s &quot;Confessio Amantis&quot; but to his own hesitation in writing a version of the &quot;well known folk tale of the Incestuous Father,&quot; hesitating &quot;on grounds of taste to write a religious tale in which incest was an essential element of the plot.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276775">
    <dcterms:title><![CDATA[Chaucer, the Clerk&#039;s Prologue.]]></dcterms:title>
    <dcterms:description><![CDATA[Connects the Clerk&#039;s uses of &quot;heigh style/stile&quot; in ClP 4.18 and 41 rather than reading the latter as a mistranslation of Petrarch &quot;stylo alio&quot; as stylo alto.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276774">
    <dcterms:title><![CDATA[Chaucer&#039;s Puns.]]></dcterms:title>
    <dcterms:description><![CDATA[Recounts the scholarly tally of puns in Chaucer, locates the device in rhetorical tradition, and clarifies its wide range of stylistic effects. Then provides an alphabetical list of puns in Chaucer&#039;s works (more than 100), both previously known examples and ones newly identified. Supplemented in PMLA 73 (1958): 167-70.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276773">
    <dcterms:title><![CDATA[The &quot;Shipman&#039;s Tale&quot; and the Wife of Bath.]]></dcterms:title>
    <dcterms:description><![CDATA[Objects to Robert L. Chapman&#039;s argument that the ShT was originally intended for the Shipman, not the Wife Bath, comparing Chaucer&#039;s tale with Boccaccio&#039;s &quot;Decameron&quot; 8.1 as examples of the &quot;Lover&#039;s Gift Regained&quot; motif, and showing that Chaucer&#039;s version is &quot;an important contribution to the characterization&quot; and &quot;personality&quot; of the Wife.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276772">
    <dcterms:title><![CDATA[Another Modernized &quot;Shipman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies and summarizes a close, modern analogue of ShT, written by Shelby Foote and published in &quot;The Nugget&quot; (November, 1955); comments on the oral transmission described by Foote in an interview and points outs several modern emphases.]]></dcterms:description>
</rdf:Description></rdf:RDF>