<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/275776">
    <dcterms:title><![CDATA[A Critical History of English Literature.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer as the &quot;brilliant culmination of Middle English literature,&quot; commending his &quot;metrical craftsmanship&quot; in English, his &quot;European consciousness,&quot; and his &quot;relaxed, quizzical attitude that let him contemplate the varieties of human nature with a combination of sympathy, irony, and amusement, together with the good fortune to have opportunities to know men in all ranks of society.&quot; Chapter 4 (&quot;Chaucer, Gower, Piers Plowman&quot;), summarizes and discusses Chaucer&#039;s major works at much greater length than those of Gower and Langland; his innovations, influence, and relative excellence are mentioned elsewhere in this comprehensive literary history.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275775">
    <dcterms:title><![CDATA[Chaucer and the Mediaeval Sciences.]]></dcterms:title>
    <dcterms:description><![CDATA[Revises slightly the author&#039;s 1926 study of the same title (Oxford University Press), here adding two essays, also previously published: &quot;Destiny in Troilus and Criseyde&quot; (1930) and &quot;Arcite&#039;s Intellect&quot; (1930). The enlarged edition also updates the Selected Bibliography of the original.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275774">
    <dcterms:title><![CDATA[Beowulf and Selections from the Canterbury Tales.]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen. WorldCat records indicate that this spoken-word recording includes &quot;Beowulf&#039;s speech to Hrothgar, the Dragon Flight and the Funeral of Beowulf&quot; in Old English (20.02 min.) and GP and PardT in Middle English (29.16 min.).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275773">
    <dcterms:title><![CDATA[Shakespeare&#039;s Reading in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies a number of images, expressions, and &quot;notional similarities&quot; that evince Chaucer&#039;s influence on Shakespeare, reviewing previous scholarship, adding several examples, and arguing that the influence is strongest when Shakespeare was about thirty years old. Dissuades arguments that Shakespeare used Chaucer&#039;s plots. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275772">
    <dcterms:title><![CDATA[The Shorter Poems of Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers impressionistic appreciation of ways that Chaucer &quot;naturalized and made his own the continental traditions,&quot; with particular attention to the conventions of courtly love. Comments on a range of short poems: ABC, Mars, Ros, FormAge, Scog, Buk, and Purse.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275771">
    <dcterms:title><![CDATA[In Search of Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Engages several critical approaches to Chaucer works and incorporates them into appreciative commentaries, with particular attention to the poet&#039;s &quot;habit of working&quot; or process of composition, his narrative techniques (not inorganic, but accumulative), themes (the status of poetry and the value of reading), stylistic/rhetorical variety (especially allegory and naturalism), and poet-audience relations.  Organizes the discussions in three groups, i.e., Chaucer&#039;s &quot;spheres of interest&quot;: the dream world, mundane existence, and &quot;imagined life through reading,&quot; emphasizing how Chaucer may have created the works and how they mean. Discusses PF, LGWP, MkT, and PardPT in greatest detail, but treats all major works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275770">
    <dcterms:title><![CDATA[The Parlement of Foulys.]]></dcterms:title>
    <dcterms:description><![CDATA[An edition of PF based on University of Cambridge Library MS Gg.4.27, with end-of-text textual and explanatory notes, modern punctuation, and original spelling. The Introduction (pp. 1-68) presents the poem as the &quot;best of Chaucer&#039;s shorter poems,&quot; commenting on date and relative chronology, courtly love, structural and thematic concerns, mythological backgrounds, the birds as natural history and social representations, sources, rhetoric, style, versification, the manuscripts, and a select bibliography. A comprehensive glossary follows five appendices which offer contextualizing source and analogue materials. Re-issued in 1972 by Manchester University Press and by Barnes &amp; Noble.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275769">
    <dcterms:title><![CDATA[Fals Eneas and Sely Dido.]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces details and emphases in Virgil&#039;s &quot;Aeneid&quot; to suggest that Chaucer used it directly in composing his Dido legend in LGW, though perhaps in combination with parallel sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275768">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Troilus&quot; as an Elizabethan &quot;Wanton Book.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies several sixteenth-century statements of censorship of romances (one that mentions TC) and describes several early modern &quot;justifications&quot; for the &quot;perennial itch to censor.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275767">
    <dcterms:title><![CDATA[The Squire&#039;s Yeoman.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the GP description of the Yeoman, affiliating him with the Squire rather than with the Knight, and concentrating on details of his dress and equipage that contribute to a &quot;sense of gay holiday panoply&quot; associated with the Squire.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275766">
    <dcterms:title><![CDATA[The Inhibited and Uninhibited: Ironic Structure in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the diction and imagery of MilT, focusing on oral and olfactory instances for the ways that they ironically anticipate details of the plot, particularly the misdirected kiss received by Absolon and colter-burn he directs at Nicholas.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275765">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Gentil&quot; Manciple and His &quot;Gentil&quot; Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores details, emphases, ironies, and double ironies in the GP description of the Manciple and in ManPT, characterizing him as &quot;shrewd,&quot; &quot;smug,&quot; and &quot;indiscrete&quot;--a &quot;successful rascal&quot; who aspires to &quot;gentil&quot; status, is &quot;insecure,&quot; and overly talkative.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275764">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, A 696-698.]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies the reference to Christ catching Peter as he sailed in GP 1.696-98, focusing on the figurative meaning of &quot;hente&quot; and its implications regarding the Pardoner&#039;s faux relic, Peter&#039;s sail-cloth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275763">
    <dcterms:title><![CDATA[Chaucer&#039;s General Prologue, A 497.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the denotative, connotative, figurative, and ironic implications of the GP description of the Wife of Bath as one who knows &quot;muchel of wandrynge by the weye&quot; (1.497).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275762">
    <dcterms:title><![CDATA[On Translating Ovid in Chaucer&#039;s &quot;House of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Addresses Chaucer&#039;s translation of Ovid&#039;s &quot;portis&quot; (&quot;Metamorphoses&quot; 12.45) as &quot;porters&quot; rather than &quot;portals&quot; in his House of Rumor (HF 1954).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275761">
    <dcterms:title><![CDATA[Chaucer and Dante.]]></dcterms:title>
    <dcterms:description><![CDATA[Advocates a &quot;contextual&quot; approach to source study, arguing that several discussions of Dante&#039;s influence on Chaucer depend upon weak correspondences, better treated as shared tradition than direct influence. Discusses the lists of lovers in PF and BD, the treatment of Jason in LGW, and the &quot;firste stok&quot; and treatment of gentility in Gent.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275760">
    <dcterms:title><![CDATA[Classical Fable and English Poetry in the Fourteenth Century.]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes theories and meanings of conventional mythographic images and allusions in medieval literature, derived from classical fables and allegorized in late-classical and medieval commentaries on such fables. Includes comments on the allusion to Virgil&#039;s and Dante&#039;s descents into hell in FrT (3.1513-20) and the resonances in KnT of Theseus as an exemplary figure of the noble life and the rational soul.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275759">
    <dcterms:title><![CDATA[Folklore, Myth, and Ritual.]]></dcterms:title>
    <dcterms:description><![CDATA[Examines critical opinions about the presence of mythic, folkloric, and ritualistic images and allusions in medieval English literature, commenting on various works and critical views of them: &quot;Beowulf,&quot; &quot;Sir Gawain and the Green Knight,&quot; accounts of Robin Hood, drama, and several of Chaucer&#039;s works (TC, KnT, MerT, and PardT), observing generally that Chaucer&#039;s poems have resisted or escaped such analysis.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275758">
    <dcterms:title><![CDATA[Patristic Exegesis in the Criticism of Medieval Literature: The Defense.]]></dcterms:title>
    <dcterms:description><![CDATA[Exemplifies the wide-ranging importance of &quot;exegetical tradition&quot; in explicating images and allusions in medieval literature, drawing examples from &quot;Piers Plowman,&quot; from the Summoner&#039;s taste for garlic, onions, and leeks (GP 1.634), and from various echoes of the biblical Canticle of Canticles in the characterizations and relationship of Absolon and Alisoun in MilT. Argues that greater familiarity with such exegetical details is necessary for broader understanding the value of patristic criticism. See E. Talbot Donaldson, &quot; Patristic Exegesis in the Criticism of Medieval Literature: The Opposition.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275757">
    <dcterms:title><![CDATA[Patristic Exegesis in the Criticism of Medieval Literature: The Opposition.]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges patristic criticism for its claim that medieval literature is univocally concerned with asserting Christian &quot;caritas&quot; allegorically, arguing instead that poetry has a right to &quot;say what it means and mean what it says.&quot; Illustrates the pitfalls of the critical method by analyzing patristic or exegetical readings of the opening of &quot;Piers Plowman,&quot; &quot;Maiden in the Moor Lay,&quot; and NPT, maintaining in the case of the latter that its meaning derives from its rhetorical elaborations rather than despite them. See R. E. Kaske, &quot;The Defense.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275756">
    <dcterms:title><![CDATA[Critical Approaches to Medieval Literature: Selected Papers from the English Institute, 1958-59.]]></dcterms:title>
    <dcterms:description><![CDATA[Six essays by various authors and a summary Introduction by the editor. For five essays that pertain to Chaucer, search for Critical Approaches to Medieval Literature under Alternative Title.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275755">
    <dcterms:title><![CDATA[Characterization in the &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Praises the &quot;high organic unity&quot; of MilT, attributing it to effective characterization of the major actors:  &quot;by making him &#039;hende&#039; in one sense or another, Chaucer has motivated each incident of the plot involving Nicholas; and similarly, he has made the action involving Alisoun and Absolon flow from the fact that she is an earthy girl and he is an effeminate fastidious dandy.&quot; They are &quot;perfect characters for the various roles in the little farce.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275754">
    <dcterms:title><![CDATA[Love and the Code: &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the characterizations in TC of Troilus, Pandarus, and, most extensively, Criseyde, explaining how Chaucer modifies their antecedents in Boccaccio&#039;s &quot;Filostrato&quot; by adapting the conventions and rhetoric of courtly love and creates rich personalities, comparable to those of Shakespearean drama and modern novels. Though he &quot;neither analyses nor moralizes,&quot; Chaucer depicts the &quot;random circumstances of love and living&quot; as well as awareness of psychology. Includes comments on the relations between characterization and the theme of love in LGW, PF, and KnT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275753">
    <dcterms:title><![CDATA[Chaucer and the &quot;Panthère d&#039;Amours.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews discussions that consider Nicole de Margival&#039;s &quot;La Panthère d&#039;Amous&quot; to be a source of HF, challenging most of them for lack of specificity or because shared details are conventional. Only two brief passages evince Margival&#039;s influence and neither is conclusive.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275752">
    <dcterms:title><![CDATA[Recent Interpretations of Chaucer&#039;s &quot;House of Fame&quot; and a New Suggestion.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that &quot;the role of the artist as purveyor of Fame&quot; is the fundamental unifying theme of HF and suggests that Chaucer may have intended to resolve tensions between Dantean and Boethian views of the poet (as teacher and misleader, respectively) at the completion of the poem, perhaps having the man of great authority offer perspective on &quot;the responsibility of a poet in society.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>