<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/275384">
    <dcterms:title><![CDATA[A Guide to Chaucer&#039;s Pronunciation.]]></dcterms:title>
    <dcterms:description><![CDATA[Introduces pronunciation of Chaucer&#039;s English, offering a series of general rules, explained in relationship to Modern English, both &quot;British and American&quot; and designed for &quot;teachers and students.&quot; Also includes transcriptions of nine passages in simplified phonetics: GP 1-42, 118-62, 285-308, 477-500; WBP 453-80; WBT 857-881; PrT 516-50; HF1-52; and TC 1.1-35. First published in Stockholm: Almquist &amp; Wiksell; New Haven, Conn.: Whitlock 1954. Reprinted in Toronto and Buffalo: University of Toronto Press, 1978.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275383">
    <dcterms:title><![CDATA[The Aube in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the Continental lyric genre of the &quot;aube,&quot; linking it with the German &quot;tagelied,&quot; assessing Chaucer&#039;s use of the form in Book 3 of TC, and addressing his use of source material derived from Boccaccio&#039;s &quot;Filostrato.&quot; Concludes that Chaucer uses the &quot;aube&quot; in an original way that contributes to the &quot;comedy in the psychological relations between Troilus and Criseyde&quot; and to &quot;some of the motivations at work in their final pathetic outcome.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275382">
    <dcterms:title><![CDATA[&quot;Furlong Way&quot; in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Explains complications in defining &quot;furlong wey&quot; when it refers to time rather than distance, and examines Chaucer&#039;s several uses of the term to argue that it means &quot;a short time, sometimes very short, sometimes only fairly short.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275381">
    <dcterms:title><![CDATA[Two Names in &quot;The Reeve&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges previous arguments that the name &quot;Malyne&quot; is appropriate to the character in RvT because it means &quot;dish cloth,&quot; arguing instead that &quot;Malyne,&quot; &quot;Aleyn,&quot; and their roles in RvT can better be understood in light of the denotations and connotations of the French verbs &quot;malignier&quot; and &quot;alignier.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275380">
    <dcterms:title><![CDATA[The Canterbury Tales of Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Adaptations of selections and abbreviations of CT in modern prose: GP, KnT, WBPT, FrPT, ClPT, FranPT, ThPT (in stanzaic poetry), NPPT, PardPT, CYPT, ManPT, and MLPT. Includes numerous color illustrations by Gustaf Tenggren and an Introduction (pp. 11-13) by Mark Van Doren.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275379">
    <dcterms:title><![CDATA[&quot;The Canon&#039;s Yeoman&#039;s Prologue&quot; and &quot;Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Claims that CYT &quot;depends on the metaphor of alchemy for both characterization and structure,&quot; discussing the Canon&#039;s Yeoman as a &quot;fearful, naive, but by no means static&quot; character and exploring the use of vocabulary of literary romance in his materials in combination with varying attitudes to alchemy to produce a &quot;complex sense of the whole personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275378">
    <dcterms:title><![CDATA[Chaucer&#039;s Retraction: A Review of Opinion.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys critics&#039; attempts to correlate Ret with Chaucer&#039;s poetic accomplishments, commenting on biographical surmises, textual issues, and thematic concerns such as the putative waning of Chaucer&#039;s acuity, clerical influence, the firm linking of Ret and ParsT in the manuscripts, the theme of penance, and/or rejection of worldly attachments. The authenticity of Ret is generally accepted in modern criticism and the poem may reflect Chaucer&#039;s &quot;anxiety&quot; or an unresolved tension between his ascetic and humanistic inclinations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275377">
    <dcterms:title><![CDATA[&quot;Tidings&quot; in the &quot;Hous of Fame.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Offers evidence from Rom that &quot;tidings&quot; in HF means &quot;tales&quot; rather than &quot;news.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275376">
    <dcterms:title><![CDATA[Uncle Pandarus as Lady Philosophy.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how &quot;the part Pandarus attempts to play&quot; in TC &quot;is intended by Chaucer, though not by Pandarus, as a parody of the philosophical counsel offered to Boethius&quot; in the Consolation of Philosophy. Focuses on the comedy of the &quot;first scene&quot; between Troilus and Pandarus (TC 1.547ff.), arguing that the irony and humor of its parodic elements &quot;prepares the way for the eventual bitterness of Troilus when he must taste the full cup of his woe.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275375">
    <dcterms:title><![CDATA[General Prologue 74: Horse or Horses?]]></dcterms:title>
    <dcterms:description><![CDATA[Supports the reading of &quot;hors&quot; as plural in GP 1.74 on the grounds that &quot;goode&quot; in the same line is a plural form that &quot;determines the number of the entire construction.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275374">
    <dcterms:title><![CDATA[Pulling Finches and Woodcocks.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers evidence from Thomas Dekker&#039;s &quot;The Bel-man of London&quot; (1608) that supports reading &quot;to pull a finch&quot; as &quot;having to do with extortion based upon a trumped-up charge of fornication,&quot; hence an accusation against the Summoner (GP 1.652) for extorting money and sharing it with a &quot;female accomplice.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275373">
    <dcterms:title><![CDATA[From Gorgias to Troilus.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on thematic similarities between Plato&#039;s &quot;Gorgias,&quot; Boethius&#039;s &quot;Consolation of Philosophy,&quot; and several of Chaucer&#039;s works, observing in TC a particular concern shared by Plato and Boethius: the &quot;futility of earthly existence.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275372">
    <dcterms:title><![CDATA[&quot;A Maner Latyn Corrupt.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores parallels between several medieval analogues to Chaucer&#039;s use of the phrase &quot;Latyn corrupt&quot; in his description of Constance&#039;s language in MLT 2.519--the alliterative &quot;Morte Arthure,&quot; the &quot;Etymologiae&quot; of Isidore of Seville (possibly, the ultimate source), John Gower&#039;s &quot;Confessio Amantis,&quot; Vincent of Beauvais&#039;s &quot;Speculum Doctrinale,&quot; and &quot;Fouke Fitz Warin.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275371">
    <dcterms:title><![CDATA[Does the Nun&#039;s Priest&#039;s Epilogue Contain a Link?]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews and evaluates discussions of the authenticity of &quot;the six-line continuation and the final couplet of the Nun&#039;s Priest&#039;s epilogue,&quot; agreeing on textual grounds with the &quot;traditional judgment of scholars&quot; that the lines are &quot;inauthentic&quot; and that &quot;should not be admitted as Chaucer&#039;s in any discussion of the order&quot; of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275370">
    <dcterms:title><![CDATA[Afterthoughts on the Merchant&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that MerT &quot;was composed before and independent of&quot; MerP, initially addressed orally by Chaucer to a &quot;courtly audience.&quot; Such listeners were familiar with the &quot;humorous antifeministic tradition&quot; into which the &quot;senex amans&quot; convention, January&#039;s sardonic &quot;panegyric on marriage,&quot; the extravagant rhetoric of the wedding feast, and the Proserpina/Pluto debate fit without recourse to a narrating personality. WBP also fits into this tradition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275369">
    <dcterms:title><![CDATA[Antigone&#039;s Song as &quot;Mirour&quot; in Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Antigone&#039;s song (TC 2.827-75) as a &quot;reply to Criseyde&#039;s objections to love&quot; which precedes it in the narrative. Much of the song derives from Guillaume de Machaut&#039;s &quot;Paradis d&#039;Amour,&quot; but its sequence and several ideas mirror Criseyde&#039;s earlier ruminations, anticipate &quot;the attitudes toward love which will govern the development of the whole poem,&quot; and reflect &quot;the action and imagery of the passages preceding and following it.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275368">
    <dcterms:title><![CDATA[Aspects of Irony in &quot;The Friar&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets details of FrT in light of contemporaneous social commentaries to clarify nuances of irony, sarcasm, and criticism of the Summoner.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275367">
    <dcterms:title><![CDATA[The Obtuse Narrator in Chaucer&#039;s House of Fame.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the unity of HF evident in the &quot;evolution of the narrator, Geffrey,&quot; arguing that the poem &quot;is essentially a humorous and all-embracing review of man&#039;s frantic quest for fame, learning, and love&quot; that follows the educating of [a] drudging love poet&quot; and culminating successfully in &quot;an amusing and incisive revelation of the &#039;comédie humaine&#039;--an ending of comic disillusionment.&quot; Includes comparisons of the narrators in HF and BD.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275366">
    <dcterms:title><![CDATA[Chaucer&#039;s Historical Present: Its Meaning and Uses.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;stylistic rationale&quot; for Chaucer&#039;s uses of the historical present tense, identifying the fundamental &quot;connotation of continuing action&quot; of the grammatical form, and assessing its rhetorical, semantic, and tonal effects in various Chaucerian contexts. Draws examples from throughout Chaucer&#039;s corpus, observing 1,345 uses of the verb tense and discussing in them groups.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275365">
    <dcterms:title><![CDATA[The Grain of Paradise.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses previous explanations of the &quot;greyn&quot; placed on the clergeon&#039;s tongue in PrT (7.662ff.), including comments on analogues, and suggests that it is best understood as a &quot;grain of paradise,&quot; i.e., the seed capsule of Aframomum melegueta (Roscoe), similar to cardamom, used as a medieval medicinal spice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275364">
    <dcterms:title><![CDATA[Baiting the Summoner.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes how the quarrel between the Friar and Summoner in WBP sets up the vituperative exchange of FrT and SumT, commenting on audience expectations and the motives and techniques of the two narrators, but focusing particularly on the cleverness of the Friar&#039;s &quot;baiting&quot; of the Summoner, leaving the latter with the dilemma of choosing between silence and retribution.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275363">
    <dcterms:title><![CDATA[Chaucer&#039;s Verse.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s metrical line as a &quot;series of five iambs&quot; and the beginning of &quot;modern English verse,&quot; and provides examples from across Chaucer&#039;s corpus of dominant practices, variations in feet and line-lengths, rhyme patterns, and stanzas. Cautions against modern certainty about Chaucer&#039;s prosody but praises the &quot;enrichments&quot; of his &quot;art poetical&quot; in select passages and commends his skillful &quot;freedom&quot; as an aural poet. Treats Chaucer&#039;s uses of poetic language (&quot;rhyme,&quot; &quot;verse,&quot; &quot;cadence,&quot; etc.), and in three appendices comments on the &quot;heresy&quot; of treating Chaucer&#039;s line as four-beat rather than five-, the unusual poetry of CYPT, and the question of metrical revision in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275362">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Troilus,&quot; iv, 1585: A Biblical Allusion?]]></dcterms:title>
    <dcterms:description><![CDATA[Challenges L. G. Evans&#039; suggestion that TC 4.1585 alludes to Matthew 10.39 (MLN, vol. 74), Baugh arguing that the phrasing is the same as in a common proverb, and Donaldson that the emendation underlying Evans&#039; suggestion (&quot;lyf&quot; for &quot;lief&quot;) is untenable.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275361">
    <dcterms:title><![CDATA[Two Middle English Lexical Notes.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers evidence that &quot;embosed&quot; in BD 352-53 means that the deer &quot;had well concealed itself in a thicket and was not easy to find&quot; and that the meaning of &quot;double worstede&quot; (Friar&#039;s cloak; GP 1.262) is worsted fabric of &quot;considerable width.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/275360">
    <dcterms:title><![CDATA[The Jewels of &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the symbolic value of the gems, their colors, and their settings (rings and brooch) in TC, discussing the moral implications referred to in medieval lapidaries.]]></dcterms:description>
</rdf:Description></rdf:RDF>