<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/274947">
    <dcterms:title><![CDATA[Chaucer: Motive and Mask in the &quot;General Prologue.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in the GP Chaucer offers an &quot;analysis of social rank in terms of economic behavior,&quot; consistently evident in the descriptions where a &quot;pilgrim&#039;s characteristic behavior is defined in every case in terms of the acquisition and use of wealth&quot; and the order of the descriptions is &quot;a clear, socio-economic ranking based upon an analysis of the origins of income.&quot; Furthermore, the characters of the pilgrims are revealed ironically, not by &quot;depiction of personality,&quot; but by &quot;unmasking of self--the very inner self&quot;--of individual pilgrims.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274946">
    <dcterms:title><![CDATA[The Conclusion to Chaucer&#039;s &quot;Troilus and Criseyde.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that members of the &quot;School of Christian Interpreters&quot; err when seeing the transcendent ending of TC as implicit throughout the poem, and evaluates the actions of Troilus and Criseyde in terms of courtly love and the operation of Fortune, attributing perceived inconsistencies in the ending of the poem to be due to the narrator&#039;s &quot;lack of sophistication.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274945">
    <dcterms:title><![CDATA[The &quot;Corones Tweyne&quot;: An Interpretation.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets Pandarus&#039;s reference to &quot;corones tweyne&quot; (TC 2.1735) as &quot;a highly complex symbol of the two main pillars of mediaeval law and authority--the spiritual and temporal powers of the church and the state,&quot; forbidding Criseyde from killing Troilus by refusing him.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274944">
    <dcterms:title><![CDATA[Chaucer&#039;s Yeoman Again.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that the Yeoman attends the Knight rather than the Squire in GP, considering evidence of dress and character, and adducing William Caxton&#039;s &quot;The Book of the Ordre of Chyvalry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274943">
    <dcterms:title><![CDATA[The Christian Classicist&#039;s Dilemma.]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys the dilemmas experienced by Criseyde, Troilus, Chaucer, and the reader in TC, relating them all to the conflicts between classical beauty and Christian truth.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274942">
    <dcterms:title><![CDATA[The Nun&#039;s Priest&#039;s Fable.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies a variety of tones in NPT, identifying interplay among the voice of the &quot;rhetor,&quot; a &quot;sermonizing&quot; voice, and the outlook of a &quot;sophisticated fabulist,&quot; exploring the &quot;quality of their combination&quot; by observing their relations with traditional fables, school exercises, and moralizations, and explaining how their shifts and tensions generate comedy, irony, and serious message.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274941">
    <dcterms:title><![CDATA[Warton&#039;s History and Early English Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Commends Thomas Warton for his appreciation of Chaucer in his &quot;History of English Poetry from the Twelfth to the Close of the Sixteenth Century&quot; (1774-81), acknowledging that the critic largely ignored Old English, denigrated much Middle English literature, and treated the CT &quot;more as an important document of social history than as a subject for the literary critic.&quot; Yet he was also &quot;more responsive to the rhythms and cadences of Chaucer&#039;s verse&quot; than were earlier critics.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274940">
    <dcterms:title><![CDATA[Chaucer and Medieval Allegory.]]></dcterms:title>
    <dcterms:description><![CDATA[Reviews D. W. Robertson&#039;s &quot;A Preface to Chaucer: Studies in Medieval Perspectives&quot; (1962), providing a brief survey of the &quot;prevailing criticism&quot; that challenges the exegetical, patristic, or historicist criticism that Robertson champions, and identifying several critical presuppositions that suggest Robertson&#039;s method is too universalized. Includes extended examples of analysis of literary realism in WBP (1-162), &quot;conscience&quot; in the GP description of the Prioress, and the psychological subtlety of Chaucer&#039;s characterization of Criseyde in TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274939">
    <dcterms:title><![CDATA[The Non-Dramatic Disunity of the &quot;Merchant&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads MerT as a composite of &quot;various comic attitudes toward lust and marriage,&quot; not as the bitter vituperation of an angry narrator, arguing that the latter, conventional view results from seeking to impose &quot;organic unity&quot; on four &quot;strikingly incongruous&quot; sections of the Tale. Examines the &quot;rhetorical debate on marriage . . . , the courtly romance centering in the garden, the episode of Pluto and Proserpina, and the raucous fabliau episode of the conclusion&quot; for their &quot;exploitation of the comic possibilities inherent in impropriety and incongruity.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274938">
    <dcterms:title><![CDATA[Fruyt and Chaf: Studies in Chaucer&#039;s Allegories.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets BD and PF as allegories, offering &quot;An Approach to Medieval Poetry&quot; (pp. 3-31) as an introduction to exegetical or patristic criticism and a justification of the method. Explores the imagery, structures, ironic juxtapositions, and meanings of the two poems as, respectively, Christian consolation and a Christian alternative to worldly love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274937">
    <dcterms:title><![CDATA[Chaucer&#039;s Custance.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes various motifs in MLT, observing that it &quot;includes features common to the early form of the &#039;märchen&#039; combined with relatively late developments,&quot; and claiming that Chaucer&#039;s &quot;most important addition to his source,&quot; Trevet&#039;s &quot;Cronicle,&quot; is his &quot;vitalization&quot; of Constance as a &quot;woman of strong and singular personality.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274936">
    <dcterms:title><![CDATA[Chaucerian Puns on &quot;Brotel.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that in Chaucer&#039;s three uses of &quot;brotel&quot; and its derivatives in MerT (4. 1279, 2061, and 2241), the poet plays punningly on sexual implications of the term in addition to the primary meaning, &quot;brittle&quot; or &quot;fragile.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274935">
    <dcterms:title><![CDATA[The &quot;Manciple&#039;s Tale&quot;: Parody and Critique.]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses ManT in light of its sources and analogues to reveal a &quot;tissue of comic devices--of controlled incongruities, of hyperbole, of antiphrasis, of equivocations, allusions, and purposeful distortions&quot; that &quot;produce a parodic version of the romanticized moral fable&quot; such as those found in the &quot;Ovide Moralisé&quot; and Guillaume de Machaut&#039;s &quot;Voir Dit.&quot; In particular Chaucer targeted John Gower&#039;s tale of Phebus and the crow in the &quot;Confessio Amantis.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274934">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Secree of Secrees&quot;: An Alchemical &quot;Topic.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that the phrase &quot;secree of secrees&quot; in CYT 8.1447, cast as a &quot;superlative genitive,&quot; suggests a &quot;whole class of alchemical expressions identical in form&quot; and thereby &quot;sharply emphasizes Chaucer&#039;s ironical denunciation of the oracular pretensions of alchemical philosophers.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274933">
    <dcterms:title><![CDATA[Thematic Opposition of Fortuna and Natura in Chaucer&#039;s Narratives.]]></dcterms:title>
    <dcterms:description><![CDATA[Investigates the &quot;dynamic relationship&quot; between Fortuna and Natura in Chaucer&#039;s works, focusing on the depictions in ClT, PhyT, and KnT]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274932">
    <dcterms:title><![CDATA[The Summoner&#039;s Occupational Disease.]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces medieval and modern medicine to argue that the Summoner&#039;s disease described in GP 1.623-66 can best be diagnosed as &quot;a rosacea-like secondary syphiloderm with meningeal neurosyphilitic involvement, with chronic alcoholism playing an important part.&quot; The medieval audience would have associated the symptoms of this venereal disease with lechery and leprosy, ironic in a man who was commissioned to oppose sexual sins.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274931">
    <dcterms:title><![CDATA[Chaucer&#039;s Use of the Catalogue.]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Chaucer&#039;s use of rhetorical lists or catalogs as an indication of his growth as a poet, from BD and its use of lists as &quot;pure amplification&quot; to PF where listing is &quot;occasionally but not always subjected to the artistic needs of the entire work.&quot; to TC where it is &quot;an integral part of the poetic context in which it appeared,&quot; serving characterization, theme, and tone. Includes comments on various kinds of lists: in descriptions of beauty (parodied in Th and most effective in MilT), litany-like apostrophes, aubades, &quot;ubi sunt,&quot; and more.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274930">
    <dcterms:title><![CDATA[Natural Law as Chaucer&#039;s Ethical Absolute.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies references in Chaucer&#039;s works to &quot;natural law,&quot; or &quot;law of kynde,&quot; describing its status in medieval legal theory and philosophy, including Boethius, and exploring Chaucer&#039;s possible experiences with the practices of &quot;law merchant&quot; and &quot;quick justice.&quot; Works considered include BD, PF, Bo, TC, and CT, where the Friar and Summoner flout natural law, while the Parson, Knight, and Plowman observe it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274929">
    <dcterms:title><![CDATA[The Ending of Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;literary value&quot; of Chaucer&#039;s &quot;pretended inferiority complex on the subject of poetry,&quot; commenting on the &quot;modesty convention&quot; (or humility topos) in the GP description of the Prioress, the moralization of NPT, the question of Providence generated by the &quot;demande d&#039;amour&quot; of KnT, and elsewhere. Then explicates through close reading how in the last eighteen stanzas of TC (the so-called Epilogue) Chaucer manipulates his narrator, who is &quot;capable of only a simple view of reality,&quot; to achieve an &quot;extraordinarily complex one,&quot; and conveys the paradox that humans can move &quot;towards heaven through human experience.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274928">
    <dcterms:title><![CDATA[Medieval English Lyrics: A Critical Anthology.]]></dcterms:title>
    <dcterms:description><![CDATA[Anthologizes 187 English lyric poems and lyrical excerpts from the twelfth through the sixteenth centuries, arranged in chronological order, with an Introduction (pp. 13-49), on-page glosses, end-of-text notes, an appendix of Types and Titles of the Blessed Virgin Mary, and a first-line index. Includes six selections from Chaucer (nos. 52-57, pp. 132-39): the &quot;roundel&quot; from PF (ll. 680-92), Ros, the &quot;ballade&quot; from LGWP (ll. F249-69), Truth, Purse, and MerB.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274927">
    <dcterms:title><![CDATA[&quot;Troilus and Criseyde&quot; and &quot;The Tragic Comedians.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Reads George Meredith&#039;s novel &quot;The Tragic Comedians&quot; as &quot;a modern version&quot; of TC, an &quot;adaptation of Princess Helen von Racowitza&#039;s &#039;Autobiography,&#039; overshadowed by Chaucer&#039;s great work,&quot; particularly influenced by his characterization of Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274926">
    <dcterms:title><![CDATA[Transitions and Meaning in &quot;The Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Assesses the transitions in BD as devices Chaucer uses to &quot;direct the reader toward the hard statements [the poem] makes about deprivation, consolation, the hazards of fortune and the consequences of decision.&quot; Divisions in the conversation between dreamer and Black Knight are &quot;stages in an exploration of the fortune-free will theme.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274925">
    <dcterms:title><![CDATA[The Goddes and God in the &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Compares TC with Boccaccio&#039;s &quot;Filostrato,&quot; and explores Chaucer&#039;s &quot;controlled use of the gods and the Christian God&quot; as they &quot;function ambiguously and symbolically&quot; in contributing to the &quot;ultimate meaning of the poem.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274924">
    <dcterms:title><![CDATA[Three Notes on &quot;The Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Clarifies references to St. Neot, St. Frideswide, and St. Thomas in MilT; provides historical and topographical information about Oseney Abbey and Oxford as setting for the tale; and explores Absolon&#039;s habit of not wearing a tonsure, despite the regulatory expectation that as a &quot;parish clerk&quot; he should.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/274923">
    <dcterms:title><![CDATA[Sovereignty in Love or Obedience in Marriage: An Analysis of the Sovereignty-Obedience Theme and Its Relationship to the Characterization of Women in the Major Works of Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Summarizes the &quot;antagonistic and contradictory views on women&quot; held by the medieval Church, and explores Chaucer&#039;s views of women by examining his uses of the motifs of sovereignty and obedience in marriage from BD through CT, focusing on three types: the &quot;traditional sovereign lady of the courtly romance,&quot; the &quot;conventional authoritarian lady&quot; of allegorical poetry, and the &quot;victim of men and fortune, apparently Chaucer&#039;s own invention.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>