<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/273841">
    <dcterms:title><![CDATA[Chaucer&#039;s Merchant&#039;s Tale and Its Irish Analogues.]]></dcterms:title>
    <dcterms:description><![CDATA[Anatomizes motifs in the sources and analogues of the pear tree episode in MerT, focusing on several modern Irish analogues that have details of characterization which parallel those in MerT and have an intervention by male and female fairies. Suggests that an early version of these Irish analogues may have influenced Chaucer while he was in service to Prince Lionel and his wife Elizabeth, heiress of Ulster and Connaught, perhaps while Lionel was royal viceroy in Ireland, 1361-66.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273840">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;The Wife of Bath&#039;s Prologue,&quot; 175.]]></dcterms:title>
    <dcterms:description><![CDATA[Offers Dante&#039; s use of whips in &quot;Purgatorio&quot; as an analogue to the Wife of Bath&#039;s image of &quot;whippe&quot; in WBP 3.175.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273839">
    <dcterms:title><![CDATA[The Paths of Poetry: Twenty-Five Poets and Their Poems.]]></dcterms:title>
    <dcterms:description><![CDATA[A series of literary portraits, each combining biography and appreciative criticism. The section on Chaucer, entitled &quot;Founder of English Literature&quot; (pp. 17-31), emphasizes his careers in business and diplomacy, his poetic &quot;borrowings,&quot; and his social realism, especially in CT. Comments on each of Chaucer&#039;s major poems, with most attention given to selections from GP.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273838">
    <dcterms:title><![CDATA[Chaucer&#039;s Perplexing Pardoner.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that interpretations of the Pardoner are overwrought, arguing that he acts &quot;perfectly in the character given him by his creator&quot; and that his somewhat troubling offer of relics to the Host is best understood as a joke.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273837">
    <dcterms:title><![CDATA[Narrative Focus in &quot;The Book of the Duchess.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats the narrator-dreamer of BD as the poem&#039;s &quot;central character&quot; and a device of unity and dramatic irony. The character does not &quot;develop&quot; psychologically, but his polite good nature--comically limited by his ignorance of courtly idiom--enables Chaucer to affirm faith in the &quot;Christian doctrine of endurance&quot; in the face of fortune. The Black Knight does not escape the &quot;inefficacy&quot; of courtly sentiment.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273836">
    <dcterms:title><![CDATA[Sir Thopas: The Bourgeois Knight, the Minstrel, and the Critics.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes and paraphrases Thop, focusing on its style, vocabulary, genre, and adaptation of conventions to show that a tension between &quot;the heroic and the bourgeois&quot; underpins much of the bathos of the Tale and its parodic impact.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273835">
    <dcterms:title><![CDATA[The Horse and Rider Figure in Chaucer&#039;s Works.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the prevalence of horse-and-rider imagery in Western culture, and explores Chaucer&#039;s uses of the imagery in BD (the hunt), TC (Bayard and Troilus&#039;s ride-bys), Wife of Bath (spurs, bridles, and other sexualized images), and various other contexts. Chaucer often &quot;deals with the tension inherent in the figure&quot; of the horse and rider and related imagery.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273834">
    <dcterms:title><![CDATA[Dusting off the Cobwebs: A Look at Chaucer&#039;s Lyrics.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the advantages of close reading of Chaucer&#039;s lyrics and shorter poems, examining ABC and Ros in detail for their riches of prosody, tone, structure, and meaning, with attention to narrative voice.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273833">
    <dcterms:title><![CDATA[Chaucer and the Hand That Fed Him.]]></dcterms:title>
    <dcterms:description><![CDATA[Documents the influence on WBPT, SumT, PardT, and, to a lesser degree, other parts of CT of the &quot;Communiloquium&quot; of John of Wales (or another fraternal compendium much like it), showing that a number of biblical, classical, and medieval quotations or allusions in Chaucer&#039;s works (and sometimes their manuscript glosses) are similar in wording, details, and sequence to those found in John&#039;s preaching manual. Establishes that Chaucer transformed &quot;anecdotes, sayings, and comments into poetry, using them to develop character, drama, and satire,&quot; and that he tapped into  his audience&#039;s familiarity with preaching friars and their devices.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273832">
    <dcterms:title><![CDATA[Gower&#039;s Narrative Art.]]></dcterms:title>
    <dcterms:description><![CDATA[  <br />
Assesses Gower&#039;s virtues and achievements as a narrative poet rather than as a moralist in &quot;Confessio Amantis,&quot; occasionally comparing and contrasting his techniques and accounts with analogous ones by Chaucer. Considers the frame of LGW to be inferior to Gower&#039;s in the &quot;Confessio,&quot; which &quot;released&quot; Gower&#039;s narrative potential, much as the frame of CT did for Chaucer. Prefers Gower&#039;s accounts of Thisbe, Lucrece, and Philomela to those in LGW, but gauges Gower&#039;s tale of Florent, though successful, to be less sophisticated than WBT. <br />
]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273831">
    <dcterms:title><![CDATA[Thy Drasty Rymyng . . . .]]></dcterms:title>
    <dcterms:description><![CDATA[Surveys Chaucer&#039;s &quot;use of rhyme as it contributes to poetic effect,&quot; examining rhymes in his complaints and balades, in Anel, and in Tho, and demonstrating his unobtrusive dexterity with rhyme royal in TC and with decasyllabic couplets in CT. Emphasizes Chaucer&#039;s ease, versatility, and his &quot;freedom from system or repetitive form.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273830">
    <dcterms:title><![CDATA[Chaucer&#039;s Epistolary Style.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s &quot;reading and use&quot; of the genre of verse epistle, drawing on evidence from LGW, the two letters in TC, Scog, and Buk. Considers the influence of Ovid&#039;s &quot;Heroides&quot; and Horace&#039;s &quot;Satires&quot; to argue that Chaucer was adept in the Ovidian mode, influencing the amatory lyrics of his fifteenth-century followers, and, in Scog, the &quot;first English poet to master the essentials&quot; of the Horatian verse epistle.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273829">
    <dcterms:title><![CDATA[The Art of Chaucer: &quot;Pathedy.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Coins the term &quot;pathedy&quot; to describe Chaucer&#039;s &quot;serene middle ground&quot; between tragedy and comedy, applying the term to the &quot;quality of love&quot; that characterizes Troilus in TC and to the tragicomic contradictions and essential humanity of several of the Canterbury pilgrims--the Wife of Bath, the Pardoner, the Prioress, and more. In his art, Chaucer balances pathos and ridicule.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273828">
    <dcterms:title><![CDATA[Arrangements of Two or More Attributive Adjectives in Chaucer (2), ]]></dcterms:title>
    <dcterms:description><![CDATA[Item not seen; no description available.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273827">
    <dcterms:title><![CDATA[Arrangements of Two or More Attributive Adjectives in Chaucer (1).]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s arrangements of multiple adjectives (preposed, postposed, and combined), contrasting his practice with other Middle English writers, and exploring the poetic value of his usage, suggesting that he seems to have been &quot;the writer richest in the device of arranging adjectives throughout the history of the English language.&quot; Continued in &quot;Arrangements of Two or More Attributive Adjectives in Chaucer (2),&quot; Kobe Miscellany 6 (1972): 13-31 [no Description available].]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273826">
    <dcterms:title><![CDATA[Hoccleve&#039;s Supposed Friendship with Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Reads Hoccleve&#039;s references to Chaucer as evidence of conventional respect for the older poet&#039;s work, rather than evidence of a personal relationship.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273825">
    <dcterms:title><![CDATA[The Moral Superiority of Chaucer&#039;s Pardoner.]]></dcterms:title>
    <dcterms:description><![CDATA[Asks why the Pardoner &quot;always preaches against his own sin&quot; and why he admits to doing so to the Canterbury pilgrims, using the questions to argue that he is a con-man rather than a hypocrite, and one who considers himself morally superior to his members of his audience who, as &quot;self-hypocrites&quot; who &quot;want it both ways,&quot; fall victim to him, the &quot;unhypocritical emblem of hypocrisy.&quot; ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273824">
    <dcterms:title><![CDATA[The Squire in Wonderland.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes patterns of &quot;elaborate inconsequence, incongruity and downright bathos&quot; in SqT, attributing them to the Squire&#039;s naïve efforts to be impressive and, by extension, Chaucer&#039;s skillful weaving of character and theme.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273823">
    <dcterms:title><![CDATA[The Concern of Chaucer&#039;s Poetry.]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on Chaucer criticism produced between 1950 and 1964 and, treating Chaucer&#039;s work as a &quot;single fiction,&quot; reads it as a &quot;complex examination of what it means to love&quot; in earthly and spiritual ways. An &quot;abyss exists between&quot; the two kinds of love, but &quot;one can go from here thither.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273822">
    <dcterms:title><![CDATA[&quot;Gentilesse&quot; and the Franklin&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the &quot;aristocratic, moral, and Christian&quot; understandings of &quot;gentilesse,&quot; listing the entailed ideals of truth, benevolence, mildness, etc. as expressed in ParsT, Gent, and in French courtly tradition. Argues that a complex understanding of gentility organizes and highlights FranT, its characterizations, and its thematic concerns, and contrasts the depiction of &quot;gentilesse&quot; in FranT with that in the WBPT and the GP description of the Wife. Also considers how and to what extent &quot;gentilesse&quot; suits the character of the Franklin.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273821">
    <dcterms:title><![CDATA[Proverbs, &quot;Sententiae,&quot; and &quot;Exempla&quot; in Chaucer&#039;s Comic Tales: The Function of Comic Misapplication.]]></dcterms:title>
    <dcterms:description><![CDATA[Illustrates Chaucer&#039;s &quot;comic misapplication&quot; of &quot;monitory elements&quot; as a device of characterization in CT, discussing how the misapplied expressions of traditional wisdom can be used cleverly (as with Nicholas in MilT), foolishly (John in MilT and January in MerT), cynically (the friar in SumT), etc. At times, the issue of intention complicates the characterization (Wife of Bath); at others, effort to impress is involved (Chaunticler in NPT). Generally, Chaucer exploited the &quot;comic contradiction&quot; between the potential for wisdom in pithy sayings and its ironic undercutting when misapplied or manipulated. Also comments on Mel and RvT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273820">
    <dcterms:title><![CDATA[Chaucer&#039;s Artistic Use of Pope Innocent III&#039;s &quot;De Miseria Humane Conditionis&quot; in the Man of Law&#039;s Prologue and Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Chaucer uses portions of Pope Innocent&#039;s &quot;De Miseria&quot; in MLPT to &quot;further characterize&quot; the Man of Law, deepening the &quot;concern with wealth&quot; found in the GP description of the Sergeant. Furthermore, the portions from &quot;De Miseria&quot; unify the Man of Law&#039;s concerns with merchants, lend moral seriousness to the Tale deepening Custance&#039;s misfortunes, and help us to understand Chaucer&#039;s composition, revision, and patterned episodic construction.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273819">
    <dcterms:title><![CDATA[Biblical Parody in the &quot;Summoner&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Contributes to discussions of the effectiveness of SumT by describing its &quot;pattern of biblical parody&quot; centered on Pentecost, arguing that the Summoner uses the pattern to attack the claim that friars, like the apostles, &quot;have a special divine grace.&quot; The wheel image, the theme of wrath, and the alignment of anal imagery in SumP and SumT help to criticize fraternal arrogance and effectively spite the Friar.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273818">
    <dcterms:title><![CDATA[Love and &quot;Foul Delight&quot;: Some Contrasted Attitudes.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores the attitude toward sexual love expressed in Andreas Capellanus&#039;s &quot;De Arte Honeste Amandi,&quot; contrasting it with the &quot;innocent sincerity in sexual love&quot; that is characteristic of Chaucer&#039;s Troilus (and Shakespeare&#039;s), also considering the casuistry of love depicted in &quot;The Book of the Knight of La Tour-Landry.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273817">
    <dcterms:title><![CDATA[&quot;Troilus and Criseyde&quot;: A Reconsideration.]]></dcterms:title>
    <dcterms:description><![CDATA[Interprets the discontinuities and disunities of TC for the ways that they reveal the &quot;growth and release&quot; of Chaucer&#039;s creative imagination, reading them as evidence of his &quot;dissatisfaction&quot; with the characterization of Criseyde and the nature of love depicted in Boccaccio&#039;s &quot;Filostrato.&quot; In Books 1-3 Chaucer develops the &quot;unsuspected potential in his sources,&quot; while Books 4-5 reveal the &quot;process of disenchantment&quot; and submission to the authority of tradition.]]></dcterms:description>
</rdf:Description></rdf:RDF>
