<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/272566">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;To Rosemounde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the conventional nature of the imagery and diction of Ros and argues that the poem was composed to &quot;compliment&quot; and &quot;delight&quot; the child-bride of Richard II, Princess Isabelle of Valois, on the occasion of &quot;her entry into London in 1396.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271691">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Treatise on the Astrolabe&#039;: A Handbook for the Medieval Child]]></dcterms:title>
    <dcterms:description><![CDATA[Praises the stylistic appropriateness of Astr to its youthful audience, showing how Chaucer adapts the lexicon, syntax, and rhetoric of Massahalla to be more suitable to his ten-year-old son, Lewis. Chaucer relies on native rather than Latinate vocabulary, incorporates concrete details, streamlines syntax, and increases pedagogical effectiveness through various strategies of simplification, amplification, and repetition.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/261804">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Cressida&#039;: Five Books in Present-Day English]]></dcterms:title>
    <dcterms:description><![CDATA[A Modern English translation in rhyme royal stanzas, based primarily on F. N. Robinson&#039;s text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265406">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde,&#039; Book 3, Line 1093]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses various critical readings of TC 3.1093 and suggests that the line should be read &quot;at once ironically and without irony.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272190">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde,&#039; III, 624-628]]></dcterms:title>
    <dcterms:description><![CDATA[Comments on the portentousness of the conjunction of Jupiter and Saturn and on the moon as the cause of the rainstorm in TC 3.624-28, when Criseyde decides to stay at Pandarus&#039;s home.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272976">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde,&#039; III, 890]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Pandarus&#039;s phrase &quot;ye haselwodes shaken&quot; (TC 3.890) might be paraphrased as &quot;you offer food to pigs.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264293">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde,&#039; IV.29-147]]></dcterms:title>
    <dcterms:description><![CDATA[Calchas&#039;s speech at the beginning of book 4 extends and enlarges the perspective of the narrative grown increasingly narrow during the course of books 1-3.  Whereas in TC 1-3 the lovers are portrayed as increasingly confined--both spatially and temporally--in book 4 Calchas reappears and reintroduces the historic context of the lovers&#039; plight.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271770">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde: Astrology and the Transference of Power]]></dcterms:title>
    <dcterms:description><![CDATA[Reads TC allegorically, with sustained attention to astrological imagery, characterization, narrative structure, the biblical Book of Daniel, and the Augustinian theme of the transference of power.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262015">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Through his poetic wit Chaucer makes Criseyde resemble a religious, even Christ.  These suggestions add to the irony of the love.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263827">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde&#039;s sexually charged endearments for Troilus in bk. 3 of TC provided amusement for Chaucer&#039;s contemporary audience, adding new dimensions to Criseyde&#039;s character.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264042">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Four puns not previously uncovered in the poem are &quot;astoned&quot; (5.1728), &quot;inne...oute&quot; (5.1519), &quot;in armes&quot; (2.165), and &quot;ese&quot; (2.1659).  The last three have sexual suggestiveness.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264296">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Criseyde&#039;s garden and Pandarus&#039;s home are integrated symbolically with the theme of mutability in TC.  Both sites display Pandarus&#039;s dream of circumventing mutability and figure his attempts as a go-between to shape an unchanging earthly union in the face of &quot;sublunary flux.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265291">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; and &#039;The Knight&#039;s Tale&#039;: Fictions Used]]></dcterms:title>
    <dcterms:description><![CDATA[Reads KnT and TC as &quot;tales of fortune&#039;s fools&quot; in which the traditional themes of romantic love and knightly chivalry are undercut by verbal play and the trivialization of notions of pity, mercy, grace, and love.]]></dcterms:description>
    <dcterms:description><![CDATA[ParsT and Mel provide lexicons that emphasize the philosophical and spiritual limitations of the characters in the two romances, while SqT, FranT, and WBT help undercut the Knight&#039;s notion of knighthood.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265411">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; and the Idea of &#039;Pleye&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer plays on his audience&#039;s awareness that Boccaccio (not Lollius) is the true source of TC; he also engages in similar play between the pagan setting of the poem and its Christian message.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271735">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; and the Rhythm of Experience in Keats&#039;s &#039;What can I do to drive away&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Tallies John Keats&#039;s early references and allusions to TC in his letters to Fanny Brawne and assesses how his lyric &quot;What can I do to drive away&quot; follows Chaucer&#039;s poem in representing the &quot;rhythmic experience of pain passing into sweetness and sweetness into pain.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264793">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; in der Englischen Literatur von Henryson bis Dryden]]></dcterms:title>
    <dcterms:description><![CDATA[Schowerling investigates the influence of Chaucer&#039;s TC on four writers of the fifteenth through seventeenth centuries.  Writers and works discussed include Henryson&#039;s &quot;Testament of Cresseid,&quot; Sidnam&#039;s paraphrase of TC, Shakespeare&#039;s &quot;Troilus and Cressida&quot; and Dryden&#039;s &quot;Troilus and Cressida, or Truth Found too Late.&quot;]]></dcterms:description>
    <dcterms:description><![CDATA[Henryson&#039;s work is tragic in tone and imparts a moral.  Conversely, Sidnam&#039;s paraphrase is best described as a tragicomedy.  Shakespeare&#039;s &quot;Troilus and Cressida&quot; is the most innovative, while Dryden&#039;s heroic tragedy includes a major fall for Hector, Troilus, and Criseyde.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/267229">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; in Male Homosocial Contexts : The Politicization of Same-Sex Desire]]></dcterms:title>
    <dcterms:description><![CDATA[Male-male intimacy evokes opposing reactions, positive or homophobic. Analyzes male-male bonds from biblical, classical, and medieval literature, including several English and French romances, together with chronicles attacking Edward II&#039;s and Richard II&#039;s choice of favorites. The friendship of Troilus and Pandarus is seen politically as reflecting Richard II and his advisors.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/266017">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; IV.588]]></dcterms:title>
    <dcterms:description><![CDATA[By altering the proverb in TC 4.588 from &quot;day&quot; to &quot;nyght,&quot; Chaucer ironically foreshadows the beginning of Troilus&#039;s period of unrest.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/271575">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039; V. 1821 and Dante&#039;s &#039;Paradiso&#039; XXII. 135: Laughter and Smiles]]></dcterms:title>
    <dcterms:description><![CDATA[The ludic responses depicted in these two lines bear out Barry Windeatt&#039;s assertion that Chaucer&#039;s &quot;displacement of tragedy by comedy&quot; at the end of TC took its inspiration from Dante&#039;s &quot;Commedia.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/265501">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;: A Poet&#039;s Response to Ockhamism]]></dcterms:title>
    <dcterms:description><![CDATA[Although recent criticism tends to classify Chaucer as an Ockhamist/nominalist, a close study of his most philosophical poem, TC, indicates that his thought was traditional and scholastic.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/263826">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;: III.890; V.505; V.1174-5]]></dcterms:title>
    <dcterms:description><![CDATA[The word &quot;hazelwode&quot; in Pandarus&#039;s proverbs ridiculing the lovers&#039; fatuous hopes indicates Chaucer&#039;s familiarity with the miraculous powers attributed to hazel in Celtic divination and healing rites.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264049">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;: Narrator-Reader Complicity]]></dcterms:title>
    <dcterms:description><![CDATA[Several passages in TC indicate a covert incestuous strain between Criseyde and Pandarus, the &quot;senex amans&quot; who uses Troilus to fulfill vicariously his own sexual fantasies.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262001">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;: Some Implications of the Oral Mode]]></dcterms:title>
    <dcterms:description><![CDATA[Chaucer&#039;s poetry should be regarded as aural rather than oral. Aural poetry is less formulaic and digressive than poetry composed extemporaneously, but it too has special characteristics since it was to be heard and not read.  TC reveals Chaucer&#039;s response to this genre.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/262097">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;: The Disease of Love and Courtly Love]]></dcterms:title>
    <dcterms:description><![CDATA[Considers the medieval medical views on &quot;amor hereos&quot; and Chaucer&#039;s descriptions of it, first in KnT and BD, then in TC.  In TC 1, Chaucer shows Troilus as suffering from the lover&#039;s disease, to which the consummation of his love in bk. 3 is, from a medical point of view, no more than a cure. At the end of bk. 5, Troilus rejects earthly for a heavenly, pure love.]]></dcterms:description>
    <dcterms:description><![CDATA[Revised in Carol Falvo Heffernan, The Melancholy Muse (Pittsburgh, Penn.:Duquesne University Press).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/264477">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Troilus and Criseyde&#039;: The Passionate Epic and Its Narrator]]></dcterms:title>
    <dcterms:description><![CDATA[Like other late medieval art, TC exhibits a growing concern with the portrayal of emotions, especially through the shifting role of the narrator.  He sometimes resorts to &quot;occupatio,&quot; claiming inability to describe an emotional state, and eventually in Book V he, along with Troilus, recognizes that the passions in the poem are ephemeral, but nevertheless real.]]></dcterms:description>
</rdf:Description></rdf:RDF>