<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/273249">
    <dcterms:title><![CDATA[Written English: The Making of the Language, 1370-1400]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the rise of writing in English during the &quot;age of Chaucer,&quot; commenting on the Ricardian poets (emphasizing Chaucer), Middle English sermon cycles, Lollard translation, and other examples of the &quot;elevated vernacular&quot; of late fourteenth-century English, distinguishing it from the Anglo-Saxon written standard, early Middle English, and Anglo-French. Attends to Anglo-French and neo-Latin loan words and Latin rhetorical influence, finding no evidence of &quot;monoglot English readers&quot; or writers until much later.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273248">
    <dcterms:title><![CDATA[Chaucer&#039;s Technique in Handling Antifeminist Material in &#039;The Merchant&#039;s Tale&#039;: An Ironic Portrayal of the &#039;Senex-Amans&#039; and Jealous Husband]]></dcterms:title>
    <dcterms:description><![CDATA[Attributes January&#039;s cuckholding in MerT to &quot;his own stupidity,&quot; reading Chaucer&#039;s deployment of antifeminist motifs as deeply ironic and part of his broader thematic concern to show that &quot;everyone is morally responsible for his own acts.&quot; Chaucer&#039;s alterations of his source material clarify the irony, and the Merchant&#039;s &quot;sarcasm and venom toward January&quot; at times reinforce it. Nevertheless, the Merchant is a &quot;confirmed misogynist&quot; and May receives the &quot;fitting punishment&quot; of marriage to the &quot;despicable old knight.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273247">
    <dcterms:title><![CDATA[The Garden Image in Medieval Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses garden imagery in &quot;The Phoenix,&quot; &quot;Roman de la Rose,&quot; &quot;Pearl,&quot; and MerT, focusing in the latter on the theme of lust and its relation to the ideal of spiritual salvation.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273246">
    <dcterms:title><![CDATA[The Mill in Popular Metaphor from Chaucer to the Present Day]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the legacy of the mill as a metaphor for creativity, child-bearing, and sexual activity, drawing examples from WBP (3.384-90), HF (1798-99), and RvT (1.4313-14), among other sources.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273245">
    <dcterms:title><![CDATA[Great Poets]]></dcterms:title>
    <dcterms:description><![CDATA[Reproduces portraits or busts of twenty-four English poets, from Chaucer to T. S. Eliot, held in England&#039;s National Portrait Gallery, with a very brief biography and short selection of poetry for each. The portrait of Chaucer is labeled as &quot;By an unknown artist, after Occleve,&quot; accompanied by a paragraph about Chaucer&#039;s life, and a quotation of TC 5.1835-48. Also describes Thomas Hoccleve&#039;s portrait of Chaucer as &quot;the only authentic image of the poet&quot; and quotes the section of Hoccleve&#039;s &quot;De Regimine Principum&quot; where his portrait of Chaucer appears in the British Museum manuscript.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273244">
    <dcterms:title><![CDATA[Chaucer&#039;s Lollard Friend: Sir Richard Stury]]></dcterms:title>
    <dcterms:description><![CDATA[A biography of Richard Stury, based on public records, with recurrent attention to his forty-year acquaintance with Chaucer as friend and associate. Touches on the &quot;long unsolved question of Chaucer&#039;s relation to Lollardy.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273243">
    <dcterms:title><![CDATA[Knights, Beasts and Wonders: Tales and Legends from Mediaeval Britain]]></dcterms:title>
    <dcterms:description><![CDATA[Includes fourteen translations of materials from medieval British literary sources, from the &quot;Mabinogion&quot; to Thomas Malory, selected and adapted for a juvenile audience, and illustrated by Charles Keeping.  Includes a translation of FranT (pp. 99-105), with one b&amp;w illustration..]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273242">
    <dcterms:title><![CDATA[Responses to Ockhamist Theology in the Poetry of the &#039;Pearl&#039;-Poet, Langland, and Chaucer]]></dcterms:title>
    <dcterms:description><![CDATA[In TC and &quot;several important&quot; tales of CT, Chaucer expresses more &quot;confidence in human nature&quot; than do Langland or the &quot;Pearl&quot;-poet in their works. He indicates the human need for divine Providence and assurance that &quot;God will not use his absolute power to overrule or contradict the covenant with man.&quot;  In this way, he steers a middle ground between the &quot;extremes of the Ockhamists and the Augustinians&quot; in the late-medieval nominalist-realist debate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273241">
    <dcterms:title><![CDATA[Chaucer and Lydgate, and the Uses of History]]></dcterms:title>
    <dcterms:description><![CDATA[Explores Chaucer&#039;s and Lydgate&#039;s assumptions about their audience&#039;s knowledge of history, and discusses how and to what extent it may indicate irony in KnT, MkT, TC, and several works by Lydgate.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273240">
    <dcterms:title><![CDATA[Chaucer&#039;s Imagery]]></dcterms:title>
    <dcterms:description><![CDATA[Studies Chaucer&#039;s similes and metaphors to trace the &quot;development of imagery in each of [his] works&quot; from BD through CT, suggesting that Chaucer shows a &quot;progressive awareness of the image as an essential tool of his art.&quot; Results of statistical analysis of the density of his images coincides with traditional dating of his poems, and his imagery becomes more important to his characterizations over time.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273239">
    <dcterms:title><![CDATA[Odin&#039;s Old Age: A Study of the Old Man in &#039;The Pardoner&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Assumes that the Death and the Old Man in PardT are &quot;one and the same person,&quot; and provides evidence from Scandinavian literature that Odin was an analogous figure, perhaps even a distant source, although Christianized.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273238">
    <dcterms:title><![CDATA[Convention and Innovation: Two Essays on Style in the &#039;Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats KnT as a traditional, conservative work, elevated in tone and style and dependent on &quot;French and Italian traditions of eloquence.&quot; Conversely GP is the &quot;most original of Chaucer&#039;s poems,&quot; innovative in its &quot;mingling&quot; of &quot;praise and blame&quot; within individual portraits and enriched by the &quot;ironic alternation of opposed traditions of representation.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273237">
    <dcterms:title><![CDATA[Time in the Towneley Cycle, &#039;King Horn,&#039; &#039;Sir Gawain and the Green Knight,&#039; and Chaucer&#039;s &#039;Troilus and Criseyde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;typological&quot; uses of time in the mystery cycles, the &quot;biological time&quot; of the heroes&#039; actions in most romances, and the much more complex concern with time in TC, where &quot;all action and characters&quot; are placed in time and are given &quot;depth&quot; and &quot;perspective&quot; by the narrator&#039;s attention to three temporal settings: history, his telling, and his audience.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273236">
    <dcterms:title><![CDATA[Evolution of Chaucer&#039;s &#039;Canterbury Tales&#039;: 1477-1775]]></dcterms:title>
    <dcterms:description><![CDATA[Examines &quot;the relationships existing among the printed editions&quot; of CT from Caxton through Tyrwhitt, based on comparisons of their versions of GP and considering their uses of prior texts, emendation policies, and editorial innovations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273235">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Book of the Duchess : A Critical Edition with Introduction, Variants, Notes, and Glossary]]></dcterms:title>
    <dcterms:description><![CDATA[Provides &quot;a critical text and close textual study&quot; of BD, based on Fairfax MS 16, and accompanied by full apparatus.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273234">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Tale of Melibee&#039;: Its Tradition and Its Function in Fragment VII of the &#039;CanterburyTales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Treats Mel as a &quot;consolatio,&quot; not an allegory, of the same genre as Boethius&#039;s &quot;Consolation of Philosophy&quot; and &quot;designed to cure an excess of wrath&quot; and to promote &quot;forgiveness.&quot; Identifies ways that Mel engages thematically with the other tales in Part 7 of CT, particularly Tho, but also PrT, ShT, and NPT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273233">
    <dcterms:title><![CDATA[Geoffrey Chaucer: A Critical Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[A selection of critical responses to Chaucer&#039;s works from his late contemporaries until 1968. Mostly excerpted from longer works, the selections are arranged in three categories: &quot;Contemporaneous Criticism&quot; (Deschamps, Usk, Lydgate, and Hoccleve); &quot;The Developing Debate&quot; (Richard Brathwait to W. P Ker), and &quot;Three Modern Views&quot; (dramatic criticism, rhetorical criticism, and New Criticism).  Each section is introduced by Burrow, and the volume includes a selected bibliography and an index.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273232">
    <dcterms:title><![CDATA[Medieval Literary Parody]]></dcterms:title>
    <dcterms:description><![CDATA[Defines parody and surveys &quot;all of the major literary parodies in Middle English, Old French, and Middle German,&quot; including &quot;three little-known anti-courtly parodies by Hermann von Sachsenheim and Geoffrey Chaucer.&quot; Includes comments on ManT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273231">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Merchant&#039;s Tale&#039; and Its Narrator]]></dcterms:title>
    <dcterms:description><![CDATA[Encourages separation of teller and tale in interpreting CT, reading MerT in light of its sources but not MerP. The narrator of the Tale identifies more with Justinus than with January and shows &quot;a measure of sympathy&quot; for May. In this way the Tale is inconsistent with the attitudes toward husbands and wives found in MerP, which was written &quot;in all probability after the tale itself.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273230">
    <dcterms:title><![CDATA[Three Song Cycles]]></dcterms:title>
    <dcterms:description><![CDATA[Side one includes a recording of Chaucer&#039;s MercB, set to music by Vaughn Williams, and sung by Lois Winter (soprano), accompanied by Marvin Morgenstern (violin), Hiroko Yajima Rhodes (violin), and John Goberman (cello). An inner sheet includes the text of Chaucer&#039;s poem, and the jacket notes describe the poem as &quot;three rondels attributed to Chaucer,&quot; dating the first performance of the musical piece to October 21, 1921 (in &quot;London&#039;s Aeolian Hall&quot;). The LP also includes &quot;Along the Field&quot; (set to words by A. E. Housman) and &quot;Ten Blake Songs.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273229">
    <dcterms:title><![CDATA[Supposed Antifeminism in Chaucer&#039;s &#039;Troilus and Criseyde&#039; and Its Retraction in &#039;The Legend of Good Women&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that both TC (particularly the Epilogue) and LGW evince Chaucer&#039;s &quot;good-natured humor&quot; which is &quot;never vicious&quot; but rather &quot;shows a warm and compassionate understanding of the foibles of human beings, regardless of their sex.&quot; LGW is a &quot;mock palinode&quot; to TC.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273228">
    <dcterms:title><![CDATA[The Premier Book of Major Poets: An Anthology]]></dcterms:title>
    <dcterms:description><![CDATA[A textbook anthology of British and American poetry, arranged topically, with a glossary of poetic terms, a section entitled &quot;About the Poets,&quot; and a first-line index.  In a chapter labeled &quot;Human Condition&quot; includes a modern English translation of Sted (pp, 259-60); later (p. 305) describes Chaucer as &quot;one of the early giants of English literature,&quot; citing the &quot;true English flavor&quot; of CT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273227">
    <dcterms:title><![CDATA[Canterbury Tales: Original Broadway Cast]]></dcterms:title>
    <dcterms:description><![CDATA[Sound recording of musical stage play, with music by Richard Hill and John Hawkins, and lyrics by Nevill Coghill. The cast includes George Rose, Hermione Baddeley, Martyn Green, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273226">
    <dcterms:title><![CDATA[Canterbury Tales: Original London Cast]]></dcterms:title>
    <dcterms:description><![CDATA[Sound recording of the &quot;Smash Hot Musical Play,&quot; with music by Richard Hill and John Hawkins, lyrics by Nevill Coghill, and the &quot;Full Cast&quot; of the stage production, including Wilfrid Brambell, Jessie Evans, Kenneth J. Warren, and others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/273225">
    <dcterms:title><![CDATA[Chaucer&#039;s Elysian Fields (&#039;Troilus&#039; IV, 789f)]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the &quot;Ovide Moralisé&quot; (14.827-30) is the &quot;probable source&quot; of the reference to Elysium in TC 4.789-90.]]></dcterms:description>
</rdf:Description></rdf:RDF>