<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/272798">
    <dcterms:title><![CDATA[When Chaucer Swears]]></dcterms:title>
    <dcterms:description><![CDATA[Shows by multiple  examples from various works that Chaucer &quot;used oaths not only to give poignancy to character but to add irony, to give a touch of local colour, [and] to create atmosphere and background.&quot; Oaths in Chaucer&#039;s works tend to be religious rather than bawdy and are most often spoken by &quot;vulgar characters.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272797">
    <dcterms:title><![CDATA[Australasian Universities Language and Literature Association 1969. Proceedings and Papers of the Twelfth Congress Held at the University of Western Australia, 5-11 February 1969]]></dcterms:title>
    <dcterms:description><![CDATA[Includes three essays that pertain to Chaucer and brief synopses of three additional ones that are not included in the volume:  Stephen Knight, &quot;Rhetoric and Poetry in &#039;The Franklin&#039;s Tale&#039;&#039;&#039;; H. E. Hallam, &quot;The Throne of Chaunticleer&quot;; and Brian Parker, &quot;Bar Salibi&#039;s Mystical Commentary on the Erotic Imagery of the Song of Songs&quot; (including comments on MerT). For the three complete essays, search for Australasian Universities Language and Literature Association 1969 under Alternative Title..]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272796">
    <dcterms:title><![CDATA[The Spiritual Purpose of the Canterbury Tales]]></dcterms:title>
    <dcterms:description><![CDATA[Comprised of two related essays.  The first, by Woo, assesses the pilgrimage frame of CT, its ecclesiastical pilgrims, ParsPT, and Ret, emphasizing the contrasts between the Pardoner and the Parson as religious figures. The second, by Matthews, comments on other religious aspects of CT, reading it as a &quot;sermon&quot; on love, good and bad.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272795">
    <dcterms:title><![CDATA[Chaucer and the &#039;Ovide Moralisé&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses seven examples of the influence of the &quot;Ovide Moralisé&quot; on Chaucer: HF 957ff., Anel 1-6, TC 5.1464-84, WBP 3.733ff., MLT 2.633-35, ParsT 10.261ff., and the recurrent phrase &quot;alone, withouten any compaignie&quot; (KnT1.2779, MilT 1.3204, and Mel 7.1506).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272794">
    <dcterms:title><![CDATA[Two Notes on Chaucer and Grosseteste]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that when referring to St. Peter&#039;s sister in MilT 1.3486 and to Thomas&#039;s combination of wrath and frigidity in SumT 3.1825-31 Chaucer was influenced by Robert Grosseteste.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272793">
    <dcterms:title><![CDATA[&#039;Anelida and Arcite&#039;: A Narrative of Complaint and Comfort]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that Anel is &quot;more a stylized emotional history than a series of meaningful events.&quot; In its plot, mode, and formal features, it is more akin to French love narratives (&quot;&#039;dits&#039; of complaint and comfort&quot;) than other models that have been proposed. Offers conjectures about how the poem may have ended, if Chaucer had completed it.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272792">
    <dcterms:title><![CDATA[Allegory and Mirror: Tradition and Structure in Middle English Literature]]></dcterms:title>
    <dcterms:description><![CDATA[Defines the medieval literary modes/genres of personification allegory and mirror, using them to analyze various works of Middle English literature and their models in Latin, French, and Italian. Treats HF as a personification allegory; aspects of BD, TC, and MerT as descendants of the &quot;Roman de la Rose&quot; as love allegory; aspects of TC and Mel as allegories of reason; ParsT as a confessional manual; and CT as a mirror of late-medieval society. Also discusses Middle English works by John Gower, William Langland, and the Pearl-poet.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272791">
    <dcterms:title><![CDATA[An Eighteenth Century Allusion to Chaucer&#039;s &#039;Cook&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies an allusion to the final couplet of CkT in an issue of the &quot;Female Tatler&quot; (12 September 1709) which presents the wife in the Tale a seamstress as well as a prostitute. Observes that several other near-contemporary allusions to the Tale make the same association, one not found in Chaucer.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272790">
    <dcterms:title><![CDATA[Chaucerian Selves---Especially Two Serious Ones]]></dcterms:title>
    <dcterms:description><![CDATA[Posits that the &quot;distance&quot; between Chaucer and his various speaking personae is difficult to define because it &quot;fluctuates&quot; within individual poems and because a reader&#039;s sense of a given narrator is modified by the &quot;fantastic&quot; setting of the poem and its believability. Assesses this dynamic in BD, PF, LGWP, CT, and, especially, HF, TC, and their endings.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272789">
    <dcterms:title><![CDATA[Chaucer&#039;s Psychologizing of Virgil&#039;s Dido]]></dcterms:title>
    <dcterms:description><![CDATA[Contends that Chaucer&#039;s adaptation in HF of Virgil&#039;s &quot;Aeneid&quot; &quot;anticipates his development away from medieval conventions toward modem, psychological people.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272788">
    <dcterms:title><![CDATA[Analysis of Singular Weak Adjective Inflection in Chaucer&#039;s Works]]></dcterms:title>
    <dcterms:description><![CDATA[Tabulates and analyzes the &quot;positive, comparative, and superlative adjectives in Chaucer&#039;s works,&quot; challenging the notions that in Middle English only monosyllabic adjectives that end in a consonant are inflected and comparative and superlative adjectives are always inflected.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272787">
    <dcterms:title><![CDATA[Chaucer&#039;s Creative Comedy: A Study of the &#039;Miller&#039;s Tale&#039; and the &#039;Shipman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that &quot;in Chaucer&#039;s comedy the triumph of wit is often a &#039;creative&#039; act, an act of imaginative invention and ingenious construction,&quot; commenting on the division of the fart in SumT, demonstrating the prevalence of creative, constructive cleverness in MilT (in contrast to the destructiveness of farce), and making clear the wife&#039;s creative persuasiveness in ShT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272786">
    <dcterms:title><![CDATA[&#039;Greyn&#039; and the Resuscitation of the Little Clergeon]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that the placing of the &quot;greyn&quot; on the tongue of the clergeon in PrT (7.622) is a reflex of the ubiquitous folk motif of the soul-as-bird being held, lured, or released from the body.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272785">
    <dcterms:title><![CDATA[The Oxford Book of Medieval English Verse]]></dcterms:title>
    <dcterms:description><![CDATA[Selections from Chaucer (pp. 257-316) include excerpts from HF, LGWP, TC, GP (Prioress, Clerk, Wife of Bath, and Reeve), WBP, and PardT, along with the complete RvT, Form Age, the rondeau from PF, Truth, Purse, and MercB. All are in Middle English, with explanatory notes, glosses, and textual information.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272784">
    <dcterms:title><![CDATA[The Language of &#039;The Romaunt of the Rose&#039; (Fragment A), with Particular Reference to Chaucer&#039;s Relationship to Middle English Provincial Poetry]]></dcterms:title>
    <dcterms:description><![CDATA[Adduces examples of formulaic phrasing, diction, and rhymes in fragment A of Rom as evidence of Chaucer&#039;s familiarity with native English literature; also shows where such evidence appears in his later works.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272783">
    <dcterms:title><![CDATA[Chaucer&#039;s &#039;Book of the Duchess&#039; and the &#039;Law of Kinde&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Discusses the concerns with suffering and pity in BD as aspects of universal nature that binds together everything and thereby makes possible the consolation in the poem for the Black Knight (John of Gaunt), the Dreamer (Chaucer), and the audience. The work artfully mitigates the experience of pain and reflects a Boethian awareness of universal law, which is also evident in TC, and a variation on the theme of experience versus authority.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272782">
    <dcterms:title><![CDATA[Daun Gerveys in the &#039;Miller&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Explicates the &quot;Gerveys scene&quot; of MilT, focusing in particular on the meaning of &quot;viritoot,&quot; the implications of &quot;seinte Note,&quot; the demonic and infernal associations of blacksmithing, and Absolon&#039;s transformation of character from lover to wrathful.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272781">
    <dcterms:title><![CDATA[The Marriage Costs of Chaucer&#039;s Friar]]></dcterms:title>
    <dcterms:description><![CDATA[Offers corroborative evidence from Rutebuef&#039;s &quot;Frère Denise&quot; that Chaucer&#039;s Friar &quot;provided money to marry off girls he had himself seduced.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272780">
    <dcterms:title><![CDATA[A Dictionary of Literature in the English Language: From Chaucer to 1940]]></dcterms:title>
    <dcterms:description><![CDATA[The entry for Chaucer (pp. 168) includes brief biographical information, critical bibliography, a list of editions, and a tally of individual works with dates of first publication. Accompanied by a b&amp;w plate from Thynne&#039;s 1532 edition, the first page of ClT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272779">
    <dcterms:title><![CDATA[The Code of Chaucer&#039;s &#039;Secree of Secrees&#039;: Arabic Alchemical Terminology in &#039;The Canon&#039;s Yeoman&#039;s Tale&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the allegorical traditions that underlie the mysteriousness of alchemy in Arabic and Latin writings, focusing on the sources, nomenclature, and descriptions mentioned at the end of CYT (8.1428-65) especially the comments on mercury, sulphur, the difficulties of &quot;multiplication,&quot; and the need for secrecy.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272778">
    <dcterms:title><![CDATA[Chaucer&#039;s Merchant and the Sin Against Nature]]></dcterms:title>
    <dcterms:description><![CDATA[Considers evidence that January&#039;s knife-image (&quot;Ne hurte hymselven with his owene knyf&quot;; MerT 5.1840) when commenting on sexual relations with his wife may have indicated to some members of a medieval audience that he was &quot;a sexual pervert of the worst kind.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272777">
    <dcterms:title><![CDATA[The Norton Anthology of Poetry: Shorter Edition]]></dcterms:title>
    <dcterms:description><![CDATA[Selections from Chaucer (pp. 5-20) include NPT, Ros, Truth, Gent, Purse, WomUnc, and MercB in Middle English with notes and glosses.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272776">
    <dcterms:title><![CDATA[John Rastell&#039;s Text of &#039;The Parliament of Fowls&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Although of &quot;no use to chaucerians,&quot; the fragmentary text of John Rastell&#039;s version of PF reflects the humanist&#039;s admiration of Chaucer&#039;s works even though he mangled the text.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272775">
    <dcterms:title><![CDATA[The Theme of Judgment in &#039;The Canterbury Tales&#039;]]></dcterms:title>
    <dcterms:description><![CDATA[Presents the Host as the figure of Judge in CT and identifies the judgment imagery in ParsP and elsewhere in CT, along with its Biblical and iconographical roots. This theme of judgment anticipates the concern with penance in ParsT.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/272774">
    <dcterms:title><![CDATA[A Critical History of English Literature: In Two Volumes]]></dcterms:title>
    <dcterms:description><![CDATA[Chapter four (pp. 89-127) treats together Chaucer, Gower, and &quot;Piers Plowman,&quot; presenting Chaucer in his time but arguing that, as an artist, he transcends it.  Introduces Chaucer&#039;s life and offers summary comments on each of his major works, concluding that &quot;With Chaucer, the English language and English literature grew at a bound to full maturity. No other Middle English writer has his skill, his range, his complexity, his large humane outlook.&quot;]]></dcterms:description>
</rdf:Description></rdf:RDF>