<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/276687">
    <dcterms:title><![CDATA[Second Thoughts on C. S. Lewis on Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Responds to criticism of TC, especially that of C. S. Lewis on courtly love, and examines the poem&#039;s emphases on human vulnerability and limitations, reinforced by recurrent colloquialisms, juxtapositions of the sublime and the risible, and concern with the &quot;contingent, fortuitous character of ordinary life.&quot; Attends to the lovers&#039; struggles in dealing with worldly contingencies, supplanted in the final stanzas with spiritual distancing from the material world.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276686">
    <dcterms:title><![CDATA[A Note on Chaucer&#039;s Women.]]></dcterms:title>
    <dcterms:description><![CDATA[Explores similarities of Chaucer&#039;s description of women&#039;s hair (KnT 1.1048-50, PF 267-68, and TC 5.808-12) and Apuleius&#039;s &quot;Metamorphoses&quot; II.10, suggesting a similar aesthetic rather than a source relationship, and noting that all resonate with Virgil&#039;s &quot;Aeneid&quot; 1.318-20.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276685">
    <dcterms:title><![CDATA[Another Minor Analogue to Chaucer&#039;s Pandarus.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies three &quot;predominant&quot; characteristics shared in the characterizations of Pandarus in TC and of &quot;the slave Spurius, who plays the part of a pander for a young lover in Guillaume de Blois&#039; Latin farce &#039;Alda,&#039; written somewhat before 1170: &quot;remarkable confidence&quot; in dealing with the problems of others, &quot;paradoxical&quot; behavior, and &quot;uncanny eagerness&quot; in participating in the affairs of others.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276684">
    <dcterms:title><![CDATA[&quot;Joye after wo&quot; in the &quot;Knight&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Traces the unifying theme of joy after woe in KnT, &quot;brought about both by the plot and by Boethian Destiny,&quot; focusing on Arcite&#039;s achievement of &quot;welfare&quot; and Palamon&#039;s &quot;wele&quot; after both start in sorrow. Theseus similarly replaces Egeus&#039;s saturnine sorrow with Jupiter&#039;s joy]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276683">
    <dcterms:title><![CDATA[The Development of the &quot;Canterbury Tales&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Posits a &quot;chronology of growth&quot; for the CT, seeking &quot;to follow the imagination of the poet and to recapture the dynamics of creation&quot; evident in Chaucer&#039;s apparent changes in plan. Comments on earlier scholarly efforts to explain or understand inconsistencies and/or alterations in the tale-assignments, geographical and temporal details, and the number and sequence of tales and fragments, proposing a series of stages in Chaucer&#039;s compositional process.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276682">
    <dcterms:title><![CDATA[The Swearings in Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes Chaucer&#039;s &quot;power and limitations as a stylist,&quot; offering examples, and tabulating more extensively examples of oaths and swearing in Chaucer&#039;s works, including strong and weak oaths, wishes, and imprecations.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276681">
    <dcterms:title><![CDATA[Mediaeval Art and Aesthetics in &quot;The Canterbury Tales.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Sketches the development of &quot;Gothic humanism,&quot; Platonism, and naturalism in medieval &quot;plastic arts&quot; and theory, locating similar principles and practices in CT--the principles expressed at the opening of PhyT and the practices found in a variety of examples where Chaucer&#039;s descriptions reflect idealism, dynamism, decorousness, and aesthetic incongruity, particularly in his &quot;concrete and often minute or humorous details.&quot; Explores how Chaucer may have encountered Gothic style through travel and reading, and identifies possible correspondences between his verbal descriptions and visual iconography found in manuscript illuminations, misericords, carved ivories, and architectural details.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276680">
    <dcterms:title><![CDATA[The Philosophy of the Clerk of Oxford.]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the &quot;intellectual milieu&quot; of the Clerk in order to characterize him as &quot;man of essentially humanistic temper, aware of so many complexities . . . that he found it difficult to rest in dogmatic assurance of anything.&quot; Traces the &quot;movement toward individualism . . . [as it] grew out of the realist-nominalist controversy,&quot; summarizing its development from Berengar of Tours to John Duns Scotus, William of Ockham, John Wyclif, and the &quot;seeds of Protestantism,&quot; exploring its refractions in ClT, the characterizations of Griselda and Walter, and the Clerk&#039;s riposte to the Wife of Bath. ]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276679">
    <dcterms:title><![CDATA[Chaucer&#039;s Good Fair White: Woman and Symbol.]]></dcterms:title>
    <dcterms:description><![CDATA[Contrasts the sorrows of the Dreamer and of Alcyone with that of the Man in Black in BD, arguing that the first two serve to elevate the intensity of the latter. Then examines the epideitic praise of Blanche/White as a form of personification that achieves symbolic value. Reflecting the idealized connotations of whiteness, she represents beauty, goodness, and &quot;mesure,&quot; and her death, drawn from the tradition of troubadour courtly conventions, signals the passing of all worldly virtue.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276678">
    <dcterms:title><![CDATA[Two Chaucer Allusions of 1659.]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies allusions to Chaucer from the &quot;Periamma Epidemion&quot; of 1659: to the description of the Physician in GP 1.437-38 and to WBP 3.227-28]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276677">
    <dcterms:title><![CDATA[The Clash and the Fusion of Medieval and Renaissance Elements in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Argues that TC, in its &quot;integration of style, structure, and theme with meaning,&quot; is best regarded as &quot;transitionally Renaissance in its entire import.&quot; Articulates differences between medieval and Renaissance cultures, and argues that TC better represents the latter.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276676">
    <dcterms:title><![CDATA[Secular Dramatics in the Royal Palace, Paris, 1378, 1389, and Chaucer&#039;s &quot;Tregetoures.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Identifies the &quot;tregetoures&quot; of FranT 4.1141, not as jugglers or magicians, but as the &quot;actors, craftsmen, &#039;artisans mécaniques&#039;&quot; who produced spectacular entertainments such as the ones recorded by chroniclers to have taken place at the Royal Palace, Paris, in 1378 and 1389--the first representing the First Crusade, and the second, Jean Froissart&#039;s account of the Fall of Troy. Quotes from and analyzes original descriptions of these performances and related ones.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276675">
    <dcterms:title><![CDATA[Chaucer&#039;s &quot;Shipman&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Describes the fabliau features of ShT, comments on its likely (though unknown) source, observes that its &quot;personal generalizations&quot; are unusual in the genre, and assesses its treatment of women and its stylistic features as evidence that its original teller was the Wife of Bath rather than the Shipman. Explores Chaucer&#039;s possible process of revision and probable re-ordering of the tales, commenting on inconsistencies and contradictions that result or remain.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276674">
    <dcterms:title><![CDATA[The Swallow in Chaucer&#039;s &quot;Miller&#039;s Tale.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that evidence from a twelfth-century bestiary may indicate that the comparison of Alison to a swallow in MilT 1.3257-58 ironically anticipates later events of the plot--her &quot;departure&quot; from John and his fall from the roof beam.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276673">
    <dcterms:title><![CDATA[Canterbury Tales, A 2349-52.]]></dcterms:title>
    <dcterms:description><![CDATA[Observes an inconsistency in Emily&#039;s address to Diana in KnT 1.2349-52 that results from Chaucer&#039;s change in the sequence of the three protagonists&#039; addresses to deities, altering his source in Boccaccio&#039;s &quot;Teseida.&quot; Suggests that Chaucer was &quot;insensitive to [this] minor inconsistency&quot; because of his overriding concern with the &quot;Christian motif of Divine Providence.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276672">
    <dcterms:title><![CDATA[The Narrator in Chaucer&#039;s &quot;Troilus.&quot;]]></dcterms:title>
    <dcterms:description><![CDATA[Analyzes the narrator of TC as a &quot;dramatic&quot; character--one who is known &quot;by what he says rather than what is said about him&quot;--whose shifting perspectives in the poem inflect readers&#039; opinions of the other characters and their actions. The shifts also compel readers to recognize that the narrator is himself a character--not &quot;a historian or commentator, a master of events, but as a dupe of time, a mortal of little, brief authority&quot; when viewed from the eternal perspective of the poem&#039;s envoy. The perspective of the envoy shifts from the narrator&#039;s to the poet&#039;s.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276671">
    <dcterms:title><![CDATA[Chaucer&#039;s Journeys in 1368.]]></dcterms:title>
    <dcterms:description><![CDATA[Argues from the evidence of life-records that Chaucer might well have accompanied Prince Lionel to Milan in 1368 when the latter wedded Violanta Visconti. Presents this in support of Ethel Seaton&#039;s discussion of PF (Medium Aevum 25.3 [1956]: 168-74) as a chronicle of the betrothal.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276670">
    <dcterms:title><![CDATA[Chaucer and Aristotle.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests that Aristotle is the &quot;most likely&quot; referent for &quot;the philosopher&quot; in ParsT 10.484.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276669">
    <dcterms:title><![CDATA[The Yellow Hat.]]></dcterms:title>
    <dcterms:description><![CDATA[Historical novel for juvenile readers, set in London in 1381. Follows the growing romantic friendship between Kate, serving maid to Chaucer in his Aldgate residence, and a young commoner, Adam, who chooses to remain in London after the Uprising fails. Illustrated by Tom O&#039;Sullivan.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276668">
    <dcterms:title><![CDATA[Chaucer&#039;s Canterbury Tales, A.4353.]]></dcterms:title>
    <dcterms:description><![CDATA[Explains the Host&#039;s reference to &quot;gentil Roger&quot; in GP 1.4353 as a possible play on &quot;Roger Knyght de Ware, Cook,&quot; found by Edith Rickert in a 1384-85 plea of debt and reported in the &quot;Times Literary Supplement,&quot; October 20, 1932, p. 761.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276667">
    <dcterms:title><![CDATA[The Spenser-Followers in Leigh Hunt&#039;s Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Shows that in his &quot;Cambus Khan&quot; Leigh Hunt is indebted to Edmund Spenser (and others who followed him) in modernizing Part I of SqT &quot;almost as much as he is to Chaucer.&quot;]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276666">
    <dcterms:title><![CDATA[Cambalus in the Squire&#039;s Tale.]]></dcterms:title>
    <dcterms:description><![CDATA[Suggests two unattested emendations to SqT: pluralizing &quot;Cambalus&quot; in 5.656 (to mean two brothers), and changing &quot;hewe&quot; to &quot;shewe&quot; in 5.640.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276665">
    <dcterms:title><![CDATA[The Canterbury Pilgrims: Portraits Chosen from the Prologue to Chaucer&#039;s &quot;Canterbury Tales&quot; and Set to Music for Chorus, Orchestra &amp; Three Soloists (Soprano, Tenor &amp; Baritone).]]></dcterms:title>
    <dcterms:description><![CDATA[Includes scoring for oratorio of fifteen cantatas: GP I, GP II, Knight, Squire, Nun, Monk, Clerk of Oxenford, Guildsmen and the Merchant, Sergeant at Law and Franklin, Shipman, Physician, Wife of Bath, Parson, and L&#039;Envoi. Performed and recorded recurrently, with an additional overture (&quot;At the Tabard Inn&quot;) and conclusion (&quot;In Honour of the City&quot;).]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276664">
    <dcterms:title><![CDATA[Geoffrey Chaucer.]]></dcterms:title>
    <dcterms:description><![CDATA[Lists Chaucer&#039;s works in chronological order, summarizes his career as a civil servant and poet, and offers a brief list of bibliographical references.]]></dcterms:description>
</rdf:Description><rdf:Description rdf:about="https://chaucer.lib.utsa.edu/items/show/276663">
    <dcterms:title><![CDATA[Chaucer&#039;s Poetry: An Anthology for the Modern Reader.]]></dcterms:title>
    <dcterms:description><![CDATA[Edits the majority of Chaucer&#039;s verse (no prose included) in normalized spelling and modern punctuation, with bottom-of-page glosses and occasional brief notes. Omits Book 3 of HF, the legends of LGW (but LGWP-G included), several lyrics, and portions of CT (CkT, MLT, FrT, SumT, SqT, PhyT, SumT, CYT, and ManT are lacking). Appends introductions to Chaucer&#039;s language and life, along with valuable commentary on the works anthologized here (including discussion of each of the Canterbury pilgrims), a Bibliography, and a Glossary.]]></dcterms:description>
</rdf:Description></rdf:RDF>