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              <text>Schlauch, Margaret.</text>
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              <text>Kwartalnik Neofilologiczny 20 (1973): 305-06.</text>
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              <text>Kwartalnik Neofilologiczny (Warsaw) 20 (1973)</text>
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              <text>mea; 1/18/2016 No SAC</text>
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                <text>Chaucer's Constance, Jonah, and the 'Gesta Romanorum'</text>
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                <text>Notes that the account of the Princess of Apulia found in some versions of the "Gesta Romanorum" has parallels with the biblical account of Jonah and with MLT, which alludes to Jonah.</text>
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              <text>Manning, Stephen.</text>
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              <text>Edward Vasta and Zacharias P. Thundy, ed.  Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner, C. S. C. (Notre Dame, Ind.: Univeristy of Notre Dame Press, 1979), pp. 13-23.</text>
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              <text>Chaucerian Problems and Perspectives: Essays Presented to Paul E. Beichner, C. S. C.</text>
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              <text>Man of Law and His Tale.</text>
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              <text>jules SAC 03 (101)</text>
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                <text>Constance is not the passive ninny she has been accused of being.  She possesses a presence which demands and receives forcible response; she moves in her world with self-sufficiency; her virtue is heroic; her ability to accept what God sends gives her an imposing strength.  Constance's force of soul is such that she can remain detached from what befalls her.  She is always aware of the emotional cost of yielding to Providence.</text>
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              <text>Clasby, Eugene.</text>
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              <text>Chaucer Review 13 (1979): 221-33.</text>
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              <text>jules SAC 03 (97)</text>
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                <text>Chaucer's Constance: Womanly Virtue and the Heroic Life</text>
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                <text>Constance is not, as Delany (1974) claims, a character who embodies and recommends self-degradation and abject submission to power in all its forms.  What is important is that Constance discovers in the course of her experience that Providence, not Fortune, governs and establishes the meaning of her life.</text>
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            <elementText elementTextId="2709237">
              <text>Bennett, J. A. W.</text>
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        <element elementId="98">
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              <text>J. A. W. Bennett.  The Humane Medievalist (Rome: Edizioni di Storia e Letteratura; Wolfeboro, N.H.: Boydell &amp; Brewer, 1982), pp. 13-29.</text>
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              <text>1982</text>
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              <text>The Humane Medievalist.</text>
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              <text>Chaucer's Life</text>
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              <text>jules SAC 11 (59)</text>
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                <text>Diffident comparisons point out the "Englishness" of both Chaucer and Langland (though Chaucer gives us little of London city life, his limits being Dartmouth, Strother, Oxford, and Cambridge).  Bennett discusses the down-to-earth tones, association of trades and merchants with "covetise," and their attitudes toward the religious.  In view of their similarities, it is time "to dismiss forever the false antithesis that represents Chaucer as new and adventurous, Langland as traditional and conservative." Reprint; first published in S. S. Hussey, ed. Piers Plowman: Critical Approaches (London: Methuen, 1969), pp. 310-24 and 352-53.</text>
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              <text>Bennett, J. A. W.</text>
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              <text>S. S. Hussey, ed. Piers Plowman: Critical Approaches (London: Methuen, 1969), pp. 310-24 and 352-53.</text>
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              <text>Piers Plowman: Critical Approaches.</text>
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                <text>Explores the affinities and "common sympathies" between William Langland and Chaucer, including their "Englishness," their views of religion and virtue, their shared sense of human variety, and the possibility that Chaucer may have read "Piers Plowman."</text>
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              <text>Ehrhart, Margaret Jean.</text>
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              <text>Dissertation Abstracts International 35 (1975): 7299A-300A.</text>
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              <text>Dissertation Abstracts International 35 (1975)</text>
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              <text>jules - 20/9/94 SAC 1 (32)</text>
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                <text>Chaucer's Contemporary Guillaume de Machaut: A Critical Study of Four 'Dits amoureux'</text>
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                <text>Through study of Machaut's 'dits', we begin to get a sense of what Chaucer saw in Machaut's work.  In addition to appreciation of his style, Chaucer must have recognized in Machaut's constant theme--human love, rightly and wrongly ordered--a sense of intellectual kinship.</text>
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              <text>Kawasaki, Masatoshi.</text>
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                <text>Chaucer's Context of 'Game' in The Canterbury Tales</text>
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                <text>Considers the conflict between "authority," which is based on higher culture, and "experience," characteristic of folk mode, emphasizing the significance of "game in ernest" in CT.  "Game" derives from the festive storytelling contest.(In Japanese).</text>
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              <text>Wallace, David.</text>
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                <text>Chaucer's Continental Inheritance: The Early Poems and 'Troilus and Criseyde'</text>
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                <text>Traces Chaucer's increasingly creative use of sources and development as a poet:  his treatment of French materials in Rom, BD, and HF; his use of Dante in BD and HF; his adaptation of Boccaccio in Anel, PF, and TC; and his own developing, distinctively "English" voice in PF, HF, and TC. In TC, Chaucer "align(s) himself with the greatest European poets" but also "speak(s) like an English romancer.</text>
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              <text>Dor, Juliette De Caluwe.</text>
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              <text>jules Cf.  SAC 7 (1985), no.54.</text>
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                <text>Chaucer's Contribution to the English Vocabulary: A Chronological Survey of French Loan-Words</text>
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              <elementText elementTextId="2716503">
                <text>Classifies French conversational loan words (A-D) in CT by frequency, grammatical nature, and date of first occurrence. Only thirty-nine words are used first by Chaucer, who innovates less than previously thought.</text>
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              <text>Walker, Lewis.</text>
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              <text>Renaissance Papers [47]: 119-35,   2000.</text>
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              <text>2000</text>
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              <text>Chaucer's Influence and Later Allusion.</text>
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              <text>Franklin and His Tale.</text>
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              <text>Renaissance Papers [47] (2000)</text>
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              <text>jules SAC 24 (90)</text>
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              <elementText elementTextId="2755968">
                <text>Chaucer's Contribution to The Tempest : A Reappraisal</text>
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            <description>An account of the resource</description>
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                <text>Cites echoes of FranT in Shakespeare's "The Tempest" as evidence of Chaucer's influence, focusing on the "generous view of diminished art" in both.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2725238">
              <text>Klene, Jean,C.S.C.</text>
            </elementText>
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        <element elementId="98">
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          <elementTextContainer>
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              <text>Viator 11 (1980): 321-34.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2725240">
              <text>1979</text>
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              <text>Background and General Criticism.</text>
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          <elementTextContainer>
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              <text>Viator 11 (1980)</text>
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        <element elementId="109">
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              <text>jules SAC 04 (43)</text>
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              <elementText elementTextId="2725237">
                <text>Chaucer's Contributions to a Popular Topos: The World Upside-Down</text>
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              <elementText elementTextId="2725241">
                <text>Chaucer defines the "up-so-doun" world using three devices:  dramatized "impossibilia" (the rhetorical expression of a passionate conviction believed to be an impossibility), role reversal (involving a triumph of the weaker over the stronger), and explicit statements (suggesting man's perverse judgments and actions).  Parody provides the structural similarity of the three devices.</text>
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  <item itemId="263661" public="1" featured="0">
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              <name>Title</name>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2716811">
              <text>Gillmeister, Heiner.</text>
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        <element elementId="98">
          <name>Published</name>
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              <text>New York and Frankfurt am Main: Peter Lang, 1984.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2716813">
              <text>1984</text>
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              <text>281 pp.</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2716816">
              <text>Background and General Criticism.</text>
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              <text>Truth.</text>
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              <text>Canterbury Tales--General.</text>
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        <element elementId="104">
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            <elementText elementTextId="2716819">
              <text>Aspekt der englischen Geistes- und Kulturgeschichte, no. 02.</text>
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              <text>jules SAC 08 (68)</text>
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                <text>Chaucer's Conversion: Allegorical Thought in Medieval Literature</text>
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                <text>Identification of the source, 1 Samuel 6, of "Truth, a "poeme a clef," leads to the question of how allegorical interpretations of a medieval exegete could impinge on the poet's life and work.  Emphasizing medieval name lore (onomastics), the author argues that by an allegorical interpretation of his own name Chaucer revised his life and work.  Treats allegorical meaning of CT.</text>
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  <item itemId="262968" public="1" featured="0">
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              <text>Pearcy, Roy J.</text>
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        <element elementId="98">
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              <text>Explicator 45:3 (1987): 3-4.</text>
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        <element elementId="114">
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          <elementTextContainer>
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              <text>1987</text>
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              <text>Cook and His Tale.</text>
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              <text>Explicator 45 (1987)</text>
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              <text>jules SAC 11 (165)</text>
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                <text>Chaucer's Cook's Prologue, 1.4236</text>
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                <text>The Cook's association of delight with being "clawed...on the bak" probably alludes to medieval practices of hospitality.</text>
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Canterbury Tales--General</text>
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                <text>Explores the recursive demands of grammatical emendation ("emendatio") and penitential reform--the accumulative and ongoing need for correction of error that creates or prompts more need for correction--as the aesthetic that underlies Mel, and CT more generally. Inspired by such models as grammatical exercises and Aristotelian prologues, Prudence's correction of Melibee is not successful, fulfilling, or complete, but it indicates the value of revision, revisiting, and adjustment of genres and ideas in the Canterbury fiction.</text>
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                <text>Chaucer's Costume Rhetoric in His Portrait of the Prioress</text>
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                <text>The headdress, cloak, and jewelry of the Prioress, correct or appropriate according to fourteenth-century views, conflict ironically with her character.</text>
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              <text>O'Connell, Brendan.</text>
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                <text>Notes that counterfeit and forged documents appear frequently in CT, but most frequently in exemplary and ethical tales such as MLT and ClT. This suggests Chaucer's lack of trust in this kind of writing and his preference for an ethics based on imperfect, lived experience.</text>
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              <text>Reiss, Edmund.</text>
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                <text>Gauges Chaucer's "view and use of love," concentrating on BD, TC, and KnT as his only narratives that take courtly love seriously, both as a theme and a plot device. Even in these cases, courtly love is presented pejoratively--both foolish and destructive.</text>
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Troilus and Criseyde&#13;
Sources, Analogues, and Literary Relations&#13;
Background and General Criticism</text>
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        <element elementId="114">
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                <text>Highlights the enduring role of court poet for Chaucer, including his debts to "The Romance of the Rose" and the complicity of the narrator in TC. Discusses the creation of Alcestis in LGW.</text>
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        <element elementId="114">
          <name>Date</name>
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                <text>The context of CT changes the meaning of SNT.  Although SNT is a clear statement of the 'right path,' ParsT reminds us at the end that we cannot come close to following that path.  Spiritual perfection is rare; for the rest of us there are remedies for our sins.</text>
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          <elementTextContainer>
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          <elementTextContainer>
            <elementText elementTextId="2721399">
              <text>Dissertation Abstracts International 43 (1982)</text>
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                <text>Chaucer's Creation of Universal Professional Stereotypes in Five of 'The Canterbury Tales'</text>
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                <text>In PrT, MLT, ClT, SNT, and PhyT, Chaucer manipulates the genre and rhetoric of the saint's life in differing ways to evoke audience response to the professional stereotypes of the narrators.</text>
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              <text>Thro, A. Booker.</text>
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              <text>1970</text>
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              <text>Chaucer Review 05 (1970)</text>
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              <text>mea; 08/05/2016 No SAC</text>
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                <text>Chaucer's Creative Comedy: A Study of the 'Miller's Tale' and the 'Shipman's Tale'</text>
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                <text>Shows that "in Chaucer's comedy the triumph of wit is often a 'creative' act, an act of imaginative invention and ingenious construction," 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's creative persuasiveness in ShT.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2771627">
              <text>Howes, Laura L.</text>
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        <element elementId="98">
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              <text>Robert M. Stein and Sandra Pierson Prior, eds. Reading Medieval Culture: Essays in Honor of Robert W. Hanning (Notre Dame: University of Notre Dame Press, 2005), pp. 321-43.</text>
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            <elementText elementTextId="2771629">
              <text>2005</text>
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              <text>Reading Medieval Culture: Essays in Honor of Robert W. Hanning.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>vxl sac 29:305</text>
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                <text>Chaucer's Criseyde : The Betrayer Betrayed</text>
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              <elementText elementTextId="2771631">
                <text>Chaucer presents Criseyde as a victim of several betrayals--by Calchas, by the Trojan parliament, by Pandarus, and by the narrator--and prompts the possibility of readers' betrayal of her as well. Obedient to her father but unfaithful to her lover, Criseyde is trapped between two opposed sets of expectations, social and literary, that shape our complex response.</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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            <elementText elementTextId="2734815">
              <text>Valdes Miyares, Ruben.</text>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
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              <text>SELIM: Journal of the Spanish Society for Mediaeval English Language and Literature 2 (1992): 142-53.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
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              <text>1992</text>
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              <text>Troilus and Criseyde.</text>
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              <text>SELIM: Journal of the Spanish Society for Mediaeval English Language and Literature 02 (1992)</text>
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              <text>jules SAC 18 (1996) - 280</text>
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                <text>Chaucer's Criseyde and Eurydice</text>
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            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2734818">
                <text>Explores Chaucer's understanding of the Orpheus and Eurydice myth to argue that Criseyde's reference to Eurydice (TC 4.791) is the poet's way of "lending voice" to a classical figure who, like Criseyde, was the object of barter.</text>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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            <elementText elementTextId="2753004">
              <text>Minnis, Alastair, and Eric J. Johnson.</text>
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          <description/>
          <elementTextContainer>
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              <text>Jocelyn Wogan-Browne et al., eds. Medieval Women: Texts and Contexts in Late Medieval Britain: Essays for Felicity Riddy (Turnhout, Belgium: Brepols, 2000), pp. 199-216.</text>
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            <elementText elementTextId="2753006">
              <text>2000</text>
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              <text>Medieval Women: Texts and Contexts in Late Medieval Britain: Essays for Felicity Riddy.</text>
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              <text>Johnson, Eric J.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>jules SAC 24 (387)</text>
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                <text>Chaucer's Criseyde and Feminine Fear</text>
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                <text>Assesses Criseyde's fearfulness in the context of "late-medieval accounts of the psychology and ethics of fear," arguing that Chaucer presents her not as a "culpably fickle female" but as an (equally essentialized) "attractively fearful female."</text>
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                  <text>Chaucer Bibliography Online</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2771617">
              <text>Ryan, Lawrence V.</text>
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          <elementTextContainer>
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              <text>English Literary Renaissance 17 (1987): 288-302</text>
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              <text>1987</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Facsimiles, Editions, and Translations.</text>
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              <text>English Literary Renaissance 17 (1987)</text>
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              <text>vxl sac 29:311</text>
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                <text>Chaucer's Criseyde in Neo-Latin Dress</text>
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                <text>Francis Kynaston's translation of TC in Latin rhyme-royal stanzas was influenced by Henryson's and Shakespeare's depictions of Criseyde. Substantial omissions in Books 4 and 5 of the translation simplify the character and reduce readers' sympathy by emphasizing her coquetry.</text>
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