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                  <text>Chaucer Bibliography Online</text>
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              <text>Kensak, Michael Alan.</text>
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              <text>Dissertation Abstracts International 59 (1998): 817A.</text>
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              <text>1998</text>
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              <text>Canterbury Tales--General.</text>
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              <text>Manciple and His Tale.</text>
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              <text>Dissertation Abstracts International 59 (1998)</text>
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              <text>jules SAC 22 - 181.</text>
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                <text>Dante, Alain de Lille, and the Ending of the 'Canterbury Tales'</text>
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                <text>Entry into heaven and the approach to God properly conclude a pilgrimage, as represented by Dante and Alain de Lille. In ManPT, Chaucer inverts the topos to show logic and language vitiated (not transcended) as the Cook becomes literally drunk (not spiritually inebriated), and "the Host rededicates the pilgrimage to Bacchus."</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Shoaf, Richard Allen.</text>
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        <element elementId="98">
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              <text>Norman, Okla.: Pilgrim Books, 1983.</text>
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        <element elementId="114">
          <name>Date</name>
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              <text>1983</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>jules SAC 07 (30)</text>
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                <text>Dante, Chaucer and the Currency of the Word: Money, Image, and Reference in Late Medieval Poetry</text>
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                <text>After an introduction, "The Discourse of Man 'By Nature a Political Animal,'" follow three parts:  "Dante's 'Commedia' and the Promise of Reference," dealing with Narcissus--damned ("Inferno" 30), purged ("Purgatorio" 30), and redeemed ("Paradiso" 30); "Troylus and Criseyde and the 'Falsing' of the Referent," with chapters on HF, Criseyde, Troylus, Pandarus, and the Narrator; and "'The Canterbury Tales' and the Ethics of Reference," with chapters on Fragment A, WBT, MerT, and PardT.</text>
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                <text>Shows how Chaucer uses Dante and how he differs.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Wheeler, Bonnie.</text>
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        <element elementId="98">
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              <text>Philological Quarterly 61 (1982): 105-23</text>
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        <element elementId="114">
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              <text>1981</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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            <elementText elementTextId="2722905">
              <text>Philological Quarterly 60 (1981)</text>
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        <element elementId="109">
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              <text>mea SAC 06 (181)</text>
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                <text>Dante, Chaucer, and the Ending of 'Troilus and Criseyde'</text>
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                <text>The last eighteen stanzas are doomed attempts to forge a fixed moral for the tale--the reader must do it himself.  The "contemptus mundi" theme is tried unsuccessfully to unify it.  The last nine stanzas are compared to "Paradiso's" cantos 13 and 14 as a source for the conclusion.  Chaucer and Dante recognized that the poet maker is not perfect--everything human is inferior to the Divine.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2711080">
              <text>Morgan, Gerald.</text>
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        <element elementId="98">
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              <text>Eric Haywood and Barry Jones, eds. Dante Comparisons: Comparative Studies of Dante and Montale, Foscolo, Tasso, Chaucer, Petrarch, Propertius and Catullus (Dublin: Irish Academic Press, 1985), pp. 73-95.</text>
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        <element elementId="114">
          <name>Date</name>
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            <elementText elementTextId="2711082">
              <text>1985</text>
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        <element elementId="108">
          <name>Alternative Title</name>
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          <elementTextContainer>
            <elementText elementTextId="2711083">
              <text>Dante Comparisons: Comparative Studies of Dante and Montale, Foscolo, Tasso, Chaucer, Petrarch, Propertius and Catullus.</text>
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            <elementText elementTextId="2711084">
              <text>Haywood, Eric,</text>
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            <elementText elementTextId="2711085">
              <text>Jones, Barry,ed.</text>
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            <elementText elementTextId="2711086">
              <text>ed.</text>
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            <elementText elementTextId="2711088">
              <text>Troilus and Criseyde.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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        <element elementId="109">
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              <text>jules SAC 11 (258)</text>
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                <text>Dante, Chaucer, and the Meaning of Love</text>
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                <text>"Courtly love" is a critics' term that was never used by medieval poets.  To understand Chaucer's treatment of love, we must turn not to the principles of courtly love but to medieval philosophy and the treatment of love by poets such as Dante.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2695234">
              <text>Ordiway, Frank Bryan.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2695235">
              <text>Dissertation Abstracts International 51 (1991): 2373A</text>
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              <text>1991</text>
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              <text>Troilus and Criseyde.</text>
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            <elementText elementTextId="2695239">
              <text>Dissertation Abstracts International 51 (1991)</text>
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              <text>mea</text>
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                <text>Dante, Chaucer, and the Poetics of the Past</text>
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                <text>Unlike Dante, who recognizes his poetic "fathers" in the Divine Comedy and sees himself as surpassing them, Chaucer in TC adopts the stance of the translator of an ancient text but questions the value of its tradition.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2713307">
              <text>Simpson, James.</text>
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        </element>
        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2713308">
              <text>Essays and Studies 39 (1986): 1-18.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2713309">
              <text>1986</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
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              <text>House of Fame.</text>
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        <element elementId="100">
          <name>Journal by Volume Number</name>
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          <elementTextContainer>
            <elementText elementTextId="2713312">
              <text>Essays and Studies 39 (1986)</text>
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              <text>jules SAC 10 (225)</text>
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                <text>Dante's 'Astripetam Aquilam' and the Theme of Poetic Discretion in the 'House of Fame'</text>
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                <text>The eagle in HF, pt. 2, with its immediate source in Dante's "Purgatorio," also parallels a passage in the "De vulgari eloquentia" (2.4) that cautions poets not to follow the "astripetam aquilam" ("star-seeking eagle").  The eagle is a parody of the dream guide whose overblown eloquence illustrates the theme of poetic discretion in the work.  Unlike his, Geffrey's art is "founded upon an assured knowledge of both personal and artistic limitations."</text>
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              <text>Shoaf,  R[ichard] A[llen].</text>
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              <text>Donald M. Rose, ed.  New Perspectives in Chaucer Criticism (Norman Okla.: Pilgrim Books, 1981), pp. 83-103.</text>
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          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2723397">
              <text>1981</text>
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          <elementTextContainer>
            <elementText elementTextId="2723398">
              <text>New Perspectives in Chaucer Criticism.</text>
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            <elementText elementTextId="2723400">
              <text>Background and General Criticism.</text>
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              <text>Troilus and Criseyde.</text>
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        <element elementId="109">
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                <text>Dante's 'Commedia' and Chaucer's Theory of Mediation: A Preliminary Sketch</text>
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              <elementText elementTextId="2723399">
                <text>Modern literary theory is concerned with the problem of "how language 'refers' in the critical text that has lost faith in the communion between language and reality."  Shoaf observes this faith, which was stronger in the Middle Ages, at work in the "Commedia" and TC.</text>
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            <elementText elementTextId="2827671">
              <text>Havely, Nick.</text>
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        <element elementId="98">
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              <text>Oxford: Oxford University Press, 2014.</text>
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        <element elementId="99">
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            <elementText elementTextId="2827673">
              <text>xviii, 355 pp.; b&amp;w illus.</text>
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          <name>Chaucer Subject</name>
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Chaucer's Influence and Later Allusion</text>
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        <element elementId="109">
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            <elementText elementTextId="2827676">
              <text>2014</text>
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                <text>Dante's British Public: Readers and Texts from the Fourteenth Century to the Present.</text>
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                <text>Assesses the general or "public" familiarity with Dante and his works in British culture, acknowledging his impact on poets such as Chaucer, Milton, and T. S. Eliot, but exploring instead a more pervasive presence. Includes references to Chaucer's familiarity with Dante's works, to the knowledge of Dante among clerics in "the time of Chaucer," and to how Dante's and Chaucer's canonicity developed in Tudor England. Also comments on possible connections between Chaucer and Adam Easton, an English Benedictine who "possibly anticipated Chaucer as the first English writer to refer to Dante by name."</text>
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              <text>Hughes, Jonathan.</text>
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              <text>New York: Bloomsbury Academic, 2022.</text>
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              <text>xiv, 426 pp.; b&amp;w illus.</text>
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              <text>Soutces, Analogues, and Literary Relations&#13;
Chaucer's Life&#13;
House of Fame&#13;
Troilus and Criseyde&#13;
Monk and His Taler</text>
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        <element elementId="114">
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              <elementText elementTextId="2847686">
                <text>Studies the reception of Dante in England, 1370–1450, focusing on ecclesiastical concerns about the "Divine Comedy" (DC) and literary responses to the poem and its worldview. Includes assessment of possible routes for Chaucer's initial access to DC (through travel and otherwise) and contrasts the poets' uses of the vernacular and their attitudes toward the literary legacy of Rome, especially Statius and Virgil. Reviews connections between DC and HF, TC, MkT, and other works, with an extended discussion of parallels between Criseyde and Dante's Francesca. Recurrently suggests Chaucer's role in mediating Dante's influence and emphasizes their intellectual differences.</text>
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              <elementText elementTextId="2850861">
                <text>Dante's Divine Comedy in Early Renaissance England: The Collision of Two Worlds</text>
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  <item itemId="270450" public="1" featured="0">
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
          <name>Author / Editor</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2786044">
              <text>Stoneman, Richard.</text>
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          </elementTextContainer>
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        <element elementId="98">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="2786045">
              <text>London: Duckworth, 1982.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2786046">
              <text>1982</text>
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        <element elementId="99">
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          <elementTextContainer>
            <elementText elementTextId="2786047">
              <text>vi, 330 pp.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2786049">
              <text>Legend of Good Women</text>
            </elementText>
            <elementText elementTextId="2786050">
              <text>Sources, Analogues, and Literary Relations</text>
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          </elementTextContainer>
        </element>
        <element elementId="109">
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          <elementTextContainer>
            <elementText elementTextId="2786051">
              <text>mea 2/20/2013 No SAC</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="2786043">
                <text>Daphne into Laurel: Translations of Classical Poetry from Chaucer to the Present</text>
              </elementText>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2786048">
                <text>An anthology of translations from Greek and Roman by English writers, including a section on Chaucer (pp. 32-33) with a brief (and erroneous) biography and a selection from Chaucer's Dido legend (LGW 1180-1209), from Virgil's "Aeneid" 4.129-50, presented as "almost the only direct piece of translation" of the classics by Chaucer.</text>
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  </item>
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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>
                </elementText>
              </elementTextContainer>
            </element>
          </elementContainer>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2800447">
              <text>Seaman, Myra, Eileen A. Joy, and Nicola Masciandaro, eds.</text>
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        <element elementId="98">
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            <elementText elementTextId="2800448">
              <text>Brooklyn, N. Y.: Punctum Books, 2012.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2800449">
              <text>2012</text>
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          </elementTextContainer>
        </element>
        <element elementId="99">
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          <elementTextContainer>
            <elementText elementTextId="2800450">
              <text>vii, 201 pp. Available as e-text.</text>
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        <element elementId="112">
          <name>Contributor</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2800451">
              <text>Joy, Eileen A., ed</text>
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            <elementText elementTextId="2800452">
              <text>Masciandaro, Nicola, ed.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2800454">
              <text>Background and General Criticism</text>
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        <element elementId="109">
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            <elementText elementTextId="2800455">
              <text>mea SAC 36:110</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="2800446">
                <text>Dark Chaucer: An Assortment</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2800453">
                <text>A collection of essays highlighting "dark," unsettling, and culturally unsavory elements across the Chaucer canon. For individual pieces, search for Dark Chaucer under Alternative Title.</text>
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  <item itemId="271820" public="1" featured="0">
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              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2800458">
              <text>Barrington, Candace.</text>
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        <element elementId="98">
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          <elementTextContainer>
            <elementText elementTextId="2800459">
              <text>Myra Seaman, Eileen A. Joy, and Nicola Masciandaro, eds. Dark Chaucer: An Assortment (Brooklyn, N. Y.: Punctum Books, 2012), pp. 1-11.</text>
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          </elementTextContainer>
        </element>
        <element elementId="114">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2800460">
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            <elementText elementTextId="2800461">
              <text>Dark Chaucer: An Assortment.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
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              <text>Chaucer's Influence and Later Allusion</text>
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            <elementText elementTextId="2800464">
              <text>mea SAC 36:48</text>
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                <text>Dark Whiteness: Benjamin Brawly and Chaucer</text>
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          </element>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2800462">
                <text>Studies the poem "Chaucer" by Benjamin Brawly, an early twentieth-century African-American poet.</text>
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  <item itemId="266568" public="1" featured="0">
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                  <text>Chaucer Bibliography Online</text>
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          </elementContainer>
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        <element elementId="110">
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            <elementText elementTextId="2745802">
              <text>Linden, Stanton J[(ay].</text>
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        <element elementId="98">
          <name>Published</name>
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              <text>Lexington: University Press of Kentucky, 1996.</text>
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        <element elementId="114">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2745804">
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            <elementText elementTextId="2745805">
              <text>x, 373 pp.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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            <elementText elementTextId="2745808">
              <text>Canon's Yeoman and His Tale.</text>
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            <elementText elementTextId="2745809">
              <text>Chaucer's Influence and later Allusion.</text>
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              <text>jules SAC 21 - 256</text>
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                <text>Darke Hierogliphicks: Alchemy in English Literature from Chaucer to the Restoration</text>
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                <text>Assesses literary references and allusions to alchemy as an aspect of the transition from the medieval to the modern age, focusing on works by Chaucer, Bacon, Jonson, Donne, Herbert, Henry Vaughan, Milton, and Samuel Butler, but also considering a wide array of other works.</text>
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                <text>The chapter on Chaucer (pp. 37-62) identifies the aspects of CYPT that became "persistent motifs" in later satires of alchemy.  Stanton argues that CYP and CYT are unified as a warning against false alchemy; they merit recognition as the "beginning of the tradition of literary alchemy."</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Freeman, Ray.</text>
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              <text>Chichester, Sussex: Phillimore,1990.</text>
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              <text>xi, 212 pp. 120 b&amp;w illus.</text>
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              <text>Shipman and His Tale</text>
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              <text>vxl SAC 32:251.</text>
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                <text>Dartmouth and Its Neighbours</text>
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                <text>A social history of Dartmouth and the lower Dart river valley; includes the suggestion that William Smale was the model for Chaucer's GP description of the Shipman.</text>
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              <text>Schmidt, Dieter.</text>
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              <text>Archiv 212 (1975): 120-24.</text>
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              <text>Troilus and Criseyde.</text>
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              <text>Archiv fur das Studium der Neueren Sprachen und Literaturen 212 (1975).</text>
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              <text>jules - 6/10/94 SAC 1 (202)</text>
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                <text>Das Anredepronomen in Chaucers 'Troilus and Criseyde'</text>
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                <text>The alternation of "thou" and "ye" forms in TC may be seen as indicating characters psychological development.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Bergner, Heinz.</text>
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              <text>Sprachkunst 3 (1972): 298-312.</text>
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              <text>1972</text>
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              <text>Miller and His Tale</text>
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              <text>Reeve and His Tale</text>
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              <text>Summoner and His Tale</text>
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              <text>Merchant and His Tale</text>
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              <text>Sprachkunst 03 (1972)</text>
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              <text>mea; 1/11/2016 No SAC</text>
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                <text>Das Fabliau in der Mittelenglischen Literatur</text>
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            <description>An account of the resource</description>
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                <text>Describes the genre of the fabliau and discusses "Dame Sirith," MilT, RvT, SumT, MerT, and ShT as examples in Middle English.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2776094">
              <text>Lynch, Kathryn L.</text>
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              <text>ChauR 42 (2007): 1-22.</text>
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              <text>Background and General Criticism.</text>
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              <text>Chaucer's Life.</text>
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              <text>Chaucer Review 42 (2007)</text>
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              <text>vxl SAC 31:120</text>
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                <text>Dating Chaucer</text>
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                <text>Objective evaluation reveals the "elusive" and contradictory "evidence" on which chronologies of Chaucer's works--and, most notably, constructions of his artistic maturation--are based. These constructions are essentially interpretive activities; Chaucer critics too often "entertain unproven theories about date as if they were fact."</text>
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              <text>Mosser, Daniel W.</text>
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              <text>JEBS 10 (2007): 31-70.</text>
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              <text>Manuscripts and Textual Studies.</text>
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              <text>Journal of the Early Book Society 10 (2007)</text>
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                <text>Dating the Manuscripts of the 'Hammond Scribe': What the Paper Evidence Tells Us</text>
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                <text>Mosser uses paper stock to sequence the Hammond Scribe's work. The article includes photographs of watermarks.</text>
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            <elementText elementTextId="2810486">
              <text>Reiss, Edmund.</text>
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              <text>Papers on Language and Literature 06 (1970)</text>
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              <text>mea ; 08/05/2016 No SAC</text>
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                <text>Explicates the "Gerveys scene" of MilT, focusing in particular on the meaning of "viritoot," the implications of "seinte Note," the demonic and infernal associations of blacksmithing, and Absolon's transformation of character from lover to wrathful.</text>
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              <text>Fleming, John V.</text>
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              <text>Chaucer Review 15 (1981): 287-94.</text>
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              <text>1981</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2724307">
              <text>Monk and His Tale</text>
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            <elementText elementTextId="2724308">
              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>Chaucer Review 15 (1981)</text>
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          <name>Source</name>
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              <text>jules SAC 05 (195)</text>
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              <elementText elementTextId="2724302">
                <text>Daun Piers and Dom Pier: Waterless Fish and Unholy Hunters</text>
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                <text>For his portrait of the Monk in GP, Chaucer probably recalled Dante "Paradiso" 21.118-20, 127-35, an encomium of Peter Damian, and Damian's own words regarding "unholy hunters, cloisterless monks, and waterless fish."  "Palfrey" may be an echo of Dante's "palafreni."  Daun Piers may even recall Dom Pier, Peter Damian himself.</text>
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            <elementText elementTextId="2843257">
              <text>Beichner, Paul E</text>
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              <text>Speculum 34 (1959): 611-19.</text>
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              <text>Speculum 34 (1959)</text>
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              <text>Monk and His Tale&#13;
Style and Versification</text>
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          <name>Source</name>
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              <text>mea; 10/27/2023</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
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            <elementText elementTextId="2843262">
              <text>1959</text>
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                <text>Daun Piers, Monk and Business Administrator.</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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                <text>Argues that the "key fact" in Chaucer's satiric GP description of the Monk is that he is an "outrider," allowing leeway for suggestive details about diet, hunting, and other worldly concerns. Fabricates a fictional dialogue between the Monk and the GP narrator, based on medieval monastic prohibitions, to show how the details might have been revealed in a way that, ironically, encouraged the narrator to approve of the Monk's opinions.</text>
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                  <text>Chaucer Bibliography Online</text>
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            <elementText elementTextId="2820540">
              <text>Wilson, William S.</text>
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        <element elementId="98">
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              <text>American Notes and Queries 4.6 (1966): 83-84.</text>
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              <text>American Notes and Queries 04 (1966)&#13;
ANQ: American Notes and Queries 04 (1966)</text>
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          <name>Chaucer Subject</name>
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            <elementText elementTextId="2820543">
              <text>House of Fame&#13;
Troilus and Criseyde&#13;
Knight and His Tale&#13;
Merchant and His Tale&#13;
Franklin and His Tale</text>
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        <element elementId="109">
          <name>Source</name>
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              <text>mea; 10/23/2013</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2820545">
              <text>1966</text>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="2820538">
                <text>Days and Months in Chaucer's Poems.</text>
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          </element>
          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="2820539">
                <text>Observes the presence of "symmetrical numbers" in the dates mentioned in Chaucer's poetry, e.g., third day of the third month equals May 3 when the annual calendar began in March rather than January. Comments on HF, TC, KnT, MerT, and FranT, as well as the use of such numbers in other literature.</text>
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              <name>Title</name>
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                <elementText elementTextId="521447">
                  <text>Chaucer Bibliography Online</text>
                </elementText>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2709627">
              <text>Karnein, Alfred.</text>
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          </elementTextContainer>
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        <element elementId="98">
          <name>Published</name>
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              <text>Heidelberg: Carl Winter, 1985.</text>
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        <element elementId="114">
          <name>Date</name>
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          <elementTextContainer>
            <elementText elementTextId="2709629">
              <text>1985</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2709631">
              <text>Background and General Criticism.</text>
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          </elementTextContainer>
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        <element elementId="109">
          <name>Source</name>
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            <elementText elementTextId="2709632">
              <text>jules SAC 11 (101)</text>
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            <elementTextContainer>
              <elementText elementTextId="2709626">
                <text>De amore in volkssprachlicher Literatur: Untersuchungen zur Andreas-Capellanus-Rezeption in Mittelalter und Renaissance</text>
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              <elementText elementTextId="2709630">
                <text>Karnein argues that the "De amore" was written at the court of Philip Augustus, not in Champagne; that it was to condemn "courtly love'; and that it was so interpreted by its earlier, clerical audience and only later taken nonironically by lay audiences.</text>
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              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <elementTextContainer>
            <elementText elementTextId="2787848">
              <text>Hoekstra, Klaas, trans.</text>
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        <element elementId="98">
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              <text>Leeuwarden: Elikser, 2010.</text>
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        <element elementId="114">
          <name>Date</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="2787850">
              <text>2010</text>
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        <element elementId="99">
          <name>Physical Description</name>
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          <elementTextContainer>
            <elementText elementTextId="2787851">
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          <name>Chaucer Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="2787853">
              <text>Facsimiles, Editions, and Translations.</text>
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            <elementText elementTextId="2787854">
              <text>Canterbury Tales--General</text>
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          </elementTextContainer>
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          <name>Source</name>
          <description/>
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              <text>vxl sac 34:17</text>
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                <text>De Canterbury ferhalen</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2787852">
                <text>First-time translation of CT into Frisian, following Chaucer's verse forms and omitting Mel and ParsT. Designed for a popular audience rather than a scholarly one. The source text is Albert Baugh's "Chaucer's Major Poetry" (1963), with translation aid from A. Barnouw's Dutch translation, "De vertellingen van de peligrims naar Kantelberg" (1968).</text>
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          <elementTextContainer>
            <elementText elementTextId="2821610">
              <text>Blandeau, Agnès.</text>
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              <text>Karine Martin-Cardini and Jocelyne Aubé-Bourligueux, eds. Le Néo: sources, héritages et réécritures dans les cultures européennes (Rennes: Presses Universitaires de Rennes, 2016), pp. 169-80.</text>
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Aubé-Bourligueux, Jocelyne, ed.</text>
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          <name>Chaucer Subject</name>
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          <elementTextContainer>
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              <text>Sources, Analogues and Literary Relations&#13;
Book of the Duchess&#13;
Legend of Good Women&#13;
Canterbury Tales--General</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="2821608">
                <text>De Chaucer à Cranach: vers une nouvelle image poétique et picturale de Lucrèce?</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2821609">
                <text>Examines echoes, resemblances, and differences between the evocations of Lucretia in LGW, BD, and CT, and German painter Lucas Cranach's portrait (1513) of the Roman paragon of wifely virtue. References to Chaucer's poems, its ancient sources, and the sensuous pictorial representation reveal how the image of Lucretia evolved from the mythic, classic icon to a more realistic, erotic figure. Argues that she morphed, through the prism of male imagination, from an ancient archetype of near saintly perfection, to a prototype of the new woman in the Renaissance.</text>
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