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              <text>Grace, Robert.</text>
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              <text>Sinsear (Dublin) 7: 41-48,   1993.</text>
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              <text>Reeve and His Tale.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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              <text>jules SAC 24 (246)</text>
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                <text>Irish Analogues to the Reeve's Tale</text>
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                <text>Reconsiders the 127 Irish analogues to RvT cited in Antti Aarne and Stith Thompson's "Types of Folktale" and reduces them to four. Comments on the transmission of the various motifs in the Tale, suggesting that Chaucer may have gotten the Tale from English oral tradition.</text>
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              <text>Jennings, Margaret, C.S.J.</text>
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              <text>Florilegium 5 (1983): 178-88</text>
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              <text>Miller and His Tale.</text>
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              <text>mea SAC 08 (141)</text>
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                <text>Ironic Dancing Absolon in the 'Miller's Tale'</text>
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                <text>Absolon's twenty manners of dance after the school at Oxford may be traceable to the Morris dance troupes in the Oxford area, whose repertoire numbered approximately twenty dances. Absolon is ironically linked to dances which cast him in the role of Fool or of a man-woman character.</text>
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              <text>Pattison, Andrew John.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>Ironic Imitations: Parody, Mockery, and the Barnyard Chase in the "Nun's Priest's Tale."</text>
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                <text>Contextualizes the barnyard chase scene of NPT alongside late medieval hunting treatises, and questions the juxtaposition between the chase and the medieval noble hunt. The parody of this hunt offers multiple layers of meaning, from criticism of the noble hunt itself to the failure of someone trying to seem noble.</text>
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              <text>Roberts, Valerie S.</text>
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              <text>Chaucerian Shakespeare (Ann Arbor: Michigan Consortium for Medieval and Early Modern Studies, 1983), pp. 97-117.</text>
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              <text>Chaucerian Shakespeare.</text>
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              <text>Merchant and His Tale.</text>
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                <text>Ironic Reversal of Expectations in Chaucerian and Shakespearean Gardens</text>
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                <text>The gardens of MerT and "A Midsummer Night's Dream" are not idyllic "gardens of love" but "gardens of vanity," the setting for human deceit, folly, and cruelty.</text>
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              <text>Chickering, Howell D.</text>
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              <text>Nicolay Yakovlev, ed. Lecture Series (St. Petersburg: Linguistic Society of St. Petersburg, 2003), pp. 20-37. Rpt. from Yazyk i rechevaya deyatet'nost' (Language and Language Behavior) 4 (2001): Supplement.</text>
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              <text>General Prologue to the Canterbury Tales.</text>
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                <text>Ironic Tones of Voice in the General Prologue</text>
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                <text>Close reading of several GP descriptions (including the Knight, Monk, Clerk, Sergeant at Law, and Summoner) shows how Chaucer's shifting tones produce ironic implications.</text>
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              <text>Wurtele, Douglas (J.)</text>
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              <text>Chaucer Review 13 (1978): 66-79.</text>
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                <text>Ironical Resonances in the 'Merchant's Tale'</text>
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                <text>Alongside January's outright parody of "Canticum Canticorum," a web of allusions thereto sets up an ironic juxtaposition of May and the Virgin Mary, reinforcing the bitterness permeating MerT; these subtle allusions also reflect the Merchant's desire to offer May as an ironic contrast to the Virgin-type Griselda of preceding ClT.</text>
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              <text>Lázaro Lafuente, Luis Alberto</text>
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              <text>Luis A. Lazaro Lafuente, Jose Simon, and Ricardo J. Sola Buil,eds.  Medieval Studies:  Proceedings of the IIIrd International Conference of the Spanish Society for Medieval English Language and Literature (Madrid: Universidad de Alcala de Henares, 1996), pp. 207-15.</text>
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              <text>Proceedings of the IIIrd International Conference of the Spanish Society for Medieval English Language and Literature.</text>
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              <text>Proceedings of the Third International Conference of the Spanish Society for Medieval English Language and Literature.</text>
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                <text>Surveys the kinds of irony and humor in PardPT for the ways they characterize the Pardoner.</text>
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              <text>Lawton, David.</text>
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              <text>Leeds Studies in English 14 (1983): 94-115.</text>
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              <text>Troilus and Criseyde.</text>
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                <text>Irony and Sympathy in 'Troilus and Criseyde': A Reconsideration</text>
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                <text>Shifts of tone and tension between ironies of fatal necessity and fateful will create balance between appreciation of the lovers' nobility and pessimism about their frailty.  The oxymoron functions thematically and modally:  religious passion combined with ludic casuistry, sympathy with irony.</text>
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            <elementText elementTextId="2731014">
              <text>Fyler, John M.</text>
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        <element elementId="98">
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              <text>Speculum 52 (1977): 314-28.</text>
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                <text>Irony and the Age of Gold in the 'Book of the Duchess'</text>
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                <text>The narrator of BD, who sees in the tale of Ceyx and Alcyone an exemplum of the loss of their "golden age" love, realizes that the love of the knight is an analogue of the happy fulfillment of the couple's love.  Thus, the actual consolation of the elegy comes in an indirect, aesthetic way for the reader and not for the narrator.</text>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2718211">
              <text>Hansen, Elaine Tuttle.</text>
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        <element elementId="98">
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              <text>Journal of English and Germanic Philology 82 (1983): 11-31.</text>
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        <element elementId="114">
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              <text>Legend of Good Women.</text>
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              <text>jules SAC 08 (212)</text>
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                <text>Irony and the Antifeminist Narrator in Chaucer's 'Legend of Good Women'</text>
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                <text>LGW satirizes the narrator's perspective on women rather than examining feminine virtue.  Obvious distortions of the legends reveal the deficiency of the narrator's attitude:  he idealizes women in passivity, irrationality, and stupidity.</text>
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                <text>Not unfinished, LGW concludes aptly with Hypermnestra "sittynge in hire drede."</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2694621">
              <text>Pelen, Marc M.</text>
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        <element elementId="98">
          <name>Published</name>
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            <elementText elementTextId="2694622">
              <text>Forum for Modern Language Studies 27 (1991): 1-22.</text>
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          <name>Date</name>
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              <text>1991</text>
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              <text>Clerk and His Tale.</text>
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              <text>Sources, Analogues, and Literary Relations.</text>
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          <elementTextContainer>
            <elementText elementTextId="2694627">
              <text>Forum for Modern Language Studies 27 (1991)</text>
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              <text>mea</text>
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                <text>Irony in Boccaccio's Decameron and in Chaucer's Clerk's Tale</text>
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                <text>Just as the themes of liberality and magnificence are treated ironically in Decameron 10, particularly in the tale of Griselda (10.10), so ClT is as "poetically and morally suspect" as are WBT and FranT.  Both poets use multiple narrators and traditional material (including Scripture) to expose "contradictory or competing half-truths," forcing the reader to think critically.</text>
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              <name>Title</name>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Blanch, Robert J.</text>
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              <text>Lock Haven Review 8 (1966): 8-15.</text>
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              <text>Lock Haven Review 08 (1966)</text>
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              <text>Merchant and His Tale&#13;
Style and Versification</text>
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              <text>mea; 10/21/2018</text>
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              <text>1966</text>
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          <element elementId="41">
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              <elementText elementTextId="2825114">
                <text>Demonstrates the presence of three kinds of irony in MerT: verbal irony in the Merchant's double entendres and introductory comments on marriage, rhetorical irony in the deflation of courtly ideals by means of distorted or exaggerated figures and devices, and dramatic irony in the audience's awareness of what January recurrently fails to perceive. </text>
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                <text>Irony in Chaucer's "Merchant's Tale."</text>
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              <text>O'Reilly, William M., Jr.</text>
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              <text>Greyfriar 10 (1968): 25-39.</text>
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              <text>Greyfriar 10 (1968)</text>
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              <text>Canon's Yeoman and His Tale</text>
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              <text>mea; 12/20/2017</text>
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            <elementText elementTextId="2816549">
              <text>1968</text>
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                <text>Irony in the "Canon's Yeoman's Tale."</text>
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              <elementText elementTextId="2816543">
                <text>Argues that "there is an ironically complex relationship of the speaker to what he says" in CYPT, particularly in the way that the Yeoman's simplistic understanding of alchemy leads him to abandon the evils of alchemy while the Canon's intelligent comprehension of the complexities of the science involve him with its trammels in an ongoing way.</text>
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Style and Versification</text>
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              <text>Slade, Tony.</text>
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                <text>Treats WBT as an "expression of her personality," focusing on the "matter-of-fact" tone of the tale, its humor, and its "tolerant sexual irony." However, Chaucer undercuts "her views and reactions" ironically, particularly in the pillow lecture of gentilesse which is "commonplace and laboured," followed by a "sentimental" conclusion.</text>
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              <text>Adams, John F.</text>
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Style and Versification</text>
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                <text>Irony in Troilus' Apostrophe to the Vacant House of Criseyde.</text>
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            <description>An account of the resource</description>
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                <text>Observes a variety of astrological and sexual puns, allusions, and emphases in Troilus's address to Criseyde's house ("paraclausithyron"), distancing the reader from Troilus's grief and emphasizing sensual love.</text>
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              <name>Title</name>
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        <element elementId="98">
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              <text>Style and Versification&#13;
Sources, Analogues, and Literary Relations&#13;
Friar and His Tale&#13;
Reeve and His Tal&#13;
Shipman and His Tale&#13;
Merchant and His Tale&#13;
Miller and His Tale</text>
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                <text>Irony Through Imagery: A Chaucerian Technique Studied in Relation to Sources, Analogues and the Dicta of Medieval Rhetoric.</text>
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                <text>Shows that Chaucer uses "rhetorical figures . . .  [to] produce imagery," analyzing the "use of imagery" in FrT, RvT, ShT, MerT, and MilT--in comparison with sources, where available--and focusing on how he uses imagery to  create ironic effects not found in his sources or rhetorical theory</text>
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              <text>Knoepflmacher, U. C.</text>
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              <text>Chaucer Review 4.3 (1970): 180-83.</text>
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              <text>Prioress and Her Tale</text>
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              <text>Chaucer Review 04 (1970)</text>
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              <text>mea; 07/15/2016 No SAC</text>
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                <text>Suggests that two allusions to Matthew's gospel in the GP description of the Prioress contribute to the "ironic stance" of the description, despite the narrator's "calculated evasiveness."</text>
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              <text>Elisabeth Dutton, with John Hines and R. F. Yeager, eds. John Gower, Trilingual Poet: Language, Translation, and Tradition (Cambridge: D. S. Brewer, 2010), pp. 206-16.</text>
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              <text>Style and Versification.</text>
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              <text>vxl sac 34:90</text>
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                <text>Nicholson asserts that critics' "willingness to detect irony at every turn" is appropriate in Chaucer studies, but not in Gower studies, arguing that paradox is a recurrent and sustained mode of thought and expression in Gower's "Confessio." Surveys examples of irony in Chaucer's works.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Kim, Soon Bae.</text>
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                <text>In the course of examining relational aspects of author and audience, discusses humor in CT, particularly in MilT.</text>
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              <text>Parliament of Fowls.</text>
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              <text>vxl sac 28:178</text>
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                <text>Discusses how PF, "The Assembly of Ladies," and "The Owl and the Nightingale" reflect late medieval court proceedings, gender issues, and eschatology.</text>
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              <text>Gutiérrez Arranz, José M.</text>
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              <text>Ana María Hornero and María Pilar Navarro, eds. Proceedings of the 10th International Conference of S.E.L.I.M. (Zaragoza: Institucion Fernando el Catolico (CSIC), 2000), pp. 63-74.</text>
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              <text>Proceedings of the 10th International Conference of S.E.L.I.M.</text>
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              <text>Treatise on the Astrolabe.</text>
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              <text>jules SAC 24 (341)</text>
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                <text>Connects Chaucer's views in Astr with a scientific and philosophic tradition of the "Physis" that started in ancient Greece.</text>
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              <text>Bovaird-Abbo, Kristin.</text>
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              <text>Quidditas 35 (2014): 8-28.</text>
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              <text>Tale of Sir Thopas</text>
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              <text>mea; 3/03/2017 sac 38:181</text>
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                <text>Is Geoffrey Chaucer's 'Tale of Sir Thopas' a Rape Narrative'? Reading Thopas in Light of the 1382 Statutes of Rape</text>
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                <text>Th is told between PrT and Mel, two stories that feature violence. While Th is often read as an innocent parody of romance, there are suggestions of potential violence. In his encounter with the elf queen. Sir Thopas represents the threat against the female body and Sir Olifaunt  actually functions as her protector.</text>
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              <text>Russell, J. Stephen.</text>
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              <text>Chaucer Review 30 (1995): 107-09.</text>
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              <text>jules SAC 19 (1997) - 289</text>
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                <text>Is London Burning? A Chaucerian Allusion to the Rising of 1381</text>
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                <text>HF 2.935-49 contains references to the uprising of 1381, the attack on the Temple, and the burning of the Savoy.</text>
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                <text>  Watling Street was the route the peasants took, and the young "Pheton," the "sonnes sone" (of Edward III), refers to Richard II.  These references provide a "terminus a quo" for HF, placing it much later than previously suggested.</text>
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