Blake, N. F.
Leeds Studies in English 13 (1982): 42-55.
Manuscript evidence suggests Chaucer's developing conception of the Wife in her GP portrait, the shorter prologue found in some MSS, the tale, and references made in ClT, MerT, and Buk. Some passage were added to WBT at a later date.
Pigott, Margaret B.
Fifteenth-Century Studies 5 (1982): 167-89.
BD and PF shift from "belief to skepticism in Chaucer's attitude toward the three principal ways of arriving at truth--religious experience, written authorities, and revelations of dreams."
By comparing Chaucer's TC with Boccaccio's "Filostrato" in sounds, grammar, word choice, similes and metaphors, ambiguities, and construction, the article investigates Chaucer's literary and linguistic imitation and humorous innovation.
In Form Age, as in medieval tradition, Nimrod represents the final stages of decline, especially the lust for political dominance, in the world after Adam's Fall.
Fisher, John H.
Thomas D. Cooke. ed. The Present State of Scholarship in Fourteenth Century Literature (Columbia and London: University of Missouri Press, 1982): pp. 1-54.
Killough, George B.
Studies in the Age of Chaucer 4 (1982): 87-107.
Examines the use of the virgule in Hengwrt and Ellesmere in the context of historical usage; the "virgule placement is highly regular" in these manuscripts, suggesting that the virgule is scribal rather than part of the Chaucer text.
Manuscript evidence indicates that only after Chaucer's death did editors assemble copies of individual tales and links to arrange the fragments (reflecting various stages of development in Chaucer's plan) into their differing ideas of a coherent…
Ramsey, Roy Vance.
Studies in Bibliography 35 (1982): 133-54.
Statistical analysis shows CT MSS Hengwrt and Ellesmere as the work of two scribes of closely similar hands, who possibly trained under the same master. The Ellesmere scribe himself is probably "the source of much of the editing" in that MS.
The eight manuscript portraits of Chaucer and the three of Hoccleve are described. Those of Chaucer in Ellesmere and Harley 4866 are possibly independent copies of a common ancestor, now lost. All other portraits of Chaucer depend on their…
Sherbo, Arthur.
Studies in Bibliography 35 (1982): 154-55.
Antiquary Samuel Pegge, writing in "Gentlemen's Magazine" of June, 1758, quotes LGW MS in his possession. The text is close to that in British Library Additional MS 9832, but Pegge's was probably a different, now lost, MS.
This fourteenth-century MS carries the notation "Ch," perhaps for "Chaucer," before fifteen of its 310 French lyrics. Wimsatt edits the "Ch" poems and ten others from the collection to illustrate the kind of French poetry that Chaucer might have…
Longo, John Duane.
Dissertation Abstracts International 42 (1982): 4444A.
The medieval understanding of "translatio" comprises not only recasting in another language but also literary interpretation. In drawing on the "Roman" (already richly allusive), Chaucer adapts Jean de Meun's "mirouer" technique for works of various…
Burnet, R. A. L.
Notes and Queries 227 (1982): 115-16.
Although Ann Thompson's "Shakespeare's Chaucer: A Study in Literary Origins" explores parallels between TC and LGW and "The Merchant of Venice," it does not note the Chaucerian echoes in Portia's warning of Bassanio (5.1.23Off.), which is similar to…
Cooper, Helen.
Leeds Studies in English 13 (1982): 104-23.
Wyatt's awareness of the power of direct language is Chaucerian, as is the flexibility of his use of rhyme royal. Unlike Chaucer, however, Wyatt is a poet of the contraries existing within the individual, and whereas Chaucer advocates a stable mind…
