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A comparison of Criseida and Criseyde.

A total of 284 items including reviews.

Cassandra's "olde stories" of the Calydonian boar and of the siege of Thebes are not digressions but analogies that draw prophetic parallels between Troilus's situation and the circumstances of both the Trojan and the Theban wars. Past disputes led…

William Empson writes of the concentrated imagery and controlled partial confusion in TC. In book 5, Chaucer manipulates the imagery of the voyage, star-steer, sun-son, etc., to bring the poem to its climax, wherein the narrator cannot indict…

A shortened version of a paper in Medievalia et Humanistica 12 (1984): 167-85.

Chaucer alters Boccaccio's antifeminism and practical conclusion to "Il Filostrato" to emphasize contempt of the world and poetry.

In his most Boethian poem, Chaucer relies heavily on Nicholas Trevet's "Commentary" on the Consolation of Philosophy, even versifying one of Trevet's glosses and adopting his Aristotelian interpretation.

The prayer for might to "make in som comedye" (TC 5.1788) is not a scribal error but an indication that Chaucer may have seen the poet, like God, as a creator who enters his own fictive world and creates from "within" it.

The development of literary imagery and language in TC, book 3, reveals the distinctiveness of Chaucer's approach to Dante's "Purgatorio;" Chaucer's power and control over the language far exceed Boccaccio's in the "Filostrato."

In Pandarus's seduction of Criseyde in book 2 of TC and in Diomede's seduction of her in book 5, the gestures invite plural interpretations.

Corrects critical equations of narrative fiction with prose fiction; investigates narrative strategies and apocalyptic closure in TC.

Chaucer's changes from Boccaccio's 'Il Filostrato' in the swoon scenes develop the characterization of the three participants, adding comedy and reflecting medical treatments of the swoon.

In Brasdefer's "Pamphile et Galatee" appears Houdee, a professional go-between. Possibly Chaucer used Houdee as a basis for his Pandarus in TC, thus providing the earthy undercurrent beneath the Boccaccio source.

Invoking recent attempts by Minnis and by Allen to establish a medieval literary theory by which to measure Chaucer, Millett analyzes Chaucer's use in TC of the "auctor," "Lollius," a "transparent literary artifice." Through his "parody of the…

Treats the "relevant historical events, some basic attitudes (of the era), literary stragtagems," and TC itself, which is a "vivid example of the degrading and disastrous consequences" when a noble, valorous man places his seduced private will above…

Argues, from the symmetrical structure of TC, binary rather than the popular five-part interpretation. Manuscript studies suggest that Chaucer originally wrote TC as a two-part poem and later changed it. Shakespeare had the same conflict.

Through courtly love, Boethian philosophy, and Godly intervention, Oedipal fantasies of Freud are played out in TC.

Derived from Matheolus's "Lamentationes," the two crowns or "corones" in TC 2.1935 are rewards for Troilus's fidelity in marriage and his heroic death in the Trojan war.

Although the principles of order are not treated in medieval rhetoric books, they govern the structures of representative texts, including TC.

TC has fifty-six developed lyric passages. The frequent ballade-like sequences of stanzas in these passages and the rhyme-royal form adapted from the ballade, together with Chaucer's uses of Machaut's "Remede de Fortune," show that TC has an…

In late November, 1984, Jupiter, Venus, and the crescent moon were in the same configuration Chaucer may have seen May 12,1385, and mentioned in TC 3, associated with the torrential downpour. The terminus a quo for TC 3 is 1385.

Chaucer portrays Criseyde both alone and with a family--a dualism of portrayal inherited from the rhetorical tradition of viewing things from both sides, as in Cicero's "De inventione."

These highly unconventional epistolary poems lack well-defined literary antecedents and clearcut sources, instead reflecting the poet's own experiences and opinions on his craft and love and marriage. As universal ironic statements by a naive…

In Wom Nob, Chaucer uses traditional "topoi" and rhetorical and syntactic structure in French style; Ros is a playful parody of these conventions.

Two references in John Jones's sixteenth-century "The Arte and Science of Preserving Bodie and Soule in Healthe, Wisedome, and Catholike Religion" praise Chaucer's English language and ParsT.