Browse Items (16472 total)

Argues that in its concern with social pretension and its atmosphere of "game and contest," RvT is better regarded as a comic fabliau than as a tale of vengeance that reflects its teller. Compares and contrasts RvT with several fabliaux, including…

Symkyn's name is diminutive of Simon and thus calls up the story of Simon the Magician as found in the Acts of Peter. In a larger sense the rise and inevitable fall of pride that is the tales structural skeleton gains resonance when placed against…

Medieval concepts of love and sex were derived from the worship of Venus, the goddess of love. Art of the period shows men worshipping Venus, as well as men and women trying to win each other's love.

A comparison of Chaucer's narrators and the narrative voices of the "Roman" may clarify the continuing debates on the characteristics of his narrators, their function within the dream poems, and their relation to other narrative voices.

Examining both ecclesiastical and societal patriarchies, SNT addresses medieval concepts of power, authority, and autonomy. It places Cecilia's spiritual vision in the context of a broader secular and sacred order.

"Philosophical, Christian, rhetorical, and courtly traditions" provide bases for the morality and mirth of CT, especially NPT.

Thematic sermon structure, as delineated in English "artes praedicandi," influenced romances as well as other genres. This influence can be seen in "Sir Amadace," "Sir Gawain and the Green Knight," KnT (Theseus's speech on order), WBT (the…

Reconsiders relations among ShT, Sercambi's "Novelle" no. 31, and Boccaccio's "Decameron" nos. 8.1 and 8.2, suggesting that it is "not unreasonable" to think that Chaucer "might have known all three of the analogues."

Corroborates Terry Jones's view that Chaucer was a pacifist, and argues that Jones and Chaucer both use humor and indirection against war. Chaucer was very earnest in his critiques of war in Mel and ParsT, but less direct in KnT and his description…

Establishes relationships between CYP and parts of CYT. The Yeoman shows himself as unstable as alchemy, caught between desire for success and fear of losing his soul.

Diomede in TC is a composite character of traits recalling Troilus the courtly lover and Pandarus the crafty pragmatist.

In its narrative strategy and its theme of the comic irrelevance of the abstractions on which men try to base their lives, Nigel of Longchamps' medieval Latin beast fable, "Speculum Stultorum," provided a suggestive model for Chaucer's NPT.

SqT dramatizes the relationship between two types of narrative: the fantastic and the metafictional. The former is seen in the mirror, ring, steed, and sword brought to Cambyuskan's court; the latter, in the response to these gifts by the courtiers…

From Greek medicine, the concept of the six "non-naturals" intensifies and clarifies the relationship between the friar and Thomas and throws light on the summoner in FrT. The "non-naturals" are circumstances that affect health: air, sleep and…

The Friar, who does not want Thomas to divide his money among several confessors, argues that likewise an ill man should not divide his among several physicians. He thus materializes the penitential injuction not to divide one's confession among…

Chaucer's phrase is traditionally interpreted, "Yet for all the oxen in my plough, I would not take upon me more than enough (i.e., be overly suspicious)." A more accurate reading, however, is "I would not take upon me more than the oxen in my…

Surveys critical approaches to Mel and discusses its themes of "the good woman" and forgiveness; also assesses Mel as a complex, multi-leveled allegory.

After discussing various readings for the phrase, "In termes hadde he cas and doomes alle..." (GP 323), Wentersdorf argues that "term" is equivalent to a court session: thus, when courts were in session, this man of law had at his disposal all the…

WBT and Mel contain comparable female characters who use discourse to challenge the antifeminist patristic tradition. The plot in both tales--the transformation of a misguided male by a knowledgeable woman--points to a more "peaceful" world where…

The relationship between Troy's story and Criseyde's demonstrates Chaucer's vision of how common Destiny frames but ultimately releases individual free will. The "de casibus" frame comments on the human condition; like Troy and Criseyde, we are…

Traces the "stylistic and ironic aspects of 'honde'" in WBP, showing how uses of the word and related imagery anticipate the Wife's mastery of Jankyn.

The rhetorical trope 'translatio' subsumes metaphor, allegory,and irony, providing a basis for understanding how the Pardoner translates himself into his characters and the Old Man into the rioters. The Pardoner represents his own Otherness while…

Explores the influence of Italian and French vernacular versions of Ovid's "Heroides" on the legends of LGW, where Chaucer engages and undermines the historical emphasis of these vernacular versions and reasserts the literary, rhetorical authority of…

Reads LGWP as an indication of Chaucer's theory that writing is based largely on the reading of others. Chaucer's narrator is confronted with the implications of this theory.

The famous "Troilus" Frontispiece has created an image of Chaucer's audience as the royal court with Richard and Ann. But such identification in an unrealistic picture, clearly a presentation-picture variant, is impossible. Chaucer's actual audience…