Browse Items (16479 total)

The Prioress's portrait in GP and NPT both draw from aspects of the Lancelot story. The Prioress partially models her own life on that of Guinevere without the full religious conversion that Guinevere undergoes after the death of Arthur. The Nun's …

Considers Chaucer's use of Arthurian legend, from his use in TC of the traditional French conception of Lancelot for Troilus to his examination of the subtext the legend provides for the fabric of fourteenth-century English society. In particular,…

Intertextual relationships among MerT, SqT, and FranT indicate differing attitudes toward perception, loyalty, and treason, particularly focused in the depictions of squires. Chaucer's Squire condescends to the lower classes and their ignorance of…

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…

A collection of thirty-two eighteenth-century modernizations of CT by at least seventeen authors, known and anonymous. Valuable in an exploration of reception aesthetics and reader-response theory.

Examines traditions and analogues of the ballad "The Wanton Wife of Bath," a thirteenth-century Old French fabliau analogue, and post-Chaucerian versions. Texts included for various versions.

Lists recordings of Chaucer, of Middle English excluding Chaucer, and of Old English. Analyses of elocutive style and evaluations are provided for Chaucer only. Includes a review of Chaucer scholarship relevant to pedagogy as well as a bibliography.…

Concerned with textual ambiguity and flexibility in oral performance, Bowden compares varying interpretations of passages from CT. Pedagogical interpretative slant.

CT tapes are useful in interpreting the GP Prioress and excerpts in PardT, MerT, WBT, and NPT.

In his paintings of the Canterbury pilgrims, Blake shows the influence of previous illustrations for and commentary upon CT, but goes beyond the artistic and textual tradition to set the group of pilgrims in his own Blakean cosmos, pairing characters…

Compares depictions of Chaucer-the-pilgrim, the Knight, the Squire, the Monk, the Shipman, and the Reeve by the anonymous illustrator of John Urry's 1721 edition of Chaucer's "Works" and by James Jeffreys. The comparison reveals that "readers in…

Compares the treatment of proverbs in three eighteenth-century modernizations of MilT, assessing shifts in form, shifts in emphasis, and sensitivity to Chaucer's original. Considers how proverbs may "function as microcosms" of reader response and…

Surveys pilgrim protraits, ranging from Caxton's woodcuts to Blake's 1809 (1810?) engraving of "Chaucer's Canterbury Pilgrims," exploring "earlier readers' understandings of Chaucer's text (in order) to begin to distinguish those perceptions that…

William Painter's frame-narrative proverb collection reflects the general influence of CT and perhaps the more specific influence of Mel.

Examines select passages of moderizations of ShT by John Markland, Henry Travers, Andrew Jackson, and William Lipscomb for how their diction, imagery, and emphases encourage us to approach the Tale as "implied performance." All four interpret and…

The treatment of horses and horsemanship helps to contrast the "secular lightheartedness" of Thomas Stothard's 1809 painting of the Canterbury pilgrims and the "heartfelt religious fervor" William Blake sought to convey in his 1807 engraving.

Bowden defines "sentence," "sawe," and "proverbe" in relation to terms used in the French and Latin sources of Mel, comparing Mel to pedagogical proverb collections to explore Chaucer's "creative interaction with oral tradition."

Reproduces and assesses various eighteenth-century depictions of CT or the Canterbury pilgrims, including Thomas Stothard's illustrations for Bell's British Poets (1782-83), the set of pilgrim portraits (here associated with John Vanderbank) in John…

Contrary to Stephen R. Reimer's crediting them to George Vertue (in Chaucer Review 41 [2006]), the drawings for the Urry portraits were executed by J. Chalmer and printed thereafter from engravings by Vertue.

Discusses four versions of Arcite's death and focuses on the actions of the horses in each: in Boccaccio, as in Statius, divine interventions frighten the horses; Chaucer's Arcite falls due to both a god's intervention and his own pride; in Dryden,…

Analyzes manifestations of the Wife of Bath throughout 1660-1810, in seven chapters on primarily verbal art and seven on primarily visual art. Melds methodologies from the disciplines of literature, art history, musicology, education, folklore, print…

Reprints the original version of 1948, with a very brief second preface (half page) and appended additional material and bibliography (pp. 317-28). Throughout the reprinted text, the additional material is signaled by means of daggers included in the…

Discusses CT as part of a larger consideration of patience--especially female patience--and notes that Chaucer often links patience with epistemological limits.

Introduces Chaucer's life and works to "those who are new readers" of the poet, evoking a sense of late-medieval life, especially London, Chaucer's court life, and international contexts. Explicates the tales and tellers of CT in thematic chapters,…

Bowen considers the treatment of stringed instruments in Chaucer's Latin sources, their treatment as symbols of "celebration and peace" for characters in CT, and connections between the instruments and concepts of bodies. Stringed instruments…