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By deliberate excision lines 1188-1203 of LGW can be reduced from decasyllables to octosyllables, illustrating the different effects of the lines, especially the longer "breath" of the decasyllable.

Although Chretien's "Cliges" is not a major source for FranT, thematic and verbal correspondences suggest that Chaucer used it in a complex fashion.

Walter and Griselda embody qualities to be found in medieval discussions of tyrants and "commune profit," but they go beyond abstract ideas as characters in their own right.

Chaucer's punning in ShT is complex, some puns depending upon the eye ("tale," "tallynge") and others upon the ear alone. The Shipman imports into English a foreign form (the fabliau) and foreign (especially French) financial words "that hadden…

An automaton "who is both theologically and in ordinary human terms...dead," the Pardoner, whose sexuality emphasizes his deadness, may yet be redeemed in the words of the Old Man.

Four Platonic "forms" infuse Chaucer's works: eating and drinking, sexuality and love, play and seriousness, and the making of art.

A report of the publication schedule and membership of the Chaucer Library Committee.

Psychoanalytical criticism provides an unsatisfactory view of BD. The structure is rhetorical and Chaucer "leaves the dialectic unresolved, the syllogism of consolation incomplete."

Nabokov, Barth, and Joyce have rediscovered the solipsistic mode of fiction of which Chaucer was an accomplished practitioner.

Latin, rather than OF, sources, especially the twelfth-century "Isengrimus," provide parallels with NPT. The fifteenth-century Low German "De vos und de hane" was derived orally from the "Isengrimus." Possibly Chaucer heard an analogous English…

Clerk John's oath by "seint Cutberd" (line 4127) is to the appropriate saint Cuthbert, but Chaucer puns on "cut-beard," suggesting sexual deceit.

The problem of ascertaining Chaucer's audience(s) is complex, running from the fictional one of GP to the real audiences of the poet's day to the audiences of the present.

The poems to Scogan, Bukton, and Vache, and those to Richard II and Henry IV provide evidence of the makeup of the audience, with whom the poet shared an interest in good manners and good humor.

Chaucer departs from the traditional estates satire by using commercial language and allusion, for an audience with a commercial attitude.

Symposium by thirteen Chaucerians.

Exegetical criticism of Alcyone in BD misleads since it neglects the traditional significance of Alcyone (as in Petrarch and Boccaccio).

Establishes parallels between MLT and "Emare" of manuscript Cotton Caligula A II to explain details not found in Trevet.

Birds as the participants in the "demande d'amour" game are comic, as is Nature the judge: her ineptness is both risible and serious, as traditionally she is limited by the Fall.

Views MilT in context of Maurice Merleau-Ponty's theories on perception, immanence, and transcendence.

In his portrait of the village parson, the Reeve uses the language of traditional complaint literature, especially in attacking simony.

A limitation of the "dramatic" interpretation of CT is its focus upon pilgrims rather than tales. Th and Mel show contrasting narrative modes.

The inscription on Blanche's tomb confirms that she died in 1368.

"The Pilgrimage of the Lyf of the Manhode," the ME translation of de Guilleville's "Pelerinage de la vie humaine," leads to an emendation of Chaucer's lyric, which should probably read (lines 38-39): "So litel shal thanne in me be founde / That but…

Evidence both internal and external suggests that women were a distinct minority in Chaucer's audience.

In translating Bo from the original Latin and a French translation, Chaucer often adapts a word from the latter to create new concepts, especially with English gerunds.