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              <text>Eliason, Norman E.</text>
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              <text>Modern Language Notes 71.3 (1956): 162-64.</text>
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              <text>Style and Versification&#13;
Reeve and His Tale&#13;
Clerk and His Tale</text>
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              <text>mea; 12/5/2024</text>
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                <text>Some Word-Play in Chaucer's Reeve's Tale.</text>
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                <text>Suggests that the pun on "hooly" in RvT 1.3983-84 as "holy" and wholly" encourages us to also see further word-play in the tale: "panne" as "penny" at 1.3944 and "allye" as "alloy" at 1.3945, both related to recognizing the connotations of "bras" as counterfeit at 1.3944. Adduces brass as alloy and counterfeit in ClT 4.1167-69</text>
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              <text>Donovan, Mortimer J.</text>
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              <text>Neuphilologische Mitteilungen 57 (1956): 237-46.</text>
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              <text>Neuphilologische Mitteilungen 57 (1956)</text>
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              <text>Tale of Sir Thopas</text>
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              <text>mea; 12/5/2024</text>
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                <text>Sir Topas, 772-774.</text>
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                <text>Explores Chaucer's association between love-longing and the song-thrush in Th 7.772-74, clarifying the significance of the bird in patristic commentary, bestiaries, and poetic tradition, and suggesting that it may indicate  that Thopas's passion for the elf-queen is both absurd and carnal.</text>
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              <text>D'Evelyn, Charlotte.</text>
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              <text>PMLA 71(1956): 275-79.</text>
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              <text>Troilus and Criseyde&#13;
Language and Word Studies&#13;
Manuscripts and Textual Studies&#13;
Facsimiles, Editions, and Translations</text>
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              <text>mea; 12/5/2024</text>
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                <text>Pandarus a Devil?</text>
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            <description>An account of the resource</description>
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                <text>Considers manuscripts, editions, translations, and contemporary examples to explore Troilus's use of "devel" in TC 1.623, documenting variety in reading it as direct address, expletive, or exclamation. Shows that Troilus is not calling Pandarus a devil despite D. W. Robertson's ascertain that he was.</text>
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              <text>De Selincourt, Aubrey. </text>
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              <text>London: Hamish Hamilton, 1956.</text>
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              <text>247 pp.; b&amp;w illus.</text>
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              <text>Background and General Criticism&#13;
Style and Versification&#13;
Chaucer's Life&#13;
Trolius and Criseyde&#13;
Canterbury Tales--General</text>
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              <text>mea; 12/5/2024</text>
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                <text>Six Great Poets: Chaucer, Pope, Wordsworth, Shelley, Tennyson, the Brownings.</text>
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                <text>The opening chapter offers subjective, impressionistic appreciation of Chaucer's life, language, poetry, and links among them, proclaiming Chaucer to be "one of the most English of our poets" in his "tolerance, sweetness, and the lambent flame of an all-pervading irony," and one who "stood alone" in his own age for his realism, comedy, and acceptance of humanity, foibles and all. Includes summary descriptions of TC and CT, with emphasis on characterization and thematic generosity. Includes a b&amp;w reproduction of the National Portrait Gallery image.</text>
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              <text>Chute, Marchette.</text>
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              <text>English Journal 45 (1956): 373-80, 394.</text>
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Canterbury Tales--General&#13;
Prioress and Her Tale</text>
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                <text>On the Pleasure of Meeting Chaucer.</text>
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                <text>Appreciative criticism of CT, particularly Chaucer's realism, stylistic variety, and deft characterization, including that of his own persona. Comments on his life and language and on the appropriateness of individual tales to their tellers. Reads PrT as a "weapon" to help in the destruction of ignorance.</text>
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              <text>Modern Language Notes 71.1 (1956): 4-5. </text>
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              <text>Modern Language Notes 71 (1956)</text>
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Wife of Bath and Her Tale&#13;
Merchant and His Tale</text>
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              <text>mea; 12/5/2024</text>
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                <text>The "Shipman's Tale" Was Meant for the Shipman.</text>
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                <text>Challenges claims that the first-person feminine pronouns of ShT 7.11-19 indicate that the tale was originally intended to be told by the Wife of Bath, reading the lines as if they were presented in a "miming male" voice, and suggesting that the tale is particularly appropriate to the Shipman as a response to the Merchant, dramatization of antagonism between their two linked professions.</text>
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              <text>Candelaria, Frederick H.</text>
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              <text>Modern Language Notes. 71 (1956)</text>
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              <text>Pardoner and His Tale&#13;
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              <text>mea; 12/5/2024</text>
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                <text>Chaucer's "Fowle Ok" and "The Pardoner's Tale."</text>
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                <text>Suggests that the portentous oak of PardT 6.765 (no species mentioned in analogues) gains dimension in light of Chaucer having been robbed at a "fowle oak" in Kent in 1390, and also suggests, therefore, that Chaucer must have been written PardT after this incident.</text>
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              <text>Journal of English and Germanic Philology 55 (1956): 324-30.</text>
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                <text>The "Wife of Bath's Tale" and the Mirror Tradition.</text>
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                <text>Comments on how "the medieval mirror and wisdom metaphor is utilized" in WBP and helps to characterize the Wife, ironically, as a figure of comic "worldly prudence" rather than true wisdom. Cites other examples from CT of ironic characterization "built basically on a contrast between exemplary or mirror values and realistic details."</text>
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              <text>Modern Language Notes 71.3 (1956): 165.</text>
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              <text>Modern Language Notes 71 (1956)</text>
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                <text>Chaucer, the Man of Law's Introduction and Tale.</text>
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                <text>Suggests that Chaucer's dismissive reference to incest in MLP 77ff. alludes not to Gower's "Confessio Amantis" but to his own hesitation in writing a version of the "well known folk tale of the Incestuous Father," hesitating "on grounds of taste to write a religious tale in which incest was an essential element of the plot."</text>
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              <text>Modern Language Notes 71 (1956)</text>
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              <text>Clerk and His Tale&#13;
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                <text>Chaucer, the Clerk's Prologue.</text>
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                <text>Connects the Clerk's uses of "heigh style/stile" in ClP 4.18 and 41 rather than reading the latter as a mistranslation of Petrarch "stylo alio" as stylo alto."</text>
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              <text>Baum, Paull F.</text>
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              <text>mea; 12/5/2024</text>
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                <text>Chaucer's Puns.</text>
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                <text>Recounts the scholarly tally of puns in Chaucer, locates the device in rhetorical tradition, and clarifies its wide range of stylistic effects. Then provides an alphabetical list of puns in Chaucer's works (more than 100), both previously known examples and ones newly identified. Supplemented in PMLA 73 (1958): 167-70.</text>
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              <text>Appleman, Philip.</text>
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              <text>Shipman and His Tale&#13;
Wife of Bath and Her Tale&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Objects to Robert L. Chapman's argument that the ShT was originally intended for the Shipman, not the Wife Bath, comparing Chaucer's tale with Boccaccio's "Decameron" 8.1 as examples of the "Lover's Gift Regained" motif, and showing that Chaucer's version is "an important contribution to the characterization" and "personality" of the Wife.</text>
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Sources, Analogues, and Literary Relations</text>
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                <text>Identifies and summarizes a close, modern analogue of ShT, written by Shelby Foote and published in "The Nugget" (November, 1955); comments on the oral transmission described by Foote in an interview and points outs several modern emphases.</text>
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                <text>A Recurring Motif in Chaucer's "House of Fame."</text>
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                <text>Argues that themes of the "nature of literary art" and "the material with which the literary artist deals" unify the HF: the opening of the poem focuses on how "literary artist's imagination finds expression"; the eagle articulates an intellectual perspective in contrast to the artistic one; the House of Fame reflects the artist's role in conveying reputation, and the House of Rumor makes clear that truth or falsity are not essential concerns of art.</text>
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                <text>On Two Chaucer Allusions.</text>
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                <text>Comments on two 1954 publications (by John Owen and Philip Williams respectively) that pertain to Chaucer allusions, observing that both had been previously noticed and that the latter failed to identify a so-called "saying of Chaucer" as a refrain in Lydgate's "A Balade of good counsaile," presented as part of Chaucer's corpus in several editions of Chaucer's work, Renaissance to modern.</text>
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                <text>Vincent of Beauvais and the "Houres" of Chaucer's Physician.</text>
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Facsimiles, Editions, and Translations&#13;
General Prologue to the Canterbury Tales&#13;
Pardoner and Hiss Tale&#13;
Paarson and His Tale</text>
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                <text>Introduces Old English, Middle English, and Early Modern English, describing developments in syntax, morphology, pronunciation, lexicon, and dialects. The selection of samples for discussion and assessment includes excerpts from GP, PardT, and ParsT, with a brief description, notes, and glosses.</text>
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Knight and His Tale</text>
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                <text>Maintains that Chaucer uses parody to critique discrepancies between Christian ideals and human realities, exploring ways that sexual activities and descriptions in MilT, an earthy fabliau, parody the courtly ideals of KnT, an idealized romance. Through MilT, Chaucer challenges courtly ideals and "doctrinal inflexibility."</text>
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Background and General Criticism&#13;
Legend of Good Women&#13;
Troilus and Criseyde</text>
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                <text>Redresses neglect of medieval views in recent materialism studies, arguing that "that medieval definitions of matter, both hylomorphic and humoral, constitute their own versions of 'materialism,' versions that can help us to historicize later understandings of the term." Includes analysis of Chaucer's uses of "philo-hylomorphic" metaphors in LGW and TC as examples of the "dialogic nature of matter and form" in medieval poetics as well as in Aristotelian natural philosophy. Offers an example from Gower's "Confessio Amantis" that is, by contrast, "Neoplatonic."</text>
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                  <text>Chaucer Bibliography Online</text>
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        <element elementId="110">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2846355">
              <text>Wright, Herbert G.</text>
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        <element elementId="98">
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              <text>London: University of London, Athlone, 1957.</text>
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        <element elementId="99">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2846357">
              <text>xiv, 495 pp.</text>
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        <element elementId="102">
          <name>Chaucer Subject</name>
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          <elementTextContainer>
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              <text>Sources, Analogues, and Literary Relations&#13;
Troilus and Criseyde&#13;
Knight and His Tale&#13;
Clerk and His Tale</text>
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        </element>
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              <text>mea; 7/4/2024</text>
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          <elementTextContainer>
            <elementText elementTextId="2846360">
              <text>1957</text>
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          <element elementId="50">
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                <text>Boccaccio in England: From Chaucer to Tennyson.</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2846354">
                <text>Surveys the influence of Boccaccio's Italian and Latin works on English writers and literary tradition through the nineteenth century, with extensive analyses of Chaucer's uses of the "Teseida" in KnT, "Filostrato" in TC, and "Decameron" in ClT. Asserts that there is "no convincing internal evidence" for influence of the "Decameron" on CT more generally.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Williams, George G.</text>
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        <element elementId="98">
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              <text>Rice Institute Pamphlet 44, no. 1 (1957): 126-46.</text>
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            <elementText elementTextId="2846349">
              <text>Rice Institute Pamphlet 44 (1957)</text>
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            <elementText elementTextId="2846350">
              <text>Troilus and Criseyde&#13;
Chaucer's Life&#13;
Sources, Analogues, and Literary Relations</text>
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        <element elementId="109">
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              <text>mea; 7/4/2024</text>
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        <element elementId="114">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="2846352">
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="2846345">
                <text>Who Were Troilus, Criseyde, and Pandarus?</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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              <elementText elementTextId="2846346">
                <text>Argues that the "chief characters" of TC "were probably modeled from real people" and, exploring alterations from Boccaccio's "Filostrato," speculates that Troilus is based on John of Gaunt, Criseyde on Katherine Swynford, and Pandarus on Chaucer himself. Also suggests that aspects of the epilogue to TC were based on lines from Dante's "Paradiso"--the last twenty of XXV and the first sixty-six of XXVI.</text>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Williams, George G. </text>
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        <element elementId="98">
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            <elementText elementTextId="2846340">
              <text>Modern Language Notes 72.1 (1957): 6-9.</text>
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              <text>Modern Language Notes 72 (1957)</text>
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              <text>House of Fame&#13;
Chaucer's Life</text>
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          <description/>
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            <elementText elementTextId="2846343">
              <text>mea; 7/4/2024</text>
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            <elementText elementTextId="2846344">
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="2846337">
                <text>"The Hous of Fame" and the House of the Musicians.</text>
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          <element elementId="41">
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            <description>An account of the resource</description>
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                <text>Proposes that the facade of the thirteenth-century "Maison des Musiciens" in Reims may have inspired Chaucer's description of the exterior of Fame's palace in HF 1189-1266, hypothesizing  how and when Chaucer may have seen the historical building.</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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          <elementTextContainer>
            <elementText elementTextId="2846331">
              <text>Wilkins, Ernest H.</text>
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        <element elementId="98">
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              <text>Speculum 32.3 (1957): 511-22.</text>
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              <text>Speculum 32 (1957)</text>
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              <text>Sources, Aanalogues, and Literary Relations&#13;
House of Faame&#13;
Knight and His Tale</text>
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              <text>mea; 7/4/2024</text>
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          <element elementId="50">
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                <text>Descriptions of Pagan Divinities from Petrarch to Chaucer.</text>
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            <description>An account of the resource</description>
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              <elementText elementTextId="2846330">
                <text>Provides detailed background for Petrarch's ekphrastic descriptions of pagan gods in his "Africa" (iii.138-264), and argues that Chaucer's related descriptions in HF (131-39) and in KnT (1.1955-66) derive from the "Libellus de deorum imaginibus" (attributed to "Albricus Philosophus") rather than from Petrarch's work or from the "Ovidius moralizatus" of Pierre Bersuire (Petrus Berchorius).</text>
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              <description>A name given to the resource</description>
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                  <text>Chaucer Bibliography Online</text>
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              <text>Wallis, N. Hardy, ed.</text>
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              <text>London: Brodie, 1957.</text>
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        <element elementId="99">
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            <elementText elementTextId="2846325">
              <text>99 pp.</text>
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        <element elementId="102">
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              <text>General Prologue to the Canterbury Tales&#13;
Facsimiles, Editions, and Translations</text>
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              <text>mea; 7/4/2024</text>
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          <element elementId="50">
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              <elementText elementTextId="2846321">
                <text>Canterbury Colloquies: A New Arrangement of the "Prologue" and "End-links" of "The Canterbury Tales" to Show Their Dramatic Significance.</text>
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            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="2846322">
                <text>Re-arranges the sequence of the descriptions in GP to align with the order in which the pilgrims tell their tales. Includes descriptions of pilgrims who tell no tales at the end, along with the colloquies or speeches of the pilgrims in the links between tales. In Middle English.</text>
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