Browse Items (16041 total)

In the Middle Ages the term "art" meant the liberal arts or almost any serious endeavor (other than the visual arts), also involving Gregory the Great's dictum that "the art of arts is the rule of souls." Chaucer was less influenced by the visual…

Chaucer is the rule for vernacular poets rather than the exception. His appropriation of monastic patterns of thought and ascetic ideas and imagery were a tradition already becoming a classic in his time. In CT, the Summoner's portrait, the…

Exemplifies the varieties and density of assonance in Chaucer's poetry, commenting on assonance in French, Italian, and English predecessors, and on Chaucer's uses of assonance in combination with other devices of sound and emphasis.

Brewer surveys the presence (and absence) of music in Chaucer's work, suggesting that Chaucer knew its celestial, theoretical underpinnings and enjoyed its zesty, earthy pleasures.

Special individuals of the lesser gentry--knights, squires, and women of equivalent rank closely connected with the court, in such professional positions as the Chancery, secretaryships, and legal work--found their complicated life-experiences…

Chaucer obviosly expects his audience to be familiar with his person, his previous writings, and his reputation as an author. He also expects his audience to reflect about the moral function of poetry. He draws his audience into his poetry by using…

Chaucer's frequent references to nagging wives and henpecked husbands have less to do with his personal views than with his awareness of audience; women as well as men could share the misogynistic joke because in Pauline theory the shrew was "some…

Symposium by thirteen Chaucerians.

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.

Tabulates the percentage of romance words in the works of Chaucer against the overall length of these works, suggesting that, in terms of its romance vocabulary, Equat "is to be regarded as a work by Chaucer." Establishes a logarithmic formula for…

Traces the development of the "sermo humilis" tradition in literature and the visual arts as a context for Chaucer's uses of "pathetic style" in the Ugolino episode of MkT, PrT, PhyT, and MLT, arguing that these accounts reflect the evolution of…

Disagreeing throughout with Joerg Fichte and Edmund Reiss, Stemmler uses literature contemporary with Chaucer to show that Ros is a "seriously meant love-lyric." It is not a parody.

An alphabetical glossary of obscene, sexual, and scatological references, puns, and allusions in Chaucer's works. Individual entries define and analyze the terms and phrases, providing bibliographical citations to previous critical discussions; the…

Assesses Chaucer's "vulgarisms" for the ways that they "reveal" his "expert insight into the uninhibited lives of the folk." Comments on Chaucer's depictions of incest, claims that Chaucer's uses 119 "bawdy terms," and focuses on his robust…

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

Chaucer's characters' beards, medievally understood, are iconographic and physiognomic, and neatly fit the personalities of their wearers.

Focuses on how manuscript compilations, especially biblical materials, are evoked in CT. Argues that a strictly historical arpproach to this material is inadequate and examines how an author can use the material form of books for specific literary…

Argues that the Bible is a far more pervasive influence on Chaucer than has been previously recognized. Chaucer uses the Bible or its glosses in most of his writings, responding--through quotation, paraphrase, or allusion--to traditional notions of…

Examines biblical images, allusions, themes, and narrative patterns in MilPT, exploring various ways that the Miller and Nicholas appropriate the Bible's "authority for personal rhetorical ends." Chaucer's providence-like control of his material is…

Aware that he was writing in an increasingly literate milieu, Chaucer adapted his text to listening or reading audiences. A development is traced through TC, LGW, CT.

Exemplifies Chaucer's "homely vocabulary" and "naturalistic choice of words," identifying roots in both French and native English, and commenting on instances of idiomatic phrases, rogues' speech, "zesty vocabulary," "oaths and imprecations," sexual…

In PF, NPT, TC, ManT, and MerT, Chaucer uses onomatopoeic bird talk for puns, verbal wit, irony, e.g., finds hints in MerT of May as turtle-dove-cuckoo.

Identifies elements of MilT that burlesque the Annunciation, the Incarnation, and the Flood, explaining imagery and allusions derived from the biblical narratives and mystery plays.

An edition and translation of "Filostrato," "Teseida" (excerpts), and "Filocolo" 4.31-34 (excerpts). Includes introduction, bibliography, notes, index of personal names, and three appendices: "The Fortunes of Troilus"; Benoit de Sainte-Maure,…

Chaucer's use of metonymy in CT expresses his "anxiety of circulation," which is traced through his references to the fragmented body and bodily functions, infection, magic, rhetoric, and translation. Shoaf examines relationships among tales,…