Despite belittling remarks by some of his characters about the matter of composing in English, there is no evidence that Chaucer himself is embarrassed to use English as his medium of composition.
Quinn, William A.
Washington, D.C.: Catholic University of America Press, 1994.
Explores the humor and "tonal delights" of LGW, examining the poem as a script for oral performance; argues that the F version was written for oral presentation; the G version, a revision, for manuscript publication.
Muscatine, Charles.
Ruth Morse and Barry Windeatt, eds. Chaucer Traditions: Studies in Honour of Derek Brewer (Cambridge: Cambridge University Press, 1990), pp. 249-62.
Posits that "different ages or cultures do not so much misread a great text (from a different time or place) as make from it special abstractions, acutely suited to their particular concerns." At midcentury, the twentieth-century reception of…
Richmond, Velma Bourgeois.
Modern Language Quarterly 51 (1990): 427-45.
Modern discussions of Chaucer and Spark deemphasize the clear religious strains in their fictions. The grotesque, the absurd, and the aberrant are present in both as worldly flaws requiring divine transcendence.
Knight, Stephen.
Gregory Kratzmann and James Simpson, eds. Medieval English Religious and Ethical Literature (Cambridge: D. S. Brewer, 1986), pp. 156-66.
As early as the fifteenth century, two views of CT prevailed: (1) the entire CT is a religious work, and (2) only ClT, PrT, MLT, MkT, ParsT, and SNT are religious. In arguing the first position, Knight addresses difficulties arising from the Hengwrt…
Mahameed, Mohammed, and Al-Quran Raji.
Nebula 8.1 (2011): 199-208.
Asserts that details of astrology, astronomy, and mythology in BD, TC, and CT evince Chaucer's confused and skeptical views of Christianity, commenting on passages from LGW and CT. Available at http://nobleworld.biz/images/Mohammed_Raji.pdf (last…
Pearsall, Derek.
C. David Benson and Elizabeth Robertson, eds. Chaucer's Religious Tales (Cambridge: D.S. Brewer, 1990), pp. 11-19.
Chaucer's religious tales (Mel, ParsT, ClT, MLT, PrT, SNT, PhyT, MkT) are "predicated upon the assumption that the significance of human life is the transcending of its secular limitation through Christian faith." The only tales in CT not written in…
Comments on the sentimental charm of PrT that conflicts with its narrator's "hatred of the Jews," and upon the combination of "touching sentiment" and "mechanical" rhetoric in MLT. Then considers the "poignant emotion" and pathos of ClT as they help…
The unadorned, unironic ParsT is what Chaucer wanted for the ending to CT. The Ricardian pattern of sickness, pilgrimage, and penitence shows why Thomas Gascoigne's narrative of Chaucer's deathbed retraction of his writings is a likely story, or not…
Lancashire, Ian.
Robert Taylor, James F. Burke, Patricia J. Eberle, Ian Lancashire, and Brian S. Merrilees, eds. The Centre and Its Compass: Studies in Medieval Literature in Honor of Professor John Leyerle (Kalamazoo: Medieval Institute Publications, Western Michigan University, 1993), pp. 315-65.
Lancashire uses computer-assisted analysis to tabulate recurring words and phrases in Chaucer's writings. The frequency and patterns of repeated words and their collocations identify Chaucer's preoccupations, distinctive features of his writing and…
Favorable descriptions of persons in heroic writings generally emphasize gross size, erect posture, and directness in approach, whereas courtly texts, such as Chaucer's, represent largeness as unattractive or unrefined. The latter clearly value…
Beidler, Peter G.
Chaucer Yearbook 2 (1995): 1-15.
Compares MLP to its source in Innocent III's "De miseria condicionis humane" and to "Purse" to argue that MLP was originally written for Chaucer to read before a group of merchants to ask for payment.
Taylor, Karla.
James M. Dean and Christian Zacher, eds. The Idea of Medieval Literature: New Essays on Chaucer and Medieval Culture in Honor of Donald R. Howard (Newark: University of Delaware Press, 1992), pp. 189-205.
Reticence shapes the relations between narrator and audience in the Merchant's portrait in GP, where the importance of the unexpressed first surfaces, and in MerT. The rhetorical figure of reticence depends on the reader's cooperation.
Coles, E. R.
University of Portland Review 20.2 (1968): 35-41.
Comments on ParsT as a "literary embodiment of the attitude" the Parson expressed in the GP "as well as the attitude Chaucer reveals" in Ret, suggesting that "the Chaucer of the Retraction is also the Parson of the Tales, by means of whom he…
Gordon, James D.
In MacEdward Leach, ed. Studies in Medieval Literature in Honor of Albert Croll Baugh (Philadelphia: University of Pennsylvania Press, 1961), pp. 81-96.
Surveys critics' attempts to correlate Ret with Chaucer's poetic accomplishments, commenting on biographical surmises, textual issues, and thematic concerns such as the putative waning of Chaucer's acuity, clerical influence, the firm linking of Ret…
Although the prevailing code of honor was belligerent, Chaucer's dissatisfaction with this aggressive style is subtly indicated in Truth, Mars, Th, and KnT by presentation of "heroic" actions and martial "worshippe" as slightly ridiculous. In Mel,…
Cureton, Kevin K.
Studies in Bibliography 42 (1989): 153-84.
R. K. Root's theory of how the text of TC underwent authorial revision, thus resulting in a number of significant variants between the manuscript groups, has been challenged by Barry A. Windeatt (1984) and Ralph Hanna (1986).
Seymour, M. C.
Modern Language Review 92 (1997): 832-41.
Compares the original (F) version with the revised (G) version of LGWP, commenting on stages of transmission of G--from its composition to the extant manuscript Cambridge University Library Gg 4.27. Hypothesizes that Chaucer revised LGWP as a…
Miller, Robert P.
Leigh A. Arrathoon, ed. Chaucer and the Craft of Fiction (Rochester, Mich.: Solaris Press, 1986), pp. 219-40.
Apparent artistic infelicities and a concern with surface style reflect the Squire's immature mind, unformed tastes, and youthful impatience. SqT is not badly written or unfinished.
By his choice of stanza Chaucer invites us to compare four tales: SNT, PrT, MLT, ClT, each an elevated tale of saintly suffering involving impingement of secularism upon the saintly ideal. Completed earlier, PhyT is not in rhyme royal.
Chickering, Howell.
Susan Yager and Elise E. Morse-Gagné, eds. Interpretation and Performance: Essays for Alan Gaylord (Provo, UT: Chaucer Studio Press, 2013), pp. 49-63.
Chaucer's poetry should be declaimed or at least heard with the "mind's ear." His decasyllabic couplets, once dismissed by critics as "riding rhyme" and even confused with the doggerel of Th, are "eminently playable," offering a variety of…
