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A comparison of Chaucer and Boccaccio sheds new light on both writers, indicating their mutual use of ancient comic literary traditions. Although many of Chaucer's sources have been exhaustively studied, relatively little work has been done on the influence of his contemporary Boccaccio, a gap which this book aims to fill. It examines the relationship of the comictales, the so-called fabliaux, in Chaucer's Canterbury Tales and Boccaccio's Decameron, demonstrating that not only did Chaucer draw on Boccaccio's work, but that they shared the same comic literary tradition stretching back into antiquity. By putting the tales and the characters side-by-side, it throws new light on Chaucer's inventiveness and mode of working. Professor CAROL FALVO HEFFERNAN teaches at the Department of English, Rutgers University, New Jersey.
Although the Decameron and the Canterbury Tales have often been linked, this is the first ever major study of the two most popular medieval collections of framed narratives to examine the texts as a whole. The present study goes well beyond shared general similarities and the inconclusive search for source or analogue material in order to look at the internal dynamics of each text and the surprising similarities that emerge there in terms of theories of literature, authority and authorship and the particular reader response envisaged by their authors.
In the time of a devastating pandemic, seven women and three men withdraw to a country estate outside Florence to give themselves a diversion from the death around them. Once there, they decide to spend some time each day telling stories, each of the ten to tell one story each day. They do this for ten days, with a few other days of rest in between, resulting in the 100 stories of the Decameron. The Decameron was written after the Black Plague spread through Italy in 1348. Most of the tales did not originate with Boccaccio; some of them were centuries old already in his time, but Boccaccio imbued them all with his distinctive style. The stories run the gamut from tragedy to comedy, from lewd to inspiring, and sometimes all of those at once. They also provide a detailed picture of daily life in fourteenth-century Italy.
A collection of essays debating what fourteenth-century Italy and its literature meant to Chaucer.
Originally published in 1994. Chaucer is considered the first major humorist in English literature and is particularly interesting as he reflects the humor of predecessors and contemporaries as well as defines development for subsequent British humor. This collection presents essays that define the nature of Chaucerian humor, examine Chaucer’s works from a variety of theoretical perspectives, and consider genres of humor within his writing. This is an excellent work of critical discourse that adds important understanding of Chaucer as well as the field of comedy in literature.
Geoffrey Chaucer was arguably fourteenth-century England's greatest poet. In the nineteenth century, readers of Chaucer's early dream poems - the Book of the Duchess, House of Fame, and Parliament of Fowles - began to detect a tripartite model of his artistic development from a French to an Italian, and finally to an English phase. They fleshed out this model with the liberation narrative, the inspiring story of how Chaucer escaped the emasculating French house of bondage to become the generative father of English poetry. Although this division has now largely been dismissed, both the tripartite model and the accompanying liberation narrative persist in Chaucer criticism. In Chaucer's Queer Poetics, Susan Schibanoff interrogates why the tripartite model remains so tenacious even when literary history does not support it. Revealing deeply rooted Francophobic, homophobic, and nationalistic biases, Schibanoff examines the development paradigm and demonstrates that 'liberated Chaucer' depends on antiquated readings of key source texts for the dream trilogy. This study challenges the long held view the Chaucer fled the prison of effete French court verse to become the 'natural' English father poet and charts a new model of Chaucerian poetic development that discovers the emergence of a queer aesthetic in his work.
Originally published in 1986, this translated version of Giovanni Boccaccio's Il Filostrato is of particular interest as the principal source for Chaucer's great work, the Troilus. This edition includes the original Italian alongside the translation, so that even the English reader with no knowledge of Italian will be able to make out a good deal of the original assisted by a close translation.
Explores provocative questions about the dynamics of cross-cultural translation and the formation of tradition
A major and original contribution to the debate as to Chaucer's use and knowledge of Boccaccio, finding a new source for the "Shipman's Tale". A possible direct link between the two greatest literary collections of the fourteenth century, Boccaccio's Decameron and Chaucer's Canterbury Tales, has long tantalized readers because these works share many stories, which are, moreover, placed in similar frames. And yet, although he identified many of his sources, Chaucer never mentioned Boccaccio; indeed when he retold the Decameron's final novella, his pilgrim, the Clerk, states that it was written by Petrarch. For these reasons, most scholars now believe that while Chaucer might have heard parts of the earlier collection when he was in Italy, he did not have it at hand as he wrote. This volumeaims to change our understanding of this question. It analyses the relationship between the "Shipman's Tale", originally written for the Wife of Bath, and Decameron 8.10, not seen before as a possible source. The book alsoargues that more important than the narratives that Chaucer borrowed is the literary technique that he learned from Boccaccio - to make tales from ideas. This technique, moreover, links the "Shipman's Tale" to the "Miller's Tale"and the new "Wife of Bath's Tale". Although at its core a hermeneutic argument, this book also delves into such important areas as alchemy, domestic space, economic history, folklore, Irish/English politics, manuscripts, and misogyny. FREDERICK M. BIGGS is Professor of English at the University of Connecticut.