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Originally published in 1986. This study asks ‘What problems confront the narrator of a religious story?’ and ‘What different solutions to those problems are offered by the religious narratives of The Canterbury Tales?’ The introduction explains the grounds for inclusion of the tales here studied then examined in three sections. The first includes the tales of the Clerk, Prioress and Second Nun, and Chaucer’s Melibee, and explores the parallels between the production of a religious narrative and that of a faithful translation. The second considers how the tales of the Man of Law, Monk and Physician, though formally similar to those in the first section, subvert the offered parallel by their creation of narrators who actively mediate them to their audience, and who seem as concerned with the projection of their own personalities as with the transmission of the given story. The final section shows how the tales of the Pardoner and Nun’s Priest highlight the dilemma and provide distinctive resolutions. The whole study aims to explore the dynamic relationships that exist between two contrasting positions: an artist’s commitment to the authority of a given story and his need to assert himself over it.
Telling Images is a study of Chaucer's narrative art and its use of symbolic images in the visual arts of his time.
The latest volume in the Chaucer Bibliographies series, meticulously assembled by Kenneth Bleeth, is the most comprehensive record of scholarship on Chaucer's Squire's Tale, Franklin's Tale, and Physician's Tale.
Drawing from the same text as the complete Broadview edition of the Tales, which is based on the famous Ellesmere Manuscript, this selected edition also features a critical introduction, marginal glosses in modern English of difficult words, and explanatory footnotes. The most widely taught appendix material from the complete edition is included, along with ten illustrations from the Ellesmere Manuscript. The second edition includes a new glossary, a timeline of Chaucer’s life and times, and detailed headers showing the section and line numbers, making it easier to find a specific section of the poem. Several popular prologues and tales have also been added to the selection: The Cook’s Prologue and Tale, The Friar’s Prologue and Tale, The Merchant’s Prologue and Tale, and The Parson’s Prologue.
Nationalism, like medieval romance literature, recasts history as a mythologized and seamless image of reality. Living in the Future analyzes how the anachronistic nationalist fantasies in Geoffrey Chaucer’s Canterbury Tales create a false sense of England’s historical continuity that in turn legitimized contemporary political ambitions. This book spells out the legacy of the Tales that still resonates throughout English literature, exploring the idea of England in the medieval literary imagination as well as critiquing more recent centuries’ conceptions of Chaucer’s nationalism. Chaucer uses two extant national ideals, sovereignty and domesticity, to introduce the concept of an English nation into the contemporary popular imagination and reinvent an idealized England as a hallowed homeland. For nationalist thinkers, sovereignty governs communities with linguistic, historical, cultural, and religious affinities. Chaucerian sovereignty appears primarily in romantic and household contexts that function as microcosms of the nation, reflecting a pseudo-familial love between sovereign and subjects and relying on a sense of shared ownership and judgment. This notion also has deep affinities with popular and political theories flourishing throughout Europe. Chaucer’s internationalism, matched with his artistic use of the vernacular and skillful distortions of both time and space, frames a discrete sovereign English nation within its diverse interconnected world. As it opens up significant new points of resonance between postcolonial theories and medieval ideas of nationhood, Living in the Future marks an important contribution to medieval literary studies. It will be essential for scholars of Middle English literature, literary history, literary political and postcolonial theory, and literary transnationalism.
Chaucer's writings (the 'Canterbury Tales', lyrics and dream poems and Troilus) are here freshly examined in relation to the religions, the religious traditions and the religious controversies of his era.
Demonstrating how Chaucer uses the Bible in The Canterbury Tales as an authoritative literary source and model for his own literary production, this book explores the ways in which the Bible was a key tool for Chaucer's self-definition and innovation as an author. Chad Schrock unravels Chaucer's Tales in the light of topics important to biblical reception in 14th-century England: authority, textuality, interpretation, translation, rephrasing and marginalia. When the Canterbury Tales are summed up in this way, they show the great extent to which Chaucer was drawing upon the Bible as a meta-poetical resource for his own poetry – its fictional tale-tellers and characters, its quotations, allusions and images, its plots, its imaginative engagement with an audience of listeners and readers, and its hidden intentions. Schrock demonstrates that the Bible is a uniquely potent literary source for Chaucer because it combines infinite authority and plenitude with unprecedented freedom of interpretive invention. As a world-making text, the Bible's authority includes the literary as subcategory but surpasses and contextualizes it, which gives Chaucer's deferential biblical invention a different kind of freedom and safety. Within Chaucer's tales, a biblical image is often where a given narrative peaks and its plot comes clear, but a biblical world also and without strain contains his biblical fictioneers and whatever they make from the Bible, whether orthodoxy or heresy, whether sin or worship.
The Cambridge Companion to Chaucer is an extensively revised version of the first edition, which has become a classic in the field. This new volume responds to the success of the first edition and to recent debates in Chaucer Studies. Important material has been updated, and new contributions have been commissioned to take into account recent trends in literary theory as well as in studies of Chaucer's works. New chapters cover the literary inheritance traceable in his works to French and Italian sources, his style, as well as new approaches to his work. Other topics covered include the social and literary scene in England in Chaucer's time, and comedy, pathos and romance in the Canterbury Tales. The volume now offers a useful chronology, and the bibliography has been entirely updated to provide an indispensable guide for today's student of Chaucer.
Recognised on its first appearance as the most comprehensive single-volume guide to The Canterbury Tales yet produced, this third edition brings the Tales up to date in relation both to recent criticism and to the changing expectations of modern readers. The Guide provide tale-by-tale information on textual variations and sources, together with a readable commentary on thematic issues, structure, style, generic affiliations, and the contribution of each tale to the work as a whole. It concludes with a survey of the many imitations of the tales down to the early seventeenth century. This new edition also takes account of the latest scholarship, theory, and criticism and new interpretations of the tales, including such matters as gender identity, consent, and racial and religious difference. The book is the most comprehensive single-volume guide to the Tales yet produced, bringing together a wide range of disparate material and providing a readable commentary on all aspects of the work. It combines the comprehensive coverage of a reference book with the clarity and coherence of a critical account. Since its first publication in 1989, the Guide has established itself as an indispensable aid for any reader looking to develop their understanding of The Canterbury Tales.
An introduction to the variety of medieval narrative, intended both for students and more general readers who already know some of the classics of the Middle Ages, such as Beowulf, the Decameron and The Canterbury Tales,, and who wish to venture further. Medieval definitions and theories of narrative are considered in relation to modern narratology and the major medieval types of narrative are discussed. The perspective in this book is mainly English, with Chaucer as a central figure, but it refers to a range of well-known European texts and writers, such as Marie de France, Cretien de Troyes, the Niebelungenlied, the Poem of the Cid, Dante and Boccaccio.