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Relevant bibliographies by topics / Chaucer Chaucer, Geoffrey, English language English language

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Academic literature on the topic 'Chaucer Chaucer, Geoffrey, English language English language'

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Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Chaucer Chaucer, Geoffrey, English language English language"

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Raupp, Edward R. "Teaching the Big Three: Making Sense of Chaucer, Shakespeare, and Milton." Journal of Education in Black Sea Region 6, no. 2 (May 21, 2021): 44–53. http://dx.doi.org/10.31578/jebs.v6i2.232.

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Arguably, the three most important early writers in the English language – indeed, one might say the founders of the language – are Geoffrey Chaucer (1343-1400), William Shakespeare (1564-1616), and John Milton (1608-1674). Yet our experience at the higher level of education is that students have had little exposure to the life and times of these writers or of their work. Our study shows that, while some Georgian school leavers have been exposed briefly to a bit of Shakespeare, few have chanced to encounter Chaucer and none to Milton. Moreover, while teaching what we might call “The Big Three” of English language and literature, much the same might be said at the master’s level: a bit of Shakespeare, little of Chaucer, and none of Milton. To the extent that students of English as a foreign language encounter any literature at all, they tend to be offered little other than literal translation. “Retell the text.” They miss the nuances of the English language as they would encounter them through the greatest of writers. It is, therefore, essential that those who teach any or all of these great writers develop a strategy to fit the needs of the students while meeting the objectives of the course. The key to making sense of Chaucer, Shakespeare, and Milton is to make connections to what students already know, to their own experiences, to make these greatest of all English writers relevant to the lives of the students in ways they can understand. Keywords: English literature, Chaucer, Shakespeare, Milton

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Abdul'manova, Adelia, and Andrey Sergeevich Parfenov. "Dynamic norm and variability of personal pronouns in the works of Geoffrey Chaucer." Litera, no. 12 (December 2020): 234–41. http://dx.doi.org/10.25136/2409-8698.2020.12.31919.

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The subject of this research is the dynamic variability in the sphere of personal of the Middle English Period. The object of this research is the personal pronouns of the Middle English (in form of the nominative case) used in the “Canterbury Tales” by Geoffrey Chaucer. Insufficient study of this layer of lexicon necessitates detailed examination of the rich tapestry of variability of pronouns for determination of the area of Medieval language norm that influenced the establishment of modern literary English language, which defines the relevance of this research. The goal consists in description of the dynamic norm of the Middle English. Research methodology consists in systematization, description and classification of language material, extracted through the method of continuous sampling from the first part of the “Knight’s Tale” of the “Canterbury Tales” of Geoffrey Chaucer, and setting quantitative parameters that reveal and confirm linguistic patterns that regularly manifest within the system of personal pronouns of the Middle English. The scientific novelty lies in comprehensive research of variability of personal pronouns and establishment of the dynamic norm and “quasi-norm” of the national literary standard of English language formed in the XIV century. The main conclusion consists in substantiation of the leading role of central dialects in comprising dynamic norm of the Middle English (namely with regards to pronouns), while the forms developed in the north and south should be attributed to quasi-norm.

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Rothwell, W. "Henry of Lancaster and Geoffrey Chaucer: Anglo-French and Middle English in Fourteenth-Century England." Modern Language Review 99, no. 2 (April 2004): 313. http://dx.doi.org/10.2307/3738748.

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MILLS, D., and D. BURNLEY. "Middle English: Chaucer." Year's Work in English Studies 63, no. 1 (January 1, 1985): 94–111. http://dx.doi.org/10.1093/ywes/63.1.94.

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MILLS, D., and D. BURNLEY. "Middle English: Chaucer." Year's Work in English Studies 64, no. 1 (January 1, 1986): 142–61. http://dx.doi.org/10.1093/ywes/64.1.142.

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MILLS, D., and D. BURNLEY. "Middle English: Chaucer." Year's Work in English Studies 66, no. 1 (January 1, 1988): 161–85. http://dx.doi.org/10.1093/ywes/66.1.161.

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Mills, D., and J. J. McGavin. "Middle English: Chaucer." Year's Work in English Studies 67, no. 1 (January 1, 1989): 169–93. http://dx.doi.org/10.1093/ywes/67.1.169.

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McGAVIN, J. J., and D. MILLS. "Middle English: Chaucer." Year's Work in English Studies 68, no. 1 (January 1, 1990): 176–200. http://dx.doi.org/10.1093/ywes/68.1.176.

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DENLEY, M., and L. RUMSEY. "Middle English: Chaucer." Year's Work in English Studies 70, no. 1 (January 1, 1992): 210–35. http://dx.doi.org/10.1093/ywes/70.1.210.

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RUMSEY, L. "Middle English: Chaucer." Year's Work in English Studies 71, no. 1 (January 1, 1993): 235–51. http://dx.doi.org/10.1093/ywes/71.1.235.

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Dissertations / Theses on the topic "Chaucer Chaucer, Geoffrey, English language English language"

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McNamara, Rebecca Fields. "Code-switching in medieval England : register variety in the literature of Geoffrey Chaucer, Thomas Usk and Thomas Hoccleve." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669980.

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Ward, Rachel. "Completeness and incompleteness in Geoffrey Chaucer's The canterbury tales." Scholarly Commons, 1994. https://scholarlycommons.pacific.edu/uop_etds/509.

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The author commences with an analysis of the nature of completeness in a variety of situations and media, including visual arts, music, video arts and literature. "Completeness" is determined to be both difficult to define and subject to any individual's personal interpretation. A distinction is made between the 'finished-ness' of works and their completeness as a factor in aesthetic enjoyment. It is noted that some works, though unfinished, are nevertheless complete aesthetically. Various aspects of completeness are defined, discussed, and considered, including absolute, thematic, plot, authorial, segmental, inclusive, emotional, anticipatory, source/material, functional, and formal completeness. It is proposed that the more of these aspects of completeness present in a work, the more complete the work will seem. Examples illustrating each of the different aspects of completeness are given. The Canterbury Tales, by Geoffrey Chaucer, is examined with reference to the proposed aspects of completeness. The various ways in which the work can be and has been considered incomplete are discussed. The four fragmentary Tales in The Canterbury Tales--The Cook's Tale, The Squire's Tale, The Tale of Sir Thopas, and The Monk's Tale--are examined. First, the ways in which they can be considered incomplete are considered; next, the ways in which they can be considered complete despite being fragmentary are discussed. The Canterbury Tales as a whole (if fragmentary) work is discussed. Its fragmentary nature is considered and possible explanations for difficulties are given. A case is made for considering The Canterbury Tales to be aesthetically complete and satisfying piece of literature as it stands.

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Hodder, Mike. "Petrarch in English : political, cultural and religious filters in the translation of the 'Rerum vulgarium fragmenta' and 'Triumphi' from Geoffrey Chaucer to J.M. Synge." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:49cdf913-cd2a-48c6-bf1e-533052018285.

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This thesis is concerned with one key aspect of the reception of the vernacular poetry of Francesco Petrarca (Petrarch), namely translations and imitations of the Rerum vulgarium fragmenta (Rvf) and Triumphi in English. It aims to provide a more comprehensive survey of the vernacular Petrarch’s legacy to English literature than is currently available, with a particular focus on some hitherto critically neglected texts and authors. It also seeks to ascertain to what degree the socio-historical phenomena of religion, politics, and culture have influenced the translations and imitations in question. The approach has been both chronological and comparative. This strategy will demonstrate with greater clarity the monumental effect of the Elizabethan Reformation on the English reception of Petrarch. It proposes a solution to the problem of the long gap between Geoffrey Chaucer’s re-writing of Rvf 132 and the imitations of Wyatt and Surrey framed in the context of Chaucer’s sophisticated imitative strategy (Chapter I). A fresh reading of Sir Philip Sidney’s Astrophil and Stella is offered which highlights the author’s misgivings about the dangers of textual misinterpretation, a concern he shared with Petrarch (Chapter II). The analysis of Edmund Spenser’s Amoretti and Epithalamion in the same chapter reveals a hitherto undetected Ovidian subtext to Petrarch’s Rvf 190. Chapter III deals with two English versions of the Triumphi: I propose a date for Lord Morley’s translation which suggests it may be the first post- Chaucerian English engagement with Petrarch; new evidence is brought to light which identifies the edition of Petrarch used by William Fowler as the source text for his Triumphs of Petrarcke. The fourth chapter constitutes the most extensive investigation to date of J. M. Synge’s engagement with the Rvf, and deals with the question of translation as subversion. On the theoretical front, it demonstrates how Synge’s use of “folk-speech” challenges Venuti’s binary foreignising/domesticating system of translation categorisation.

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Marcotte, Andrea. "Geoffrey Chaucer's The Canterbury Tales: Rhetoric and Gender in Marriage." ScholarWorks@UNO, 2007. http://scholarworks.uno.edu/td/591.

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In the Middle Ages, marriage represented a shift in the balance of power for both men and women. Struggling to define what constitutes the ideal marriage in medieval society, the marriage group of Geoffrey Chaucer's The Canterbury Tales attempts to reconcile the ongoing battle for sovereignty between husband and wife. Existing hierarchies restricted women; therefore, marriage fittingly presented more obstacles for women. Chaucer creates the dynamic personalities of the Wife of Bath, the Clerk and the Merchant to debate marriage intelligently while citing their experiences within marriage in their prologues. The rhetorical device of ethos plays a significant role for the pilgrims. By first establishing their authority, each pilgrim sets out to provide his or her audience with a tale of marriage that is most correct. Chaucer's work as a social commentary becomes rhetorically complex with varying levels of ethos between Chaucer the author, his tale tellers and their characters.

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Sandberg, Truedson J. ""What do the divils find to laugh about" in Melville's The Confidence-Man." BYU ScholarsArchive, 2018. https://scholarsarchive.byu.edu/etd/6978.

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The failure of identity in The Confidence-Man has confounded readers since its publication. To some critics, Melville's titular character has seemed to leave his readers in a hopelessness without access to confidence, identity, trust, ethical relationality, and, finally, without anything to say. I argue, however, that Melville's text does not leave us without hope. My argument, consequently, is inextricably bound to a reading of Melville's text as deeply engaged with the concepts it inherits from Geoffrey Chaucer's The Canterbury Tales, an inheritance woefully under-examined by those critics who would leave Melville's text in the mire of hopelessness. In examining how these two texts bind themselves together while simultaneously cutting against each other, my reading finds in The Confidence-Man an alternative way of responsibly living, one that eschews the fatal task of shoring up either our confidence or our embarrassment in favor of an inauthentic redeployment of identity that laughs at both the embarrassment in our confidence and the confidence in our embarrassment.

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Mattord, Carola Louise. "Lay Writers and the Politics of Theology in Medieval England From the Twelfth to Fifteenth Centuries." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/44.

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This dissertation is a critical analysis of identity in literature within the historical context of the theopolitical climate in England between the twelfth and fifteenth centuries. The narratives under consideration are the Lais of Marie de France, The Canterbury Tales, and The Book of Margery Kempe. A focus on the business of theology and the Church’s political influence on identity will highlight these lay writers’ artistic shaping of theopolitical ideas into literature. Conducting a literary analysis on the application of theopolitical ideas by these lay writers encourages movement beyond the traditional exegetical interpretation of their narratives and furthers our determination of lay intellectual attitudes toward theology and its political purposes in the development of identity and society.

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Workman, Jameson Samuel. "Chaucerian metapoetics and the philosophy of poetry." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:8cf424fd-124c-4cb0-9143-e436c5e3c2da.

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This thesis places Chaucer within the tradition of philosophical poetry that begins in Plato and extends through classical and medieval Latin culture. In this Platonic tradition, poetry is a self-reflexive epistemological practice that interrogates the conditions of art in general. As such, poetry as metapoetics takes itself as its own object of inquiry in order to reinforce and generate its own definitions without regard to extrinsic considerations. It attempts to create a poetic-knowledge proper instead of one that is dependant on other modes for meaning. The particular manner in which this is expressed is according to the idea of the loss of the Golden Age. In the Augustinian context of Chaucer’s poetry, language, in its literal and historical signifying functions is an effect of the noetic fall and a deformation of an earlier symbolism. The Chaucerian poems this thesis considers concern themselves with the solution to a historical literary lament for language’s fall, a solution that suggests that the instability in language can be overcome with reference to what has been lost in language. The chapters are organized to reflect the medieval Neoplatonic ascensus. The first chapter concerns the Pardoner’s Old Man and his relationship to the literary history of Tithonus in which the renewing of youth is ironically promoted in order to perpetually delay eternity and make the current world co-eternal to the coming world. In the Miller’s Tale, more aggressive narrative strategies deploy the machinery of atheism in order to make a god-less universe the sufficient grounds for the transformation of a fallen and contingent world into the only world whatsoever. The Manciple’s Tale’s opposite strategy leaves the world intact in its current state and instead makes divine beings human. Phoebus expatriates to earth and attempts to co-mingle it with heaven in order to unify art and history into a single monistic experience. Finally, the Nun’s Priest’s Tale acts as ars poetica for the entire Chaucerian Performance and undercuts the naturalistic strategies of the first three poems by a long experiment in the philosophical conflict between art and history. By imagining art and history as epistemologically antagonistic it attempts to subdue in a definitive manner poetic strategies that would imagine human history as the necessary knowledge-condition for poetic language.

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Lamson, Morgen. "Boethian Colorings in Geoffrey Chaucer's Earlier Poetry: The Book of the Duchess, The Parliament of Fowls and The House of Fame." TopSCHOLAR®, 2007. http://digitalcommons.wku.edu/theses/431.

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There has been much written on Boethius and his impact on Chaucer's greater known works, such as The Canterbury Tales and Troilus and Criseyde, yet there has not been much light shone on his other works, namely The Book of the Duchess, The Parliament of Fowls, and The House of Fame, which are a rich mix of medieval conventions and Boethian elements and themes. Such ideas have been explored through the lenses of his five, shorter "Boethian lyrics" - "The Former Age," "Fortune," "Truth," "Gentilesse," and "Lak of Stedfastnesse" - particularly because it is within these five poems that the metafictional narrative approach or framing of Chaucer's Boethiusinfluenced work, through narration and possible consolations, are fleshed out and brought into focus. However, the "Boethian lyrics" are not necessary in the study of the three earlier poems The Book of the Duchess, The Parliament of Fowls, and The House of Fame. Using the convention of the frame tale with the dream vision in these three poems allows for the narrator to be brought to an understanding in each of these texts, strongly suggesting that this approach is something that Chaucer came across in Boethius's The Consolation of Philosophy. To merely go through and catalogue all Boethian elements as lifted directly from Consolation would accomplish nothing but a catalog of similarities. In that same vein, to analyze the "Boethian poems" would also be treading over familiar scholarly ground. In examining an intermediary group of texts as a bridge between Boethius's classical philosophy and Chaucer's courtly poetry, particularly The Book of the Duchess, The Parliament of Fowls and The House of Fame, this more concretely shows the extent of Boethius's coloring injected into Chaucer's writings from early in his writing career. Through close readings and secondary outside research, I am confident that another chapter of Chaucerian scholarship, one that has rarely been explored, much less written, can be added.

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Johnson, Travis William. "Affective communities: masculinity and the discourse of emotion in Middle English literature." Diss., University of Iowa, 2011. https://ir.uiowa.edu/etd/4860.

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Scholars have recently begun to reconsider the importance of emotions, suggesting that they are cultural constructions integral to human identity and social life. Most of these studies, however, have ignored the medieval period, focusing instead on the "civilizing process"--that is, the supposed development of social etiquette and self-restraint--that is assumed to have begun in the early modern period. This dissertation demonstrates that emotion was in fact a complex identity discourse well before the Renaissance and was fundamental to the construction of pre-modern social categories like gender. Exploring four masculine communities--clergymen, knights, university students, and merchants--I show that each community was shaped and constrained by a particular emotional ethos. Middle English poets were keenly aware of these constraints and their work often challenged the culture's emotional regimes. I focus on literary texts from the late fourteenth and early fifteenth centuries because they were created during a time of heightened emphasis on the role of the emotions in shaping selves and communities. In the years after the Black Death, England witnessed significant demographic shifts and economic volatility that resulted in dramatic transformations in the nation's social landscape. Peasant rebellion, labor shortages, migrant clergy, and an influx of foreign merchants radically altered the structure of English society during these years. As a result, the institutions and ideologies that defined English masculine identity began changing in ways not seen before. Poets not surprisingly turned to the lexicon of emotion to negotiate these disruptions; in so doing, they offered English men new ways of understanding themselves in the face of rapid cultural change. The chapters examine a range of Middle English poems--the Alliterative Morte Arthure, St. Erkenwald, Chaucer's Reeve's Tale, and Lydgate's Bycorne and Chychevache--that illuminate particular emotions (anger, compassion, grief, and sorrow) and their significance to codes of masculinity. I argue that these four texts radically revised the forms and meanings of masculine emotional identity and community. This dissertation demonstrates that Middle English poets recognized the transformative potential inherent in the lexicon of emotion and used it to reshape their audiences' understanding of critical cultural problems. The years from the 1350s to the 1450s were important not only in the emerging tradition of poetry in English, but also for the development of the language and psychology of emotion. As poets tried to come to terms with great social changes, they molded and manipulated the discourse of emotion to interrogate what it meant to be a man in late medieval England. Affective Communities reveals the importance of emotions as markers of gender and community and shows literature's role in responding to and imagining social change.

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Rodriguez, Joseph Paul. "Rise and fall: tropes of verticality in Middle English literature." Diss., University of Iowa, 2012. https://ir.uiowa.edu/etd/1387.

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While excellent scholarly work exists on medieval space, especially in cultural geography, no book-length study of the conceptual implications of medieval vertical space exists. Attention has been lavished on the surface of the medieval world, while the heights go unseen and the depths go unplumbed. Using theories of space by scholars such as Henri Lefebvre and Jacques Le Goff, this project explores this lacuna through close reading of three late medieval English texts. The emphasis within Christian theology on a vertically-oriented model of virtue and the afterlife (ascending to Heaven, falling to Hell) was likely the initial reason for the prominence of verticality in the Middle Ages; the work of religious writers such as Bernard of Clairvaux and Walter Hilton set the stage for an explosion of the vertical imagination, as a blossoming of the incredible variety of what could be called "vertical thought." These ideas foreshadowed and accompanied similar developments in the secular arena, soon becoming an integral part of medieval life. By the fourteenth and fifteenth centuries, closely interrelated--and strongly vertical--frameworks arose to structure complex concepts such as moral virtue, social class and kinship relations. The fourteenth and fifteenth centuries saw several major developments in what can be called "vertical thought." The evolution of Augustinian ideas of religion and morality led to a nuanced vertical hierarchy of virtues and vices, while the rise of the middle class helped define the explicit division of class into vertical tiers. A shift in conceptions of kinship, from a synchronous network to a diachronic tree of ancestry, affected perceptions of gender and family. Finally, the growth of parliamentary and urban political capital in late medieval England, especially in response to the reign of child-king Henry VI, led to a battle of wills between the powerful men of London and their king. These concerns with verticality were not limited to the realms of religious belief or temporal power, but manifested themselves in medieval literature and iconography as well. Highness and lowness feature in the plots, characters, and settings of many texts, and tropes of height and depth and rising and falling make frequent appearances textually and visually. Depictions of Heaven and Hell, for example, frequently make use of height and depth, and instances such as the Virgin Mary's ascension to Heaven or Lucifer's fall from Heaven to Hell involve explicitly vertical movement which parallels the perceived virtue of said figures. The Jesse tree, a genealogy of Christ, is usually illustrated as a tree emerging from a recumbent man's body, and reflects a newly vertical visualization of familial ties, while the concept of degree or scale, often represented as a ladder or stairs, is explicitly used as a framework for both moral virtue and socioeconomic status. Through discussion of three specific medieval tropes in literature and art-- the tree of Jesse in Chaucer's Merchant's Tale, the Dead Sea in Cleanness, and the giant of Lydgate's Triumphal Entry of Henry VI--this project attempts to demonstrate the importance of verticality in late medieval English literature from 1300-1500 and show how these tropes responded to and influenced changes in the way medieval, and modern, audiences perceived social class, kinship, politics, and religion.

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Books on the topic "Chaucer Chaucer, Geoffrey, English language English language"

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The language of the Chaucer tradition. Cambridge, UK: D.S. Brewer, 2003.

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Introduction to Chaucerian English. Cambridge [Cambridgeshire]: D.S. Brewer, 1985.

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Chaucer translator. Lanham, Md: University Press of America, 1998.

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The familiar enemy: Chaucer, language, and nation in the Hundred Years War. Oxford: Oxford University Press, 2009.

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The making of Chaucer's English: A study of words. Cambridge [England]: Cambridge University Press, 1998.

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McGavin, John J. Chaucer and dissimilarity: Literary comparisons in Chaucer and other late-medieval writing. Madison [N.J.]: Fairleigh Dickinson University Presses, 2000.

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Chaucer aloud: The varieties of textual interpretation. Philadelphia: University of Pennsylvania Press, 1987.

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Chaucer, Gower, Hoccleve and the commercial practices of late fourteenth-century London. Burlington, VT: Ashgate, 2012.

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Chaucer, Geoffrey. The Canterbury tales: Adapted from Geoffrey Chaucer's poem. Venice, FL: Eldridge Publishing Company, 1999.

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J, Smith J., ed. The English of Chaucer and his contemporaries. Aberdeen: Aberdeen University Press, 1988.

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Book chapters on the topic "Chaucer Chaucer, Geoffrey, English language English language"

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Youmans, Gilbert, and Xingzhong Li. "Chaucer: Folk poet or littérateur?" In Studies in the History of the English Language, 153–76. Berlin, New York: Mouton de Gruyter, 2002. http://dx.doi.org/10.1515/9783110197143.1.153.

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Li, Xingzhong. "Metrical evidence: Did Chaucer translate The Romaunt of the Rose?" In Studies in the History of the English Language IV, 155–80. Berlin, New York: Mouton de Gruyter, 2008. http://dx.doi.org/10.1515/9783110211801.155.

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"Geoffrey Chaucer." In The History of the English Language, 181–92. Routledge, 2014. http://dx.doi.org/10.4324/9781315840611-33.

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Jaurretche, Colleen. "Book III." In Language as Prayer in Finnegans Wake, 94–116. University Press of Florida, 2020. http://dx.doi.org/10.5744/florida/9780813066370.003.0004.

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This chapter envisions the Wake as part of the tradition of dream vision literature. Beginning with the first critical writing on the Wake that sought to contextualize the book as such, and reassessing more contemporary views that the Wake is not part of the genre, the chapter lays out the tradition from the origins of English poetry and demonstrates Joyce’s adaptation and conformity with it. Part of the chapter engages Giordano Bruno’s extensive writings on dreaming and sight. The chapter takes into consideration the end result of dreaming—awakening—and situates the Wake as an aubade as well as an example of dream vision. In so doing it connects Joyce’s work to possible sources of inspiration, such as Gerard Manley Hopkins, John Bishop, Geoffrey Chaucer, The Dream of the Rood, and Richard Rolle, and looks into the criticism of Derek Attridge, Edmund Wilson, and John Bishop.

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Wallace, David. "1. Beginnings." In Geoffrey Chaucer: A Very Short Introduction, 1–21. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198767718.003.0001.

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‘Beginnings’ describes Geoffrey Chaucer’s life and work as a civil servant, along with why his writing has inspired so many. His most important role was controller, or chief tax inspector, of wool for Edward III from 1374–1386. Chaucer understood many languages, but it was his decision to write exclusively in English that gave him the opportunity to write afresh, inventively, and without worrying about burdens of precedent. Chaucer was as finely attuned to audience reactions inside and outside his text-worlds as any dramatist. His poetry has designs on its readers, stirring strong emotions. At the same time, it is keen to deny responsibility for any views or opinions raised, or conclusions reached.

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Horobin, Simon. "Chapter 15: The Language of Chaucer." In Middle English, edited by Laurel Brinton and Alexander Bergs. Berlin, Boston: De Gruyter, 2017. http://dx.doi.org/10.1515/9783110525328-015.

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Matthews, David. "Caxton in the middle of English." In Contemporary Chaucer across the centuries, 138–52. Manchester University Press, 2019. http://dx.doi.org/10.7228/manchester/9781526129154.003.0010.

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David Matthews explores how Caxton’s awareness of linguistic change informed his editing methods. Caxton’s editing of Trevisa's translation of Higden’s Polychronicon, for example, shows a distinct diachronic consciousness and a desire to forge something new out of Trevisa's ‘old’ English. This stands in contrast to his more deferential treatment of Chaucer. Matthews thus differentiates between philology as a tool for understanding another language and as an editorial practice focused on rendering texts transparent.

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Davis, Alex. "The Home-Bred Enemy." In Imagining Inheritance from Chaucer to Shakespeare, 133–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198851424.003.0005.

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This chapter considers the naturalization of inheritance in relation to the Tudor usurpation of the English throne and its Stuart aftermath. I examine the implication of a language of succession in various early modern discussions of the opposed values of constancy and change. In the literature of the Elizabethan succession crisis, in Edmund Spenser’s Faerie Queene, in Shakespeare’s Macbeth, and in the projects superintended by the seventeenth-century noblewoman Anne Clifford we see a variety of attempts to discover in practices of inheritance a ground of psychic stability and sociopolitical domination. In each case, however, these efforts at control find themselves confronted by a recalcitrant matter—encountered on the Gaelic-speaking peripheries of the British islands, in the medieval past, in women’s bodies, or in the changeable fabric of all created things—that resists full regimentation.

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Keyes, Ralph. "Literary Lingo." In The Hidden History of Coined Words, 131–44. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190466763.003.0012.

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Writers who can’t come up with the right word to describe something seldom hesitate to create a new one. As a result some of our most useful terms have come from their pens and keyboards. Authors such as Chaucer, Shakespeare, and Milton lived in times when the English language was mushrooming, along with scientific and other discoveries. This invited them to fill gaps in the lexicon with words of their own creation. Charles Dickens was a prolific coiner of “Dickensisms,” some of which took their place in the vernacular (e.g., cheesiness, seediness, bodyguard, sawbones). Not just text but titles such as Psychobabble, Catch-22, The Last Hurrah, and The Rise of the Meritocracy were the source of words and phrases in common use today.

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