Journal articles: 'Merchant's tale (Chaucer, Geoffrey)'

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Turner, Joseph. "Rhetoric and Performing Anger: Proserpina's Gift and Chaucer's Merchant's Tale." Rhetorica 34, no. 4 (2016): 427–54. http://dx.doi.org/10.1525/rh.2016.34.4.427.

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Although scholars have historically minimized the relationship between medieval grammatical and rhetorical traditions and Chaucer's poetics, Proserpina's angry speech in the Merchant's Tale represents the intersection of medieval classroom grammar exercises, Geoffrey of Vinsauf's theory of delivery, and poetics. Proserpina's angry speech reveals that her rhetoric is calculated to subvert the masculine power structures that surround her. Such a focus on Chaucer's depiction of women's persuasive tactics helps to highlight Chaucer's deep engagement with rhetoric beginning in the 1380's. Moreover, this investigation asks for increased attention to the overlap between classroom grammatical traditions, rhetorical theory, and medieval poetics.

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Edwards, A. S. G. "The Merchant's Tale and Moral Chaucer." Modern Language Quarterly 51, no. 3 (January 1, 1990): 409–26. http://dx.doi.org/10.1215/00267929-51-3-409.

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Raybin, David. "Chaucer on the Hearth." Dickens Studies Annual 49, no. 1 (March 1, 2018): 1–25. http://dx.doi.org/10.5325/dickstudannu.49.1.0001.

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Abstract Close parallels of plot and language show that in the construction of his third Christmas book, The Cricket on the Hearth, Dickens drew directly and heavily on Chaucer's Merchant's Tale. The Merchant's Tale comically displays the ill-fated marriage between old Januarie and young May. Cricket's plot revolves around whether it is possible for young Mary Peerybingle to be happy in her marriage to the older John, even as her friend May prepares to wed the still older Tackleton. Perhaps one of the qualities that attracted Dickens to Chaucer was a shared aesthetic that mixes pathos, comedy, and social observation. Be that as it may, Dickens was sufficiently pleased by his artistic success in Cricket that he adapted the scenario of a young wife who loves her aging husband in the Dr. and Mrs. Strong subplot in David Copperfield.

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Ibragimova, Karina R. "Geoffrey Chaucer’s Little Tragedies: the Category of the Tragic in ‘The Monk’s Tale’." Вестник Пермского университета. Российская и зарубежная филология 13, no. 4 (2021): 80–88. http://dx.doi.org/10.17072/2073-6681-2021-4-80-88.

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The article examines the implementation of the category of the tragic in The Monk’s Tale, which is part of The Canterbury Tales by Geoffrey Chaucer. The purpose of this work is to clarify the concepts ‘tragedy’ and ‘the tragic’ in the culture of the Late Middle Ages, as well as their interpretation in Chaucer’s oeuvre. The focus is on the specific understanding of these terms in the Middle Ages: since the genre of dramatic tragedy became a thing of the past along with Antiquity, the word ‘tragedy’ began to be used by poets and scribes of the Middle Ages to specify a distinct type of narration that deals with the power of fate as the main theme. The need to identify what works Chaucer used as examples to follow, as well as to study the peculiarity of the category of the tragic in The Monk’s Tale, determined the choice of methods for the analysis of the material. The research employs culture-historical, comparative-typological, and biographical methods of analysis. It has been established that, relying on the Latin (Boethius) and Italian models (Francesco Petrarca, Giovanni Boccaccio), Chaucer perceived ‘tragedy’ as a variation of the ‘fall of princes’ story. Both Chaucer and Boccaccio were interested in the study of earthly life, the search for a connection between human behavior and human fate, and the image of Fortune. However, the Italian poet did not call his works ‘tragedies’, while Chaucer did: his character, the Monk, tells seventeen stories about the victims of Fortune, among which there were both sinners and relatively innocent people. Our analysis has shown that the main point in Chaucer’s understanding of the category of the tragic is the fundamental incomprehensibility of the ways of fate. Focusing on the category of the tragic, Chaucer receives the opportunity to explore the irrationality of human existence.

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Ibragimova, Karina Rashitovna. "Pathetic speech in “Canterbury Tales” by Geoffrey Chaucer." Litera, no. 11 (November 2021): 116–23. http://dx.doi.org/10.25136/2409-8698.2021.11.36972.

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This article is dedicated to the peculiarities of pathetic language in Geoffrey Chaucer's “Canterbury Tales” and rhetorical techniques used for saturating the speech of the narrator and the characters. On the example of the “Man of Law's Tale” and the “Second Nun’s Tale”, in which the vicissitudes of the heroines are in the limelight, the author of this article examines the specificity of pathetic speech and its functions in Chaucer’s text. The goal of this research lies in determination of the cause for using pathetic speech in these two tales. Research methodology employs structural, semantic, and historical-cultural methods of analysis of the literary text. The scientific novelty consists in reference to the analysis of rhetorical techniques in the poetics of Geoffrey Chaucer reflected in the context of the categories of tragic and pathetic, which have not been thoroughly studied in the Russian and foreign research tradition. The following conclusions were made: the abundance of pathetic speech is a means to draw the attention of audience; its heightened expansiveness allows reaching the expected emotional response. In most instances, pathetic speech is associated with the positive characters of the tales, as well as the narrator, who comments on the actions of the heroes and emphasizes the touching episodes in their lives. The speech of the negative characters in these two tales is rather neutral, and in some cases replaced by the speech of the narrator. Granting the word to the negative characters, Chaucer means expansion of their role, allowing the audience to look at them not only as the minister of evil.

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Wicher, Andrzej. "The anti-Jewish Prejudice in Christopher Marlowe’s Jew of Malta, William Shakespeare’s Merchant of Venice and Geoffrey Chaucer’s Prioress’s Tale." Iudaica Russica, no. 1(4) (June 22, 2020): 102–15. http://dx.doi.org/10.31261/ir.2020.04.07.

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Autor stawia sobie za cel porównanie trzech utworów wyjętych z angielskiej literatury późno-średniowiecznej i renesansowej, których wspólnym mianownikiem jest skrajnie negatywne przedstawienie społeczności żydowskiej lub indywidualnych jej przedstawicieli. Utwory te świadczą o silnych uprzedzeniach anty-żydowskich w okresie, kiedy to, w zasadzie byśmy się takich uprzedzeń nie spodziewali, gdyż nie było wówczas, poczynając od wygnania Żydów w 1290, żadnej gminy żydowskiej na terenie Anglii. O ile u Chaucera Żydzi występują jedynie jako niezróżnicowany barbarzyński żywioł, zdolny do instynktownych anty-chrześcijańskich ataków, to podejście Marlowe’a, a szczególnie Szekspira, świadczy już o chęci zrozumienia psychologicznego mechanizmu żydowskiego myślenia i bierze pod uwagę zjawisko anty-żydowskich uprzedzeń, a nawet prześladowań. Zresztą nawet w przypadku Chaucera istnieje, omówiona w niniejszym artykule, możliwość, że autor dystansował się do nazbyt jedno-wymiarowego przedstawienia problemu żydowskiego, który zawarł w opowieści przypisanej dość dwuznacznej postaci, jaką jest Przeorysza. Dla punktu widzenia Marlowe’a istotny jest problem tzw. makiawelizmu, który wiąże on, w sposób arbitralny, z mentalnością żydowską, podczas gdy Szekspir widzi swojego żydowskiego bohatera, czy raczej antybohatera, głównie w kontekście zjawiska lichwy.

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Oliver, Rhonda. "Smiler with a knife?" Biochemist 27, no. 5 (October 1, 2005): 51–54. http://dx.doi.org/10.1042/bio02705051.

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“Ther saugh I first the derk ymaginying Of felon ye, and al the encompassying The Cruel Ire, reed as any gleede; The pykepurs, and eek the pale Drede; The smyler with the knyf undre the cloke” Geoffrey Chaucer, The Knight's Tale

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Ellis, Deborah S. "The Merchant's Wife's Tale: Language, Sex, and Commerce in Margery Kempe and in Chaucer." Exemplaria 2, no. 2 (January 1990): 595–626. http://dx.doi.org/10.1179/exm.1990.2.2.595.

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Boyd, Beverly. "Our Lady According to Geoffrey Chaucer: Translation and Collage." Florilegium 9, no. 1 (January 1987): 147–54. http://dx.doi.org/10.3138/flor.9.008.

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Chaucer addressed some of his best known poetry to the Virgin Mary. Whatever basis such poetry may have had in personal religion, this discussion is interested in the fact that Chaucer’s marian writings are in large part the result of translation, adaptation, quotation, and allusion. That observation is not meant to be iconoclastic, for literature of the time did not have the present-day obsession with novelty, and much mediaeval religious poetry is derivative. In writing about the Virgin Mary, Chaucer sometimes layered borrowed passages in a complex of sources themselves borrowed, leaving the reader with echoes — echoes of other great writers such as Bernard of Clairvaux and Dante, as well as of the Bible, the Church’s hymnody, and the liturgy. Most of this layering occurs in, or prefaces, folkloric works which are hagiography at least in their origins: the Second Nun’s tale of St Cecilia and the Prioress’s tale of the schoolboy murdered for singing Alma redemptor is mater in a ghetto. Less complex is the short poem known as Chaucer’s A B C , translated from Guillaume de Deguilleville’s Pèlerinage de la vie humaine. Even less so are the two marian verses uttered by the Man of Law’s Constance as she enters her rudderless ship (II. 841-854). These pieces by Chaucer are not uniformly excellent. Some are marian passages in other works not themselves marian.

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Gulcu, Tarik Ziyad. "Embodiment of Transformation from Scholasticism to Worldliness: Geoffrey Chaucer's the Canterbury Tales." International Human Sciences Review 1 (October 31, 2019): 39–48. http://dx.doi.org/10.37467/gka-humanrev.v1.1943.

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Although the medieval period is well-known for its otherworldly scholastic view of life, people’s gradual prioritization of material interests is arguably an embodiment of a transformation from scholastic to anthropocentric outlook on life and people. Along with common people’s interest in material gains, the ecclesiastical people’s interest in luxury and ostentation as well as acquisition of material profit are representations of the new paradigm in social area. The growing interest in worldly profits among the clergy and their indulgence in ostentation is the particular point of satire in Geoffrey Chaucer’s The Canterbury Tales. In this work, while Chaucer reflects the traits of an ideal person in the knight’s description in “General Prologue”, he deals with clerical corruption in “Reeve’s Tale”, the monk, the nun and the summoner’s depictions in “General Prologue”. While criticising the problematic aspects of the ecclesiastical class in medieval context, Chaucer transgresses the borders of his period and favours the expression of female individuality in “Wife of Bath’s Tale”. Hence, The Canterbury Tales invites reading in relation to Chaucer’s anxieties concerning medieval view of life and his position as a pioneer of a new anthropocentric social paradigm in literary context.

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Reimer, Stephen R. "Chaucer, Geoffrey. The Nun’s Priest’s Tale on CD-ROM. The Canterbury Tales Project." Journal of English and Germanic Philology 108, no. 1 (January 1, 2009): 128–31. http://dx.doi.org/10.2307/20722712.

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Perry, R. D. "Chaucer’s “Summoner’s Tale” and the Logic of Literature." Poetics Today 41, no. 1 (March 1, 2020): 37–57. http://dx.doi.org/10.1215/03335372-7974072.

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This essay discusses the fart joke that ends Geoffrey Chaucer’s “Summoner’s Tale.” It argues that the joke uses the language of medieval philosophy to satirize the work of medieval Scholastic philosophers. The essay begins by examining Chaucer’s relationship to philosophy more broadly and the scholarly controversies over Chaucer’s familiarity with this field of knowledge. It focuses on the way Chaucer uses disciplinary-specific jargon from philosophy, and from medieval logic more particularly, in “The Summoner’s Tale.” The language and content of the joke in “The Summoner’s Tale” are a burlesque play on the interests of the Merton Calculators, who used the logical thinking Scholasticism had developed in response to theological problems to investigate problems associated with natural philosophy. Chaucer’s joke reveals the way that the logical work of philosophers like Thomas Aquinas and the Merton Calculators relies on formal qualities more closely associated with literature, namely, character and narrative. In making a case that literature and logic rely on these same formal structures, Chaucer affirms literature’s capacity to present examples, concrete manifestations of philosophical or logical problems. He suggests that logic is attempting to make stories to work out problems, something that literature can do more effectively.

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Semaan, Ingrid. "The “Laurer” and the “Columbyn”: The Images of Frustrated Love in Chaucer's Merchant's Tale." Hawliyat 12 (November 19, 2018): 35–58. http://dx.doi.org/10.31377/haw.v12i0.216.

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«Rys up, my wyf, my love, my lady free» (1.2138) -however it has been the literary scholars who have followed old January with much greater alacrity than his «fresshe May» into the literary and rhetorical world of the wedding chamber and the garden that Chaucer lets the Merchant create for the married couple. The scholars, in turn, especially those interested in sources, metaphor, analogy, and allusion have been richly rewarded by the study of The Merchant's Tale, this «dense mosaic of references, allusions, quotations», as G. G. Sedgewick has described it. Unifying the richly structured composition of this «mosaic» is the theme of frustrated love, a concern to which many of these «ref- erences, allusions, quotations» point. One of the earlier critical concerns was to track down the analogues. It proved to be a fertile field; by now it has become a critical commonplace that one of the central motifs of Chaucer's tale—the blind man and the adulterous youth the pear-tree-cluster—is of Mid Eastern origin and can be found among the tales of the Disciplina Clericalis. This anthology of Eastern folklore—com- prising East Indian, Byzantine, Persian, Arabian, and Hebrew materials—was compiled in Latin back in the twelfth century by Petrus Alfunsus. Alfunsus, originally a Jewish scholar born in Spain, converted to Christianity, and eventu- ally emigrated to England where he became royal physician to King Henry I. He wrote the Disciplina while he resided in England. Alfonsi's collection of thirty- four tales is important as a bridge by which what is commonly called the literaty «matter of Araby» in both form and content became a tradition that supplied vernacular medieaval Europen writers.

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Zaché, Fernanda. "As Retratações das Personagens Femininas em Chaucer: uma leitura de “The Clerk’s Tale” e “The Wife of Bath’s Tale”." Anagrama 5, no. 3 (November 21, 2011): 1–25. http://dx.doi.org/10.11606/issn.1982-1689.anagrama.2012.35631.

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Este estudo pretende fazer uma análise comparativa das personagens femininas da obra The Canterbury Tales, de Geoffrey Chaucer, destacando as semelhanças e dicotomias apresentadas nos contos, pelas personagens femininas, tecendo considerações ao ponto de vista do autor, considerando-se as inter-relações das estruturas e unidades composicionais dos contos. O corpus escolhido contemplou dois contos da obra do autor, respectivamente “The Wife of Bath’s Tale” e “The Clerk’s Tale”. A obra medieval do século XIV traz conteúdos relevantes, passíveis de consideração e análise, principalmente por apresentar traços contemporâneos. A partir da análise comparativa entre as personagens, suas divergentes personalidades e comportamentos, foram utilizados como embasamento teórico autores como Catharine Macaulay, Ralph Wardle e Mary Wolstonecraft com o clássico The Vindication of the Rights of Woman, que alicerçou as bases do feminismo moderno

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Davis, Craig (Craig R. ). "A Perfect Marriage on the Rocks: Geoffrey and Philippa Chaucer, and the Franklin's Tale." Chaucer Review 37, no. 2 (2002): 129–44. http://dx.doi.org/10.1353/cr.2002.0025.

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Wicher, Andrzej. "Geoffrey Chaucer’s "The Merchant’s Tale", Giovanni Boccaccio’s "The Tale of the Enchanted Pear-Tree", and "Sir Orfeo" Viewed as Eroticized Versions of the Folktales about Supernatural Wives." Text Matters, no. 3 (November 1, 2013): 42–57. http://dx.doi.org/10.2478/texmat-2013-0025.

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Two of the tales mentioned in the title are in many ways typical of the great collections of stories (The Canterbury Tales and Il Decamerone) to which they belong. What makes them conspicuous is no doubt the intensity of the erotic desire presented as the ultimate law which justifies even the most outrageous actions. The cult of eroticism is combined there with a cult of youth, which means disaster for the protagonists, who try to combine eroticism with advanced age. And yet the stories in question have roots in a very different tradition in which overt eroticism is punished and can only reassert itself in a chastened form, its transformation being due to sacrifices made by the lover to become reunited with the object of his love. A medieval example of the latter tradition is here the Middle English romance, Sir Orfeo. All of the three narratives are conspicuously connected by the motif of the enchanted tree. The Middle Ages are associated with a tendency to moralize ancient literature, the most obvious example of which is the French anonymous work Ovide moralisé (Moralized Ovid), and its Latin version Ovidius Moralizatus by Pierre Bersuire. In the case of The Merchant’s Tale and The Tale of the Enchanted Pear-Tree, we seem to meet with the opposite process, that is with a medieval demoralization of an essentially didactic tradition. The present article deals with the problem of how this transformation could happen and the extent of the resulting un-morality. Some use has also been made of the possible biblical parallels with the tales in question.

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Morrison, Susan Signe. "“[A]n Exterior Air of Pilgrimage”: The Resilience of Pilgrimage Ecopoetics and Slow Travel from Chaucer’s The Canterbury Tales to Jack Kerouac’s On the Road." Humanities 9, no. 4 (October 8, 2020): 117. http://dx.doi.org/10.3390/h9040117.

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While the Beats can be seen as critical actors in the environmental humanities, their works should be seen over the longue durée. They are not only an origin, but are also recipients, of an environmentally aware tradition. With Geoffrey Chaucer and Jack Kerouac, we see how a contemporary American icon functions as a text parallel to something generally seen as discrete and past, an instance of the modern embracing, interpreting, and appropriating the medieval. I argue that The Canterbury Tales by Chaucer influenced Kerouac’s shaping of On the Road. In the unpublished autograph manuscript travel diary dating from 1948–1949 (On the Road notebook), Kerouac imagines the novel as a quest tale, thinking of pilgrimage during its gestation. Further, Kerouac explicitly cites Chaucer. His novel can be seen not only in the tradition of Chaucer, but can bring out aspects of pilgrimage ecopoetics in general. These connections include structural elements, the spiritual development of the narrator, reliance on vernacular dialect, acute environmental awareness, and slow travel. Chaucer’s influence on Kerouac highlights how certain elements characteristic of pilgrimage literature persist well into the modern period, in a resilience of form, language, and ecological sensibility.

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Jucker, Andreas H., and Annina Seiler. "Translating Middle English (Im)politeness: The Case of Geoffrey Chaucer’s Miller’s Tale." Chaucer Review 58, no. 1 (January 2023): 35–59. http://dx.doi.org/10.5325/chaucerrev.58.1.0035.

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ABSTRACT Some of the bawdy details of Chaucer’s Canterbury Tales continue to pose challenges to translators, who must find renderings that are both descriptively and stylistically adequate. The Miller’s Tale provides an illustrative case study, in which the drunken narrator describes Nicholas’s rather physical wooing of the carpenter’s wife Alisoun in graphic detail. Existing translations of the key term queynte range from the flowery euphemism to the straightforward vulgarism. An appropriate translation into present-day English needs to be based not only on sound philological analysis, but also on a careful evaluation of the register of the original Middle English expression. This article offers a corpus-based assessment of relevant candidate expressions in order to propose a translation that captures the appropriate level of (im)politeness, both of the narrator towards his fellow pilgrims and of Chaucer towards his readers.

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Bowers, J. M. "Three Readings of The Knight's Tale: Sir John Clanvowe, Geoffrey Chaucer, and James I of Scotland." Journal of Medieval and Early Modern Studies 34, no. 2 (April 1, 2004): 279–308. http://dx.doi.org/10.1215/10829636-34-2-279.

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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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Lohia, Vandana. "The Wife of Bath – Early Feminist?" SMART MOVES JOURNAL IJELLH 8, no. 2 (February 28, 2020): 5. http://dx.doi.org/10.24113/ijellh.v8i2.10403.

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The Tale of the Wyf of Bathe – written in 14th century England – remains to be one of the most widely known tales from Geoffrey Chaucer’s The Canterbury Tales. Chaucer gives voice to this pilgrim woman at a time when Richard II’s England was wrought with imbalance of power in the male dominated society. The purpose of this essay is to discern whether the Wife of Bath was an early feminist or not. She is commonly referred to as “the wife” and not her name - this is precisely the notion that she sets out to defy - that a woman, in a society, can only be identified by relation to a man, be it as a wife, mother, sister or a daughter.

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Medeiros, Márcia Maria, and Tânia Regina Zimmermann. "A santificação da figura feminina na literatura medieval: um estudo de caso de The Fisician's Tale de Geoffrey Chaucer." Revista NUPEM 7, no. 13 (May 12, 2017): 143–53. http://dx.doi.org/10.33871/nupem.v7i13.275.

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Um dos mais populares tipos de literatura medieval é representado pela hagiografia, textos com caráter didático-pedagógicos utilizados pela Igreja, a fim de ensinar o cristianismo à população de forma simples, uma vez que a maioria das pessoas era analfabeta. Uma das principais características destas obras é colocada na santificação da figura feminina, através de recursos que gradualmente vão destruindo os elementos constitutivos da ideia de feminilidade (corte de cabelo, desfigurar o corpo), a fim de alcançar esta sacralização. O texto proposto para estudo neste artigo se encaixa neste contexto, e o propósito do trabalho a ser realizado será o de compreender como representações do feminino são idealizadas neste poema, a fim de compreender as estratégias concebidas para este processo de santificação.

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Medeiros, Márcia Maria, and Tânia Regina Zimmermann. "A santificação da figura feminina na literatura medieval: um estudo de caso de The Fisician's Tale de Geoffrey Chaucer." Revista NUPEM 7, no. 13 (May 12, 2017): 143–53. http://dx.doi.org/10.33871/nupem.v7i13.275.

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Um dos mais populares tipos de literatura medieval é representado pela hagiografia, textos com caráter didático-pedagógicos utilizados pela Igreja, a fim de ensinar o cristianismo à população de forma simples, uma vez que a maioria das pessoas era analfabeta. Uma das principais características destas obras é colocada na santificação da figura feminina, através de recursos que gradualmente vão destruindo os elementos constitutivos da ideia de feminilidade (corte de cabelo, desfigurar o corpo), a fim de alcançar esta sacralização. O texto proposto para estudo neste artigo se encaixa neste contexto, e o propósito do trabalho a ser realizado será o de compreender como representações do feminino são idealizadas neste poema, a fim de compreender as estratégias concebidas para este processo de santificação.

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Hussey, S. S., Derek Pearsall, and Geoffrey Chaucer. "A Variorum Edition of the Works of Geoffrey Chaucer. Volume II: The Canterbury Tales. Part Nine: The Nun's Priest's Tale." Modern Language Review 83, no. 1 (January 1988): 136. http://dx.doi.org/10.2307/3728558.

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Kamowski, William. "The Summoner’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2 ed. by John F. Plummer III." Studies in the Age of Chaucer 19, no. 1 (2017): 289–91. http://dx.doi.org/10.1353/sac.2017.0030.

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Grace, Dominick M. "Chaucer's Little Treatises." Florilegium 14, no. 1 (January 1996): 157–70. http://dx.doi.org/10.3138/flor.14.010.

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Chaucer’s prologue to the “Tale of Melibee” tends to attract more critical interest than the tale itself, often revolving around Chaucer’s references to a “litel tretys” and a “tretys lite,” as article titles such as “‘This Litel Tretys’ Again” (by John W. Clark) and “Chaucer’s Little Treatise, The Melibee” (by Thomas J. Farrell) suggest. The focus of such commentaries on the prologue tends to be identification of the treatise, with the inevitable conclusion being that there is only one treatise to identify. However, careful reading of the passage in question reveals that the most logical conclusion is that the two references, to a “litel tretys” (VII.957) and a “tretys lyte” (VII.963), refer to separate, albeit linked, treatises. Recognition of this likelihood depends on focussing not simply on the question of what Chaucer refers to in the two lines cited above but on the larger context of the linking material preceding the “Tale of Sir Thopas” as well as the interruption of that tale. In focussing on the question of the treatise, previous commentators have not sufficiently considered the ways that the references to the treatises develop from the dialogue between Harry and the narrator begun prior to the “Thopas.” The dialogue between Harry and Geoffrey before and after the “Thopas” stresses in various ways the difficulty of finding a fixed and single meaning even for a single word, let alone for a person, or a tale. Chaucer’s use of the word “tretys” in the Thopas-Melibee link is emblematic of the way he undercuts the idea that meaning is fixed and invariable, not only within the link itself, but throughout his writing. To understand the implications of granting a double referent to the word “tretys,” we must first consider what Harry’s way of reading implies.

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Morrison, Susan Signe. "Slow Practice as Ethical Aesthetics: The Ecocritical Strategy of Patience." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (September 17, 2020): 118–27. http://dx.doi.org/10.37536/ecozona.2020.11.2.3453.

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How can cultural works from the distant past –such as the Middle Ages—teach us ethical modes of behavior for today? One form of ecopoetics emerges through slow practice, making the reader collaborate in the measured process of co-creating the emotional impact of an imaginative text. Drawing on rich debates about slow cinema, this essay suggests how Chaucer’s The Clerk’s Tale—from his grand fourteenth-century poem, The Canterbury Tales—evokes a slow eco-aesthetics with ethical impact. The relative slowness of walking shapes how individuals respond to their environment. In turn, a deceleration of perception affects how travel comes to be written about, as seen in the tale of Patient Griselda. Introduced by Giovanni Boccaccio and adapted by such writers as Francesco Petrarch, Geoffrey Chaucer, and Christine de Pizan, she acts dynamically through her apparent silence and notorious patience. The environmental humanities offer paradigms for us to consider the strategies of slowness and patience. This essay shows how medieval pilgrimage literature evokes a slow aesthetic which is at the same time an ecocritical strategy. Slowness results in an enduring impact and heightened sensitivity to the ecological damage for which we all are culpable. Slower somatically inculcates key aspects of environmental awareness. Pilgrimage texts from the Middle Ages teach us slow ethical aesthetics, suggesting that the medieval moment—finally and a long time coming— is now.

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Edwards, A. S. G. "The Prioress’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer. vol. 2, The Canterbury Tales. Part 20 ed. by Beverly Boyd." Studies in the Age of Chaucer 11, no. 1 (1989): 189–91. http://dx.doi.org/10.1353/sac.1989.0011.

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Lenaghan, R. T. "The Physicians Tale, A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2, The Canterbury Tales, Part 17 ed. by Helen Storm Corsa." Studies in the Age of Chaucer 10, no. 1 (1988): 141–43. http://dx.doi.org/10.1353/sac.1988.0015.

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Göller, Karl Heinz, and Richard J. Utz. "The Squire’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer. Vol. 2, The Canterbury Tales. Part 12. ed. by Donald C. Baker." Studies in the Age of Chaucer 13, no. 1 (1991): 162–65. http://dx.doi.org/10.1353/sac.1991.0008.

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Scattergood, John. "The Manciple’s Tale, A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2, The Canterbury Tales, Part 10 ed. by Donald C. Baker." Studies in the Age of Chaucer 7, no. 1 (1985): 161–63. http://dx.doi.org/10.1353/sac.1985.0006.

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Blake, N. F. "The Nun’s Priest’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer. Vol. 2, The Canterbury Tales, Part 9 ed. by Derek Pearsall." Studies in the Age of Chaucer 7, no. 1 (1985): 229–33. http://dx.doi.org/10.1353/sac.1985.0029.

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Griffiths, Jeremy. "The Miller’s Tale. A Variorum Edition of the Works of Geoffrey Chaucer, Vol. 2. The Canterbury Tales, Part 3 ed. by Thomas W. Ross." Studies in the Age of Chaucer 7, no. 1 (1985): 237–42. http://dx.doi.org/10.1353/sac.1985.0031.

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TAŞDELEN, Pınar. "Laughing at Knights: Representations of Humour in Sir Perceval of Galles, Sir Beues of Hamtoun, Lybeaus Desconus and Geoffrey Chaucer s Tale of Sir Thopas." Mediterranean Journal of Humanities 6, no. 1 (June 28, 2016): 309. http://dx.doi.org/10.13114/mjh.2016119307.

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Naumenko, Nataliia. "Narrative Polyphony of Sting’s Album “Ten Summoner’s Tales” (1993)." Pitannâ lìteraturoznavstva, no. 106 (December 30, 2022): 144–64. http://dx.doi.org/10.31861/pytlit2022.106.144.

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The article analyses the specifications of narrative structures and types of narrators in the song lyrics from the album “Ten Summoner’s Tales” (1993), based on “Canterbury Tales” by Geoffrey Chaucer and traditionally claimed the Magnum Opus of Sting. Apparently, Chaucerian style in all the twelve verses composing the album emerges not merely as the interpretation of original “Canterbury Tales” plots or impartment of the new features to the initial characters, but predominantly as exploitation of the lyrical and ironic intonations within an image of a narrator for a certain poem. Since a song is the synthetic generic structure marked with profound internal experience, Sting’s album reveals the diverse types of a speaker in every verse. Primarily, it is the ‘I-narrator’ embodied in poetic masks of a historian, a warrior, a saint, a gambler or a philosopher; some texts like “Fields of Gold” or “Shape of My Heart” represent the alternation of speaker types, which method of storytelling creates the special generic and narrative polyphony for a song. Subsequently, the narrative structure would determine the genre of a separate work: a detective story, a pastoral, a historical reflection, a cumulative tale, a confession, and somehow a Dante-styled epic poem. Overall, the various types of narrators in Sting’s lyrics composing “Ten Summoner’s Tales” (determined as ‘reflexive,’ ‘actor,’ ‘pointillist’ and ‘medium’ with all possible combinations) bring the elements of the author’s own vital and creative experience into the song where they gain the generalized meanings as symbols of human life, being surrounded with verbal images and amplified with musical accompaniment.

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Baragona, Alan. "Geoffrey Chaucer, A Variorum Edition of the Works of Geoffrey Chaucer, vol. 2: The Canterbury Tales: The Wife of Bath's Prologue and Tale (Parts 5A and 5B)., ed., Mark Allen and John H. Fisher. Norman: University of Oklahoma Press, 2012. Pp. xvi, 315 (Part 5A); xxviii, 424 (Part 5B). $75. ISBN: 978-0-8061-4224-1." Speculum 90, no. 1 (January 2015): 224–26. http://dx.doi.org/10.1017/s0038713414002498.

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Horobin, Simon. "A Variorum Edition of the Works of Geoffrey Chaucer Volume II. The Canterbury Tales: The Wife of Bath’s Prologue and Tale. Parts 5a and b ed. by Mark Allen and John H. Fisher." Studies in the Age of Chaucer 35, no. 1 (2013): 373–76. http://dx.doi.org/10.1353/sac.2013.0008.

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Xavier T, Roy. "Novels Speak Reality: Ivanhoe, An Example." SMART MOVES JOURNAL IJELLH 8, no. 6 (June 29, 2020): 43–49. http://dx.doi.org/10.24113/ijellh.v8i6.10629.

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Stories have been the source of moral lessons and entertainment, as far as the humankind of all the time, is concerned. The use of story- telling existed from the time immemorial. Stories appeared in the form of ballads and epics, in the ancient time, but later it took the shape of short and long fictions. The long fictions or novels varied in its theme and size. They are divided into many genres according to its subject matter- Gothic, Picaresque, Historical etc. The Ballad is nothing but a short story in verse. Its subjects are simple and memorable like adventure, love, war and the life etc. An Epic is a long tale in verse with famous heroes for its main characters. Iliad and Odyssey are examples. These stories gave the reader enjoyment and certain life-related ‘tips’. Hayden White, an American historian says, “the aim of the writer of a novel must be the same as that of the writer of the history”. Historians and Novelists wish to provide a verbal image of ‘reality’. A novelist may produce reality indirectly but this is meant to correspond to some sphere of human experience. He desires to pass the merits and demerits of such experience onto the readers, to enhance a better vision of life. Novelists are free to use fictitious characters and situations for the readers’ entertainment. Stories took its present prose form later in the middle ages. Decameron, a collection of stories by Boccaccio, was published in 1350. It deals with stories told by a group of people affected by Black Plague. They used these stories to get mental relief from the pandemic. ‘Canterbury Tales’ of Geoffrey Chaucer also, is telling the life-related stories by some pilgrims to the shrine of St. Thomas Becket at Canterbury. All these show that men were, from the early ages itself, used to tell stories to recollect the past and go forward with lessons of reality for a better life. Actually these stories are ‘historical facts’ blended with the imagination of the writers.

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Fruoco, Jonathan. "Geoffrey Chaucer, The Merchant’s Tale and the Dialectic of Elevation." IRIS, no. 39 (December 15, 2019). http://dx.doi.org/10.35562/iris.1009.

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Geoffrey Chaucer pose dans The Canterbury Tales un regard unique sur l’évolution de la poésie anglaise durant le Moyen Âge. L’alternance de genres et de styles poétiques différents lui permet de refléter tout le potentiel de la littérature par le biais d’un réagencement des images, symboles et conventions qui la définissent. Néanmoins, ce qui fait la force de Chaucer dans The Canterbury Tales, est sa capacité à développer un dialogue entre les différents récits constituant l’œuvre, ainsi que sa facilité à renverser nos attentes en extrayant son public d’un roman de chevalerie pour le propulser dans l’univers carnavalesque du fabliau, comme c’est le cas dans The Merchant’s Tale. En jouant avec l’imaginaire de l’arbre et du fruit, Chaucer nous prive dans ce conte de toute élévation et fait de son poirier un arbre inversé.

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Fruoco, Jonathan. "Geoffrey Chaucer, The Merchant’s Tale and the Dialectic of Elevation." IRIS, no. 39 (December 15, 2019). http://dx.doi.org/10.35562/iris.1009.

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Geoffrey Chaucer pose dans The Canterbury Tales un regard unique sur l’évolution de la poésie anglaise durant le Moyen Âge. L’alternance de genres et de styles poétiques différents lui permet de refléter tout le potentiel de la littérature par le biais d’un réagencement des images, symboles et conventions qui la définissent. Néanmoins, ce qui fait la force de Chaucer dans The Canterbury Tales, est sa capacité à développer un dialogue entre les différents récits constituant l’œuvre, ainsi que sa facilité à renverser nos attentes en extrayant son public d’un roman de chevalerie pour le propulser dans l’univers carnavalesque du fabliau, comme c’est le cas dans The Merchant’s Tale. En jouant avec l’imaginaire de l’arbre et du fruit, Chaucer nous prive dans ce conte de toute élévation et fait de son poirier un arbre inversé.

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PEKŞEN YAKAR, Azime. "REPRESENTATIONS OF FOOD AND SEXUALITY IN GEOFFREY CHAUCER’S FABLIAUX." Trakya Üniversitesi Edebiyat Fakültesi Dergisi, July 1, 2022. http://dx.doi.org/10.33207/trkede.1112074.

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This paper aims to analyze Chaucer’s use of food as a sexual metaphor in the carnal universe of his fabliaux, namely, The Miller’s Tale, The Reeve’s Tale, and The Merchant’s Tale. Fabliaux usually narrate the adulterous relationship revolving around a young wife, her old husband, and a young virile man. Therefore, sex plays an essential part in the dynamics of these tales. This paper argues that food is both associated with female characters’ sexual escapades in a positive way denoting their sexual power and also reveals their husbands’ unsuccessful efforts to satisfy their young wives sexually. Thus, metaphors of food implicitly reflect the husbands’ impotence because of old age. In this regard, this paper engages with Chaucer’s subversive use of food in The Miller’s Tale, The Reeve’s Tale, and The Merchant’s Tale and investigates how Chaucer overturns the gendered power struggle between wife and husband with regard to their sexual activities by employing metaphors of food.

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YILDIZ, Nazan. "Leydi Felsefe mi yoksa gizli bir Bath’lı Kadın mı: Geoffrey Chaucer’ın Melibee’nin Hikâyesi’ndeki Prudence karakteri." RumeliDE Dil ve Edebiyat Araştırmaları Dergisi, June 21, 2022. http://dx.doi.org/10.29000/rumelide.1132591.

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Renowned as a reference book of Dante and Chaucer, Boethius’s Consolation of Philosopy occupies a peerless room in literary realm. Dante draws on the Boethian elements in his Vita Nuova, the Convivio and the Commedia. Among his other works, Chaucer’s making use of Boethius’s Consolation in Troilus and Criseyde has been well documented by Chaucerians. A work belonging to the time of the collapse of the Roman Empire, Consolation focuses on fate, fortune and free will and was translated into numerous languages even by Chaucer himself, Boece, and by an Anglo-Saxon king, Alfred the Great. Recognised as a philosophical treatise, this exceptional work embraces a patchwork of Aristotelian, Stoic, Epicurean, and neo-Platonic thoughts. Alongside its philosophical concerns, featuring Lady Philosophy as a guide, teacher and a doctor to Boethius, Consolation suggests the authority of women over men via the power of female discourse. Tracing the footsteps of Lady Philosophy, another female character, Chaucer’s Prudence in the Tale of Melibee consoles and guides her husband Melibee to goodness via her powerful discourse. Mostly treated as a dull text by critics, the Tale of Melibee is put in the category of the least favourite tales of Chaucer. In this paper, yet, I will focus on the tale with positive lens and read it as a text revealing the mastery and authority of women over men reversing the gender roles in a period well-known for its misogyny. Thereby, I assert that Prudence is an undisclosed Wife of Bath who raises the flag of victory in the everlasting power struggle between women and men. Finally, the paper comes to an end with an appeal for attraction in that women should take their share in real world alongside in fiction in accordance with Virginia Woolf’s argument in A Room of One’s Own.

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Putriana, Egi, Jufrizal Jufrizal, and Fitrawati Fitrawati. "The Affix Changes from Middle English to Modern English Found In The Miller's Tale Written by Geoffrey Chaucer and Its Modern English Version." English Language and Literature 8, no. 1 (February 15, 2019). http://dx.doi.org/10.24036/ell.v8i1.103045.

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The history of English language has three periods of time; Old English, Middle English, and Modern English. The linguistic forms in English development are different each period. This research aims to find out one of the changes, that is, the affix changes from Middle English to Modern English form that found in both of The Miller’s Tale Story Middle English and Modern English versions. This research also aims to find out the spelling changes in affixes. This research used descriptive qualitative method. The data, which are the collection of words that have affixes found in The Miller’s Tale, were identified based on the base of the words and its affixes and its were classified based on the type of its functions. Based on data analysis, there are seven affixes in Middle English which have been changed in Modern English form. These changes occur in the deletion of vowel, change of vowel, substitution of the affix, and elimination of the affix. The spelling change also influenced the change in suffixes. Some of the vocabularies change into the new words and some of the words change only in its vowel.

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Journal articles on the topic 'Merchant's tale (Chaucer, Geoffrey)'

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