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Phd Thesis Title: Medieval Tradition in Geoffrey Chaucer's Information from the CV ( http://www.artes-iasi.ro/colocvii/cv/Olesia%20Mihai%20-%20CV%20.doc ) PhD thesis Title: Medieval Tradition in Geoffrey Chaucer’s Writings Author: Olesia Lupu (now Olesia Mihai) Institution: “Al. I. Cuza” University, Iasi, Romania Date: April 2005 The author also published a book in 2009 with the same title (but in Romanian), see CV: Lupu, O., Tradi ţia medieval ă în scrierile lui Geoffrey Chaucer , Editura Sedcom Libris, Ia şi, Romania, 2009 Contents CONTENTS ...............................................................................................................................1 INTRODUCTION .....................................................................................................................2 CHAPTER 1 PRELIMINARY ASPECTS .....................................................................................................6 CHAPTER 2 UNIVERSALUNIVERSAL LOVELOVE – CLASSICAL AND CHRISTIAN TRADITION ...........................26 CHAPTERCHAPTER 3 THE NOMINALIST-REALIST CONTROVERSY AND THE PHILOSOPHICAL TRADITION ......................................................................61 CHAPTER 4 COUCOURTLYRTLY LLOVEOVE – TRADITION AND INNOVATION IN CHAUCER’S APPROACH ..............................................................................................80 CHAPTER 5 INDIVIDUALINDIVIDUAL VOICEVOICE – A REALISTIC APPROACH TO CHARACTERS ..............................................................................................................101 CHAPTER 6 THE LYRILYRICC WITHWITH NARRATIVENARRATIVE – AN INNOVATIVE APPROACH TO LYRICS ....................................................................................................121 CHAPTER 7 THE NARRATIVENARRATIVE WITHWITH LYRICLYRIC – A TRADITIONAL APPROACH TO NARRATIVE ...........................................................................................150 CHAPTER 8 CONCCONCLUSIONLUSION ..................................................................................................................... ..183 BIBLIOGRAPHY ..................................................................................................................187 Introduction It is certainly a difficult task to write about Geoffrey Chaucer and his literary legacy. For over five hundred years scholars have dedicated innumerable pages to the life and work of the "father of English literature". Who might ever pretend to have read all that has been written about this singular genius? That is why any bibliography regarding Chaucer is always incomplete. Whenever a researcher narrows the field of research, he needs to establish what has not been sufficiently studied. As I said in the previous paragraph, in the case of such an important writer as Chaucer is, it is hard to find such a subject that has eluded the insatiable thirst of knowledge of about ten generations of scholars. A difficult task indeed, however it is not impossible. Judging according to the books to which I have had access in the last years in Romania and abroad, it is possible to see the following: Most books deal with such subjects as, life of Geoffrey Chaucer and description of his work; classification of the different stories of Canterbury Tales; innovations in Chaucer's writings, intertextuality and other problems regarding style; historic correspondences; parallelisms with other European literatures; certain European Medieval traditions and social phenomena, especially courtly love, as reflected in Chaucer's works; problems of language. As I can see most books focus on very concrete aspects, e.g. a certain particular innovation (such as those regarding narrative technique), a classification of Chaucer's works, etc. In the case of medieval tradition research, most scholars are concerned with a certain particular tradition as reflected in Chaucer's works, as well with its parallelisms in other European literatures (such as courtly love). Surprisingly, I do not find many works intended to cover all the aspects, such as style, tradition, innovation, etc. This is why I decided to dedicate this study to the systematisation of a field of research: Medieval Tradition in Geoffrey Chaucer’s Writings. Inevitably, as I went deeper in the research I was compelled to narrow the field and, in this case, of systematisation as well. In order to keep the synthetic character of the research I could not narrow the field by choosing some particular tradition, but by limiting ourselves to a specific type of medieval tradition. I had to choose between social traditions and literary traditions. Social traditions have already been extensively treated by other authors (though not in a systematic way) in researches linked to historical correspondences and Chaucer's biography. That is why I decided to concentrate my research on the more complex field of literary tradition. Of course, a writer such as Chaucer cannot be defined only from the standpoint of tradition as the importance of any genius is in his innovations rather than in his faithful continuation of tradition. Therefore I shall always present tradition in Chaucer's works in contrast with the innovations that ensured him the title of "father of English literature". My research is the first one in Romanian Chaucerian studies dedicated to the study of literary tradition in Chaucer's works. Once I defined the field of study, I had to decide whether to investigate the whole work of Chaucer in the same measure and depth or to focus on certain works though not neglecting the remaining books. Both the considerable size of his literary production and the nature of our research, determined me to focus on a part of Chaucer's works, and namely on the minor poems. Why? Minor poems have enjoyed less attention from scholars though they are extremely helpful for the study of literary technique and style. Chaucer’sChaucer’s lyriclyric poems are often criticized for being too conventionalized. CertainlyCertainly the lyrics are quite coconventional,nventional, but Chaucer does not blindly follow tradition; ratherrather hhee isis tratraditionalditional in EliEliot’sot’s sesensense ooff ththee tterm:erm: hhee uses ththee coconventionsnventions ooff latlatee medievalmedieval poetrypoetry to serve his own ends and alters forever the traditions themselvesthemselves.. One convention in particular which CChaucerhaucer mmakesakes to transcend in his lyrics is the latelate medieval theme of courtly love, which Chaucer gradually comes to depict ironically, suggestingsuggesting thethe discrepancy between universal love and human love. A second convention ChaucerChaucer alters in his lyrics is the portrayal of a llyricalyrical sspeakerpeaker as an aabstractbstract everyman. AsAs he develops as a poet, Chaucer’s lyrical speaker becomes increasingly more individualized.individualized. This is accomplished either by the poet’s adopting a unique speaking voice,voice, or by the combination of narrative with the lyric proper. Chaucer seems also to havehave been aware of a philosophical tradition, from his early poetry in which, influenced by ItalianItalian love poets, he assumes the position of a realistrealist ((whowho believes that the universaluniversal isis real), to his later poems, in which he seems instead a nominalist (who thinks that only individualsindividuals can truly be known)known).. These three trends combine in Chaucer’s lyrics,lyrics, so that as he begins to accept philosophical nominalism, he also begins to individualize his speakers and characters, sincesince only individuals can be known. And when the lyrical speaker and his beloved are described as individuals, then the inability of the individual to live up to the fixed ideal of the courtly love becomes evident. Thus the theme of universal love as the proper alternative to courtly love underlines much of Chaucer’s lyric poetry. These points are discussed in detail in my first chapter.chapter. ChapterChapter two concerns those poems, Truth,Truth, Gentilessem Lak of Stedfastnesse, The Foermer AgeAge, and An ABCABC, in which Chaucer’s everyman narrator presents iinn a straightforwardstraightforward manner universal love and its relationship with natural law. CChapterhapter three discussesdiscusses EnvoyEnvoy to Scogan, thethe EnvoyEnvoy to Bukton, thethe WWordsords unto Adam, and the ComplaintComplaint to his PursePurse – four later poems in which Chaucer adds a new dimension to the lyric by abandoning the abstract everyman for a individualized persona.persona. ChapterChapter four investigatesinvestigates A ComplaintComplaint to HHisis LadLadyy, Womanly NoblesseNoblesse, and the Complaint D’ Amours, all of which are quite early poems in the courtly love tradition, and which generalize ‘everyman’ courtly lover as speaker. Chapter five, however, considers thosethose poems – The ComplaintComplaint of Venus, Against Women Unconstant, Merciles BeauteBeaute, and To RosemoundeRosemounde – which,which, while in the courtly love tradition,tradition, display more specifically characterizedcharacterized speakers.speakers. Chapter six is concerned with structural changes which have the effect of characterizingcharacterizing the lyrilyricalcal sspeakerpeaker and of making more concrete the situation to which he is responding.responding. FortuneFortune createscreates characterscharacters in a ddramaticramatic fform.orm. TheThe Complaint unto PityPity, TheThe Complaint of Mars, andand AnelidaAnelida and ArArcitecite areare narrative-lyricnarrative-lyric hybrids which allow t thehe audience,audience, by combining the objective
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