Chaucer and the Lollards 1 in the Bigynnyng God Made of Nouyt Heuene and Erthe

Total Page:16

File Type:pdf, Size:1020Kb

Chaucer and the Lollards 1 in the Bigynnyng God Made of Nouyt Heuene and Erthe Chaucer and the Lollards 1 In the bigynnyng God made of nouyt heuene and erthe. 2 Fo°ƒothe the erthe was idel and voide, and derkne±is weren on the face of depthe; and the Spiryt of the Lo°d was bo°un on the watris. 3 And God ƒeide, Liyt be maad, and liyt was maad. 4 And God ƒeiy the liyt, that it was g¬d, and he departide the liyt fro derkne±is; and he clepide the liyt, 5 dai, and the derkne±is, nyyt. And the euentid and mo°wetid was maad, o daie. 6 And God ƒeide, The firmament be maad in the myddis of watris, and departe watris fro watris. 7 And God made the firmament, and departide the watris that weren vndur the firmament fro theƒe watris that weren on the firmament; and it was don ƒo. 8 And God clepide the firmament, heuene. And the euentid and mo°wetid was maad, the ƒecounde dai. 9 Fo°ƒothe God ƒeide, The watris, that ben vndur heuene, be gaderid in to o place, and a drie place appere; and it was d¬n ƒo. 10 And God clepide the drie place, erthe; and he clepide the gadryngis togidere of watris, the ƒees. And God ƒeiy that it was g¬d; 11 and ƒeide, The erthe b°ynge fo°th greene eerbe and makynge ƒeed, and appil tre makynge fruyt bi his kynde, whos ƒeed be in it ƒilf on erthe; and it was d¬n ƒo. 12 And the erthe b°ouyte fo°th greene erbe and makynge ƒeed bi his kynde, and a tre makynge fruyt, and ech hauynge ƒeed by his kynde. And God ƒeiy that it was g¬d. 13 And the euentid and mo°wetid was maad, the thridde dai. —Geneƒis 1:1-13 (Wyclif tranƒlation, 1395 edition) European Christianity underwent massive upheaval in the fourteenth century. Corruption in the church increased tremendously, culminating in the so‐called “Babylonian Captivity” when, from 1378 to 1417, the church split in two with competing popes and papal courts in Rome and Avignon, France. During the last half of the fourteenth century, several reform movements sprung up dedicated to eliminating corruption in the church and restoring it to its earlier purity. In England, the reform movement, based on the writings and teachings of John Wyclif, became known as Lollardy. John Wyclif (1330?‐1384), a Biblical scholar and theologian at Oxford University, emphasizede th inward aspects of religion and the mystical source of grace that the Bible revealed to all of God’s People, in contrast with the organized church, which (according to John Wyclif Wyclif) favored worldly power and wealth. He argued for secular authority over the Church in certain specific areas, becoming well‐known for his anti‐ ecclesiastical positions, and received support from Princess Joan of Wales (the widow of the eldest son of King Edward III and mother of King Richard II) and John of Gaunt, Duke of Lancaster, third son of Edward III and one of the most powerful men in England. Wyclif started to publish texts not in Latin, the language of scholars, but in English. Based on his research, his works openly criticized the church and its clergy for emphasizing form over substance and allowing—even encouraging—corruption. In 1381 Wyclif began his own translation of the Bible from Latin into English, completing the project in 1388. Using his writings, followers of Wyclif preached a reformed Christian doctrine that promoted personal faith, the reading of the Holy Scripture in the vernacular and equality of the sexes. By 1387 these followers were being called by their critics “Lollards,” from the Middle Dutch word lollaerd (mumbler). Lollards questioned the current state of the church and criticized many of its practices and its wealth, displaying a marked anti‐clerical attitude. After the coup d’etat of 1399 that overthrew Richard II and replaced him with Henry IV (son of John of Gaunt), the Lollards were outlawed by the statute Deo hæretic comburendo in 1401 and persecuted for heresy until the English Reformation of the sixteenth century. Was Chaucer a Lollard? Many of Chaucer’s writings demonstrate a willingness to criticize and make fun of church authority, especially its more egregious transgressions against moral standards. Several of the criticisms suggested in The Canterbury Tales (e.g., buying and selling of church offices, abuse of church courts, use of ecclesiastical positions for personal aggrandizement) parallel those of Wyclif and the Lollards. Chaucer promoted the use of English, the common language, over the use of French and Latin, as did Wyclif. And Chaucer had intimate connections to the households of Princess Joan and the Duke of Lancaster. Nevertheless, we have no firm evidence that Chaucer himself was a Lollard. He may have sympathized with many of their goals and supported their positions but it seems unlikely that he played any active role in the movement. Still, all of the ecclesiastical portraits in The Canterbury Tales are influenced by the Lollard controversy and appear to illustrate many of the points then in contention. .
Recommended publications
  • Ovid's Wand: the Brush of History and the Mirror of Ekphrasis Presented In
    Ovid’s Wand: the brush of history and the mirror of ekphrasis Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reid Hardaway, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Ethan Knapp, Advisor Karen Winstead Sarah-Grace Heller Copyright by Reid Hardaway 2017 Abstract The recent work on the manuscript reception of Ovid’s canon and Ovidian commentaries in western Europe has affirmed the author’s significant literary influence in the late Mid- dle Ages. The production and reception of Ovidinia flourished, and Ovid’s poems in- creasingly became read as coherent compositions rather than dissected for bits of moral exempla. In particular, the Metamorphoses profoundly affects the literary landscape of late medieval France and England. Allusions to Ovid’s poem reemerge throughout the late Middle Ages at defining moments of poetic self-consciousness, most often through figures of ekphrasis, the use of poetry in order to portray other media of art. By examin- ing such moments from a selection of influential medieval poems, the mind of the late medieval poet reveals itself in perpetual contestation with the images and figures of an Ovidian lineage, but the contest entails the paradoxical construction of poetic identity, which forces the poet to impose the haunting shadow of literary history onto the mirror of his or her craft. ii Acknowledgements The following work would not have been possible without the considerate and insightful assistance of my advisor, Ethan Knapp, as well as the other members of the dissertation committee, Karen Winstead and Sarah-Grace Heller.
    [Show full text]
  • “General Prologue,” Canterbury Tales: Informational/Explanatory Writing and Close Reading Task Text Grade Band Placement
    “General Prologue,” Canterbury Tales: Informational/explanatory Writing and Close Reading Task Text grade band placement: 11-12 Text Text Complexity Analysis Title: General Prologue, The Canterbury Quantitative: Tales Lexile: 1310L Author: Geoffrey Chaucer Qualitative: Meaning - Several levels/layers and competing elements of meaning that are difficult to Citation/Publication info: identify, separate, and interpret; theme is implicit or subtle, often ambiguous and revealed over Chaucer, Geoffrey. The Canterbury the entirety of the text Tales. Trans. Nevill Coghill. Prentice Hall Literature: The Text Structure - Narration: Complex and/or unconventional; many shifts in point of view and/or British Tradition. Upper Saddle perspective; Order of Events: Not in chronological order; heavy use of flashback River, NJ: Pearson, 2012. 97- 119. Print. Language Features - Conventionality: Dense and complex; contains abstract, ironic, and/or figurative language; Vocabulary: Some use of unfamiliar, archaic, subject-specific, or overly Link: academic language http://www.fordham.edu/halsall/source/CT- prolog-para.html Knowledge Demands - Life Experiences: Explores many complex and sophisticated themes; experiences are distinctly different from the common reader; Intertextuality and Cultural Knowledge: Some references or allusions to other texts or cultural elements; Subject Matter Knowledge: requires some prior content knowledge Reader and Task: The Common Core State Standards name The Canterbury Tales as an exemplar text for the 11- 12 grade band. It is important to note that even in a translated version, the text remains a challenge given the complexities of meaning, text structure, language features and knowledge demands placed upon the reader. ELA Common Core Standards addressed by task CCSS.ELA-Literacy.RL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain.
    [Show full text]
  • On Huang Gaoxin's Choices in the Translation of the Canterbury Tales
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSCanada.net: E-Journals (Canadian Academy of Oriental and Occidental Culture,... ISSN 1923-1555[Print] Studies in Literature and Language ISSN 1923-1563[Online] Vol. 20, No. 2, 2020, pp. 9-15 www.cscanada.net DOI:10.3968/11652 www.cscanada.org On Huang Gaoxin’s Choices in the Translation of The Canterbury Tales ZHU Kun[a],* [a]School of English Studies, Shanghai International Studies University, Shanghai, China. asceticism and praises people who pursue happiness * Corresponding author. and freedom, which embodies the humanism spirit of Received 26 December 2019; accepted 17 February 2020 Chaucer. Meanwhile, in this work, Chaucer created the 1 Published online 26 April 2020 heroic couplet , which has been widely used by later English poets. As a result, this collection is regarded as Abstract the beginning of modern English poetry. As a Chinese translator, Huang Gaoxin has been Over the next few hundred years, the collection has devoting himself to the translation of poetry for over been translated into many languages and spread to many fifty years and has successfully translated a large number countries. Since the 1940s, it has been translated into of collections of English poems into Chinese, among Chinese by many Chinese translators, one of whom is which The Canterbury Tales is an essential one. By Huang Gaoxin. However, Huang did not translate it into comparing the translated version of The Canterbury free verse, nor did he adopt a unified translation method Tales by Huang with its original version and analyzing to translate different poetic forms in the original work.
    [Show full text]
  • Summary & Analysis of the Pardoner's Tale
    Summary & Analysis of The Pardoner’s Tale Summary Apparently deeply affected by the Physician's sad and gruesome tale of Virginia, the Host praises the Physician by using as many medical terms as he can muster. However, he rejects the Physician's moral to the tale and substitutes one of his own: Thus the gifts of fortune and nature are not always good ("The gifts of Fortune and Nature have been the cause of the death of many a person"). Thinking that the pilgrims need a merry tale to follow, the Host turns to the Pardoner. The more genteel members of the company, fearing that the Pardoner will tell a vulgar story, ask the Pardoner for a tale with a moral. The Pardoner then explains to the pilgrims the methods he uses in preaching. His text is always "Radix malorum est cupidatis" ("Love of money is the root of all evil"). Always employing an array of documents and objects, he constantly announces that he can do nothing for the really bad sinners and invites the good people forward to buy his relics and, thus, absolve themselves from sins. Then he stands in the pulpit and preaches very rapidly about the sin of avarice so as to intimidate the members into donating money. He repeats that his theme is always "Money is the root of all evil" because, with this text, he can denounce the very vice that he practices: greed. And even though he is guilty of the same sins he preaches against, he can still make other people repent.
    [Show full text]
  • Clerk's Tale." Robert R
    East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2003 "And Gladly Wolde He Teche": Chaucer's Use of Source Materials in the "Clerk's Tale." Robert R. Brandon II East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons Recommended Citation Brandon, Robert R. II, ""And Gladly Wolde He Teche": Chaucer's Use of Source Materials in the "Clerk's Tale."" (2003). Electronic Theses and Dissertations. Paper 748. https://dc.etsu.edu/etd/748 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “And Gladly Wolde He Teche:” Chaucer’s Use of Source Materials in the “Clerk’s Tale” ________________________________________________ A thesis presented to the faculty of the Department of English East Tennessee State University In partial fulfillment of the requirements for the degree Masters of Arts in English _________________________________________________ By Robert R. Brandon May 2003 _________________________________________________ Dr. DiCicco, Chair Dr. Powers-Beck Dr. Stanley Keywords: Chaucer, Clerk’s Tale, Griselda, Canterbury Tales ABSTRACT And Gladly Wolde He Teche: Chaucer’s Use of Source Materials in the “Clerk’s Tale” By Robert R. Brandon Few of Chaucer’s works provoke such animosity as does his “Clerk’s Tale.” Modern critics are divided by the social and gender issues to which the tale lends itself.
    [Show full text]
  • Or... Geoffrey Chaucer's Flying Circus
    or... Geoffrey Chaucer’s Flying Circus By Burton Bumgarner © Copyright 2007, Pioneer Drama Service, Inc. Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged. All inquiries regarding rights should be addressed to Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155. All rights to this play—including but not limited to amateur, professional, radio broadcast, television, motion picture, public reading and translation into foreign languages—are controlled by Pioneer Drama Service, Inc., without whose permission no performance, reading or presentation of any kind in whole or in part may be given. These rights are fully protected under the copyright laws of the United States of America and of all countries covered by the Universal Copyright Convention or with which the United States has reciprocal copyright relations, including Canada, Mexico, Australia and all nations of the United Kingdom. COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. On all programs, printing and advertising, the following information must appear: 1. The full name of the play 2. The full name of the playwright 3. The following notice: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado” THE CANTERBURY TALES Or… Geoffrey Chaucer’s Flying Circus By BURTON BUMGARNER CAST OF CHARACTERS # of lines BORING SCHOLAR.....................lectures on Chaucer 11 HARRY BAILEY ..........................host of the Tabard Inn and the 117 narrator of The Canterbury Tales STAGE MANAGER ......................of the play 4 SIGN CHANGER .........................changes signs for each scene n/a GEOFFREY CHAUCER .................author of The Canterbury Tales; 59 unfocused WRONG PILGRIMS 1-4 ...............Thanksgiving pilgrims in the 4 wrong story MRS.
    [Show full text]
  • England and Englishness in Canterbury Tales
    Masaryk University Brno FACULTY OF EDUCATION Department of English Language and Literature Tomáš Juránek English and Englishness in Canterbury Tales Bachelor Thesis Brno 2015 Supervisor: Mgr. Jaroslav Izavčuk Declaration Hereby I declare that I have worked on my thesis independently and that I have used only the sources listed in the Bibliography 2 Declaration I would like to thank Mgr. Jaroslav Izavčuk and express my gratitude for his patience and supervision of my thesis 3 Annotation This bachelor thesis discusses the reflection of Englishness in Chaucer’s Canterbury Tales in medieval England and culture in 14th century. Its main aims are to analyse the characters from the English point of view and study the idea of Englishness. It describes the three estates in medieval England and their portrayal in The Canterbury Tales. Key Words England, Englishness, Canterbury Tales, Chaucer Anotace Tato bakalářská práce zkoumá odraz angličnosti v Chaucerových Canterburských Povídkách odehrávajících se ve středověké Anglii 14.století. Její hlavní cíle jsou analyzovat postavy z Anglického pohledu a studovat teorii angličnosti. Práce popisuje tři statky ve středověké Anglii a jejich popis v Canterburských Povídkách Klíčová slova Anglie, Angličnost, Canterburské Povídky, Chaucer 4 Table of Contents 1 Introduction ............................................................................................................................... 6 2 Geoffrey Chaucer – Politician, Poet, Englishman ......................................................................
    [Show full text]
  • The Canterbury Tales
    0 The Canterbury Tales by GEOFFREY CHAUCER A READER-FRIENDLY EDITION Put into modern spelling by MICHAEL MURPHY GENERAL PROLOGUE 1 GENERAL PROLOGUE The opening is a long, elaborate sentence about the effects of Spring on the vegetable and animal world, and on people. The style of the rest of the Prologue and Tales is much simpler than this opening. A close paraphrase of the opening sentence is offered at the bottom of this page.1 When that April with his showers soote its showers sweet The drought of March hath pierc•d to the root And bath•d every vein in such liquor rootlet / liquid Of which virtúe engendered is the flower;2 5 When Zephyrus eke with his sweet• breath West Wind also Inspir•d hath in every holt and heath grove & field The tender cropp•s, and the young• sun young shoots / Spring sun Hath in the Ram his half• course y-run,3 in Aries / has run And small• fowl•s maken melody little birds 10 That sleepen all the night with open eye Who sleep (So pricketh them Natúre in their couráges), spurs / spirits Then longen folk to go on pilgrimáges, people long And palmers for to seeken strang• strands pilgrims / shores To fern• hallows couth in sundry lands,4 distant shrines known 15 And specially from every shir•'s end county's Of Eng•land to Canterbury they wend go The holy blissful martyr for to seek, St. Thomas Becket That them hath holpen when that they were sick. Who has helped them 1 When April with its sweet showers has pierced the drought of March to the root and bathed every rootlet in the liquid by which the flower is engendered; when the west wind also, with its sweet breath, has brought forth young shoots in every grove and field; when the early sun of spring has run half his course in the sign of Aries, and when small birds make melody, birds that sleep all night with eyes open, (as Nature inspires them to) --THEN people have a strong desire to go on pilgrimages, and pilgrims long to go to foreign shores to distant shrines known in various countries.
    [Show full text]
  • Wife of Bath, Pardoner and Sir Thopas : Pre- Texts and Para-Texts
    Wife of Bath, Pardoner and Sir Thopas : pre- texts and para-texts Autor(en): Taylor, Paul B. Objekttyp: Article Zeitschrift: SPELL : Swiss papers in English language and literature Band (Jahr): 3 (1987) PDF erstellt am: 03.10.2021 Persistenter Link: http://doi.org/10.5169/seals-99852 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Wife of Bath, Pardoner and Sir Tbopas: Pre-Texts and Para-Texts Paul B. Taylor The Canterbury Tales are neither a miscellany of medieval narratives nor a concatenated roadside drama of a group of pilgrims. The meaning of each tale interacts with the sense of the work as a whole, and it is the context of a telling that informs it with purpose and directs reading.
    [Show full text]
  • The Knight's Tale Parallels, Contradictions… and Thirds Summary
    The Knight’s Tale Parallels, Contradictions… and Thirds Summary: King Theseus come in triumphant with his newly conquered wife, ….A group of women complain about the dishonorable way their husbands bodies are treated and beg Theseus to help…Theseus does and locks up two young knights Arcite and Palamon….These young knights both fall in love with the queen’s sister Emile and these once friends are enemies… Arcite is released but disguises himself as a servant to work for Theseus. Palamon escapes from prison. Remarkably the two knights run into each other and fight over Emily…Theseus finds them and wants to kill them but the women ask for mercy… He grants it and in one year the knights are to come back with a thousand Knights and they will have a contest…they do (before this Emily, Arcite, and Palamon all pray to a god – Diane, Mars, and Venus and both men are promised what they ask)…Arcite wins but falls off his horse and dies….Palamon is awarded the girl even though he technically lost the game. An Introduction to the Canterbury Tales: Reading, Fiction, Context pg. 47-53 Main Questions: Emotion as Bondage? o Why is Love painful? In the story… . It brings conflict between the Knights . Arcite’s first reaction to Seeing Emile is like being wounded Is mortal life glamorous or hopeless? Do we have free will or any power over what happens to us? Is there loving order behind the universe? Main themes: Order and Sadness Harmony linked with male domination Marriage linked with conquest o Theseus and Hippolyta o the Fight for Emily Opposites: Tyranny and Harmony and Suffering Man and Woman Kingship Thebes and Athens Youth and Maturity Love and War Venus and Mars Parallels: Two brothers Both captured Fall in love the same day Same woman Both a champion in battle Both win in the end (but in different ways) Third Force: Diane – alongside Venus and Mars Theseus – overruling Palamon and Arcite Time – alongside Love and Conflict .
    [Show full text]
  • The Miller's Tale Protest, Complaint, and Uprising in the Miller's Tale
    The Miller’s Tale Protest, Complaint, and Uprising in the Miller’s Tale Kathy Lavezzo ([email protected]) An essay chapter from The Open Access Companion to the Canterbury Tales (September 2017) At least since the time of the Anglo-Saxon king Alfred (849-99), a particular idea of social hierarchy and organization existed in England, that of the three estates or orders. Of uncertain origins, this system emerged during Anglo-Saxon times during a time of upheaval and was used by Alfred—and some 100 years later, by the Anglo-Saxon monk Ælfric (955-1010), to consolidate power and authority (Duby 100, 102). While Alfred introduces the three orders as a means of theorizing how to rule successfully, Ælfric elaborates upon the idea to defend the rights of churchmen (Duby 101). These early examples demonstrate how writings on the three estates don’t so much describe a given or natural ordering of society but rather serve the interests of the authors of those tracts. The General Prologue to the Canterbury Tales belongs to a category of writing on the three estates known as estates satire. While estates satire often portrays the ideals and failings associated with social groups in order to advocate for a smoothly working three estate system, Chaucer, as critics such as Jill Mann and H. Marshall Leicester have shown, calls into question that oppressive notion of social order and identity. In this chapter, I consider how the Miller and his tale participate in such querying of the estates; I particularly address how the Miller challenges the low or subordinate role allotted to the estate of the peasantry.
    [Show full text]
  • The Knight's Tale and the Teseide
    Loyola University Chicago Loyola eCommons Master's Theses Theses and Dissertations 1946 The Knight's Tale and the Teseide Mary Felicita De Mato Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_theses Part of the English Language and Literature Commons Recommended Citation De Mato, Mary Felicita, "The Knight's Tale and the Teseide" (1946). Master's Theses. 134. https://ecommons.luc.edu/luc_theses/134 This Thesis is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Master's Theses by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 1946 Mary Felicita De Mato THE KNIGHT'S TALE AliD THE TESEIDE A Thesis Presented to the Faculty of the Department of English Loyola University In Partial Fulfillment of the Requirements for the Degree Master of .Arts by Sister Mary Felicite. De :WiRtO, O.S •.M. November 1946 TABLE OF CONTENTS CHAPTER PAGE I. INTRODUCTI Oll • • • • • • • • • • • • • • • 1 Historical and Literary Background • • • 1 The Poet•s Life • • • • • • • • • • • • 5 His Character • • • • • • • • • • • • • 9 His Friends • • • • • • • • • • • • • • 12 His Learning • • • • • • • • • • • • • 15 Relation to his Times • • • • • • • • • 17 II. CHAUCER AND THE RENAISSANCE • • • • • • • 22 Ohaucer•s relations with the Italian Language • • • • • • • • • • • • • • • Chaucer and Dante • • • • • • • • • • • • Chaucer and Il Canzoniere • • • • • • • His use of Italian sources provided by Dante and Petrarch • • • • • • • • • • 42 His indebtedness to "Lollius" exclusive of the Knight's Tale • • • • • • • • • 47 III. VARIOUS ASPECTS OF THE ITALIAN POET'S LIFE.
    [Show full text]