The Canterbury Tales
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Chaucer's Knight's Tale : a Symbolic Reading Naomi Pasquine
University of Richmond UR Scholarship Repository Master's Theses Student Research 5-1972 Chaucer's Knight's tale : a symbolic reading Naomi Pasquine Follow this and additional works at: http://scholarship.richmond.edu/masters-theses Part of the English Language and Literature Commons Recommended Citation Pasquine, Naomi, "Chaucer's Knight's tale : a symbolic reading" (1972). Master's Theses. Paper 889. This Thesis is brought to you for free and open access by the Student Research at UR Scholarship Repository. It has been accepted for inclusion in Master's Theses by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. CHAUCER'S KNIGHT'S TALE: A SYMBOUC READING BY NAOMI PAS QUI NE A THESIS SUBMITTED TO THE GRADUATE FACULTY OF THE UNIVERSITY OF RICHMOND IN CANDIDACY FOR THE DEGREE OF MASTER OF ARTS IN ENGUSH MAY 1973 Approved for the Department of English and the Graduate School by ' Reader TABLE OF CONTENTS CHAPI'ER I Prologue: Approaching the Knight's .'!!!!Through Symbolism • • • • • • • • • • • • • • • • • • • 1 II Theseus: A God-Symbol ••••••••••••••• 8 III Emelye: A Dantean Lady • • • • • • • • • • • • • .23 IV Palamon and Arcite: Symbols for the Outer and Inner Man • • • • • • • • • • • • • • • • ••. 35 V "Pars Tercia" of the Knight's 1!1! as a Symbol for Inner Conflict • • • • • • • • • • • • • • 44 VI Conclusions • • • • • • • • • • • • • • • • • • • • 52 BIBUOGRAPHY • • • • • • • • • • • • • • • ••• • • 0 •• •• 55 VITA CHAPTER I Prologue: Approaching the Knight's Tale Through Symbolism Chaucer's Knight's~ has called forth much critical comment. Individual lines have been commented upon, characters have been analysed, and the resolution of the poem has been discussed. Critics have offered suggestions as to the poem's meaning, but an interpretation that encompasses all aspects of the poem and gives the reader the feeling that all the poetic elements of the poem have been resolved into that interpretation has not been presented. -
Knight's Tale
The Knight: his Portrait and his Tale 1 Here is the portrait of the Knight from the General Prologue The Knight is the person of highest social standing on the pilgrimage though you would never know it from his modest manner or his clothes. He keeps his ferocity for crusaders' battlefields where he has distinguished himself over many years and over a wide geographical area. As the text says, he is not "gay", that is, he is not showily dressed, but is still wearing the military padded coat stained by the armor he has only recently taken off. A KNIGHT there was and that a worthy man That from the tim• that he first began 45 To riden out, he lov•d chivalry, Truth and honóur, freedom and courtesy.1 Full worthy was he in his lord•'s war, lorde's = king's or God's And thereto had he ridden--no man farre farther As well in Christendom as Heatheness heathendom 50 And ever honoured for his worthiness. His campaigns At Alexandria he was when it was won. captured Full often times he had the board begun table Aboven all• natïons in Prussia.2 In Lithow had he reis•d and in Russia Lithuania / fought 55 No Christian man so oft of his degree. rank In Gránad' at the siege eke had he be Granada / also Of Algesir and ridden in Belmarie. At Ley•s was he and at Satalie When they were won, and in the Great• Sea Mediterranean 60 At many a noble army had he be. -
“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. -
The Creative Process
The Creative Process THE SEARCH FOR AN AUDIO-VISUAL LANGUAGE AND STRUCTURE SECOND EDITION by John Howard Lawson Preface by Jay Leyda dol HILL AND WANG • NEW YORK www.johnhowardlawson.com Copyright © 1964, 1967 by John Howard Lawson All rights reserved Library of Congress catalog card number: 67-26852 Manufactured in the United States of America First edition September 1964 Second edition November 1967 www.johnhowardlawson.com To the Association of Film Makers of the U.S.S.R. and all its members, whose proud traditions and present achievements have been an inspiration in the preparation of this book www.johnhowardlawson.com Preface The masters of cinema moved at a leisurely pace, enjoyed giving generalized instruction, and loved to abandon themselves to reminis cence. They made it clear that they possessed certain magical secrets of their profession, but they mentioned them evasively. Now and then they made lofty artistic pronouncements, but they showed a more sincere interest in anecdotes about scenarios that were written on a cuff during a gay supper.... This might well be a description of Hollywood during any period of its cultivated silence on the matter of film-making. Actually, it is Leningrad in 1924, described by Grigori Kozintsev in his memoirs.1 It is so seldom that we are allowed to study the disclosures of a Hollywood film-maker about his medium that I cannot recall the last instance that preceded John Howard Lawson's book. There is no dearth of books about Hollywood, but when did any other book come from there that takes such articulate pride in the art that is-or was-made there? I have never understood exactly why the makers of American films felt it necessary to hide their methods and aims under blankets of coyness and anecdotes, the one as impenetrable as the other. -
Geoffrey Chaucer's the Knight's Tale and Its 2003
GEOFFREY CHAUCER’S THE KNIGHT’S TALE AND ITS 2003 BBC ADAPTATION Word count: 21,184 Fien De Brie Student number: 01406411 Supervisor(s): Prof. Dr. Guido Latré A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master of Taal- en Letterkunde: Engels - Duits Academic year: 2017 - 2018 GEOFFREY CHAUCER’S THE KNIGHT’S TALE AND ITS 2003 BBC ADAPTATION Word count: 21,184 Fien De Brie Student number: 01406411 Supervisor(s): Prof. Dr. Guido Latré A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master of Taal- en Letterkunde: Engels - Duits Academic year: 2017 - 2018 Verklaring ivm auteursrecht De auteur en de promotor(en) geven de toelating deze studie als geheel voor consultatie beschikbaar te stellen voor persoonlijk gebruik. Elk ander gebruik valt onder de beperkingen van het auteursrecht, in het bijzonder met betrekking tot de verplichting de bron uitdrukkelijk te vermelden bij het aanhalen van gegevens uit deze studie. Het auteursrecht betreffende de gegevens vermeld in deze studie berust bij de promotor(en). Het auteursrecht beperkt zich tot de wijze waarop de auteur de problematiek van het onderwerp heeft benaderd en neergeschreven. De auteur respecteert daarbij het oorspronkelijke auteursrecht van de individueel geciteerde studies en eventueel bijbehorende documentatie, zoals tabellen en figuren. 7 Acknowledgements First of all I would like to thank my supervisor prof. Dr Guido Latré. His guidance helped me to narrow down my focus and provided me with useful sources and tips to go further. I could always send in chapters for feedback, and my questions were answered extensively until the very end. -
The Canterbury Tales Literature Guide
TThhee CCaanntteerrbbuurryy TTaalleess by Geoffrey Chaucer Literature Guide Developed by Jennifer Bassett for Secondary Solutions® ISBN-10: 0-9845205-4-6 ISBN-13: 978-0-9845205-4-1 © 2011 Secondary Solutions. All rights reserved. A classroom teacher who has purchased this Guide may photocopy the materials in this publication for his/her classroom use only. Use or reproduction by a part of or an entire school or school system, by for-profit tutoring centers and like institutions, or for commercial sale, is strictly prohibited. No part of this publication may be reproduced, transmitted, translated, or stored (digitally, electronically, or otherwise) without the express written permission of the publisher. Created and printed in the United States of America. Secondary Solutions THE FIRST SOLUTION FOR THE SECONDARY TEACHER® WWW.4SECONDARYSOLUTIONS.COM ©2011 Secondary Solutions - 1 - The Canterbury Tales Literature Guide The Canterbury Tales Literature Guide About This Literature Guide .......................................................................................... 5 How to Use Our Literature Guides ................................................................................. 6 Pre-Reading Ideas and Activities ................................................................................... 7 Monarchy Scavenger Hunt ................................................................................................................................. 8 Illuminated Texts .............................................................................................................................................. -
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. -
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. -
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 . -
Chaucer's Handling of the Proserpina Myth in The
CHAUCER’S HANDLING OF THE PROSERPINA MYTH IN THE CANTERBURY TALES by Ria Stubbs-Trevino A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Arts with a Major in Literature May 2017 Committee Members: Leah Schwebel, Chair Susan Morrison Victoria Smith COPYRIGHT by Ria Stubbs-Trevino 2017 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgement. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Ria Stubbs-Trevino, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION This thesis is dedicated to my indomitable mother, Amber Stubbs-Aydell, who has always fought for me. If I am ever lost, I know that, inevitably, I can always find my way home to you. ACKNOWLEDGEMENTS There are three groups of people I would like to thank: my thesis committee, my friends, and my family. I would first like to thank my thesis committee: Dr. Schwebel, Dr. Morrison, and Dr. Smith. The lessons these individuals provided me in their classrooms helped shape the philosophical foundation of this study, and their wisdom and guidance throughout this process have proven essential to the completion of this thesis. -
Chaucer This Chapter Is Divided in Five Sections: 1
Chaucer This chapter is divided in five sections: 1. General; 2. Canterbury Tales; 3. Troilus & Criseyde; 4. Other Works; 5. Reception and Reputation. Sections 1, 3, and 5 are by Ben Parsons; section 4 is by Natalie Jones; section 2 is by Natalie Jones with contributions by Ben Parsons. 1. General Alexander Gabrovsky’s Chaucer the Alchemist: Physics, Mutability, and the Medieval Imagination provides an important re-evaluation of the influence of medieval sciences on Chaucer. By approaching the subject in terms of change and transformation, and as an attempt to schematise the necessary flux of worldly being, Gabrovsky expands the range of Chaucerian texts in which scientific thinking can be detected. After an opening chapter on the physics of sublunary existence, he reads the House of Fame as a thought-experiment on the human understanding of space. His discussion finds Chaucer considering the ways in which sensory interpretation can be subject to distortion, not only by visual illusion but by hearing, as ‘language (a product of sound)’ proves to be ‘the ultimate agent of distortion’ (p. 60). The second section turns to alchemy, with two interconnected chapters looking at the Franklin’s Tale and Troilus and Criseyde. The first discusses the principle of ‘opposicion’ evoked in Aurelius’ prayer to Apollo, a term that recalls the idea that ‘features of the alchemist’s laboratory…have their natural counterparts in the actions of the sun’ and other astral bodies (p. 106); this in turn provides a key for reading the ethical system of the Tale, from the harmonization of disparate elements that underpins Arveragus and Dorigen’s marriage, to the ability of the black rocks to ‘transmute’ human conduct into noble, self-sacrificing fredom, somewhat like the philosopher’s stone. -
The Forms of Historical Fiction
The Forms of Historical Fiction The Forms of Historical Fiction Sir Walter Scott and His Successors By Harry E. Shaw CiD Cornell University Press · Ithaca and London Open access edition funded by the National Endowment for the Humanities/ Andrew W. Mellon Foundation Humanities Open Book Program. This book has been published with the aid of a grant from the Hull Memorial Publication Fund of Cornell University. Copyright © 1983 by Cornell University All rights reserved. Except for brief quotations in a review, this book, or parts thereof, must not be reproduced in any form without permission in writing from the publisher. For information, address Cornell University Press, Sage House, 512 East State Street, Ithaca, New York 14850, or visit our website at cornellpress.cornell.edu. First published 1983 by Cornell University Press Library of Congress Cataloging-in-Publication Data Shaw, Harry E., 1946– The forms of historical fi ction : Sir Walter Scott and his successors. Includes index. 1. Scott, Walter, Sir, 1771–1832—Criticism and interpretation. 2. Scott, Walter, Sir, 1771–1832—Infl uence. 3. Historical fi ction. I. Title. PR5343.H5S5 1983 823'.17 83-5354 ISBN-13: 978-0-8014-1592-0 (cloth) — ISBN-13: 978-1-5017-2326-1 (pbk.) The text of this book is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License: https://creativecommons.org/licenses/by-nc-nd/4.0/ Cover illustration: Portrait of Sir Walter Scott by Sir Henry Raeburn, reproduced by permission of the Scottish National Portrait Gallery, Edinburgh. FOR }UDY JENSVOLD Contents PREFACE 9 A NOTE ON CITATIONS OF SCOTT'S WORKS 15 I.