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Amanda Holton University of Reading
Chaucer and Pronominatio Amanda Holton University of Reading Pronominatio, or antonomasia, is the replacement of a proper noun with another noun or adjective or a periphrastic formulation, such as 'Cristes mooder' for Mary.] I apply the term only when the reader needs some knowledge outside the immediate context in order to understand the reference and when the name itself is not given at all in surrounding lines. 2 Pronominatio is a fairly common figure in classical and medieval literature, and Chaucer encountered it in a number of his sources; indeed this article, while it focuses on Chaucer's practice, also indicates how it is used in a range of his sources and analogues. The figure is discussed in various classical and medieval rhetorical manuals, featuring, for example, in the Rhetorica Ad Herennium and in Quintilian' s /nstitutio oratoria3 Chaucer's own use of it as a freestanding figure is sparse, highly selective and often pointed, and reveals mixed feelings about its potential, for he is very conscious of how it can express both grandeur and pomposity, splendour and insincerity. After discussing Chaucer's preferred methods of denoting people and places, this article examines how his use of pronominatio relates to his response to Virgil, and, by extension, how he uses the figure as a marker of epic style in several texts. It then demonstrates how he exploits its more negative possibilities when denoting Diomede in Troilus and Criseyde and Mary in the Prioress's Tale. On the whole Chaucer shows a strong preference for simple and direct naming, and will often reject pronominatio even when he encounters it in a source he otherwise favours stylistically. -
Women in Geoffrey Chaucer's the Canterbury Tales: Woman As A
1 Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Vladislava Vaněčková Women in Geoffrey Chaucer's The Canterbury Tales: Woman as a Narrator, Woman in the Narrative Master's Diploma Thesis Supervisor: Doc. Milada Franková, Csc., M.A. 2007 2 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. ¼¼¼¼¼¼¼¼¼¼¼¼¼¼¼¼¼.. 3 Table of Contents 1. Introduction 4 2. Medieval Society 7 2.1 Chaucer in His Age 9 2.2 Chaucer's Pilgrims 11 3. Woman as a Narrator: the Voiced Silence of the Female Pilgrims 15 3.1 The Second Nun 20 3.2 The Prioress 27 3.3 The Wife of Bath 34 4. Woman in Male Narratives: theIdeal, the Satire, and Nothing in Between 50 4.1 The Knight's Tale, the Franklin's Tale: the Courtly Ideal 51 4.1.1 The Knight's Tale 52 4.1.2 The Franklin's Tale 56 4.2 The Man of Law's Tale, the Clerk's Tale: the Christian Ideal 64 4.2.1 The Man of Law's Tale 66 4.2.2 The Clerk's Tale 70 4.3 The Miller's Tale, the Shipman's Tale: No Ideal at All 78 4.3.1 The Miller's Tale 80 4.3.2 The Shipman's Tale 86 5. Conclusion 95 6. Works Cited and Consulted 100 4 1. Introduction Geoffrey Chaucer is a major influential figure in the history of English literature. His The Canterbury Tales are read and reshaped to suit its modern audiences. -
Leeds Studies in English
Leeds Studies in English New Series XLI 2010 Essays in Honour of Oliver Pickering Edited by Janet Burton, William Marx, and Veronica O’Mara Leeds Studies in English <www.leeds.ac.uk/lse> School of English University of Leeds 2010 Redemption through Iambic Reversal? The Case of Henryson’s Cresseid Rory McTurk In the Introduction to his recent translation of The Testament of Cresseid & Seven Fables by Robert Henryson, Seamus Heaney speaks of Henryson’s ‘Cresseid (stress on second syllable)’.1 I should like to show here that, while the name Cresseid in Henryson’s Testament is indeed stressed on the second syllable in the majority of cases, there are a significant number of cases where it is stressed on the first syllable, and that in this respect Henryson’s poem differs markedly from the poem of Chaucer’s to which it is a response, namely Troilus and Criseyde, where the name Criseyde is stressed on the second syllable almost without exception. I also argue that in Henryson’s poem the distinction between the iambic Cresseid (with stress on the second syllable) and the trochaic Cresseid (with stress on the first syllable) may be significant semantically and thematically. I have counted thirty instances of the name Cresseid in Henryson’s poem. In nineteen of these instances, the name occurs iambically, with the stress on the second syllable. As an example I quote the first occurrence of the name in the poem, at line 42, the concluding line of the stanza in which Henryson speaks of a book (‘ane quair’, l. -
'The Canterbury Tales'
CHAUCER BIOGRAPHY Chaucer was the first great poet writing in English, whose best-known work is 'The Canterbury Tales'. Geoffrey Chaucer was born between 1340 and 1345, probably in London. His father was a prosperous wine merchant. We do not know any details of his early life and education. In 1357, he was a page to Elizabeth, Countess of Ulster, wife of Edward III's third son. Chaucer was captured by the French during the Brittany expedition of 1359, but was ransomed by the king. Edward III later sent him on diplomatic missions to France, Genoa and Florence. His travels exposed him to the work of authors such as Dante, Boccaccio and Froissart. Around 1366, Chaucer married Philippa Roet, a lady-in-waiting in the queen's household. They are thought to have had three or four children. Philippa's sister, Katherine Swynford, later became the third wife of John of Gaunt, the king's fourth son and Chaucer's patron. In 1374, Chaucer was appointed comptroller of the lucrative London customs. In 1386, he was elected member of parliament for Kent, and he also served as a justice of the peace. In 1389, he was made clerk of the king's works, overseeing royal building projects. He held a number of other royal posts, serving both Edward III and his successor Richard II. Chaucer's first major work was 'The Book of the Duchess', an elegy for the first wife of his patron John of Gaunt. Other works include 'Parlement of Foules', 'The Legend of Good Women' and 'Troilus and Criseyde'. -
Geoffrey Chaucer's
Geoffrey Chaucer’s The Prologue to the Canterbury Tales Lecture by Dr. Sudesh Bhowate Lecture by Dr. Sudesh B. Bhowate 1 Geoffrey Chaucer (1340-1400) . Known as the father of English Poetry . A courtier, Office Holder, Soldier, Ambassador & Legislator . His father John Chaucer was a wine merchant who was related the royal household . His association with royal family help Geoffrey serve the court lifelong. We don’t have any information about Chaucer's schooling but we learned that he was bibliophile and studious reader. It was a certain that he has acquaintace with Latin grammar, rhetoric, logic, classical literature, arithmetic, geometry and astronomy. 2 Lecture by Dr. Sudesh B. Bhowate . When Chaucer in his teen age he was taken into service of Lionel and later in the service of Duke Clarence. At 19 he accompanied Duke of Clarence in the several expedition of Hundred years War. In the attempt by English army in sieging of Rheims, Chaucer was taken as prisoner and later released on ransom paid by the royal family. On return he bacame the squire and personal attendant to the King. He was married to Philippa Roet, sister to the wife of John of Gaunt, the Duke of Lancaster. It is supposed that the marriage was not a happy one. (may be a supposition) . From 1370-1378 he was on diplomatic mission to foreign countries. In 1372 he came to Italy to settle a commercial treaty with Genoa and Florence. Here he met men of letters like, Dante, Petrach and Boccassio Lecture by Dr. Sudesh B. Bhowate 3 . -
Stanza-Form-Heroic-Couplet-Blank
Stanza Forms HEROIC COUPLET BLANK VERSE SPENSERIAN STANZA CHAUCERIAN STANZA TERZA RIMA YouTube: Academic Domain Website: theacademicdomain.com Video Link: https://youtu.be/hEJGEtK-ytw Stanza ● A stanza is a group of lines having a fixed length, meter, or rhyme scheme. ● Stanzas in poetry are similar to paragraphs in prose. 1. Heroic Couplet ● Heroic couplets are two rhyming lines of verse in Iambic Pentameter. ● They're called heroic because in the old days of English poetry they were used to talk about the trials and adventures of heroes. ● It was used in poetry for a long time particularly in 17th and 18th centuries. Poets: ● Geoffrey Chaucer was the first poet to use it in The Canterbury Tales. ● Alexander Pope: The Rape of The Lock, The Dunciad, Essay on Man, and Essay on Criticism. ● John Dryden: Mac Flecknoe Example: Know then thyself, presume not God to scan; The proper study of mankind is man. 2. Blank Verse: ● Blank verse is an un-rhyming verse written in Iambic Pentameter. ● The majority of English poetry has been written in blank verse. ● It became popular in 16th century in the works of Marlowe and Shakespeare. Poets: Marlowe, Shakespeare, John Milton, William Wordsworth Example: Of Man’s First Disobedience, and the Fruit Of that Forbidden Tree, whose mortal taste 3. Spenserian Stanza: ● It is a nine lines stanza. ● It is a verse form that consists of eight iambic pentameter lines followed by a ninth line of six iambic feet (an alexandrine). ● The rhyme scheme is ababbcbcc. ● It was invented by Edmund Spenser for The Faerie Queene. -
Types of Poems
Types of Poems poemofquotes.com/articles/poetry_forms.php This article contains the many different poem types. These include all known (at least to my research) forms that poems may take. If you wish to read more about poetry, these articles might interest you: poetry technique and poetry definition. ABC A poem that has five lines and creates a mood, picture, or feeling. Lines 1 through 4 are made up of words, phrases or clauses while the first word of each line is in alphabetical order. Line 5 is one sentence long and begins with any letter. Acrostic Poetry that certain letters, usually the first in each line form a word or message when read in a sequence. Example: Edgar Allan Poe's "A Valentine". Article continues below... Ballad A poem that tells a story similar to a folk tale or legend which often has a repeated refrain. Read more about ballads. Ballade Poetry which has three stanzas of seven, eight or ten lines and a shorter final stanza of four or five. All stanzas end with the same one line refrain. Blank verse A poem written in unrhymed iambic pentameter and is often unobtrusive. The iambic pentameter form often resembles the rhythms of speech. Example: Alfred Tennyson's "Ulysses". Bio A poem written about one self's life, personality traits, and ambitions. Example: Jean Ingelow's "One Morning, Oh! So Early". Burlesque Poetry that treats a serious subject as humor. Example: E. E. Cummings "O Distinct". Canzone Medieval Italian lyric style poetry with five or six stanzas and a shorter ending stanza. -
William Dunbar: an Analysis of His Poetic Development
Portland State University PDXScholar Dissertations and Theses Dissertations and Theses 7-30-1976 William Dunbar: An Analysis of His Poetic Development G. David Beebe Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/open_access_etds Part of the English Language and Literature Commons, and the Rhetoric and Composition Commons Let us know how access to this document benefits ou.y Recommended Citation Beebe, G. David, "William Dunbar: An Analysis of His Poetic Development" (1976). Dissertations and Theses. Paper 2385. https://doi.org/10.15760/etd.2382 This Thesis is brought to you for free and open access. It has been accepted for inclusion in Dissertations and Theses by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. AN ABSTRACT OF THE THESIS OF G. David Beebe for the Master of Arts in English presented July 30, 1976. Title: William Dunbar: An Analysis of His Poetic Development. APPROVED BY THE MEMBERS OF THE THESIS COMMITTEE: Ross Garner Theodore Grams This thesis examines the work of William Dunbar, a sixteenth century Scottish poet, in order to demonstrate that he is not, as he is often styled, a Scottish Chaucerian. It makes an analysis of the chronological occurrence of forms and themes in his poetry which indicates that his work can be divided into three periods: (1) an initial period in which his work deals with traditional matter and forms; (2) a second period in which he develops a distinctly personal poetic voice; and (3) a final period in which he perfects this personal voice and then relinquishes it for a public, religious one. -
Pandarus Quotes Ovid in Geoffrey Chaucer's Book
SYMBOLAE PHILOLOGORUM POSNANIENSIUM GRAECAE ET LATINAE XXIX/2 • 2019 pp. 71–83. ISSN 0302–7384 DOI: 10.14746/sppgl.2020.XXIX.2.5 ANTONI BOBROWSKI Uniwersytet Jagielloński w Krakowie ORCID: 0000-0003-0890-7080 e-mail: [email protected] PANDARUS QUOTES OVID IN GEOFFREY CHAUCER’S BOOK ONE OF TROILUS AND CRISEYDE ABSTRACT. Bobrowski, Antoni, Pandarus Quotes Ovid in Geoffrey Chaucer’s Book One of Troilus and Criseyde (Pandarus cytuje Owidiusza w pierwszej księdze „Troilusa i Criseydy” Geoffreya Chaucera). The medieval epic poem Troilus and Criseyde by Chaucer describes the history of unhappy love with the Trojan War in the background. The story is constructed in the convention of courtly love, and the author draws abundantly from a range of plot motifs preserved in the ancient literary tradition. The article discusses the way of intertextual use of Ovid’s Heroides 5 in the course of events told in Book One of the poem. Keywords: Ovid; Heroides; Geoffrey Chaucer; Troilus; Troy. The name of Geoffrey Chaucer (ca. 1343–1400), who is regarded as the father of English literature written in the vernacular,1 is associated, above all, with Canterbury Tales, his most important and best-known literary achievement. It has been repeatedly noted, however, that in Chaucer’s abundant literary legacy it is not Canterbury Tales but another work that is considered to be completed and refined in terms of artistic expression,2 namely, the extensive, composed in five books, and written in rhyme royal epic poem Troilus and Criseyde, which is a fictional transformation of a story derived from the narrative complex of ancient Trojan stories. -
Chaucer (1340 A.D
www.Padasalai.Net www.TrbTnpsc.com Chaucer (1340 A.D. – 1400 A.D.) Geoffrey Chaucer was born in 1340 A.D. He was of the bourgeois class He descended from an affluent family who made their money in the London wine trade. He attended the St. Paul’s Cathedral School, where he probably first became acquainted with the influential writing of Virgil and Ovid. In 1357, Chaucer became a public servant to Countess Elizabeth of Ulster, the Duke of Clarence’s wife, for which he was paid a small stipend enough to pay for his food and clothing. In 1359, the teenage Chaucer went off to fight in the Hundred Years’ War in France, and at Rethel he was captured for ransom. King Edward III helped pay Chaucer’s ransom. After Chaucer’s release, he joined the Royal Service He travelled throughout France, Spain and Italy on diplomatic missions throughout the early to mid-1360s. King Edward granted Chaucer a pension of 20 marks. In 1366, Chaucer married Philippa Roet, the daughter of Sir Payne Roet, and the marriage conveniently helped further Chaucer’s career in the English court. By 1368, King Edward III had made Chaucer one of his esquires. The death of the queen in 1369, served to strengthen Philippa’s position and subsequently Chaucer’s as well. From 1370 to 1373, Chaucer went abroad again and fulfilled diplomatic missions in Florence and Genoa, helping establish an English port in Genoa. Chaucer familiarized himself with the work of Italian poets Dante and Petrarch. He was rewarded for his diplomatic activities with an appointment as Comptroller of Customs, a lucrative position. -
Feigning Silence in the Prioress's Tale and Chaucer's Retraction Department of English, Film
Chaucer and His Prioress: Feigning Silence in the Prioress’s Tale and Chaucer’s Retraction by Cameron Bryce Burt A Thesis submitted to the Faculty of Graduate Studies of The University of Manitoba in partial fulfilment of the requirements of the degree of MASTER OF ARTS Department of English, Film, and Theatre University of Manitoba Winnipeg, Manitoba Copyright © 2010 by Cameron Bryce Burt ii Abstract This study provides a new reading of Geoffrey Chaucer’s Prioress’s Tale and considers its purpose within the context of the Canterbury Tales. I argue that the Tale, as an exemplum, demonstrates the dangers of tale-telling, and exposes the moral discrepancies of the Canterbury tale-telling competition and the pilgrims’ use of stories as verbal assaults against one another. I argue that the Tale condemns the unchristian-like “actions” of the Christians within its frame as they respond to the clergeon’s murder; the Tale’s ending presents a cathartic response from this congregation, which indicates their understanding of the clergeon’s martyrdom. It also provokes a similar response from the Canterbury pilgrims, which serves to silence them, and to create a paradox that disrupts possible responses to the Tale. Further, Chaucer’s Retraction at the end of the Tales is intended to silence the poet’s critics through the creation of a similar paradox. iii Acknowledgements In short, I’d like to thank everyone who played a role, directly or indirectly, in the production of this study and my development as an academic. Everyone’s patience with me has been immeasurably appreciated. -
Chaucer's Complaints: Stanzaic Arrangement, Meter, and Rhyme
Studies in English Volume 3 Article 4 1962 Chaucer's Complaints: Stanzaic Arrangement, Meter, and Rhyme A. Wigfall Green University of Mississippi Follow this and additional works at: https://egrove.olemiss.edu/ms_studies_eng Part of the Literature in English, British Isles Commons Recommended Citation Green, A. Wigfall (1962) "Chaucer's Complaints: Stanzaic Arrangement, Meter, and Rhyme," Studies in English: Vol. 3 , Article 4. Available at: https://egrove.olemiss.edu/ms_studies_eng/vol3/iss1/4 This Article is brought to you for free and open access by the English at eGrove. It has been accepted for inclusion in Studies in English by an authorized editor of eGrove. For more information, please contact [email protected]. Green: Chaucer's Complaints CHAUCER'S COMPLAINTS: STANZAIC ARRANGEMENT, METER, AND RHYME by A. Wigfall Green Six poems usually attributed to Chaucer are called complaints. Chaucer probably borrowed the name from similar poems in French literature, the name apparently having been derived from Old French complaindre. In five of these poems Chaucer seems to use the word complaint as a synonym of plaint or lament. This type of verse existed in English literature prior to Chaucer; it is best known in Old English in “The Wife’s Lament,” sometimes called “The Wife’s Complaint.” Chaucer follows the type in Anelida’s “compleynt” in “Anelida and Arcite.” Because of doubt regarding the attribution of “A Balade of Complaint” to Chaucer, this poem is not included in the study. Except for similarity of name and the fact that these poems are written in verse of five iambic feet, the six complaints are re markably varied in vocabulary, in number of verses and stanzas, and in rhyme.