Chaucer: Troilus and Criseyde Table of Contents Book I
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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. -
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. -
Davies. Troilus and Siege
! ‘Wereyed on every side:’ Chaucer’s Troilus and Criseyde and the Logic of Siege Warfare* D"#$%& D"'$%( Geo)rey Chaucer’s Troilus and Criseyde is a narrative of war that disavows any interest in recounting the events of war. Set towards the end of the Trojan War, Chaucer’s tale turns its back on valorous deeds and bloody battles in favour of the love a)air between a Trojan prince and a beautiful widow, Troilus and Criseyde. *is attitude is epitomized by a line from the opening of the poem that Chaucer closely translated from Giovanni Boccaccio’s Il Filostrato: ‘*e thynges fellen, as they don of werre’ (+.+!,).+ *ings happened, as they do in war: armies attacked the city, the city fought back; pitched battles occurred, soldiers died; the war of attrition continued. *e events of the Trojan War are ‘wel wist’ (+.-.), and it is not Chaucer’s task or his intention to recapitulate what we already know about the war. *is idea is repeated at the end of the poem, where Chaucer states that if he had intended to write ‘*e armes of this ilke worthi man, / *an wolde ich of his batailles endite; / But for that I to writen /rst bigan / Of his love, I have seyd as I kan’ (-.+.0-–+.01). If Chaucer had meant to write about Troilus’ military endeavours, then * For their criticism, commentary and support, I would like to thank Kellie Robertson and the two anonymous readers of New Medieval Literatures, Aaron Bartels-Swindells, Arthur Bahr, Rita Copeland, Helen Cushman, Jonathan Morton, Paul Saint-Amour, Emily Steiner, Spencer Strub and David Wallace, and audiences at the Sewanee Medieval Colloquium, Delaware Medieval Association and La Poésie dans les temps de guerre for comments and suggestions. -
Criseydanconversations5.Pdf (51.42Kb)
5 Books IV and V: Exchange and Inconstancy Following the consummation scene and close of Book III, the figure of Criseyde spirals downward to her fate as the exemplar of inconstancy and fickleness as she has come to be known. In Book IV the affair of Troilus and Criseyde moves beyond the private space and into the realm of public politics. Pandarus’ “zone of private power,” as Sarah Stanbury calls it, is shattered, and his control is severed. So, too, we witness the narrator’s own unraveling under the weight of impending scenes which he seemingly wishes not to render. But Criseyde continues to be the hinge on which the story pivots, and it is on her actions, as always, the outcome seemingly depends. Elizabeth Archibald (“Declarations of ‘Entente’ in Troilus and Criseyde”) continues her study of ‘entente’ in Book IV, in which she argues “every use of the word is connected to Criseyde’s intentions and decisions” (203). In fact, she states, “Criseyde’s ‘entente’ is the focus of Book IV, and by the end of the book the narrator gives us clear indications that we are to take Criseyde’s intentions as ephemeral and untrustworthy” (205). Troilus determines to accept Criseyde’s desires in her trade to the Greeks: For which he gan deliberen, for the beste, That though the lordes wolde that she wente, He wolde lat hem graunte what hem leste, And telle his lady first what that they mente; And whan that she hadde seyd hym hire entente, Therafter wolde he werken also blyve, 70 Theigh al the world ayeyn it wolde stryve. -
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Devils to Ourselves An analysis of the humanistic pessimism that links Chaucer’s Troilus and Criseyde to Shakespeare’s Troilus and Cressida as well as Romeo and Juliet Juliette Mann Submitted in Partial Fulfillment of the Prerequisite for Honors in English Literature under the advisement of Cord Whitaker April 2017 2017 Juliette Mann 1 Table of Contents: Dedication and Acknowledgements (Page 3) Chapter 1: Troilus and Troilus: An examination of the flawed nature of Chaucer’s and Shakespeare’s respective heroes (Page 13) Chapter 2: Criseyde and Cressida: How differing depictions of “falsehood” shape Shakespeare’s and Chaucer’s respective morals (Page 30) Chapter 3: Redemption from Chaucer to Shakespeare An analysis of religious morals in Troilus and Criseyde and Romeo and Juliet (Page 47) Chapter 4: Romeo and Juliet to Troilus and Cressida A discussion of how ideals of love and life shift within Shakespeare’s own work (Page 60) Conclusion (Page 78) Bibliography (Page 81) 2 For D.R.M. I would like to acknowledge the work of my advisor, Professor Cord J. Whitaker, and thank him for his tireless work on my behalf. Without his advice and direction, this work would not exist. Thank you as well, to Professor Yu Jin Ko and Professor William Cain, for their comments which ultimately helped shape my final draft. Thank you once more to Professor Ko for first introducing me to Troilus and Cressida, and to my Oxford tutor, Laura Ashe, for the endless inspiration. 3 Although Chaucer and Shakespeare lived and wrote roughly 200 years apart, they both managed to produce works that set the precedent for tragedy and romance. -
Geoffrey Chaucer's House of Fame
Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1996 Geoffrey Chaucer's House of Fame: From Authority to Experience Victoria Frantseva Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Frantseva, Victoria, "Geoffrey Chaucer's House of Fame: From Authority to Experience" (1996). Masters Theses. 1905. https://thekeep.eiu.edu/theses/1905 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates (who have written formal theses) SUBJECT: Permission to Reproduce Theses The University Library is rece1v1ng a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. PLEASE SIGN ONE OF THE FOLLOWING STATEMENTS: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion in that institution's library or research holdings. I respectfully request Booth Library of Eastern Illinois University not allow my thesis to be reproduced because: Author Date GEOFFREY CHAUCER'S HOUSE OF FAME: FROM AUTHORITY TO EXPERIENCE BY Victoria Frantseva THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY CHARLESTON, ILLINOIS 1996 I HEREBY RECOMMEND THIS THESIS BE ACCEPTED AS FULFILLING THIS PART OF THE GRADUATE DEGREE CITED ABOVE DATE DATE Abstract Geoffrey Chaucer's House of Fame is one of the most provocative dream-vision poems written in the fourteenth century. -
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
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. -
Book Iii Troilus and Criseyde Book Iii
BOOK III TROILUS AND CRISEYDE BOOK III BOOK III Invocation to Love 1. O blissful light, of which the beam•s clear Adorneth all the third• heaven fair; 1 O Sun's lief, O Jov•'s daughter dear, beloved of the Sun Pleasance of love, O goodly debonair, Pleasure / benign (one) In gentle hearts ay ready to repair, always ready to dwell O very cause of heal and of gladness, health Y-heried be thy might and thy goodness. praised 2. In heaven and hell, in earth and salt• sea Is felt thy might, if that I well discern, As man, bird, beast, fish, herb and green• tree Thee feel in tim•s with vapour etern. 2 influence, power God loveth, and to lov• will not wern; won't forbid And in this world no liv• creäture Withouten love is worth or may endure. is worth [anything] 3. You fierc• Mars appeasen of his ire, You placate M. And as you list you maken heart•s dign; as you wish / worthy Algat•s them that you will set a-fire Always They dreaden shame, and vices they resign; You do them courteous be, fresh and benign, You make them 1 In medieval astronomy Venus, to whom this invocation is addressed, occupied the third of the seven spheres. She is also, of course, the lover of Mars and goddess of love, the spirit of love that affects all things in Nature. Taken in part from Boccaccio, the invocation is ultimately derived from Boethius, the late classical / early medieval Christian philosopher who celebrated the power of Love (though not Venus) which holds all of God's creation together. -
2017-2018 Undergraduate Catalog
UNDERGRADUATE CATALOG — 2017-2018 — Converse College Undergraduate Catalog 2017-2018 “I certify that this catalog is true and correct in content and policy and states progress requirements for graduation.” Signature of Authorized Official Name: Krista Newkirk J.D. Title: President Converse College does not discriminate in admissions or employment on the basis of race, color, sex, national or ethnic origin, age, sexual orientation, religion or disability. Converse admits only women to undergraduate programs and services in accordance with its historical mission. VISITORS Converse College welcomes visitors. Administrative offices in Wilson Hall, Carmichael Hall, Blackman Music Hall, and the Carnegie Building are open from 8:30 am to 5:00 pm Monday through Friday. (Summer hours: 8:00 am – 5:00 pm; College closes at 1:00 pm on Fridays.) Those who wish an interview with members of the staff are urged to make appointments in advance of their visit. Telephone 864.596.9000. Revised on July 2016 Table of Contents Converse College Calendar ..................................................................... 1-2 The Founder’s Ideal .................................................................................... 3 The College ............................................................................................. 4-7 Admissions .............................................................................................. 8-9 Fees and Financial Assistance .............................................................10-22 Academic Life ......................................................................................23-28 -
Transforming Lovers and Memorials in Ovid and Marie De France
TRANSFORMING LOVERS AND MEMORIALS IN OVID AND MARIE DE FRANCE SunHee Kim Gertz Late medieval authors were fascinated by classical literature, by what for all practical purposes functioned as the literary canon for readers and writers of the twelfth through the fourteenth centuries. As made clear by earlier scholarship — which often, however, interpreted medieval reception of classi cal literature as badly understood — medieval writers did not simply honour or completely authorize their predecessors. Indeed, more comfortable with the idea of tradition than slavish imitators Eire, medieval poets transformed classical texts in any number of ways, often feeling at liberty to change even critical narrative elements in the process. They did so, apparently, for differ ent purposes, but one of the most interesting, it seems to me, was to explore what writing meant in their own literary circles. Reading and Transformation: Marie de France and Ovid Against what intuitively seems likely, such transformations of classical ma terial often occur in narratives that only subtly invoke literary ancestors and that (unlike, for instance, the romans antiques) do not owe an obvious debt of plot and characters to their predecessors. The twelfth-century lais of Marie de France offer particularly good examples, especially since her narra tor evinces an awareness of borrowing from the past. Indeed, she announces in the General Prologue that she will avoid mapping her own writing onto Latin (and hence, authoritative) narratives: comen;ai a penser D’aukune bone estoire faixe E de latin en romaunz traire; Mais ne me fust gil aires de pris [. .] Des lads pensai, k’o'iz aveie [. -
Chaucer's Troilus and Shakespeare's Troilus
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Eastern Illinois University Eastern Illinois University The Keep Masters Theses Student Theses & Publications 1989 Chaucer's Troilus and Shakespeare's Troilus: A Comparison of Their eclinesD Laura Devon Flesor Eastern Illinois University This research is a product of the graduate program in English at Eastern Illinois University. Find out more about the program. Recommended Citation Flesor, Laura Devon, "Chaucer's Troilus and Shakespeare's Troilus: A Comparison of Their eD clines" (1989). Masters Theses. 2408. https://thekeep.eiu.edu/theses/2408 This is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Masters Theses by an authorized administrator of The Keep. For more information, please contact [email protected]. THESIS REPRODUCTION CERTIFICATE TO: Graduate Degree Candidates who have written formal theses. SUBJECT: Permission to reproduce theses. The University Library is receiving a number of requests from other institutions asking permission to reproduce dissertations for inclusion in their library holdings. Although no copyright laws are involved, we feel that professional courtesy demands that permission be obtained from the author before we allow theses to be copied. · Please sign one of the following statements: Booth Library of Eastern Illinois University has my permission to lend my thesis to a reputable college or university for the purpose of copying it for inclusion