Chaucer’s scholar’s have long recognized the poet’s keen sense of observation and have commented upon the poet’s ability to transfer his visual images to his writing.
My interview with fiction author, SD Sykes about her fantastic medieval crime novel, Plague Land.
Popular critical opinion favors reading the pilgrim Knyght of Chaucer’s The Canterbury Tales as the representative of the idealized chivalric knight; however, the pilgrim Knyght bears the hallmark of the early professional soldier that began to evolve as early as the eleventh century.
This essay will also demonstrate that in order to be considered a good wife a woman
needed to be humble and obedient and to accept her fate as being subject to male authority figure without resistance.
Although I think that the notion of modern art as organic must be qualified and questioned, there is a certain force and validity to Jordan’s distinction between medieval and modern art. Modern art expects the parts to be somewhat subordinate to the whole. The dominant stress of New Criticism was on the organic nature of art.
The Pardoner of Geoffrey Chaucer’s The Canterbury Tales is usually perceived as terrible and morally bankrupt. As a result, he is often categorized as an evil and one-dimensional character.
This thesis proposes a correlation between the twenty-four Canterbury Tales and an external ordered system, namely the twelve signs of the zodiac, from which one might infer Chaucer’s intended ordering of the Tales.
The purpose of this essay will be to explore the significance of competition and feedback in The Canterbury Tales, by applying historical evidence of literary competition in the fourteenth century to a discussion of the frame narrative, especially the prologue and epilogue to Chaucer’s Tale of Sir Thopas.
This paper was given at the Canada Chaucer Seminar on April 27, 2013.
The majority of medieval scholars, including Roger Sherman Loomis, argue that the popularity of the Arthurian legend in England was therefore on the wane in the latter half of the fourteenth century; as a result, the major writers of the period, such as John Gower and Geoffrey Chaucer, refrained from penning anything beyond the occasional reference to King Arthur and his court.
Fashion of Middle England and its Image in Chaucer’s Canterbury Tales Petra Štěpánková Bachelor Thesis, Masaryk University – Brno, Faculty of Education, Department…
My intention is not to continue the discourse on such practices but to analyze narrative content in relation to the politics of theology that had an impact on lay writers and their artistic creativity concerning the search for selfhood from the twelfth to the fifteenth centuries.
The choice to write and present a study of nature in medieval English literature from an ecological perspective has been originated by a personal interest in the urgency of the deep environmental crisis we are faced with and by the drive to expand the eco- oriented study of representations of nature in literature to chronological and spatial areas well beyond those originally typical of ecological criticism.
Perhaps the tale has been dismissed because, compared to the other tales, it appears to be simple and straightforward. Lynn Staley Johnson points out that “most Chaucerians hold that this legend could not have been written before about 1373” and further that “it is generally accepted that Chaucer decided to include the legend in the Canterbury book relatively late in the Canterbury period” .
No critic has ever discussed costume signs in order to reveal to what extent the Prioress does or does not conform in her costume to the fourteenth century norm, with consideration given, simultaneously, to the historical records, literature and visual arts of the period that form and inform the signs from the many traditions Chaucer in corporates in his portrait of the Prioress.
Partly thanks to their experience as code-breakers in World War I, theirs was the first edition to take account of all 83 medieval witnesses to parts or the whole of the Tales.
While Chaucer‟s knight has traveled to and fought in Spain, North Africa, Eastern Europe, and Asia Minor, Sir John claims to have visited the entire known world from Constantinople and the Holy Land to the farthest reaches of Asia.
Most literary studies examine what an author wrote. This essay examines what Geoffrey Chaucer did not write.
Madness has been long misrepresented in medieval studies. Assertions that conceptions of mental illness were unknown to medieval people, or that all madmen were assumed to be possessed by the devil, were at one time common in accounts of medieval society.
In my thesis I focus on the analysis of presentation of women in various medieval genres and their comparison in Geoffrey Chaucer’s masterpiece The Canterbury Tales, where women appear as both narrators as well as subjects of the narrative.
However, when we consider the number of individuals, particularly from the lower orders, who actually undertook a pilgrimage at some point in their lives, we find that we actually know remarkably little about them.
This paper focused on the 12 lines from fragment 3 of the Canterbury Tales of The Wife of Bath.
This book is the central one of Troilus and Criseyde’s five books, with the sexual union of Troilus with Criseyde forming the climax and turning-point of the entire plot-structure, condensed at the start of the work by Chaucer in the words “fro woe to wele and after out of joie.”
Pilgrimage, after Whitby, and before Vatican II, was a secular activity, a performance of piety by the laity, not by the clergy; although there were a few exceptions.7 Chaucer’s Monk, Friar, Prioress, Nun, Priest, Summoner, Pardoner and Parson ought not to be here. Their presence is outrageous comedy. Inns were forbidden to the cloistered clergy who, if they had to travel, were enjoined to stay in other monastic establishments along their route.
Isolda Parewastell from Somerset, who was in Jerusalem in 1365, fitted into this fourteenth-century pattern. Despite the risks involved, women pilgrims were inspired by an instinct for travel and change, as well as by a sense of religious obligation and the hope of spiritual reward.