Essays on chaucerian irony in the general prologue

xi, did appear to present Chaucer "as a relentlessly if succinctly moralizing figure, cited as a fount of proverbial wisdom rather than as the source of eloquence, the more familiar portrayal," a representation that "is reflected elsewhere in the attribution to Chaucer of proverbs and sententiae of different sorts." These representations of Chaucer, and others that operated alongside them, suggest that in each case the selection of texts and the attribution of them to Chaucer reflected contemporary tastes, concerns, and interests.

Birney, Earle. Essays on Chaucerian Irony. Toronto: Univ of Toronto Press, 1985.

The natural tendency to confuse one thing with its like is perhapsbest represented by a school of Chaucerian criticism, now outmoded,that pictured a single Chaucer under the guise of a wide-eyed, jolly,roly-poly little man who, on fine Spring mornings, used to get upearly, while the dew was still on the grass, and go look at daisies.A charming portrait this, so charming, indeed, that it was sometimesable to maintain itself to the exclusion of any Chaucerian otherside. It has every reason t o be charming, since it was lifted almost from the version Chaucer gives of himself in thePrologue to the , though I imagine it owessome of its popularity to a rough analogy with Wordsworth- a sort of. It was this version of Chaucer thatKittredge, in a page of great importance to Chaucer criticismdemolished with his assertion that "a naïf Collector of Customswould be a paradoxical monster." He might well have added that anaive creator of old January would be even more monstrous.

chaucerian in Essays on the irony prologue general

Dyson, Anthony Edward. The Crazy Fabric: Essays in Irony. NY: St. Martin's, 1965.

While we must always remain vigilant to the evils of excessive inebriation, to portray Chaucer’s images of drink and revelry in The Canterbury Tales as an unqualified denunciation is to oversimplify the poet’s work and to profane his art....

Geoffrey Chaucer - Poet, Author - Biography

It is therefore important to consider carefully the implications of our continued practice of anthologizing poetry not by Chaucer under the rubric "Chaucerian."

The focus here on dream vision and complaint means that most of the resemblances between Chaucer's works and the poems in this volume center on Chaucer's courtly love poetry: Troilus and Criseyde, The Legend of Good Women, The Parliament of Fowls, The Book of the Duchess, The House of Fame, The Complaint of Mars and other lyrics, and the translation of The Romaunt of the Rose, portions of which are thought to be Chaucer's.

Literary Terms and Definitions A - Carson-Newman …

The Chaucer canon has not been stable historically and various tensions have been active in the establishment of the category "Chaucerian." Even were the canon completely stable, it is not always possible to distinguish between genuine references to Chaucer and other types of influences. Ultimately, the practice of using "Chaucerian" as the predominant method of categorization obscures other qualities of the poems that may have appealed to medieval audiences.

Stanza Forms in English Literature – NeoEnglish

But the fifteenth-century English love visions presented here differ from their fourteenth-century models in the use of the ideal landscape setting (the locus amoenus of dream visions) in a context that contains a complaint or conversation overheard from a hidden vantage point instead of witnessed through a dream. These poems draw on both The Romance of the Rose and Chaucerian dream visions, but probably also took inspiration from the fourteenth-century French dits amoureux tradition, which in some cases shows a similar use of the dream vision setting. This suggests that fifteenth-century English poets were combining both French and English models of various genres to create their own version of a vernacular poetic that included a more prominent use of dream vision conventions in non-dream contexts than seen in earlier English poetry.

The action of these dreamless but voyeuristic poems is for the most part predictable.