A. J. Minnis presents an interesting argument for paganism in the book _Chaucer and Pagan Antiquity_. Minnis begins by analyzing Chaucer’s approach to paganism and why he might include them. Chaucer was writing from a medieval period concerned with Christianity and the salvation of the soul through a single God. The use of pagan figures and allusions in his writing would seemingly contradict the time period, but readers must realize that we must observe from Chaucer’s context. Just as we are looking back at Chaucer, he was looking back at pagan antiquity. He was only keeping literary tradition as it was at that particular point in time.
The book continues by pointing out the shortcomings of antiquity and how the pagan theology and philosophy falls short. The basic argument for this is that paganism originated out of a worship of the material world. Deities were later created to control the material world, such as the sun, water, and other elements of nature. Still, Christian scholars scoffed at paganism for its main flaw in the value of the material world.
Minnis then examines how Chaucer preserves the value and antiquity of paganism by exploring the noble features of Chaucer’s characters that are pagan. The main example is the transformation of Theseus, Arcite, and Palamoun. Minnis suggests that these characters are given a more fair treatment from that of the source texts. There nobleness and ability for rational thought is raised in Chaucer’s versions, making them the noble pagans that are worthy of admiration for their personal beliefs and convictions.
This book makes easy to follow arguments, but it depends too much on the knowledge of outside sources. It refers to other authors and critics without giving much information on the background of their ideas. Many of the ideas coming from Minnis are wonderful and easily understood, but the book fails when trying to another author’s understanding of how Chaucer’s use of pagan antiquity should be viewed. Avoid if not interested in pagan religious aspects of Troilus and Creseyde or The
--Andrés Boyer
Saturday, March 10, 2007
The Hero of The Troilus by Alfred David
David, Alfred. "The Hero of Troilus." Speculum v. 37. n. 4. October 1962. pp. 566-81.
A not too wearying read that seeks to make the Troilus of Troilus and Criseyde interesting to modern readers. The fifteen pages of David's article consists of an argument which examines the narrative of the poem in a linear fashion in order to make relevant as much as possible so that Troilus may become more three-dimensional. A great majority of the article is given to refuting critics over matters such as how strictly Troilus acts in accordance with the courtly love tradition. David argues against the critics who say that Troilus is purely flat in that respect, pointing out that the poem begins with a Troilus who mocks at love and who, ever after, is constantly diminished, physically and psychologically, by the effects of love. David also makes an interesting point about how Criseyde and Troilus are really mismatched due to their divergent views on love: Troilus' being idealist, while Criseyde's are practical; and although Troilus' views mature over time, he still gives himself up to a fatalist notion that he will rise or fall by love. David concludes the article by seeking a compromise between the two arguments of ghosts of critics past over Troilus' equivocal laugh at the end: "Troilus' celestial laughter recognizes at the same time the absurdity and the sublimity of human experience."
A not too wearying read that seeks to make the Troilus of Troilus and Criseyde interesting to modern readers. The fifteen pages of David's article consists of an argument which examines the narrative of the poem in a linear fashion in order to make relevant as much as possible so that Troilus may become more three-dimensional. A great majority of the article is given to refuting critics over matters such as how strictly Troilus acts in accordance with the courtly love tradition. David argues against the critics who say that Troilus is purely flat in that respect, pointing out that the poem begins with a Troilus who mocks at love and who, ever after, is constantly diminished, physically and psychologically, by the effects of love. David also makes an interesting point about how Criseyde and Troilus are really mismatched due to their divergent views on love: Troilus' being idealist, while Criseyde's are practical; and although Troilus' views mature over time, he still gives himself up to a fatalist notion that he will rise or fall by love. David concludes the article by seeking a compromise between the two arguments of ghosts of critics past over Troilus' equivocal laugh at the end: "Troilus' celestial laughter recognizes at the same time the absurdity and the sublimity of human experience."
Friday, March 9, 2007
Paul T. Thurston, "Artistic Ambivalence in Chaucer's Knight's Tale"
Thurston, Paul T. "Artistic Ambivalence in Chaucer's Knight's Tale." Gainesville: University of Florida Press. 1968.
Thurston in this book takes issue with what he believes is the common interpretation of The Knight's Tale as a great example of medieval romance. He believes this interpretation makes the tale one of courtly love and chivalry on a grand scale. Thurston wants to present a second interpretation for readers to consider, that of the tale being a work of satire. Thurston believes that the tale satires what he calls the "hallowed" traditions of chivalry and its foundations. He believes that this interpretation is for the more literal minded readers of Chaucer.
Thurston supports his point of view by examining passages from the tale and examining them for evidence of satire and humor. In particular, he looks at the errors in logic that occur throughout the text. For example, he looks at the speech of Palamon when Theseus finds Arcite and him fighting each other. Palamon calls his escape from Theseus' prison wicked, which is a quality opposite of that which would be appropriate. Palamon has fought against Theseus and he has called him his mortal enemy so therefore it is an error to describe his escape as wicked. Thurston believes this idealistic error on the part of Palamon hows him to be a fool, and therefore is both humorous and satirical. Throughout the book Thurston examines the tale for evidence of humor and satire such as this.
-Book available in the Knox College Library
Thurston in this book takes issue with what he believes is the common interpretation of The Knight's Tale as a great example of medieval romance. He believes this interpretation makes the tale one of courtly love and chivalry on a grand scale. Thurston wants to present a second interpretation for readers to consider, that of the tale being a work of satire. Thurston believes that the tale satires what he calls the "hallowed" traditions of chivalry and its foundations. He believes that this interpretation is for the more literal minded readers of Chaucer.
Thurston supports his point of view by examining passages from the tale and examining them for evidence of satire and humor. In particular, he looks at the errors in logic that occur throughout the text. For example, he looks at the speech of Palamon when Theseus finds Arcite and him fighting each other. Palamon calls his escape from Theseus' prison wicked, which is a quality opposite of that which would be appropriate. Palamon has fought against Theseus and he has called him his mortal enemy so therefore it is an error to describe his escape as wicked. Thurston believes this idealistic error on the part of Palamon hows him to be a fool, and therefore is both humorous and satirical. Throughout the book Thurston examines the tale for evidence of humor and satire such as this.
-Book available in the Knox College Library
Thursday, March 8, 2007
Margaret Schlauch, "Chaucer's Doctrine of Kings and Tyrants"
Schlauch, Margaret. "Chaucer's Doctrine of Kings and Tyrants." Speculum. Vol. 20, No. 2 (Apr. 1945). pp. 133-156
Despite her title, Schlauch does not actually attribute a fully developed "doctrine" of political thought to Chaucer. Rather, she examines political theorists of the twelfth through fourteenth centuries and demonstrates that Western European thought was beginning to focus more on the importance of the people than on the lords. This led to an alteration in political theory that made the goal of monarchy (and lordship, in general) the common good of the people. Thus, rule was more considered a burden than a position of grandeur.
As for Chaucer, Schlauch posits that the English writer was a subscriber to the theory, in a general sense. He likely witnessed upheavals in Italy brought on by tyranny and his works, particularly the Legend of Good Women, are full of denunciations of those who do not rule by the blessings of the people. Moreover, Chaucer uses tyranny as a metaphor in such subjects as love and pride (such as Troilus and Criseyde). But perhaps most telling is Chaucer's constant revisitation of "commune profit," as seen in The Clerk's Tale and The Parliament of Fowles. To Chaucer, then, the sovereign must do all he can to benefit the community, even if that requires sacrifices of his own.
Schlauch's piece is written in such a manner that it is only fully intelligible if one has a working knowledge of both Latin and Italian. Chaucer's contributions to political thought only occur in the last quarter of the work and they are sketchy at best.
- Available through JSTOR.
Despite her title, Schlauch does not actually attribute a fully developed "doctrine" of political thought to Chaucer. Rather, she examines political theorists of the twelfth through fourteenth centuries and demonstrates that Western European thought was beginning to focus more on the importance of the people than on the lords. This led to an alteration in political theory that made the goal of monarchy (and lordship, in general) the common good of the people. Thus, rule was more considered a burden than a position of grandeur.
As for Chaucer, Schlauch posits that the English writer was a subscriber to the theory, in a general sense. He likely witnessed upheavals in Italy brought on by tyranny and his works, particularly the Legend of Good Women, are full of denunciations of those who do not rule by the blessings of the people. Moreover, Chaucer uses tyranny as a metaphor in such subjects as love and pride (such as Troilus and Criseyde). But perhaps most telling is Chaucer's constant revisitation of "commune profit," as seen in The Clerk's Tale and The Parliament of Fowles. To Chaucer, then, the sovereign must do all he can to benefit the community, even if that requires sacrifices of his own.
Schlauch's piece is written in such a manner that it is only fully intelligible if one has a working knowledge of both Latin and Italian. Chaucer's contributions to political thought only occur in the last quarter of the work and they are sketchy at best.
- Available through JSTOR.
John P. McCall, "The Trojan Scene in Chaucer's Troilus"
McCall, John P. "The Trojan Scene in Chaucer's Troilus." ELH. Vol. 29, No. 3 (Sep. 1962). pp.263-275.
McCall defends Kittredge's basic premise that the Trojan background in Troilus and Criseyde creates an overall atmosphere of doom. However, McCall goes further, claiming that the experiences of Troy and those of Troilus are mirrored throughout the tale. After all, Troilus's name means "Little Troy." Both Troy and Troilus are gambling with Fortune, McCall claims. They have foolishly made everything dependent on their success defending a woman attained through underhanded means.
As Troilus and Criseyde advances from a period of good Fortune for Troilus (when the war is hardly spoken of) to one of bad Fortune (when the Greeks take an active part in the story), the city mirrors Troilus's condition. In Books 4 and 5, the sense of impending doom is unmistakable.
McCall's argument logically finds an incorporation for the ever nagging Trojan war and supplies an interpretation suggesting that Chaucer knew exactly what he was doing.
- Available through JSTOR
McCall defends Kittredge's basic premise that the Trojan background in Troilus and Criseyde creates an overall atmosphere of doom. However, McCall goes further, claiming that the experiences of Troy and those of Troilus are mirrored throughout the tale. After all, Troilus's name means "Little Troy." Both Troy and Troilus are gambling with Fortune, McCall claims. They have foolishly made everything dependent on their success defending a woman attained through underhanded means.
As Troilus and Criseyde advances from a period of good Fortune for Troilus (when the war is hardly spoken of) to one of bad Fortune (when the Greeks take an active part in the story), the city mirrors Troilus's condition. In Books 4 and 5, the sense of impending doom is unmistakable.
McCall's argument logically finds an incorporation for the ever nagging Trojan war and supplies an interpretation suggesting that Chaucer knew exactly what he was doing.
- Available through JSTOR
What Chaucer really did to Il Filostrato
Lewis, C.S. "What Chaucer Really Did to Il Filostrato." Troilus and Criseyde. Ed. Stephen A. Barney. New York: W.W. Norton, 2006.
There is more to this article than can easily be summarized. It can be found in the back of the assigned Troilus and Criseyde text.
Lewis here argues that Chaucer’s many amendments, additive and subtractive, to Boccacio’s Il Filostrato are much more than an attempt to put his own stamp on the story. Instead, Chaucer’s process of revision, with its various reductions and expansions, is a process of “medievalization” – the English, Lewis claims, never really had a renaissance, and the Boccacio thus had to be retrofitted to accommodate the societal norms and expectations of Chaucer’s audience. Put simply, Chaucer would have read Il Filostrato and been impressed; he also would have felt that some major changes were necessary if the story was to be appreciated by his English contemporaries. Part of this medievalization, Lewis states, is the conversion of Boccacio’s original to a state much more closely in line with the true tenets of courtly love.
Lewis further argues that modern audiences too readily apply their own sensibilities to Troilus and Criseyde, as they do to most of Chaucer’s work. They label the Troilus as satire, and Pandare as a full-out comic character, for example, when Chaucer’s own audiences would have taken the story more seriously than the modern reader is likely to do. Original readers, he claims, would have been less likely to find humor in the lessons and exemplum themselves, but would instead have found humor in the contrast between those edifying lessons and the stubborn responses of Troilus.
There is more to this article than can easily be summarized. It can be found in the back of the assigned Troilus and Criseyde text.
Robert P. Miller, "The Wife of Bath's Tale and Mediaeval Exempla"
Miller, Robert P. "The Wife of Bath's Tale and Mediaeval Exempla". ELH, Vol. 32, No. 4. (Dec., 1965), pp. 442-456.
Discussion of the Wife of Bath's tale as an example of instructional literature, especially in regard to courtly love-the Tale serves as a dramatization of works like Capellanus, providing clearer understanding of what behaviors are to be engaged in, along with dramatic presentations of the reasons why. Contrasts with Gower's "Florent". Information on sources, connected to the Wife's mentions of her authorities. The Tale as an illustration of the rule of Obedience.
--Carina Saxon (available through JSTOR)
Discussion of the Wife of Bath's tale as an example of instructional literature, especially in regard to courtly love-the Tale serves as a dramatization of works like Capellanus, providing clearer understanding of what behaviors are to be engaged in, along with dramatic presentations of the reasons why. Contrasts with Gower's "Florent". Information on sources, connected to the Wife's mentions of her authorities. The Tale as an illustration of the rule of Obedience.
--Carina Saxon (available through JSTOR)
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