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The Cambridge History of Literary Criticism

In this fresh look at Chaucer's relation to English and French romances of the late Middle Ages, Crane shows that Chaucer's depictions of masculinity and femininity constitute an extensive and sympathetic response to the genre. For Chaucer, she proposes, gender is the defining concern of romance. As the foundational narratives of courtship, romances participate in the late medieval elaboration of new meanings around heterosexual identity. Crane draws on feminist and genre theory to argue that Chaucer's profound interest in the cultural construction of masculinity and femininity arises in large part from his experience of romance.

Gender and romance in Chaucer's Canterbury tales

Introduction: speech and writing The relationship between the spoken and the written word is of two basic kinds; the written symbol may represent a concept directly, or it may represent the word which names the mental concept in an individual language. In the former case the symbol is called an ideograph, familiar examples of which are Arabic numerals; the numeral represents the same concept to speakers of different languages, but not the same word. The other type of relationship, in which the written form represents the spoken, is also of two kinds; one is phonemic , where each element or grapheme in the written form is intended to represent a sound, or phoneme, in the spoken (and occasionally, in Old English, an allophone). Illustrations of this relationship are common in modern English, e.g. sit, pan, lend . The second type is wholly or partially logographic (representing the word as a whole) where there may be only a partial ‘fit’ between phoneme and grapheme; the reader is expected to recognise the word as a whole even though the set of graphemes does not unequivocally indicate a specific set of phonemes. Many examples of logographs occur in Modern English, e.g. scene/seen, peal/peel, rain/reign, vale/veil . These pairs are known as homophones , words which sound alike but have different meanings and spellings. Homographs are two or more words with identical spelling but different pronunciations and meanings, e.g. wind ‘turn round’ and wind ‘movement of air’. Homonyms are sets of words with similar sounds and spellings, but different meanings, e.g. tender ‘part of a train’, tender ‘gentle’, tender ‘sore’, tender ‘offer’.

Orthography and punctuation

London twas thou that didst thy Prince betray And could thy sable vent no other way. Fragment of anonymous elegy on Charles I, Cardiff Central Library, ms 1.482, fo. 33v Contexts and conditions As Chapter 21 in this volume demonstrates, the civil crisis of the mid-century was one that embraced three kingdoms and a principality. It drew England into several armed conflicts with other west European states: most significantly, that other maritime and Protestant power, the United Provinces. Additionally, the literary consequences of the war of the three kingdoms, and the First Dutch War (1652–4), were felt in the English language used in the provinces, in Scotland, Ireland and Wales, in the Celtic language cultures of these places, and in Dutch literature. London, however, was at the heart of the Civil War, and understanding its unique role is one of the keys to understanding the nature of the English Revolution and the literary innovations of these years. London was important not merely because it was the capital city of the nation, the major centre of population and of commerce. It was also near the places where government occurred and where the theatre of state played itself out. London’s peculiar urban culture gave the capital a life of its own. We might more accurately say, a set of lives, since in the twenty years of Civil War, revolution and experimentation with non-monarchical forms of government, various forces would emerge from London culture and have a decisive effect on the turn of events in the nation at large.

Literature and London

This thesis offers the first full-length investigation into the reception and influence of the dream vision poem in the early modern period. One of the main aims of this research is to challenge the assumption that the dream vision was no longer an attractive, appreciated or effective form beyond the Middle Ages. This research breaks new ground by demonstrating that the dream vision was not only a popular form in the post-Reformation period, but was a major and enduring means of literary and political expression throughout the Elizabethan and Jacobean periods. This thesis is therefore part of an
ongoing scholarly attempt to reconfigure the former aesthetic judgements that have dominated scholarship since C. S. Lewis dubbed the sixteenth century as the 'drab age' of English verse. The main focus is upon three writers who have been largely ignored or misunderstood by modern scholarship: Barnabe Googe (1540-1594), Richard Robinson (fl. 1570-1589) and Thomas Andrewe (fl. 1600-1604). Through close analysis of their work, this thesis demonstrates that the dream vision could both inform and was greatly informed by contemporary political, cultural and literary developments, as well as the period's relationship with its literary and historical past.

The early modern dream vision (1558-1625): genre, authorship and tradition

Preface 1. Renaissance and medieval 2. Chaucer 3. The Chaucerian tradition 4. Outside the Chaucerian tradition 5. Henryson and Dunbar 6. Skelton and Hawes 7. Wyatt and Surrey Epilogue: The Shepheardes Calender Notes Index.

Medieval to Renaissance in English Poetry

Preface Part I. Dreams and Visions: 1. The nature of dream-poetry 2. Spiritual adventure 3. Macrobious on Scipio's dream 4. Scriptural and Christian visions 5. Visions of place 5. Doctrinal visions 6. The Roman de la Rose: Guillaume de Lorris 7. The Roman de la Rose: Jean de Meun 8. Fourteenth-century dream poems Part II. Chaucer: 1. The Book of the Duchess 2. The House of Fame 3. The Parliament of Fowls 4. The Prologue to The Legend of Good Women Part III. The Alliterative Tradition: 1. Pearl 2. The Piers Plowman tradition: Winner and Waster 3. The Parliament of the Three Ages 4. Piers Plowman: the A-text 5. Piers Plowman: the B-revision 6. Langland's followers: Mum and the Sothsegger 7. Death and Life Part IV. The Chaucerian Tradition: 1. Lydgate: The Temple of Glass 2. Clanvowe: The Cuckoo and the Nightingale 3. The Kingis Quair 4. Scottish dream-prologues 5. Dunbar 6. Skelton: the Bowge of Court Douglas: The Palice of Honour 7. Skelton: The Garland of Laurel Notes Booklist Index.

Medieval dream-poetry

Texts and abbreviations Preface 1. The poet and his background 2. Purity 3. Patience 4. Pearl 5. Sir Gawain and the Green Knight Index.

The Gawain-Poet: A Critical Study

Preface 1. Elaborated and restricted codes 2. Early medieval narrative style 3. Interpreting a medieval romance 4. Early Chaucer 5. Narrative closure: the end of Troilus and Criseyde 6. Alliterative poetry 7. Purity and danger 8. The Gawain-poet's sense of an ending 9. Piers Plowman: allegory and verbal practice Notes Index.

Readings in medieval poetry

1. SUBJECTIVITY AND TEXTUALITY 'Writing is nothing but the representation of speech' 'There can be no narrative without a narrator' Did Subjectivity Emerge? The Following Chapters 2. ROMANCES King Horn Havelok 3. TROILUS AND CRISEYDE The Narrator in Troilus Criticism Is There a Fallible Narrator? Is There a Distinct Narratorial Discourse? The Narrator and Criseyde 4. THE MAN OF LAW'S TALE Narrators in Canterbury Tales Criticism The Man of Law as Fallible Narrator Subjectivized Narration The Achievement of the Man of Law's Tale 5. NARRATION IN THE PEARL POET 'Third-Person' Narration 'First-Person' Narration 6. LYRICS What is a Lyric? 'Lovers that kan make of sentement' Lyric as Dramatic Monologue? Chaucer's Complaint Unto Pity 7. EPISTOLARY POEMS Ovid's Heroides Two Middle English Epistolary Lyrics

Textual Subjectivity: The Encoding of Subjectivity in Medieval Narratives and Lyrics

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