‘I Nolde Sette at al that Noys a Grote’: Repudiating Infamy in Troilus and Criseyde and The House of Fame

2015 ◽  
pp. 75-86
Author(s):  
Alcuin Blamires
Author(s):  
Marilynn Desmond

This chapter traces the transmission of the matter of Troy from its entrance into the textual traditions of the Latin West until Chaucer’s composition of Troilus and Criseyde. This tradition includes late antique Latin prose texts attributed to Dares and Dictys, the twelfth-century Roman de Troie composed by Benoît de Sainte-Maure, Boccaccio’s Filostrato, Guido delle Colonne, as well as the Histoire ancienne jusqu’à Cèsar. The narrator of Chaucer’s Troilus exhibits the poet’s self-conscious awareness of this complex textual network. The subject-position of Criseyde as a woman living within a city under siege is the product of this textual tradition. The second book of Chaucer’s House of Fame stages the poetic authority for the textual traditions on Troy.


PMLA ◽  
1947 ◽  
Vol 62 (3) ◽  
pp. 598-621
Author(s):  
Robert A. Pratt

The influence of Italian writers on Chaucer has been described by the use of such general terms as “renaissance,” “humanism,” or “Italian atmosphere,” and also by the enumeration of borrowed passages and the recognition of similarities of plot. Some critics believe that the Italian journeys opened new vistas for Chaucer in literature and life, while others hold that from Italy he derived only certain lines and stories. Consideration of this problem in terms of just one poem, Boccaccio's Teseida, is narrow and inconclusive, but has the advantages of being specific and of permitting an evolutionary—as opposed to a static—point of view; for of all Italian writings except Dante's Commedia, the Teseida served Chaucer the most widely. It formed the basic material out of which he created the Knight's Tale, and was the source of passages in Anelida and Arcite, the Parliament of Fowls, Troilus and Criseyde, the Legend of Good Women, the Franklin's Tale, and possibly the House of Fame.


PMLA ◽  
1977 ◽  
Vol 92 (2) ◽  
pp. 203-216
Author(s):  
James I. Wimsatt

While recent scholarly attention to the medieval aspects of Troilus and Criseyde has overshadowed the older custom of critics to associate it with modern fiction, its kinship with such later literature is authentic. The poem’s plentiful medieval materials—for which Chaucer draws extensively on Dante, Machaut, and Boethius—invite interpretation of it in terms of traditional modes: the epic, the romance, and the philosophical demonstration. Chaucer, however, completely undercuts the usual effects of these modes with irony, at the same time employing the elements and techniques of realism. The irony cooperates with the realism to make a work that finally is like modern fiction in identifying the essentially human through the particularity of its presentation.


Speculum ◽  
1969 ◽  
Vol 44 (3) ◽  
pp. 444-446
Author(s):  
Robert M. Jordan
Keyword(s):  

2021 ◽  
pp. 140-153
Author(s):  
A. A. Shapovalova

The article discusses two works of literature: Troilus and Criseyde, a long poem written in the genre of courtly romance (1382–1386/1387) by G. Chaucer, and ‘The Prophet’ [‘Prorok’] (1826), a poem by A. Pushkin. The two works are compared due to a common motif: the opening of the chest and swapping of the heart as a sign of the person’s spiritual regeneration. In her comparative analysis of the two poems, the author attempts to identify their common source or the likelihood of direct contact — whether Pushkin had come across Chaucer’s work and borrowed the motif directly. As for the heart being replaced, it seems both poets may have been inspired by several biblical stories. Further analysis of the motif of the chest being opened suggests that the research should focus on the Arabic tradition alone and take into account the potential influence of Islamic religious texts on Pushkin as well as Chaucer. Relying on the available data about Russian and European relations with the Arabic world, the article hypothesises about the ways in which the motif in question could have reached each of the poets. The author names the Quran as the common genetic source of the two poems.


2018 ◽  
Vol 30 (2) ◽  
pp. 51-73
Author(s):  
Simone Fryer-Bovair

This article examines Chaucer’s response to Boethius’s Consolation of Philosophy in Troilus and Criseyde. I argue that Chaucer responds to a tension that he perceives in Boethius’s Consolation regarding the relationship between this world and the divine, in particular the value to be placed on romantic love. This tension is at the heart of the most recent critical discussion of Boethius’s text. I consider the morally improving qualities of romantic love and suggest that Chaucer envisages a version of romantic love that is a bridge between this world and the divine, rather than a divide.


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