The three medieval texts that make up Jankyn's Book of Wikked Wyves have formed a vital part of Chaucerian research for more than half a century. Integrated here for the first time, these texts now form a cornerstone volume of the Chaucer Library series. Near the end of her prologue, Chaucer's Wife of Bath tells how her fifth husband, Jankyn, a clerk of Oxford, taunted her by reading from a collection of antifeminist tracts. The contents of Jankyn's book include three texts that enjoyed wide distribution in the later Middle Ages: Walter Map's "Dissuasio Valerii," Theophrastus's "De Nuptiis," and Jerome's "Adversus Jovinianum." The first two are reproduced in their entirety in this volume, with selections from the third. The editors examine Jankyn's book from many angles, including the extensive manuscript sources from which it may be reconstructed, background information for its literary appreciation, and Chaucer's use of the materials. The publication of this volume, the fourth in the Chaucer Library, represents a major event for medievalists.
A re-editing of F.N. Robinson's second edition of The works of Geoffrey Chaucer published in 1957 by the team of experts at the Riverside Institute who have greatly expanded the introductory material, explanatory notes, textual notes, bibliography and glossary. The result of many years' study. The Riverside Chaucer is the most authentic and exciting edition available of Chaucer's complete works.
The monograph series Oxford Studies in Medieval Literature and Culture showcases the plurilingual and multicultural quality of medieval literature and actively seeks to promote research that not only focuses on the array of subjects medievalists now pursue in literature, theology, and philosophy, in social, political, jurisprudential, and intellectual history, the history of art, and the history of science but also that combines these subjects productively. It offers innovative studies on topics that may include, but are not limited to, manuscript and book history; languages and literatures of the global Middle Ages; race and the post-colonial; the digital humanities, media and performance; music; medicine; the history of affect and the emotions; the literature and practices of devotion; the theory and history of gender and sexuality, ecocriticism and the environment; theories of aesthetics; medievalism. Reading for form can mean reading for formation. Understanding processes through which a text was created can help us in characterizing its form. But what is involved in bringing a diachronic process to bear upon a synchronic work? When does literary formation begin and end? When does form happen? These questions emerge with urgency in the interactions between English poet Geoffrey Chaucer and Italian trecento authors Dante Alighieri, Giovanni Boccaccio, and Francis Petrarch. In fourteenth-century Italy, new ways were emerging of configuring the relation between author and reader. Previously, medieval reading was often oriented around the significance of the text to the individual reader. In Italy, however, reading was beginning to be understood as a way of getting back to a work's initial formation. This book tracks how concepts of reading developed within Italian texts, including Dante's Vita nova, Boccaccio's Filostrato and Teseida, and Petrarch's Seniles, impress themselves upon Chaucer's Troilus and Criseyde and Canterbury Tales. It argues that Chaucer's poetry reveals the implications of reading for formation: above all, that it both depends upon and effaces the historical perspective and temporal experience of the individual reader. Problems raised within Chaucer's poetry thus inform this book's broader methodological argument: that there is no one moment at which the formation of Chaucer's poetry ends; rather its form emerges in and through process of reading within time.
A greater fluidity in social relations and hierarchies was experienced across Europe in the early modern period, a consequence of the major political and religious upheavals of the sixteenth and seventeenth centuries. At the same time, the universities of Europe became increasingly orientated towards serving the territorial state, guided by a humanistic approach to learning which stressed its social and political utility. It was in these contexts that the notion of the scholar as a distinct social category gained a foothold and the status of the scholarly group as a social elite was firmly established. University scholars demonstrated a great energy when characterizing themselves socially as learned men. This book investigates the significance and implications of academic self-fashioning throughout Europe in the early modern period. It describes a general and growing deliberation in the fashioning of individual, communal and categorical academic identity in this period. It explores the reasons for this growing self-consciousness among scholars, and the effects of its expression - social and political, desired and real.
Boccaccio, Chaucer, and Stories for an Uncertain World understands the Decameron and the Canterbury Tales to communicate a radical uncertainty haunting most human endeavors, one that challenges effective knowledge of the future, the past, or the distant present; accurate perception of both complex, equivocal signifying systems, including language, and the intentions hidden rather than revealed by the words and deeds of others; and successful strategy in dealing with the chronic excesses and arbitrariness of power. This comparative study of Decameron novelle and Canterbury pilgrim tales yields the insight that the key to coping with these challenges is pragmatic prudence: rational calculation issuing in an opportunistic, often amoral choice of ingenious deeds and/or eloquent words appropriate (though without guarantee) to mastering a specific crisis, and achieving the goal of agency in the here and now, not salvation in the Hereafter. An initial chapter explores the Aristotelian antecedents, contemporaneous cultural influences, and narrative techniques that intersect to shape the radically uncertain world of the Decameron and the Canterbury Tales, while succeeding chapters pair, and compare, stories from both collections that illustrate the quest for agency-its successes and its failures—through plots often brilliantly adapted from simpler antecedents, as well as eloquence by turns satiric and insightful. This is storytelling that exposes a culture's fears, as well as its aspirations for mastery over the circumstances that challenge its existence; reading these tales should be a labor of love and the goal of this study is to help assure that the reader's labor shall not be lost.
This volume argues through a series of selected local studies, for the importance of "textual criticism" as a fundamental act of historical interpretation and recovery, pointing out the need for attention to the physical bearers of our knowledge of the English Middle Ages, the books themselves, and the ignored and alienating features of manuscript culture. The book begins with three essays that seek to problematize medieval book production, to show the procedure as more a fluid and emergent than a foreplanned process. The following two essays provide theoretical statements about the textual uses of manuscripts.
Venus' Owne Clerk: Chaucer's Debt to the "Confessio Amantis" will appeal to all those who value a bit of integration of Chaucer and Gower studies. It develops the unusual theme that the Canterbury Tales were signally influenced by John Gower's Confessio Amantis, resulting in a set-up which is entirely different from the one announced in the General Prologue. Lindeboom seeks to show that this results from Gower's call, at the end of his first redaction of the Confessio, for a work similar to his - a testament of love. Much of the argument centres upon the Wife of Bath and the Pardoner, who are shown to follow Gower's lead by both engaging in confessing to all the Seven Deadly Sins while preaching a typically fourteenth-century sermon at the same time. While not beyond speculation at times, the author offers his readers a well-documented and tantalizing glimpse of Chaucer turning away from his original concept for the Canterbury Tales and realigning them along lines far closer to Gower.
