An outstanding poem and a consummate example of employing the dream vision technique. It is one of the longest works of Chaucer. The poet unfolds ten stories of virtuous women in nine sections. It is one of the first mock-heroic works in English Literature. Inspirational!...
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1992.
Fisher's work is a vivid, lively, and readable translation of the most famous work of England's premier medieval poet. Preserving Chaucer's rhyme and meter and faithfully articulating his poetic voice, Fisher makes Chaucer's tales accessible to a contemporary ear.
In the middle ages, a poet told a story that mocked a strong woman. It became a literary classic. But what if the woman in question had a chance to tell her own version? Who would you believe? 'Brooks' mischievous retelling [of Chaucer's The Wife of Bath] dials up the feminist themes - and the fun - to 11.' The Canberra Times England, The Year of Our Lord, 1364 When married off aged 12 to an elderly farmer, Eleanor Cornfed, who's constantly told to seek redemption for her many sins, quickly realises it won't matter what she says or does, God is not on her side - or any poor woman's for that matter. But Eleanor was born under the joint signs of Venus and Mars. Both a lover and a fighter, she will not bow meekly to fate. Even if five marriages, several pilgrimages, many lovers, violence, mayhem and wildly divergent fortunes (that swoop up and down as if spinning on Fortuna's Wheel itself) do not for a peaceful life make. Aided and abetted by her trusty god-sibling Alyson, the counsel of one Geoffrey Chaucer, and a good head for business, Eleanor fights to protect those she loves from the vagaries of life, the character deficits of her many husbands, the brutalities of medieval England and her own fatal flaw... a lusty appreciation of mankind. All while continuing to pursue the one thing all women want - control of their own lives. This funny, picaresque, clever retelling of Chaucer's 'Wife of Bath' from The Canterbury Tales is a cutting assessment of what happens when male power is left to run unchecked, as well as a recasting of a literary classic that gives a maligned character her own voice, and allows her to tell her own (mostly) true story. 'Astonishingly good - an instant classic. Certes 'tis a tale for everywoman.' Tea Cooper, Bestselling International Author
"Professor Collette's approach to this challenging and provocative poem reflects her wide scholarly interests, her expertise in the area of representations of women in late medieval European society, and her conviction that the Legend of Good Women can be better understood when positioned within several of the era's intellectual concerns and historical contexts. The book will enrich the ongoing conversation among Chaucerians as to the significance of the Legend, both as an individual cultural production and an important constituent of Chaucer's poetic.achievement. A praiseworthy and useful monograph." Professor Robert Hanning, Columbia University. The Legend of Good Women has perhaps not always had the appreciation or attention it deserves. Here, it is read as one of Chaucer's major texts, a thematically and artistically sophisticated work whose veneer of transparency and narrow focus masks a vital inquiry into basic questions of value, moderation, and sincerity in late medieval culture. The volume places Chaucer within several literary contexts developed in separate chapters: early humanist bibliophilia, translation and the development of the vernacular; late medieval compendia of exemplary narratives centred in women's choices written by Boccaccio, Machaut, Gower and Christine de Pizan; and the pervasive late fourteenth-century cultural influence of Aristotelian ideas of the mean, moderation, and value, focusing on Oresme's translations of the Ethics into French. It concludes with two chapters on the context of Chaucer's continual reconsideration of issues of exchange, moderation and fidelity apparent in thematic, figurative and semantic connections that link the Legend both to Troilus and Criseyde and to the women of The Canterbury Tales. Carolyn Collette is Emeritus Professor of English Language and Literature at Mount Holyoke College and a Research Associate at the Centre for Medieval Studies at the University of York.
Her Life Historical offers a major reconsideration of one of the most popular narrative forms in late medieval England—the lives of female saints—and one of the period's primary modes of interpretation—exemplarity. With lucidity and insight, Catherine Sanok shows that saints' legends served as vehicles for complex considerations of historical difference and continuity in an era of political crisis and social change. At the same time, they played a significant role in women's increasing visibility in late medieval literary culture by imagining a specifically feminine audience. Sanok proposes a new way to understand exemplarity—the repeated injunction to imitate the saints—not simply as a prescriptive mode of reading but as an encouragement to historical reflection. With groundbreaking originality, she argues that late medieval writers and readers used religious narrative, and specifically the legends of female saints, to think about the historicity of their own ethical lives and of the communities they inhabited. She explains how these narratives were used in the fifteenth century to negotiate the urgent social concerns occasioned by political instability and dynastic conflict, by the threat of heresy and the changing status of public religion, and by new kinds of social mobility and forms of collective identity. Her Life Historical also offers a fresh account of how women came to be visible participants in late medieval literary culture. The expectation that they formed a distinct audience for saints' lives and moral literature allowed medieval women to surface in the historical record as book owners, patrons, and readers. Saints' lives thereby helped to invent the idea of a gendered audience with a privileged affiliation and a specific response to a given narrative tradition.
In this challenging study Priscilla Martin investigates the subjects of women, sex and gender in Chaucer's poetry. She argues convincingly that these are Chaucer's major subjects and that he presents them as an area of human experience fraught with problems. Women, instead of producing texts and meanings themselves, are trapped in the books and meanings of others, and so the Madonna and the courtly heroine, the nun and the wife, are familiar but questionable images of constructed femininity. '...an intelligent, sensitive, fresh and close reading which focuses upon Chaucer's women ... unconventional and subtle' - John J.McGavin, Times Higher Education Supplement