By Caroline D. Eckhardt
the overall Prologue to Chaucer's Canterbury stories is among the such a lot enduring works of English literature. loved through students, academics, scholars, and common readers, it's been given an exceptional many alternative interpretations. This annotated, overseas bibliography of twentieth-century feedback at the Prologue is a vital reference advisor. It comprises books, magazine articles, and dissertations, and a descriptive checklist of twentieth-century versions; it's the so much whole stock of recent feedback at the Prologue. The broad annotations supply uniquely handy entry to many courses which are another way tricky to obtain.
In her creation, Caroline Eckhardt offers a cautious and finished assessment of recent traits in feedback, developments which might be traced during the bibliography. firstly of the century, for instance, Chaucer's Prologue used to be frequently defined as a 'portrait gallery' and praised for its realism - social, mental, and dramatic. Later within the century got here emphases on irony, rhetoric, Freudian interpretations, complicated allegories, and stylistic complexities. at the moment, the Prologue is usually interpreted as a procedure of indicators and logos during which realism, if it exists in any respect, serves reasons past itself. The smiling and serene poet of the sooner interval has been changed by means of a self-conscious ironist, occasionally with a cut up character. The portrait gallery of the start of the century remains to be there, although the spectator who walks alongside it has a tendency to determine whatever much less mounted textually (the Prologue is now regularly mentioned as work-in-progress) and extra complex structurally, generically, and thematically. it's the spectator, in fact, who has changed.
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Additional info for Chaucer’s General Prologue to the Canterbury Tales: An Annotated Bibliography 1900-1982
Wyatt. London: Clive, 1904. University Tutorial Series. A school edition: the treatment of GP is the same as that in Wyatt, 13. 18 Chaucer's Canterbury Tales [Vol 1]: The Prologue, the Knightes Tale, The Man of Lawes Tale, The Prioresses Tale and the Clerkes Tale. Ed. Alfred W. Pollard. , 1905. The Dryden Series. A school edition: after a short introduction, the selections are presented and are followed by a brief glossary. The texts are based upon 'the Harleian manuscript and those of the Six Text edition' [see introductory note on p 1 above], using the principle of 'taking the easiest reading* in 'a large concession' to 'modern laziness' (p xxv).
Woodcuts of the Ellesmere and Cambridge illustrations are included in vol 2. 8 Geoffrey Chaucer's The Prologue to the Book of the Tales of Canterbury, The Knight's Tale, The Nun's Priest's Tale. Ed. Andrew Ingraham. New York and London: Macmillan, 1902. Rpt 1903, 1904, 1905, 1938, 1939. A school edition: the text is followed by discussions of Chaucer's life, works, and language, and by notes and a glossary. The ms basis of the text is not stated, but it appears to be that of Skeat (3), with some regularization of spelling.
The modest amount of commentary on the Yeoman has concentrated on the question of whether he accompanies the Knight or the Squire, on the green and brown coloration of his portrait, and on his rather elaborate accoutrements, especially his peacock-arrows. The Prioress and her companions (lines 118-64}- The Prioress has xxxiv/The General Prologue attracted more attention than any other pilgrim. Much of it concerns specific details in the portrait: which saint her St Loy represents (line 120) and why she swears by him, the implications of her affiliation with the nunnery of St Leonard's, her manner of speaking French, her smiling, her attitude toward animals, her brooch and beads, her forehead, her fastidious table manners, her name Eglantyne (line 121), and the color of her eyes.