By Caroline D. Eckhardt
the final Prologue to Chaucer's Canterbury stories is likely one of the such a lot enduring works of English literature. cherished via students, lecturers, scholars, and common readers, it's been given a very good many alternative interpretations. This annotated, overseas bibliography of twentieth-century feedback at the Prologue is a vital reference consultant. It comprises books, magazine articles, and dissertations, and a descriptive record of twentieth-century variants; it's the so much whole stock of recent feedback at the Prologue. The large annotations offer uniquely handy entry to many guides which are differently tough to obtain.
In her creation, Caroline Eckhardt offers a cautious and complete evaluation of contemporary developments in feedback, developments which are traced in the course of the bibliography. at the start of the century, for instance, Chaucer's Prologue was once 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, complex allegories, and stylistic complexities. at the present, the Prologue is frequently interpreted as a process of indicators and emblems within 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 way of a self-conscious ironist, occasionally with a cut up character. The portrait gallery of the start of the century continues to be there, although the spectator who walks alongside it has a tendency to work out whatever much less mounted textually (the Prologue is now typically 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
Oxford, OH: Anchor Press, 1942. Rpt New York: Prentice-Hall, 1947. A school edition: after a general introduction on Chaucer's life, times, works, and language, the text is presented, followed by notes and glossary. In the 1937 and 1942 editions the basis of the text, in mss or previous editions, is not stated (1947 reprint not seen). 48 Canterbury Tales: Prologue, Nun's Priest's Tale, Squire's Tale. [Ed. G. S. Dickson? ] London: Thomas Nelson, 1938. Masterpieces of English Series. A school edition: a brief introduction is followed by the texts indicated in the title, along with explanatory notes.
Not seen: according to the review by Robert K. Root, SRL, 1 (January 24, 1931), 545-6, the text is based upon that of Skeat (3). Van Wyck provides a parallel-column modernization, and Kent contributes full-page illustrations of the pilgrims. 41 Complete Works, in Poetry and Prose; with Introduction, Aids to Chaucer's Grammar, Versification, and Pronunciation. Boston: Cornhill, 1930. Listed in Willard E. , A Chaucer Bibliography 1925-1933 (Durham, NC: Duke University Press, 1935), p 15; but not located—a ghost?
The Summoner (lines 628-68 and line 673). The Summoner's skin disease has provoked a variety of medical diagnoses, some with symbolic implications. The sexual suggestions in such traits as his singing burdoun with the Pardoner (line 673), his pulling of finches, and his interest in the young girls of the diocese have been explored, with some debate as to whether homosexuality might be intended. His liking for garlic, onions, and leeks has been correlated to the Biblical mention of these foods (Numbers 11:5), which are thought to represent depravity and other spiritual faults.