Fourteenth century England drew witness to many disruptions in time. The 100 Years War, Peasants Revolt, and Black Death are among the many tumultuous events that provide the context for some of the greatest literary masterpieces ever composed. Geoffrey Chaucer and the Pearl Poet are amid the most venerated poets on record. Is it purely chance, or did this era cultivate finely tuned writing ability through its refined culture? Just as we will never know the name of the Pearl Poet, we can only infer the social and educational mores of the fourteenth century through the caliber of writers it produced. The era uniformly affects the poem content of Chaucer and the Pearl Poet, but the values can be argued by one simple, differing factor. While Chaucer seemed to write to the popularity of his work, the Pearl Poet chose to not inscribe his name on his manuscripts. As Geoffrey Chaucer indefinitely marks his pages in history, the Pearl Poet, mysteriously, saves his literary breath for after he's literally taken his last. With no name and little evidence of its origination, the producer of the poems, Pearl, Purity, Patience, and Sir Gawain and the Green Knight will most likely remain anonymous, or commonly known as the "Pearl Poet," for the remainder of history. Whether his work was an offering to God, or whether he chose to leave the poems nameless because of the ill repute of English-written manuscripts, the Pearl Poet's work still ranks him with Chaucer and other literary geniuses. Akin to they're repute, their literary practices are very much alike. Chaucer and the Pearl Poet share in the same literary practices through their incorporation of the dream narrative, satire of nobility, Boethius, and the Golden Section.
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...wth, including their objective view of humanity through social satire, the familiarity of Boethius, and the incorporation of the Golden Section. Though there is no historical record of formal schooling, Chaucer and the Pearl Poet substantiate their astuteness with intimate references to other written works, mathematics, and seemingly faultless poetry. The arrangement of these elements into their work shows a higher understanding of the power of language. Geoffrey Chaucer and the Pearl Poet exemplify this understanding in their poetry to be more than just an arrangement of words. Their passion extends further than their support of the Boethian philosophy, or the satire of those who violate the morals identified in philosophy, but in devising a tribute to these ideas with their inclusion into the mathematically arranged divine proportion; celestial coalescence.
Literature of the English Restoration offers the example of a number of writers who wrote for a courtly audience: literary production, particularly in learned imitation of classical models, was part of the court culture of King Charles II. The fact of a shared model explains the remarkable similarities between “The Imperfect Enjoyment” by the Earl of Rochester and “The Disappointment” by Aphra Behn—remarkable only because readers are surprised to read one poem about male sexual impotence from the late seventeenth century, let alone two examples of this genre by well-known courtly writers. In fact, Richard Quaintance presents ten more examples by lesser-known poets as he defines the literary sub-genre of the neo-Classical “imperfect enjoyment poem,” written in imitation of Roman poems on the same subject, which is shared by Rochester and Behn (Quaintance 190). Since Rochester and Behn are working along such closely similar lines in terms of the artistic models that their own poems aim to imitate, it is therefore fair to ask the question: what are the main differences in their compositional technique within this tightly-defined literary sub-genre of the neo-Classical “imperfect enjoyment poem”? By examining features of each poem in turn—including form (including this sub-genre they share), but also narrative voice and tone—with some examination of the secondary critical literature on both Rochester and Behn, I hope to demonstrate that there are distinct differences in compositional technique which involve the difference in sex between these two writers. But my conclusion will attempt to problematize the very notion of an authorial sex difference by raising the concept of gender, and in particular the aspect of “performativity”—...
Raffel, Burton. and Alexandra H. Olsen Poems and Prose from the Old English, (Yale University Press)Robert Bjork and John Niles,
In his Canterbury Tales, Chaucer fully explicates the cultural standard known as courtesy through satire. In the fourteenth century, courtesy embodied sophistication and an education in English international culture. The legends of chivalric knights, conversing in the language of courtly love, matured during this later medieval period. Chaucer himself matured in the King's Court, as is revealed in his cultural status, but he also retained an anecdotal humor about courtesy. One must only peruse his Tales to discern these sentiments, for Chaucer’s view of courtesy can seem shocking and, all together, obscene at times, it’s the similarity of the differences that make Chaucer’s tales superior. An example of this can be seen through Nicholas’ attempt at “courting” Alison versus Arcita and Palamon’s endeavors at courting Emily. Nicholas' anxious and lewd behavior, in conjunction with his explicit sexual connotation, demonstrates Chaucer’s more farcical side; where as, the manner in which Arcita and Palamon court Emily can seem more satirical. In the Miller's Tale, Chaucer juxtaposes courtly love with animalistic lust, while in the Knight’s tale, the subject of chivalry is held with much higher regard, and used as a florid, glorious attribute. These numerous references provide the reader with a remarkably rich image of the culture and class structure of late fourteenth century England.
Extensive work has been done on this alliterative four-part poem written by an anonymous contemporary of Chaucer. Feminists have attacked his diatribe against women at the end, or analyzed the interaction between Gawain and the women of Bercilak’s court; those of the D. W. Robertson school seek the inevitable biblical allusions and allegory concealed within the medieval text; Formalists and philologists find endless enjoyment in discovering the exact meaning of certain ambiguous and archaic words within the story. Another approach that yields interesting, if somewhat dated, results, is a psychological or archetypal analysis of the poem. By casting the Green Knight in the role of the Jungian Shadow, Sir Gawain’s adventure to the Green Chapel becomes a journey of self-discovery and a quest – a not entirely successful one – for personal individuation. The Jungian process of individuation involves “.... ...
In his Canterbury Tales, Chaucer fully explicates the cultural standard known as curteisye through satire. In the fourteenth century curteisye embodied sophistication and an education in French international culture. The legends of chilvalric knights, conversing in the language of courtly love, matured during this later medieval period. Chaucer himself matured in the King's Court, and he reveled in his cultural status, but he also retained an anecdotal humor about curteisye. One must only peruse his Tales to discern these sentiments. In the General Prologue, he meticulously describes the Prioress, satirically examining her impeccable table manners. In the Miller's Tale Chaucer juxtaposes courtly love with animalistic lust, and in various other instances he mentions curteisye, or at least alludes to it, with characteristic Chaucerian irony. These numerous references provide the reader with a remarkably rich image of the culture and class structure of late fourteenth century England.
Toswell, M.J. "Chaucer's Pardoner, Chaucer's World, Chaucer's Style: Three Approaches to Medieval Literature." College Literature 28.3 (2001): 155. Literature Resource Center. Web. 25 Feb. 2011.
Boardman, Phillip C. "Geoffrey Chaucer (c. 1343-1400)." Enduring Legacies: Ancient and Medieval Cultures. 6th ed. Boston: Pearson Custom Pub., 2000. 430-54. Print.
British literature is an interesting and integral part of all literature in the world. Beginning with an epic as old as Beowulf, British literature has had a rich and ever-changing history. I have found that The Longman Anthology of World Literature is a comprehensive book filled with the world's prominent authoritative literary works from the time when stories were oral traditions to the present, including many pivotal works in the history of British literature. The authors of The Longman Anthology made an interesting choice when editing the order that the stories were placed in this book: though Sir Gawain and the Green Knight and Chaucer's Canterbury Tales were written in the latter half of the 14th century, Sir Gawain was placed before Chaucer's writings in this anthology. In fact, Sir Gawain was possibly written a bit before The Canterbury Tales. I believe the editors of The Longman Anthology chose to do this because Sir Gawain was originally an oral story whereas The Canterbury Tales were always written, and Sir Gawain has a deeper connection with older language and themes of the area than The Canterbury Tales due to the spread of Christianity and Christian ideals.
In this example, Chaucer, by writing this parody, is trying to express the idea that a lot of the ideals of chivalry are a ...
From The Riverside Chaucer, Third Edition. Ed. Larry D. Benson, Ph.D. New York: Houghton Mifflin, 1987. Chaucer, Geoffrey. A. The Canterbury Tales.
Chaucer’s book The Canterbury Tales presents a frame story written at the end of the 14th century. It narrates the story of a group of pilgrims who participate in a story-telling contest that they made up to entertain each other while they travel to the shrine of Saint Thomas Becket at Canterbury Cathedral. Because of this, some of the tales become particularly attractive for they are written within a frame of parody which, as a style that mocks genre, is usually achieved by the deliberate exaggeration of some aspects of it for comic effect. Chaucer uses parody to highlight some aspects of the medieval society that presented in an exaggerated manner, not only do they amuse the readers, but also makes them reflect on them. He uses the individual parody of each tale to create a satirical book in which the behaviours of its characters paint an ironic and critical portrait of the English society at that time. Thus, the tales turn satirical, ironic, earthy, bawdy, and comical. When analysing the Knight’s and the Miller’s tale, one can realise how Chaucer mocks the courtly love convention, and other social codes of behaviour typical of the medieval times.
Mandell, Jerome. Geoffrey Chaucer : building the fragments of the Canterbury tales. N.J. : Fairleigh Dickinson University Press, 1992.
In medieval England, society’s roles were dominated by men and women were either kept at home or doing labor work. Among the most famous medieval English literature, “The Canterbury Tales” by Geoffrey Chaucer, lies ‘The Wife of Bath's Prologue’ and ‘The Wife of Bath's Tale.’ Within, Chaucer shares his perspective of the Wife of Bath, the Queen, and the Crone. Through the use of symbolism and diction, Chaucer aims to change society’s expectations of women.
An interesting aspect of the famous literary work, "The Canterbury Tales," is the contrast of realistic and exaggerated qualities that Chaucer entitles to each of his characters. When viewed more closely, one can determine whether each of the characters is convincing or questionable based on their personalities. This essay will analyze the characteristics and personalities of the Knight, Squire, Monk, Plowman, Miller, and Parson of Chaucer's tale.
Chaucer used controversies to create character. He wanted his characters to teach the readers something new about life. The Wife of Bath and the Pardoner demonstrate Chaucer’s way of creating characters based on the sexuality of the medieval period.