By Ruth Morse, Barry Windeatt
Chaucer was once perceived because the father of English poetry, and his works gave upward push to a variety of traditions of either artistic reaction and significant statement, to next 'Chaucerian' authors and to a physique of remark approximately his writings. This publication is the 1st to explain Chaucer's literary impression throughout a variety of writers and sessions. It takes as its subject matter the diversity of responses to Chaucer or 'Chaucer Traditions', and addresses subject matters of exact curiosity coming up from the results Chaucer's paintings had on next writers within the 3 centuries major as much as Dryden. each one essay makes a speciality of a definite author or literary culture discussing those within the context of Chaucer's paintings and its impression. the result's a tremendous number of essays in order to be of curiosity to all academics and scholars of Chaucer, in addition to to students of poetry in later sessions.
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Extra info for Chaucer Traditions: Studies in Honour of Derek Brewer
Baker, ed. The Manciple's Tale, Variorum Chaucer, vol. 2, part 10 (Norman, Oklahoma, 1984), 4-11; and Cooper, 'Chaucer and Ovid', p. 79. Cf. the Sloane MS 2593 song, 'Kepe thy tunge, thy tunge, thy tunge' and Pandarus' advice to Troilus: 'That firste vertu is to kepe tonge' (TC, in, 294). A Concordance to John Gower's *Confessio Amantis \ ed. J . D . Pickles a n d J . L . S. Brewer, 1987). Jill Mann, Chaucer and Medieval Estates Satire (Cambridge, 1973), p. 174. See R. Hazleton,yoMraa/ of English and Germanic Philology, 62 (1963), 1-31.
CA, in, 768-9) Again, at the end, My son, be thou non of tho, To jangle the telle tales so. (831-2) Chaucer's harsher version is, characteristically, self-reflexive. For him the essence of the sour little story lies in an English pun: the tell-tale bird is a teller of tales. The most important thing about Chaucer's crow is not (as Ovid has 34 Richard Axton it) its beautiful plumage, but its voice. The crow is Apollo's bird (as white as his traditional sweet-singing swan) and Phebus Apollo is the god of poetry: Now hadde this Phebus in his hous a crowe Which in a cage he fostred many a day, And taughte it speken, as men teche a jay.
Like so many of Gower's Ovidian heroes, he is seen experiencing change, caught in the process of metamorphosis: And Troilus stod with Criseide, Bot evere among, althogh he pleide, Be semblant he was hevy chiered, For Diomede, as him was liered, Cleymeith to be his parconer. (CA, vm, 2531-5) Gower's company of noble wives and lovers is neither strictly a review of the protagonists of tales he has told nor an entirely random list chosen from within the Ovidian canon. It seems, rather, to contain recollections of stories which formed part of the common enterprise with Chaucer.