Chaucer's Canterbury Tales Selected An Interlinear by Vincent F. Hopper

By Vincent F. Hopper

Interlinear translation of chosen Cantrbury stories by way of Chaucer.
Note that it is a 1959 printing of the 1948 variation.

Hopper later elevated the interpretation and an "expanded and revised" version used to be released within the 70s. i'll upload the more moderen version in a couple of months...stay tuned.

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Example text

Free will, she says, is restricted by the things of the world; the more the soul is tied to worldly goods, the more imprisoned and shackled it becomes. This simplified outline of the Consolatio makes evident the extent to which the worldly things that were stripped from the protagonist prior to the text’s narrative are a constant concern in the dialogues between Philosophy and the protagonist. 6 In examining the vestimentary discourses associated with Fortune’s goods in the Consolatio, this chapter means to take up one of the more prominent examples of Boethius’s interest in objects and things within his larger and incomparably influential discussion of material changeability.

The garment achieves this role primarily through its underacknowledged, more “material” features. Like Bill Brown’s exemplary dirty window, which alerts the viewer to the window’s heretofore ignored materiality, the dirty film and visible tears on Philosophy’s robe change the apparent function of the garment, forcing its viewer to see it anew. For Brown, objects that stop functioning in the way they are intended complicate the process of interpretation; FORTUNE’S HABITS 35 such an object stops being a mere object within the larger code of objects by which we live our lives and instead becomes a more complex “thing,” a material object that has the potential to illuminate the complicated, often inscrutable problem of matter and materiality in relation to subjectivity.

46 Early in the text, however, when the protagonist is still burdened by worldly concerns, this lesson is generated through provocative material objects designed to challenge the protagonist’s assumptions regarding material goods and regarding his own material circumstances. Philosophy’s garment, which takes up more than half of her opening description, is the earliest and most prominent example: Uestes erant tenuissimis filis subtili artificio indissolubili materia perfectae, quas, uti post eadem prodente cognoui, suis manibus ipsa texuerat; quarum speciem, ueluti fumosas imagines solet, caligo quaedam neglectae uetustatis obduxerat.

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