The Chaucer Review: An Indexed Bibliography (Vols. 1-30)Return to the Subject List
Andreas, James. "'Newe science' from 'Olde bokes': A Bakhtinian Approach to the Summoner's Tale." 25 (1990): 138-51.
In the Summoner's Tale Chaucer festively inverts tradition so as not to present a perversion of Christianity. Authorities in the Middle Ages approved the romance form for tales, and the fabliau was a comic, carnivalesque inversion of the romance. In Chaucer's use of these forms, laughter is produced by placing the past in the present. The Summoner develops a conflict between a friar and a layman. The Summoner fits the profile of a carnival tale-teller as a parody of his profession who is damned according to tradition. Numerous other associations and details connect the Summoner with carnival tradition. Throughout the Summoner's Tale and the following tales, the attitude of carnival allows the Summoner and other pilgrims such as the Squire to parody Christian traditions.
Berger, Harry, Jr. "The F-Fragment of the Canterbury Tales: Part I." 1 (1966): 88-102.
The Squire's Tale may be about magic, but the Squire tells the tale in such a way that he spends an inordinately large amount of time announcing what he will not include. The material that the Squire chooses to include is often complicated and awkward, but it reveals his interests and how he wants his audience to think of him. Clearly, the Squire desires the noble life of the past as does the Knight, but he gets in the way of his own story. Unfortunately, the Squire is not as skilled a narrator as the Knight. Where the Knight can use disclaimers, occupatio, apologies, and style shifts to control the tale,the Squire's use of the same devices indicates that he has lost control of his story. The Franklin points to the Squire's advantage of birth and urges the Squire to cultivate his natural tendencies of gentillesse into knightly virtues, but he also points out the dangers of the aristocratic idyll. Like the Knight and the Squire, the Franklin also wants to see the renewal of courtly ideals, but he realizes that one must be detached from them to see their weaknesses and correct them.
Berger, Harry, Jr. "The F-Fragment of the Canterbury Tales: Part II." 1 (1967): 135-56.
The Franklin's Tale is highly symbolic. Unlike the Squire, the Franklin has the ability to control his tale: rhetorical devices do not get in the way. The tale presents the dangers of recreation, while at the same time, it is a recreation. The Franklin aligns himself with the forces of common sense as opposed to those of courtly love. He spends a good deal of time on magic, and in the process "magic, courtly love, [and] fiction are given qualified approval as amusements for the social hour" (148). The Franklin's digressions demonstrate his view of life--that the future is not a decline from youth, but full of promise--and they follow the Franklin's pattern of "withdrawal and return, play and work" (151). The conclusion of the tale attempts to examine the application of old knightly ideals to a new world filled with commerce and clerkly activities.
Clark, John W. "Does the Franklin Interrupt the Squire?" 7 (1972): 160-61.
Internal evidence suggests that Chaucer probably did intend to finish the Squire's Tale.
Cox, Lee Sheridan. "A Question of Order in the Canterbury Tales." 1 (1967): 228-52.
The critical debate regarding the identity of the interrupter in the Man of Law's endlink has been endless. The candidates have been the Wife of Bath, the Shipman, the Squire, and the Summoner. The argument for the Shipman rests on the assumption that his tale was first assigned to the Wife, but later transferred to the Shipman when she was given another tale. Differences in manuscripts complicate the problem, but one can show that the Man of Law-Shipman theory rests on the best and generally most authoritative manuscripts.
Duncan, Charles F. "'Straw for youre gentilesse': The Gentle Franklin's Interruption of the Squire." 5 (1970): 161-64.
The Franklin's interruption of the Squire releases the Knight and the Host from an embarassing situation. The Host cannot stop the Squire without presuming a social position he does not possess, and the Knight cannot halt the Squire without embarassing them both. The Franklin's age and social position allow him to suspend the Squire's story without offending his social betters.
Kahrl, Stanley J. "Chaucer's Squire's Tale and the Decline of Chivalry." 7 (1973): 194-209.
The magical elements in the Squire's Tale have no sources because the Squire wants to create an effect, not a congruous story which suggests a movement towards the exotic and disorderly in late medieval courts. The Squire chooses an unusual setting in order to surpass Arthurian romances. Like the Knight, the Squire uses occupatio, but his comes off as a proud demonstration of his rhetorical knowledge. The Franklin deliberately interrupts the Squire to save him from embarrassing himself and to avoid any futher misconstructions of eloquence and gentillesse. The Squire's inability to tell his tale and to present an accurate representation of chivalric virtues demonstrates the decline of chivalry from an ideal code of behavior to a game.
McCall, John P. "The Squire in Wonderland." 1 (1966): 103-09.
The biggest problem of the Squire's Tale is that it leaves the audience in suspense. In the tale, the courtiers disagree about the nature of four magical objects, but strangely enough, the Squire-narrator distances himself entirely from the debate between Fancy and Reality. In fact, all the action of the story is built around non-meaning. The actions of Canacee seem strangely causeless. Furthermore, the falcon's tale seems to lead nowhere. The Squire, then, is exactly as Chaucer described him in the General Prologue: he has mental knowledge of many things, but he is at a loss when he must display his knowledge practically. Finally, however, the reader realizes that this tale is a Chaucerian masterpiece. Chaucer knows his craft so well that he can twist it to any purpose. The final result is "delicate humor" (109).
Pearcy, Roy J. "Chaucer's Franklin and the Literary Vavasour." 8 (1973): 33-59.
In medieval society, vavasours as a class exist between the aristocracy and the serfs. From this position, a vavasour can offer advice to the more ambitious and hospitality to knights, particularly since the vavasour, as a landholder, is stationary as compared to knights who travel a great deal. The Franklin has many of the stock qualities of the vavasour. Romances typically draw knights and vavasours into conflict in order to explore their different lifestyles and devotion to different ideals through "debate." As the feudal system declined, however, disorder occurred in class relationships. As Gautier le Leu's Le Sot Chevalier shows, however, the relationship between knight and vavasour can collapse. The lay and fabliau may use the meeting between knight and vavasour as the context for the whole work as in Le Vair Palefroi and Le Chevalier a la Robe Vermeille. The fabliau vavasour is stubbornly practical, and thus becomes the object of satire as part of an attempt to restore social order. The Squire and the Franklin seem to show the separation between knight and vavasour. The Franklin chooses to tell a lay in order to confirm his position as part of the Squire's class, but the Franklin is unable to escape his practical, rational approach to life. The final result is that the Franklin seems to look nostalgically at the passing chivalric world.
Peterson, Joyce E. "The Finished Fragment: A Reassessment of the Squire's Tale." 5 (1970): 62-74.
Chaucer intentionally made the Squire's Tale a fragment. Examining it in terms of the larger structure of the Canterbury Tales, the narrator's point of view, and the action of tale demonstrate its completeness. Sir Thopas and the Monk's Tale show that intentional fragments result when the listeners or readers become frustrated. The Franklin halts the Squire by pretending his tale is done, showing the Franklin's sensitivity to social rank. The Squire's Tale thus becomes a "thematic link" to the Franklin's Tale. Instead of demonstrating how he is not like Damyan (Merchant's Tale), he shows the weakness of his own morality as it is based on the difference between "vulgarity and elegance, not cupiditas and caritas" (70). The Squire's Tale depicts the carnality of courtly tradition (gentillesse) and the unnaturalness of a caste system. Since the Squire has demonstrated all of this before the Franklin interrupts him, the Franklin can be said to have stopped him at the point where the action ends.
Sharon-Zisser, Shirley. "The Squire's Tale and the Limits of Non-Mimetic Fiction." 26 (1992): 377-94.
The Squire's Tale is about the tension and limits of multiple ways of reading. The tale alternates between the poles of fantastic and metafictional narrative. The opening of the tale, the magical setting, and the way in which the knight creates an interruption and so disolves "the limits by which the recipients' society (and . . . the depicted society) defines and so orders its concept of 'reality'" (379) focus attention on the fantastic. The knight's language, strange to Cambyuskan's court, emphasizes his position as other. The gifts the knight brings force readers to read metafiction. Also, the narrator uses occupatio and diminutio to shift attention to the language and manner in which the tale is told. Both the metafictional and the fantastic ways of reading use the tension between "an ideal and a subversion of norms" (386), and both insist that readers use one particular method to the exclusion of the other. The Squire, in telling his tale, smudges the boundaries between literal and imaginative language. Ultimately the Squire's Tale forces readers to admit the boundaries of fiction.
Spencer, William. "Are Chaucer's Pilgrims Keyed to the Zodiac?" 4 (1970): 147-70.
The sequence of the pilgrims in the General Prologue suggests that they are keyed to the zodiac. Readers can view each pilgrim in terms of the influence of the planets and the stars. Among the pilgrims whom a knowledge of the medieval science of the zodiac helps to illuminate are the Knight, the Squire, the Yeoman, the Prioress, the Monk, the Friar, the Merchant, the Clerk, the Man of Law, the Franklin, the Cook, the Shipman, the Physician, the Wife of Bath, the Parson, the Miller, the Manciple, the Reeve, the Summoner, and the Pardoner.
Storm, Melvin. "Chaucer's Franklin and Distraint of Knighthood." 19 (1984): 162-68.
In his prologue, the Franklin states his desire for his son to be more like the Squire. In fact, the Franklin's wishes this more than "twenty pound worth lond" (682). This remark refers to the process of distraint by which a king could raise an army, knighting all those who held land producing twenty pounds of profit per year. In this light, the Franklin's comments indicate that he values gentillesse more than the monetary possessions required for him or his son to be knighted.