The Chaucer Review: An Indexed Bibliography (Vols. 1-30)

Børch, Marianne. "Poet and Persona: Writing the Reader in Troilus." 30 (1996): 215-28.
In Troilus and Criseyde the narrative voice disappears and reappears throughout the text. But regardless of the different situations throughout the poem, readers experience a single voice and presence that Chaucer establishes by building in a number of carefully selected details. Chaucer places this narrator in a position between the text and the reader so that it is "impossible for the mode of reception to become other than essentially moral" (222). Furthermore, as he does in Troilus and Criseyde Chaucer experiments with the position of author and narrator in the Canterbury Tales, particularly the Clerk's Tale,.

Stephens, John. "The Uses of Personae and the Art of Obliqueness in Some Chaucer Lyrics: Part I." 21 (1987): 360-73.
Even in poems where Chaucer does not write in a persona named "Geoffrey" or in a personified narrator, he distances himself from the speaker. Chaucer indicates this separation in several ways. In "Complaint unto Pity" he creates an ambiguous situation for which he makes a conventional narrator. Such conformity suggests the fictional basis of the narrator. In "Fortune" the speakers are delineated by the debate genre of the poem. Verb tense can also suggest a speaker separate from the poet.

Stephens, John. "The Uses of Personae and the Art of Obliqueness in Some Chaucer Lyrics: Part II." 21 (1987): 459-68.
The speaker of the Envoy to Scogan approaches himself and his hearer humorously; the speaker of "L'Envoy de Chaucer a Bukton" uses aphorisms and relies on readers to notice the speaker's role. The difference between the two speakers appears when readers compare the use of vocatives, rhyme and stress patterns, and postponement techniques. Both poems examine the speaker's thoughts. Each poem develops a different theme. The personas also develop differently, resulting in different relationships to readers.