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

Bloomfield, Morton W. "Personification-Metaphors." 14 (1980): 287-97.
Some images function like personifications but are veiled, and these are personification-metaphors. True personifications continue for an extended period in the text, while a personification-metaphor may only encompass one or two lines. Unlike Shakespeare and Milton, Chaucer did not use personification-metaphors often. The appendix provides a list of additional personification-metaphors in Keats.

Bornstein, Diane. "Chaucer's Tale of Melibee as an Example of the Style Clergial." 12 (1978): 236-54.
In order to develop a uniquely English prose style, translators during Chaucer's time followed methods popular in France such as the style clergial or the style curial (237), since an English poetry had developed by following, then diverging from, continental models. Examination of the text (as indicated in a table following the article) shows that Chaucer deviated from the French Livre de Melibee et Prudence, deliberately adding phrases and making other changes in order to develop a chancery style.

Cooper, Helen. "Chaucer and Joyce." 21 (1986): 142-54.
Chaucer's Canterbury Tales and James Joyce's Ulysses share a focus on naturalism, a recognition on the author's part that language is highly metaphorical, and the use of revered past works. Both works are structured in naturalistic terms and attempt to show the spectrum of their societies. Joyce and Chaucer use a wide variety of styles, demonstrating authorial virtuosity. Each author also includes a section in which he parodies accepted forms. Chaucer does not expect his readers to know his narrative sources, as Joyce expects readers to know Ulysses. Both authors do expect their readers to recognize their allusions.

Dahlberg, Charles. "The Narrator's Frame for Troilus." 15 (1980): 85-100.
Reading with an eye for dissimilarity may illuminate the first sentence of Troilus and Criseyde. Chaucer alters the classical form of the opening sentence to reflect more clearly the minstrel tradition. The invocation to the Muse shows the principle of contrast as does the end, which carefully alternates between Chaucer's and Boccaccio's ideas. The style follows an equally contrasting pattern, alternating between high and low styles.

Guthrie, Steven R. "Prosody and the Study of Chaucer: A Generative Reply to Halle-Keyser." 23 (1988): 30-49.
Chaucer wrote Troilus and Criseyde and other poems in a Romance iambic pentameter with strong French overtones, as opposed to Shakespeare who wrote in a Renaissance iambic pentameter. Chaucer's rhythms depend on his ability to put weak stresses where strong stresses should be and vice versa. Careful comparision of Chaucer to Shakespeare reveals that the two writers use significantly different variations of iambic pentameter. Examination of Machaut's lines reveals, however, a number of similarities to Chaucer.

Stugrin, Michael. "Ricardian Poetics and Late Medieval Cultural Pluriformity: The Significance of Pathos in the Canterbury Tales." 15 (1980): 155-67.
Examination of Chaucer's pathetic voice in the Clerk's, Physician's, Prioress's, Man of Law's, and Monk's Tales, as well as in parts of Troilus and Criseyde, the Legend of Good Women, and the Knight's Tale, shows Chaucer's place among Ricardian writers. Because the pathetic tales do not fit easily into the mold of their original morals, reading them becomes difficult. These tales are part of the Canterbury Tales as a whole, which suggests a plurality of thoughts and ideas.

Winstead, Karen A. "The Beryn-Writer as a Reader of Chaucer." 22 (1988): 225-33.
The Tale of Beryn attempts to continue the Canterbury Tales. The writer is able to imitate Chaucer's humor, style, irony, and narrative techniques, though he has a different idea of the function of the frame. The writer treats readers similarly to Chaucer, creating anticipations of a romance and a heroic past, but then taking apart those expectations. The Tale of Beryn is connected to the prologue and framing device in the same way that the Chaucer's tales are connected to the General Prologue and to one another, and both works require similar activities on the part of the audience. Examination of the Tale of Beryn suggests that fifteenth-century writers appreciated these aspects of Chaucer's artistry.