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

Andrew, Malcom. "Context and Judgment in the General Prologue." 23 (1989): 316-37.
The study of the Canterbury Tales has gone in some unsatisfactory directions because critics have "assumed a context in order to establish an interpretation" (317). Many scholars have attempted to focus on finding answers to detailed questions, such as the identity of the Tabard. This activity primarily creates a context for a particular interpretation, but often contexts so made are difficult to limit. Chaucer scholars often attempt to define a moral purpose for the Canterbury Tales, an activity that also leads to limiting the text. Though such kinds of interpretation have led to a greater understanding of the text, they have limited the text unnecessarily.

Brosnahan, Leger. "The Authenticity of And Preestes Thre." 16 (1982): 293-310.
The half-line "and preestes thre" (24) in the General Prologue has caused a number of scholars to advance various explanations which will reduce the 31 pilgrims to the stated 29. Careful examination of the pattern of portraits in the General Prologue suggests that the Second Nun's portrait was interrupted and the rest of the line filled with the phrase "and preestes thre." Removing this half-line on the basis that it is a scribal filler simplifies the Prioress's entourage, reduces the number of pilgrims, and better conforms to the pattern of the other portraits in the General Prologue.

Daley, A. Stuart. "Chaucer's 'Droughte of March' in Medieval Farm Lore." 4 (1970): 171-79.
Though many critics do not believe that England experienced drought in March, people in many regions of England tell of a drought in March. Examination of history and tradition provides different views of such weather. Because March was dry, medieval farmers planned spring planting, especially of oats, around it. March represents a specific period of the agricultural year, and Chaucer's reference to it underscores the sense of a "dry spell." For Chaucer's society, spring suggested God's divine order and covenant with humans. Thus the reference to March drought in the opening lines of the General Prologue places the Canterbury Tales at a specific point in the agricultural year.

Eberle, Patricia J. "Commercial Language and the Commercial Outlook in the General Prologue." 18 (1983): 161-74.
The references to money in the Canterbury Tales show Chaucer's assumptions of a financially sophisticated audience aware of venal satire. In the courtly love tradition, money was spoken of only as a reward or gift, and commercial activities were ignored. The fabliau maintains this distinction, since characters focus on spending and earning. The General Prologue, however, assumes characteristics of both romance and fabliau, thus implying that Chaucer wrote for an audience that would appreciate both traditions. The Host points out that time is money and that poetry is idleness. The pilgrims treat each other in such a way as to suggest that professions, and therefore money, are closely linked to who people are.

Fehrenbacher, Richard W. "'A yeerd enclosed al aboute': Literature and History in the Nun's Priest's Tale." 29 (1994): 134-48.
The reference to Jack Straw suggests the tenuousness of the separation between literature and history. A conversation between the literary and the historical can be traced throughout the poem, in that from the General Prologue to the Man of Law's Tale Chaucer engages issues of social conflict. From the Wife of Bath's Prologue to the Pardoner's Tale he considers the historical position of the pilgrims and the social position and power each thereby embodies. In the last section he presents Christianity as the shaping force of society. Analysis of the Nun's Priest's Tale reveals a movement away from history and then shows how writing cannot be separated from history, ultimately denying the ahistoricity of literature.

Hanson, Thomas B. "Chaucer's Physician as Storyteller and Moralizer." 7 (1972): 132-39.
The Physician's Tale demonstrates that Chaucer's description of him in the General Prologue is accurate: the Physician knows little about the Bible. In the tale, plot and moralization compete for readers' attention. The Physician opens his tale by showing Virginia to be a paragon of virtue. The Physician continues, adding a great deal of Christian material to his source. The epilogue, however, passes over Virginia, making her more a victim of extremes than a martyr. By suggesting that the spirit of the law is more to be followed than the letter, the Physician's Tale joins the Franklin's Tale and the Pardoner's Tale.

Hirsh, John C. "General Prologue 526: 'A Spiced Conscience." 28 (1994): 414-17.
Chaucer uses the phrase "spiced conscience" (526) to describe the Parson in the General Prologue. The Wife of Bath turns the phrase upside down in her Prologue when she uses the same phrase to describe her husbands (435). The phrase indicates a soul easily excited to a fever pitch.

Martindale, Wight, Jr. "Chaucer's Merchants: A Trade-Based Speculation on Their Activities." 26 (1992): 309-16.
Most scholars read Chaucer's merchants negatively. The merchants do not, however, participate in any activities outside the realm of business dealings traditional for medieval merchants. In the Shipman's Tale the merchant of St. Denis most likely traded in cloth, and though complicated, his business transactions are not illegal. He would probably have been a client of a merchant like the one portrayed in the General Prologue who probably traded in foreign currency or operated a lending bank.

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).

Moorman, Charles. "The Prioress as Pearly Queen." 13 (1978): 25-33.
In the General Prologue, Chaucer contrasts appearance with reality in the portrait of the Prioress. The Prioress seeks to impress the other pilgrims with upper-class manners, but her middle class, Cockney origins cannot be completely hidden. Chaucer tells his audience that the Prioress is from a particular part of London, so she spoke a London dialect influenced by Kentish and Southeastern dialects. She may have spoken French with a Flemish accent, following Lady Elizabeth, a nun in the Stratford convent. Finally by telling a miracle of the Virgin, the Prioress emphasizes her bourgeois background, since that segment of society favored such tales.

Pigg, Daniel F. "Refiguring Martyrdom: Chaucer's Prioress and Her Tale." 29 (1994): 65-73.
The Prioress must be read outside the context of her portrait in the General Prologue since the General Prologue was written after the Prioress's Tale. Also, in her tale the Prioress uses a different definition of martyrdom. The early Church thought of martyrdom in two ways, the physical death and the preservation of virginity which was often associated with taking monastic vows. Invoking the Virgin, the Prioress authorizes the tale she tells by denying that it is her own. In the tale, the Prioress refigures martyrdom several ways. She refers to the Feast of the Holy Innocents, emphasizes the virginity of the little boy, and reminds the pilgrims of Hugh of Lincoln's martyrdom.

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.

Taylor, Paul B. "The Alchemy of Spring in Chaucer's General Prologue." 17 (1982): 1-4.
The reference to Zephirus at the opening of the General Prologue alludes to the tradition of Zephirus as a life-giver.

Turner, Frederick. "A Structuralist Analysis of the Knight's Tale." 8 (1974): 279-98.
The myth on which the Knight's Tale is based contains all the experiences of its culture, leaving no place for questions. Thus, the tale is structured around a number of different oppositions which can be examined in light of the disputatio tradition in medieval logic: Mars to Venus, male to female, and youth to age. The structure of the tale is also apparent in triads: one god and two goddesses, one woman and two suitors, two supplicants and one judge, and the colors associated with Venus (white), Mars (red), and Saturn (black). Each of these triangular structures invokes the hierarchy of medieval society. Finally, readers may examine the tale in light of quadratic structures. There are four primary characters associated with four colors (white, red, gold, and green), four seasons, four elements, and four humours. In addition, the two suitors are connected to two supernatural figures. Readers recognize the encompassing nature of the myth in the circular plot which coordinates a wedding and a funeral at the beginning and at the end. In addition, the circle of the list imitates the structure of the tale. As the tale is organized on kinship lines, readers may also consider the tale in terms of sibling relationships and social taboos on sexual practices. The Miller's Tale requites the Knight's Tale by structural variations. In the Miller's Tale, art overpowers myth, making the tale "mock-mythic" (293). The Reeve's Tale seems to participate in similar structural variation, although certain parts of the structure have disappeared. Such analysis suggests that the General Prologue presents the whole poem in miniature.

Weisberg, David. "Telling Stories about Constance: Framing and Narrative Strategy in the Canterbury Tales." 27 (1992): 45-64.
For years, critics have unquestioningly accepted the Canterbury Tales as a group of framed narratives. In order to study any one of the tales itself, readers must determine what is outside the tale and must be excluded, and what is inside the tale and may be included. Such a distinction is not easily made, however, since the frame constantly determines readings of the tales without readers' recognition of its influence. The Man of Law's Tale, for example, creates the voice of its teller. The tale itself functions as a frame for a variety of narratives that define Custance and determine what happens to her. The false tales told about her by those like Donegild appear false because readers perceive them against a background of the "true" story. In both the frame of the General Prologue and the frame of the Man of Law's Tale, narrative acts are also narrative events. Though the frames are not exactly the same, the tales within them function the same way by delaying the progress of the frame narrative. Certainly the frame of the Canterbury Tales must be more closely examined.

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.