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

Clopper, Lawrence M. "Langland's Franciscanism." 25 (1990): 54-75.
Though Piers Plowman is admitedly anticlerical, it also participates in the Franciscan debate about the definition of poverty and the propriety of learning for Franciscans. The differences between the two treatments of the clergy revolve around begging. Mendicants begged for a living because they were poor. Unfortunately, because of Langland's portrayal of friars, readers tend to look at all of the Dreamer's meetings with friars as negative, though the friars whom the Wanderer meets on his way to Dowel tell him the truth, and the friars at the beginning of the Vita try to convince Wanderer to lead a moral life. The confrontation between the Wanderer and the friars is designed to show the contrast between his condition and the poverty he applauds as Rechelessness attempts to do. In the end, Will must answer whether he took charity for his needs or merely to become richer. Though Nede's second appearance creates a problem, the moment can be viewed as an allegory of the relationship between the Franciscan order and the church. Ultimately, Langland presents a challenge to the Franciscans to abide by their rule and so to "usher the Church into its last age" (70).

Davlin, Sister Mary Clemente, O. P. "Petrus, id est, Christus: Piers the Plowman as 'The Whole Christ.'" 6 (1972): 280-92.
Piers Plowman represents the idea that "Church-Christian-man-God" are one in Christ (282). Passus XVI and XVIII depict man becoming God and God becoming man. In Passus XVI, Piers uses the second of three props for the tree of charity to preserve the fruit and force the devil out of the garden, representing man's heart. This second prop is called Filius, the Son. Piers's use of the stake shows how man becomes incorporate to Christ. In Passis XVIII, Jesus wears Piers's armor, thus demonstrating the idea that God has become man and allowing readers to perceive the relationships between these different parts. A number of different instances indicate that Jesus and Piers are separate. If Piers is Christ entire while remaining human, then God and human nature are inseparably joined by the incarnation. In Passus XIX, however, Piers becomes St. Peter and later popes. As Piers demonstrates, grace gives each man a "semi-divine quality" (291), which makes each Christian Christ. By shifting Piers's identity, Langland drives the reader to seek Christ as the constant behind Piers's different personifications.

Donner, Morton. "Agent Nouns in Piers Plowman." 21 (1987): 374-82.
In Piers Plowman Langland's use of a proportionally large number of suffixed agent nouns demonstrates a recognition of the importance of the relationship between linguistic forms and content. These nouns assert Langland's conception of the world as working people performing varied tasks, andagent nouns express the evils of society and church corruption particularly well. The nouns also show how each different task has a different place within the church. In addition, agent nouns give life to allegorical figures.

Dwyer, Richard A. "The Appreciation of Handmade Literature." 8 (1974): 221-40.
In creating physical texts, medieval scribes believed themselves capable of filling in textual gaps. Scholars must, therefore, be aware of the scribes' participation as manuscripts were remade. Medieval writers were not concerned with the "final" version of a text, since revisions were made later by scribes. In Piers Plowman, the different versions show scribes who, enthusiastic about older forms, attempted to align Langland's text with those forms and so "fix" the manuscript. Scribal "fine-tuning" to make significant changes in the manuscript is also a problem for those studying the Canterbury Tales and Troilus and Criseyde. The changes made to "Luf es Lyf" by Rolle show how selecting verses from different poems and putting them together can allow the scribe to create his own work. The resulting inconsistencies seem even more the product of a person who is madly in love. Examination of Boethius's Consolation of Philosophy demonstrates how scribes popularized it by lifting sections from model versions and attaching them to newer transcriptions. For example, Jean de Meun's proheme appears in several manuscripts as does William of Conches commentary. Mixed prose versions eventually led to verse translations. Renaud de Louhans questionings of Boethius's rigorous stand eventually led Renaud to replace Fortune with Death, thus making the tale more accessible to those not of aristocratic background.

Newman, Barbara. "The Cattes Tale: A Chaucer Apocryphon." 26 (1992): 411-23.
To the manuscript of the Canterbury Tales found at Barking, someone added the Cattes Tale. The treatment of cats in the Middle Ages varied. Cats were the only pets allowed in nunneries, and the animals also appear for allegorical purposes in Piers Plowman and other medieval works.

Phillips, Helen. "Structure and Consolation in the Book of the Duchess." 16 (1981): 107-18.
Readers' interpretations of the consolation in the Book of the Duchess rest on how they read the other parts of the poem. To readers, the work presents four parallel structures in the man in black's tale, Alcyone's story, the narrator's own situation, and the hunt. Many medieval works, both of art and literature, employ form to add to meaning. The Second Shepherd's Play, Pearl, and Piers Plowman use such typological imagery. Three of the four instances of parallelism in the Book of the Duchess end with the loss of a beloved object, but the man in black's tale seems to extend into the consolation. The reference to "Octavian" (368) probably denotes the story of Octavian and Sibyl. Careful analysis of this story may suggest an additional parallel to other situations in the poem. Finally, the Book of the Duchess demands that humans come to terms with mortality, but that mortality does not invalidate love.

Smith, Macklin. "Sith and Syn in Chaucer's Troilus." 26 (1992): 266-82.
Though the forms for "since" do not generally alter readings of lines in which they occur, awareness of "syn," used less frequently than "sith" or "sithen" shifts readers' perceptions of the lines in which "syn" appears because "syn" implies some kind of moral judgment. Chaucer uses "syn" in Troilus and Criseyde more often than most writers, and comparison of Sir Gawain and the Green Knight to works like Cursor mundi and Piers Plowman and to writers like Robert Manning of Brunne and Hoccleve shows that scribes were indifferent to the form they used. Chaucer is then responsible for the increased use of "syn" in Troilus and Criseyde, suggesting that he intended to use the pun and to create ambiguity and double meanings. Chaucer uses the same pun in the "Legend of Phyllis," the Miller's and Man of Law's Tales, and the Wife of Bath's Prologue and tale. In Troilus and Criseyde, however, this pun is more frequent, and Chaucer employs it to create double reality and Christian irony.

Stevens, Martin. "The Theatre of the World: A Study in Medieval Dramatic Form." 7 (1973): 234-49.
For medieval drama, the theatrical space could contain the entire cosmos, show interaction between humans and supernatural figures, and depict all of salvation history. Medieval drama tended to stage a contest between cosmic powers of good and evil over human souls. Since good always won, evil characters were never protagonists. Generally, medieval plays had similar structures: the action was either a conversion or a martyrdom. Thus, all stages used similar layouts, which could serve corpus christi, saint, and morality plays. Such a staging may have been similar to Langland's landscape in Piers Plowman, with a tower for heaven, a dungeon (valley) for hell, and a field in the middle for earth. Since the play progresses as characters move from place to place, the journey becomes the focus of medieval plays. The audience is thus drawn into the play, and the off-stage area ceases to exist. Time is linear, so each play or part of the action is essential to the next, though similar patterns of action recur. These elements comprise "native tradition."