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

Boffey, Julia. "The Reputation and Circulation of Chaucer's Lyrics in the Fifteenth Century." 28 (1993): 23-40.
Though the impact of Chaucer's lyrics on fifteenth-century writers is difficult to determine, his influence can be traced in three different ways: "general situations" and "rhetorical strategies" (28), rhyme royal and ballad stanza forms, and rhymes. Examinations of sample texts illustrate imitations in each of the three ways. That other writers imitate Chaucer so much suggests that Chaucer's short poems circulated in some form. Among the poems in which passages which specific passages can be found illustrating that other writers borrowed passages and methods from Chaucer's works are Hoccleve's Mother of God and Balade to Sir Henry Somer, Lydgate's Temple of Glass, the Complaint of the Black Knight, the Troy Book, A Pageant of Knowledge, Thoroughfare of Woe, the Fall of Princes, and the Flower of Courtesy. In addition, the translator of Partonope de Blois, and the writer of the Kingis Quair also use some of chaucer's methods and lift certain passages. Unfortunately, however, because the original poems were never bound and scribes had difficulties copying them, there are a number of textual problems which make the influence of Chaucer's works difficult to trace.

Campbell, Thomas P. "Machaut and Chaucer: Ars Nova and the Art of Narrative." 24 (1990): 275-89.
Chaucer's narratives borrow both from Machaut's poetry and his music. The dissonance of conflicting solutions to an enigma, the simultaneity of events, and the nested perspectives found in poems like the Parliament of Fowls and the Knight's, Nun's Priest's, Merchant's, and Reeve's Tales can all be traced to medieval music. Examination of Machaut's ballad "Je Puis Trop Bien" demonstrates corresponding qualities of medieval music, especially the ballad form. Cursory examination of this ballad shows that contrast between music and the poetry joined to it was the mode. Scrutiny of the Miller's Tale shows that it uses all the musical techniques found in Machaut's ballad to maintain its unity.

Phillips, Helen. "Literary Allusion in Chaucer's Ballade, 'Hyd, Absalon, thy gilte tresses clere.'" 30 (1995): 134-49.
In the prologue to the Legend of Good Women Chaucer borrows from Thomas Paien's ballad "Ne quier veoir la biauté d'Absalon" and Froissart's "Ne quier veoir Medee ne Jason." Like these writers, Chaucer also inserts a catalogue of classical and biblical women, each associated with different virtues. To create this list Chaucer steals from a number of different writers, including Ovid, Guido delle Colonne, Machaut, Froissart, the twelfth-century Piramus et Thisbé, Dante, and Vincent de Beauvais. Such examination tells scholars much about Chaucer's reading habits and the care with which he designed the opening ballade.