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

Kamowski, William. "A Suggestion for Emending the Epilogue of Troilus and Criseyde." 21 (1987): 405-18.
Rearranging the 17 stanzas of the Epilogue to Troilus and Criseyde so that they more closely follow the outline of the preceding story restores the Epilogue to Chaucer's intended order and improves its coherence. No manuscript evidence exists to suggest this new arrangement, but the facts that Chaucer probably inserted the three stanzas depicting Troilus in the Eighth Sphere and that Chaucer never completely revised Troilus and Criseyde lend credence to the rearrangement.

Manning, Stephen. "Troilus, Book V: Invention and the Poem as Process." 18 (1984): 288-302.
Troilus and Criseyde, particularly Book V, reveals a concern with the mutability of poetry and the Narrator's metamorphosis from narrator to poet. Medieval writers thought of poetry in two ways. Like Geoffrey of Vinsauf, some writers thought that creating poetry was like building a house; other writers believed, like Boethius, that Fortune had a significant part in writing. Chaucer follows the Boethian view in Troilus and Criseyde. Inventio includes mimesis and imagination, and Chaucer's narrator employs both. In the Epilogue, the narrator realizes the theme of his story and so gives himself a unified identity as narrator and poet.

Yearwood, Stephenie. "The Rhetoric of Narrative Rendering in Chaucer's Troilus." 12 (1977): 27-37.
In Troilus and Criseyde Chaucer uses several narrative techniques which cause his readers to adopt particular value systems. Chaucer alters the frame in order to control the audience's response to the narrative. Chaucer also splits the narrator's positioning, so at one time the narrator reports events and at others, the readers are unaware of the narrator at all. The split of narrative positioning adds a number of different complexities to the plot. This type of examination also reveals that Chaucer does prepare readers for the epilogue which should not surprise readers with its value system.

Zimbardo, Rose A. "Creator and Created: The Generic Perspective of Chaucer's Troilus and Criseyde." 11 (1977): 283-98.
Troilus and Criseyde expresses Chaucer's concern with the inability of the artist to imitate the unknowable larger cosmos in which the author participates. When humans create ordered worlds, they imitate God, but the human creations are subject to mutability and so will collapse. The poet-narrator is a Pandarus-like figure, detached from experience in order to create a different reality. The epilogue forces readers to recognize that the created will always be more limited than the creator. The tragedy is that humans can never escape from mutability. Chaucer's attempt to see things from God's point of view results in only a partial vision. Inconstant Criseyde is associated with Nature's changes. Pandarus realizes that all the things Troilus thought were immutable do change and that those changes are integral parts of being human. Chaucer uses Troilus to depict the changes occasioned throughout life. The Muses Chaucer introduces at the beginning of some books are also indicative of the movement within the books and within Troilus's romance with Criseyde.