By Caroline D. Eckhardt
the final Prologue to Chaucer's Canterbury stories is among the so much enduring works of English literature. liked by way of students, lecturers, scholars, and basic readers, it's been given a very good many various interpretations. This annotated, overseas bibliography of twentieth-century feedback at the Prologue is an important reference consultant. It comprises books, magazine articles, and dissertations, and a descriptive record of twentieth-century variants; it's the so much entire stock of recent feedback at the Prologue. The vast annotations offer uniquely handy entry to many courses which are in a different way tricky to obtain.
In her advent, Caroline Eckhardt offers a cautious and finished assessment of recent developments in feedback, developments that are traced in the course of the bibliography. at first of the century, for instance, Chaucer's Prologue used to be usually defined as a 'portrait gallery' and praised for its realism - social, mental, and dramatic. Later within the century got here emphases on irony, rhetoric, Freudian interpretations, tricky allegories, and stylistic complexities. at the moment, the Prologue is frequently interpreted as a procedure of indicators and emblems during which realism, if it exists in any respect, serves reasons past itself. The smiling and serene poet of the sooner interval has been changed through a self-conscious ironist, occasionally with a break up character. The portrait gallery of the start of the century continues to be there, although the spectator who walks alongside it has a tendency to work out anything much less mounted textually (the Prologue is now quite often mentioned as work-in-progress) and extra advanced structurally, generically, and thematically. it's the spectator, after all, who has changed.
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Additional info for Chaucer’s General Prologue to the Canterbury Tales: An Annotated Bibliography 1900-1982
Sample text
53 Canterbury Tales by Geoffrey Chaucer. Ed. Robert D. French. New York: Appleton-Century-Crofts, 1948. Rpt 1964. Crofts Classics Series. A school edition: after a brief general introduction, the text (based on the Ellesmere mss) is presented and followed by a glossary. 54 Chaucer's Canterbury Tales (Selected): An Interlinear Translation. Ed. Vincent F. Hopper. Great Neck, NY: Barren's Educational Series, 1948. Rpt 18 times by 1962. A school edition: after a short general introduction, the text — along with an interlinear translation — is presented.
To my knowledge all of the manuscripts agree upon the order of the portraits; Chaucer's intentions on that matter were presumably consistent and clear. The major groupings or sections of GP were pointed out long ago, and recent work (such as that of Howard, 287) has refined those groupings, but puzzles remain. Why exactly do the Guildsmen follow the Franklin? Why are certain adjoining portraits linked by sharing a couplet-rhyme, others not? The Knight, who is given the first portrait in GP, tells the first tale, as the close of GP itself specifies, but after that point there is no obvious correlation between the sequence of the portraits in GP and either of the two sequences of tales that most modern editors accept.
J by Albert C. Baugh, 'Fifty Years of Chaucer Scholarship,' Spec, 26 (1951), 661: 'It is hard to overpraise this monumental edition. Not only has it given us the best text of Chaucer that we have, but the careful digest of Chaucer scholarship in the notes and commentary, and the very full record of the scholarly literature ... j by Richard L. Hoffman, 'The Canterbury Tales,' in Critical Approaches to Six Major English Works, ed. Robert M. Lumiansky and Herschel Baker (Philadelphia: University of Pennsylvania Press, 1968; London: Oxford University Press, 1968), pp 41-80: the second edition is 'the most valuable single volume which any student of Chaucer can own' since its text 'is the most accurate complete version available, superseding even the very estimable editions of Skeat and Pollard' (p 42).
