Chaucer's Rehersynges: The Performability of the Legend of Good WomenCatholic University of America Press, 1994 - 253 من الصفحات Suggests that the problems scholars have with Chaucer's nine legends of good women vanish if Chaucer is assumed to have written them as scripts to be performed as well as a text to be disseminated in manuscript. Otherwise the work is virtually ignored as a flat, incomplete endeavor between two really good books. Examines the two prologues and each legend in turn, showing how the phrasing and choice of words would have been received as humorous by an audience. Annotation copyright by Book News, Inc., Portland, OR |
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actually Aegyptus Aeneas Aeneas's Alceste Alceste's Ariadne Ariadne's attributed audience's balade Cecilia Chau Chaucer Review Chaucer's audience Chaucer's Legend Chaucer's rehersynge Chaucerian Cleopatra comic context court critical Cupid's daisy Demophon Dido Dido's English explicitly F Prologue F-version fictional fictive Geoffrey Chaucer Gower hath Heroides herte hire House of Fame Hypermnestra intended interpretation irony Jason Kiser Knight's tale lady lines Love Love's lovers Lucrece Lucrece's Medea medieval Modern Language myghte narrative narrator oral delivery Ovid Ovid's performance Phaedra Philomela Phyllis Phyllis's Physician's tale poet present Prologue's pronuntiatio Pyramus Pyramus and Thisbe Queen readers recitation rehearsal rhetorical rhyme ryght script seyde shal Shaner and Edwards significance simply sincere sounds story suggests swich Tarquin Tereus text's Theseus Theseus's Thisbe Thisbe's thow thyng tonal tone translation trewe Troilus and Criseyde tyme versions Virgil voice whan Women