The canterbury tales

In this study, the works of Şeyhoğlu Sadrüddin and Chaucer, both of whom lived in the second half of the fourteenth century will be compared in terms of form, genre, and subject in general, in particular one of the frame stories in Destûr-ı Şâhî which is a Turkish translation from Persian language by Sadrüddin and one frame story from Canterbury Tales of Chaucer, who is regarded as one of the most important authors in English literature. will be examined in terms of plot and handling of similar subjects. Before entering the main subject of the study, firstly the general definitions and methods of comparative literature will be mentioned and the position of the comparison we are trying to make in terms of comparative literature studies will be determined. Later, the case of both national literature during the period of Şeyhoğlu Sadrüddin and Geoffrey Chaucer will be discussed. Then, the works of Destûr-ı Şâhî and Canterbury Tales will be briefly introduced in terms of genre, content, and form and finally, a frame story in both works will be compared.
ÖZET
Bu çalışmada her ikisi de ondördüncü yüzyılın ikinci yarısında yaşamış olan Şeyhoğlu Sadrüddin ve Chaucer’ın eserleri genel olarak şekil, tür ve konu üzerinden karşılaştırılacak, özelde ise Şeyhoğlu Sadrüddin’in tercüme yoluyla Türk edebiyatına kazandırdığı bir eser olan Destûr-ı Şâhî: Marzubanname Tercümesi’ndeki çerçeve hikayelerden biri ve İngiliz edebiyatının en büyük isimlerinden biri olarak kabul edilen Geoffrey Chaucer’ın Canterbury Tales adlı eserinde yer alan çerçeve bir hikaye olay örgüsü ve konunun ele alınışı bakımından incelenecektir. Çalışmanın asıl konusuna girmeden, öncelikle karşılaştırmalı edebiyatın genel tanımlarından ve yöntemlerinden bahsedilecek ve burada yapmaya çalıştığımız karşılaştırmanın karşılaştırmalı edebiyat çalışmaları açısından konumu belirlenecektir. Daha sonra Şeyhoğlu Sadrüddin ve Geoffrey Chaucer’ın yaşadıkları dönemdeki her iki ulusal edebiyatın durumundan bahsedilecektir. Ardından Destûr-ı Şâhî: Marzubanname Tercümesi ve Canterbury Tales eserleri kısaca tür, içerik ve şekil yönleriyle tanıtılacak ve son olarak her iki eserdeki birer çerçeve hikaye karşılaştırılacaktır.

Review of "A Canterbury Tale," directed by Michael Powell and Emeric Pressburger, starring John Sweet, Eric Portman, and Sheila Sim, 1944.  The Criterion Collection DVD includes scenes added for the 1949 U.S. release, adding Kim Hunter to the cast.  This is the engaging story of an American GI on leave in England during the Second World War. Missing a train, he must spend some time in a village near Canterbury in Kent.

This essay will analyse the presence of Elements of the Carnival —such as the Grotesque, Church Criticism and Laughter— in Geoffrey Chaucer's "The Canterbury Tales" through concepts of the Carnivalesque developed by Mikhail Bakhtin in "Rabelais and His World" and by Lillian Bisson in "Chaucer and the Late Medieval World".

The genre of courtly love demands that one lover be a lesson, rather than an autonomous being, and thus is the ideal canopy under which to explore the yielding of power in The Canterbury Tales. Chaucer uses the romantic trope of women being transcendent entities rather than self-actualizing people to provide two views of passivity grounded in the Knight and the Clerk, and in doing so explores the relation between external and internal perceptions of social dominance. The portrayals of the two central women in the Knight's Tale and the Clerk's Tale point to key differences in the tellers; the former erases women's agency, the latter gives power where none is seemingly present.

This article offers a new analysis of line 469 in the General Prologue of the Canterbury Tales: ‘Upon an amblere esily she sat’. Rather than considering what the ambler itself might represent, traditional scholarship has rather narrowly focused on the physical detail that the Wife appears to ride her horse astride, instead of side-saddle, as can be identified in the Ellesmere Manuscript portrait. The Wife’s riding style is subsequently viewed critically as evidence of her inherent masculinity which is almost always taken pejoratively. This article eschews these interpretations by specifically linking ‘amblere’ to a 13th century text called the Lai du Trot which morally distinguishes between two approaches to love through the gaits ‘amble’ and ‘trot’.Thus,  by paying close attention to Chaucer’s language and the wider implication of his use of the word ‘amblere’ we can subsequently allow for a more moral consideration of the Wife through the symbol of her horse.

This article describes four textual traditions in which we find this phenomenon,
and reflects on how editors have responded to it. Although it
appears that no previous scholar has isolated the case of manuscripts
with few significant shared introduced variants as a problem, our identification
of this as a cause of editorial difficulty in four unrelated manuscript
traditions (not to mention the exceptional importance of three of
those four) leads us to posit that this phenomenon, though previously
unacknowledged, may be widespread. Indeed, it is likely to be present in
every large manuscript tradition.

{Tiara Desire-Brisard, Trinity College} Most of Chaucer’s works can function as commentaries for social class, religion, and even the politics of his day. His mastery of language and characterization allow him to create complex storylines that are hyper-realistic in both the medieval world and our modern one. Regarding the Knight and the Squire, their familial bond can be seen through the descriptions in their “General Prologue” portraits, and in a more nuanced way, it can be seen within the stylistic elements of their stories. Since the Knight and the Squire are nobility, they are expected to represent chivalry and honor within their language and actions. Yet, while the Knight appears to perfectly emulate this, the Squire falls short and gives into the youthful trends of the day. Even though they hold similar values, the Squire’s lack of maturity, desire to travel, and romantic ideals distance himself from his more traditional father.

Este trabalho, embasado pela teoria da Intertextualidade, apresenta um estudo comparativo de como Chaucer se apropriou da literatura italiana e trouxe uma roupagem ao leitor de sua época e a nós, de forma contemporânea. Como Chaucer estava em missão na Europa, era inevitável o contato com a literatura que florescia na Itália, e ao ler o Decamerão e a Divina comédia, o literato inglês soube trazer, de modo dialógico com a literatura italiana, o universo que se encontrava à sua volta. Como sua contística estava retratando a realidade dominante das classes superiores, como a Igreja e a aristocracia, por meio da sátira, Os contos da Cantuária têm como elemento enriquecedor a metanarrativa, ou seja, os peregrinos concorrem entre si para contar a melhor história, fazendo algumas intervenções, onde o literato e também os italianos propõem uma dialética em questões delicadas como as relações sociais, especificamente de gênero, e outras nem tanto convencionais em relação à mentalidade moralizante da época.

All’interno del Second Nun’s Prologue nei Canterbury Tales di Geoffrey Chaucer, troviamo l’Invocacio ad Mariam, i cui versi 36-74 sono ricchi di allusioni ad altri scritti. In questo articolo investigheremo diversi passaggi tratti da diverse fonti, delle quali il più importante è il Paradiso dantesco. Anche l’influenza degli inni latini deve essere apprezzata, sebbene il parallelismo con Dante possa lasciarla nell’ombra.
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Verses 36-74 of the Invocatio ad Mariam, in the Second Nun’s Prologue of Chaucer’s Canterbury Tales, strongly reference other literary sources. This paper examines the most important textual parallels, particularly the Paradiso written by Dante. A further focus is also the reference to the Latin hymns, although the influence of the Commedia can overshadow their role.