551:
the indicator of the story as a sort of “Ladies
Handbook” based on the stories and characters admirable femininity. In the prologue itself, Chaucer states how its authorship was motivated by his previously ill portrayal of women in his other works. Other critics take this sentiment of penance as the real indicator as to which of the two works is the original as well as the superiorly honest. If this were true, then the original version of the prologue would most likely be the more brutally honest of the two, perhaps the longer less edited version. It has been argued that his continued unfavorable portrayal of his stories purpose in this prologue caused him to edit it down. So, it's largely subjective what the reader will take the story as with these two differing contexts. Was Chaucer simply trying to sanitize his public image or was he really admentally motivated in creating a companion text for women to utilize? And, if so, how did these sentiments motivate the editing process? These are the essential questions that drive the critical conversation.
518:
continues on to say he was once honorable. King Pelias (Jason’s uncle) became worried that Jason would be so well liked so he plotted to send him to his death. King Pelias told him that he wants him to go on a quest to find a treasure. He tells Jason that he will pick the men to go with him and pay for the expedition. Jason being young and courage accepts. He is granted a crew (Hercules is part of his crew) and sails to the island where he meets
Hypsipyle. Hypsipyle sent a man to ask is Jason required any help and he tells the messenger to thank the Queen but they only want favorable winds. Jason meets the Queen at the beach and greets her. She examines him and notes that he must be of nobility. Jason stays at Hypsipyle’s a while waiting on the good wind, during that time Jason woos her. Jason eventually marries Hypsipyle and has children with her. He took all her property and then set sail and left her. She never saw him again. Hypsipyle decided to be faithful to her husband and dies alone and sad.
522:
heard of Jason’s reputation and begins to fall in love with him. She tells him she is worried about him attempting to find the golden fleece. He tells her that he is honoured that she is worried about his safety. She explains to him all the dangerous things he would face. She tells him that she can help save him from some of these dangers but if she does he will become her faithful husband. Jason succeeded and he brought Madea across the sea to his home land. However, Jason does the same thing to Madea that he did to
Hypsipyle. He married her, took her treasures, had children with her and then abandons her.
529:
begins to cry and kiss him. Sextus
Tarquinius looks at Lucretia and begins to examine her features. He desires her so badly that he decides he will make Lucretia his. He sneaks into her room and forces himself upon her. He makes her be submissive by placing his sword at her heart and threatening to kill a stable boy and place him there. Lucretia doesn’t want to soil her good name so she submits to him. After the act, Lucretia calls her husband, ladies, and parents. She explains the horrible act that occurred. She then explains that she doesn’t deserve forgiveness, she then takes a knife and kills herself.
576:
to retell in his own poem. Nicola F. McDonald notes that throughout the narratives, Chaucer makes reference to his predominantly female audience and even questions them in the piece itself. These pagan mythological characters whose stories all include love and betrayal could serve as warnings and cautionary tales to the poem’s female readers. McDonald also speculates that some of the text might serve as “motherly advice” to young women on how they should act and think properly during that time period which would also support the idea that this poem was meant for a female audience.
560:
was he really just pandering to his critics? This rift in criticism and analysis has largely dominated the existing critical spheres and permeated nearly decades of debate surrounding the story. Alternatively, other scholars have attempted to scatologically categorize these arguments and debates into definitive references of the ongoing conversation itself. The most recent additions to the conversation more or less look like this, compendiums of the past critical analysis and prevailing hypothesis with a new theory presented at the conclusion.
1397:
547:
authorship of the story is not known to an exact date, but the existence of these two prologues has helped to determine the specific period in
Chaucer’s career that the story was likely written, it has a practical significance in decoding Chaucer's career. The lack of information surrounding the stories publication and mysterious origins has influenced critics over the years to debate not only which of the two is the original version but also which is the superior one for the story.
584:
Chaucer uses a specifically “amorous” tone in these poems to veil this controversy, while adding in political jargon to these otherwise unpolitical stories to still suggest this underlying topic. Most likely the female audience would have read this story as a satire rather than as an informational story on how they should act, which is how the male audience would have read the poem. So, the women played an important role in interpreting this piece in the way that
Chaucer intended.
500:
38:
496:
she loves him dearly. Aeneas begins to court Dido but eventually he loses interest in Dido. He starts to plan how he will leave her and not return. Dido learns that he is trying to leave and she attempts to stop him from going. Aeneas leaves despite Dido trying to stop him. Dido then calls upon her sister to prepare a funeral arrangement. When Dido sees the funeral arrangement she takes Aeneas’ sword and stabs herself.
475:
sail out and meet
Octavian. Mark Anthony is defeated in battle so to save his reputation he stabs himself. Cleopatra hears of the death of Mark Anthony and mourns his death extensively. She had sworn that whatever happened to him, would happen to her. So she filled a pit next to Mark Anthony’s shrine with poisonous snake and laid herself into a final rest next to him.
482:
Suddenly a lion appears. The lion’s mouth is covered in blood so Thisbe decides to flee. While fleeing, she drops the veil that she was wearing. Pyramus finally arrives at the tree and finds the veil. He assumes the worst and decides to stab himself with his sword. Thisbe soon returns to find her lover dead. She takes the same sword and kills herself.
583:
could be read as both conservative and radical depending on who was reading it. Although this series of poems seems to be about the legends of these women and their difficulties with love, it has a political undertone that points to the controversial topic of individualism. Helen
Phillips writes that
521:
The legend of Medea starts off with Jason arriving at
Colchis and he is looking for a woman to satisfy his lust. Jason goes to the king and requests permission to find the golden fleece. The king grants his request and is so honored that he sits Jason next to his daughter, Madea. Madea had previously
575:
The most clear depiction of the importance of women to this piece would be the ten female characters: Cleopatra, Thisbe, Dido, Hypsipyle, Medea, Lucrece, Ariadne, Philomela, Phyllis and
Hypermnestra. All of these female characters are taken from classical legends and mythology, which Chaucer decides
542:
The story itself has two alternate prologues Chaucer authored for the story. The prevailing theory is that the contemporary criticism of the story following its release motivated Chaucer to sanitize or edit his prologue to be more fitting for the audience at hand. With Queen Anne in power, the topic
517:
The intro of this legend calls Jason out for the way he lies to the two women about how he would die for love. The intro also state how the unfaithful lover will receive more delight than the faithful one. The Legend of Hypsipyle at beginning tells the reader that Jason is the king’s nephew and then
495:
and win her heart. When Aeneas is out hunting with Dido, it begins to storm. They run to seek shelter in a cave. They soon notice that they are alone in the cave. Aeneas confesses his love for Dido. At first, Dido refuses to confess that she loves Aeneas back. However, she finally admits to him that
474:
Mark Anthony leaves his wife (the sister of Octavian) in search for another wife. He finds Cleopatra and falls in love with her. They get married and have a great feast but shortly after the feast Mark Anthony learns that Octavian is still angry and is sailing to meet him. Cleopatra and Mark Anthony
559:
or other Chaucerian tales, and that is rather useless to debate which version is superior since they are largely identical in the first place. Other critics like Goddard, are interested in the person of Chaucer or his individual character. Was he really as good willed as he comes off in his work or
550:
Contemporary English criticism and analysis of these two prologues has traditionally focused on the opening paragraphs of both versions, since the first half of both poems are largely identical. Some critics point to the stories purpose in its shared details between both versions of the prologue as
546:
There is a shorter and a longer of the two, and nobody can definitively assess which is the original and which is the edited. The context of the story, and the subject matters relations to the other works of Chaucer tells us that it was most likely penned sometime in the midpoint of his career. The
528:
When Rome was under siege, Sextus Tarquinius goes to his friend Collatinus’s house. They go into see his wife, Lucretia, who was in her chambers with her hair down (as she was not expecting visitors). She explains how she hopes Collatinus is safe and be home soon. Collatinus shows himself and she
554:
The last essential detail of the debate between both prologues lies in the purpose of an analysis of the two, critically, or practically. Lowes argues that the only real purpose we can get out of both versions of the prologue is to help determine the specific details and supposed authorship of
481:
Thisbe and Pyramus love each other dearly. However, they are not able to be together. They talked through the crack in the wall that separated their dwellings. They planned to meet at a tree later that evening. Thisbe arrives and sits under the tree waiting for Pyramus to show up.
543:
of feminism was very much a hot button issue. Chaucer’s motivation for authoring the work in the first place is understood as a penance of his previous and unflattering depictions of women in his society. This factor could have had a strong influence on Chaucer to edit his original take.
357:
against women although this is not widely agreed with. Another idea is that it is a satire on the idea of taking stories of classical origin and twisting them to give them contemporary moral meanings. This would suggest that the poem is not only an early use of
307:, Richard's mother, is also sometimes considered a model for Alceste. The supposed royal command is one suggested reason for the poem's unfinished state as Chaucer got bored with the task and gave up. Several passages hint at Chaucer's dissatisfaction:
340:
Whether the poem's state is due to Chaucer becoming bored with it is uncertain, but it is not now regarded among his best work, despite being popular when first written. One early fan is Chaucer's own character, the
377:
around 1386/1388. Chaucer seems to have returned to the work a decade later to rewrite the prologue, but the latter text, which survives in only one manuscript, is generally considered inferior to the original.
415:
The poet recounts ten stories of virtuous women in nine sections: Cleopatra, Thisbe, Medea, Phyllis, Hypsipyle, Ariadne, Lucretia, Philomene, Hypermnestra, Dido. The work is similar in structure to the later
210:—depicting women in a poor light. Criseyde is made to seem inconstant in love in that earlier work, and Alceste demands a poem of Chaucer extolling the virtues of women and their good deeds.
1035:
a free translation and retelling, in modern English prose, of Chaucer's narrative poem recounting the lives of many brave and virtuous women in classical history, mythology and legend.
349:. The work is rather inconsistent in tone, with tragedy mixed uncomfortably with comedy, and the legends are all somewhat similar with little of the characterisation which is key to
1482:
572:. Not only do women make up the majority of the characters in the poem, but it is also thought that women form a large part of the audience for this poem as well.
1565:
1595:
1560:
1030:
1060:
102:
74:
55:
1585:
1487:
579:
Because it was controversial during that time period to show individualism, especially for women, Chaucer’s style of writing in
81:
1580:
628:
342:
1570:
17:
88:
1540:
206:
The prologue describes how Chaucer is reprimanded by the god of love and his queen, Alceste, for his works—such as
1590:
1555:
246:. Fifteen and nineteen are also numbers used to describe the work. In the prologue several women are mentioned—
1328:
420:
and like that tale, and many of his other works, seems to be unfinished. Chaucer's sources for the legends include:
121:
70:
1349:
1208:
417:
1053:
59:
1545:
1428:
1335:
1198:
440:
369:
The nature of the poem with its separate legends makes dating it difficult but it is clearly placed between
1575:
1296:
353:. Some scholars have conjectured that the work is deliberately poorly written and the work is actually a
1372:
1128:
937:
McDonald, Nicola F. (2000). "Chaucer's Legend of Good Women, Ladies at Court and the Female Reader1".
708:
McDonald, Nicola F. (2000). "Chaucer's Legend of Good Women, Ladies at Court and the Female Reader1".
95:
1046:
1550:
1342:
1203:
1123:
1247:
1240:
1223:
1163:
235:
48:
1213:
1178:
1168:
1158:
1148:
1138:
1461:
1382:
1377:
1303:
1173:
616:
595:
Chaucer, Gower, and the Vernacular Rising: Poetry and the Problem of the Populace after 1381.
403:
398:
296:
255:
1282:
1218:
1153:
1108:
1103:
1085:
458:
445:
162:
156:
8:
1367:
1268:
1188:
1143:
1133:
1113:
435:
431:
287:
1517:
1498:
1261:
1193:
1118:
997:
954:
916:
889:
862:
790:
754:
725:
689:
668:
647:
190:
1466:
1441:
1254:
832:
826:
624:
334:
171:
1510:
1321:
1098:
1069:
989:
946:
782:
717:
259:
167:
148:
1396:
907:
Lowes, John Livingston (1909). "Is Chaucer's 'Legend of Good Women' a Travesty?".
745:
Lowes, John Livingston (1909). "Is Chaucer's 'Legend of Good Women' a Travesty?".
337:
common in Chaucer of bringing up a subject merely to say you will not mention it.
1446:
1436:
1275:
604:, edited by Larry D. Benson et al., Houghton Mifflin Co., 1987, pp. 587–630.
292:
275:
1504:
1451:
1418:
359:
186:
1534:
1492:
836:
300:
278:
of Alceste mentioned in the prologue might suggest an unfulfilled structure.
980:
Phillips, Helen (2002). "Register, Politics, and the Legend of Good Women".
773:
Phillips, Helen (2002). "Register, Politics, and the Legend of Good Women".
1005:
962:
798:
733:
568:
Women play an important role in Chaucer’s collection of legendary stories,
499:
304:
282:
175:
144:
1413:
1356:
993:
950:
853:
Gardner, John (1968). "The Two Prologues to the 'Legend of Good Women'".
786:
721:
638:
Gardner, John (1968). "The Two Prologues to the 'Legend of Good Women'".
363:
1001:
958:
920:
893:
866:
794:
758:
729:
693:
672:
651:
1183:
330:
1009:
802:
680:
Goddard, H. C. (1909). "Chaucer's Legend of Good Women (Continued)".
966:
737:
37:
1456:
1038:
1024:
507:
464:
271:
267:
251:
617:"'The naked text in English to declare': The Legend of Good Women"
263:
178:
702:
Telling Classical Tales: Chaucer and the 'Legend of Good Women"
488:
426:
421:
354:
247:
828:
The problem of two prologues to Chaucer's Legend of good women
1483:
Chaucer's influence on fifteenth-century Scottish literature
291:, to be a poetic account of an actual request for a poem by
492:
453:
140:
880:
Goddard, H. C. (1908). "Chaucer's Legend of Good Women".
659:
Goddard, H. C. (1908). "Chaucer's Legend of Good Women".
154:
The poem is the third longest of Chaucer's works, after
274:—whose stories are not recorded and the nineteen
1027:
as published by the Oxford University Press in 1900.
597:
University Park: Penn State University Press, 2013.
62:. Unsourced material may be challenged and removed.
563:
345:, who praises Chaucer and the poem which he calls
234:The incomplete nature of the poem is suggested by
537:
1532:
217:Thou shalt, whyl that thou livest, yeer by yere,
166:, and is possibly the first significant work in
609:The Naked Text: Chaucer's Legend of Good Women.
385:That ther is Ioye in heven, and peyne in helle;
325:These lines, late in the poem, could simply be
769:. Cambridge: Cambridge University Press, 1988.
611:Berkeley: University of California Press, 1994
1054:
909:The Journal of English and Germanic Philology
882:The Journal of English and Germanic Philology
855:The Journal of English and Germanic Philology
747:The Journal of English and Germanic Philology
682:The Journal of English and Germanic Philology
661:The Journal of English and Germanic Philology
640:The Journal of English and Germanic Philology
391:That ther nis noon dwelling in this contree,
623:. Univ of Wisconsin Press. pp. 65–87.
314:To wryte of hem that been in love forsworn,
299:. If true this would make Chaucer an early
1061:
1047:
704:. Ithaca: Cornell University Press, 1983.
393:That either hath in heven or helle y-be,
281:The command of queen Alceste is said, by
227:And telle of false men that hem bitrayen,
225:That weren trewe in lovinge al hir lyves;
215:For thy trespas, and understond hit here:
122:Learn how and when to remove this message
1488:Influence of Italian humanism on Chaucer
979:
936:
772:
707:
498:
491:is told by Venus that he is to seek out
401:used the poem as theme for his own poem
229:That al hir lyf ne doon nat but assayen
879:
852:
679:
658:
637:
614:
383:A thousand tymes have I herd men telle,
14:
1533:
824:
320:Therfor I passe shortly in this wyse;
1566:Depictions of Cleopatra in literature
1042:
906:
744:
318:Which to performe god me grace sende,
295:who came to England in 1382 to marry
1596:Depictions of Augustus in literature
1068:
932:
930:
848:
846:
820:
818:
60:adding citations to reliable sources
31:
223:Of Gode Wommen, maidenes and wyves,
189:would become a significant part of
24:
1561:Biographical dictionaries of women
515:The Legend of Hypsipyle and Medea:
316:And eek to haste me in my legende,
219:The moste party of thy tyme spende
25:
1607:
1329:The Complaint of the Black Knight
1018:
927:
843:
815:
593:Arner, Lynn. Chapters 4 and 5 of
389:But natheles, yit wot I wel also,
312:But for I am agroted heer-biforn
1395:
387:And I acorde wel that hit is so;
36:
1586:Poetry based on works by Virgil
587:
564:Importance of Women to the Poem
221:In making of a glorious Legende
181:which he later used throughout
151:during the fourteenth century.
47:needs additional citations for
1322:The Cuckoo and the Nightingale
973:
900:
873:
767:Chaucer's Legendary Good Women
538:The Problem with Two Prologues
193:possibly inspired by Chaucer.
27:Middle English poem by Chaucer
13:
1:
1581:Poetry based on Metamorphoses
1336:The equatorie of the planetis
810:
441:Historia destructionis Troiae
1350:Pierce the Ploughman's Crede
825:French, John Calvin (1905).
7:
1571:Cultural depictions of Dido
1297:A Treatise on the Astrolabe
532:
201:
10:
1612:
1541:Poetry by Geoffrey Chaucer
1373:Prologue and Tale of Beryn
410:
362:but also one of the first
196:
71:"The Legend of Good Women"
1591:Works based on the Aeneid
1556:Mock-heroic English poems
1475:
1404:
1393:
1313:
1232:
1209:The Canon's Yeoman's Tale
1083:
1076:
615:Dinshaw, Carolyn (1989).
347:Seintes Legende of Cupide
242:which calls the work the
1343:The Floure and the Leafe
1290:The Legend of Good Women
1025:The Legend of Good Women
621:Chaucer's Sexual Poetics
581:The Legend of Good Women
570:The Legend of Good Women
557:The Legend of Good Women
472:The Legend of Cleopatra:
136:The Legend of Good Women
1269:The Parliament of Fowls
1248:The Book of the Duchess
1241:The Romaunt of the Rose
1199:The Nun's Priest's Tale
1129:The Wife of Bath's Tale
526:The Legend of Lucretia:
831:(Thesis). J.H. Furst.
511:
396:
323:
232:
1304:The Complaint of Mars
1204:The Second Nun's Tale
1124:The Man of Law's Tale
602:The Riverside Chaucer
502:
479:The Legend of Thisbe:
404:A Dream of Fair Women
380:
309:
212:
1546:Middle English poems
1431:The Canterbury Tales
1425:Manuscript tradition
1283:Troilus and Criseyde
1224:Chaucer's Retraction
1164:The Physician's Tale
1032:Legend of Good Women
994:10.1353/cr.2002.0023
951:10.1353/cr.2000.0020
787:10.1353/cr.2002.0023
765:Percival, Florence,
722:10.1353/cr.2000.0020
446:Gaius Julius Hyginus
351:The Canterbury Tales
240:The Canterbury Tales
236:Chaucer's Retraction
208:Troilus and Criseyde
183:The Canterbury Tales
163:Troilus and Criseyde
157:The Canterbury Tales
56:improve this article
18:Legend of Good Women
1368:The Tale of Gamelyn
1214:The Manciple's Tale
1189:The Tale of Melibee
1179:The Prioress's Tale
1169:The Pardoner's Tale
1159:The Franklin's Tale
1149:The Merchant's Tale
1139:The Summoner's Tale
600:Chaucer, Geoffrey,
486:The Legend of Dido:
436:Guido delle Colonne
432:Vincent of Beauvais
288:The Fall of Princes
185:. This form of the
1576:14th-century poems
1499:Katherine Swynford
1383:The Pilgrim's Tale
1378:The Plowman's Tale
1262:Anelida and Arcite
1174:The Shipman's Tale
982:The Chaucer Review
939:The Chaucer Review
775:The Chaucer Review
710:The Chaucer Review
512:
366:works in English.
191:English literature
1528:
1527:
1467:Geoffrey Spirleng
1442:Ellesmere Chaucer
1391:
1390:
1255:The House of Fame
1219:The Parson's Tale
1154:The Squire's Tale
1109:The Miller's Tale
1104:The Knight's Tale
1006:Project MUSE
963:Project MUSE
799:Project MUSE
734:Project MUSE
630:978-0-299-12274-4
335:rhetorical device
276:ladies in waiting
172:iambic pentameter
143:in the form of a
132:
131:
124:
106:
16:(Redirected from
1603:
1511:Alice de la Pole
1399:
1144:The Clerk's Tale
1134:The Friar's Tale
1114:The Reeve's Tale
1099:General Prologue
1081:
1080:
1070:Geoffrey Chaucer
1063:
1056:
1049:
1040:
1039:
1014:
1013:
977:
971:
970:
934:
925:
924:
904:
898:
897:
877:
871:
870:
850:
841:
840:
822:
806:
762:
741:
697:
676:
655:
634:
607:Delany, Sheila,
260:Cato the younger
149:Geoffrey Chaucer
127:
120:
116:
113:
107:
105:
64:
40:
32:
21:
1611:
1610:
1606:
1605:
1604:
1602:
1601:
1600:
1551:Visionary poems
1531:
1530:
1529:
1524:
1518:A Knight's Tale
1513:(granddaughter)
1501:(wife's sister)
1471:
1447:Harley MS. 7334
1437:Hengwrt Chaucer
1406:
1400:
1387:
1309:
1228:
1194:The Monk's Tale
1119:The Cook's Tale
1089:
1087:
1072:
1067:
1021:
978:
974:
935:
928:
905:
901:
878:
874:
851:
844:
823:
816:
813:
631:
590:
566:
540:
535:
413:
395:
392:
390:
388:
386:
384:
360:heroic couplets
322:
319:
317:
315:
313:
293:Anne of Bohemia
231:
228:
226:
224:
222:
220:
218:
216:
204:
199:
128:
117:
111:
108:
65:
63:
53:
41:
28:
23:
22:
15:
12:
11:
5:
1609:
1599:
1598:
1593:
1588:
1583:
1578:
1573:
1568:
1563:
1558:
1553:
1548:
1543:
1526:
1525:
1523:
1522:
1514:
1508:
1505:Thomas Chaucer
1502:
1496:
1490:
1485:
1479:
1477:
1473:
1472:
1470:
1469:
1464:
1459:
1454:
1452:Adam Pinkhurst
1449:
1444:
1439:
1434:
1426:
1422:
1421:
1419:Heroic couplet
1416:
1410:
1408:
1402:
1401:
1394:
1392:
1389:
1388:
1386:
1385:
1380:
1375:
1370:
1365:
1361:
1360:
1353:
1346:
1339:
1332:
1325:
1317:
1315:
1311:
1310:
1308:
1307:
1300:
1293:
1286:
1279:
1272:
1265:
1258:
1251:
1244:
1236:
1234:
1230:
1229:
1227:
1226:
1221:
1216:
1211:
1206:
1201:
1196:
1191:
1186:
1181:
1176:
1171:
1166:
1161:
1156:
1151:
1146:
1141:
1136:
1131:
1126:
1121:
1116:
1111:
1106:
1101:
1095:
1093:
1078:
1074:
1073:
1066:
1065:
1058:
1051:
1043:
1037:
1036:
1028:
1020:
1019:External links
1017:
1016:
1015:
988:(2): 101–128.
972:
926:
915:(4): 513–569.
899:
872:
861:(4): 594–611.
842:
812:
809:
808:
807:
781:(2): 101–128.
770:
763:
753:(4): 513–569.
742:
705:
698:
677:
656:
646:(4): 594–611.
635:
629:
612:
605:
598:
589:
586:
565:
562:
539:
536:
534:
531:
412:
409:
381:
310:
256:Marcia Catonis
213:
203:
200:
198:
195:
187:heroic couplet
130:
129:
44:
42:
35:
26:
9:
6:
4:
3:
2:
1608:
1597:
1594:
1592:
1589:
1587:
1584:
1582:
1579:
1577:
1574:
1572:
1569:
1567:
1564:
1562:
1559:
1557:
1554:
1552:
1549:
1547:
1544:
1542:
1539:
1538:
1536:
1520:
1519:
1515:
1512:
1509:
1506:
1503:
1500:
1497:
1494:
1493:Philippa Roet
1491:
1489:
1486:
1484:
1481:
1480:
1478:
1474:
1468:
1465:
1463:
1460:
1458:
1455:
1453:
1450:
1448:
1445:
1443:
1440:
1438:
1435:
1433:
1432:
1427:
1424:
1423:
1420:
1417:
1415:
1412:
1411:
1409:
1403:
1398:
1384:
1381:
1379:
1376:
1374:
1371:
1369:
1366:
1363:
1362:
1359:
1358:
1354:
1352:
1351:
1347:
1345:
1344:
1340:
1338:
1337:
1333:
1331:
1330:
1326:
1324:
1323:
1319:
1318:
1316:
1312:
1306:
1305:
1301:
1299:
1298:
1294:
1292:
1291:
1287:
1285:
1284:
1280:
1278:
1277:
1273:
1271:
1270:
1266:
1264:
1263:
1259:
1257:
1256:
1252:
1250:
1249:
1245:
1243:
1242:
1238:
1237:
1235:
1231:
1225:
1222:
1220:
1217:
1215:
1212:
1210:
1207:
1205:
1202:
1200:
1197:
1195:
1192:
1190:
1187:
1185:
1182:
1180:
1177:
1175:
1172:
1170:
1167:
1165:
1162:
1160:
1157:
1155:
1152:
1150:
1147:
1145:
1142:
1140:
1137:
1135:
1132:
1130:
1127:
1125:
1122:
1120:
1117:
1115:
1112:
1110:
1107:
1105:
1102:
1100:
1097:
1096:
1094:
1092:
1091:
1082:
1079:
1075:
1071:
1064:
1059:
1057:
1052:
1050:
1045:
1044:
1041:
1034:
1033:
1029:
1026:
1023:
1022:
1011:
1007:
1003:
999:
995:
991:
987:
983:
976:
968:
964:
960:
956:
952:
948:
944:
940:
933:
931:
922:
918:
914:
910:
903:
895:
891:
888:(4): 87–129.
887:
883:
876:
868:
864:
860:
856:
849:
847:
838:
834:
830:
829:
821:
819:
814:
804:
800:
796:
792:
788:
784:
780:
776:
771:
768:
764:
760:
756:
752:
748:
743:
739:
735:
731:
727:
723:
719:
715:
711:
706:
703:
700:Kiser, Lisa,
699:
695:
691:
688:(1): 47–111.
687:
683:
678:
674:
670:
667:(4): 87–129.
666:
662:
657:
653:
649:
645:
641:
636:
632:
626:
622:
618:
613:
610:
606:
603:
599:
596:
592:
591:
585:
582:
577:
573:
571:
561:
558:
552:
548:
544:
530:
527:
523:
519:
516:
509:
505:
504:Death of Dido
501:
497:
494:
490:
487:
483:
480:
476:
473:
469:
467:
466:
461:
460:
459:Metamorphoses
455:
451:
447:
443:
442:
437:
433:
429:
428:
423:
419:
408:
406:
405:
400:
394:
379:
376:
372:
367:
365:
361:
356:
352:
348:
344:
338:
336:
332:
328:
321:
308:
306:
302:
301:poet laureate
298:
294:
290:
289:
284:
279:
277:
273:
269:
265:
261:
257:
253:
249:
245:
241:
237:
230:
211:
209:
194:
192:
188:
184:
180:
177:
173:
169:
165:
164:
159:
158:
152:
150:
146:
142:
138:
137:
126:
123:
115:
112:December 2019
104:
101:
97:
94:
90:
87:
83:
80:
76:
73: –
72:
68:
67:Find sources:
61:
57:
51:
50:
45:This article
43:
39:
34:
33:
30:
19:
1516:
1462:John Shirley
1430:
1355:
1348:
1341:
1334:
1327:
1320:
1302:
1295:
1289:
1288:
1281:
1274:
1267:
1260:
1253:
1246:
1239:
1084:
1031:
985:
981:
975:
945:(1): 22–42.
942:
938:
912:
908:
902:
885:
881:
875:
858:
854:
827:
778:
774:
766:
750:
746:
716:(1): 22–42.
713:
709:
701:
685:
681:
664:
660:
643:
639:
620:
608:
601:
594:
588:Bibliography
580:
578:
574:
569:
567:
556:
553:
549:
545:
541:
525:
524:
520:
514:
513:
503:
485:
484:
478:
477:
471:
470:
463:
457:
449:
439:
425:
414:
402:
397:
382:
374:
370:
368:
350:
346:
339:
326:
324:
311:
305:Joan of Kent
286:
283:John Lydgate
280:
243:
239:
233:
214:
207:
205:
182:
176:decasyllabic
161:
155:
153:
145:dream vision
135:
134:
133:
118:
109:
99:
92:
85:
78:
66:
54:Please help
49:verification
46:
29:
1521:(2001 film)
1414:Rhyme royal
1357:Jack Upland
1233:Other works
418:Monk's Tale
364:mock-heroic
244:xxv. Ladies
170:to use the
1535:Categories
1184:Sir Thopas
1088:Canterbury
811:References
510:, AD 1631.
343:Man of Law
331:paralipsis
297:Richard II
82:newspapers
1429:Order of
1407:and Texts
837:701135607
327:occupatio
258:(wife of
1457:Scribe D
1405:Language
1314:Spurious
1002:25096196
959:25096115
921:27699996
894:27699943
867:27705603
795:25096196
759:27699996
730:25096115
694:27699951
673:27699943
652:27705603
533:Analysis
508:Guercino
465:Heroides
399:Tennyson
373:and the
272:Laodamia
268:Polyxena
252:Penelope
202:Prologue
179:couplets
1476:Related
450:Fabulae
411:Legends
371:Troilus
264:Lavinia
197:Summary
168:English
96:scholar
1495:(wife)
1008:
1000:
965:
957:
919:
892:
865:
835:
801:
793:
757:
736:
728:
692:
671:
650:
627:
489:Aeneas
427:Aeneid
422:Virgil
355:satire
333:, the
248:Esther
98:
91:
84:
77:
69:
1507:(son)
1364:Tales
1276:Boece
1090:Tales
1077:Works
1010:37599
998:JSTOR
955:JSTOR
917:JSTOR
890:JSTOR
863:JSTOR
803:37599
791:JSTOR
755:JSTOR
726:JSTOR
690:JSTOR
669:JSTOR
648:JSTOR
506:, by
375:Tales
238:from
139:is a
103:JSTOR
89:books
967:8465
833:OCLC
738:8465
625:ISBN
493:Dido
462:and
454:Ovid
452:and
270:and
160:and
141:poem
75:news
1086:The
990:doi
947:doi
783:doi
718:doi
456:'s
438:'s
424:'s
329:or
285:in
262:),
174:or
147:by
58:by
1537::
1004:.
996:.
986:37
984:.
961:.
953:.
943:35
941:.
929:^
911:.
884:.
859:67
857:.
845:^
817:^
797:.
789:.
779:37
777:.
749:.
732:.
724:.
714:35
712:.
684:.
663:.
644:67
642:.
619:.
468:.
448:'
444:,
434:,
430:,
407:.
303:.
266:,
254:,
250:,
1062:e
1055:t
1048:v
1012:.
992::
969:.
949::
923:.
913:8
896:.
886:7
869:.
839:.
805:.
785::
761:.
751:8
740:.
720::
696:.
686:8
675:.
665:7
654:.
633:.
125:)
119:(
114:)
110:(
100:·
93:·
86:·
79:·
52:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
