[Cross-references included at the bottom of the page]


179. BOITANI, PIERO. Chaucer and Boccaccio. Medium AEvum Monographs, no. 8. Oxford: Society for the Study of Medieval Languages and Literature, 1977, 210 pp.

Documents Chaucer's use of Boccaccio's Teseida in Knight's Tale and explores the impact of the Italian poem upon his intellectual and poetic career. Knight's Tale differs in style and characterization from its source, but it is firmly rooted in its iconography and culture. Teseida inspired Chaucer to reinterpret the poetry of Ovid, Statius, and the Roman de la rose; it introduced Chaucer to early humanism and helped shape his poetic technique.

180. CUMMINGS, HUBERTIS M. The Indebtedness of Chaucer's Works to the Italian Works of Boccaccio. Menasha, Wisc.: George Banta Publishing Co., 1916. Reprint. New York: Haskell House, 1965, 202 pp.

A collection of essays that examines Chaucer's use of Boccaccio's vernacular works and concludes that he was familar with only Filostrato and Teseida, that he neither knew Boccaccio personally nor sought to emulate him, and that his debt was merely "that of a borrower." Somewhat dated, the discussion of Filostrato and Troilus and Criseyde places the two within a single romance tradition rather than emphasizing Chaucer's alterations. Chaucer's use of Teseida suggests that he wrote his version with the Knight clearly in mind as narrator. Other discussions deny critical attempts to establish influence on Chaucer of Boccaccio's Filocolo, Amorosa Visione, Ameto, Corbaccio, Decameron, and others.

181. FISHER, JOHN H. "Chaucer and the French Influence." In New Perspectives in Chaucer Criticism. Edited by Donald M. Rose. Norman, Okla.: Pilgrim Books, 1981, pp. 177-91.

Surveys the influence of French and English traditions on Chaucer's poetic style, focussing on stress and meter, and concluding that "Chaucer's idiom and music" are based on French models from which he fashioned "a completely harmonious and idiomatic equivalent in English."

182. MILLER, ROBERT P., ed. Chaucer: Sources and Backgrounds. New York: Oxford University Press, 1977, 522 pp.

Selected translations from forty-eight works: Biblical, medieval, and classical. Each selection accompanied by a brief introduction discussing its place in medieval culture and its relation to Chaucer. Intended for classroom use, materials are arranged topically and cross-referenced. Categories include: Creation and Fall, Medieval Literary Theory, Selected Narrative Sources, The Three Estates, Antifraternal Texts, Modes of Love, Marriage and Good Women, Antifeminist Tradition, and End of the World and Last Judgment.

183. OLSON, GLENDING. "Deschamps' Art de dictier and Chaucer's Literary Environment." Speculum 48 (1973):714-23.

Summarizes the theory of poetry expressed in Deschamps' L'art de dictier et de fere chancons, balades, virelais et rondeaulx and suggests that Chaucer's lyrics reflect its non-didactic and pleasure-oriented aesthetic rather than the more often discussed tradition of medieval moralism.

184. PRATT, ROBERT A. "Chaucer and Les Cronicles of Nicholas Trevet." In Studies in Language, Literature, and Culture of the Middle Ages and Later. Edited by E. Bagby Atwood and Archibald A. Hill. Austin: University of Texas Press, 1969, pp. 303-12.

Establishes the likelihood that Chaucer knew more of Nicholas Trivet's Les cronicles than simply the tale of Constance, identifying several echoes of Trivet's accounts and attitudes in Chaucer's narratives and suggesting that Trivet may have influenced Chaucer's sense of history.

185. SCHLESS, HOWARD. "Transformations: Chaucer's Use of Italian." In Geoffrey Chaucer. Edited by Derek Brewer. Writers and their Background. London: G. Bell & Sons, 1974. Reprint. Athens: Ohio University Press, 1976, pp. 184-223.

Sketches a method for assessing literary influence and demonstrates how Chaucer emulates his Italian sources. Boccaccio's temple of Venus in Teseide becomes a temple of luxuria in Parliament of Fowls; the static characters of Filostrato become dynamic in Troilus and Criseyde; Dante's terrifying Ugolino episode becomes pathetic in Monk's Tale. Includes a survey of fourteenth-century Italian presence at the English court and Chaucer's likely contact with it.

186. WIMSATT, JAMES I. "Chaucer and French Poetry." In Geoffrey Chaucer. Edited by Derek Brewer. Writers and their Background. London: G. Bell & Sons, 1974. Reprint. Athens: Ohio University Press, 1976, pp. 109-36.

Demonstrates the pervasive influence of French poetry on Chaucer by describing how Guillaume de Lorris, Guillaume de Machaut, and Jean de Meun affected the ambience and many details of Chaucer's works. Chaucer borrowed substantially from each poet. From de Lorris he learned the conventions of love and the dream vision. From Machaut he derived his style and his comic narrators. From Jean de Meun he learned diversity.

187. WIMSATT, JAMES I. "Chaucer, Fortune, and Machaut's Il m'est avis." In Chaucer Problems and Perspectives: Essays Presented to Paul E. Beichner, C.S.C. Edited by Edward Vasta and Zacharias P. Thundy. Notre Dame, Ind.: University of Notre Dame Press, 1979, pp. 119-31.

Establishes the substantial influence of Guillaume de Machaut throughout Chaucer's career by following the "meaningful employment" of a single Machaut poem, Il m'est avis, through a range of Chaucer's works, early and late: imagery in Book of the Duchess and Merchant's Tale, philosophical language and social comment in Boece and Lak of Stedfastness, and both aspects in Fortune.

188. WIMSATT, JAMES I. "Guillaume de Machaut and Chaucer's Love Lyrics." Medium AEvum 47 91978):66-87.

Demonstrates that Guillaume de Machaut's lyrics are sources for nearly all of Chaucer's short poems, adducing parallels of detail and expression in individual poems. Both poets follow convention, but the nature and variety of the similarities clarify Chaucer's debt to "his great French master."

See also entries: 6, 7, 8, 41, 47, 49, 141, 174, 201, 224, 229, 233-34, 252, 295, 308-09, 337, 694-705, 759, 811, 826, 844, 846, 861, 868-69.

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