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


239. DIAMOND, ARLYN. "Chaucer's Women and Women's Chaucer." In The Authority of Experience: Essays in Feminist Criticism. Edited by Arlyn Diamond and Lee R. Edwards. Amherst: University of Massachusetts Press, 1977, pp. 60-84.

Analyzes the women of the Marriage Group to demonstrate how Chaucer's "fundamental conservatism" limits his sympathy for women. Although he does not accept the "formulas of his age," Chaucer's females are either "bloodless abstractions" or flawed individuals.

240. FRIES, MAUREEN. "The 'Other' Voice: Woman's Song, Its Satire and Its Transcendence in Late Medieval British Literature." In Vox Feminae: Studies in Medieval Woman's Songs. Edited by John F. Plummer. Studies in Medieval Culture, no. 15. Kalamazoo, Mich.: Medieval Institute, Western Michigan University, 1981, pp. 155-78.

Considers Chaucer's lyrical female voices in contrast to other English medieval lyrics, noting his satirical mastery of the conventions of the alba in Reeve's Tale, Merchant's Tale, and Troilus and Criseyde. Assesses the unusual treatment of female voice in Antigone's song in Troilus where she questions the nature of love in abstract terms.

241. WEISSMAN, PHYLLIS HOPE. "Antifeminism and Chaucer's Characterization of Women." In Geoffrey Chaucer: A Collection of Original Essays. Edited by George Economou. New York: McGraw-Hill, 1975, pp. 93-110.

Describes Chaucer's investigation of antifeminism in Canterbury Tales. The Knight's Emelye and the Miller's Alison are his "definitive statements on courtly and bourgeois images" of women. His portraits of the Prioress and Wife of Bath "focus attention on the difficulty of self-realization" in a restrictive environment. The Prioress mistakes her environment, and the Wife tries unsuccessfully to defeat hers.

See also entries 89, 294, 324, 326, 383, 404, 425-27, 437, 440-42, 501, 503, 541, 639, 641, 765-66, 768, 773, 775, 893.

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