CANTERBURY TALES--THE SQUIRE AND HIS TALE           

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

 

524. BRADDY, HALDEEN. "The Genre of Chaucer's Squire's Tale." JEGP: Journal of English and Germanic Philology 41 (1942):279-90. Reprinted in Geoffrey Chaucer: Literary and Historical Studies (Port Washington, N.Y.: Kennikat Press, 1971), pp, 85-95.

Compares the Squire's Tale to several "Oriental analogues" to suggest that the fragmentary tale shows signs of being a framing tale in which the Canacee/falcon plot originally framed three other episodes. The incest motif familiar in the Oriental frame tales and suggested at the end of Chaucer's fragment is the probable reason Chaucer did not finish his version.

525. GOODMAN, JENNIFER R. "Chaucer's Squire's Tale and the Rise of Chivalry." Studies in the Age of Chaucer 5 (1983):127-36.

Compares Squire's Tale favorably to other members of its "reconizable genre"--the "composite romances," fashionable in the late fourteenth century and distinct in their their plot and rhetoric. Similar romances are Generides, Valentine and Orson, Parnatope of Blois, and Huon of Bordeaux.

526. HALLER, ROBERT S. "Chaucer's Squire's Tale and the Uses of Rhetoric." Modern Philology 62 (1965):285-95.

Assesses the rhetorical excesses of Squire's Tale as a means to characterize the Squire and to criticize the "pseudo-genre" of romance. Dramatically appropriate to a youthful and naive love-poet--a fair description of the Squire--the tale abuses the rhetorical principles of construction and ornamentation, obliquely satirizing romantic sentiment.

527. KAHRL, STANLEY J. "Chaucer's Squire's Tale and the Decline of Chivalry." Chaucer Review 7 (1973):194-209.

Attributes the inept qualities of Chaucer's Squire's Tale to the Squire. Especially in contrast to the successful Knight's Tale, Squire's Tale reflects the "exoticism and disorder of late-medieval court life" in its Eastern setting and rhetorical excess.

528. MILLER, ROBERT P. "Augustinian Wisdom and Eloquence in the F-Fragment of Canterbury Tale." Mediaevalia 4 (1978):245-75.

Examines Squire's Tale and Franklin's Tale in light of Augustinian ideals of wisdom wedded to eloquence, reading the first tale as a comic portrayal of eloquence without wisdom, and the second as a more subtle example of verbal dexterity combined with the appurtenances of wisdom, but lacking its substance. Franklin's Tale places worldly happiness and worldly words before wisdom.

529. NEVILLE, MARIE. "The Function of the Squire's Tale in the Canterbury Scene." JEGP 50 (1951):167-79.

Compares Squire's Tale to Knight's Tale to establish several "family traits" of the father-son story tellers, Assesses Squire's Tale as part of the Marriage Group, observing how it extends the "fairy-tale machinery" of Wife of Bath's and Merchant's tales, contrasts their approaches to courtesy, and prepares for Franklin's Tale.

530. PETERSON, JOYCE E. "The Finished Fragment: A Reassessment of the Squire's Tale." Chaucer Review 5 (1970):62-74.

Argues that Squire's Tale is complete in the sense that enough has been told to characterize the Squire as a snob who is without human empathy and whose morality is based on elegance rather than charity. The Franklin's interruption of the Squire completes Chaucer's purpose of exposing false gentilesse.

531. WOOD, CHAUNCEY. "The Significance of Jousting and Dancing as Attributes of Chaucer's Squire." English Studies 52 (1971):116-18.

Suggests that Chaucer's association of dancing and jousting in his portrait of the Squire may have been influenced by Henry of Lancaster's Le livre se seyntz medicines and may ironically echo the portrait of the Knight.

See also entries 169, 196, 220, 246, 252, 323, 535.

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