CANTERBURY TALES--THE SHIPMAN AND HIS TALE
[Cross-references included at the bottom of the page]
592. ABRAHAM, DAVID H. "Cosyn and Cosynage: Pun and Structure in the Shipman's Tale." Chaucer Review 11 (1977):319-27.
Identifies cosen/cosenyge puns in Shipman's Tale, and argues that they structure the tale. Midway through the tale, and midway through the sixteen occurences of the word in the tale, the word shifts its relational meaning (cousin) to meaning "deception" (cozen), paralleling the deceptive manipulation of relations in the plot.
593. FRIES, MAUREEN. "An Historical Analogue to the Shipman's Tale?" Comitatus 3 (1972):19-32.
Demonstrates the "numerous details of language and plot" in the Shipman's Tale which recall Edward III's naval victory over Spain, and the subsequent marriage of Pedro the Cruel to Blanche of Bourbon. Through the tale, Chaucer makes ironic comedy of these historical events well-known to his original audience.
594. GIBSON, GAIL McMURRAY. "Resurrection as Dramatic Icon in the Shipman's Tale." In Signs and Symbols in Chaucer's Poetry, ed. by John P. Hermann and John J. Burke, Jr. University: University of Alabama Press, 1981, pp. 102-12.
Identifies echoes of a "comic Resurrection drama" in the Shipman's Tale. Signalled by verbal images of new clothing and significant repetition of "arisings" on the third day, the tale ironically recalls the Resurrection play of the cycle dramas in which Magdelen (wife) meets Christ (monk) in a garden and informs his disciples, particularly Peter (merchant).
595. GUERIN, RICHARD. "The Shipman's Tale: The Italian Analogues." English Studies 52 (1971):412-19.
Reassesses and synthesizes critical opinion and textual evidence pertaining to the Italian analogues of Chaucer's Shipman's Tale, concluding that "it seems not unreasonable" that Chaucer's version was influnced by his reading of Sercambi's Novelle, no. 31, and tales VIII, 1 and VIII, 2 of Boccaccio's Decameron.
596. McCLINTOCK, MICHAEL W. "Games and Players of Games: Old French Fabliaux and the Shipman's Tale." Chaucer Review 5 (1970):112-36.
Contrasts Shipman's Tale with several analogues and assesses the relations among the tale's characters, arguing that Chaucer complicates the simple fabliau by focussing on the "gamesmanship" of the three characters, producing not simple laughter but moral reaction to manipulation and maneuvering.
597. MILLICHAP, JOSEPH R. "Source and Theme in the Shipman's Tale." University of Dayton Review 10, no. 3 (1974):3-6.
Compares Chaucer's Shipman's Tale to its analogues to suggest that Chaucer's produced the tale's "ironic treatment of morality." Chaucer uses a monk rather than a soldier, emphasizes the theme of abused friendship, underscores the husband's futile awareness of his cuckolding, and contrasts bawdry with innocence.
598. NICHOLSON, PETER. "The Shipman's Tale and the Fabliaux." ELH 45 (1978):583-96.
Reads Shipman's Tale as something of an anti-fabliau in which "mercantile thinking," characterization, and the surprizing harmony of the ending reflect a bourgeois sensibility that counteracts the slapstick and vulgarity expected in a fabliau.
599. SCATTERGOOD, V.J. "The Originality of the Shipman's Tale." Chaucer Review 11 (1977):210-31.
Reads Shipman's Tale as a critique of the limitations of the bourgeois sensibility of the merchant in the tale: his literal-mindedness and his single-minded pursuit of his financial goals. The merchant is cuckolded because he accepts his wife and the monk at face value and goes about his business with little imagination or inquisitiveness.
600. SILVERMAN, ALBERT H. "Sex and Money in Chaucer Shipman's Tale." Philological Quarterly 32 (1953):329-36.
Identifies the sex/money puns of Shipman's Tale to show that the "chief ironic point" of the tale is the "commercialization of marriage," and suggests possible dramatic tensions between the Shipman and Merchant.
See also entries 272, 422. For sources and analogues: 252, 308-09, 313, 323, 388.
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