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


660. CAMPBELL, JACKSON J. "The Canon's Yeoman as Imperfect Paradigm." Chaucer Review 17 (1982):171-81.

Describes the Canon's Yeoman's Prologue and Tale as confessional, reflections of the Yeoman's partial conversion. While he does not completely reject alchemy, his disassociation from it is a reform that anticipates--is an "imperfect paradigm" of--the penitential process "that the Parson is soon to make explicit."

661. DUNCAN, EDGAR H. "The Literature of Alchemy and Chaucer's Canon's Yeoman's Tale: Framework, Theme and Characters." Speculum 43 (1968):633-56.

Documents Chaucer's borrowing from alchemical literature, and shows how he attacked the pretensions and deceptions of alchemy though the Yeoman. Since Chaucer was so well educated in the literature, we can not be certain whether the Yeoman's opinion is his or not.

662. GARDNER, JOHN [CHAMPLIN]. "The Canon's Yeoman's Prologue and Tale: An Interpretation." Philological Quarterly 46 (1967):1-17.

Characterizes the Canon's Yeoman as a comic figure, correlates the Yeoman's Canon with the priest of part II of the tale, and reads the Yeoman's pursuit and rejection of alchemy as an allegory of false religion which shields a more subtle allegory of Christian truth.

663. HARRINGTON, DAVID V. "Dramatic Irony in the Canon's Yeoman's Tale." Neuphilologische Mitteilungen 66 (1965):160-66.

Characterizes the priest of Canon's Yeoman's Tale as covetous and gullible, an abuser of his vocation whose personality encourages the reader to blame the alchemical deception of the tale as much on him as on the canon.

664. McCRACKEN, SAMUEL. "Confessional Prologue and the Topography of the Canon's Yeoman." Modern Philology 68 (1971):289-91.

Finds a tripartite structure of introduction, confession, and tale in several of the Canterbury tales and argues that the Canon Yeoman's performance matches this paradigm even though the manuscript rubrics of Pars Prima and Pars Secunda obscure the parallels.

665. ROSENBERG, BRUCE A. "The Contrary Tales of the Second Nun and the Canon's Yeoman." Chaucer Review 2 (1968):278-91.

Establishes the cohesion of Fragment VIII of Canterbury Tales (Second Nun's Tale and Canon's Yeoman's Tale) by comparing the oppositions between their images of alchemy, color, and vision with the thematic oppositions between charity and revelation in the Nun's tale and cupidity and natural science in the Yeoman's.

See also entries 219-20, 223, 252, 257, 260, 655, 657, 666.

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