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              <text>Watt describes the making of Earl Gower's Roxburghe Club edition of London, British Library MS 59495, olim Trentham, "one of nine books printed by club members in 1818" (162), a manuscript on the library shelves of his father, the Marquis of Stafford, at Trentham Hall. The Earl used a transcription made by Henry Stachey in 1764 for the printer's copy (152), but corrected the proofs from the manuscript itself (156). The Roxburghe Club edition prints the Latin and French poetry, but deliberately leaves out the one Middle English poem in the manuscript, "In Praise of Peace," an omission explained by Earl Gower that this had been previously edited "in Urry's edition of Chaucer's works" (154). Oddly, Watt suggests that the Club members would have thought the character Gower in Shakespeare's "Henry IV, Part 2" was the poet: "Roxburghe Club members might nonetheless have enjoyed making the more subtle connection between the Trentham Manuscript's (now London, British Library MS ADD.59495) ostensible dedication to Henry IV and Gower's cameo appearance in "Henry IV, Part 2" (though it is not entirely clear what they might have thought of Gower's refusal to dine with Falstaff in Act 2, Scene 1" (163-64). [RFY. Copyright. John Gower Society. eJGN 44.1]</text>
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              <text>Watt, David. "A Knight at the Roxburghe (Club): George Granville Sutherland-Leveson-Gower and the Textual Transmission of 'Balades and Other Poems by John Gower.'" In William Green, Daniel Helbert, and Noëlle Phillips, eds. Textual Traditions and Medieval Literary Culture: Essays in Honour of Siân Echard (Cambridge: D. S. Brewer, 2025), pp. 152-65.</text>
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          <name>Gower Subject</name>
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              <text>Facsimiles, Editions, and Translations&#13;
Manuscripts and Textual Studies</text>
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                <text>A Knight at the Roxburghe (Club): George Granville Sutherland-Leveson-Gower and the Textual Transmission of "Balades and Other Poems by John Gower."</text>
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            <name>Date</name>
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                <text>2025</text>
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              <text>Fisher argues that the replacement of French by English in official circles in England in the early fifteenth century and the sudden appearance of large, elaborately prepared manuscripts of English poetry soon after 1400 are both linked to Henry IV's accession to the throne, and are the result of official Lancastrian policy to encourage the use of English as a means of gaining the support of Parliament and commons for Henry's usurpation. Chaucer is given a central position in his discussion, because of the large number of Chaucer manuscripts that were produced during this period, because of the recognition given to Chaucer soon after his death as the founder of English poetry, and because of Thomas Chaucer's importance in both Henry IV's and Henry V's court. Gower is given somewhat less prominence. Manuscripts of his works too are produced by some of the same scribes that produced Chaucer's during this important period. One manuscript of CA, moreover (Huntington Ellesmere 26.A.17, the "Fairfax" copy), provides evidence of Henry IV's interest in promoting the use of English even before he became king: Fisher uses the armorial insignia on its opening page to argue that it was prepared for presentation to Henry sometime between his return from France (at the end of June 1399), and his coronation (in the middle of October). [PN. Copyright The John Gower Society. JGN 13.1]</text>
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              <text>Fisher, John H. "A Language Policy for Lancastrian England." PMLA: Publications of the Modern Language Association of America 107 (1992), pp. 1168-1180.</text>
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          <name>Gower Subject</name>
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                <text>A Language Policy for Lancastrian England</text>
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            <name>Date</name>
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                <text>1992</text>
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              <text>Meindl and Riley present full Latin texts, followed by lucid translation into English, of "The Case of Sir William Septvans, 1366." They incorporate the five known documents associated with the case of Gower's obtaining the manor of Aldington Septvans via what have seemed to many rather shady dealings. The documents are: "Rotulus Parliamenti de anno Regni Regius Tertii quadragesimo" (Summary in French); The King's Writ (in Latin); Record of the Inquiry (in Latin); Evidence heard by the inquiry from the knights and respectable men of legal standing (in Latin); The decision of Parliament (in Latin). The volume thus does Gower studies a great service, by gathering in one place, and translating, disparate texts otherwise difficult to access, making them easily available. [RFY. Copyright. The John Gower Society. eJGN 37.2.] </text>
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              <text>Meindl, Robert J. and Mark T. Riley, eds. and trans.,</text>
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              <text>Meindl, Robert J. and Mark T. Riley, eds. and trans., A Latin Reader for the Study of Early English Law: with Introductions, Selections, Translations, Notes &amp; Glossary. (St. Augustine, FL: Sophron Editor, 2017), pp. 585-605.</text>
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              <text>Biography of Gower</text>
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              <elementText elementTextId="91274">
                <text>A Latin Reader for the Study of Early English Law: with Introductions, Selections, Translations, Notes &amp; Glossary.</text>
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            <elementText elementTextId="82443">
              <text>In 1982, M.L. Samuels and Jeremy Smith published an essay on "The Language of Gower" (NM 82:295-304) in which they demonstrated that the orthography of the two principal manuscripts of CA contain features that can be localized in NW Kent and SW Suffolk, precisely the areas in which the poet and his family were known to have owned property. Their article was not only an important contribution to Gower studies, but also an impressive confirmation of the dialectological methods that had been pioneered by the editors of the new Linguistic Atlas of Late Middle English. Much had already been written about the new methodology, which is based on scribal orthography rather than on underlying phonological forms or the language of the author, but at the time, the body of data on which Samuels and Smith depended was available only to the small circle of scholars working in Glasgow and Edinburgh. That data has now been published in impressive form, and though the new atlas makes no specific reference to Gower, it would be inappropriate to leave unacknowledged here one of the great monuments of Middle English scholarship of our time, and a work that will no doubt have profound impact on Gower studies in the years to come. The atlas is a daunting production. The first of the four large volumes includes a general introduction, providing the most complete statement of the assumptions under which the editors worked, an index of sources, and a series of "dot maps" showing the distribution of specific forms; volume two contains enlarged "item maps," plotting the different forms of the same item; volume three contains linguistic profiles of each county; and volume four is a "county dictionary," indexing the distribution of localizable forms. This is not a tool for a novice, and some of us will need considerable help before we understand all of the implications of this material. A new essay on the language of CA by Jeremy Smith is promised in the forthcoming "Descriptive Catalogue of the Manuscripts of the Works of John Gower" (see JGN 2, no. 1), which will no doubt tell us more about how all this data may be used. It may also resolve one question that troubles the reviewer: since the working assumption of the atlas researchers is that scribes copied by "translating" texts into their own orthography, what is the implication of the fact that the language of the two earliest Gower manuscripts is evidently the poet's, and that these manuscripts, by different scribe, are "in all respects except their actual handwriting, as good as autograph copies" (Samuels and Smith, 1982:304)? [PN. Copyright The John Gower Society. JGN 8.2]</text>
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              <text>McIntosh, Angus</text>
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              <text>Benskin, Michael</text>
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            <elementText elementTextId="82447">
              <text>McIntosh, Angus and Samuels, M.L. and Benskin, Michael. "A Linguistic Atlas of Late Medieval English." Aberdeen: University Press, 1986</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
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                <text>A Linguistic Atlas of Late Medieval English.</text>
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              <text>Offers a "a computer-generated listing of all the rhymes in Gower's 'Confessio Amantis,'" based on Macaulay's edition and available as a downloadable PDF, with instructions for use.</text>
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          <name>Author/Editor</name>
          <description>Author/Editor</description>
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              <text>Werthmüller, Gyöngyi.</text>
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              <text>John Gower Society website:&#13;
https://johngower.org/596-2/&#13;
Accessed 22 February 2024</text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="97361">
              <text>Confessio Amantis&#13;
Style, Rhetoric, and Versification&#13;
Bibliographies, Reports, and Reference</text>
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                <text>A Listing of the Rhymes in Gower's Confessio Amantis.</text>
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              <text>Brief biography, with commentary on works, relations with other poets and later influence; Gower "not a great poet . . . an earnest man with a message for his times." [RFY1981; rev. MA]</text>
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              <text>Baugh, Albert C.</text>
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              <text>Baugh, Albert C. A Literary History of England. New York: Appleton-Century-Crofts, 1948, pp. 142, 264-66, 288, 315, 317-18, 323, 347, 421. </text>
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              <text>Backgrounds and General Criticism&#13;
Biography of Gower&#13;
Influence and Later Allusion</text>
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                <text>1948</text>
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              <text>Prints "Eson Regains his Youth," CA, Book V, 3945-4174; "Apollonius of Tyre," VIII, 597-911; reprints Macaulay. Brief biography; glossed at page bottom.</text>
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              <text>Severs takes for granted here that Nicholas Trivet's Anglo-Norman "Chronicle" is the immediate source of Chaucer's Man of Law's Tale and of Gower's "Tale of Constance" in the "Confessio Amantis," and that Chaucer's "general correspondence" to Trivet is "closer than Gower's" (196). Comparing and quoting passages from the three versions, he argues that an original stanza has been lost from Chaucer's poem in the scene where Hermengyld's prayer miraculously cures the blindness of the old man. He also suggests that if Chaucer "borrowed bits of his tale from Gower's prior version, he certainly would have eked out any defective account in his Trivet MS by adopting the climactic events . . . from Gower, for these events are more striking and artistically more important than any of the minor touches which Chaucer did borrow from Gower" (197n4). [MA. Copyright. John Gower Society. eJGN 42.2]</text>
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Sources, Analogues, and Literary Relations</text>
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              <text>Craik, George L.</text>
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              <text>Craik, George L. A Manual of English Literature and the History of the English Language from the Norman Conquest. 5th ed. London: Charles Griffin, 1865, pp. 155-57. </text>
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              <text>Vox Clamantis&#13;
Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>Arnold, Thomas.</text>
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              <text>Arnold, Thomas. A Manual of English Literature Historical and Critical. Boston: Ginn, 1876, pp. 35, 36, 38. </text>
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              <text>Vox Clamantis&#13;
Confessioi Amantis</text>
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            <elementText elementTextId="93423">
              <text>Prose translation from MO, 25213-14; 25225-60; 25273-75; 25285-96; 25309, 25321-44; 26077-136, followed by MO, 18431-56; 18481-516; 18601-48. [RFY1981].</text>
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              <text>Coulton, G. G., ed. and trans. A Medieval Garner: Human Documents from the Four Centuries Preceding the Reformation.  London: Constable, 1910, pp. 575-81. </text>
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              <text>Mirour de l'Omme (Speculum Meditantis)&#13;
Facsimiles, Editions, and Translations</text>
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            <elementText elementTextId="95135">
              <text>The formal principle of the VC is contrast, or contraries, of which four are examined: peasantry and nobility, natural order and its reverse, past and present, and heaven and hell. [RFY1981]</text>
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              <text>Ito, Masayoshi.</text>
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          <elementTextContainer>
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              <text>Ito, Masayoshi. "A Midsummer Nightmare--An Interpretation of Book One of 'Vox Clamantis'." Shiron 12 (1971): 1-16. Reprinted, with slight revision, in "John Gower, The Medieval Poet" (Tokyo: Shinozaki Shorin, 1976), pp. 121-38. </text>
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            <elementText elementTextId="93856">
              <text>Excellent b&amp;w photograph of Gower's tomb. [RFY1981].</text>
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              <text>Loomis, Roger Sherman. A Mirror of Chaucer's World. Princeton, N.J.: Princeton University Press, 1965, p. 9.  A Mirror of Chaucer's World. Princeton, N.J.: Princeton University Press, 1965, p. 9.</text>
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              <text>Although Lydgate's and Gower's politics continue to be popular topics on their own, no real attention has gathered around any relations between the ideas of Gower and his successor in Lancastrian literary circles. Reimer begins with the unassailable point that both poets share an interest in a well-governed society led by a king whose virtuous rule starts with himself, and extends to bringing the estates of society into "good acord" rather than a state of war. Lydgate's only known prose work, "The Serpent of Division," examines Pompey's war with Julius Caesar and the resulting "catastrophic consequences to the nation of princely ambition and bellicosity" using "Gower-like themes" and a "Gower-like use of ancient stories" to understand contemporary politics (145). Both Lydgate and Gower focus on "Division" as a central cause of social breakdown, on prudent peace over rash war, and on the invocation of a mythic poet (Arion in Gower's CA, Amphion in Lydgate's "Siege of Thebes") able to bind up the golden chains of social harmony. Lydgate's two double hagiographies, the "Lives of Saints Edmund and Fremund" (which according to Jennifer Sisk functions as a "speculum regis" for Henry VI), and the "Lives of Saints Alban and Amphibal" (modeled on "Edmund and Fremund") offer a more complex view of virtuous governance in both spiritual and civic terms. Edmund's early reign generates a long passage on the ideals of righteous rule and a well-regulated body politic; still, "the text does not offer a single model of kingship but a set of alternatives, with no clear prioritizing of the one over the other" (147). St. Alban's story begins with the Roman conquest of Britain and the creation of a proto-Arthurian knighthood under the guidance of Emperor Diocletian, whose set of vows champion a similar set of virtues for good governance aimed at the upper classes, with a clear emphasis on common profit and a caution against rousing rebellion--presumably among the hotheads of the Third Estate so memorably personified in Gower's VC. Ultimately the argument here, that Lydgate is like Gower in his vision of good governance yielding a peaceable kingdom, is built with relatively little discussion of Gower himself beyond brief invocations at beginning and end; Gowerians will hear the resonances clearly, nonetheless. [JF. Copyright. The John Gower Society. eJGN 35.1.]</text>
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              <text>Reimer, Stephen R. "A New Arion: Lydgate on Saints, Kings and 'Good Acord'." South Atlantic Review 79.3-4 (2015), pp. 144-55. ISSN 0277-335X</text>
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              <text>Confessio Amantis</text>
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              <name>Title</name>
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                  <text>Gower Collection</text>
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      <elementContainer>
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          <name>Review</name>
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            <elementText elementTextId="95404">
              <text>Duffell rewrites traditional English metrical history with the aid of the methods and terminologies of linguistic metrics (both statistical and generative), comparative linguistics, and cognitive science, and with recurrent attention to intercultural interactions. The book's ten chapters are frequently daunting, with data and metaphors drawn from this wide and exacting variety of fields, but contextualizing cultural descriptions and the brisk summary-conclusions that punctuate the chapters are sharply written, offering a clear-cut march "from the earliest surviving examples of versifying in a Germanic language to some of the most complex and subtle modern metrical experiments" (3), along the way discussing the metrical habits of "just over ninety poets" (4) including Gower. Chapter four, "Versifying in Bilingual England" (pp. 73-95), describes and analyzes Gower's English and French metrics, set in contrast to those of Chaucer and of the so-called "Poems of Ch," and rehearsing much of what Duffell has already published about Gower and Chaucer since 1996. The volume's extensive bibliography includes six essays on Gower and/or Chaucer written by Duffell, plus two on Gower's French metrics written collaboratively with Dominique Billy (as well a number of studies by Duffell that do not pertain to Gower or Chaucer). This large body of data is compressed and made more valuable by the "evolutionary" (Duffell's recurrent term) frame of the volume, its statistical tables, and the "Index of Linguistics and Metrical Terms," much used by me as I negotiated Duffell's statistical information and data-rich discussions. The rewards are many, both specific claims (some consigned to footnotes) and more sweeping generalizations. A few examples from the notes on p. 95: "Gower anticipated French poets of the sixteenth century in ignoring contemporary speech norms and requiring an artificial delivery by his readers." As well, Gower's "archaic convention of pronouncing 'e-atone' has survived in modern French song and drama" (n.33). Further, comparing the "78% of Gower's 'vers de dix' [that] have no strong syllable in an odd-numbered position" with "70% in Boccaccio's 'endecasyllabi'," and adding another "10% of Gower's lines [in which] a strong syllable in an odd-numbered position is prevented from becoming prominent in delivery by a phrasal stress that immediately follows it," Duffell deduces that "Gower's French long line could therefore be described as 88% iambic" (n.35). In his "Conclusion" to chapter four Duffell tells us that both Chaucer and Gower "learned from Italian models how to count beats in such a way as to produce a regular number of syllables," but that "two disasters hit their enterprise": the loss of "word-final schwa" and "the defeat of the Plantagenets in the Hundred Years War, which doomed the Insular variety of French." Thus, "[o]ne of Gower's most important metrical innovations" in Insular French was "lost forever," although "his English iambic tetrameter and Chaucer's pentameter were recovered in the sixteenth century, and became the canonical metres of subsequent English verse" (92). Without saying so overtly, Duffell prefers Chaucer's variations in beat to Gower's regularity, and Chaucer's greater influence among later poets is made evident. Yet, Gower has a larger place in Duffell's linguistics-rich metrical history than in traditional ones, even without discussion of his Latin verse. [MA. Copyright. The John Gower Society. eJGN 41.1]</text>
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              <text>Duffell, Martin J. A New History of English Metre. Studies in Linguistics, no. 5. (London and Leeds: Legenda, 2008). xi, 292 pp.</text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="95407">
              <text>Style, Rhetoric, and Versification&#13;
Influence and Later Allusion&#13;
Sources, Analogues, and Literary Relations&#13;
</text>
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          <element elementId="50">
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              <elementText elementTextId="95402">
                <text>A New History of English Metre.</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="95403">
                <text>2008</text>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="25233">
                  <text>Gower Collection</text>
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      <name>GowerType</name>
      <description>Customized Item type for items in the Gower Database</description>
      <elementContainer>
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            <elementText elementTextId="92841">
              <text>Sobecki's 2017 "Speculum" essay, "A Southwark Tale: Gower, the Poll Tax of 1381, and Chaucer's The Canterbury Tales," introduced, among other documents, a plea of account submitted by John Gower in Easter Term of 1396 against Thomas Forester and John Gay (TNA, CP40/541, m. 46f.). This note introduces a new Gower life record related to that 1396 plea: a second plea of account by Gower against Forester and Gay from Trinity Term 1396, in which Gower again attempts to compel Gay and Forester. The note includes a transcription and translation of this newly discovered plea. [BWG. Copyright. The John Gower Society. eJGN 40.2.]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
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              <text>Sobecki, Sebatian.</text>
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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="92843">
              <text>Medium Ævum 89.2 (2020): 381-82.</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="92844">
              <text>Biography of Gower</text>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="92839">
                <text>A New Life Record for John Gower, 1396.</text>
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            <elementText elementTextId="94253">
              <text>Of fourteenth-century English authors, only Chaucer and Gower show acquaintance with rhetoric, through evidence in their work. [RFY1981].</text>
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          <name>Published</name>
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            <elementText elementTextId="94254">
              <text>Murphy, James J. "A New Look at Chaucer and the Rhetoricians." Review of English Studies, New Series 15 (1964): 1-20. </text>
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          </elementTextContainer>
        </element>
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          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="94255">
              <text>Style, Rhetoric, and Versification</text>
            </elementText>
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        </element>
      </elementContainer>
    </itemType>
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      <elementSet elementSetId="1">
        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="94251">
                <text>A New Look at Chaucer and the Rhetoricians.</text>
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            <name>Date</name>
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              <text>Meindl, Robert James.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="94971">
              <text>Confessio Amantis</text>
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        <element elementId="52">
          <name>Review</name>
          <description/>
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              <text>Here the CA is read dramatically, as a debate and drama between Amans and Genius, two characters of opposing philosophies. Eventually Genius wins: "Gower . . . causes the tales to illustrate the futility of seeking earthly wisdom and the necessity of accepting divine wisdom as it is revealed in the teachings of the church." [RFY1981]</text>
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          <elementTextContainer>
            <elementText elementTextId="99432">
              <text>Meindl, Robert James. A New Reading of John Gower's "Confessio Amantis." Ph.D. Dissertation. Tulane University, 1965. Dissertation Abstracts International 26.05: 2727. Restricted access at ProQuest Theses &amp; Dissertations</text>
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          <element elementId="40">
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              <elementText elementTextId="94967">
                <text>1965</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="99433">
                <text>A New Reading of John Gower's "Confessio Amantis."</text>
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            </elementTextContainer>
          </element>
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      </elementSet>
    </elementSetContainer>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
                <elementText elementTextId="25233">
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      <description>Customized Item type for items in the Gower Database</description>
      <elementContainer>
        <element elementId="97">
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          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="83833">
              <text>Mooney, Linne R</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="83834">
              <text>Mooney, Linne R. "A New Scribe of Chaucer and Gower." Journal of the Early Book Society 7 (2004), pp. 131-140. ISSN 1525-6790</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="83835">
              <text>Manuscripts and Textual Studies</text>
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              <text>Mooney adds a fifth scribe to the list of those who are known to have worked on MSS of both Chaucer's and Gower's works. His was the sole hand, Mooney argues, in both Harley 1758 (CT) and London, Society of Antiquaries 134 (Macaulay's "X"), which contains Lydgate's "Life of Our Lady," Hoccleve's "Regement of Princes," a portion of Walton's verse translation of Boethius, and, in Macaulay's classification, an "intermediate" version of the "first recension" of CA. The scribe worked in the mid-15th century. On the basis of spelling, Mooney traces his origin to the area between Ludlow and Halesowen, in a line almost directly west of modern Birmingham, consistent with the earliest evidence of the ownership of the two books. Other contemporary MSS of CT with West Midlands affiliations indicate that this was "not a particularly unusual site for copying of these texts" (137). Both books are of high quality, on vellum, with extensive decoration. Harley 1758 has been heavily corrected, while Macaulay notes that the textual affiliations of CA in "X" change in mid-copy, indicating access to more than a single exemplar of each work. [PN. Copyright The John Gower Society: JGN 24.2]</text>
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            <element elementId="50">
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      <elementContainer>
        <element elementId="52">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="96393">
              <text>Gower was a moral poet, but lacking genius. [RFY1981]</text>
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        </element>
        <element elementId="97">
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          <description>Author/Editor</description>
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              <text>Brawley, Benjamin.</text>
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              <text>Brawley, Benjamin. A New Survey of English Literature: A Text Book for Colleges. New York: Knopf, 1925, pp. 25, 27, 31, 34, 37-38, 65. </text>
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            <elementText elementTextId="96396">
              <text>Backgrounds and General Criticism</text>
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                <text>1925</text>
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            <elementText elementTextId="92638">
              <text>After the reviewing various kinds of late-medieval scribal copying, Smith emphasizes the commonness of "scribal translation," by which, when confronting an exemplar written in a variety other than their own, scribes translated that exemplar into their customary language. Transmission of the CA differs from this norm, since it evidently had a high number of constrained scribes, that is, scribes who did not translate the language of their exemplar. One such scribe is that of Manchester, Chetham Library MS A.6.11, who reproduces Gower's forms even when they differ from his own preferred ones, as witnessed in his copy of "Gest Hystoriale." [TWM. Copyright. The John Gower Society eJGN 40.1]</text>
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          <elementTextContainer>
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              <text>Smith, Jeremy J. "A Note on Constrained Linguistic Variation in a North-west Midlands Middle-English Scribe." Neophilologus 80 (1996): 461-64.</text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="92641">
              <text>Manuscripts and Textual Studies&#13;
Language Word Studies&#13;
Confessio Amantis</text>
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                <text>A Note on Constrained Linguistic Variation in a North-west Midlands Middle-English Scribe.</text>
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            <name>Date</name>
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              <elementText elementTextId="92637">
                <text>1996</text>
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              <text>Strohm argues that the most appropriate "framework for understanding Gower's persona in action remains the threefold scheme which E. Talbot Donaldson first described in 'Chaucer the Pilgrim.' Just as Donaldson made us aware of the interaction in Chaucer's poetry between and among Chaucer the Pilgrim, Chaucer the Poet, and the historical Chaucer, so is our enjoyment of Confession Amantis sharpened by the interplay of Gower as Amans, Gower as Poet or 'auctor' of the 'presens libellus,' and the historical John Gower" (p. 295). Strohm goes on to point out how this interplay is made possible by the assumption that the text will be apprehended in written, not oral, form. He concludes that, in the end, all the three personae come together into one, just as Chaucer's do, in Donaldson's interpretation. [PN. Copyright the John Gower Society. JGN 3.2]</text>
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              <text>Strohm, Paul. "A Note on Gower's Persona." In Arts of Interpretation: The Text and Its Contexts 700-1600. Essays on Medieval and Renaissance Literature in Honor of E. Talbot Donaldson. Ed. Carruthers, Mary J and Kirk, Elizabeth D. Norman, OK: Pilgrim Books, 1982, pp. 293-297. ISBN 093766460X</text>
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          <name>Gower Subject</name>
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              <text>Confessio Amantis</text>
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              <elementText elementTextId="88718">
                <text>A Note on Gower's Persona.</text>
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              <elementText elementTextId="88719">
                <text>Pilgrim Books,</text>
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            <name>Date</name>
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              <text>Scholars have been "universally puzzled by the half-line 'for though he striue' in the speech of Gower which opens the second act of Pericles" (91). Warren suggests that "for though" equates to Middle English "forthi" (accordingly, therefore)and fits with the archaic language of Gower's speech in the passage as a whole. After providing a catalogue of similar old-fashioned expressions, Warren ends by stating three remaining problems. These are the fact that the text reads "for though" rather than "for thy"; the irregular meter produced by the intrusion of "though" into the line; and the odd form of "strive," which has in at least one edition been emended to "strives." Warren claims that the form "strive" could be a form of the preterite for both Gower and Shakespeare, and thus cautions against emending the line, suggesting instead that all that is called for is the kind of careful explication that he has provided. [CvD]</text>
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              <text>Warren, Michael J. "A Note on Pericles, Act II, Chorus 17-20." Shakespeare Quarterly 22.1 (1971), pp. 90-92.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="84881">
              <text>Confessio Amantis</text>
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            <elementText elementTextId="84882">
              <text>Influence and Later Allusion</text>
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              <elementText elementTextId="84874">
                <text>A Note on Pericles, Act II, Chorus 17-20</text>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="84875">
                <text>1971</text>
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              <description>A name given to the resource</description>
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            <elementText elementTextId="93429">
              <text>Translates MO, 1-2600. [RFY1981].</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="93431">
              <text>Mirour de l'Omme (Speculum Meditantis)&#13;
Facsimiles, Editions, and Translations</text>
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          </elementTextContainer>
        </element>
        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="98972">
              <text>Golding, Sanford, trans. A Partial Translation of Gower's Mirour de l'Omme. M.A. Thesis. New York University, 1954.</text>
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          </elementTextContainer>
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="93428">
                <text>1954</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="98973">
                <text>A Partial Translation of Gower's Mirour de l'Omme.</text>
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            </elementTextContainer>
          </element>
        </elementContainer>
      </elementSet>
    </elementSetContainer>
  </item>
  <item itemId="8670" public="1" featured="0">
    <collection collectionId="5">
      <elementSetContainer>
        <elementSet elementSetId="1">
          <name>Dublin Core</name>
          <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
              <elementTextContainer>
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    <itemType itemTypeId="18">
      <name>GowerType</name>
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      <elementContainer>
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          <elementTextContainer>
            <elementText elementTextId="85921">
              <text>Iwasaki points out that in Gower's English syntax "part of a subordinate clause may precede the connective" (205). By "connective" Iwasaki means conjunctions and relatives. As an example we may take the following lines: "Sche bad Yris hir Messagere / To Slepes hous that she schal wende" (4.2972-73). In the second line, the adverbial phase "To Slepes hous" precedes the connective "that." This type of inversion is quite common in the CA and even parts of a sentence that begin with "and" or "bot" may have their order reversed. Macaulay often correctly points out how a line should be construed, but neither he nor the original scribes are always consistent with how they punctuate such inversions. Gower's principal motivation for using this peculiar word order was likely to maintain the iambic rhythm of the line. [CvD]</text>
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        <element elementId="97">
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              <text>Iwasaki, Haruo</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="85923">
              <text>Iwasaki, Haruo. "A Peculiar Feature in the Word-Order of Gower's Confessio Amantis." Studies in English Literature 45 (1969), pp. 205-220.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="85924">
              <text>Style, Rhetoric, and Versification</text>
            </elementText>
            <elementText elementTextId="85925">
              <text>Confessio Amantis</text>
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        </element>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="85917">
                <text>A Peculiar Feature in the Word-Order of Gower's Confessio Amantis</text>
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          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="85918">
                <text>1969</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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    <itemType itemTypeId="18">
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            <elementText elementTextId="92530">
              <text>Green's essay digs into Gower's process of revision, looking at the successive versions of lines depicting a procession of beautiful ladies seen by Rosiphilee, as these lines are altered in Macaulay's three recensions of the CA. C. S. Lewis had drawn attention to the revision of these lines in his "The Allegory of Love," citing the line in its third recension form as evidence for Gower's aesthetically demanding revisions of his own work. Green finds this account unpersuasive, and tracks a more complex path. Green argues that the revision from first to second recension was made in order to produce a couplet that would be more resistant to scribal error. This revision however, creating the couplet, "The beaute of here faye face / There mai non erÞly Þing deface," produced its own difficulty, as the lines in this form might easily seem to suggest that these ladies were fairies, the belief in which, as Green has argued in his "Elf Queens and Holy Friars," had been the subject of a systematic and hostile ecclesiastical campaign. Green thus reads the subsequent revision, that of Macaulay's "third recension," ("The beaute faye upon her face / Non erthly thing it may desface") as Gower's attempt to make it "clear that it is fairy beauty, not the fairies themselves, that is at issue" (225). In tracing Gower's careful negotiation of the language of fairies and fairyland, Green concludes that these revisions demonstrate that "Gower was far readier than Chaucer to respond to the imaginative appeal of fairyland, even as he paid lip-service to the conventional morality of those clerics who were determined to render it impotent" (226). [EK. Copyright. The John Gower Society eJGN 40.1]</text>
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              <text>Green, Richard Firth.</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="92532">
              <text>Green, Richard Firth. "A Poet at Work: John Gower's Revisions to the 'Tale of Rosiphilee'." In Studies in the Age of Gower: A Festschrift in Honour of R. F. Yeager. Ed. Susannah Mary Chewning. Cambridge: D. S. Brewer, 2020. Pp. 217-226.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="92533">
              <text>Confessio Amantis&#13;
Manuscripts and Textual Studies</text>
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            <description>A name given to the resource</description>
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                <text>A Poet at Work: John Gower's Revisions to the "Tale of Rosiphilee."</text>
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              <text>Gower is a moral poet, deeply concerned with the welfare of soul and state. Highly influenced by romance styles of the Continent, particularly dream visions, he is representative of his times in not giving us much personal revelation in his poetry, despite his use of the first person and his naming Amans in CA John Gower. [RFY1981]</text>
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              <text>Robertson, D. W., Jr. A Preface to Chaucer: Studies in Medieval Perspectives. Princeton, N.J.: Princeton University Press, 1962, pp. 13-14, 230, 276n, 277-78, 280, 310, 311n, 377n, 452, 461</text>
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              <text>Backgrounds and General Criticism&#13;
Confessio Amantis</text>
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              <text>Notes CA II, 2459-95 as references to "Jack Juggler." [RFY1981]</text>
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              <text>Marienstras, R. "À Propos de 'Jack Juggler'." Études Anglaises 18 (1965): 167-68. </text>
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              <text>Influence and Later Allusion</text>
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              <text>Both the Spanish translation of CA and the newly rediscovered Portuguese translation on which it was based are marked, Balestrini points out, by a fidelity to the original that corresponds better to modern expectations of a translator than it is characteristic of the practices of most medieval authors who reworked texts from other languages. The comparison of the translators' work with Gower's has nonetheless allowed earlier scholars to note a number of adjustments and alterations made for the benefit of the readers of a culture different from that of the English author. Balestrini builds upon these earlier studies in examining the effects of changing Gower's verse into prose, which she links to a shift from public to private reading in which the English lagged behind their continental contemporaries. Restricting herself to the CA Prologue, she points to the provision of chapter numbers (together with titles derived from the Latin summaries that were originally placed in the margins of Gower's text) and to a number of small revisions--some instances of amplification, the fuller provision of information that is only implicit in Gower's verse, the elimination of redundancy and other evidence of ornament, the insertion of conjunctions, the straightening out of the word order, and the omission of generic citations of authority such as "if that ye rede"--as evidence of the economy and efficiency that made prose more appealing than verse to late medieval readers. [PN. Copyright The John Gower Society. JGN 21.1]</text>
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            <elementText elementTextId="83882">
              <text>Balestrini, María Cristina. "A Propósito del Prólogo de la Confesión Del Amante." Letras 40-41 (2000), pp. 100-106. ISSN 0378-4878</text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="83883">
              <text>Facsimiles, Editions, and Translations</text>
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            <elementText elementTextId="83884">
              <text>Confessio Amantis</text>
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                <text>A Propósito del Prólogo de la Confesión Del Amante</text>
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                <text>2000</text>
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              <elementText elementTextId="83878">
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            <elementText elementTextId="95704">
              <text>A comparison of Shakespeare's version of the Apollonius of Tyre story with Gower's, with a conclusion that Shakespeare could have found a "wise and learned hero" in CA. [RFY1981]</text>
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              <text>Greenfield, Thelma. "A Re-examination of 'Patient' Pericles." Shakespeare Studies 3 (1967): 51-61. </text>
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        <element elementId="56">
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            <elementText elementTextId="95707">
              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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                <text>1967</text>
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            <elementText elementTextId="93880">
              <text>Gower and Chaucer were friends, as is shown in CA. [RFY1981].</text>
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              <text>Benson, Larry D.</text>
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            <elementText elementTextId="93882">
              <text>Benson, Larry D. "A Reader's Guide to Writings on Chaucer." In Geoffrey Chaucer. Writers and their Background (Athens: Ohio University Press, 1975), pp. 332-33. </text>
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            <elementText elementTextId="93883">
              <text>Biography of Gower&#13;
Confessio Amantis</text>
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                <text>A Reader's Guide to Writings on Chaucer.</text>
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              <text>Whittock, Trevor. A Reading of the Canterbury Tales. Cambridge: Cambridge University Press, 1968, pp. 106, 110-16, 285n</text>
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        <element elementId="56">
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            <elementText elementTextId="95060">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations&#13;
Style, Rhetoric, and Versification</text>
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        <element elementId="52">
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              <text>Compares Chaucer's "Man of Law's Tale" with Gower's Tale of Constance in CA, Book II, 587ff., which Whittock finds "flat and dull" by comparison even though it "fairly successfully fuse[s] pathetic realism with credulous acceptance of improbabilities"; the tones of the narratives differ. [RFY1981; rev. MA]</text>
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            <elementText elementTextId="95955">
              <text>Gower is like Dante and Langland in fearing church corruption, and stating it directly. [RFY1981]</text>
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              <text>Huppé, Bernard. A Reading of the Canterbury Tales.. Albany: State University of New York, 1964. Rev ed., 1967, pp. 190, 219.</text>
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                <text>A Reading of the Canterbury Tales.</text>
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              <text>Gillhammer examines manuscripts in which "leaves containing a specific text are incorporated into a different manuscript than the one for which they were originally intended, thus being put to use in a new manuscript without rewriting or palimpsesting." Oxford, Trinity College MS 29, a paper MS compiled and written by a single scribe ca. 1482, borrows from print and MS sources to compose a history of the world from the creation to Hannibal. It is in prose, except for fols. 189r-192v, which contain "Confessio Amantis" Pro. ll. 567-1088, "Nebuchadnezzar's Dream," in verse. [RFY. Copyright. John Gower Society eJGN 41.2.]</text>
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              <text>Gillhammer, Cosima Clara.</text>
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              <text>Gillhammer, Cosima Clara. "A Recycled Extract from Gower's Confessio Amantis in Oxford, Trinity College, MS 29." Notes and Queries 68.1 (2021): 12-18. </text>
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              <text>Manuscripts and Textual Studies&#13;
Confessio Amantis</text>
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                <text>A Recycled Extract from Gower's "Confessio Amantis" in Oxford, Trinity College, MS 29.</text>
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                <text>2021</text>
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              <text>Using the evidence of Gower's internally datable poems, Carlson is able to construct a pattern in the development of the poet's use of rhyme as a stylistic ornament in his Latin verse. Gower's first compositions – the earliest portions of VC – are in the "relatively more informal and conversational" (15) unrhymed elegiac distichs. Leonine verses – in which the word preceding the caesura rhymes with the final word in the line – do occur, but at a rate (around 20%) consistent with chance, given the limited number of word endings in Latin, and most of these are monosyllabic rather than disyllabic. Some evidence of the use of rhyme for rhetorical effect can be found in passages in which leonines appear in higher than normal concentration, which tend to occur at the beginnings or endings of important sections. The opposite extreme is provided by the more elevated, more serious, and more ornate hexameters of CrT, with regularly occurring disyllabic rhyme. The Latin epigrams in CA are in the style of VC: the final six hexameters, however ("Explicit iste liber . . .") are in the style of CrT, and the couplet rhyme in the third and fourth lines suggests (as Siân Echard recently argued) that the two verses that follow, beginning "Derbeie Comiti," should be regarded as a separate poem. The turning point in Gower's use of rhyme, according to Carlson, is the "Carmen super multiplici viciorum pestilencia" of 1396-97, which mixes unrhymed sections largely lifted from VC with new passages in leonine hexameters, heavy with disyllabic rhyme, with the most ornate passages, incorporating rhyming couplets or repeated rhymes, again marking the beginnings and endings of sections of the poem. With these as his points of reference, Carlson suggests some revisions in the chronology of the less easily dated works. "Ecce patet tensus," in unrhymed elegiac distichs, he places before the 1390s. (R.F. Yeager, who had access to Carlson's essay in advance of publication, suggests on other grounds a date of 1398 in his recent edition of Gower's Minor Latin Works, p. 72; see JGN 26 no. 1 (April 2007): 19-22.) The poems with heavier use of rhyme, on the other hand, would be later, including "O Deus Immense," in the same style as CrT, and "Tractatus de lucis scrutinio," despite its similarities in content to VC. (Yeager, p. 55, suggests a date of 1392-95.) Carlson also proposes different periods for the revisions in VC, but he also suggests some caution, noting on the basis of "Rex Celi Deus" that "even after he began to work with disyllabic rhyme, Gower retained considerable tolerance for unrhymed lines and monosyllables" (46). Carlson concludes with some speculations on the driving force in Gower's stylistic development, whether it had a "strictly literary-internal genesis" (49) or was related to a literary effort to reassert "right order" after Henry's usurpation; and he finally links Gower's more ornate style to "the same self-monumentalizing ambitions represented by Gower's late editorial business over his own work" (50) as he organized his literary legacy in his final years. [PN. Copyright The John Gower Society. JGN 26.2]</text>
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              <text>Carlson, David R. "A Rhyme Distribution Chronology of John Gower's Latin Poetry." Studies in Philology 104 (2007), pp. 15-55. ISSN 0039-3738</text>
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          <elementTextContainer>
            <elementText elementTextId="84638">
              <text>Style, Rhetoric, and Versification</text>
            </elementText>
            <elementText elementTextId="84639">
              <text>Vox Clamantis</text>
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              <text>Minor Latin Poetry</text>
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              <text>Cronica Tripertita</text>
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            <elementTextContainer>
              <elementText elementTextId="84631">
                <text>A Rhyme Distribution Chronology of John Gower's Latin Poetry</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="84632">
                <text>2007</text>
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          <elementContainer>
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              <name>Title</name>
              <description>A name given to the resource</description>
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          <name>Review</name>
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            <elementText elementTextId="96573">
              <text>List of works; calls Gower "no great poet." [RFY1981]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="96574">
              <text>Ciaramella, Michele.</text>
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          <elementTextContainer>
            <elementText elementTextId="96575">
              <text>Ciaramella, Michele. A Short Account of English Literature. London: Cassell, 1957, p. 24</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="96576">
              <text>Backgrounds and General Criticism</text>
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          </elementTextContainer>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="96571">
                <text>A Short Account of English Literature.</text>
              </elementText>
            </elementTextContainer>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="96572">
                <text>1957</text>
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  <item itemId="9923" public="1" featured="0">
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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      <elementContainer>
        <element elementId="52">
          <name>Review</name>
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          <elementTextContainer>
            <elementText elementTextId="95608">
              <text>A comparison of Gower and Chaucer shows how great was Chaucer's art, how inferior Gower's.</text>
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          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95609">
              <text>Evans, B. Ifor.</text>
            </elementText>
          </elementTextContainer>
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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95610">
              <text>Evans, B. Ifor. A Short History of English Literature. Harmondsworth: Penguin, 1940, pp. 19-20. </text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95611">
              <text>Sources, Analogues, and Literary Relations</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
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    <elementSetContainer>
      <elementSet elementSetId="1">
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            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="95606">
                <text>A Short History of English Literature.</text>
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              <elementText elementTextId="95607">
                <text>1940</text>
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              <description>A name given to the resource</description>
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            <elementText elementTextId="96453">
              <text>Comparison of Gower as a poet with Langland, Chaucer, and the "Pearl"-poet. General assessment, suggesting that Gower is as morally and socially concerned as Langland, as courtly as Chaucer, and not as critically aware as the "Pearl"-poet; also that he is a competent but not exciting writer. [RFY1981] </text>
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          <description>Author/Editor</description>
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              <text>Saintsbury, George. </text>
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            <elementText elementTextId="96455">
              <text>Saintsbury, George. A Short History of English Literature. New York: Macmillan; 1898, pp. 138-42 and passim.</text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="96456">
              <text>Backgrounds and General Criticism&#13;
Sources, Analogues, and Literary Relations</text>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="96451">
                <text>A Short History of English Literature.</text>
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            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="96452">
                <text>1898</text>
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  <item itemId="10033" public="1" featured="0">
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              <name>Title</name>
              <description>A name given to the resource</description>
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            <elementText elementTextId="96267">
              <text>List of works and neutral assessment: "sinuous, dull, uniform, but does not deserve to be swept away with scorn."  [RFY1981]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
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              <text>Gosse, Edmund. </text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="96269">
              <text>Gosse, Edmund. A Short History of Modern English Literature. London: Heinemann; New York: Appleton, 1898, pp. 16, 24-26</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="96270">
              <text>Backgrounds and General Criticism</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="96265">
                <text>A Short History of Modern English Literature.</text>
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            <elementText elementTextId="83088">
              <text>According to Roberts, Eliot's lines near the end of Movement I of the "East Coker" section of the Four Quartets, "I am here / or there or elsewhere," may echo CA Prol. 9, "Whan we ben dede and elleswhere;" if so, the allusion to Gower's passage helps clarify Eliot's use of "elsewhere" as a reference to a state beyond death. Roberts admits, though, that there is no way to certain that the evocation of Gower was deliberate. Indeed. He might have added that Eliot might not have needed Gower to suggest such a use for "elsewhere," and that without certainty that that was what Eliot really meant, there is really no evidence that Eliot had Gower in mind at all. [PN. Copyright The John Gower Society. JGN 13.1]</text>
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          <name>Author/Editor</name>
          <description>Author/Editor</description>
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              <text>Roberts, F. X.</text>
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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="83090">
              <text>Roberts, F. X.. "A Source for T.S. Eliot's Use of 'Elsewhere' in East Coker'." ANQ: American Notes and Queries 6 (1993), pp. 24-25.</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="83091">
              <text>Influence and Later Allusion</text>
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      <elementSet elementSetId="1">
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        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="83084">
                <text>A Source for T.S. Eliot's Use of 'Elsewhere' in East Coker'</text>
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            </elementTextContainer>
          </element>
          <element elementId="40">
            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
            <elementTextContainer>
              <elementText elementTextId="83085">
                <text>1993</text>
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              <text>Thorpe, Lewis</text>
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              <text>Thorpe, Lewis. "A Source of the Confessio Amantis." Modern Language Review 43 (1948), pp. 175-181.</text>
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              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Confessio Amantis</text>
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              <text>Thorpe finds an analogue for the Tale of the False Bachelor (from Book 2 of the CA) in the story "Annulus," a brief exemplum told by the Empress in the thirteenth-century romance Le Roman de Marques de Rome. The Marques is a sequel of sorts to The Seven Sages of Rome, a tale collection Gower and Chaucer both borrowed from. Most extant manuscripts of the Marques also include the Seven Sages, and so it seems quite likely that Gower drew upon it directly, and did not consult a shared parent source. Thorpe provides a detailed parallel transcription of tale and source and notes some striking similarities in phrasing. Notable differences, on the other hand, include the intended moralitas or frame, the fact that Gower's version goes on for another 67 lines (describing the Bachelor's punishment), and the greater preoccupation of the Marques with aspects of contemporary warfare. Despite these differences, Gower's general indebtedness is clearly evident. [CvD]</text>
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                <text>A Source of the Confessio Amantis</text>
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                <text>1948</text>
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              <text>The question of Gower's legal training and practice is Sobecki's point of departure, from which he challenges long-held assumptions about the nature of Gower's early relationship with Chaucer and lays groundwork for substantial new ideas about Chaucer's life and literary activities in Southwark, the original audience of the "Canterbury Tales," and the inspiration for the "General Prologue." That Chaucer wrote for a "Southwark audience," (645) and that the GP is modeled (at least in part) on the historical "Harry Bailey's check-roll of the poll tax reassessment of 1381" (653) are significant claims, but I focus here on Sobecki's concerns with Gower, particularly his argument that Gower was a trained, practicing lawyer. Anchoring this argument about Gower's legal standing, Sobecki revisits the Septvauns affair in 1365-69, from which he deduces that Gower may have "worked at the Court of Chancery" (640) at the time, leaving the nature of that work unspecified as indeed it must be since we know little of the early history of the legal procedures of the nascent institution. As others have done before, Sobecki cites (and reproduces) the fifteenth-century miniature from the 1460s that depicts the Court of Chancery, assuming it to be evidence of legal garb in the previous century. The miniature serves as backdrop to Sobecki's interpretation of the reference to striped sleeves in "Mirour de l'Omme" (21.772-75), reading the reference as feigned deference to legal hierarchies. Saying he wore only "la raye mance" ("striped sleeves"--not the red and blue of the cleric), the narrator of MO "inserts his status" as secular lawyer, Sobecki maintains, "into a professional hierarchy that places the canon law at its pinnacle," an example of "the paradoxical idiom of aspirational humility, so common in retractions and other medieval instances of simulated deference." That the "compliment [to clerical canon lawyers] . . . is feigned" is "confirmed" by the narrator's insistence that he knows "little Latin and little French" in the midst of a French poem of "almost twenty-five thousand lines" (633). These claims, it seems to me, beg stronger engagement with questions of the relation between Gower and his narrator, which Sobecki touches upon only lightly, and he only nods at the fact that other professionals wore striped garb. Similarly, he supports his claim that "gowns matter to Gower" (634), with two comments where, again, the narrator of MO "bewails the abuse of professional robes" when speaking of "those who wear the garb of law" (635). Offering additional, "circumstantial evidence" to associate Gower and his works with the Court of Chancery," Sobecki continues, more certain than most scholars on this topic: "I would argue that Gower was not only a trained lawyer, but . . . was also linked to Chancery and . . . to the court's developing equity side, in particular" (635-36). He then offers "new evidence" for his claim: four "previously unknown legal documents from the Court of Common pleas" (636) dating from 1396 and 1399 that refer to Gower. Three of them record that, in actions related to debts owed him, Gower sued "in propria persona," a phrase "used when someone appeared in court in person" (636), that is, without a representing attorney; the fourth shows that in one of these actions Gower used an unnamed attorney temporarily, to whom he paid (or intended to pay) one pound. Sobecki does not demonstrate--and nowhere claims--that only trained lawyers appeared "in propria persona" in late-medieval England, so it seems to me that the new documents, valuable as they are on their own as newly discovered life records, do not evince that formal legal training was necessary for Gower to present his own pleas. Our knowledge about such training and practice at the time is limited, as are details about the relations among legal training, bureaucratic clerking, and similar activities in the Chancery and elsewhere. Furthermore, there are at least six other known documents (five also from the Court of Common Pleas) in which an attorney appears for Gower (see pp. 11-12 and 17-18 of Martha Carlin's "Chronology of John Gower's Life Records" in Rigby and Echard's Historians on Gower, 2019); so, if nothing else, a lawyer represented him more often than he represented himself. Sobecki significantly expands the base of evidence that Gower had experience with several sorts of legal proceedings, but the jury is still out, so to speak, on whether or not he can be, or should be, considered a career lawyer. [MA. Copyright. The John Gower Society. eJGN 39.2]</text>
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              <text>Sobecki, Sebastian.</text>
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              <text>Sobecki, Sebastian. "A Southwark Tale: Gower, the 1381 Poll Tax, and Chaucer's 'The Canterbury Tales'." Speculum 92 (2017): 630-60.</text>
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              <text>Biography of Gower&#13;
Mirour de l'Omme (Speculum Meditantis)</text>
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                <text>A Southwark Tale: Gower, the 1381 Poll Tax, and Chaucer's "The Canterbury Tales."</text>
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              <text>Epstein opens his essay by pointing out that Gowerians have widely accepted that changes made between the first and third recensions of CA (a putative second recension being discredited) reflect changes in Gower's view of royal authority from absolutist (Ricardian) to constitutionalist (Lancastrian). He questions neither the recensions nor their sequencing, but argues that their differences "might best be understood not as the conflict between absolutism and constitutionalism, but rather as the tension between 'divine' and 'sacred' [elsewhere 'sacral'] kingship" (61), a distinction he derives from the combined studies of anthropologists Marshall Sahlins and David Graeber, "On Kings" (2017). Sacral kingship, according to Sahlins and Graeber in Epstein's summation, is "the original principle of kingship in all societies," characterized by an understanding of the king as "meta-human" rather than "god-like," distinguished by the "key-concept" of the "stranger-king" (59), and sacralized through ritual in order to maintain the king's separateness from his people while "containing the power of the king." Further, the sovereignty of the king and the sovereignty of the people "share an ontogeny" (60) producing an ongoing tension, sometimes manifest in carnivalesque versions of regicide. After explaining Sahlins and Graeber's theory of kingship as an "anthropological phenomenon" (58) in this way, Epstein applies it to portions of CA, reading the exempla of Book 7, for example, as concerned with the limiting of kingship: "not about the power of the king but rather about the containment of the latent claims of divine kingship" (64), and, to take another example, observing that Henry, even in the third recension (Prologue and end of Book 8), is "not . . . a prospective king," but a figure of "divinely ordained knighthood that can restrict the power of the king" (67). When Richard is "banished from the third recension," as Epstein puts it, he is replaced not by Henry, but by an "'Engelond' that emerges in the imaginative absence of Richard II"--a "corporate resistance to royal authority, sacral in reaction to claims of divinity, emerging as sovereign statehood" (68), and, just possibly, a "modern moment--the supplanting of a sacral king by the state apparatus originally invented to contain him" (70). [MA. Copyright. The John Gower Society. eJGN 39.2]</text>
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              <text>Epstein, Robert. "A State above All Other: The Recensions of Confessio Amantis and the Anthropology of Sovereignty." In Martha Driver, Derek Pearsall, and R. F. Yeager, eds. John Gower in Manuscripts and Early Printed Books. Publications of the John Gower Society, no. 14. Rochester, NY: Brewer, 2020. Pp. 55-70.</text>
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            <elementText elementTextId="92133">
              <text>Confessio Amantis&#13;
Manuscripts and Textual Studies</text>
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              <elementText elementTextId="92128">
                <text>A State above All Other: The Recensions of "Confessio Amantis" and the Anthropology of Sovereignty.</text>
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              <elementText elementTextId="92129">
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              <text>Brief biography and description of major works; the tales of CA are "too dull to occupy interest of present-day readers." [RFY1981; rev. MA]</text>
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              <text>Simonds, William Edward.</text>
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              <text>Simonds, William Edward. A Student's History of English Literature. Boston: Houghton Mifflin, 1902, pp. 54, 58-59, 66, 69, 84, 86</text>
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              <text>Backgrounds and General Criticism</text>
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                <text>1902</text>
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          <elementTextContainer>
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              <text>Achorn, John Howard</text>
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          <description/>
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              <text>Achorn, John Howard. "A study of 'Apollonius of Tyre': Three English Adaptations of an Ancient Greek Romance." PhD thesis, University of Toronto, 1998.</text>
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            <elementText elementTextId="82292">
              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Confessio Amantis</text>
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            <elementText elementTextId="91175">
              <text>"This thesis involves three English versions of Apollonius of Tyre: the Old English translation (OE) of the Historia Apollonii Regis Tyri (HA), John Gower's version (CA) in the Confessio Amantis, and Shakespeare's Pericles. I discuss the social climate surrounding the production of each work and then concentrate on the tale's restorative property, particularly as it relates to gender issues. "Because HA represents the 'architext' of all subsequent versions, my Introduction fo-cuses on it. I compare HA to five extant Greek romances of an earlier period to ascertain what features they share, and to determine what distinguishes HA. HA's affiliation with hagiography proves especially instructive. The story's Providential motif is the source of the story's restorative power. However, along with this motif comes the potential for subversive content. This thesis examines the extent to which each text handles these seemingly divergent aims. "OE contains additional Christian resonances. As a result, the Providential motif becomes more evident. However, OE also retains the emphasis HA places on female rights, and therefore proves subversive of the norm. In contrast, Gower's text seeks to restore a Golden Age, one saturated in patristic ideals. The Providential motif is elaborate, but since CA seeks to reclaim past order, the subversive element gets quelled. Shakespeare revitalizes it. He gives voice to orthodoxy by means of his choric figure, but also raises questions about the ade-quacy of this figure and insists upon the value of femininity. "In the final analysis, all three versions prove restorative. CA offers hope by giving a clear message about the truth of Providence: despite the vagaries of fortune, Appolinus's life has meaning in the end. OE and Pericles have a restorative effect, too, only these works achieve this effect in a different way. Both contain Providential overtones, but more importantly, by presenting a liberal view towards women's rights and by projecting current institu-tions as harmful to the welfare of a nation, both inspire a healthy rejection of patriarchal norms.</text>
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              <elementText elementTextId="82285">
                <text>A study of  'Apollonius of Tyre': Three English Adaptations of an Ancient Greek Romance</text>
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              <text>Attempts to assess sequence structurally, historically, critically, and artistically. Covers criticism of CB; imagery used, including natural imagery; philosophical ideas present; mythological elements; some attempt to place sequence in the tradition of courtly love. [RFY1981].</text>
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          <description>Author/Editor</description>
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              <text>Hagman, Lynn Wells.</text>
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              <text>Hagman, Lynn Wells.  A Study of Gower's "Cinkante Balades." Ph.D. Dissertation. University of Detroit, 1968. Dissertation Abstracts International 29:1207A-8A. </text>
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              <text>Cinkante Balades&#13;
Style, Rhetoric, and Versification</text>
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                <text>A Study of Gower's "Cinkante Balades."</text>
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                <text>1968</text>
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              <text>In the lengthy narrative poem "Confessio Amantis" by John Gower (c.1330-1408), the poet of later medieval England, delight and education are termed as "lust" and "lore" respectively. The poem speaks of the "middel weie", meaning that the poet intends to keep a balance of lust and lore in the poem. This dissertation aims to demonstrate that the principle of the "lust" and "lore" balance is revealed throughout the poem. Using this as a foundation this study explores the authorship of the poet Gower in later medieval England and his CA. To date little significant attention has been paid to CA in Chinese academia. The issue of the "lust" and the "lore" in the poem has been in previous research mostly studied from the perspective of formal criticism. On the other hand, some scholars have approached the poem from the perspective of interest in an authorial intention dispute concerning whether the moral allegorical implications in the poem outweigh amoral narration in it. This study intends to take a more comprehensive view by focusing on its love narration, confessional narration, and advice narration, as well as its language and style, and adopts the method of poetic textual analysis in its historical context in order to carry out an examination of the "lust" and "lore" dichotomy in the poem. It is demonstrated that the principle of the "lust" and "lore" balance is followed throughout CA. In the love narration, the amoral "lust" and the rational "lore" reach a balance in terms of the effectiveness of expression with the assistance of the revelations of the lover's disguise. In the confessional narration, tales introduced as exempla are subject to the Seven Deadly Sins, but with the expressiveness of the tales, the "lust" of the tales and the "lore" of the Seven Deadly Sins reach a balance in terms of subjectivity; In the advice narration, the "lore" of the factually possible advice to the king is conveyed in the euphemistic way of delivering advice, by which the "lust" is revealed. The balance of the "lust" and "lore" is reached at the point of the difficulty in judging the practicality of the advice for a king as a genre of a Mirror for Princes. In addition, the language of the poem in the sense of its poetic form inclines to be in unified: this presents a formal and aesthetical "lust". The form of language and the "plain" style, which is enriched by the patriotic "lore", accommodate each other, consequently achieving a balance.&#13;
The dissertation demonstrates that the lust and lore in the poem not only reflects the style and meaning of the poem, but also reveals an encyclopaedic method of composition. The poet uses literary fictitiousness and imaginativeness to make the poem understandable and attractive, and he also makes the poem morally enlightening to satisfy social demands. While reaching the goal of conveying the themes, the principle of the lust and lore balance in the poem helps to extend the vision, to create an interesting reading experience, and to enrich nuances relating to the literariness and morality of the work. Since the poem interacts with other texts, works, and perception of reality in the course of its thematic expression, the encyclopaedic way of composing by combining fiction and real events are the reasons for the balance of lust and lore in the poem.&#13;
In conclusion, the dissertation indicates that the poet John Gower aims to convey a balance of "lust" and "lore". As a new style of work in his literary output, CA provides evidence for Gower's ability to write a secular work that also contains aesthetic qualities. The ethical and moral themes in the poem present critical views of the poet, reaffirming the "moral Gower" impression left by his previous works. The authorship of Gower as a poet is highlighted by the synthesis managed between the delightful "lust" and educating "lore" balance, so that Gower constantly keeps the narrative in an educating mode but not dull, and the tales catching but not misleading in conveying different themes. Delight and education are shared by other contemporary poets such as Geoffrey Chaucer, while the conservative balance of "lust" and "lore" by Gower is his major contribution to the literature of the period. [Copyright. The John Gower Society. eJGN 38.1.]</text>
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              <text>Wu, Xiaoling.</text>
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              <text>Wu, Xiaoling. "A Study of the 'Lust' and the 'Lore' in 'Confessio Amantis'." Diss. Zhejiang University, Hangzhou, China, 2019. Directed by Professor Hong Shen. (*N.B.: This dissertation is written in Chinese.)</text>
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              <text>Confessio Amantis</text>
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                <text>A Study of the "Lust" and the "Lore" in "Confessio Amantis."</text>
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              <text>Mainzer, H. C.</text>
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              <text>Mainzer, H. C. A Study of the Sources of the Confessio Amantis. D. Phil. Thesis. University of Oxford, 1967. Unrestricted access at https://ora.ox.ac.uk/objects/uuid:c2a3c312-a4ff-4873-b9c8-e98701c107e8; accessed August 1, 2022 [N.B. This is a large file]. </text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="94608">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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        <element elementId="52">
          <name>Review</name>
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            <elementText elementTextId="99211">
              <text>In his abstract, Mainzer identifies his goals as to "sift and collate work done on sources and analogues" of CA and "bring to light sources and analogues not previously noted." Extensive exploration of the sources of CA and the various traditions in which it participates--its framing techniques and organizational devices, individual tales, and thematic patterns. Concludes with a list of "Some of the books likely to have been used by Gower in writing" CA, with perceptive comments on his reading. [RFY1981; rev. MA].</text>
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                <text>A Study of the Sources of the Confessio Amantis.</text>
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            <elementText elementTextId="93510">
              <text>Submits various corrections to William Hain (1826). [RFY1981].</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
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              <text>Copinger, W. A.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="93513">
              <text>Facsimiles, Editions, or Translations&#13;
Confessio Amantis</text>
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              <text>Copinger, W. A. A Supplement to Hain's Repertorium Bibliographicum. Or, Collections toward a New Edition of That Work. 2 vols. London: H. Sotheran, 1895-1902, I, 234. </text>
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                <text>A Supplement to Hain's Repertorium Bibliographicum, </text>
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            <elementText elementTextId="93671">
              <text>Gives a description of Gower's tomb, and copies of all extant inscriptions; also a brief biography. [RFY1981].</text>
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        <element elementId="97">
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              <text>Stow, John.&#13;
Thomas, William, ed.&#13;
Kingsford, Charles Lethbridge, ed.</text>
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              <text>Stow, John. A Survey of London. London: J. Wolfe, 1598. Reprint, ed. William Thomas. London, 1842, p. 152; and ed. C. L. Kingsford. Oxford: Clarendon, 1908, II, 57-59. </text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="93674">
              <text>Biography of Gower</text>
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                <text>A Survey of London.</text>
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            <elementText elementTextId="96501">
              <text>Thumbnail outline of life and works, without assessment or commentary. [RFY1981]</text>
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        <element elementId="97">
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          <description>Author/Editor</description>
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              <text>Otis, William B.&#13;
Needleman, M. H.</text>
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          <description/>
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              <text>Otis, William B., and M. H. Needleman. A Survey-History of English Literature. New York: Barnes and Noble, 1938, pp. 53-54. </text>
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          </elementTextContainer>
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          <name>Gower Subject</name>
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            <elementText elementTextId="96504">
              <text>Backgrounds and General Criticism</text>
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            <elementText elementTextId="92280">
              <text>N.B.: This study is in Japanese: "Hi'ninshō yōhō no shūsoku katei ni okeru ichi danmen." Eigo Seinen. It surveys the use of verbs of dreaming "meten" and "dremen" in the works of Chaucer, Gower, and Langland. The verbs appeared with both dative (impersonal construction) and nominative (personal construction) subjects in the late fourteenth century, although the impersonal construction had started to disappear. First, the survey shows that Chaucer and Langland use both constructions, and Gower uses only the personal construction. Syntactically, the verbs tend to be used impersonally with a clausal complement (Type 1) or with no complement in a parenthetical expression like "as me mette" (Type 2), while used personally with a nominal one (Type 3). Next, dealing with Chaucer's examples, the study surveys the use of the two constructions in context. Sometimes co-occurring with the impersonal "thinken," Types 1 and 2 are used when a dream is described even though the speaker is uncertain about its veracity: the impersonal construction shows the speaker's uncertainty. In contrast, Type 2 is used when the focus of utterance is placed on the act of dreaming. Thus, the paper concludes that even in the midst of the transition, each construction functions differently. [English summary provided by Professor Ohno. Copyright. eJGN 39.2]</text>
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              <text>Ohno, Hideshi. "A Synchronic Analysis of Transition from the Impersonal to Personal Construction." The Rising Generation, 153/2 (2007): 110-13.</text>
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                <text>A Synchronic Analysis of Transition from the Impersonal to Personal Construction.</text>
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              <text>Eisner's book is primarily a source study of Chaucer's Wife of Bath's Tale, but he includes a chapter on Gower's Tale of Florent. Both stories are traced back (somewhat independently) to Irish myth and legend in which the loathly lady stood for the sovereignty of Ireland. This material was "elaborated in Wales, was carried by the bilingual Bretons to France and thence to Norman England" (15). Gower's version is very close to Chaucer's, but differs in including the following four motifs: "the stepmother who has enchanted the heroine, the hero who is identified as a nephew of his emperor, the choice offered the hero, and the anger displayed by Branchus's grandmother when Florent returned with the correct answer" (65). Especially the fact that Florent is the nephew of the emperor shows that the source text likely had Gawain as the hero and so belongs to the Matter of Britain. [CvD]</text>
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              <text>Confessio Amantis</text>
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                <text>A Tale of Wonder: A Source Study of the Wife of Bath's Tale</text>
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            <elementText elementTextId="84215">
              <text>The verbal parallel between Legend of Good Women Prologue F464-65, "For-why a trewe man, withouten drede, / Hath nat to parten with a theves dede," and VC 5.314, "Improba nec iustos scandala furis habent," and the similarity in general context suggest that Chaucer borrowed the phrase from Gower. The borrowing provides confirmation of Chaucer's knowledge of VC, and strengthens the case that the discussion of love and chivalry in VC 5 influenced the moral bearing of Troilus and Criseyde.] [PN. Copyright The John Gower Society. JGN 9.1]</text>
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              <text>Juby, W.H.. "A Theves Dede: A Case of Chaucer's Borrowing from Gower." ANQ: American Notes and Queries 1 (1988), pp. 123-125. ISSN 0003-0171</text>
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              <text>Influence and Later Allusion</text>
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              <elementText elementTextId="84211">
                <text>A Theves Dede: A Case of Chaucer's Borrowing from Gower.</text>
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      <elementContainer>
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          <elementTextContainer>
            <elementText elementTextId="93440">
              <text>Unexmined. [RFY1981].</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="93441">
              <text>Queenan, J. A., trans. </text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="93443">
              <text>Vox Clamantis&#13;
Facsimiles, Editions, and Translations</text>
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            <elementText elementTextId="98976">
              <text>Queenan, J., trans. "A Translation from Latin into English of the Third Book of John Gower's Vox Clamantis." Ph.D. Dissertation. Rutgers University, 1949. </text>
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              <elementText elementTextId="98977">
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          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="93418">
              <text>Ito, Masayoshi, trans.</text>
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        <element elementId="55">
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          <elementTextContainer>
            <elementText elementTextId="93419">
              <text>Ito, Masayoshi, trans. A Translation of Confessio Amantis into Japanese. Bulletin of the Faculty of Education (Shizuoko University) 26 (1976): 53-62; 27 (1977): 81-92; 28 (1978): 73-84; 29 (1979): 39-50.</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="93420">
              <text>Confessio Amantis&#13;
Facsimiles, Editions, and Translations</text>
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        <element elementId="52">
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          <elementTextContainer>
            <elementText elementTextId="99393">
              <text>A translation into Japanese of twenty stories from the CA, including "Florent," "Ceix and Alcyone." and "Ulysses and Telegonus." Unexamined. [RFY1981].</text>
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            <elementTextContainer>
              <elementText elementTextId="93415">
                <text>A Translation of Confessio Amantis into Japanese.</text>
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          <elementTextContainer>
            <elementText elementTextId="93434">
              <text>A close, readable English prose translation of the entire poem. [RFY1981].</text>
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              <text>Mirour de l'Omme (Speculum Meditantis)&#13;
Facsimiles, Editions, and Translations</text>
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            <elementText elementTextId="98974">
              <text>Wilson, William B. A Translation of John Gower's Mirour de l'Omme. Ph.D. Dissertation. University of Miami, 1970. Dissertation Abstracts International A31.04. Restricted access to full text at Proquest Theses and Dissertations. </text>
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            <elementText elementTextId="93446">
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              <text>Stockton, Eric W., Jr., trans.</text>
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Facsimiles, Editions, and Translations</text>
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              <text>Stockton, Eric W., Jr., trans. "A Translation of John Gower's Vox Clamantis, with an Introduction and Notes." Ph.D. Dissertation. Harvard University, 1952.</text>
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              <text>Smyser sets out to determine whether Chaucer's interest in astronomy is characteristic "of fourteenth-century attitudes" or "primarily an individual interest and aptitude" (360). In general Smyser notes, nobody before Chaucer was interested in astronomy, but rather only in astrology. He takes Gower as a case-in-point, arguing that "Gower is in no sense an astronomer but only a compiler of astronomical-astrological data" because he fails "to grasp the concept of the zodiac" (361-63). [RFY. Copyright. John Gower Society eJGN 41.2.]</text>
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              <text>Smyser, Hamilton M. "A View of Chaucer's Astronomy." Speculum 45 (1970): 359-73.</text>
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              <text>Yeager begins by observing several scholarly comments on composition, style and the place of marriage in thought, philosophy and poetry--all written about Spenser but which equally could apply to Gower. Yeager's argument throughout this essay is that there are parallels between Gower and Spenser's work which have hitherto been neglected, perhaps unsurprisingly given that Spenser only refers to Gower once, and Gower has only relatively recently been studied in earnest in modern scholarship. Nevertheless, Gower's CA would have been readily available to Spenser, whether in manuscript form--"manuscripts in general were ordinary and available to the Elizabethans" (76), Yeager notes, and there were likely more manuscripts of the CA in the sixteenth century than the forty-nine whole witnesses extant today--or in print, in the three printed editions by Caxton and Berthelette. Given Spenser's reputation for being widely read, it is unlikely that he would not have encountered Gower, and indeed Rosemond Tuve established that Spenser may have had access to the CA based on the signature "Spenserus" next to lines from Ovid in a fifteenth-century CA manuscript. Yeager then traces possible references and allusions in "The Faerie Queene" to the CA, while acknowledging that Spenser could have drawn on other similar texts and traditions. The hypocritical priest Archimago in FQ, Book I, has traditionally been linked with Faus Semblant in the "Roman de la Rose," but could also be connected with Falssemblant in Book II of the CA and throughout the "Mirour de l'Omme." This Gowerian link is strengthened by figures (Archimago and Falssemblant) that Spenser and Gower both present as emblems of Envy. Yeager further suggests that the story of Paridell and Hellenore in Book III of FQ parallels Gower's version in Book V of the CA. Yeager concludes by considering why Spenser, typically an avid name-dropper, may have consciously avoided referring to Gower. Spenser was keenly aware of his literary reputation and afterlife, and may not have wished to associate his name with Gower's Catholicism. Gower was also not as authoritative a name for Spenser to invoke as Chaucer, who had emerged as the "Father" of English poetry. [RM. Copyright. John Gower Society. eJGN 43.2]</text>
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              <text>Yeager, R. F. "Absence Is Presence: The Confessio Amantis and The Faerie Queene." Spenser Studies: A Renaissance Poetry Annual 38 (2024): 73-87.</text>
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              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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                <text>Absence Is Presence: "The Confessio Amantis" and "The Faerie Queene."</text>
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              <text>Schutz, Andrea. "Absent and Present Images: Mirrors and Mirroring in John Gower's Confessio Amantis." Chaucer Review 34 (1999), pp. 107-134. ISSN 0009-2002</text>
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              <text>Gower is "fascinated by the individual's reaction to things seen---particularly the self seen in a mirror---as much as he is concerned by the results of those reactions." The tales of CA, moreover, are "a series of mirrors by means of which Amans must examine himself" (both quotations on p. 107). Schutz is concerned with the analogy between these two processes, and she discovers that Gower represents the process of Amans' approach to self-understanding not only through his reactions to Genius' lessons but also through the transformations in the use of mirror imagery in four of Genius' tales, all in Book 1. The "sins of sight" constitute an important "preamble" to Book 1. The lover's sight of his beloved is linked to the painfulness of his experience of love. At the same time, Love is portrayed as blind, and thus both as arbitrary and as beyond the lover's control. The mirror imposes a different order on sight: it "throws the viewer back on himself: one must take responsibility for both the act of seeing and the state of being seen" (p. 109). The first two tales that Schutz examines, on Acteon and Medusa, are from the "preamble." Each is characterized by an "absent" mirror. Unlike his Ovidian counterpart, Acteon never has the moment of self-realization that occurs when he sees his transformed image in a pool of water: he is simply punished for his willful voyeurism (by means of Diana's sight). The absence of his self-reflection compels some sort of reflection from the reader, but none is yet forthcoming from Amans. In the tale of Perseus, Gower deletes the hero's use of the reflection in his shield as a way of avoiding looking directly upon the Gorgons: he simply does not gaze upon them at all. His "wisdom and prouesse mark him off from both Acteon and Amans: "Acteon takes too much heed of the world, Amans not enough; Perseus knows when to look and how to understand" (p. 113). The two tales are "mirrors" for one another, reinforcing the way in which each becomes a "mirror" for Amans. Amans, however, neither identifies with Perseus nor fully distinguishes himself from him: the honesty of his reaction marks a step forward in his "cure," and results in an alteration in the appearance of mirrors in the tales. Both "The Trump of Death" and the tale of Narcissus are concerned with recognition and reflections of self. The king in the first of these sees his own reflection in the faces of the old beggars. It is of course a reflection transformed: not apparent to others, it opens up a whole series of reflections of the spiritual in the worldly in the tale. Amans does not get the point, and Genius responds with the tale in which a youth falls in love with his own reflection. Narcissus turns out to be very much like Amans. Narcissus' "real sin is his folly of loving what does not love him. . . . This of course is Amans' problem, too. He is making a fool of himself over a woman who apparently cannot stand him" (p. 118). Only in Gower's version, moreover, does Narcissus believe that he sees a nymph, suggesting both the impossibility of his own self-knowledge and the way in which Amans images a lady who is actually a reflection of himself. The tale thus also offers a lesson on the ambiguity of images and of the need for interpretation. Amans is prevented from understanding fully what he might learn about himself because of the obstinacy of his will. At the end, however, he is given a direct glimpse into the mirror of self-awareness and he learns the truth about himself that eludes Acteon, the King of Hungary's brother, and Narcissus. One must have some obvious reservations about a study of CA that skips over Books II-VII. In its obsession with mirrors it is also a bit dizzying, very much a hall of mirrors itself in which it is difficult to hold any image clearly in view. This is a nonetheless both a fascinating and a challenging study. [PN. Copyright The John Gower Society. JGN 19.1]</text>
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                <text>Absent and Present Images: Mirrors and Mirroring in John Gower's Confessio Amantis.</text>
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              <text>"Absent Narratives argues for the structural centrality of missing stories -- those implied, alluded to, or fragmented -- in medieval narrative. Chapters devoted to Chaucer, Gower, Malory, and the Gawain-poet discuss the manifestations and operations of the untold in terms of repression and its attendant parapraxes. By engaging the structure of these works at a level of narrative excess -- that is, precisely where critical commentary breaks down (or is markedly absent itself) -- Absent Narratives formulates a theory of how texts "speak" out of what they "hide." Employing a postructuralist model of repression in order to describe the effect of the untold and unspoken upon narratives, Absent Narratives theorizes a 'textual unconscious' in medieval narrative and manuscript culture." [JGN 15.1]</text>
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                <text>Absent Narratives: Medieval Literature and Textual Repression</text>
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                <text>1994</text>
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              <text>Kerby-Fulton's essay serves as an introduction to a cluster of essays, commenting on each of the essays to come. Thus she mentions, rather than discusses, Scribe B's "brief stint" in Cambridge, Trinity College MS R.3.2, and Doyle and Parkes' Scribe D (the "warhorse of Gower copying") and Scribe E, whom Doyle and Parkes concluded was Thomas Hoccleve. [RFY. Copyright. John Gower Society. eJGN 44.1]</text>
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              <text>Kerby-Fulton, Kathryn. "Adam Pinkhurst and the Baffled Jury: Assessing Scribal Identifications within the Margin of Error." Speculum 99.3 (2024): 664-87.</text>
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              <text>Ronan's book is remarkable in several ways, not least because it begins by explaining his interest in "addiction literature" as having grown from his own decade-long experience as a drug addict, now recovered. Following a substantial introduction, "Premodern Addiction and Addiction," the book has six chapters: 2, "Modern Addiction Discourse," 3, "Modern Addiction Literature," 4, "Premodern Discursive and Didactic Texts," 5, "Addicted to Love in Premodern Literature," 6, "Anthropomorphised Beasts and Bestial Men." In chapter 4 (133-84), Ronan traces the idea of addiction as considered by Plato, Aristotle, Prudentius, Boethius, and Thomas Aquinas. In chapter 5 (185-244)--following an unexpected opening referencing Robert Palmer, the Chambers Brothers, and Smokey Robinson--he takes up love (quoting Jacalyn Duffin) as "burning desire, lust, and rest-of-your-life, self-obliterating adoration" (186), the kind of love, in other words, found in Ovid's "Remedia Amoris" (Ronan compares Ovid's advice to "modern addiction recovery discourses" [191]), Chaucer's "Troilus and Criseyde" (a "diseased" Troilus presents "the common narrative traits of modern Addiction Literature: initial hubris, a progressive and chronic loss of agency, ignored negatives, and the need for intervention" [195]), and Gower's Confessio Amantis," where "the frame narrative . . . represents one of the most significant, sustained and wide-ranging examples of Middle English poetic engagements with the issues of impaired personal behavioural agency" (210). Ronan thus pays particular attention to the frame, something that he asserts "Macauly" [sic, throughout] got wrong (215-17), because it is in the frame that readers encounter Amans, whose "addiction to love" justifies the process of the poem. Ronan concurs with C. S. Lewis that the CA "tells the story of the death of love" (215) and this for Ronan amounts to a glad--if complicated--ending, since "love" in Amans' terms amounts to addiction, its death in Ronan's parlance recovery and "renovation" (217). Yet what Amans relinquishes at the poem's conclusion is only a kind of love, not love itself, which has many positive aspects: love of family, of community, of God. Thus, "love in the 'Confessio' is never depicted in a wholly negative light, but it is depicted as possessing a capacity for being misused. The behaviour of Amans is not in need of intervention and correction because he is a lover, but because he loves futilely and out of measure of reason" (221). For Ronan, recovery narrative unlocks the secret of the CA's structure, which seen from this viewpoint, he asserts, is fully coherent. Even the many tales told by Genius, some of them seemingly conflicting, fit, because Genius recognizes the need to be "slyh / To hem which hath the need on honed" (8.2064-65), that is, to distract while the cure settles in. (In this Genius channels Ovid's advice in the "Remedia" [236-40]). [RFY. Copyright. John Gower Society. eJGN 44.1]</text>
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              <text>Ronan, Mark. Addiction Literature's Past and Present. Cham, Switz.: Palgrave Macmillan, 2024. </text>
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              <text>Compared to Shakespeare's other plays, "Pericles" displays "[an especially close] adherence to its sources," thus "making evaluation of tradition and innovation one of its central themes." Per Velez, the audience of "Pericles" is called upon "to reevaluate assumptions about their own world, especially regarding the distribution of prestige and power," and to favorably consider innovation (142). When Shakespeare does deviate from his source, he does so strategically, changing the name of the hero from Gower's Apollonius to Pericles as Plutarch's Pericles engaged with the lower classes of ancient Athens (143). Personifying literary "auctoritas," the character Gower sets an example by modernizing the style of his verse from the archaic diction of his opening Chorus to "the loose pentameter common to Shakespeare's other characters" in the Epilogue that closes the play (145). Social hierarchy is subtly interrogated throughout. Pericles owes his life to the fisher folk who provide him with the suit of armor that enables him to win his bride, even as the fishermen are heard to "complain about the rich" in terms that echo a Jacobean peasant uprising (146). Pericles promises to reward them for their service, but he never does, calling into question the "hegemonic ideologies" that support his high position (146). Deviating from his source in "Confessio Amantis," Shakespeare has Pericles stay home after his family is reunited, allowing "a mob of commoners" to mete out justice to his daughter's foster parents, thus indirectly supporting a popular check on the divine right of kings. Per Velez, "the theatre is a place where those silenced by convention are heard," albeit with a distancing designed to elude the Jacobean censors (148-49). Even the traditional figure of "moral Gower" "serves to . . . reexamine assumptions, let go of the past, and adopt new conventions to meet the future" (149). [LBB. Copyright. John Gower Society. eJGN 42.1]</text>
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              <text>Velez, Megan. "Adherence and Deviation: Pericles's Slow Progress toward Social Change." The Journal of the Wooden O 20 (2020): 142-50.</text>
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              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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                <text>Adherence and Deviation: Pericles's Slow Progress toward Social Change.</text>
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              <text>A passage from CA provides one of three samples of non-Chaucerian English of the late fourteenth and early fifteenth centuries that Minkova uses to verify the consistency of the classic rule on preservation of final -e on monosyllabic adjectives in weak position that was formulated based on Chaucer. The other two texts are "The Bodley Version of Mandeville's Travels," ed. M.C. Seymour, and "Songs and Carols from a Manuscript in the British Museum of the Fifteenth Century," ed. Thomas Wright (British Library MS Sloane 2593), evidently in their entirety. The degree of conformity to the "rule" is about the same as has been reported for Chaucer, some 90% of possible instances or better. Minkova goes on to suggest that prosody rather than grammar provides the best explanation for the preservation of the final -e: citing the "Principle of Rhythmic Alternation," Minkova points out that the final unstressed syllable serves to separate two stressed syllables not only in the case of monosyllabic adjectives after an article but also in some of the other less easily categorizable instances in which it is found, e.g. in prepositional phrases such as Gower's "for pure dredde." The suggestion is interesting and plausible, but an argument based on prosody surely requires a comparison of the survival in verse and in prose. Minkova also makes no reference to the quality of our surviving texts; some of the studies of Chaucer that are cited are based on editions that were themselves regularized for meter, and the danger of a circular argument sneaks in here in the discussion of Gower: meter is used to verify the survival of -e in the passages that are listed, but then these passages are used to document the importance of the meter. There is, finally, a bit of confusion over the contents of CA. "My sample is taken from the Tale of Ulysses and Telegonus and The Tale of Nectanabus (the entire Liber Sextus of Confessio Amantis . . .)," Minkova states, evidently knowing the poem only from the extracts contained in Peck's edition. [PN. Copyright The John Gower Society. JGN 12.1]</text>
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              <text>Minkova, Donka. "Adjectival Inflexion Relics and Speech Rhythm in Late Middle and Early Modern English." In Papers from the 5th International Conference on English Historical Linguistics, Cambridge, 6-9 April 1987. Ed. Adamson, Sylvia. Amsterdam: Benjamins, 1990, pp. 313-338.</text>
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                <text>Adjectival Inflexion Relics and Speech Rhythm in Late Middle and Early Modern English</text>
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                <text>Benjamins,</text>
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              <text>Lipton, Emma. "Affections of the Mind: The Politics of Marriage in Late Medieval English Literature." Ph.D. dissertation. Duke University, 1998.</text>
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              <text>Traitié pour Essampler les Amants Marietz</text>
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              <text>"This dissertation explores the ways in which changing religious, political and social conditions interacted with literary tradition to transform the meaning of marriage in the literature of the later Middle Ages. Since the twelfth century, Latin monastic writings built on the exegetical tradition of the Song of Songs, envisioning mystical marriage to Christ as an allegory for the monastic contemplative life. In many vernacular works of the late Middle Ages, however, spiritual marriage was appropriated in the service of validating earthly marriage, thus blurring the boundaries between celibacy, the distinguishing feature of the clergy, and marriage, the sexual marker of lay status. This validation of marriage practices as spiritual can be linked to the growth of lay piety, which found an extreme expression in the increasingly visible Lollard heretics who made marriage part of their attack on clerical celibacy. As a uniquely lay sacrament which could legally be performed without the participation of the clergy, marriage also played a complex role in contemporary disputes over the sacraments, and the theological history of the development of the sacramental model of marriage provided crucial vocabulary for literature promoting the spirituality of marriage. Late Medieval English literature also appropriated the tradition of fin amors, the literary expression of aristocratic honor and identity, and transformed it into a validation of marriage and a medium for expressing bourgeois ideology. This generic appropriation can be linked to changes in the social structure of late medieval England, when the growth of the middle strata of society made the three estates model, traditionally used as a means of describing medieval society, an increasingly less accurate representation. My readings reveal that marriage was a particular preoccupation in the literature authored by and directed to these middle sections of society who were in search of a social identity and legitimizing ideology because they found in marriage a medium for appropriating clerical and aristocratic cultures and transforming them into a means of constructing bourgeois ideology. Individual chapters feature Chaucer's 'Franklin's Tale,' Gower's 'Traitié Pour Essampler Les Amants Marietz,' the 'Mary Plays from the N-Town Cycle' and The Book of Margery Kempe.</text>
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                <text>Affections of the Mind: The Politics of Marriage in Late Medieval English Literature</text>
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              <text>Lipton, Emma</text>
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              <text>Lipton, Emma. "Affections of the Mind: The Politics of Sacramental Marriage in Late Medieval England." Notre Dame, Ind.: Notre Dame University Press, 2007</text>
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              <text>Traitié pour Essampler les Amants Marietz</text>
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              <text>Lipton's thesis is that a "politicized negotiation of social and religious authority can be found in late medieval England where an emergent lay middle strata of society used the sacramental model of marriage to exploit contradictions within medieval theology and social hierarchy" (p. 1). From the twelfth century on. "the substance of the sacrament of marriage was the mutual love between the two members of the couple. This love in turn was both the sign and substance of God's Grace" (p. 2). Lipton thus sets out to trace "the unprecedented popularity of the sacramental model of marriage as a literary topic in the late fourteenth and fifteenth centuries to its role as a contested category in the ideological conflicts between the laity and clergy, and between the members of the middle strata and the aristocracy." (p. 2). By way of example, she concentrates her study on four texts, devoting a chapter to each: Chaucer's "Franklin's Tale," the N-Town plays, the "Book of Margery Kempe," and the eighteen Anglo-French balades (which Lipton calls "ballads") comprising John Gower's "Traitié pour essampler les amantz marietz." Lipton takes up Gower in chapter two. She sees both Gower and his "Traitié" fitting very neatly within her targeted concerns--Gower himself because he epitomizes what Sylvia Thrupp ("The Merchant Class of Medieval London") defined as the "middle strata" of society, "the lesser types of gentry, the merchant class, and perhaps also the more substantial semi-mercantile elements in London and other cities" (quoting Thrupp, p. 9), and the "Taitié" "because it is in this poem [sic] that Gower most thoroughly explores the sacramental model and . . . ties marriage not to the governance of the realm but to the values of his own social position" (p. 18). In the process he redefines masculine virtues as more properly domestic rather than military by demoting classical and chivalric heroes (e.g., Ulysses and Tristan are "domestic horrors"); relocates the onus for moral and sexual responsibility onto men, rather than women; and rescues virtuous marriage from the traditional misrepresentation of clerical misogynists by ranking it above chastity. Lipton indeed holds Gower's work in (what only can be described as refreshingly) high regard. She identifies as his chief concern in the "Traitié" establishing marriage as a mark of superior status, and claims rather ringingly that "in fact the ballads of the "Traitié" participate in a new social vision for the emergent upper middle strata of society and reveal the ideological roots of the public voice of Ricardian poetry in a new masculinized vision of privat life" (p. 18)--and rather intriguingly that "the valuation of private behavior over class status makes the depiction of marriage in the poem similar to the representation of manners in conduct literature: as a venue for the development of an ideology of social mobility" (p. 87). [RFY. Copyright The John Gower Society. JGN 27.1]</text>
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                <text>Affections of the Mind: The Politics of Sacramental Marriage in Late Medieval England.</text>
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              <elementText elementTextId="85526">
                <text>Notre Dame University Press,</text>
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              <text>Butterfield, Ardis. "Afterwords: Forms of Death." Exemplaria 27 (2015): 167-82.</text>
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              <text>Ardis Butterfield links John Gower's use of the ballade sequence to Guillaume de Machaut's innovative use of the same genre, especially considering how each poet uses language. Butterfield begins with Derrida's and Bakhtin's definitions of genre to bring us into her argument that Gower and Machaut using genre in much the same way, centuries earlier. Comparing Gower's "Cinkante Balades" to Machaut's "Voir Dit," Butterfield explains she will try to determine the differences between each poet's French and, for Gower, how his French relates to his English (170). Butterfield briefly cites Julia Kristeva, "in a spirit of retro-fashionability," on intertextuality, to come to the conclusion that "all discourse presupposes another discourse"--propelling Butterfield into an examination of cliché (172). Specifically, by way of illustration, she cites Gower's use of French cliché (providing lists of them in her article) to argue that such use demonstrates his mastery of the French language (175). Butterfield then compares aspects of the CB with Machaut's "Voir Dit." Within this "closed system of medieval French courtly language," Butterfield asserts that "Gower is making specific reference to the 'Voir Dit,' and seeking to engage with some of Machaut's aims, structures, and linguistic devices as he invents his own work" (177-78). Furthermore, in a coda on cliché, Butterfield suggests we might consider Gower's " Traitié pour Essampler les Amants Marietz" as "a response to the 'Confessio amantis' . . . and hence a decision by Gower to trump the Englished erotic discourse with French preaching on adultery" (180). She concludes (quoting Frank Kermode's "The Sense of an Ending"): "In shaping our ends, the formula, the fixed form is a vital tool for living, a daily death, and a generic practice that meets our 'permanent need to live by the pattern rather than the fact'(11)" (180). [JGS. Copyright. The John Gower Society. eJGN 39.1]</text>
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              <text>Sources, Analogues, and LIterary Relations&#13;
Language and Word Studies&#13;
Style, Rhetoric, and Versification&#13;
Cinkante Balades&#13;
Traitié pour Essampler les Amants Marietz</text>
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              <text>Burrow does not give a detailed account of CA in this book, referring instead to his own earlier essay in Minnis' Responses and Reassessments (1983), but his remarks on Gower's debt to earlier writers, on the uniqueness of his treatment of Amans' old age, and on his later influence are worth reading again in the context of his general treatment of the "ages of man" in medieval literature. "More than any other medieval poem known to me," he writes, "Confessio Amantis conveys what it must feel like to be 'senex amans' which is much the same as what it feels like to be any other sort of lover" (pp. 160-61). Burrow also adds another text to the list of Gower's sources, the fourteenth-century French poem Les Douze Mois figurez, to which he attributes Amans' comparison of the stages of his life to the twelve months of the year, CA 8.2837- 41. [PN. Copyright The John Gower Society: JGN 6.1]</text>
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              <text>Mainzer's note demonstrates that two series of aphoristic statements in the CA provide evidence of Gower's use of Albertano of Brescia's "Liber Consolationis et Consilii" (also the ultimate source of Chaucer's "Tale of Melibee"). The first series is found in Book 7 (lines 3149*-3167*) and consists of statements about Pity attributed to the apostle James, Cassiodorus (both in the second recension), and Constantine (in the third recension). The second series is found in Book 3 (glosses at lines 2220 and 2225) and figures aphorisms said to be from Seneca and "Apostolus" (St. Paul).  [CvD]</text>
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              <text>Bartsch, Karl. Albrecht von Halberstadt und Ovid im Mittelalter Bibliothek der gesammten deutschen National-Literatur von der altesten bis auf die neuere Zeit. Quedlinburg und Leipzig: Gottfried Basse, 1861, pp. xix, xxv, xlvii, lix, lxvi.</text>
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              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>Hadbawnik seeks to show that "poets deploy the pose of the 'master' guarding--but also offering to reveal--the professional secret as way to spur readers to discover higher truths in vernacular poems. Language can be alchemically transformed if readers work hard enough, devote themselves, and never rely completely on the vernacular but trust the poet to guide them in finding the perfect 'mixture' between classical and vernacular tongues. Poets writing in the English vernacular use the alchemical anecdote as a challenge--more generously, an invitation--to readers to participate in the project of language development in pursuit of higher truths. To achieve full understanding of such truths, poets imply, readers should not be satisfied with one tongue, but must allow poets to guide them in seeking the right mixture, via strategies such as language games and the code-switching inherent in macaronic texts" (202). Gower, who for Hadbawnik is "invested in the alchemical trope," "seems to position Latin alongside the vernacular in order to think through the poet's--and by extension, the reader's--relationship to language. For Gower, the alchemical anecdote offers hope working through Latin to achieve an understanding of deep hermetic truths in . . . the vernacular" (203). Thus he finds similarities between Norton and Gower: "the Latin in 'Confessio Amantis' contributes to a complex game of audience-shaping, enacting restrictions and tensions not unlike those noted in 'The Ordinal of Alchemy' . . . the frequent Latin belies an 'anxiety' about access to hidden knowledge that reflects a similar tension in alchemical texts such as Norton's" (216). Gower's work seems to "implicitly--and at times explicitly"--"map onto" what Hadbawnik calls "the professional secret of the alchemical anecdote" (217). The demands placed upon readers by Gower's shifts from Latin (prose and verse) to English and back again challenges in the same way that alchemical texts at once promise secret knowledge and yet withhold it. Hence Hadbawnik's claim that for Gower "alchemy [is] a sort of arch-metaphor for the vernacular poetic project" (219).] [RFY. Copyright. The John Gower Society. eJGN 41.1]</text>
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              <text>Hadbawnik, David. "Alchemical Language: Latin and the Vernacular in the Poetry of Thomas Norton and John Gower." In Vernacular Aesthetics in the Later Middle Ages: Politics, Performativity, and Reception from Literature to Music, ed. Katherine W. Jager (Cham, Switzerland: Palgrave Macmillan, 2019), pp. 201-33.</text>
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Style, Rhetoric, and Versification&#13;
Language and Word Studies&#13;
Confessio Amantis</text>
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              <text>Runstedler sends the following description: "This thesis examines the role of alchemy in Middle English poetry from fourteenth- and fifteenth-century England, particularly how these poems present themselves as exemplary narratives to raise moral points about human behaviour, fallibility, and alchemical experimentation. The introduction suggests the compatibility between the emergence of the vernacular exemplum and the development of alchemical practice and literature in late medieval England. I follow J. Allan Mitchell's 'ethics of exemplarity' for reading the alchemical poems in this study, extending his reading of Middle English poetry to understand the exemplary and ethical values of alchemy in poetry, which in turn helps the reader to understand the good of alchemical examples in medieval literature. Reading these alchemical poems as exemplary reassesses the role of alchemy in medieval literature and provides new ways of thinking about the exemplum as a literary framework or device in Middle English poems containing alchemy. The third chapter concentrates on John Gower's use of alchemy in the 'Confessio amantis,' in which it is presented as a model for ideal yet unattainable labour. Following R.F. Yeager's reading of Gower's 'new exemplum' in the 'Confessio amantis¸' I suggest that Gower's alchemical section follows this new, emerging style of vernacular exemplary writing and can also be read on its own as an exemplary narrative, which recognises alchemical failure as a post-lapsarian decline and a sign of human shortcomings." [Copyright. The John Gower Society. eJGN 37.2.]</text>
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              <text>Runstedler, Curtis T. Alchemy and Exemplary Narrative in Middle English Poetry. Ph.D. Diss. University of Durham, 2018. Open access at http://etheses.dur.ac.uk/12593/ (accessed January 27, 2023).</text>
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              <text>Runstedler's book addresses at length five samples "of the moral uses of alchemy in Middle English poetry" (4), focusing on the "exemplarity" of these samples: the alchemical passage in Gower's "Confessio Amantis," Book IV, 2457-2632; Chaucer's "Canon's Yeoman's Prologue and Tale"; an alchemical version of John Lydgate's poem "The Churl and the Bird" in British Library, Harley MS 2407; and two anonymous fifteenth-century alchemical "dialogues/recipes between Merlin and Morienus and between Albertus Magnus and the Queen of Elves" (5). To provide context and to narrow his field of inquiry, he uses later English alchemical texts by George Ripley, Thomas Norton, and Elias Ashmole to shape his readings of his focal texts. He also briefly surveys philosophical and scientific backgrounds to alchemy in Greek, Arabic, and Latin texts, with even briefer comments on alchemy in "The Roman de la Rose" and Dante's "Inferno." This is a wide panorama with alchemy firmly in its center. But the focus is on the five sample works and how--or, more accurately, that--each of their authors "used alchemical examples for moral reflection or as cautionary tales against covetousness and unethical practice," "revealing," Runstedler tells us, the "interconnectedness" of the five, and the "exemplary role" (14) of alchemy, which was "used in different exemplary ways within diverse literary contexts"; "more importantly, such exemplary readings present complex treatments of the subject" (195). Runstedler gives Gower's "alchemical exegesis," as he labels it recurrently, pride of place among the works he discusses: it "launches," he tells us, "the literary pattern of alchemy being appropriated within an exemplary framework" in late medieval vernacular English literature (6 and 65), which helps "to establish the notion of alchemical narratives as exemplary in Middle English poetry" (83). N.B. The volume is a somewhat revised and reformatted version of Runstedler's 2018 Durham University dissertation; some readers may find the .pdf format of the dissertation (available at http://etheses.dur.ac.uk/12593/; accessed 4/1/2023) easier to use than the Palgrave e-book. [MA. Copyright. John Gower Society. eJGN 42.1]</text>
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              <text>From Bentick's abstract: "This thesis displays the relationships between literary representations of alchemy and the literature produced by alchemists . . . . [focusing] on the allure of alchemy's obscure language. . . . [It begins with] an exploration of how the obscure language of alchemy was perceived by two non-alchemical poets: John Gower and Geoffrey Chaucer. Chapter one . . . looks at the positive portrayal of alchemy in Gower's major works and chapter two looks at the negative portrayal of alchemy in Chaucer's 'The Canon's Yeoman's Tale'. . . . Chapter three delineates the heterogeneous alchemical verse found in a fifteenth-century manuscript: London, British Library, MS Harley 2407. This chapter defines and critiques four main categories of alchemical verse: gnomic poems, recipe-poems, theoretical poems, and conceit-poems. Chapter four examines the major works of two alchemical poets: George Ripley and Thomas Norton . . . . [and] the final . . . chapter presents instances from the fourteenth to the seventeenth century in which alchemical readers have suggested that non-alchemical texts harbour latent alchemical significations."</text>
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              <text>Bentick, Eoin. "Alchemy and Verse in Late-Medieval England." Ph.D. Dissertation. University College London, 2019. Dissertation Abstracts International C81.04 (2019). Accessible at https://discovery.ucl.ac.uk/id/eprint/10065606/ (full text restricted); abstract accessed, February 22, 2022.</text>
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              <text>Peck's survey of the role(s) of Alexander in the "Confessio Amantis" identifies the many places where Alexander appears in CA and explores "the emperor's figural prominence" (223) in the work. Most often he focuses on the limitations of the ruler's knowledge and the ultimate futility of his conquests, suggesting implications of this characterization for the ruling class in Gower's day, specifically the Black Prince, Richard II, and Henry of Derby. Peck discusses Alexander's role in Nebuchadnezzer's dream in the Prologue of CA, two references to the emperor in Book 2, the tales of "Diogenes and Alexander" and of "Alexander and the Pirate" in Book 3, and two more references in Book 5. The "Tale of Nectanabus," with Alexander's unwitting killing of his father, Peck argues, is juxtaposed against the preceding father-son tale in "Ulysses and Telegonus" in Book 6 and he presents the large presence of Alexander in Book 7--with "fifteen citations of his name" amidst the concerns for the education of a king--as something of a crescendo in the CA overall. Deliberately on Gower's part, Peck tells us, Alexander is not mentioned in Book 8, where "Alexander's story is replaced by that of Apollonius of Tyre, a king who is basically different from all that Alexander stands for" (234), one who "provides the antidote to Alexander's kind of rule which leads to tyranny and oppression rather than enlightenment" (235). In the "ennobling spirit" of Apollonius's virtuous actions, idealized kingship, and peace, Peck concludes, Gower "would send forth his book, in hope that for generations to come it might keep his voice and vision alive," observing that in the Explicit to the Lancastrian recension of the CA, he sends it specifically to Henry Bolingbroke, Count of Derby (236). [MA. Copyright. John Gower Society. eJGN 43.1]</text>
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              <text>Peck, Russell A. "Alexander the Great: A Study of Legitimacy, Futility, and the Problem of Getting Home Safely in Gower's 'Confessio Amantis'." In Valerie B. Johnson and Kara L. McShane, eds. Negotiating Boundaries in Medieval Literature and Culture: Essays on Marginality, Difference, and Reading Practices in Honor of Thomas Hahn. Boston: De Gruyter; Medieval Institute Publications, 2022. Pp. 223-37.</text>
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              <text>Confessio Amantis</text>
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                <text>Alexander the Great: A Study of Legitimacy, Futility, and the Problem of Getting Home Safely in Gower's "Confessio Amantis."</text>
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              <text>Ebert, Friedrich.</text>
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              <text>Ebert, Friedrich. Algemeins Bibliographisches Lexicon. Leipzig: F.A. Brockhaus, 1821, I, 697. </text>
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              <text>Facsimiles, Editions, and Translations&#13;
Confessio Amantis</text>
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              <text>Describes Caxton's 1483 edition of CA. [RFY1981].</text>
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                <text>Algemeins Bibliographisches Lexicon.</text>
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              <text>Alder and Strohm explore the complexities of medieval understandings and experiences of time, clearly and succinctly addressing various notions of time and related topics (e.g., aging, time-keeping, planetary motion, eternity, the end of time) as reflected in medieval material objects as well as philosophy and literature. In a section on "Timescapes" the authors examine time as a theme and device in works by Julian of Norwich, Margery of Kempe, and Thomas Usk. Gower and his works are considered, more briefly, in three separate sections. One on "Allegorical Time" addresses Lachesis in "Confessio Amantis," Book 4, and the "erroneous sense of time as recoverable" (138) entailed in "borwe" at 4.8-10. The second, on "The Ages of Humankind," includes remarks on the "incompatibility" of old age and idealized love in CA and observes where Gower uses "nature-based analogies" (179) to distinguish between youth and age in the Latin opening of CA, Book 8, and, in "Henrici Quarti primus," to keep a "degree of philosophical distance from the malady [blindness] caused by old age" (181). In their closing section, "The End of Time," Adler and Strohm observe Gower's eschatological concern with time in Nebuchadnezzar's dream of the Prologue of CA, with its emphasis on decline and destruction derived from the Book of Daniel and exegetical tradition. Notably, this last concern is accompanied by a full-page, full-color reproduction of Nebuchadnezzar dreaming of the statue mentioned in Daniel and presented here as similar to Dante's "Old Man of Crete" (198). The illustration reproduces London, British Library, MS 3869, fol. 51. [MA. Copyright. John Gower Society. eJGN 44.1]</text>
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              <text>Adler, Gillian.&#13;
Strohm, Paul.</text>
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              <text>Adler, Gillian, and Paul Strohm. Alle Thyng Hath Tyme: Time and Medieval Life. Medieval Lives. London: Reaktion, 2023. </text>
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            <elementText elementTextId="98676">
              <text>Backgrounds and General Criticism&#13;
Confessio Amantis</text>
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              <text>Tuve, Rosemond. Allegorical Imagery: Some Mediaeval Books and Their Posterity. Princeton, NJ: Princeton University Press, 1966, pp. 57n, 80n, 81n, 92, and 114.</text>
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Sources, Analogues, and Literary Relations&#13;
Confessio Amantis&#13;
Mirour de l'Omme (Speculum Meditantis)&#13;
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              <text>Caxton's and Wynkyn de Worde's publicationss are important in passing on medieval works, including Gower's; Gower used penitential treatise like "Somme le Roi"; Gower opposed seven virtues to seven vices as an organizational principle in CA and MO. [RFY1981].</text>
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              <text>Wimsatt classifies works of Middle English literature as examples of either personification allegory on the one hand or mirror (encyclopedic compilations) on the other, comparing them with classical and medieval Continental models and characterizing them by their unity, comprehensiveness, and/or didactic functions. He discusses works by Chaucer, Langland, Jean de Meun, Boethius, Vincent of Beauvais, Peraldus, and many others, including Gower. Ostensibly structured as a summa of sin, Gower's CA resists (or fails), according to Wimsatt, its primary principle of organization: it neither follows the systematic arrangement of, for example, the "Ancrene Riwle" or Robert Mannyng's "Handlyng Synne," nor is it as thorough or inclusive in its treatment of the sins and their subsets. The treatment of gluttony in Book 6, which Wimsatt offers as an example, discusses only two species of the sin and then digresses into tales about witchcraft, albeit "interesting" ones. In short, the "stories themselves are the chief merit" of CA (158), rather than its organization or unity. MO, on the other hand, is more successfully thorough and consistent as a mirror of society: "about 8,000 of 31,000 lines are devoted to a systematic condemnation of the estates," and most of "the remainder of the poem is taken up with descriptions of the Seven Deadly Sins with their offspring and of seven offsetting virtues and their progeny" (165). Wimsatt summarizes the "analysis of the decadence of monks" (166) in MO (20833-21180) to illustrate Gower's technique with estates satire, and mentions that VC is also structured as a "series of complaints presented against the Three Estates" (167). [MA]</text>
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              <text>Valuable study of English works, including "In Praise of Peace." Includes examinations of alliteration of proper names, alliterative proverbs, formal structure (such as rime riche, which is termed alliteration in this study), and uses of patterns for larger structural purposes, such as stanzaic linkage. [RFY1981].</text>
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              <text>Höfer, Paul. </text>
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          <name>Published</name>
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            <elementText elementTextId="94207">
              <text>Höfer, Paul. Alliteration bei Gower. Dissertation, Leipzig, 1890. </text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="94208">
              <text>Style, Rhetoric, and Versification</text>
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              <text>Prints both versions of CA, Prologue 1-92 and 24*-62*; "Travellers and the Angel," Book II, 291-364; "Patience of Socrates," Book III, 639-98; "Pygmalion," Book IV, 341-436; "Venus' Leave-taking," Book VIII, 2882-2970 and 2940*-70*; from Book VIII, 3106-72, reprinting Macaulay. [RFY1981].</text>
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              <text>Kaiser, Rolf, ed.  Alt- und Mittelenglische Anthologie. Berlin, 1954, pp. 428-32. </text>
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              <text>Confessio Amantis&#13;
Facsimiles, Editions, and Translations</text>
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              <text>Reprints from Reinhold Pauli (1857), CA Prologue, Latin head, and 92-192; "Mundus and Paulina." Book I, 761-1059; "Aeneas and Dido," Book IV, 77-146; "Ulysses and Penelope," Book IV, 147-233; and from Book VII, 1900-49. [RFY1981].</text>
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              <text>Mätzner, E. A. F., ed. Altenglischen Sprachproben. 2 vols. in 3. Berlin: Wiedmann, 1867-1900, 1:349-57. </text>
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              <text>Confessio Amantis&#13;
Facsimiles, Editions, and Translations</text>
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              <text>Prints CA, Book I, 1-529. Based on MSS. Harley 3869 and 1393; notes and glossary. [RFY1981]. </text>
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            <elementText elementTextId="93126">
              <text>Confessio Amantis&#13;
Facsimiles, Editions, and Translations</text>
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              <text>Yeager, R. F.</text>
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            <elementText elementTextId="92897">
              <text>In Later Middle English Literature, Materiality, and Culture: Essays in Honor of James M. Dean, ed. Brian Gastle and Erick Kelemen (Lanham, MD: University of Delaware Press, 2018), pp. 91-103.</text>
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              <text>Confessio Amantis</text>
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              <text>As the title and its allusion to Jorge Luis Borges's short story "Funes the Memorious" makes clear, R.F. Yeager's essay takes as its focus the notion of memory and recollection, moving from the "Funes" to Boethius's "Consolatio" and Maximianus's "Elegies." Throughout, Yeager demonstrates how each of these texts--"Consolatio," "Confessio," "Elegies," and "Funes"--"have at their core the problem of time." (94) Whether the prodigious memory of Funes, the quest for eternity in Boethius, or the "steady lamentation" (94) of Maximianus's complaints of age-related impotence, these examples help clarify how Amans, a figure characterized by his lack of memory, is nevertheless a construct who reflects some of Gower's thinking about time. Yeager discusses the origins of the CA and its origin in a moment of time--in an apparently chance encounter between Gower and Richard II on the Thames--and the choice to write the CA in Middle English speak to Gower's "growing  thoughtfulness about the nature and urgencies of time." (95) Contextualizing the CA as a book that, at least in its Ricardian recension, has this watery origin, Yeager then describes some of the beginning characteristics of the CA that encode the value of time and, specifically, the past in the "Prologue," including the "mutability of time" in the discussion of old books and the images from Nebuchadnezzar's Dream. What these elements suggest, then, according to Yeager, is an urge to confession and repentance in the present and to avoid pain and embrace peace by knowing the past, in light of the future which is ever approaching. The essay concludes by returning to "Funes" and reading Borges's short story alongside CA in order to parse out the importance of the "now" in Gower's conceptions of history, the past, and time. Remarking that Funes and his memory are ultimately about stasis and death, Yeager demonstrates that Amans's forgetting is not static, but about the "memory in process." Remembering, Yeager reminds the reader, is, for Gower, a moral act, a call in the now for repentance. [WR. Copyright. The John Gower Society. eJGN 40.2.]</text>
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                <text>Amans the Memorious.</text>
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            <name>Date</name>
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                <text>2018</text>
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              <text>"Amoral Gower" is a rather short book--160 pages of text plus seven of preface. Its physical brevity is worth noting now, since in the future Watt's book may seem to loom much larger in the minds of those who come to know it only from its citation in what will be, doubtless and deservedly, a great many footnotes. Brief it is (to be fully accurate, it also contains 27 pages of notes and 17 of bibliography), but in that space it covers a great deal of ground, in disperse, rapid-fire chapters that, despite the care paid to summarizing and connection, more resemble individual essays or meditations (or, some might say, drive-by shootings) than a single argument. In every way, this is probably a wise strategy. Watt quite rightly perceives "Amoral Gower" to be a door-opening venture, not a final word. Her chief effort is to point up internal contradictions in Gower's poetry--primarily the CA, but with intermittent reference to the MO and the VC--and thereby call into question previous critical determinations that any unifying ethical vision exists in Gower's oeuvre. As she puts it: ". . . while it may initially seem unreasonable to suggest that Gower, or his poetry, rejects or even sidesteps ethical principles, I argue that the tensions, contradictions, and silences in Gower's text [i.e., the CA] expose the limitations of the ethical structures available to him and open up his text to multiple interpretations. A central argument of this study is that the poem destabilizes accepted categories of gender and sex, and that this has a profound impact on Gower's treatment of ethics and politics" (xii). The headings of sections and chapter titles convey Watt's targets, as well as hints of hommage: Introduction: "Social Gower"; Part I: Language: (1) "Gower's Babel Tower: Language Choice and the Grammar of Sex"; (2) "Writing Like a Man: Rhetoric and Genealogy"; Part II: Sex: (3) "Transgressive Genders and Subversive Sexualities"; (4) "Sexual Chaos and Sexual Sin"; Part III: Politics: (5) "Tyranny, Reform, and Self-Government"; (6) "Oedipus, Apollonius, and Richard II"; Epilogue: "Ethical Gower." "Hommage" is important in understanding what matters about "Amoral Gower" (major debts accrue to John Boswell, Carolyn Dinshaw, Georgiana Donavin, Patricia J. Eberle, Sián Echard, Richard K. Emmerson, María Bullón-Fernández, Joel Fredell, Marjorie Garber, Michael Hanrahan, Karma Lochrie, Eve Salisbury, Larry Scanlon, Eve Kosofsky Sedgwick, Jan Ziolkowski, and Freud) because in many ways what is new and significant are not Watt's particular observations about Gower's writing--most have appeared elsewhere in print before--but rather two things: first, the happy polyphony she has made, bringing so many voices together so succinctly; and second (by far more importantly) her central assertion that the discord and contradiction she finds in Gower's work derive not from poetic ineptitude but rather from conscientious authorial inclusion of these issues as quintessential elements in his view of the human condition. To put it somewhat differently: "Amoral Gower" proffers a positive reading of examples of chaos, of failure to connect, of truth as simultaneously both sides of the coin, assiduously rooted out of Gower's works in thematic rather than sequential order. Watt strives to supplant the "familiar" cohesive, ethical, and moral Gower with this alternative image, while claiming it as an authorial strategy. This is new, and the result both challenging and valid. More than a few will disagree with Watt's conclusions, but it is a measure of the evolution of Gower studies that the time has arrived when they can be drawn and claimed. Not long ago imagining Gower in Southwark faced with feminist criticism and queer theory was painfully risible. Watt gives Gower a newer face, and creates the suspicion that, just maybe, he would have seen something in it, dark and kindred though it be. [RFY, Copyright JGN 23.1]</text>
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              <text>Watt, Diane. "Amoral Gower: Language, Sex and Politics." Medieval Cultures, 38 . Minneapolis: University of Minnesota Press, 2003 ISBN 978-0-8166-4027-0</text>
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              <text>Vox Clamantis</text>
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            <elementText elementTextId="91152">
              <text>Mirour de l'Omme (Speculum Meditantis)</text>
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              <text>Compares the Spanish translation Confision del Amante to the original CA, noting many differences, mostly minor, Concludes: 1) need for Confision to be re-edited; 2) changes would a) make Confision more emphatic, more pious, less political; b) de-emphasize England and British settings; c) make images more concrete. [RFY1981].</text>
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              <text>Hamm, Robert Wayne.</text>
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              <text>This Annotated Index is in the form of notes and annotations to the text of Gower's poem, arranged in order by book and line number. Every significant reference to a particular passage or tale in the modern commentary on the poem is given an entry, and when there is more than a single comment on any passage, the entries are arranged chronologically. Each entry includes a brief summary. Thus it is possible to locate quickly all of the important commentary on a particular passage, and also to see how the commentary has developed over time; and though the summaries are necessarily brief, the Index will have many of the same uses as a variorum commentary or the notes to a fully annotated edition of the poem. Approximately 330 books and articles that have appeared since the publication of Macaulay's edition in 1900-1901 are indexed, plus 27 editions of excerpts or selections from the poem. Of these, more than 100 are listed in no other Gower bibliography, and thus the 'List of Works Cited' is the most complete available listing of the published criticism of the Confessio Amantis. The index is preceded by an introduction surveying general issues in the commentary on the poem during the twentieth century. The work is intended for the use of scholars who wish to have quick access to the most important and relevant criticism, but also for all readers of the Confessio, who must otherwise rely on the notes in Macaulay's by now antiquated edition. [PN. Copyright The John Gower Society. JGN 8.2]</text>
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              <text>Quotes, in somewhat modernized form, CA, Book II, 3475-96. Edition unknown. [RFY1981].</text>
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              <text>Milton, John. An Apology Against a Pamphlet Called Modest Confutation of the Animadversions Upon a Remonstrance Against Smectymnus. London, 1642. Reprint. Complete Prose Works of John Milton, 1:1624-42. New Haven, Conn.: Yale University Press, 1953, pp. 946-47. </text>
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              <text>Confessio Amantis&#13;
Influence and Later Allusion</text>
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1953</text>
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              <text>Gillhammer, Cosima Clara. An Edition of Oxford, Trinity College, MS 29. Ph.D. Dissertation. University of Oxford, 2020. 2 vols.: xi, 335; i, 329; 51 illus. Dissertation Abstracts International C82.02(E). Abstract available via ProQuest Dissertations &amp; Theses Global. Fully accessible via https://ora.ox.ac.uk/objects/uuid:c3244a71-a6fa-4646-aeb3-9902e055a290.</text>
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Facsimiles, Editions, and Translations&#13;
Confessio Amantis</text>
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              <text>Gillhammer opens her two-volume dissertation with clear claims and an ambitious goal: "Oxford, Trinity College, MS 29 (T) contains a unique Old Testament history which has so far only been known to a very small number of experts. T is an unusual and eccentric text; it is a compilation of reworked extracts from a wide range of sources, forming a history of the world beginning with the creation of man and breaking off incompletely at the time of Hannibal . . . . [T]here "has never been a complete description or a comprehensive analysis of this text--a lack which the present thesis and edition seek to remedy" (1). She succeeds in remedying this lack, editing the text itself (without notes) in her second volume (although she calls it an "appendix"). Volume 1 is a comprehensive Introduction, with paleographical and codicological descriptions of the manuscript and analysis of its sources (including Gower's "Confessio Amantis"); discussion of "broader contextual questions such as authorship and authority, intended audience and use, as well as the evidence for a compiler-scribe"; assessment of "T in the context of related medieval genres, such as universal histories, encyclopedias, and florilegia"; and investigation of "the linguistic evidence, and traces the manuscript's origin based on a dialectal analysis" (3). Gowerians will be particularly interested in Gillhammer's discussion of the use of Gower's "Nebuchadnezzar's Dream" in the manuscript--the only section of CA excerpted in in the manuscript in verse--and more than twenty briefer excerpts from CA given in prose (see especially pp. 43-49 and 154-59 of volume 1). [MA]</text>
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              <text>Gower is a treasure house of information about medieval attitudes and life, but possesses little genius. [RFY1981]</text>
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Confessio Amantis</text>
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            <elementText elementTextId="93713">
              <text>Brief biography of "Sir" John Gower; tomb description, with inscriptions and epitaph reproduced. [RFY1981].</text>
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          <name>Author/Editor</name>
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              <text>Jacob, Giles. An Historical Account of the Lives and Writings of Our Most Considerable English Poets. London, 1720. Reprint. New York: Garland, 1970, pp. 66-68. </text>
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              <text>Griffith, D. D. "An Interpretation of Chaucer's 'Legend of Good Women'." The Manly Anniversary Studies in Language and Literature (Chicago: University of Chicago Press, 1923), pp. 32-43. Rpt. in Edward Wagenknecht, ed. Chaucer: Modern Essays in Criticism (London: Oxford University Press, 1959), pp. 396-404. </text>
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              <text>Maintains that Gower's style is "lucid and undecorated." [RFY1981].</text>
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Spearing, A. C.&#13;
Winny, James.</text>
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              <text>Revises Pancoast (1893), emphasizing the importance of French and Anglo-Norman literature for Gower and Chaucer, and mentioning CB and MO. [RFY1981; rev. MA]..</text>
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Language and Word Studies</text>
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              <text>Generally negative discussion of CA as a representative of a class of medieval "Framework Tales," including "Legend of Good Women," "Canterbury Tales," "Decameron," and "Seven Sages. [RFY1981].</text>
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Sources, Analogues, and Literary Relations</text>
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