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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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              <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>Re-opens the question of the date of "Le Songe Vert," and disputes its attribution to Gower. [RFY1981].</text>
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              <text>Wimsatt, James. </text>
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              <text>Wimsatt, James. Chaucer and the French Love Poets. Chapel Hill: University of North Carolina Press, 1968, pp. 140ff.</text>
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                <text>Chaucer and the French Love Poets.</text>
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                <text>1968</text>
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              <text>Notes Gower's early use of English for poetry and his Kentish background. [RFY1981].</text>
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              <text>Brook, G. L.</text>
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              <text>Brook, G. L. A History of the English Language. London: Andre Deutsch, 1968, pp. 48, 55.</text>
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</text>
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                <text>A History of the English Language.</text>
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                <text>1968</text>
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              <text>Anatomizes the uses of prepositions in CA, offering "General Considerations" of their history, usage, and flexibility in Middle English, and a detailed dictionary of the meanings, uses, and functions of Gower's individual prepositions, arranged in alphabetical order. [RFY1981; rev. MA].</text>
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              <text>Kanno, Masahiko.</text>
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            <elementText elementTextId="94153">
              <text>Kanno, Masahiko. "Prepositions in Gower's Confessio Amantis." Bulletin of Gifu Pharmaceutical College 18 (1968): 13-46. Unrestricted access at https://core.ac.uk/download/pdf/229509444.pdf; accessed July 26, 2022. </text>
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          <name>Gower Subject</name>
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                <text>Prepositions in Gower's Confessio Amantis.</text>
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                <text>1968</text>
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              <text>Bennett, J. A. W.</text>
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            <elementText elementTextId="94995">
              <text>Sources, Analogues, and Literary Relations&#13;
Confessio Amantis&#13;
Mirour de l'Omme (Speculum Meditantis)</text>
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          <name>Review</name>
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            <elementText elementTextId="99437">
              <text>Discusses various loci in CA and MO as analogues to the "House of Fame." [RFY1981]</text>
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          <elementTextContainer>
            <elementText elementTextId="99438">
              <text>Bennett, J. A. W. Chaucer's Book of Fame: An Exposition of the "House of Fame." Oxford: Clarendon Press, 1968, pp. 20, 21, 35, 40, 41, 64n, 66, 78, 126, 127, 133, 139, 147, 152ff., 157n, 176.</text>
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                <text>1968</text>
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                <text>Chaucer's Book of Fame: An Exposition of the "House of Fame."</text>
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              <text>Halliday, F. E. Chaucer and His World. New York: Viking, 1968, pp. 7, 48, 66, 78, 99, 112.</text>
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              <text>Backgrounds and General Criticism&#13;
Sources, Analogues, and Literary Relations&#13;
Biography of Gower</text>
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              <text>Argues that Gower was not as up-to-date as Chaucer in the 1370s; since he is finishing MO and beginning VC, he is not yet writing in English. Man of Law's Prologue contains a dig at Gower; Gower and Chaucer were friends, though perhaps some strain was there; Gower claims Chaucer as disciple; Gower was Chaucer's attorney while Chaucer was in Italy; picture of Gower's tomb [RFY1981]</text>
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                <text>1968</text>
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              <text>The second half treats the character development of Amans in CA, showing his change from a superficial human being to a realistic, mature one. [RFY1981]</text>
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              <text>Hoben, Sister Marian William.</text>
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              <text>Confessio Amantis</text>
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              <text>Hoben, Sister Marian William. John Gower's "Confessio Amantis": An Analysis of the Criticism and a Critical Analysis. Ph.D. Dissertation. University of Pennsylvania, 1968. Dissertation Abstracts International 30A 1136-37. </text>
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                <text>John Gower's "Confessio Amantis": An Analysis of the Criticism and a Critical Analysis.</text>
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              <text>Backgrounds and General Criticism</text>
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              <text>Lengthy essay-reviews of Maria Wickert's "Studien zu John Gower" (1953), Eric Stockton's "The Major Latin Works of John Gower" (1962), and Terence Tiller's translation of CA "The Lover's Shrift" (1963). [RFY1981]</text>
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          <elementTextContainer>
            <elementText elementTextId="99443">
              <text>Ito, Masayoshi. "On the New Trends of Gower Studies." Shiron 19 (1968): 68-78.</text>
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                <text>On the New Trends of Gower Studies.</text>
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                <text>1968</text>
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              <text>Lawlor, John.</text>
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              <text>Lawlor, John. Chaucer. London: Hutchinson, 1968, pp. 106-07</text>
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              <text>Backgrounds and General Criticism</text>
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              <text>Suggests that Chaucer's "comic and realistic bent" in the "Canterbury Tales" may have surprised Gower and prompted him to remove the "flattering allusion to Chaucer as Venus's special poet and disciple" from CA (VIII, *2952ff.). [RFY1981; rev. MA]</text>
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              <elementText elementTextId="95013">
                <text>Chaucer.</text>
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                <text>1968</text>
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              <text>Gervase, Mathew.</text>
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              <text>Gervase, Mathew. The Court of Richard II. New York: Norton; London: John Murray, 1968, pp. 5, 23, 30, 48, 53, 60, 68-69, 74-82, 92, 99, 120, 122, 133, 136, 167.</text>
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              <text>Generally uses Gower's works as a source for historical speculations on the relationship of Richard II to poets; on levels of trilingualism and learning in the late fourteenth century; on contemporary notions of knighthood, courtesy, etc. Mentions all of Gower's works, drawing comparisons with Chaucer and with Langland; examines CA most carefully. [RFY1981; rev. MA]</text>
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              <elementText elementTextId="95019">
                <text>The Court of Richard II. </text>
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                <text>1968</text>
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              <text>Newstead, Helaine, ed.</text>
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            <elementText elementTextId="95029">
              <text>Newstead, Helaine, ed. Chaucer and His Contemporaries: Essays on Medieval Literature and Thought. Greenwich, Conn.: Fawcett, 1968, pp. ii-iii. </text>
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          <elementTextContainer>
            <elementText elementTextId="95030">
              <text>Backgrounds and General Criticism</text>
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            <elementText elementTextId="99060">
              <text>A collection of critical essays, with an introduction by Newstead in which she points out that Gower exemplifies the polylinguality of Chaucer's contemporaries. [RFY1981]</text>
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              <elementText elementTextId="95025">
                <text>Chaucer and His Contemporaries: Essays on Medieval Literature and Thought.</text>
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                <text>1968</text>
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        <element elementId="97">
          <name>Author/Editor</name>
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          <elementTextContainer>
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              <text>Robertson, D. W., Jr.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95036">
              <text>Backgrounds and General Criticism&#13;
Biography of Gower</text>
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          <name>Published</name>
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            <elementText elementTextId="99062">
              <text>Robertson, D. W., Jr. Chaucer's London. New York: John Wiley, 1968, pp. 3, 58, 150, 151, 170, 174, 212-13, 221. </text>
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          </elementTextContainer>
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        <element elementId="52">
          <name>Review</name>
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          <elementTextContainer>
            <elementText elementTextId="99445">
              <text>Gower describes London as "Troy" (VC, Bk. I) and is vehement in his condemnation of the Peasants' Revolt; Gower's work, unlike Chaucer's, is characterized by "plodding seriousness"; Gower had ties with the Arundel family; Gower was very moral and a good friend of Chaucer. [RFY1981]</text>
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              <elementText elementTextId="95032">
                <text>1968</text>
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            <elementTextContainer>
              <elementText elementTextId="99063">
                <text>Chaucer's London.</text>
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  </item>
  <item itemId="9828" public="1" featured="0">
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        <element elementId="97">
          <name>Author/Editor</name>
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          <elementTextContainer>
            <elementText elementTextId="95040">
              <text>Stanfod, W. B. </text>
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        <element elementId="55">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="95041">
              <text>Stanford, W. B. The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. 2d ed. Ann Arbor: University of Michigan Press, 1968, pp. 182-83, 188-89, 229, 245, 268n1, 277n12, 290-92. </text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95042">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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          </elementTextContainer>
        </element>
        <element elementId="52">
          <name>Review</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="99446">
              <text>Gower's presentation of Ulysses in CA, Bk, VI (as a polymath magician) is evidence of Augustinian antipathy to intellectual curiosity, here compared to Dante's presentation in "The Inferno." Yet CA (in Bks. 5 and 6) "shows wider literary scope" than Gower's "medieval predecessors" and he generally favors Ulysses, except for his "skill in the Black Art." [RFY1981; rev. MA]</text>
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              <elementText elementTextId="95037">
                <text>The Ulysses Theme: A Study in the Adaptability of a Traditional Hero.</text>
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              <elementText elementTextId="95038">
                <text>1968</text>
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              <text>Wagenknecht, Edward.</text>
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          <elementTextContainer>
            <elementText elementTextId="95047">
              <text>Wagenknecht, Edward. The Personality of Chaucer. Norman: University of Oklahoma Press, 1968, pp. 24, 53, 58, 68, 115-16, 144.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95048">
              <text>Backgrounds and General Criticism&#13;
Sources, Analogues, and Literary Relations</text>
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          <elementTextContainer>
            <elementText elementTextId="99447">
              <text>Gower as Chaucer's friend, moral and poetic critic, a pacifist, a writer of love poetry who, like Chaucer, felt he may have been a bit too fond of love-poetry in his youth; if Chaucer was "hitting at" Gower in Man of Law's Prologue, he was hitting "below the belt." [RFY1981; rev. MA]</text>
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              <elementText elementTextId="95043">
                <text>The Personality of Chaucer.</text>
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                <text>1968</text>
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              <text>Weber, Edwart.</text>
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        <element elementId="55">
          <name>Published</name>
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          <elementTextContainer>
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              <text>Weber, Edwart. John Gower and G. B. Shaw: Antipoden einer Abendlandischen Entwicklung. Bad Homburg: Weber, 1968. </text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95054">
              <text>Backgrounds and General Criticism&#13;
Sources, Analogues, and Literary Relations</text>
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            <elementText elementTextId="99066">
              <text>Contrasts Gower's maintenance of medieval status quo with Shaw's socialism. [RFY1981]. </text>
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              <elementText elementTextId="95049">
                <text>John Gower and G. B. Shaw: Antipoden einer Abendlandischen Entwicklung.</text>
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              <elementText elementTextId="95050">
                <text>1968</text>
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          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95058">
              <text>Whittock, Trevor.</text>
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          <name>Published</name>
          <description/>
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              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations&#13;
Style, Rhetoric, and Versification</text>
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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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              <text>In Japanese; no English abstract. [RFY1981]</text>
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              <text>Oiji, Takero. "Wat Tyler's Rebellion and English Literature." In Takero Oiji, ed. Chaucer to sono shuhen [Chaucer and His Contemporary Poets] (Tokyo: Kenkyusha, 1968), chapter 12. Reprinted in 14 seiki no eibungaku, IV (Tokyo: Kenkyusha, 1976), chapter 2. </text>
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              <text>Isso, Carlo. Storia della Letterature Inglese. Milan: Accademia, 1968, pp. 9, 61, 88-92, 96, 118, 122, 131. 143, 149, 165, 196, 396. </text>
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              <text>In the Prologue to the CA, Gower relates Nebuchadnezzar's vision of the composite statue. Gower's account, however, differs from other Middle English sources, and indeed from the biblical Book of Daniel. In particular, Gower does not explicitly designate Belshazzar as the son of Nebuchadnezzar (although Regan notes that he does so in the MO), and he does not mention the Medes as conquerors of Babylon. The source that mostly closely approximates Gower's version is Boccaccio's De Casibus Illustrium Virorum, passages of which Gower may have memorized as part of his practice of writing "cento." Regan further surveys medieval interpretations of the world empires that are traditionally associated with the precious metals of the statue, and suggests that Gower's decision to associate silver only with the Persians, and not with the Medes, makes sense given his theme of gradual "division" during the course of history. If Gower had divided the Chaldean empire among the Medes and the Persians he would have damaged the climactic quality of his verse. Silver remains a noble metal and the end of the Chaldean empire occurs at a time when the world had only just begun to change for the worse. [CvD]</text>
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              <text>Regan, Charles L. "John Gower and the Fall of Babylon: Confessio Amantis, Prol. ll. 670-86." English Language Notes 7.2 (1969), pp. 85-92.</text>
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              <text>Confessio Amantis</text>
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              <text>Mirour de l'Omme (Speculum Meditantis)</text>
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                <text>John Gower and the Fall of Babylon: Confessio Amantis, Prol. ll. 670-86</text>
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              <text>Ito compares the frequency and usage of rime riche in Gower's CA and MO as well as Chaucer's works. Gower uses 383 rime riches in the CA or about one for every hundred lines, whereas Chaucer uses about a third of that. Ito points out that modern translators avoid this device, "regarding it [as] too artificial, or even comical, whereas to ME poets … such sonorous, euphonic repetition of verbal sound as rime riche was far more 'poetical' than we suppose" (31). Of the CA's rime riches, three quarters are made of native words and the rest are French loan words. High frequency pairings tend to be of Old English origin and are generally used for colloquial speech or as poetic filler to complete the line. Most of Gower's rime riches play on semantic contrast, but a small number consist of words that are different only on a grammatical level. Gower's rime riches aim for "logical clarity" (36), whereas Chaucer's can also convey a sense of humour. Ito points out two passages (CA Book 5.79-90 and 8.3151-56) where multiple rime riches occur together and he notes that at times Gower uses rime riche to bridge two sentences (this is called "rime-breaking" or "a broken couplet"). Ito's conclusion summarizes the reasons for Gower's frequent recourse to rime riche wordplay and provides some final comparisons between Gower and Chaucer. [CvD; rev. MA]</text>
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              <text>Ito, Masayoshi</text>
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            <elementText elementTextId="85912">
              <text>Ito, Masayoshi. "Gower's Use of Rime Riche in Confessio Amantis: As Compared with His Practice in Mirour de L'Omme and with the Case of Chaucer." Studies in English Literature 46 (1969), pp. 29-44. Reprinted version in Ito's John Gower, The Medieval Poet (Tokyo: Shinozaki Shorin, 1976), pp. 214-31.</text>
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              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Style, Rhetoric, and Versification</text>
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              <text>Confessio Amantis</text>
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              <text>Mirour de l'Omme (Speculum Meditantis)</text>
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              <elementText elementTextId="85906">
                <text>Gower's Use of Rime Riche in Confessio Amantis: As Compared with His Practice in Mirour de L'Omme and with the Case of Chaucer</text>
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                <text>1969</text>
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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>
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              <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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          <elementTextContainer>
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              <text>Iwasaki, Haruo</text>
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              <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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            <elementText elementTextId="85924">
              <text>Style, Rhetoric, and Versification</text>
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              <text>Confessio Amantis</text>
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                <text>1969</text>
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              <text>Pearsall acknowledges that Gower's decision to write in three languages may be perceived as "a timid hedging of bets on posterior fame, a safe but unspectacular investment" (5), but he argues that "there is a logic in Gower's progress through the languages which reflects the age, as always, with great fidelity" (5). For instance, the morally didactic MO comes in "a long tradition of serious, practical, admonitory writing in Anglo-French" (5). Accordingly, Pearsall suggests that in the MO Gower "places a moral grid over the map of human experience and reads it through that" (8). Truth, for Gower, is a castle under siege, "whose walls are crumbling and showing fissures. It is his duty, not to make daring exploratory forays into the hinterland of experience, but to shore up these fragments against the world's ruin" (8). The same is true for the VC, for when Gower asserts the moral responsibility of man in the face of the forces of Fortune and Nature, "nothing better illustrates the meaninglessness of experience, in the medieval scheme, in comparison with moral truth" (8-9). Gower's "savage Roman obscenity of wit" (9) in this work further suggests something of "the imaginative and verbal licence which Latin provided, when the simple innocence of the laity was not in danger of being corrupted" (9). The most interesting part of the VC, for Pearsall, is Book 1. Pearsall writes: "The Revolt certainly disturbed Gower, but it was a godsend to him as a fulfillment of his prophecies and as a way of getting his poem off to an explosive start" (10). In comparison with Gower's French and Latin works, the CA is "a relaxation from these strenuous moral endeavours … In this poem Gower found, as if by chance, his natural vocation as a polished and fluent verse narrator, and it is this story-teller's gift which is our chief delight in reading Gower, and his chief claim on our attention" (5-6). The bulk of Pearsall's chapter on Gower is therefore dedicated to proving the greatness of the CA, where Gower writes "out of imaginative sympathy and not out of admonitory purpose" (6). Much here is borrowed from Pearsall's previous article, "Gower's Narrative Art" (1966), although often with different nuances and emphases. For instance, more attention is given to Gower's excision of the reference to Chaucer, and Pearsall dwells a little longer on Gower's "verbal artistry" (21). Generally, though, all the same points are made, and Pearsall's conclusion repeats his earlier findings: "The Confessio, however, does in the end become something more than a programme, for it passes beyond prescription to a 'civilization of the heart', in which fine feeling, humane sensitivity and 'gentillesse' take over the role of conscience as the source of virtuous action. Sin is made to seem not so much deadly as stupid and low" (17). Pearsall's brief volume also refers sporadically to some of the minor works, and it includes a chronology of important dates in Gower's life as well as a select bibliography of the more important secondary literature on Gower. [CvD]</text>
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              <text>The CA is built of opposites; Genius with responsibilities as a reproductive god and tutelary spirit; war and peace; courtly/Christian; dream-vision of Court of Love leading to vision of heavenly love. Examines tales in groups of lovers who succeed or fail in governing their emotions with reason, and political rulers with reason, or do not. Last chapter devoted to "Apollonius of Tyre" as a lover and ruler who does everything right. [RFY1981; rev. MA]</text>
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              <text>Traces the two traditions of attitudes toward Dido in Latin and Christian literature: Dido as a suicide preserves herself from a forced marriage with Sichaeus, and Dido as an adulterous women who kills herself out of grief for the departed Aeneas. Gower follows the latter tradition in the CA. [RFY1981]</text>
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Sources, Analogues, and Literary Relations</text>
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              <text>Allusions to Pan are not common in England before the 1580s, but Chaucer has one, BD 512; Gower has two, CA, VIII, 2239-40 and V, 1005-44 (see also Pro. 116-17); and Lydgate has one in "Assembly of Gods, 323-24. Chaucer and Gower follow Servius, "Eclogue" II, 31: Pan a "poetis fingitur cum amore luctatus et ab eo victus, quia, ut legimus, omnia vincit amor." ("Pan is depicted by the poets as wrestling with love and defeated by him, since, as we read, love conquers all"). [RFY1981]</text>
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              <text>Merivale, Patricia. Pan the Goat-god: His Myth in Modern Times. Cambridge, Mass.: Harvard University Press, 1969, pp. 16, 240n40, 254n2</text>
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Sources, Analogues, and Literary Relations</text>
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              <text>"Ceyx and Alcione" is found in both the CA and Chaucer's "Book of the Duchess," but this is not evidence of much. [RFY1981]</text>
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                <text>1969</text>
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              <text>A comparison of Shakespeare's "Pericles" V, I, 42-220 and the parallel passage from the CA (VIII, 1629-1746), to the effect that Gower's poem shown to be a close but not the sole source of the play. [RFY1981]</text>
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        <element elementId="97">
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              <text>Scott, William D.</text>
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          <elementTextContainer>
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              <text>Scott, William D. "Another 'Heroical Devise' in 'Pericles'." Shakespeare Quarterly 20 (1969): 91-95. </text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95725">
              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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      </elementContainer>
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              <elementText elementTextId="95720">
                <text>Another "Heroical Devise" in "Pericles."</text>
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              <elementText elementTextId="95721">
                <text>1969</text>
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              <name>Title</name>
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              <text>Primarily a study of early Modern English, using a modified "history of ideas" approach. Topics include "Gower's Pacifism," "Gower's Politics," "Gower on Kingship," Gower on Love," always with the concern to show how these affect his use of language. [RFY1981]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
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              <text>Cottle, Basil.</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="95981">
              <text>Cottle, Basil. The Triumph of English, 1150-1400. London: Barnes and Noble, 1969, pp. 22, 40, 43, 68-69, 120-26, 138, 258, 270, 293-97, 303. </text>
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          <elementTextContainer>
            <elementText elementTextId="95982">
              <text>Language and Word Studies</text>
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            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="95977">
                <text>The Triumph of English, 1150-1400.</text>
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          </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>
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                <text>1969</text>
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              <name>Title</name>
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          <name>Review</name>
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          <elementTextContainer>
            <elementText elementTextId="95985">
              <text>A broadly inclusive study of complaint poetry, covering poets as diverse as Marcabru and Dunbar; notes of Gower that the VC is part of the complaint genre, and contains many instances of the "world turned upside down"--Book III, Chapters 14, 15; Book VII, Chapters 3, 4, 23. [RFY1981]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
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              <text>Keller, Joseph R.</text>
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            <elementText elementTextId="95987">
              <text>Keller, Joseph R. "The Triumph of Vice: A Formal Approach to the Medieval Complaint Against the Times." Annuale Mediaevale 10 (1969): 120-37. </text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95988">
              <text>Backgrounds and General Criticism&#13;
Vox Clamantis</text>
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        </element>
      </elementContainer>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="95983">
                <text>The Triumph of Vice: A Formal Approach to the Medieval Complaint Against the Times.</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="95984">
                <text>1969</text>
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            </elementTextContainer>
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  </item>
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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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              </elementTextContainer>
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      <elementContainer>
        <element elementId="52">
          <name>Review</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="98631">
              <text>Schreiber's dissertation comprises four studies on the place and function of Venus in individual Middle English narratives--one each on Gower's "Confessio Amantis," Lydgate's "Temple of Glas," Henryson's "Testament of Cresseid," and the "Kingis Quair"--prefaced by a survey of the goddess in medieval mythographic tradition. Each of these stands on its own but Schreiber throws up his hands when he thinks about pulling them together in his conclusion: "the poetic values of the goddess are most difficult to delineate, and thus, I suggest, a summary of the 'figurae' of Venus would entail restatement of the analyses which I have already given" (140). The plural "figurae"/"figures" mentioned here might well have appeared in the title of Schreiber's dissertation, as he states and reiterates Venus's variety and ambiguities throughout--description and source study rather than synthesis. In his discussion of the CA Schreiber grounds an argument for the unity of Gower's work--which he considers "well unified"; its "vision consistent" (35)--upon the idea that Amans undergoes "self-discovery through the process of confession," with Venus playing a role "much like Lady Philosophy who told Boethius that he had forgotten his true identity" (48), even while she is "highly ambiguous" (49). As with Venus, Schrieber says, "we are also unsure of the true character of her priest Genius" (50). Surveying the double (or triple) nature of Venus and similar background to Genius in medieval philosophy and "philosophical poetry" (John Scotus Erigena, Alain de Lille, Bernardus Silvestris, the "Roman de la Rose," and more), Schreiber suggests that Amans' eventual self-recognition and progress from lower to higher love are signified in Book VIII, when Venus re-appears with her mirror, with its multiple "traditional functions"; she then disappears again because she does not "participate in the new dispensation, wherein understanding becomes wisdom only by the infusion of divine charity. Instead, she is . . . Scotus' 'bonae ac naturales virtues' and Bernardus' 'musica mundana,' the good Venus of Alan's 'De planctu' who represents the proper exercise of man's natural virtues in the economy of Creation" (60-61). [MA. Copyright. John Gower Society. eJGN 43.2]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="98632">
              <text>Schreiber, Earl George.</text>
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          </elementTextContainer>
        </element>
        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="98633">
              <text>Schreiber, Earl George. "The Figure of Venus in Late Middle English Poetry." Ph.D. Dissertation. University of Illinois, 1969. Dissertation Abstracts International 31 (1970): 767A. Full-text available at ProQuest Dissertations and Theses Global.</text>
            </elementText>
          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="98634">
              <text>Sources, Analogues, and Literary Relations&#13;
Confessio Amantis</text>
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          </elementTextContainer>
        </element>
      </elementContainer>
    </itemType>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="98629">
                <text>The Figure of Venus in Late Middle English 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="98630">
                <text>1969</text>
              </elementText>
            </elementTextContainer>
          </element>
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  </item>
  <item itemId="8651" public="1" featured="0">
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        <elementSet elementSetId="1">
          <name>Dublin Core</name>
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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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              </elementTextContainer>
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    <itemType itemTypeId="18">
      <name>GowerType</name>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="85741">
              <text>Economou elucidates the influences that shaped Gower's character Genius. Alan de Lille, in De Planctu Naturae, uses Genius as a kind of double to Natura. Genius is her representative on earth and is especially associated with procreation. Jean de Meun in turn expands the role of Genius by giving him the function of confessor in The Roman de la Rose. However, in the Roman, "the Christian cosmological and moral conception of sexual love as it is expressed in Alan is assigned to the character Raison rather than to Natura and Genius" (206). In addition, for Jean de Meun, Genius and Nature represent procreation without clear reference to marriage or Christian morality. Genius further enters the service of Venus, who is entirely associated with cupidity and "luxuria" in the Roman. It is Gower's intention, then, to restore Genius to Alan de Lille's initial conception, by making him subservient to a good Venus who is once more in touch with reason and nature. The resulting synthesis gives a greater understanding of the overall unity of the CA: "In this sense, his dual role as Christian priest and priest of Venus, as she is defined by Gower, does not create a problem, for Genius is the moral agent that bridges the worlds of true religion and the religion of love" (209). [CvD]</text>
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          <description>Author/Editor</description>
          <elementTextContainer>
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              <text>Economou, George D</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="85743">
              <text>Economou, George D. "The Character Genius in Alan de Lille, Jean de Meun, and John Gower." Chaucer Review 4.3 (1970), pp. 203-210. ISSN 0009-2002</text>
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          </elementTextContainer>
        </element>
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          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="85744">
              <text>Sources, Analogues, and Literary Relations</text>
            </elementText>
            <elementText elementTextId="85745">
              <text>Confessio Amantis</text>
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          </elementTextContainer>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="85736">
                <text>The Character Genius in Alan de Lille, Jean de Meun, and John Gower</text>
              </elementText>
            </elementTextContainer>
          </element>
          <element elementId="45">
            <name>Publisher</name>
            <description>An entity responsible for making the resource available</description>
            <elementTextContainer>
              <elementText elementTextId="85737">
                <text>Penn State University Press,</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>
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                <text>1970</text>
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                <text>PeerReviewed</text>
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  <item itemId="8662" public="1" featured="0">
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          <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>
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                <elementText elementTextId="25233">
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      <description>Customized Item type for items in the Gower Database</description>
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        <element elementId="52">
          <name>Review</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="85847">
              <text>Byrd explains the proverb in CA 3.585: "But Oule on Stock [perch or branch] and Stock on Oule." Similar language from "The Owl and the Nightingale" shows that the proverb means that the owl defiles her nest and is then defiled as she sits on the nest. [CvD]</text>
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          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
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              <text>Byrd, David G</text>
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        <element elementId="56">
          <name>Gower Subject</name>
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            <elementText elementTextId="85850">
              <text>Language and Word Studies</text>
            </elementText>
            <elementText elementTextId="85851">
              <text>Confessio Amantis</text>
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        <element elementId="55">
          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="91074">
              <text>Byrd, David G. "Gower's Confessio Amantis, III, 585." Explicator 29.1 (1970), Item 2.</text>
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                <text>1970</text>
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                <text>Gower's Confessio Amantis, III, 585</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>Beginning with the relations (and differences) between chronological time and verb tense, Bauer's "tudien" categorizes the general deployment of the latter in the works of Chaucer and Gower. The approach is thoroughly structural (rather than even generative) and focuses on fundamental oppositions: the present tense as opposed to the preterit and both as opposed to the perfect. For Gower, Bauer draws on the CA--which is as much to say as he does not comparatively analyze the poet's Latin and French syntax. The Chaucer examples largely come from the CT, TC, "Legend of Good Women," and "Book of the Duchess." Bauer's focus is very localized--generally at the clause level, rarely at the sentence level, and never at the level of an utterance or narrative. While "Studien" make occasional nods to English syntactic history, Chaucer's and Gower's usages are very much treated in isolation, with no claims for larger significances in English language history or syntactic study. In this way, Bauer demonstrates the flexibility of tense usage by Chaucer and Gower, both of whom are fond of the "historical present." He equally shows the syntactic (and hence semantic) significance of a variety of common conjunctions: "er," "whilom," "since," "tofore," etc. As a structuralist, Bauer sees tense usage above all as expressing a point of reference: when, temporally, can one action be situated in relation to another? If an action is narrated in the preterit, then, a prior action will occur in the perfect. In this, of course, Chaucer's and Gower's language--Middle English in general--is much the same as Present Day English, with the very significant exception that usage studies of the latter are more capacious in the kinds of data they use. The point-of-reference distinctions may hold with English creoles or non-standard varieties, for example, but the lexis and syntax used to express them differs considerably from those of Standard English. [TWM. Copyright. The John Gower Society. eJGN 39.2]</text>
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Style, Rhetoric, and Versification</text>
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              <text>A close, readable English prose translation of the entire poem. [RFY1981].</text>
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Facsimiles, Editions, and Translations</text>
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              <text>Gordon, Ida L. The Double Sorrow of Troilus: A Study of Ambiguities in Troilus and Criseyde. Oxford; Clarendon Press, 1970, p. 54.</text>
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Bolton, W. F., ed.</text>
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              <text>Woolf, Rosemary. "Later Poetry: The Popular Tradition." W. F. Bolton, ed. The Middle Ages. Sphere History of Literature in the English Language, vol. 1. London: Barrie and Jenkins, 1970, p. 265. </text>
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              <text>Confesio Amantis&#13;
Style, Rhetoric, and Versification</text>
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              <text>Like Chaucer and Froissart, Gower is a member of an English courtly tradition fostered by Richard II. The CA was written in an "unobtrusive" style, with much careful artistry and "genuine polish." Brief analysis of several short passages from the CA. [RFY1981].</text>
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Bolton, W. F., ed.</text>
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              <text>Gray, Douglas. "Later Poetry: The Courtly Tradition." W. F. Bolton, ed. The Middle Ages. Sphere History of Literature in the English Language, vol. 1. London: Barrie and Jenkins, 1970, p. 312, 316-20. </text>
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Confessio Amantis</text>
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              <text>Argues that Alanus de Insulis's figure of Genius in "De Planctu" is the source for the figure in the "Roman de la Rose," "Confessio Amantis," and "Faerie Queene," and that the development of Genius is intimately related to the development of the figure of Natura. [RFY1981].</text>
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Confessio Amantis</text>
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              <text>Unexamined. [RFY1981].</text>
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              <text>Speed, D. F.</text>
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              <text>Speed, D. F. Gower's Narrative Technique as Revealed by His Adaptations of Source Material in the Tales of "Confessio Amantis." Ph. D. Dissertation. University of London, 1970. </text>
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              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations&#13;
Style, Rhetoric, and Versification</text>
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                <text>Gower's Narrative Technique as Revealed by His Adaptations of Source Material in the Tales of "Confessio Amantis."</text>
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              <text>Discusses and categorizes characters according to "personation or figuration. Through personation a conceptual value is embodied in a personage. The most familiar form of this mode is personification, which Gower makes elaborate use of in" MO. "His delineation, however, of such personages as Genius and Amans in" CA "reveals quite clearly that personation is not always a matter of simple personification. Figuration begins with a particular person, whether historical or legendary. Through this mode, some kind of conceptual value becomes associated, even identified, with the personage. The rebels in the" VC "not only do monstrous deeds; they are monsters." [RFY1982; rev. MA]</text>
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              <text>Cowling, Samuel Taggart, III.</text>
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              <text>Cowling, Samuel Taggart, III. The Personages in the Major Narrative Works of John Gower. Ph.D. Dissertation. Michigan State University, 1970. Freely accessible at https://d.lib.msu.edu/etd/39752; accessed October 6, 2022</text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="95096">
              <text>Style, Rhetoric, and Versification&#13;
Backgrounds and General Criticism&#13;
Mirour de l'Omme (Speculum Meditantis)&#13;
Vox Clamantis&#13;
Confessio Amantis&#13;
</text>
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                <text>The Personages in the Major Narrative Works of John Gower.</text>
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              <text>Bolton, W. F., ed.</text>
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              <text>Bolton, W. F., ed. The Middle Ages. Sphere History of Literature in the English Language, vol. 1. London: Barrie and Jenkins, 1970. pp. ix-xxxvi. </text>
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              <text>Backgrounds and General Criticism</text>
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              <text>A general introduction to literature in England during the Middle Ages, in which Gower's name appears as a contemporary, friend, and competitor with Chaucer, Langland, etc. Points out that Gower puts himself in his poetry as a character, that he includes his name in certain poems (unspecified) in the cryptic pattern of Cynewulf. [RFY1981]</text>
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              <elementText elementTextId="95097">
                <text>The Middle Ages. Sphere History of Literature in the English Language, vol. 1.</text>
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                <text>1970</text>
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            <elementText elementTextId="95105">
              <text>Gower's frame story and his handling of narrative material in the CA compared with Chaucer's in "The Canterbury Tales," with favor given to Chaucer. [RFY1981]</text>
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        <element elementId="97">
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          <elementTextContainer>
            <elementText elementTextId="95106">
              <text>Pearsall, Derek.</text>
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          <elementTextContainer>
            <elementText elementTextId="95107">
              <text>Pearsall, Derek. "The Canterbury Tales." In W. F. Bolton, ed. The Middle Ages (London: Barrie and Jenkins, 1970), pp. 166, 178</text>
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        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95108">
              <text>Confessio Amantis&#13;
Style, Rhetoric, and Versification&#13;
Sources, Analogues, and Literary Relations</text>
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              <elementText elementTextId="95103">
                <text>The Canterbury Tales</text>
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                <text>1970</text>
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      <elementContainer>
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            <elementText elementTextId="95111">
              <text>Gower places himself as character in the CA, to ironic effect; would have disagreed with Troilus' views of the world in "Troilus and Criseyde" IV, 953ff. [RFY1981]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95112">
              <text>Brewer, D. S.</text>
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="95113">
              <text>Brewer, D. S. "Troilus and Criseyde." In W. F. Bolton, ed. The Middle Ages (London: Barrie and Jenkins, 1970), pp. 199, 233</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95114">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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          <element elementId="50">
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              <elementText elementTextId="95109">
                <text>Troilus and Criseyde.</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="95110">
                <text>1970</text>
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            <elementText elementTextId="95117">
              <text>Argues that Amans of CA is related to Chaucer the Pilgrim; considers Gower to be a possible corrector (of a moral sort) to "Troilus and Criseyde." </text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95118">
              <text>Donaldson, E. Talbot.</text>
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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95119">
              <text>Donaldson, E. Talbot. Speaking of Chaucer. New York: Norton, 1970, pp.9-10, 100. </text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95120">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>Speaking of Chaucer.</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>
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                <text>1970</text>
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            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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      <elementContainer>
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          <name>Review</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95308">
              <text>Links Gower with Langland and the author of "Wynnere and Wastoure" as socially-minded poets, concerned about moral decline at the end of the fourteenth century. In Japanese; original publication includes English abstract [RFY1981; rev. MA]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95309">
              <text>Oiji, Takero.</text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95310">
              <text>Oiji, Takero. "Deploring and Praying: John Gower in the Prologus in the 'Confessio Amantis'." Bunka 36  (1970): 1012. Reprinted as Chapter 1 in "14 Seiki no Eibungaku" [English in the Fourteenth Century]. Tokyo: Kenkyusha, 1976.</text>
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        <element elementId="56">
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          <elementTextContainer>
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              <text>Confessio Amantis</text>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="95306">
                <text>Deploring and Praying: John Gower in the Prologus in the "Confessio Amantis."</text>
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            </elementTextContainer>
          </element>
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            <name>Date</name>
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            <elementTextContainer>
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                <text>1970</text>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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      <name>GowerType</name>
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      <elementContainer>
        <element elementId="52">
          <name>Review</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95728">
              <text>Along with Greek analogues, Shakespeare used Gower's tale of "Apollonius of Tyre" as a major source for "Pericles."[RFY1981]</text>
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          </elementTextContainer>
        </element>
        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95729">
              <text>Gesner, Carol. </text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95730">
              <text>Gesner, Carol. Shakespeare and the Greek Romances: A Study of Origins. Lexington: University Of Kentucky Press, 1970, p. 88.</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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                <text>Shakespeare and the Greek Romances: A Study of Origins.</text>
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              <text>Gower is more politically concerned than Chaucer, at least judging from the evidence in the poems; Chaucer more capable than Gower of imaginative flights, but Gower the steadier craftsman. [RFY1981]</text>
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              <text>Hussey, S. S.</text>
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              <text>Hussey, S. S. " The Minor Poems and the Prose." In W.F. Bolton, ed. The Middle Ages. Sphere History of Literature in the English Language, vol. 1 (London: Barrie and Jenkins, 1970), pp. 230, 258, 259. </text>
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Sources, Analogues, and Literary Relations</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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          <name>Gower Subject</name>
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                <text>A View of Chaucer's Astronomy.</text>
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                <text>1970</text>
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            <elementText elementTextId="97603">
              <text>Fundamentally a character study of the narrator in the final stanzas of Chaucer's "Troilus and Criseyde," Markland's essay digresses briefly (pp. 155-57) to address the friendship between Gower and Chaucer and comment on several literary passages that pertain to it. [Because they push against general critical opinion, I quote the comments at length.] Concerning Chaucer's dedication of TC to Gower, Markland suggests that the reference to "O moral Gower," "exclaimed by the uncommonly moral narrator, has an ironic ring and might well have been the start of a jesting exchange rather than the sincere admiration of Gower's moral measure that it has usually been taken to be. It is the sort of phrase that would come from the tongue of a man with the conventional morality, the unthinking sententious morality of the narrator. To that jibe Gower might have retorted, when he had the opportunity five years later [in Venus's greeting to Chaucer in Confessio Amantis VIII, *2940-59] by charging Chaucer with lightness. Chaucer's rejoinder in the prologue to the Man of Law's Tale, if it is a rejoinder, is sharper criticism, perhaps sharp enough to offend even in bantering exchange" (156). Through Venus's comments in the first recension of CA, Markland tells us, "Gower seems to urge Chaucer to admit, as he himself has admitted, that the service of love is no longer suitable to him." A bit further on, Markland concludes his digression: "Such a reading might also help us with our identification of the 'philosophical Strode.' It will not tell us who he was; but, by suggesting what he was, it may well relieve us of the urgency to find an important and truly philosophical Strode. He may have been philosophical only in pretension or he may have been one who cultivated a humor. That is what the exclamation 'O moral Gower' on the lips of the narrator implies about Gower's morality" (156). [MA. Copyright. John Gower Society. eJGN 42.2]</text>
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          <elementTextContainer>
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              <text>Markland, Murray F.</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="97605">
              <text>Markland, Murray F. "'Troilus and Criseyde': The Inviolability of the Ending." Modern Language Quarterly 31.2 (1970): 147-59.</text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="97606">
              <text>Sources, Analogues, and Literary Relations</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="97601">
                <text>"Troilus and Criseyde": The Inviolability of the Ending.</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="97602">
                <text>1970</text>
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              <description>A name given to the resource</description>
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          <elementTextContainer>
            <elementText elementTextId="98881">
              <text>"This study . . . [seeks to] demonstrate the importance of an understanding of the moral connotations of madness--specifically the connection between madness and sin--for the interpretation of many medieval works; to provide an introduction to concepts of disease and madness prevalent in the Middle Ages; to define three conventions of madness [the Mad Sinner, the Unholy Wild Man, the Holy Wild Man]; and to offer new perspectives on some important works which include mad or wild men." Chapter 3 treats Nebuchadnezzar as the "prototype of literary medieval madness" and includes discussion of him in Gower's "Confessio Amantis." [eJGN 44.1]</text>
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        <element elementId="97">
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          <description>Author/Editor</description>
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              <text>Doob, Penelope Billings Reed.</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="98883">
              <text>Doob, Penelope Billings Reed. "Ego Nabugodonosor: A Study of Conventions of Madness in Middle English Literature." Ph.D. Dissertation. Stanford University, 1970. Dissertation Abstracts International 31.04 (1970): 1755A. Full text accessible via ProQuest Theses &amp; Dissertations Global.</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="98884">
              <text>Confessio Amantis</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="98879">
                <text>Ego Nabugodonosor: A Study of Conventions of Madness in Middle English Literature.</text>
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          </element>
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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="98880">
                <text>1970</text>
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          <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>
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          <elementTextContainer>
            <elementText elementTextId="98893">
              <text>Harder explores "Gower's treatment of the tales he took from Ovid . . . [to reveal] how Gower used his source in establishing the sentence of his tales." Treats Gower's Ovidian tales in the 'Confessio Amantis' sequentially, arguing that Gower "generally used" the ones "easily adaptable to his purpose . . . . But he made changes wherever necessary to establish his moral," recurrently "reduc[ing] the number of characters and events . . . us[ing] editorial narration to stress doctrine . . . and respond[ing] to certain elements of Ovid in a predictable pattern." Gower "is a capable story-teller." [eJGN 44.1]</text>
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        <element elementId="97">
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          <description>Author/Editor</description>
          <elementTextContainer>
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              <text>Harder, Henry Louis.</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="98895">
              <text>Harder, Henry Louis. "Ovid and the Sentence of the 'Confessio Amantis.'" Ph.D. Dissertation. University of Maryland, 1970. Dissertation Abstracts International 31.11 (1971): 6057A.</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="98896">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="98891">
                <text>Ovid and the Sentence of the "Confessio Amantis."</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="98892">
                <text>1970</text>
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          <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>
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      <elementContainer>
        <element elementId="52">
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          <elementTextContainer>
            <elementText elementTextId="82453">
              <text>Mieszkowski surveys allusions to Criseyde in Latin, French, Italian, and English literature from Benoit to Henryson in order to demonstrate that long before Shakespeare, indeed from her very first appearance in medieval literature, Criseyde was used as an example of fickleness and inconstancy. Shakespeare's portrayal, therefore, can be traced to Criseyde's traditional representation, and is not due merely to a 16th-century misreading of Henryson as several influential scholars have proposed. Such a view of Criseyde, moreover, was already well known to Chaucer's audience, Mieszkowski claims, and would have helped shape their reaction to Chaucer's T&amp;C. Gower provides important evidence for her thesis. His reference to Troilus and Criseyde in MO 5253-55, which makes no comment on either character, demonstrates that the story was already well-known before the appearance of Chaucer's poem. (His allusion to a "geste" suggests that there was a contemporary song about the characters, which Boccaccio also refers to in the Decameron.) The reference in VC 6.1325-28, also antedating Chaucer, demonstrates Criseyde's reputation was already fixed. There is no perceptible difference in Gower's view of Criseyde in the five references in CA, which postdates T&amp;C. That in 5.7597-7602 is preceded by a reference to Achilles' love for Polixena, which is also described by both Benoit and Guido, and thus "illustrates how automatically Chaucer's contemporaries associated his version with the traditional Criseyde stories" (p. 101). The allusion to Troilus and Diomedes in CB 20.19-24 is also linked to earlier Troy material. In content it is consistent with all of Gower's other references, and is not datable on the basis of this allusion simply because Gower's view of Criseyde was evidently not altered by his reading of Chaucer's poem. The scope of her argument does not allow Mieszkowski to consider more of the implications of her conclusions with reference to Gower. It is a pleasure, for instance, to discover that Gower's references to Troilus and Criseyde in CA are something other than merely trivializations or misreadings of T&amp;C, as has often been claimed. On the other hand, she does not address some of the problems that MO and VC have posed for others. Gower's spelling of Criseyde's name with a "C" rather than a "B" (as it appears in both Benoit and Guido) has suggested to some that the references in MO and VC are also based on Chaucer (but cf. Fisher, 1964:234), raising serious problems in the chronology of these works. Mieszkowski has no comment on the controversy or on how Gower might have gotten the spelling. Her evidence for the dating of MO (from Kittredge, 1909) is also a bit out of date. [PN. Copyright The John Gower Society. JGN 8.2]</text>
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          <description>Author/Editor</description>
          <elementTextContainer>
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              <text>Mieszkowski, Gretchen</text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="82455">
              <text>Mieszkowski, Gretchen. "The Reputation of Criseyde 1155-1500." Connecticut Academy of Arts and Sciences Transactions 43 (1971), pp. 71-153.</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="82456">
              <text>Sources, Analogues, and Literary Relations</text>
            </elementText>
            <elementText elementTextId="82457">
              <text>Vox Clamantis</text>
            </elementText>
            <elementText elementTextId="82458">
              <text>Cinkante Balades</text>
            </elementText>
            <elementText elementTextId="82459">
              <text>Confessio Amantis</text>
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            <elementText elementTextId="91092">
              <text>Mirour de l'Omme (Speculum Meditantis)</text>
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              <elementText elementTextId="82449">
                <text>The Reputation of Criseyde 1155-1500</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="82450">
                <text>1971</text>
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                  <text>Gower Collection</text>
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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</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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            <elementText elementTextId="84881">
              <text>Confessio Amantis</text>
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            <elementText elementTextId="84882">
              <text>Influence and Later Allusion</text>
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                <text>A Note on Pericles, Act II, Chorus 17-20</text>
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                <text>1971</text>
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              <text>Gilroy-Scott, Neil W</text>
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            <elementText elementTextId="85586">
              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Confessio Amantis</text>
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            <elementText elementTextId="85588">
              <text>Influence and Later Allusion</text>
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              <text>In the two centuries after Gower's death, the poet's name is mentioned respectfully alongside that of Chaucer. However, Gower had not nearly the same popular appeal. There are three main reasons for this difference: Gower wrote two extended works in French and in Latin; he concerned himself greatly with the welfare of his country in his works; and he distributed copies of his works primarily to eminent men in church and state, thereby limiting their general dissemination. Initial references to Gower are brief, and most are influenced by Chaucer's allusion to "moral Gower" at the end of Troilus and Criseyde. From there Gilroy-Scott traces Gower's influence through the Scottish Chaucerians, Caxton, Skelton, Berthelet, Puttenham, Sir Philip Sidney, Robert Greene (at some length), and Shakespeare (in Pericles). Gower is generally praised for his morality (although some severe voices object to the lust of Venus) and commended for his compendious knowledge. Nevertheless, with the passage of time his rhymes are increasingly seen as "quaint" and by the time of Shakespeare he has become "an antique figure endowed with a measure of rustic wisdom" (47). Lacking popular appeal, Gower was eventually assigned to "the preserve of the scholar and antiquarian" (47). Based on the author's 1968 M.A. thesis, Birmingham University, "The Reputation of John Gower from 1400 to 1609." [CvD; rev. MA]</text>
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              <text>Gilroy-Scott, Neil W. "John Gower's Reputation: Literary Allusions from the Early Fifteenth Century to the Time of 'Pericles'." Yearbook of English Studies 1 (1971), pp. 30-47.</text>
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                <text>1971</text>
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                <text>John Gower's Reputation: Literary Allusions from the Early   Fifteenth Century to the Time of 'Pericles'.</text>
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              <text>In examining political verse of the fifteenth century, Scattergood gives occasional attention to Gower. He provides a brief overview of Gower's work (19) and refers sporadically to Gower's views on such topics as Henry IV's accession to the throne, the need for peace among European rulers, the papal schism, and the possibility of a new crusade against the infidel. Scattergood's main focus is on "In Praise of Peace." [CvD]</text>
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              <text>Scattergood, V. J</text>
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              <text>Scattergood, V. J. "Politics and Poetry in the Fifteenth Century." London: Blandford, 1971</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="85734">
              <text>Backgrounds and General Criticism</text>
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            <elementText elementTextId="85735">
              <text>In Praise of Peace</text>
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          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="85726">
                <text>Politics and Poetry in the Fifteenth Century</text>
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            <elementTextContainer>
              <elementText elementTextId="85727">
                <text>Blandford,</text>
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            <name>Date</name>
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                <text>1971</text>
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              <text>Burrow's study of the hallmarks of Ricardian poetry makes frequent reference to Gower. Such typical features as "pointing," personification, a predilection for narrative, the exemplary mode, and the enclosure of poetic material in a framed story -- these are all amply illustrated by examples from Gower. For example, Gower shows "felicity, wit, and even profundity" (83) in his application of morals to his stories. What generally sets Gower apart is his style, which Burrow, in the tradition of Warton, Macaulay, and Lewis, calls "Augustan." In other words, at his best Gower writes in a plain style that is "free from constraint or stiffness, smooth and without a trace of effort" (29). Yet Gower's fastidiousness and desire for correctness also meant that his style frequently became "threadbare" (31), and thus Burrows concludes, "It is as if the English language was not yet rich enough to support the sacrifices which an exclusive doctrine of correctness demands" (31-32). [CvD]</text>
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          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="86377">
              <text>Burrow, J. A</text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="86378">
              <text>Burrow, J. A. "Ricardian Poetry: Chaucer, Gower, Langland and the Gawain Poet." London: Routledge, 1971</text>
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        </element>
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          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="86379">
              <text>Style, Rhetoric, and Versification</text>
            </elementText>
            <elementText elementTextId="86380">
              <text>Confessio Amantis</text>
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            <elementText elementTextId="86381">
              <text>Influence and Later Allusion</text>
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              <elementText elementTextId="86371">
                <text>Ricardian Poetry: Chaucer, Gower, Langland and the Gawain Poet</text>
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            <name>Publisher</name>
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              <elementText elementTextId="86372">
                <text>Routledge,</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="86373">
                <text>1971</text>
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            <elementText elementTextId="87033">
              <text>In Japanese. This article presents a prosodic analysis of the rhyme-royal stanzas contained in the "Supplication of Amans" in CA 8.2217-2300 and "In Praise of Peace," with frequent comparison to Chaucer's use of the same stanza form in "Parliament of Fowls," "Troilus and Criseyde," and four tales in the "Canterbury Tales." According to Ito, Gower's rhyme royal is markedly different from Chaucer's in the following respects. First, whereas rhyme royal in Chaucer's poems is freed from the formal constraints of the French ballade to such an extent that it is transformed into a flexible vehicle for verse narrative, Gower's rhyme royal retains close resemblance to the ballade form due to its tendency to form a "tern," or a ballade-like set of three stanzas. Second, unlike Chaucer, who makes effective use of run-on lines and run-on stanzas to create a sense of onward movement, Gower treats the rhyme-royal stanza as a self-contained unit whose integrity is marked by a strong break at its end. Third, while the Chaucerian stanza often conveys a strong sense of a couplet through the end-stopped fifth line, Gower prefers a pause before the seventh line, thus making it resemble the final line of the ballade stanza that functions as a refrain. On the basis of these observations, Ito refutes the widely held assumption about Chaucer's influence on Gower's prosody, arguing instead that Gower's skillful use of rhyme royal in his English poems stems from his own experiments in French balladry in CB and "Traitié." [Yoshiko Kobayashi; rev. MA]</text>
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          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="87034">
              <text>Ito, Masayoshi</text>
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          </elementTextContainer>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="87035">
              <text>Ito, Masayoshi. "Gower and Rime Royal." Bulletin of College of General Education, Tohoku University 12 (1971), pp. 47-65 [ISSN 0287-8844]. English version available in Ito's John Gower, The Medieval Poet (Tokyo: Shinozaki Shorin, 1976), pp. 101-18.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="87036">
              <text>Style, Rhetoric, and Versification</text>
            </elementText>
            <elementText elementTextId="87037">
              <text>Confessio Amantis</text>
            </elementText>
            <elementText elementTextId="87038">
              <text>Cinkante Balades</text>
            </elementText>
            <elementText elementTextId="87039">
              <text>In Praise of Peace</text>
            </elementText>
            <elementText elementTextId="87040">
              <text>Traitié pour Essampler les Amants Marietz</text>
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            <name>Title</name>
            <description>A name given to the resource</description>
            <elementTextContainer>
              <elementText elementTextId="87029">
                <text>Gower and Rime Royal</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="87030">
                <text>1971</text>
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          <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>
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                  <text>Gower Collection</text>
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          <elementTextContainer>
            <elementText elementTextId="94163">
              <text>Briefly mentions Gower as a speaker and writer of French in London in the latter half of the fourteenth century, and as an importer of new words from French and Latin into English. [RFY1981].</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="94164">
              <text>Baugh, Albert C.</text>
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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="94165">
              <text>Baugh, Albert C. A History of the English Language. 2nd ed., rev. London: Routledge and Kegan Paul, 1971. pp. 171-3, 270. </text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="94166">
              <text>Language and Word Studies</text>
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                <text>A History of the English Language.</text>
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              <text>Unexamined. [RFY1981].</text>
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              <text>Kanno, Masahiko. "On the Vocabulary of John Gower." Studies in Foreign Language (Aichi University of Education) 9 (1971): 117-24.</text>
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              <text>Discusses Gower's uses of final "-e" for metrical purposes; argues that Gower's verse is less like speech than is Chaucer's since it is not rhythmic like Chaucer's, and hence, sounds less confident in English and flat in tone. [RFY1981].</text>
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              <text>Robinson, Ian. Chaucer's Prosody: A Study of the Middle English Verse Tradition. Cambridge, Mass.: Harvard University Press, 1971, pp. 88, 96, 97, 136, 137-38, 141, 172, 180-85. </text>
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                <text>1971</text>
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              <text>Attempts to prove that the idea of the world growing old is a significant medieval way of assessing reality, not simply a "literary commonplace." Study analyzes "De Contemptu Mundi," CA, and Chaucer's "Clerk's Tale." [RFY1981]</text>
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              <text>Dean, James</text>
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              <text>Dean, James. "The World Grown Old: The Significance of a Medieval Idea." Ph.D. Dissertation. Johns Hopkins University, 1971. </text>
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              <text>Confessio Amantis</text>
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                <text>The World Grown Old: The Significance of a Medieval Idea.</text>
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                <text>1971</text>
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              <text>Chaucer is more tolerant of the Peasants' Revolt than is Gower; Gower's trilinguality is evidence of the knowledge of educated men; Gower's and Chaucer's versions of the story of Cleopatra story are similar--in both she dies by jumping into a snake pit; Gower sees Fortune as an excuse for man's weaknesses; general discussion of Gower's and Chaucer's friendship and literary relationships; comparisons of Gower's and Chaucer's ideas of "fine amour"; brief comparison of Gower's and Chaucer's versions of "Florent" (and "Wife of Bath's Tale"), "Medea," "Lucrece," and "Virginia." [RFY1981]</text>
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              <text>Hussey, S. S.</text>
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            <elementText elementTextId="95131">
              <text>Hussey, S. S. Chaucer: An Introduction. London: Methuen, 1971, pp. 6, 13, 52, 92, 103, 115, 183, 196-210, 216-19</text>
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            <elementText elementTextId="95132">
              <text>Backgrounds and General Criticism&#13;
Confessio Amantis&#13;
Sources, Analogues, and Literary Relations&#13;
Biography of Gower</text>
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                <text>Chaucer: An Introduction.</text>
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                <text>1971</text>
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  <item itemId="9844" public="1" featured="0">
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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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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95137">
              <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="95138">
              <text>Vox Clamantis</text>
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                <text>A Midsummer Nightmare--An Interpretation of Book One of "Vox Clamantis."</text>
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                <text>1971</text>
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              <text>"A major theme of the poem and an essential notion in Gower's philosophy is that everything has an opposite into which it may be transformed. The concepts of transformation and opposition borrowed from the Platonic tradition found in the 'Timaeus' and echoed in the poets associated with the School of Chartres can be traced in many of the tales and the frame as well . . . .  The 'Confessio Amantis' is a jeremiad." Courtly love and Christian morality are polar opposites. [RFY1981]</text>
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              <text>Phelan, Walter Stephen.</text>
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          <elementTextContainer>
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              <text>Phelan, Walter Stephen. "The Conflict of Courtly Love and Christian Morality in John Gower's 'Confessio Amantis'." Ph.D. Dissertation. Ohio State University, 1971. Open access at http://rave.ohiolink.edu/etdc/view?acc_num=osu1225921019 (accessed January 22, 2023).</text>
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              <text>Confessio Amantis</text>
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                <text>1971</text>
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              <text>Discusses how animals were used in association with sins in MO; discussion of cats, horses, the expression "blind Bayard"; links Aristotle being ridden with the "Tale of Rosiphelee" in CA.[RFY1981]</text>
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        <element elementId="97">
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              <text>Rowland, Beryl.</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="95149">
              <text>Rowland, Beryl. Blind Beasts: Chaucer's Animal World. Kent, Ohio: Kent State University Press, 1971, pp. 19, 68, 118, 128, 131. </text>
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          <elementTextContainer>
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              <text>Mirour de l'Omme (Speculum Meditantis)&#13;
Confessio Amantis</text>
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                <text>1971</text>
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              <text>A comparison of events and characters appearing in both works, with an attempt to isolate individual styles. [RFY1981]</text>
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              <text>Weber, Edwart.</text>
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              <text>Weber, Edwart. John Gowers "Chronica Tripertita" und William Shakespeares "Richard II." Bad Homburg: Weber, 1971.</text>
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              <text>Cronica Tripertita&#13;
Style, Rhetoric, and Versification</text>
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                <text>John Gowers "Chronica Tripertita" und William Shakespeares "Richard II."</text>
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              <text>Gower's "Tale of Apollonius of Tyre" had some direct influence on Shakespeare's "Pericles." [RFY1981]</text>
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              <text>Gearin-Tosh, M. "'Pericles': The Death of Antiochus." Notes and Queries, New Series 18 (1971): 145-50. </text>
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        </element>
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          <elementTextContainer>
            <elementText elementTextId="95737">
              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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                <text>"Pericles": The Death of Antiochus.</text>
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                <text>1971</text>
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              <text>Delasanta finds many "errors about things literary" (292) in the Man of Law's Prologue and Tale, errors and emphases voiced by Chaucer's fictional lawyer in ways that undercut the character ironically. Among these, Delasanta cites "the famous denigration of Gower" that has been found in the Man of Law's references to incest in the tales of Canace and of Apollonius, often treated as Chaucer's jibes against Gower who tells both of these tales in the "Confessio Amantis." However, quoting from Gower's account of Antiochus's assault on his daughter in CA, Book 8, 288-300, Delasanta finds a "tone of prudish petulance" (292) in the Man of Law's horrified summary and identifies details that reflect his (not Chaucer's) "misremembering" of both of Gower's tales (293). This and a number of other incorrect or inappropriate uses of texts, Delasanta tells us, characterize the Man of Law as a "kind of ersatz Christian man: the housetop shouter, the sober brow who blesses and approves with a text, the Pharisee who thanks God that he is not as other men, the whited sepulchre" (309-10).] [MA. Copyright. John Gower Society eJGN 41.2.]</text>
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              <text>Delasanta, Rodney.</text>
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              <text>Delasanta, Rodney. "'And of Great Reverence': Chaucer's Man of Law." Chaucer Review 5, no. 4 (1971): 288-310.</text>
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          <name>Gower Subject</name>
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            <elementText elementTextId="96887">
              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>"And of Great Reverence": Chaucer's Man of Law.</text>
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                <text>1971</text>
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              <text>In this essay, Beatrice White surveys medieval depictions of the third estate, ranging widely among works by French, German, and English writers, but focusing on Langland, Chaucer, and Gower as the "outstanding English poets of the fourteenth century." She comments on works by some of their near-contemporaries as well, "the rank and file of versifiers" (69), and concludes, rather sweepingly, that "medieval poets, as might be expected, were often prejudiced and unreliable witnesses to the hard lot of the peasant, tending to present him as humble saint, surly, embittered serf, carousing bumpkin, patient toiler, or menacing figure of evil" (73). Stereotyping abounds, White shows, especially in the recurrent association of labor with poverty and, in her conclusion, she contrasts the poets' views with those of chroniclers, to the disadvantage of the former. Gower, in particular, for White, is a "theoretical liberal and practical conservative . . . moralist and landowner [who] looked at the peasant with distrust and suspicion, if not positive dislike" (65). She cites passages from the "Mirour de l'Omme" as predecessors to the "brutal and raging" peasants of "Vox Clamantis," while in "Confessio Amantis" there is "no room for them at all" (66-67). White concedes that Gower--like Chaucer and Langland--"resorted to" a "commonplace concerning equality" (67) but offers no citation. [MA. Copyright. John Gower Society. eJGN 42.2]</text>
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              <text>White, Beatrice.</text>
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          <elementTextContainer>
            <elementText elementTextId="97761">
              <text>White, Beatrice. "Poet and Peasant." In F. R. H. Du Boulay and Caroline M. Barron, eds., The Reign of Richard II: Essays in Honour of May McKisack. (London: Athlone, 1971). Pp. 58-74.</text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="97762">
              <text>Vox Clamantis&#13;
Mirour de l'Omme (Speculum Meditantis</text>
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            <description>A name given to the resource</description>
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              <elementText elementTextId="97757">
                <text>Poet and Peasant.</text>
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                <text>1971</text>
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            <elementText elementTextId="97765">
              <text>Citing previous studies by W. C. Curry, R. E. Kaske, and T. J. Garbáty, Wood connects the Summoner's skin disease and fondness for garlic, onions, and leeks with Numbers 11: 5 (240), but suggests that perhaps Chaucer borrowed not directly from the Vulgate, but instead from Gower ("Vox Clamantis" III. 85-90), and/or Gower's own source, Peter Riga, "Aurora," Numeri 215-22 (241-42). "We may also note," he concludes, "Chaucer departs from Gower's method by changing an abstract 'exemplum' . . . into a more rounded literary figure, thus almost completely Gower's procedure, which was to concentrate on the spiritual implications of his images rather than on the surface details of the images themselves" (243). [RFY. Copyright. John Gower Society. eJGN 42.2]</text>
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              <text>Wood, Chauncey.</text>
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          <elementTextContainer>
            <elementText elementTextId="97767">
              <text>Wood, Chauncey. "The Sources of Chaucer's Summoner's 'Garleek, Onyons, and eek Lekes'." Chaucer Review 5.3 (1971): 240-44.</text>
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          <elementTextContainer>
            <elementText elementTextId="97768">
              <text>Influence and Later Allusion&#13;
Sources, Analogues, and Literary Relations&#13;
Confessio Amantis</text>
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              <elementText elementTextId="97763">
                <text>The Sources of Chaucer's Summoner's "Garleek, Onyons, and eek Lekes."</text>
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                <text>1971</text>
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              <text>Means, Michael. </text>
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            <elementText elementTextId="94936">
              <text>Confessio Amantis</text>
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        <element elementId="52">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="99422">
              <text>Treats CA example of a "consolatio" that combines features of the "purer" form of Boethius's "Consolation of Philosophy" and the "fragmented" form found in the "Roman de la Rose." Focuses on the characterization of Genius and the "digressions" in CA. [RFY1981; rev. MA]</text>
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            <elementText elementTextId="99423">
              <text>Means, Michael. The "Consolatio" Genre in Medieval English Literature. Gainesville: University of Florida Press, 1972, pp. 59-65. Revised lightly from the author's Ph.D. Dissertation of similar title: The "Consolatio" Genre in Middle English Literature University of Florida, Gainesville, 1963. </text>
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1963</text>
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            <elementTextContainer>
              <elementText elementTextId="99424">
                <text>The "Consolatio" Genre in Medieval English Literature.</text>
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            <elementText elementTextId="84747">
              <text>Harbert, Bruce. "The Myth of Tereus in Ovid and Gower." Medium AEvum 41 (1972), pp. 208-214.</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>In the Tale of "Tereus, Procne, and Philomela," Gower "reshapes Ovid's material to his own ends, altering his depiction of character, and the setting and pace of the narrative" (208). He removes most of the horrific elements, as well as the "almost superhuman grandeur of his characters" (208), and stresses instead elements that his own audience could relate to. Some examples include the change from Philomela's cave to a prison, Procne's modern mourning customs, and the detailed picture of domestic affairs that illustrates "the idea of happy married love against which Tereus offends" (209). By making the story less exotic, Gower is able to draw our attention "towards the underlying moral and psychological realities which are his chief concern" (209). Gower's characterization is therefore also different. Procne becomes "a thoughtful, intelligent woman, not one to waste words, not malicious, but nonetheless firm of purpose" (210). Where Procne is practical, Philomela is philosophical. Philomela is also a weaker character than in Ovid and Gower intensifies the pathos of her rape. While the sisters have committed infanticide, "the greater fault is that of Tereus, whose violence began the evil succession of events" (212). Tereus is not a villain from the beginning (as in Ovid), but he eventually becomes a bestial tyrant, lacking in reason. Gower dwells on the metamorphoses of all three characters to sum up his earlier depiction of their inner thoughts and motivations: "Where Ovid had seen only superficial resemblances between the human characters and the birds into which they are transformed, Gower continues to look more deeply into their minds" (213). [CvD]</text>
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                <text>The Myth of Tereus in Ovid and Gower</text>
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                <text>1972</text>
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                  <text>Gower Collection</text>
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            <elementText elementTextId="84811">
              <text>Mainzer argues for Gower's usage of medieval texts of Ovid's Metamorphoses, Fasti, Heroides, and Ibis for many of the exempla in the CA. Much of the body of Mainzer's essay consists of a series of close comparisons between Gower's Ovidian tales and their equivalents in Ovid's Metamorphoses and various versions of the Ovide Moralisé. By means of verbal parallels and shared narrative details a picture emerges of extensive borrowing from the medieval adaptations of Ovid. In addition, Gower appears to get the names of Eolen (Hercules' love interest) and Arrons (Tarquin's son) from some thirteenth-century glossed manuscripts of the Fasti. Similarly, Gower's telling of the story of "Demophon and Phyllis" was likely influenced by medieval commentaries on the Heroides, even though he could have borrowed the same details from Boccaccio's Genealogia Deorum. Lastly, Gower's knowledge of a glossed version of the Ibis may be established by his substitution of Dionysius in the place of Diomedes as the tyrant condemned in Book 7 for feeding human flesh to his horses. [CvD]</text>
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              <text>Mainzer, Conrad. "John Gower's Use of the "Mediaeval Ovid" in Confessio Amantis." Medium Ævum 41 (1972), pp. 215-222.</text>
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            <elementText elementTextId="84814">
              <text>Sources, Analogues, and Literary Relations</text>
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              <text>Confessio Amantis</text>
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                <text>John Gower's Use of the "Mediaeval Ovid" in Confessio Amantis</text>
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                <text>1972</text>
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              <text>Schueler, Donald G</text>
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              <text>Schueler, Donald G. "Gower's Characterization of Genius in the Confessio Amantis." Modern Language Quarterly 33 (1972), pp. 240-256.</text>
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            <elementText elementTextId="85626">
              <text>Sources, Analogues, and Literary Relations</text>
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            <elementText elementTextId="85627">
              <text>Confessio Amantis</text>
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            <elementText elementTextId="90983">
              <text>Schueler argues that a proper understanding of the CA (including its literary merit) depends upon the allegorical function of Genius. Whereas many critics see Genius as hopelessly stuck between Christian morality and courtly love, Schueler suggests that he is not the spokesman for courtly love to begin with. The apparent contradiction between God and love is resolved once we recognize that Genius stands for natural procreation and works for a Venus who in turn serves Nature, the "handmaiden of God" (245). In the tradition Gower inherits from Jean de Meun and Alain of Lille, Genius interprets love from the perspective of Christian morality. This also explains the various apparent digressions in the CA: "the priest's most compelling purpose ... is to draw these parallels between the laws governing human passion and those governing other aspects of moral behavior" (248). Genius does not contradict himself, but "contradicts a set of scholarly preconceptions about what allegorical love poetry should be" (248). [CvD]</text>
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            <name>Title</name>
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              <elementText elementTextId="85619">
                <text>Gower's Characterization of Genius in the Confessio Amantis</text>
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              <elementText elementTextId="85620">
                <text>1972</text>
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              <elementText elementTextId="85621">
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            <elementText elementTextId="86295">
              <text>Ito argues that Gower constructs the CrT as an exemplum with a specific moral: omnia vincit amor (love conquers all). Gower borrows this maxim from Cassiodorus, and it not only occurs in the preface to the CrT, but also in all Gower's major texts. Ito traces the history of the phrase and suggests that Gower uses "amor" to mean both heavenly love and kingly pity. Ito further suggests that Gower may have been influenced by Cassiodorus' "Historia Ecclesiastica Tripartita," not only because of its title, but also because of its depiction of Constantine, who for Gower was also a model of kingly pity. As an exemplum on "amor," then, the CrT has an "architectonic beauty" (12), for it treats (in order) justice, cruelty, and pity. Ito concludes with a discussion of additional rhetorical devices Gower employs. [CvD; rev. MA]</text>
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            <elementText elementTextId="86296">
              <text>Ito, Masayoshi</text>
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        <element elementId="55">
          <name>Published</name>
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            <elementText elementTextId="86297">
              <text>Ito, Masayoshi. "Omnia Vincit Amor: An Interpretation of Gower's Cronica Tripertita." Studies in English Literature 49 (1972), pp. 3-15 [ISSN 0039-3649]. Reprinted in Ito's John Gower, The Medieval Poet (Tokyo: Shinozaki Shorin, 1976), pp. 181-95.</text>
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          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="86298">
              <text>Sources, Analogues, and Literary Relations</text>
            </elementText>
            <elementText elementTextId="86299">
              <text>Style, Rhetoric, and Versification</text>
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            <elementText elementTextId="86300">
              <text>Cronica Tripertita</text>
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          <element elementId="50">
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              <elementText elementTextId="86291">
                <text>Omnia Vincit Amor: An Interpretation of Gower's Cronica Tripertita</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="86292">
                <text>1972</text>
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          <elementContainer>
            <element elementId="50">
              <name>Title</name>
              <description>A name given to the resource</description>
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      <elementContainer>
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          <name>Review</name>
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            <elementText elementTextId="93605">
              <text>Selective and briefly annotated; covers some dissertations and reviews. [RFY1981].</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
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              <text>Pickford, T. E.</text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
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            <elementText elementTextId="93607">
              <text>Pickford, T. E. A Bibliography of John Gower, 1925-72. Parergon 3 (1972): 27-36. </text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="93608">
              <text>Bibliographies, Reports, and Reference</text>
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          </elementTextContainer>
        </element>
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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>
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          <element elementId="50">
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              <elementText elementTextId="93603">
                <text>A Bibliography of John Gower, 1925-72.</text>
              </elementText>
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            <name>Date</name>
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              <elementText elementTextId="93604">
                <text>1972</text>
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            <elementText elementTextId="94557">
              <text>Chaucer uses Gower as well as Trivet as a source for his "Man of Law's Tale," which is more artful than the others. [RFY1981; rev. MA].</text>
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        <element elementId="97">
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              <text>Culver, T. D.</text>
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            <elementText elementTextId="94559">
              <text>Culver, T. D. "The Imposition of Order: A Measure of Art in the Man of Law's Tale." Yearbook of English Studies 2 (1972): 13-20. </text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="94560">
              <text>Sources, Analogues, and Literary Relations&#13;
Influence and Later Allsion</text>
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                <text>The Imposition of Order: A Measure of Art in the "Man of Law's Tale."</text>
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                <text>1972</text>
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              <text>Argues contra Fisher ("John Gower, Moral Philosopher and Friend of Chaucer," 1964) that no thematic continuity exists among MO, VC, and CA; Gower's artistry as tale-teller, as adapter of Ovid, also treated; brief, appended chapter on Gower's reading. [RFY1981]</text>
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        <element elementId="97">
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          <description>Author/Editor</description>
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              <text>Badendyck, J. Lawrence.</text>
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              <text>Badenyck, J. Lawrence. "The Achievement of John Gower: A Reading of the 'Confessio Amantis'." Ph.D. Dissertation. City University of New York, 1972. </text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="95162">
              <text>Backgrounds and General Criticism&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>The Achievement of John Gower: A Reading of the "Confessio Amantis."</text>
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          <elementContainer>
            <element elementId="50">
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              <description>A name given to the resource</description>
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            <elementText elementTextId="95165">
              <text>Attempts to show that a topos exists of author using the role of priest or pupil in transforming a secular love poem into a religious poem. Examines works of Ovid, Andreas Capellanus, Guillaume de Lorris, Jean de Meun, John Gower, and Chaucer. These form a tradition, with Chaucer's use of the topos being the most complex. [RFY1981]</text>
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        <element elementId="97">
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          <description>Author/Editor</description>
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              <text>Bargreen, Melinda L.</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="95167">
              <text>Bargreen, Melinda L. "The Author of His Work: The Priest/Pupil Narrative Topos." Ph.D. Dissertation. University of California, Irvine, 1972.</text>
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          </elementTextContainer>
        </element>
        <element elementId="56">
          <name>Gower Subject</name>
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              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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                <text>The Author of His Work: The Priest/Pupil Narrative Topos.</text>
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              <text>Discusses tales of Gower's which appear also in Chaucer's "Legend of Good Women": Ariadne, Lucrece, Philomela, Phyllis, and Thisbe; CA tales as exempla; use of vision form. [RFY1981]</text>
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              <text>Frank, Robert W., Jr. Chaucer and the Legend of Good Women. Cambridge, MA: Harvard University Press, 1972, pp. 5, 15, 17, 40n, 48n, 98n, 102n, 113, 118, 134, 135-37, 138n,140, 142n, 144, 147, 172, 185. </text>
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              <text>Confessio Amantis&#13;
Sources, Analogues, and Literary Relations</text>
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              <text>Analyzes and groups the stories in CA according to their presentations of nature (kynde). Considers Gower's attitude toward nature, reason, natural law, and positive law, and attempts assessment of Gower's use of St. Thomas Aquinas. [RFY1981]</text>
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              <text>Klauser, Henrietta Anne.</text>
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              <text>Klauser, Henrietta Anne. "The Concept of 'kynde' in John Gower's 'Confessio Amantis'." Ph.D. Dissertation. Fordham University, 1972. </text>
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              <text>Confessio Amantis&#13;
Soirces, Analogues, and Literary Relations</text>
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              <elementText elementTextId="95175">
                <text>The Concept of "kynde" in John Gower's "Confessio Amantis."</text>
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              <text>Gower's trilinguality proves Chaucer could have written in other languages. Gower shows self-consciousness of poet's art; Deschamps is a model for CB; Gower is a purveyor of classical learning greater than Chaucer; like Chaucer, he helped to establish the idea of a poet for England, and for all time. Both followed as examples for Lydgate, Hoccleve, Dunbar, and others. [RFY1981]</text>
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              <text>Kean, P. M. </text>
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              <text>Kean, P. M. Chaucer and the Making of English Poetry. 2 vols. London: Routledge and Kegan Paul, 1972, pp. 1, 24, 38, 72, 74, 179, 184, 196-97, 198, 212, 213, 215, 218, 219-21, 241, 248, 256, 257, 260. </text>
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            <elementText elementTextId="95186">
              <text>Sources, Analogues, and Literary Relations&#13;
Influence and Later Allusion&#13;
Cinkante Balades&#13;
Confessio Amantis</text>
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              <elementText elementTextId="95181">
                <text>Chaucer and the Making of English Poetry.</text>
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                <text>1972</text>
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  <item itemId="9853" public="1" featured="0">
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        <element elementId="97">
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          <elementTextContainer>
            <elementText elementTextId="95190">
              <text>Robinson, Ian.</text>
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            <elementText elementTextId="95191">
              <text>Robinson, Ian. Chaucer and the English Tradition. Cambridge: Cambridge University Press, 1972, pp. 189n, 249, 286. </text>
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              <text>Mirour de l'Omme (Speculum Meditantis)</text>
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        <element elementId="52">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="99449">
              <text>MO is encyclopedic only because it contains many facts, not because it is ordered to give useful information; Gower is "not much of a poet." [RFY1981]</text>
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              <elementText elementTextId="95187">
                <text>Chaucer and the English Tradition.</text>
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                <text>1972</text>
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            <elementText elementTextId="95195">
              <text>Gower's approaches to structure are not faulty; apparent digressions are actually sound within the concept of right reason and the need for right judgment using reason; considers parts of the CA usually thoughts of as "digressions," i.e., evils of war (Book III), uses of labor (VI), religions of the world (V), and philosophy of Aristotle under guise of the education of Alexander (VII). </text>
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        <element elementId="97">
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              <text>Tague, Wilma Long.</text>
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            <elementText elementTextId="95197">
              <text>Tague, Wilma Long. "John Gower's 'Confessio Amantis': An Hypothesis of Structure." Ph.D. Dissertation. University of Wisconsin, 1972. </text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95198">
              <text>Confessio Amantis&#13;
Style, Rhetoric, and Versification</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="95193">
                <text>John Gower's "Confessio Amantis": An Hypothesis of Structure.</text>
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                <text>1972</text>
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          <elementContainer>
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      <elementContainer>
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            <elementText elementTextId="95201">
              <text>Study divided into two parts: first, determines what mythographers thought about Gower's central figures (Venus, Cupid, Genius); second, carefully examines Gower's handling of stories within this tradition. Discovers some variation from standard mythological "treatment" in Gower, usually to show areas of Genius' ignorance. Mostly, Gower follows mythological tradition closely. [RFY1981]</text>
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          <description>Author/Editor</description>
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              <text>Foster, James Joseph.</text>
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        <element elementId="55">
          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95203">
              <text>Forster, James Joseph. The Influence of Medieval Mythography on John Gower. Ph.D. Dissertation. Duke University, 1973.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95204">
              <text>Confessio Amantis&#13;
Style, Rhetoric, and Versification</text>
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          <element elementId="50">
            <name>Title</name>
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            <elementTextContainer>
              <elementText elementTextId="95199">
                <text>The Influence of Medieval Mythography on John Gower.</text>
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                <text>1972</text>
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  <item itemId="9945" public="1" featured="0">
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      <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>
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        <element elementId="52">
          <name>Review</name>
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          <elementTextContainer>
            <elementText elementTextId="95740">
              <text>Shakespeare consulted Gower and Chaucer on occasion; use of Gower in "Pericles" was a conscious archaism and includes parody of Gower's four-beat couplets. [RFY1981]</text>
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        <element elementId="97">
          <name>Author/Editor</name>
          <description>Author/Editor</description>
          <elementTextContainer>
            <elementText elementTextId="95741">
              <text>Felperin, Howard. </text>
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          <name>Published</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95742">
              <text>Felperin, Howard. Shakespearean Romance. Princeton, NJ: Princeton University Press, 1972, pp. 143ff.</text>
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        </element>
        <element elementId="56">
          <name>Gower Subject</name>
          <description/>
          <elementTextContainer>
            <elementText elementTextId="95743">
              <text>Influence and Later Allusion&#13;
Confessio Amantis</text>
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      </elementContainer>
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        <elementContainer>
          <element elementId="50">
            <name>Title</name>
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              <elementText elementTextId="95738">
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          <element elementId="40">
            <name>Date</name>
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                <text>1972</text>
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              <name>Title</name>
              <description>A name given to the resource</description>
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                <elementText elementTextId="25233">
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              <text>Discusses possible influence by Gower on "Cymbeline," "Winter's Tale," "Tempest," and, of course, "Pericles." [RFY1971]</text>
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              <text>Smith, Hallett.</text>
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            <elementText elementTextId="95748">
              <text>Smith, Hallett. Shakespeare's Romances: A Study of Some Ways of the Imagination. San Marino, CA: Huntington Library, 1972, pp. 3, 18, 40. </text>
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              <text>Influence and Later Allusion</text>
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                <text>1972</text>
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              <text>Cites Gower's examples of "purgatory of cruel beauties" motif as influential on Spenser. [RFY1981]</text>
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        <element elementId="97">
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              <text>Tonkin, Humphrey.</text>
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              <text>Tonkin, Humphrey. Spenser's Courteous Pastoral: Book VI of the Faerie Queene. Oxford: Clarendon Press, 1972, p. 87n. </text>
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              <text>Influence and Later Allusion</text>
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                <text>Spenser's Courteous Pastoral: Book VI of the "Faerie Queene."</text>
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                <text>1972</text>
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              <text>This highly speculative article questions the idea of artistic taste and its foundation, pointing out about Gower that, if this generation of readers had more of the moralizing taste of the fourteenth century, his works would again to popular. [RFY1981]</text>
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              <text>Howard, Donald R.</text>
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              <text>Howard, Donald R. "Medieval Poems and Medieval Society." Medievalia et Humanistica, New Series 3 (1972): 99-115</text>
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          <name>Gower Subject</name>
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              <text>Backgrounds and General Criticism</text>
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                <text>1972</text>
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            <elementText elementTextId="96645">
              <text>Brief references to Gower as a moral poet, like Strode, who Steadman thinks is comparable to Gower. [RFY1981]</text>
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        <element elementId="97">
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              <text>Steadman, John.</text>
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              <text>Steadman, John. Disembodied Laughter: Troilus and the Apotheosis Tradition. Berkeley: University of California Press, 1972, pp. 105-06, 113, 115, 117, 138, 146, 148, 150, 153</text>
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              <text>Backgrounds and General Criticism</text>
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                <text>Disembodied Laughter: Troilus and the Apotheosis Tradition.</text>
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                <text>1972</text>
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              <text>Clogan argues that in the CA Gower "transformed traditional themes of rebuke from complaint to satire" (218). The distinction between complaint and satire is taken from John Peter's 1956 study Complaint and Satire in Early English Literature. Peter "drew a basic distinction between complaint, which is said to be impersonal, conceptual, Christian, corrective, and unsophisticated and satire, which is identified as being personal, sophisticated, flexible, and only superficially corrective in aim" (218). Clogan criticizes this "vague classification" (219), not least because it suggests that the taste for satire virtually died out from the time of St. Jerome until the Renaissance. According to Clogan, Gower included many traditional themes of complaint in the CA – e.g., the attacks on the clergy, Lollards, and usurers – but they fit within "a larger scheme of satire" (219). Gower's satirical approach is seen in the confessional framework of the poem, which is a parody of the penitential manuals. Especially ironic is the figure of Genius, who is both the priest of Venus and has to teach the lesson of the Seven Deadly Sins. Clogan observes that "Genius signifies the only sin which the Lover does not confess" (220). Amans too is treated satirically. As a senex amans he "becomes the counterpart of Chaucer's January as he tries to possess his young wife" (220). Although Gower thus satirizes the penitential and courtly traditions, yet "his writings can also be labeled moral because their satirical view of the world ranges from ironic contrasts to a burlesque dignity" (221). Clogan further cautions "against placing too much significance on the political and social views since the Confessio is essentially concerned with the divine perspective in human affairs" (221). This perspective is evident in the great "web of contrasts which bind and unite the poem" (221), contrasts which ultimately depend on irony and satire for their effect. [CvD]</text>
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              <text>Clogan, Paul M</text>
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            <elementText elementTextId="84889">
              <text>Clogan, Paul M. "From Complaint to Satire: The Art of the Confessio Amantis." Medievalia et Humanistica 4 (1973), pp. 217-222.</text>
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              <text>Confessio Amantis</text>
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          <element elementId="50">
            <name>Title</name>
            <description>A name given to the resource</description>
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              <elementText elementTextId="84883">
                <text>From Complaint to Satire: The Art of the Confessio Amantis</text>
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                <text>1973</text>
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              <text>Pickford argues that Gower accommodates the concept of fortune to Christian teaching. Bad fortune is the result of mankind's sin. It is a general effect of the fall, rather than the result of one individual's choices. Fortune, then, "is a figurative way of expressing the observable fact that this world is a mutable world, whose outcome God foreknows and in a sense 'directs' since he has taken account of it in his overall plan for man" (24). People do have free will (as Gower shows by deciding to go boating on the Thames when he met King Richard II "par chaunce"), and the answer to the sin and division that create misfortune is love (caritas). Even Venus, a goddess very similar to Fortune, becomes a more Christian figure in Gower's work (24). Pickford ends his essay by illustrating his general argument with examples culled primarily from the CA Prologue and from the Tale of Apollonius of Tyre. Finally, he dismisses the idea that Gower's frequent use of the proverb "nede mot that nede schal" has much to do with Gower's concept of fortune. [CvD]</text>
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          <description>Author/Editor</description>
          <elementTextContainer>
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              <text>Pickford, T. E</text>
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          <name>Published</name>
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          <elementTextContainer>
            <elementText elementTextId="86280">
              <text>Pickford, T. E. "'Fortune' in Gower's Confessio Amantis." Parergon 7 (1973), pp. 20-29.</text>
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          <name>Gower Subject</name>
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              <text>Confessio Amantis</text>
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              <elementText elementTextId="86274">
                <text>'Fortune' in Gower's Confessio Amantis.</text>
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                <text>1973</text>
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        <element elementId="97">
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          <elementTextContainer>
            <elementText elementTextId="87056">
              <text>Ito, Masayoshi</text>
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          <name>Published</name>
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            <elementText elementTextId="87057">
              <text>Ito, Masayoshi. "On the English Translation (by E. W. Stockton) of 'Vox Clamantis'." Bulletin of College of General Education, Tohoku University 18 (1973), pp. 1-17 [ISSN 0287-8844]. English version in Ito's John Gower, The Medieval Poet (Tokyo: Shinozaki Shorin, 1976), pp. 139-55.</text>
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        <element elementId="56">
          <name>Gower Subject</name>
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          <elementTextContainer>
            <elementText elementTextId="87058">
              <text>Style, Rhetoric, and Versification</text>
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            <elementText elementTextId="87059">
              <text>Vox Clamantis</text>
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        <element elementId="52">
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          <description/>
          <elementTextContainer>
            <elementText elementTextId="99176">
              <text>In Japanese. Written primarily as a review of E. W. Stockton's English translation of Gower's Latin works, this article also contains a detailed analysis of Gower's Latin style. While acknowledging the invaluable service that Stockton has done to Gower studies by making the VC accessible to a wide audience, Ito argues that Stockton's prose rendering of the VC is not always sufficiently attentive to its stylistic features. There are even passages, according to Ito, where mistranslation results from Stockton's failure to fully appreciate Gower's craftsmanship in his use of various rhetorical devices. The rhetorical techniques that Ito focuses on in this article include irony, paradox, metaphor, and wordplay, but what receives particular attention is Gower's use of antithesis. Line 1760 of Book 1 ("Quo cecidit fragili sub pede forte caput"), for example, involves the juxtaposition of "fragili pede" (weak foot) and "forte caput" (strong head), but this parallel structure is obscured in Stockton's translation as he mistakes "forte" for an adverb meaning "by chance." Similarly, in VC 6.1327-1328 ("Solo contenta moritur nunc fida Medea, / Fictaque Crisaida gaudet amare duos"), Stockton overlooks the opposition between "solo contenta" (satisfied with only one man) and "amare duos" (loving two men), incorrectly translating the former phrase as "laid out in the earth." Stockton's translation of VC 3.153-154 ("I wish to be just, but I am being transformed into anger, and this ensuing anger is destroying my good principles") is also inaccurate because he fails to see that the original lines ("Vti iusticia volo, set conuertor in iram, / Principiumque bonum destruit ira sequens") are built around two pairs of contrasted ideas, "iusticia"/"ira" (justice/anger) and "principium"/"sequens" (beginning/ensuing). Ito makes these and other observations to suggest ways to improve Stockton's translation, but they also demonstrate how frequent recourse to antithesis in the VC serves to hammer home one of the central themes of this Latin poem--the contrast between the degraded society of the present and the noble ideals that existed in a remote past. [Yoshiko Kobayashi; rev. MA]</text>
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