Other well glossed editions may be used, though problems will arise in the self-tests provided, since they are co-ordinated with the glosses and Explanatory Notes in the recommended texts. The exercises on this page assume that the user has a copy of either the Riverside Chaucer or The Canterbury Tales Complete, based on the Riverside. There are texts on line, but none with the quality one finds in print (a printed edition, with a good glossary and notes, remains the most effective form of hypertext). It is assumed that the user of the page has a printed text of The Canterbury Tales. The users who work conscientiously through these materials should be ready to study such matters on their own (beginning with the materials on the Geoffrey Chaucer Website, and exploring other sources both on and off the Web). It does not offer much on matters of style and versification and has almost nothing on the literary qualities of Chaucer's work. The aim of this page is to provide the user with the means to learn to pronounce Chaucer's English and to acquire an elementary knowledge of Chaucer's grammar and vocabulary. Though students enrolled in Chaucer courses may find some parts of this page useful, it is intended primarily for those who, for a variety of reasons, cannot take such a course but nevertheless want to increase their enjoyment of Chaucer's works. Our aim in this paper is to analyse the original glosses in this copy of Troilus in order to explore the role played by the scribe of the manuscript, "Style": his additions to the marginalia seem to hint at something beyond the task of a copyist, as those glosses are not mere indicators of the subject matter or simple bibliographical references, but they entail an interpretation of what Chaucer wrote.The best way to learn to read Chaucer's Middle English is to enroll in a course with a good and enthusiastic teacher (as most teachers of Chaucer are). While other manuscripts have several ordinationes in common, and a few of them include glosses resembling the Italian titles for each section of the Filostrato, H4 has many marginal annotations which do not appear in any other extant exemplar. Although this copy of the text has been disregarded by some as a "thorough mess" (Hanna 1992: 179) from a textual point of view - it is a conflation of two groups of manuscripts -, however, there are some aspects in it that have caught our attention, namely the high amount of marginalia which are original to this particular copy. Among the sixteen different manuscripts which are extant nowadays, we are especially interested in one of them, MS British Library Harley 2392 (H4). We conclude by suggesting future directions that might be taken up by critics of medieval English literary texts and genres to develop further the relationship between literary studies and the history of emotions.Ĭhaucer's Troilus and Criseyde has a very complex textual history, in which different traditions seem to be intermingled - either because of diverse layers in the composition or transmission of the poem. Case studies of two late Middle English literary texts, the anonymous Sir Orfeo and Geoffrey Chaucer's Troilus and Criseyde, show how the last fifty years of scholarship has addressed emotions in Middle English literature. We survey current critical trends in both the history of emotions and in Middle English literature. How might existing methodologies situating emotions historically drive new approaches in Middle English literary studies? This article contends that existing analyses of Middle English literature relating to affective discourses might fruitfully be brought into conversation with new multidisciplinary forms of research into past emotions. Current critical attitudes to the study of emotions in the past have been shaped substantially by the work of historians, whose focus on emotion in documentary sources has been inf luenced in turn by research in the fields of sociology, anthropology, psychology, linguistics and, increasingly, the cognitive sciences. Critics have long addressed questions of affect, feeling and emotional expression in Middle English literature, but only in recent years has their interest begun to take theoretical form under the rubric of the 'history of emotions'.
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