This scarce antiquarian book is a selection from Kessinger Publishing's Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of interest for everyone!

This scarce antiquarian book is a selection from Kessinger PublishingA AcentsAcentsa A-Acentsa Acentss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of intere

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III Chaucer And His School A. Geoffrey Chaucer (? 1340-1400) I. Foreign Influences Chaucer pre-eminently an English poet; but susceptible to the attractive parts of French and Italian literature; these foreign influences not exotic, but, ultimately incorporated inseparably into his native genius, served to bring out the best of his gifts, and did not misdirect them; whatever he borrowed, except in his experimental stage, he made his own. (a) France: Chaucer used most the courtly allegory, the beast fable, the fabliau; could not catch the spirit of the lyrics; had no sympathy with the romances, then past their zenith. In allegory, Le Roman de la Rose was the master-type; the work of the two poets Gulllaume de Lorrls (c, 1230) and Jean de Meun (c. 1270); the first part, a complex allegory of love, courtly, chivalrous, prolix, elaborately descriptive, left unfinished; the second part, satirical, coarse, witty, as if designed to throw the whole scheme into ridicule; Chaucer as a young poet most influenced by Guillaume, later by the more realistic Jean; his translation lost; but its effect on him obvious in all his early poems. The beast fable culminated in the Roman du Renart, a French version of the cycle of stories concerning Reynard the Fox; humorous; satirical; realistic pictures of life and character (The Nonnes Prestes Tale). The fabliau provided stories of everyday life; often coarse, often clever, often skilful narrative (The Reves Tale). (b) Italy: Here appeared the greatest poet of mediseval Europe?Dante Allghlerl (1265-1322) author of the Divina Corn- media, a pilgrimage through Hell and Purgatory into Paradise; great in style, in thought, in passion, in poetry, in humanity; the apotheosis of mediseval Catholicism; pillory of all imp...

This scarce antiquarian book is a selection from Kessinger PublishingA AcentsAcentsa A-Acentsa Acentss Legacy Reprint Series. Due to its age, it may contain imperfections such as marks, notations, marginalia and flawed pages. Because we believe this work is culturally important, we have made it available as part of our commitment to protecting, preserving, and promoting the world's literature. Kessinger Publishing is the place to find hundreds of thousands of rare and hard-to-find books with something of intere

Purchase of this book includes free trial access to www.million-books.com where you can read more than a million books for free. This is an OCR edition with typos. Excerpt from book: CHAPTER III Chaucer And His School A. Geoffrey Chaucer (? 1340-1400) I. Foreign Influences Chaucer pre-eminently an English poet; but susceptible to the attractive parts of French and Italian literature; these foreign influences not exotic, but, ultimately incorporated inseparably into his native genius, served to bring out the best of his gifts, and did not misdirect them; whatever he borrowed, except in his experimental stage, he made his own. (a) France: Chaucer used most the courtly allegory, the beast fable, the fabliau; could not catch the spirit of the lyrics; had no sympathy with the romances, then past their zenith. In allegory, Le Roman de la Rose was the master-type; the work of the two poets Gulllaume de Lorrls (c, 1230) and Jean de Meun (c. 1270); the first part, a complex allegory of love, courtly, chivalrous, prolix, elaborately descriptive, left unfinished; the second part, satirical, coarse, witty, as if designed to throw the whole scheme into ridicule; Chaucer as a young poet most influenced by Guillaume, later by the more realistic Jean; his translation lost; but its effect on him obvious in all his early poems. The beast fable culminated in the Roman du Renart, a French version of the cycle of stories concerning Reynard the Fox; humorous; satirical; realistic pictures of life and character (The Nonnes Prestes Tale). The fabliau provided stories of everyday life; often coarse, often clever, often skilful narrative (The Reves Tale). (b) Italy: Here appeared the greatest poet of mediseval Europe?Dante Allghlerl (1265-1322) author of the Divina Corn- media, a pilgrimage through Hell and Purgatory into Paradise; great in style, in thought, in passion, in poetry, in humanity; the apotheosis of mediseval Catholicism; pillory of all imp...