By Eve Salisbury (auth.)
“I vastly loved analyzing Salisbury’s Chaucer and the kid. It deals such a lot of clean insights into the poet and his tradition that it was once as though I have been turning into reacquainted with considered one of my closest acquaintances. Chaucer and the kid brings childrens from the shadows of obscurity to deal with social matters on the center of Chaucer’s imaginative and prescient. Salisbury is really good in her dialogue of significant figures and the way they replicate the parent/child kinship in their progenitors. From problems with paternity and husbanding or wiving and mothering, to parenting and schooling, Salisbury takes us in the course of the phases of existence, from birthing to senility; a few people by no means do reach starting to be up.” (Russell A. Peck, college of Rochester, big apple USA)
“In this sharp, cutting edge, and assiduously researched publication, Eve Salisbury persuasively argues for the significance of youth and formative years within the heart a while. young children are, in reality, all around the Chaucerian canon, and this thorough research indicates us simply how actively the kid animates Chaucer’s artistic explorations of politics, faith, kinship, technology, and selfhood. This e-book will generate new methods of knowing Chaucer, the overdue heart a long time, and literary history.” (Jamie Taylor , affiliate Professor, English division, Bryn Mawr university, Pennsylvania USA)
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Extra resources for Chaucer and the Child
A. Burrow, The Ages of Man: A Study in Medieval Writing and Thought (Oxford: Clarendon Press, 1986), 6. Burrow includes translations of the original texts of Philo Judaeus (ascribed to Solon), Aristotle, Horace, Ovid, Ptolemy, Augustine, Isidore of Seville, and Bede in his appendix. See also, Patrick Joseph Ryan, Master-Servant Childhood: A History of the Idea of Childhood in Medieval English Culture (New York: Palgrave Macmillan, 2013). 63 64 22 E. A. Burrow sees this Aristotelian view of the three ages of man, as adapted and politicized by Giles of Rome in De Regimine Principum and translated by John of Trevisa, reflected in Chaucer’s juxtaposition of three generations of gods—Saturn, Jupiter, Venus and Mars—and its mirroring of three generations of human actors—Egeus, Theseus, and Palamon and Arcite in the Knight’s Tale.
Classical authors whom Chaucer knew well—Virgil, Ovid, Statius (among others)—construct characters who defy normative intellectual and emotional growth in some way: Virgil’s Ascanius and Marcellus are but two well-known exempla. So too contemporary fourteenth-century poetry such as Ypotis, Bevis of Hampton, Lybeaus Desconus (The Fair Unknown), narratives of the Child Merlin or the Child Jesus or legendary saints such as Nicholas lend the topos currency in Chaucer’s time. Child Maurice Ernst Curtius, European Literature and the Latin Middle Ages, trans.
Chicago: University of Chicago Press, 1940), I: 585 (Bodley 686, f. 1). 5 Striking enough in its own right, this portrait of the author as a very young man stands in stark contrast to the portraits of the poet as a fashionably bearded, fully mature adult pointing to the text from the margin as a nota bene device would call attention to a significant passage. The poet’s signifying finger directs the audience of The Canterbury Tales in the Ellesmere manuscript to the protracted and serious Tale of Melibee told by the “elvish” Geffrey in response to Harry Bailly’s critique on the aesthetic merits of the Tale of Sir Thopas.