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By Bernard Felix Huppe

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HUPPÉ CASTINE, MAINE AUGUST, 1962 Page ix Contents Chapter 1 Introduction 3 Chapter 2 General Prologue A. The Spring Song, lines 118 13 B. Chaucer: Pilgrim and Author 21 C. The Pilgrims 29 D. Elements of Dramatic Development 43 Chapter 3 Two Realities A. The Knight's Tale 49 B. The Miller's Requiting 75 Chapter 4 Of Woe That Is in Marriage A. The Righte Way: The Tale of Constance 91 B. The Wandering Way: The Wife of Bath 107 C. The Way of Patience: The Clerk's Tale 136 D. The Way of the Old Husband: The Merchant's Tale 147 E.

An excellent English translation of Augustine's basic work, D. W. , On Christian Doctrine (New York, 1958), is available. 4. This and the subsequent quotation from Boccaccio may be found in Boccaccio on Poetry, edited and translated by C. G. Osgood (New York, 1956), pp. 59 ff. 5. See Beryl Smalley, The Study of the Bible in the Middle Ages, 2nd edition (New York, 1952); C. Spicq, Esquisse d'une histoire de l'exégèse latine (Paris, 1944); and the exhaustive treatment of the four exegetical levels, H.

In fact, the portraits are not dramatic in method. Except for the narrator's direct comments to a fellow pilgrim or to the reader, and except for the final group of pilgrims, some of whom are seen, before the event, acting their parts in the line of march, there is no action. The method of the Prologue is rhetorical, not dramatic; what individuation appears is part of the rhetorical design. Page 30 We tend to look for individuality in literary characters, but earlier readers did not. " The portraits differ, of course, in the amount of characterizing detail and individuation.

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