By Stephanie Trigg
John Dryden claimed to proportion a kindred spirit, a congenial soul, with Geoffrey Chaucer, and he was once no longer by myself. interpreting critics interpreting Chaucer, Stephanie Trigg makes us aware of the certain communities-modeled at the pilgrimage to Canterbury-that rose up round the writer as commentators in the course of the a while sought non secular or emotional intimacy with him. Congenial Souls surveys the serious literature from the overdue heart a long time to the modern interval to teach how editors and critics built numerous voices as a response-even a supplement-to Chaucer's paintings. concentrating on turning issues within the background of Chaucerian discourse and within the building of a distinct Chaucerian group, Trigg arrives on the fraught idea of a severe group in our day. What, she asks, do feminist reviews or modern cultural reviews portend for such an author-based literary communion? And, if Chaucer is the unique "dead white male" writer, what's going to ensue to Chaucer reviews and medieval stories within the subsequent millennium? the instant is propitious, Trigg indicates, for Chaucerians to check their very own serious historical past and its inherent contradictions. Richly knowledgeable, her paintings creates a powerful foundation for such an examination.
Stephanie Trigg is senior lecturer in English on the college of Melbourne.
Medieval Cultures sequence, quantity 30
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Extra resources for Congenial Souls: Reading Chaucer from Medieval to Postmodern (Medieval Cultures)
F. 32 Indeed, in a report in the Times Higher Education Supplement on the digitized Chaucer, Tony Durham and the subeditor are most excited about the possibility of authenticity, not textual fragmentation and uncertainty. "33 Many of these proposals for different kinds of texts, however, do indicate a crucial concession on the part of professional Chaucerians, who now seem willing to make it more difficult to read Chaucer, to hear Chaucer's voice. This is a dramatic departure from the textual traditions prevailing until recently, which have aimed to transcend the historical distance between Chaucer's voice and our own.
49 In more practical terms, the inculcation of a correct Chaucerian accent in the classroom has powerful ramifications for pedagogy and assessment. The desire for direct communication with the poet is rarely expressed overtly in contemporary criticism. It is generally displaced onto the desire to become the best reader of the work or author in question. In this way a community of readers is formed through a doubled sense of rivalry and solidarity among the members of that community, sanctioning some and restricting other versions of Chaucerian voice.
As most of these scholars concede, to represent Chaucer's text in 13 14 SPEAKING FOR CHAUCER these historically purer forms would price them out of the reach of students and would alienate the general reader unconcerned with the textual scruples of the professional Chaucerian. "30 In all likelihood, fully digitized and hypertext editions such as those produced by The Canterbury Tales Project under the direction of Peter Robinson and N. F. 32 Indeed, in a report in the Times Higher Education Supplement on the digitized Chaucer, Tony Durham and the subeditor are most excited about the possibility of authenticity, not textual fragmentation and uncertainty.