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Chaucer And The Energy Of Creation: The Design And Organization Of The Canterbury Tales,New
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A remarkably accessible account of individual tales, tellers, and the poemasawhole, with a voice of such authority and appreciative command that it could be recommended to any undergraduate or graduate student. . . . To anyone who doubted the survival of practical criticism in the current sea of theory, this book will come as a tonic.'Dolores Warwick Frese, University of Notre DameArguing from the evidence of extant manuscripts, Edward Condren describes the overall design of the Canterbury Talesone of the most enigmatic puzzles in Chaucer studiesas a structural parallel to Dantes Commedia. Through close analysis of the text, he shows how individual tales support this design and how the design itself confers rich meaning, in some instances investing with new complexity tales that otherwise have been little appreciated.Dividing its focus between the underlying unity of the poem as a whole and the discrete tales that create this unity, Chaucer and the Energy of Creation advances several startling interpretationsthe progressive dislocation and displacement in Fragment I; a new claim for the unity of the 'marriage group'; the survey of the poets literary career in Fragment VII; and the merging of Chaucers professional and spiritual lives at the end of the poem. Overall, Condren shows that the famous pilgrimage to Canterbury has three sections corresponding to Dantes Inferno, Purgatorio, and Paradiso. He maintains that Chaucers poem depicts human nature deriving its energy from the tension of equal and opposite forces and then resolving this tension in one of three ways, as illustrated in the poems three large sections. By converting Dantes vertical, cosmic structure to a horizontal, earthly plane, Condren argues, Chaucer is able to portray human beings, rather than souls as in Dante, struggling between disintegration and transcencence.Chaucer and the Energy of Creation celebrates the Canterbury Tales as a work of literary art executed according to a unified plan. It is expressed in a voice that will remind readers of Donaldsons close readings and unfolds with methods and arguments that belong to a tradition from Kittredge to the finest of the moderns.Edward I. Condren is professor of English at the University of California, Los Angeles. His articles have appeared in the Chaucer Review, Viator, Philological Quarterly, Studies in English Literature, and elsewhere.
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