Abstract
As the second book of Troilus and Criseyde opens, Pandarus has had a bad night. He is eventually awakened from a fitful sleep by the “swalowe Proigne,” lamenting “whi she forshapen was” and “cheterynge / How Tereus gan forth hire suster take.”1 Procne’s chattering seems out of place in several ways. For one thing, her tale of rape and revenge violates the courtly though casual tone of the main narrative. For another, Procne is out of her historical (or mythic) milieu. A third anomaly, less conspicuous but central to our concerns in this book, is that she is the only nonhuman character to act or speak in the poem.
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Notes
Sanford Brown Meech, Design in Chaucer’s Troilus (Syracuse, NY: Syracuse University Press, 1959), p. 323. Meech lists the animal images in section 6 of chapter III (pp. ([0-9]+)–([0-9]+)).
Beryl Rowland, Blind Beasts: Chaucer’s Animal World (Kent, OH: Kent State University Press, 1971), p. 16.
V. A. Kolve, Telling Images: Chaucer and the Imagery of Narrative II (Stanford, CA: Stanford University Press, 2009), p. 6.
See Bartholomaeus Anglicus, On the Properties of Things (De proprietatibus rerum), trans. John Trevisa, 3 vols. (Oxford: Oxford University Press, ([0-9]+)–([0-9]+)), XVIII.vii; also Rowland, Blind Beasts, pp. ([0-9]+)–([0-9]+), and Kolve, Telling Images, p. 11.
Lee Patterson, Chaucer and the Subject of History (Madison: University of Wisconsin Press, 1991), pp. ([0-9]+)–([0-9]+).
A. C. Spearing, The Medieval Poet as Voyeur: Looking and Listening in Medieval Love-Narratives (Cambridge, UK: Cambridge University Press, 1993), p. 121.
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© 2012 Carolynn Van Dyke
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Van Dyke, C. (2012). That Which Chargeth Not to Say: Animal Imagery in Troilus and Criseyde. In: Van Dyke, C. (eds) Rethinking Chaucerian Beasts. The New Middle Ages. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137040732_7
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DOI: https://doi.org/10.1057/9781137040732_7
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