Geoffrey Chaucer by Velma Bourgeois Richmond

Abstract

STUDIES IN THE AGE OF CHAUCER VELMA BOURGEOIS RICHMOND. Geoffrey Chaucer. Literature and Life: British Writers. New York: Continuum, 1992. Pp. 215. $19.95. Velma Bourgeois Richmond's Geoffrey Chaucer is one in a series of "biographical-critical introductions" that, according to its back cover, "of­ fers an authoritative account of the writer's life, work, and place within a literary tradition." Dedicated to Richmond's students, the book attempts to provide a comprehensive introduction to Chaucer and his literary out­ put, while arguing for a coherent, encompassing view of the man and his works. The mixture of quasi-objective description and necessarily subjec­ tive critical interpretation produced by this dual purpose creates an uneven, annoying book. The book's structure is eccentric. Richmond juggles her materials to fulfill the general goals of the series while pursuing her particular vision of Geoffrey Chaucer. A brief "Chronology" (pp. 11-13) precedes the first chapter, "A Man of the Fourteenth Century," which includes an adequate biographical sketch (pp. 15-26), a few superficial remarks on "Language" (pp. 26-28), "Chaucer's London" (pp. 28-33), and two pages on "Religious Belief" in Chaucer's time (pp. 33-35). This chapter consolidates the bio­ graphical and historical elements; Richmond occasionally alludes to bits of it later on but otherwise abandons chronology as a structural guide. The Canterbury Tales is Chaucer's best-known and most widely read work, and so Richmond begins with it. She intends to discuss the individ­ ual tales by genre rather than follow any usual printed order; thus chapter two treats some "general characteristics": "The Text and Order of the Tales" (pp.37-40), "Collections of Tales and Framing" (pp. 40-42), "Pilgrimage" (pp.42-45), "The Pilgrims" (pp.45-49), "Dramatic Interplay and Author­ ial Suggestions" (pp.49-60), and "Connections Through Subject and Tone" (pp. 60-62). Five succeeding chapters deal with the individual tales ac­ cording to the genres to which Richmond has assigned them. Although she admits "that modern designations are needed to create categories" for the tales (p. 60), she nonetheless speculates (mercifully, for only a para­ graph) that "the division into five categories, each with five examples (short of one since there are but twenty-four tales), is perhaps not without signifi­ cance" in Chaucer's scheme (p. 62). Richmond distributes the Tales among chapters 3 through 7 as "Secular Romances," told by the Knight, the Squire, the Wife of Bath, the Frank­ lin, and Chaucer (Sir Thopas) (pp. 63-82); "Fabliaux" played by the Miller, the Reeve, the Cook, the Shipman, and the Merchant (pp. 83-95); "Reli­ gious Romances and Saints' Legends" offered by the Man of Law, the Clerk, 252 REVIEWS the Physician, the Second Nun, and the Prioress (pp. 96-109); "Tales with Satirical Warnings" issued by the Friar, the Summoner, the Canon's Yeo­ man, and the Manciple (pp. 110-18); and "Sermons" delivered by the Pardoner, Chaucer (Melibee), the Monk, the Nun's Priest, and the Parson (pp. 119-40). Richmond supplies a descriptive definition for each genre and attempts to justify her filing system for the Tales. Discussions of indi­ vidual tales are uncomfortably brief, each a string ofobservations and com­ ments rather than a coherent critical statement. Richmond's remarks may at times seem perceptive or provocative, but often she has little of interest to say, and she ruthlessly ignores or evades substantial critical issues. The next three chapters treat Chaucer's earlier poems. Chapter 8, "Be­ ginnings with Love and Fame," deals with early lyrics, The Romaunt ofthe Rose, The Book of the Duchess, .Anelida and Arcite, and The House of Fame (pp.141-57). Chapter 9, "The Consolation of Philosophy in Love and Poli­ tics," includes "Boece and Boethian Ballads," The Parliament ofFowls, and The LegendofGood Women (pp. 157-78). These chapters are largely descrip­ tive, highly derivative, and superficial; one suspects a lack of real critical interest on the author's part. Richmond's primary interest clearly lies with the romance; chapter 10, on Troilus offers by far the most coherently devel­ oped critical discussion in her book (pp. 179-93). A concluding chapter, "The Comic Vision of Geoffrey Chaucer," rather effectively...