![]() In fact, cóntree shows the English, and contrée, the French accent.Ĩ65. This is a good example of the unsettled state of the accents of such words in Chaucer's time, which afforded him an opportunity of licence, which he freely uses. cóntree is here accented on the first syllable in l. The most remarkable examples are when the words end in -oun (ll. Thus we have here governóur and conqueróur in l. on the last or on the penultimate syllable. It should be observed that Chaucer continually accents words of Anglo-French origin in the original manner, viz. After deserting Ariadne, he succeeded his father Aegeus as king of Athens, and conducted an expedition against the Amazons, from which he returned in triumph, having carried off their queen Antiope, here named Hippolyta.Ĩ61. He is also the hero of the Legend of Ariadne, as told in Chaucer's Legend of Good Women. Theseus, the great legendary hero of Attica, is the subject of Boccaccio's poem named after him the Teseide. Laetifici plausus, missusque ad sidera uulgiĬlamor, et emeritis hilaris tuba nuntiat armis.'Ĩ60. Proelia, laurigero subeuntem Thesea curru Iamque domos patrias, Scythicae post aspera gentis 519-22, to which reference is made in the heading, relate to the return of Theseus to Athens after his conquest of Hippolyta, and are as follows:. Lines 882 and 972 are borrowed from that poem with but slight alteration.Ĩ59. 964-981 should be compared with Chaucer's Anelida, ll. ![]() 1-3) as well as of the original Palamon and Arcite and of the Knightes Tale. Fragments of the same poem were used by the author in other compositions and the result is, that the Teseide of Boccaccio is the source of (1) sixteen stanzas in the Parliament of Foules (2) of part of the first ten stanzas in Anelida (3) of three stanzas near the end of Troilus (Tes. Thus the Knightes Tale is not derived immediately from Boccaccio or from Statius, but through the medium of an older poem of Chaucer's own composition. He afterwards recast the whole, at the same time changing the metre and the result was the Knightes Tale, as we here have it. From this and other indications, it appears that Chaucer first of all imitated Boccaccio's Teseide (more or less closely) in the poem which he himself calls 'Palamon and Arcite,' of which but scanty traces exist in the original form and this poem was in 7-line stanzas. 22-25 of Anelida give a fairly close translation of it. 22, where the 'Story' of that poem begins and ll. that it is also quoted in the Poem of Anelida and Arcite, at l. There is yet another reason for quoting this scrap of Latin, viz. 519, 520, because Chaucer is referring to that passage in his introductory lines to this tale see particularly ll. quote a line and a half from Statius, Thebaid, xii. The references to the Knightes Tale are to the lines of group A (as in the text) those to the Teseide are to the books and stanzas. The following table gives a sketch of it, but includes many lines wherein Chaucer is quite original. It is only possible to give here a mere general idea of the way in which the Knightes Tale is related to the Teseide of Boccaccio. For general remarks on this tale, see vol.
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