By Marion Turner
Chaucerian clash explores the textual atmosphere of London within the 1380s and 1390s, revealing a language of betrayal, surveillance, slander, treason, uprising, unsuitable idealism, and corrupted compaignyes. Taking a strongly interdisciplinary technique, it examines how discourses approximately social antagonism paintings throughout other kinds of texts written at the present, together with Chaucer's condo of popularity, Troilus and Criseyde, and Canterbury stories, and different literary texts equivalent to St Erkenwald, Gower's Vox clamantis, Usk's testomony of affection, and Maidstone's Concordia. Many non-literary texts also are mentioned, together with the Mercers' Petition, Usk's charm, the guild returns, judicial letters, de Mezieres's Letter to Richard II, and chronicle accounts.These have been tumultuous a long time in London: a number of the conflicts and difficulties mentioned comprise the Peasants' rebellion, the mayoral rivalries of the 1380s, the cruel Parliament, slander laws, and modern suspicion of city institutions. whereas modern texts try and carry out wish for the long run, or think an past Golden Age, Chaucer's texts foreground social clash and antagonism. notwithstanding so much critics have promoted an concept of Chaucer's texts as basically socially confident and congenial, Marion Turner argues that Chaucer provides a imaginative and prescient of a society that's unavoidably divided and harmful.
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The matter Roll, Hill. II Ric II 507, Rex 39). Wilkinson describes the jurors who authored the report as ‘strongly and unscrupulously partisan’ (‘Peasants’ Revolt’, 19). ²⁵ See ‘Capitalists’, 26–7. , London, 1995). She writes that ‘The evidence certainly suggests that the alderman-fishmonger, John Horn … actively encouraged [the rebels], and even brought back several of the leaders to lodge at his house’ (266–7). ²⁶ See Nightingale, ‘Capitalists’, 22–4. ²⁷ These aldermen were generally part of the group described by Bird as ‘wealthy merchant capitalists’ (Turbulent London, 1).
1821). She is the most terrifying absolutist imaginable: entirely unpredictable in her desires, ruled solely by whim, and with access to every utterance her subjects make. Fame is a tyrant ruler writ large. The tyrannical nature of Fame, and of Richard, is further illustrated by their parallel unconcern with separating fact and fiction. Both are determined that their will alone should count, and truth is an inevitable casualty of such determination. In the House of Fame, Chaucer makes it clear that Fame allots honour and dishonour arbitrarily, and has no regard for the truth or for justice.
1375–1399 (London, 1907), 317. ³³ For a brief survey of critical opinion on this issue see Riverside Chaucer, 1064, n. to F 341–408. , 2005), 22. 22 Discursive Turbulence or truth. He wants no one to say anything critical of him, regardless of whether or not what is said can be proved. This proclamation is not about slander at all, in the real sense of the word, as Richard refuses to distinguish between true and false criticism of him. He is trying to control language completely, to prevent any inroads on his own sovereign discourse, his own view of the world.