Abstract

This article analyzes Chaucer's Complaint unto Pity in the light of the current renewed interest in form and English-French literary relations. It argues that a knowledge of medieval French poetic conventions reveals an interplay between form and meaning in Pity that would have been obvious in its original fourteenth-century bilingual Ricardian setting, but which is overlooked in modern readings. By exaggerating and twisting multiple components of the French love literature tradition, Chaucer creates a poem that is simultaneously both a clever critique and a loving homage of complaint.

You do not currently have access to this content.