The question, when was theKnight’s Talecomposed, is really three questions in one: when was the work known asPalamon and Arcitecomposed, when did that work become theKnight’s Tale, and in what ways wasPalamon and Arciterevised in the process of becoming theKnight’s Tale? The external evidence for the existence of a work known asPalamon and Arciteand for a date of composition in or before the mid-1380s is the reference in the F version (lines 420–1 cf G 408–9) of the Prologue to theLegend of Good Women(dated 1386–8)....

The third edition of F.N. Robinson’s text 39, now entitledThe Riverside Chaucer, has recently appeared under the general editorship of Larry D. Benson (Boston: Houghton Mifflin, 1987). Another separate edition of theKnT, as part of theVariorum Chaucer69, is being prepared by Alan Gaylord. Essential reading isEditing Chaucer:The Great Tradition, ed. Paul G. Ruggiers (Norman, Oklahoma: Pilgrim Books, 1984). It contains essays by several hands on early editors not treated in this section – Stow, Speght, Urry, Tyrwhitt, and Wright – as well as essays on Thynne 17 and Caxton 61 and the great modern...

74 Boitani, Piero, ed.Chaucer and the Italian Trecento. Cambridge: Cambridge University Press, 1983.

A collection of twelve essays by various hands, exploring English and Italian cultural relations (see 76 and 78) and Chaucer’s relations with the works of Dante, Petrarch, and Boccaccio, with eight essays on Chaucer and Boccaccio (see 75, 914, 1071). A bibliography (pp 297–304) by Enrico Giaccherini includes selected Italian scholarship before Praz’ essay of 1927 (83).

75 —. ‘What Dante Meant to Chaucer.’ InChaucer and the Italian Trecento. See 74. Pp 115–39.

‘Chaucer’s relationship to Dante is still mysterious, puzzling and elusive’...

An important reference work for scholarship on Chaucer’s sources is Lynn King Morris’Chaucer Source and Analogue Criticism:A Cross-Referenced Guide(New York: Garland, 1985). Its bibliography of 1477 items (pp 3–89) is indexed by Chaucer’s works (KnT, pp 127–31), by author of the source or analogue (Boccaccio, pp 220–25; Statius, pp 320–1), by genre or origin of the source, and by title of the source or analogue (Tes, pp 560–1;Theb, pp 562;Roman de Thèbes, pp 543). For theKnTMorris includes some nineteenth-century items, and sifts the criticism for references to sources...

318The Prologue to the Canterbury Tales, with original screen images designed by Ronald King. Introduction by Kevin Power. London: Editions Alecto, 1966; rpt Surrey: Circle Press, 1967/2nd ed, 1978. Presents fourteen drawings inspired in part by the traditions of the African mask and accompanied by a Middle English text whose source is not indicated. The Knight’s is predominantly black, gold, and violet; its general shape is suggestive of a helmet, and on it sword-like and cross-like designs intersect with each other. Twenty additional drawings [not seen] are distributed one-to-a-set; they include a lithograph of the Knight in two colors...

519Etchings illustrating Chaucer’s ‘Canterbury Tales’ by Elizabeth Frink. Introduction and translation by Nevill Coghill. London: Leslie Waddington Prints Ltd., 1972.

One of the 19 plates depicts a nude, ‘classical’ Theseus on a white horse, greeting ten Theban ladies dressed in black robes and veils. The accompanying text is Coghill’s translation of 1.893–904 as in 46. Two bound editions of 50 copies each; one unbound edition of 175 copies.

520Canterbury Tales: Chaucer Made Modern. By Phil Woods with Michael Bogdanov. North Shields: Iron Press, 1980; rpt through 1985. Pp 2–6.

This stage version, first performed in 1974,...