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Delphi Complete Works of Geoffrey Chaucer
The first volume of Delphi Classics’ new Series Three offers the complete works of Geoffrey Chaucer, with medieval illustrations, scholarly features, informative introductions and the usual Delphi bonus material. (7MB Version 1)
* Beautifully illustrated with images relating to Chaucer's life and works
* Concise introductions to the poems and other texts
* Images of how the books were first illustrated, giving your eReader a taste of the medieval texts
* Excellent formatting of the poetry
* THE CANTERBURY TALES features the original Ellesmere Manuscript illustrations of the pilgrims
* Offers two versions of the major texts THE CANTERBURY TALES and TROILUS AND CRISEDYE, each with individual contents tables and links: the Oxford University 1894 scholarly text, with original spellings and line numbers (ideal for students) AND a modernised and annotated text version to help the general reader – now you can truly enjoy Chaucer’s language!
* Special criticism section, with essays by writers such as G. K. Chesterton, Virginia Woolf and James Joyce evaluating Chaucer’s contribution to literature
* Features four biographies – immerse yourself in Chaucer's medieval world!
* Scholarly ordering of texts into chronological order and literary genres
CONTENTS:
The Poetry
THE ROMAUNT OF THE ROSE
THE BOOK OF THE DUCHESS
THE HOUSE OF FAME
ANELIDA AND ARCITE
PARLEMENT OF FOULES
TROILUS AND CRISEYDE (ORIGINAL TEXT)
TROILUS AND CRISEYDE (MODERNISED AND ANNOTATED)
THE LEGEND OF GOOD WOMEN
THE CANTERBURY TALES (ORIGINAL TEXT)
THE CANTERBURY TALES (MODERNISED AND ANNOTATED)
MINOR POEMS
The Non-Fiction
BOECE
TREATISE ON THE ASTROLABE
The Criticism
CHAUCER AND HIS TIMES by Grace Eleanor Hadow
ON MR. GEOFFREY CHAUCER by G. K. Chesterton
ADVENTURES IN CRITICISM by Sir Arthur Thomas Quiller-Couch
LECTURES ON CHAUCER AND SPENSER by William Hazlitt
Extract from ‘MY LITERARY PASSIONS’ by William Dean Howells
THE RENAISSANCE AND THE REFORMATION by Andrew Lang
THE PASTONS AND CHAUCER by Virginia Woolf
Extract from ‘INTRODUCTION TO THE PAINTINGS’ by D. H. Lawrence
Extract from ‘REALISM AND IDEALISM IN ENGLISH LITERATURE’ by James Joyce
The Biographies
CHAUCER AND HIS ENGLAND by G. G. Coulton
CHAUCER by Sir Adolphus William Ward
CHAUCER’S OFFICIAL LIFE by James Root Hulbert
BRIEF LIFE OF GEOFFREY CHAUCER by D. Laing Purves
Please visit www.delphiclassics.com to browse through our range of exciting titles
* Beautifully illustrated with images relating to Chaucer's life and works
* Concise introductions to the poems and other texts
* Images of how the books were first illustrated, giving your eReader a taste of the medieval texts
* Excellent formatting of the poetry
* THE CANTERBURY TALES features the original Ellesmere Manuscript illustrations of the pilgrims
* Offers two versions of the major texts THE CANTERBURY TALES and TROILUS AND CRISEDYE, each with individual contents tables and links: the Oxford University 1894 scholarly text, with original spellings and line numbers (ideal for students) AND a modernised and annotated text version to help the general reader – now you can truly enjoy Chaucer’s language!
* Special criticism section, with essays by writers such as G. K. Chesterton, Virginia Woolf and James Joyce evaluating Chaucer’s contribution to literature
* Features four biographies – immerse yourself in Chaucer's medieval world!
* Scholarly ordering of texts into chronological order and literary genres
CONTENTS:
The Poetry
THE ROMAUNT OF THE ROSE
THE BOOK OF THE DUCHESS
THE HOUSE OF FAME
ANELIDA AND ARCITE
PARLEMENT OF FOULES
TROILUS AND CRISEYDE (ORIGINAL TEXT)
TROILUS AND CRISEYDE (MODERNISED AND ANNOTATED)
THE LEGEND OF GOOD WOMEN
THE CANTERBURY TALES (ORIGINAL TEXT)
THE CANTERBURY TALES (MODERNISED AND ANNOTATED)
MINOR POEMS
The Non-Fiction
BOECE
TREATISE ON THE ASTROLABE
The Criticism
CHAUCER AND HIS TIMES by Grace Eleanor Hadow
ON MR. GEOFFREY CHAUCER by G. K. Chesterton
ADVENTURES IN CRITICISM by Sir Arthur Thomas Quiller-Couch
LECTURES ON CHAUCER AND SPENSER by William Hazlitt
Extract from ‘MY LITERARY PASSIONS’ by William Dean Howells
THE RENAISSANCE AND THE REFORMATION by Andrew Lang
THE PASTONS AND CHAUCER by Virginia Woolf
Extract from ‘INTRODUCTION TO THE PAINTINGS’ by D. H. Lawrence
Extract from ‘REALISM AND IDEALISM IN ENGLISH LITERATURE’ by James Joyce
The Biographies
CHAUCER AND HIS ENGLAND by G. G. Coulton
CHAUCER by Sir Adolphus William Ward
CHAUCER’S OFFICIAL LIFE by James Root Hulbert
BRIEF LIFE OF GEOFFREY CHAUCER by D. Laing Purves
Please visit www.delphiclassics.com to browse through our range of exciting titles
Unknown Binding
First published November 12, 1969
188 people are currently reading
548 people want to read
About the author
Geoffrey Chaucer
1,206 books1,343 followersGeoffrey Chaucer (c. 1343 – 25 October 1400) was an English poet, author, and civil servant best known for The Canterbury Tales. He has been called the "father of English literature", or, alternatively, the "father of English poetry". He was the first writer to be buried in what has since come to be called Poets' Corner, in Westminster Abbey. Chaucer also gained fame as a philosopher and astronomer, composing the scientific A Treatise on the Astrolabe for his 10-year-old son, Lewis. He maintained a career in the civil service as a bureaucrat, courtier, diplomat, and member of parliament.
Among Chaucer's many other works are The Book of the Duchess, The House of Fame, The Legend of Good Women, and Troilus and Criseyde. He is seen as crucial in legitimising the literary use of Middle English when the dominant literary languages in England were still Anglo-Norman French and Latin. Chaucer's contemporary Thomas Hoccleve hailed him as "the firste fyndere of our fair langage" (i.e., the first one capable of finding poetic matter in English). Almost two thousand English words are first attested to in Chaucerian manuscripts. As scholar Bruce Holsinger has argued, charting Chaucer's life and work comes with many challenges related to the "difficult disjunction between the written record of his public and private life and the literary corpus he left behind". His recorded works and his life show many personas that are "ironic, mysterious, elusive [or] cagey" in nature, ever-changing with new discoveries.
Among Chaucer's many other works are The Book of the Duchess, The House of Fame, The Legend of Good Women, and Troilus and Criseyde. He is seen as crucial in legitimising the literary use of Middle English when the dominant literary languages in England were still Anglo-Norman French and Latin. Chaucer's contemporary Thomas Hoccleve hailed him as "the firste fyndere of our fair langage" (i.e., the first one capable of finding poetic matter in English). Almost two thousand English words are first attested to in Chaucerian manuscripts. As scholar Bruce Holsinger has argued, charting Chaucer's life and work comes with many challenges related to the "difficult disjunction between the written record of his public and private life and the literary corpus he left behind". His recorded works and his life show many personas that are "ironic, mysterious, elusive [or] cagey" in nature, ever-changing with new discoveries.
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Displaying 1 - 15 of 15 reviews
May 26, 2021
There are four significant points about my nearly year long effort to read this amazing work.
First of all, there is the book itself. An oversized hardback at well over five hundred pages, it probably weighs around twenty pounds. This is not a book to be read sitting in a chair or lying horizontally in bed. Instead, one has to sit at a coffee table and lean over. It was simply too heavy to hold in one’s hands. But is it beautifully done: glossy pages, with double columned print and many woodcut engravings by Burne-Jones make it the type of book one smooths one’s hand over each successive page.
Then there is the Middle English language. Although I took an entire course in Chaucer while at university, that was almost fifty years ago, and as I now recall, a lot of my reading was in translated or dual-language texts. Morris’ publication is all in the original Middle English which, for the majority of the time, was somewhat understandable but took a real effort of concentration. Thus, each day I only read but two full pages, with their four columns of print. The whole book took the better part of a year to complete. The helpful glossary at the beginning of the book was consulted each and every day, usually on multiple occasions, and more than twenty pages of notes were made both of words for which translations were provided, and for those which were not. It was the middle level of understanding this language impediment precluded: I could often get the meaning of each particular line of verse, and usually had the overall sense of the story in general, but the general flow of the arc in the narrative I felt was often falling beyond the reach of my comprehension.
Then there is the writer. The dominant adjective I came to feel about this curious figure from the Middle Ages was unpredictable. Taking The Canterbury Tales as a microcosm of his entire body of work, it is so varied and inconsistent as to almost defy description. On one hand, there is the broad humour of the Miller’s Tale but then there is also the pedantic goings on and on of the Parson’s Tale. The bawdiness of the Wife of Bath is as irreverent as the prim code of honour espoused in the ever so proper Knight’s Tale. This disparity applies to his other works. The Treatise on the Astrolabe is a scholarly work on engineering while the translation of Boethius' Consolation of Philosophy tries to reconcile the seeming opposites of human free will and divine foreknowledge. Then, the story of Troilus and Cressida is a sad, romantic tale of love gone wrong through the weakness of a woman, while the Parliament of Fowls and the Legend of Good Women retell classical stories of women done wrong by the male objects of their affection. It would seem that Chaucer could do many different things, and most of them very well, but never really settled down to one particular type of writing.
Indeed, this lack of focus and concentration resulted in at least four of his major works: The Canterbury Tales, the translation of The Romance of the Rose, the Parliament and the Legend all being incomplete. I get the feeling of a man with little sense of self discipline, an inordinate degree of talent: a pre-Renaissance type of renaissance man fascination with a variety of different aspects of the human experience and quite possibly, very poor time management and organizational skills. Still, one cannot help but be continually fascinated by such a cornucopia of literary offerings.
Also, Chaucer is the main writer responsible for the development of English rather than French or Latin as the language of the literature of his country. At the end of his Troilus, he sends off the work with the claim:
And for ther is so great diversitee
In English and in writing of our tonge
So preye I God that noon miswryte thee,
Ne thee mismetre for defaute of tonge.
And red wherso thou be, or elles songe
That thou be understonde I God beseche.
This book is not the easiest to read, but for any true bibliophile, it is a treasure to own. Given the first copy off his press just days before his death, William Morris – who like Chaucer delighted in a wide variety of different types of activities and writings - must have felt an overwhelmingly justified sense of pride in his accomplishment.
First of all, there is the book itself. An oversized hardback at well over five hundred pages, it probably weighs around twenty pounds. This is not a book to be read sitting in a chair or lying horizontally in bed. Instead, one has to sit at a coffee table and lean over. It was simply too heavy to hold in one’s hands. But is it beautifully done: glossy pages, with double columned print and many woodcut engravings by Burne-Jones make it the type of book one smooths one’s hand over each successive page.
Then there is the Middle English language. Although I took an entire course in Chaucer while at university, that was almost fifty years ago, and as I now recall, a lot of my reading was in translated or dual-language texts. Morris’ publication is all in the original Middle English which, for the majority of the time, was somewhat understandable but took a real effort of concentration. Thus, each day I only read but two full pages, with their four columns of print. The whole book took the better part of a year to complete. The helpful glossary at the beginning of the book was consulted each and every day, usually on multiple occasions, and more than twenty pages of notes were made both of words for which translations were provided, and for those which were not. It was the middle level of understanding this language impediment precluded: I could often get the meaning of each particular line of verse, and usually had the overall sense of the story in general, but the general flow of the arc in the narrative I felt was often falling beyond the reach of my comprehension.
Then there is the writer. The dominant adjective I came to feel about this curious figure from the Middle Ages was unpredictable. Taking The Canterbury Tales as a microcosm of his entire body of work, it is so varied and inconsistent as to almost defy description. On one hand, there is the broad humour of the Miller’s Tale but then there is also the pedantic goings on and on of the Parson’s Tale. The bawdiness of the Wife of Bath is as irreverent as the prim code of honour espoused in the ever so proper Knight’s Tale. This disparity applies to his other works. The Treatise on the Astrolabe is a scholarly work on engineering while the translation of Boethius' Consolation of Philosophy tries to reconcile the seeming opposites of human free will and divine foreknowledge. Then, the story of Troilus and Cressida is a sad, romantic tale of love gone wrong through the weakness of a woman, while the Parliament of Fowls and the Legend of Good Women retell classical stories of women done wrong by the male objects of their affection. It would seem that Chaucer could do many different things, and most of them very well, but never really settled down to one particular type of writing.
Indeed, this lack of focus and concentration resulted in at least four of his major works: The Canterbury Tales, the translation of The Romance of the Rose, the Parliament and the Legend all being incomplete. I get the feeling of a man with little sense of self discipline, an inordinate degree of talent: a pre-Renaissance type of renaissance man fascination with a variety of different aspects of the human experience and quite possibly, very poor time management and organizational skills. Still, one cannot help but be continually fascinated by such a cornucopia of literary offerings.
Also, Chaucer is the main writer responsible for the development of English rather than French or Latin as the language of the literature of his country. At the end of his Troilus, he sends off the work with the claim:
And for ther is so great diversitee
In English and in writing of our tonge
So preye I God that noon miswryte thee,
Ne thee mismetre for defaute of tonge.
And red wherso thou be, or elles songe
That thou be understonde I God beseche.
This book is not the easiest to read, but for any true bibliophile, it is a treasure to own. Given the first copy off his press just days before his death, William Morris – who like Chaucer delighted in a wide variety of different types of activities and writings - must have felt an overwhelmingly justified sense of pride in his accomplishment.
May 16, 2016
Ahh. The things we remember. The things we forget. It is a shame that so many people have Chaucer forced upon them at too young an age in an academic setting so that it is very hard to appreciate how much fun he is and how much he still has to say to us today. I think I first "received" a few of the Canterbury Tales in English class in high school in this manner. Then I read a few more in an Intro Brit Lit (pre-1900) class in college. Finally, an entire semester of Chaucer with a Danish professor in the English program during a semester abroad at the University of Aarhus in Denmark in the spring of 1979, which I had completely forgotten about until just now. I can still see the book with its grey cover and red letters, huge – probably 700 pages - which became rather worn from being hauled around to class all semester through snow and wind and rain. I don't remember the professor's name, but I remember that in his quiet, European, sitting-around-the-seminar-table-for-a-little-chat way, he made reading Chaucer as lively and funny and charming and salacious as the Wife of Bath herself. Maybe this is the way that Chaucer needs to be experienced. The only thing that would've made it more appropriate would've been sitting in a pub with a glass of beer in hand.
May 11, 2017
Marvelously put together. As a lover of both the Canterbury Tales and Troilus and Criseyde I was expecting to be happy with the book, however his Good Wives blew me away. Written at a very misogynistic time, but it was a powerfully strong defense of femininity, which would not have pleased the Church of the day. The wealth of poetry and tales he wrote far exceeds just the Canterbury Tales and Troilus and Criseyde, for any lover of Chaucer's work this is a must have for the personal library shelf.
Want to read
February 11, 2011We already own Troilus and Criseyde and The Canterbury Tales, so I don't think we need to get the complete works, really.
August 15, 2023
I was looking for a book with Chaucer's actual writing. All I got was a reference book, no stories at all.
December 18, 2018
The Kelmscott Chaucer is indeed a beautiful volume, put together with much patience and beauty. The illustrations by Edward Burne-Jones are nice. They are not quite my preference -- not as nice as the Walter Crane illustrations for The Faerie Queene, in my opinion. But it is a beautiful tribute to Chaucer and valued edition that raises Chaucers work of art to an object of art.
It is, though, not a reading edition. In addition to it’s awkward size and weight, it does not include any assistance for the reader. You can see my thoughts on Chaucer here: https://www.goodreads.com/review/show...
It is, though, not a reading edition. In addition to it’s awkward size and weight, it does not include any assistance for the reader. You can see my thoughts on Chaucer here: https://www.goodreads.com/review/show...
Currently reading
May 19, 2013I'm on page 197 of 551. I own a copy of the Kelmscott Chaucer, the most beautiful edition of the complete works of the great English poet. The book is quite large and heavy, I has to be placed on a stand in order to read from it. It contains the original text and all 87 woodcuts by Sir Edward Burne- Jones and the borders and decorations of the initial work by William Morris. It is written in Chaucer's Middle English so I have to consult the glossary a lot more often than I thought I would :D The book has been quite a treat, at least for me. I am not in a hurry to finish it...
August 10, 2016
This was fun to read, I will have to admit that I guessed a lot (in regards to the Middle English) - but the more you read the more you fall into the cadence of his words....
When I out at the dores cam,
I faste aboute me beheld.
Then sawgh I but a large feld,
As fer as that I myghte see,
Withouten toun, or hous, or tree,
Or bush, or grass, or eryd lond;
For al the feld nas but of sond
As smal as man may se yet lye
Chaucer, Geoffrey (2009-11-05). The Complete Works of Chaucer In Middle English [Illustrated] (Kindle Locations 21923-21927). A1. Kindle Edition.
When I out at the dores cam,
I faste aboute me beheld.
Then sawgh I but a large feld,
As fer as that I myghte see,
Withouten toun, or hous, or tree,
Or bush, or grass, or eryd lond;
For al the feld nas but of sond
As smal as man may se yet lye
Chaucer, Geoffrey (2009-11-05). The Complete Works of Chaucer In Middle English [Illustrated] (Kindle Locations 21923-21927). A1. Kindle Edition.
August 26, 2008
This is some great writing; poetic and beautiful in every way...assuming you can read middle english...big assumption, but if you have any kind of quick translation device -- cliff's notes will do -- i recommend it
October 20, 2011
I honestly admit I've never read the whole book from cover to cover, as the language is just too hard for that. But although the bits I've read over the years took up a lot of my spare time, they make marvellous reading material and I still occasionally pick up this book to read in it a bit.
February 12, 2008
What can I say. It's Chaucer. It's in Middle English. I got credit for it and I loved it.
July 13, 2008
This book is in horrendous shape, but I cannot bear to throw Chaucer away! :)
September 3, 2012
I'm not really arrogant enough to critique Chaucer. I'll merely say that I keep reading and re-reading him.
March 4, 2017
Chaucer: the Godfather. Really.
February 8, 2022
As a work of art, this edition highlights the beautiful engravings of yesteryears. As a readable text, especially if an academic sort, there is little of practical value here.
Displaying 1 - 15 of 15 reviews