The tumulus tale of Troilus and his lover Cressida has left readers intrigued in renditions written by both Geoffrey Chaucer and William Shakespeare due to their subversive nature of the authors’ chosen generic forms. Chaucer’s Troilus and Criseyde challenges the expectations and limitations of the narrative of the chivalric romance. Shakespeare took the story and turned Troilus and Cressida into one of his famous “problem plays” by challenging his audience’s expectations of the tragic genre. I endeavor to draw attention to the ways in which both Chaucer and Shakespeare use the conventions of the chivalric romance and tragedy to play with the imbalances in the central relationship of Troilus and Criseyde/Cressida in the story. These imbalances are the source of experimentation in both texts that allows Chaucer to imbue tragedy in the chivalric romance and allow Shakespeare to undermine tragedy itself.

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This thesis aims to interpret the elements of beauty and art in the marriages portrayed in Geoffrey Chaucer¡¦s Canterbury Tales by means of St. Thomas Aquinas¡¦s theory of beauty and that of art. St. Thomas asserts that beauty consists of three elements: proportion, clarity and integrity, and that art imitates and denotes production. I take beauty and art as the crucial concepts and use analogy as the inquiring tool to examine the imaginary domain between beauty and art as applied to marriage, meanwhile investigating the implied language of intercommunication between aesthetics and marriage. Marriage is taken as a representation of beauty; its different forms and contents portrayed in Chaucer¡¦s various tales will be analyzed so as to see to what extent they reflect and diverge from medieval aesthetic sensitivity and how aesthetic theory can be adopted to interpret medieval marriage. In Chapter One, the theory of ¡§proportion¡¨ is applied to the various forms of marriage depicted in the Tales to explore how the marriage of the nobility and that of the commoners will correspond to this element of beauty, as portrayed in ¡§The Clerk¡¦s Tale,¡¨ ¡§The Man of Law¡¦s Tale,¡¨ ¡§The Second Nun¡¦s Tale,¡¨ ¡§The Franklin¡¦s Tale,¡¨ ¡§The Merchant¡¦s Tale,¡¨ ¡§The Miller¡¦s Tale,¡¨ ¡§The Wife of Bath¡¦s Prologue¡¨ and her tale. Chapter Two examines the roles the variants of ¡§clarity,¡¨ that is, physical and spiritual beauty, play in marriage, and a debate on the coexistence and non-coexistence of physical and spiritual beauty of a wife among the pilgrim-tellers will be demonstrated. Furthermore, in Chapter Three I shall extend the medieval concept of art to that of the ¡§procreative art¡¨ in marriage, and explore the relationship between the procreative art and the ¡§integrity¡¨ of marriage in the aforementioned tales. The conclusion discusses Chaucer¡¦s positions on the aesthetics of marriage of the nobility and that of the commoners portrayed in the tales.

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This thesis deals with the interpretation of art, set against the background of the medieval Christian Neoplatonism of John Scotus Eriugena. For him, art and philosophy are regarded as the handmaidens of meaning. Therefore, although this thesis begins with a consideration of Eriugena's Periphyseon, it develops into a discussion on aesthetic theory, and ultimately into one on poetic theory. The object of this discussion is to account for meaning in Chaucer's Troilus and Criseyde according to Eriugenian poetics. / The essence of art will thus be pursued within the parameters of the Neoplatonic scala natura. In this way, the whole poetic interpretation of Chaucer's poem is grasped as a mirror of the ontological exitus-reditus pattern. In understanding the poem this way, this thesis comes to immediate terms with the medieval concept of the imago Dei, and understands the likeness of mankind to God to be primarily one made by virtue of language.

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The language of Chaucer bears a close relationship to his versification, meter, and rhyme. Chaucer's experimentation in a variety of verse forms in his career as a poet show how he tried to deal with the English language that was then undergoing major changes in phonology, morphology, and syntax.This thesis has analyzed the grammatical characteristics and syntax of selected Chaucerian rhyme words and has established the frequency of phrasal constituent structures in the sample. The sample consists of random groups of 1,000 lines from 12 tales which are divided into four groups in terms of the periods of writing date. In addition, those 12 tales have been classified into two types according to their rhyme scheme. The findings demonstrate that:1. The nominal rhyme is used most frequently and twice as much as the verbal rhyme.2. There is a tendency that the verbal rhyme is less frequently used in the heroic couplet writings but more often used in the rhyme royal writings.3. The adjective and adverbial rhymes seem to occur almost equally in ratio.4. There is a tendency that the nominal rhyme appears most frequently in the noun phrase functioning as an object of the preposition.5. Concerning the adverbial rhyme, the highest usage is as one indicating manner.6. There is a tendency that, in accordance with the progress of the periods, the frequency of the nominal rhyme gradually increases while the verbaladverbial rhymes, on the contrary, decrease.7. It is likely that the frequency variation might be caused by the progress of the periods, not by the type of rhyme scheme.8. Chaucer seems to prefer the minimal phrase to the expanded one.

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