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Few of Chaucer’s works provoke such animosity as does his “Clerk’s Tale.” Modern critics are divided by the social and gender issues that to which the tale lends itself. However, the tale was immensely popular to Middle Age audiences and was one of the best loved of the Canterbury Tales. Therefore, to dismiss this tale’s literary values outright, as some critics have done, is a mistake. By examining the history of the Griselda story, Chaucer’s use of his source materials, and the tales placement within the Canterbury Tales, this thesis is an attempt to examine the tale in more culturally, religiously, and historically appropriate way.

Chaucer scholars have long recognized the generic complexity of Troilus and Criseyde, but they have tended to read it primarily as a tragedy or romance or as a text whose genre is sui generis. The following essay attempts to read Troilus and Criseyde as an epic and to articulate how such a generic lens would reorient readings of the text. To do so, fresh definition is given to the term “epic,” and insights from genre theory are drawn upon. Ultimately, Troilus and Criseyde is an epic poem because it invests within the composite hero of two lovers the fact that societal stability depends in part on romantic involvement.

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Chaucer’s Man of Law’s Tale has been largely ignored in comparison to the rest of The Canterbury Tales due to the rhetorical embellishment in the tale. However, examining the tale in the cultural context of its narrator, as well as in the context of the textual and oral rhetorical strategies of the fourteenth century, reveals that the Man of Law creates an argument out of his fictional tale that ties the developing fourteenth century common law system to divine justice, thereby justifying his profession to his audience

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