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 (chô′sər), Geoffrey 1340?-1400.
English poet whose writing presents a richly varied picture of life and values in late-medieval England. His works include The Book of the Duchess (c. 1370), Troilus and Criseyde (c.1385), and his masterpiece, the unfinished Canterbury Tales (c. 1385-c. 1400).

Chau·cer′i·an (chô-sîr′ē-ən) adj. & n.


(Literary & Literary Critical Terms) of, relating to, or characteristic of the writings of Geoffrey Chaucer
1. (Literary & Literary Critical Movements) an imitator of Chaucer, esp one of a group of 15th-century Scottish writers who took him as a model
2. (Literary & Literary Critical Terms)
a. an admirer of Chaucer's works
b. a specialist in the study or teaching of Chaucer
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On this same note, he wrote, "this is a brawny, rough-and-tumble, rollicking place, animated by the earthy good humor of its Chaucerian folk.
The answer may rest in the nature of the poem itself, which is a farcical dream-vision in which a Chaucerian persona named Geffrey witnesses the inept and arbitrary inner workings of fame.
Even more structurally important to Chaucerian dream visions are lists of prior authors.
Sam Schuman would no doubt go Chaucerian in praising Richard Badenhausen, perhaps combining passages from the Clerk, the Knight, and the Parson, but we will simply say thank you, Richard, and keep it up
Fifteen of the manuscripts 310 lyrics bear the initials "Ch" at their head, and, as Strakhov is skeptical about the purported Chaucerian connections, she wisely redirects the discussion away from celebrity authorship towards the more vexed question of what sorts of interpretive paradigms the manuscript itself foregrounds.
So important was Richard Tarleton's death that his vacant role prompted a revival of dramatic monologue written in the Chaucerian style.
There's everything from Chaucerian mucky puns and wicked wordplay to calculated disassemblies of bigotry and conceitedness.
In the same way as one might laugh about something being Chaucerian, one might think [of a certain style as] Shidyaqian.
Part VI opens with Elizabeth Scala's thoughtful treatment of quotation and self-quotation in the Nun's Priest's Tale, practices that she claims effectively inaugurate the Chaucerian tradition by at once emptying out authority and engaging in self-authorization.
Looking closely at the paratextual and intertextual traces of Chaucerian literary form in Spenser's The Shepheardes Calendar, Kuskin shows how Spenser and his contemporaries acknowledge the influence but alienate it into history "so as to write themselves modern while simultaneously reading deeply into the past's rhetoric" (54).
He argues convincingly that the settlers in this area developed a distinct cultural identity, exemplified not least in the Yola dialect, an English dialect that was based largely on Chaucerian English and was spoken in the region until the nineteenth century.