[32] Price finds the movement typically dramatic: rising action with suspense and complication to the climax in Book III, peripety in the exchange of prisoners, falling action in the yielding to Diomed, conclusion on the despair and death of Troilus. PMLA 11 (1896): 307-322. [33] For Chaucer’s knowledge of the _poetriæ_ see J. M. Manly, _Chaucer and the rhetoricians_, Warton Lecture on English Poetry XVII (read June 2, 1926), printed in Proceedings of the British Academy. The following pages on Chaucer’s criticism of the _poetriæ_ are adapted from my _Cicero on Parnassus_, PMLA 42: 106-112 (March, 1927). For the _poetriæ_ see above, Chapter VII. B. [34] It is advanced, however, by Tatlock’s interpretation of the evidence as suggesting rather Chaucer’s adoption of the “lay” as a literary form than his use of a particular “lay” as a source (_The Scene of the Franklin’s Tale Visited_, London, Chaucer Society, 1914). Skeat notes the reminiscence of the prologue (appearing in better manuscripts as an epilogue) to the _Satires_ of Persius. Nec fonte labra prolui caballino, nec in bicipiti somniasse Parnaso memini, ut repente sic poeta prodirem. [35] See above, Chapter VII. B. [36] The “heigh style” in the Squire’s joke may have the same reference. Accordant to his wordes was his chere, As techeth art of speche hem that it lere. Albeit that I can nat soune his style, Ne can nat climben over so heigh a style, Yet seye I this, as to commune entente, Thus muche amounteth al that ever he mente. F. 103-108. For _dictamen_ see above, Chapter VIII. [37] If _endyteth_ here also refers to _dictamen_, Chaucer is underlining Petrarch’s rhetoric. But the word is not necessarily technical. [38] B. 4537, seq. [39] The reference to romance which follows the Nun’s Priest’s sarcastic dilation of truisms suggests that here too, as well as in the direct reference to Geoffrey, Chaucer was glancing at rhetorication of narrative. God woot that worldly joye is sone ago; And if a rethor coude faire endyte, He in a cronique saufly mighte it wryte, As for a sovereyn notabilitee. Now every wys man lat him herkne me. This storie is also trewe, I undertake, As is the book of Launcelot de Lake. B. 4396-4402. Perhaps also he was thinking of Geoffrey’s dilation on the instability of “worldly joye” (277-291, _Quid gaudia tanta_). [40] “O Veneris lacrimosa dies!” 375. Chaucer’s reference is at B 4531. The Pardoner’s apostrophes (C 512, 534, 551, 895) are subtly tinged, as everything else that he says, with demagogy. Those of the Nun’s Priest (B 4416, 4529), of course, are played flat. But in other places (E 2056, 2242, G 1076) Chaucer’s use of this “colour” seems conventional.