In the following essay, Runacres investigates the “fruitful balance between pleasurable instruction and instructive pleasure” in the Confessio Amantis.

In the following essay, Minnis applies the medieval concept of “ethical poetry” to the Confessio Amantis.

In the following essay, Olsson explores the dynamics of power and love traced in the intimate personal relationships Gower treats in the Confessio Amantis and Mirour de l'Omme.

In the following essay, Grady questions traditional estimations of Gower's “In Praise of Peace” as Lancastrian propaganda, claiming instead that the poem features a complex understanding of English politics at the turn of the fifteenth century.

In the following essay, Robins analyzes the intersection of narrative romance and moral exempla in the Confessio Amantis, studying this juxtaposition within the critical contexts of reader subjectivity.

In the following essay, McKinley regards Book Seven of the Confessio Amantis as a digressive “excursus on ideal kingship” that temporarily departs from the central theme of the poem in a rhetorical manner that echoes those of classical poets Homer, Ovid, and Virgil.

In the following essay, Echard examines the early practice of compiling tables of contents and glosses for the numerous manuscripts of the Confessio Amantis as establishing frames for reading and understanding the poem.

In the following essay, Peck studies the “fascination with the mind's capacity to abstract signs from things” Gower demonstrates in the Confessio Amantis.

In the following essay, Peck examines the Confessio Amantis in terms of medieval theories of perception and representation.

In the following essay, Watt asserts the presence of subversive homosocial, homoerotic, and transgender elements in the Confessio Amantis, placing particular emphasis on the motif of cross-dressing featured in the poem.

In the following essay, Schultz describes Gower's use of the metaphor of mirrored self-reflection in the Confessio Amantis in conjunction with the poem's themes of self-knowledge, self-delusion, and self-awareness.

In the following essay, Schutz examines Gower's use of metaphors of sight, vision, and understanding in the Confessio Amantis.

In the following essay, Olsson interprets the Confessio Amantis as a compilation, in which Gower assembled materials from a wide variety of sources and organized them to create new or expanded meanings.

In the following essay, Burke discusses the surprising absence of “negative female stereotypes” in the Confessio Amantis.

In the following essay, Baker vindicates Gower's characterization of the allegorical figure Genius in the Confessio Amantis, which has often been viewed as inconsistent and faulty.

In the following essay, Rytting discusses Gower's depiction of marriage and its attendant virtues in the poetic tales of the Confessio Amantis.

In the following essay, Chandler stresses remembrance as a unifying theme of the Confessio Amantis.