<strong>Preview and Opening Night Gala</strong><em> </em>
If you have been supplied with the Immer-vision 3D Holographic headset and eye wear (glasses or contacts) please be ready to use them when directed to do so. <em><strong> Our GUIDE shall provide commentary seen in bold, italic font below.</strong></em> Other comments from characters, visitors, or imaginary friends are identified individually in standard black font. And the tour begins:

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<em><strong>GUIDE:  “Time Capsule Passages, an exhibit designed to provide our surviving civilization with access to selected artifacts, is scheduled to open tomorrow. Tonight, we, of the Antiquities Committee, distinguished members of our government, and the prominent associates of Information and Dissemination of Intelligence and Opinion Trolls (I.D.I.O.T.s  - a.k.a. the  press) shall enjoy a preview of this exciting and, dare I say, astonishing exhibit. The Immer-vision 3D Holographic technology is key for obtaining the complete immersion experience.  The eye-wear and headsets are both embedded with integrate microchips designed to monitor, measure, and interpret brainwaves of the wearer and adjust the visual, audio, and sensory effects for the museum visitor. So be prepared for the experiential immersion into the time, place, and environmental effects of the artifacts’ origin.</strong></em>

[caption id="attachment_1399" align="alignright" width="300" caption="Immer-vision 3D Holographic -  http://blog.alexkelleher.com/page/5/"]<em><strong><a href="http://jeanatacc.com/2011/wp-content/uploads/2011/05/neurosky-2.jpg"><img class="size-full wp-image-1399" src="http://jeanatacc.com/2011/wp-content/uploads/2011/05/neurosky-2.jpg" alt="" width="300" height="218" /></a></strong></em>[/caption]

<em><strong>Now, let us refer to our colony maps.  As we depart our public meeting and exposition hall (1) and pass through the (2) Entertainment Center Lux et Veritas, we arrive at the communal dining hall (3).</strong></em>

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<em><strong>Note the sign above the entryway!”</strong></em>

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<em> An artist of exceptional greatness of vision has filled these forms with new life</em>. (Janson).

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GUIDE:   The first exhibition room of Lux et Veritas’ Time Capsule Passages is, in fact, an area that also provides our community’s diners with an example of the lifestyle found in Ancient Roman homes, during the time of the Great Roman Empire. Can you see the entertainers and musicians, the elaborate food and plentiful wine, the hosts, their guests, and the astounding number of servants?  Displayed on the walls behind protective glass are The Frescoes of the Villa of Mysteries that were created by unknown artisans at about 62 B.C.E. These frescos are that describe rituals of the Dionysius Cult and are among the finest examples of fresco or wall art of the period. Preserved in the ashes from the volcanic eruption of Mt. Vesuvius in 79 A.D, these frescos offer a cadence in the characters movements while the artists’ brilliant use of color speaks to the sumptuous atmosphere of the day; a unique aspect for the times. The artists’ use of mythological themes and they are likely copies of Greek statues was a common practice in Ancient Rome. Vitruvius, a renowned architectural critic of the day, offers proof of the works acceptance and criticism after its initial execution when he commented, “(this work is) elegant and exquisite, but it was also oppressive,” utilizing mural designs but not with its mural motif, illustrating landscapes that seem to melt into a distant haze as was the norm for the day (Vitruvius).  Notice placard and the photo copied images of more frescoes of the day.”

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http://www.nytimes.com/2008/10/24/arts/design/24pomp.htm

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Nero cast as Apollo in dining room at Moregine

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Though this photographic reproduction of another first-century     fresco from a dining room at Moregine contains a mythological     theme and is rich in color, the differences when compared to the Mysteries     frescoes are an important aspect to consider as well.

Each panel exhibits     life-sized models or portraits of the human form (Dionysus phallus     excluded) that are clearly grounded in a realistic setting. In contrast, the     Apollo, frescoes from a building just south of Pompeii, features small     figures float or stand on work features small figures float or stand on     pedestals with voluptuous, colorful fabrics swelling about them. Above     these figures are miniature landscapes set in a perspective, imitating a     coffered ceiling.

Thematically, each work is     divergent. The Apollo fresco is clearly secular in nature while the     Mysteries frescos are based on the cult of Dionysius, a documentation of some of the religious     rites in the 1<sup>st</sup>century A.D. and depicts sex as a sacrament.

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This time marks the beginning of the end for the 500 year old republic; of social and political discord in the Roman Empire. The Empire had grown to most of the, known world and the communications and supply lines between the outlying regions and the center seat of power in Rome began breaking down. The Empire spent vast amounts of money putting down revolts and in wars. In 64 AD, Nero was Emperor and the infamous fires consumed nearly all of Rome. Nero committed suicide in 68 AD, the Praetorians murder his successor and eventually Vespasian is crowned Emperor. In 70 AD Tito succeeds Vespasian and begins a campaign which Jerusalem and Jews spread in Armenia, Iraq, Iran, Arabia, Egypt, Italy, Spain and Greece. The rise and fall of emperors, conquests and losses of territory, and key catastrophic natural events marked these times, specifically, the eruption of Mount Vesuvius in 79 AD.

We find these images useful in our community’s efforts to connect with our ancestry, study classical style, and to aid in the fulfillment of our communities push to increase our population growth with a bit of erotic art. As an artist, I find the style, use of color, and theme a snap-shot of the times when mortality, morality, and the cycle of life were explained through mythology; a time of proving mans resilience in the face of natural disasters – much like our own situation, don’t you think? The frescoes of the Villa of Mysteries are an important body of work for future generations as a way to scrutinize mans quest for immortality and explaining the unknown while offering a glimpse into the artistic mastery during a monumental era in world history.“ <em>The GUIDE next leads the first visitors through a passageway to the entrance of <strong>The Palatine Chapel (area 4 on our map)</strong></em>

GUIDE: “Now we shall venture forward into a setting of medieval charm and romantic chivalry with the artifacts from Charlemagne’s Palatine Chapel; on your map this will be area (4). Please do not attempt to bring along holographic imagery from the dining hall. This would clearly be an affront to Pope Leo III and Charlemagne, Emperor of the Holy Roman Empire.”
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The Palatine Chapel in Aahen, Germany,     constructed between 792 and 814 A.D. and designed by Odo of Metz, is     revered as an example of the Carolingian era with influences of the Classical, Byzantine and Pre     Romanesque eras. The majesty and grandeur of this Chapel     was an important part of Charlemagne’s palace at Aahen.

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Let us pause to read the placards here before entering the exhibit and study the photographs of the original chapel.”

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http://www.worldheritages.com/aachen-cathedral.html

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The     history of this grand structure which includes: the part it plays in the     development of the Carolingian style and the incorporation of the     Classical, Byzantine and Pre Romanesque eras, the connection to a venerated     world leader, and the connection to a developing and changing Christian way     of life. The Palatine Chapel in Aahen was preserved in a time capsule by     way of meticulous renderings, historical documentations, photographs and     selected artifacts and now may be studied and enjoyed for generations to     come.

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Oratory of Palatine Chapel  (left) <a href="http://elisabethdemoreau.wordpress.com/lost-tomb-2/">http://elisabethdemoreau.wordpress.com/lost-tomb-2/</a>
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Note the differences and similarities between the     Germigny and the Palatine Chapels built in about the same time.  Germigny’s rounded apse compared to the     Palatine’s eight-sided structured apse, the placement of the alters, the view     of the clerestory, and the simply designed interior as opposed to the     Palatine’s elaborate interior. Though both structures exhibit hints of the     Byzantine style, the Palatine Chapel exhibits a departure with its rounded     columns and classic capitols.

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And Germigny-de-Pres Oratory(right)<a href="/www.sacred-destinations.com/france/germigny-des-pres-photos/slides/xti_6876"> http://www.sacred-destinations.com/france/germigny-des-pres-photos/slides/xti_6876</a>

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GUIDE: ”As we step into the towering structure that holds the Palatine artifacts and with our the Immer-vision 3D Holographic devices synchronized, notice the reverent, hushed, and whispered prayers of the faithful, the brilliant hues of the sun-pierced stained glass windows, the aroma of burning incense not quite masking that oppressive body odor and a distinct hint of the Byzantine elements in the architecture.”

The octagonal central space which conveys an unrelenting feeling of compartmentalization, creating a space unlike an ordinary church of its time and its 16-sided ambulatory are topped off with cupola, rising 102 feet above the floor. For centuries, this tower was the tallest in Europe. That mosaic-lined dome of the Palatine Chapel is now displayed in the dome of this building (4). Originally there was a series of groin vaults opposite the entrance to the chapel. In the center of the room are examples of the high quality brass from the Chapel in decorations: doors, railings, and the like.  The original frescoes of the Chapel were destroyed by fire but replaced with mosaic replicas in 1882. These mosaics now installed in the dome of this building carry the same stylistic quality and iconoclastic representations as the original fresco. The vaults, remarkable for the absence of transverse arches—Odo’s own innovation and quite unique at the time—are supported at the angles of the octagon on large piers.. Images of the Palatine Chapel before dismantling for this exhibition are found on in various locations throughout the exhibition room.”

We are now entering a replica of one of the side chapels and Charlemagne’s biographer will explain the political and social atmosphere of the time.”

<em>Einhard represented in a holographic image steps from the shadows, footwear squeaking, robes swishing, confidently strides into the midst of the visitors and begins in a reticent tone;</em>
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<a href="http://en.wikipedia.org/wiki/File:K%C3%B6nigsthron_Aachener_Dom.jpg">http://en.wikipedia.org/wiki/File:K%C3%B6nigsthron_Aachener_Dom.jpg</a>

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EINHARD:   “At the time of the construction of the Palatine Chapel, Charlemagne was expanding his kingdom by conquering large territories, creating stable safeguard from future Muslim aggression and established Frankish control in Iberia. During this time, the days of the dark ages, the feudal system was formed and a class system emerged, leaving the poor even poorer than before. Trade routes were established, there was a marked emphasis on education, music and poetry gained new audiences, and there was discord between the Byzantine (dominant language was Greek) and the Roman Churches (dominant language was Latin). Veneration of icons (iconoclasm) was condemned across all of Christendom. However, the Islamic culture and the Byzantine civilization thrived resulting in societies that surpassed the European developing cultures vastly. It was during this time of relative calm in the land that the Church was gripped in an architectural fervor with 16 new cathedrals and 232 monasteries built during Charlemagne’s reign.”

GUIDE:  “OH my! Charlemagne has arrived:  regal yet accessible, brilliant in battle and domestic affairs yet illiterate until his death, a man ahead of his time in a land loath of progress.  Do you see him ascending the original throne in the upper gallery of the chapel, the royal space in the Emperors' own private Chapel?”

Though the chapel does resemble S. Vitale in Ravenna, a distinctively Byzantine architectural example of the day, as many historians speculate, the Palatine Chapel is more Roman than Byzantine and historians note these influences of ancient Roman there are certainly contemporary influences of Visigoth, Moorish, Byzantine and even Armenian. The overall design is much more complex than that of other churches of the day.  One of the most important Carolingian, a style attributed to Charlemagne’s reign, contributions to Western architectural traditions is the addition of the west work to the church as noted in this reproduced floor plan. “

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<a href="http://en.wikipedia.org/wiki/File:AaachenChapelDB.svg">http://en.wikipedia.org/wiki/File:AaachenChapelDB.svg</a>

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As we depart the Palatine Chapel exhibit, a comment attributed to Roger Stalley, once professor of History at Oxford University comes to mind. Paraphrasing Professor Stalley, the Palatine Chapel was copied in later times but it was an extraordinary tribute of its own time.

In my own opinion, there is an intriguing combination of styles, expressions of religious faith, and contrasts between the relatively simple exterior and a stunning interior.  To stand in the place where Charlemagne, Emperor of the Holy Roman Empire received his sacraments and to actually witness this event is a little slice of paradise for an the artist/historian; one to be preserved for posterity in our village of the <em>Lux et Veritas</em> in this, the Time Capsule Passages.”

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GUIDE:    Our journey through time and space within the Time Capsule Passages delivers us to the door of our new interactive library; a living demonstration of The Canterbury Tales; section (5) of our map.  Upon entering, please find your seat in this theatre-in-the-round with the audience in the center and stage with actors revolving on the parameter. “

<em>On the door</em>: REMEMBER “Things are not always as they seem…” Phaedrus of Rome (Gāius)

GUIDE: “Now, if you have studied Chaucer and the Canterbury Tales, please feel free to interact with the players. These holograms love a good challenge and a willing fool.”

<em>As everyone is seated, the lights dim and period instruments provide a lively audio introduction while the players enter the rotating stage surrounding the centrally placed visitor gallery.  A remarkably lifelike hologram of Geoffrey Chaucer enters last, walking from scene to scene while setting the stage for his audience with one of his most arrogant articulations:</em>

CHAUCER: “It was I, Geoffrey Chaucer, who created these tales between 1387 and 1400 and none other! Yes, I know the speculations about the meaning, content, sequential arrangements, language, and completeness but even the elementary level child or mentally inept person can see the genius in these works are incomplete; or where they?? Ha! I shall never divulge it!”

Indeed, The Canterbury Tales are a collection of works, a brilliant and a sophisticated example of rhetorical forms, linguistic styles, diversity, and history for, I am “the first finder of our language” (Cooper).  Is it my use of Middle English that confounds ye? Simpletons! For this reason, my masterworks must be delivered here in 22<sup>nd</sup> Century English. Nevertheless, it is my hope this presentation is an accurate translation of my manuscripts and that it portrays the everyday life of the common man, an overview of the political and religious climate of the day, and a cultural equivalent of that advice you read upon entering hither, ‘Things are not always as they seem…’ (Gāius). Some critics assert that contemporary works of note at the time of <em>The Canterbury Tales</em> may be found in works such as Juan Ruiz’ <em>The Book of Good Love</em> or <em>Decameron</em> by Boccaccio and works which acted in many instances as inspiration for some of my work. In <em>Decameron</em>, the main characters are all young, unsullied, affluent and each of the seven women and three men have traditional names very much the literary stereotype. But my protagonists are of a differing sort; most were simply middle class much like myself. Yet others use Dante Alighiere’s poem <em>The Divine Comedy </em>in comparison to my work; likely due to our mutual and less than a stellar opinion of Churchmen. In my work, I present significant and extraordinary short story examples, two expositions in prose, and a religious facet with a distinct secular bent vis-à-vis the worldly pleasure and/or vises against spiritual aspirations. But it is my innovative use of the General Prologue that provides the reader detail never before used in literature.  Dante related his journey in the first person and it was less prolific in his style though his work is quite unique, if not terrifying.”

It was an unstable and chaotic time in English history when I created this work; a time of technological advancements in the literary genre.  My stories are among the first works of English literature to mention the use of paper as a medium, a fairly new development that allowed for distribution on a broad scale.  The Western Schism mired down the Catholic Church in controversy at a time when Christian authority in Europe was already under heavy fire. The Peasant’s Revolt of 1381 and various other conflicts marked the end of King Richard II reign and a desperate time for me,” continued Chaucer while rubbing his neck, “as many of my close friends were executed. These complex and tumultuous political events forced me to move to Kent. But that is of no concern now!”

That perceptive fellow, George Loomis, stated,  ‘I have adduced in this paper justify our rejecting any notion of Chaucer as either a sycophantic timeserver, who merely echoed the sentiments of his patrons and associates, or of a cheerful philosopher who looked upon the follies and struggles of mankind with an amused detachment’ (Loomis).  So some critics do know a thing or two about real talent!”

I have been advised that there are no known surviving manuscripts in my own hand; the work of some tyrannical clergyman, no doubt! However, there are eighty-three originally circulated hand-copied manuscripts that are in this very museum’s archives. Of these, fifty-five are complete manuscripts and twenty-eight are fragments; a number, I am told, that it is surpassed only by the 116 manuscripts of <em>The Prick of Conscience</em> collection of poems. Scholars agree that these numbers are a clear indication of the popularity of the<em> Canterbury Tales. </em>Now, my virtuosity shall entertain you! Behold, The Canterbury Tales!”

<em>The actors deliver an impressive performance with Chaucer advising the audience of unspoken thoughts and agendas. As the play ends, the lights go down. When the house lights come on, like Elvis, Chaucer has left the building. The audience, though reluctant to leave their seats, are urged on to the next venue as the Guide speaks: </em>
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If you think in terms of a year, plant a seed;

if in terms of ten years, plant     trees;

if in terms of 100 years, teach     the people.

Confucius
Read more: <a href="http://www.brainyquote.com/quotes/authors/c/confucius_2.html#ixzz1Lv4kQBLH">http://www.brainyquote.com/quotes/authors/c/confucius_2.html#ixzz1Lv4kQBLH</a>

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GUIDE:  “The most meaningful aspects of this work, in my own humble opinion; the enduring appeal and broad-based audience no matter their socio-economic status. Throughout the centuries, Chaucer has been studied, applauded, criticized, defended, praised, and finally honored with the designation as “the first finder of our language.”    Now on to the red door across the hall!”

<em>The doors open automatically as the visitors approach. The interior space is dim compared to the well lit hallway and it takes a moment for everyone to adjust their vision to the light. </em><em> </em>

<em>GUIDE:  “We are entering the Analects of Confucius Virtual Library. It’s the Immer-vision 3D Holographic headset and eye wear providing this experience and your own reaction to what you are seeing, hearing, touching, or smelling that will enhance the experience for you.  Now follow me and be prepared to be amazed!”</em>

<em>The scenery changes as the Ancient Chinese country side, mountains, rice paddies, the Great Wall, the Forbidden City, and more all pass slowly by the visitors as if they were flying low on a magic carpet and a voice is heard:</em>

VOICE : The Analects are, in fact, a compilation of moral and ethical insights from the Chinese philosopher K’ong Fu-Tzu (551–479 b.c.e.), better known as Confucius -a Latin form of his Chinese name, supporting set principles for individual conduct and the ethical administration of government and community; guiding principles for a just and compassionate world.  The virtue of <em>Jen</em> refers to humanity, good, or reciprocity while the term <em>Tao</em> speaks to the correct obligations, actions, and conduct of individuals, families, and governments. Rituals, ceremonies, and group activities and the performance that encourages a link to that world which is beyond daily life are referred to as <em>Li</em>.”

The Analects emphasized the importance of independent thinking, identifying models in an abstract, universal style; a style was relevant to diverse cultures. As humanists, our values are reflected in a moral and righteous behavior; however, Confucius teachings hardly ever referred to gods and spirits. The wisdom of Confucius taught that tradition was essential, that respectfulness of one’s’ elders was important, and that the exercise of <em>Li </em>was to be honored<em>; </em>not simply performing ceremonies by rote, but applying a fitting reverence to the ritual.”

GUIDE:  “At this time, while we are following the meandering path of the Yellow River, allow me to explain some key points. After Confucius died, his collected and transcribed his teachings. These teachings spoke of measured and judicious thought, action, and deed build strength of character and a superior human being. They encouraged developing qualities such as: to experience profound affection for one’s fellow humankind; to hold one’s elders in high esteem; to encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; to manage subordinates evenhandedly; to contribute to social improvements, and to mindfully set good examples.”

<em>The scenery changes again as the visitors float softly down onto a field of red poppies; poppies as far as the eye can see only ending where the southern branch of the Kunlan Mountains and past the Gansu Corridor at the west bend of the Yellow River.</em>

Voice: “The crumbling of the Zhou dynasty, in power since 1027 B.C.E. and the relocation of the capital farther east by the leaders of the Zhou dynasty placed the kingdom in danger; an unsafe, precarious position brought on by the aggressive Mongols and Turkic horsemen from Central Asia, as well as, escalating conflicts among the autonomous Chinese states. However, China’s trade and its urban growth continued throughout this period. Interestingly, the Chinese intellectual minds during this time produced some of China’s oldest ethical and spiritual tenets, paralleling similar developments in Greek philosophy of the same time.  During the Qin Dynasty, the Analects along with other important texts were the victims of the famed book-burnings and the wars of the Qin Dynasty; records dating back over 1000 years before the Han Dynasty were lost.  Once gaining power, the Han Dynasty reinstated Confucianism, Confucian texts, and the Confucian scholars/official, leading to a great period of prosperity, technological developments, and agricultural advancements.”

<em>The visitors slowly approached the entrance to a great palace and floated down to join a group of Chinese peasants preparing for a special guest, none other than Confucius himself! </em>

GUIDE: “I’m speechless!”

<em>Heard in hushed tone from the crowd of visitors:</em> “it’s about time!”

GUIDE: “This was not part of our rehearsal yesterday! There must be a malfunction in the equipment!”

CONFUCOUS speaks:  “The superior man…does not set his mind either for anything, or against anything; what is right he will follow.”

GUIDE: “What? Wait a minute… you’re just an apparition; a hologram! You can’t insult me like that!”

CONFUCIUS: “Be not ashamed of mistakes and thus make them crimes.”

GUIDE: “Now look here Mr. Confucius! You keep THAT up and I’ll permanently disable your holographic imagery!”

CONFUCIUS:  “Before you embark on a journey of revenge, dig two graves.”

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VOICE:  “Very outspoken and often at odds with authority, Confucius had a reputation of “… at once more austere, more pompous, harsh even, and as a reinforcer of the status quo…” (Spence).  But, Confucianism is touted as a key power behind East Asia's economic phenomenon, in the 21<sup>st </sup>Century.  And in the time of Confucius, Chinese historian, Ssu-ma Ch’ien (145-89 B.C.E.) described the scholar as a commoner yet a master of many who studied his philosophies. One might compare Taoism to Confucianism as Taoism second only to Confucianism as the most influential religion or philosophy among the Chinese people. The Taoist scriptures, written in the sixth century B.C.E. are, as with The Analects of Confucius, are a collection of moral and ethical codes intended to guide people in their everyday lives.  The Tao Te Ching [DOWduh jing], <em>Classic of the Way and Its Working</em>, and the Chaung-tsu [jwahng tzoo] are held in high esteem throughout the world, remaining prominent significant work of literature down through the centuries. The primary printing was in 1926 and consisted of 1,120 volumes, a significant number compared to the twenty books of the Analects.”

The Analects were written as they were delivered, in a dialog form and they cover a range of ideals from a humanistic approach, ideals as mentioned earlier: Experience profound affection for one’s fellow humankind; hold one’s elders in high esteem; encourage camaraderie with others who are virtuous; obligate oneself to a lifetime of scholarship; manage subordinates evenhandedly; contribute to social improvements, and mindfully set good examples. These are a great asset to this new colony; a guide to live by. “

GUIDE: “I’m sure you are right in these facts but I am the expert here so let me speak!”

CONFUCIUS: “He who speaks without modesty will find it difficult to make his words good.”

<em>With that, the visitors AND the Guide suddenly find themselves floating through an elaborately decorated hallway.  The Analects of Confucius are printed in black ink over images of  the Chinese artistic style of  landscapes that are known for their simplicity and beauty. At the end of the hall is yet another door; an unimpressive, double set of sliding doors with no handles.</em>

GUIDE:  “As you recall upon our first encounter, there are many surprises. The last encounter was a surprise to me! Now it is your turn to be astonished! “

<em>With his last pronouncement, the white doors slowly parted from the middle and the visitors reacted with a collective gasp. </em>

GUIDE:  “While we were honored to have been chosen to design a museum for the four proposed works: The Villa of Mysteries (religion), The Palatine Chapel (architecture), The Canterbury Tales (literature), and Confucius’ Analects (philosophy) it became clear to us that all of the proposed works for this project were viable and important. Therefore, prior to departing with the components to construct our museum and the artifacts to place in the museum, we sent a virtual army of technicians, videographers, historians, archeologists, holographic experts, actors, and writers out  to capture the essence of each work so that our future generations may benefit from them. “

CONFUCIUS nudging on e visitor states:  “The superior man is modest in his speech, but exceeds in his actions.”

GUIDE:  “The <em>Lux et Veritas</em> Time Capsule Passages exhibits are completely compatible with the Immer-vision 3D Holographic technology; therefore, the experiential immersion encounters beyond these doors will deliver all the same quality as you have felt today with our four exhibits. The only difference is that the actual artifacts could not be brought along with us. It was the only thing to do; this is way it should be …”

SOCRATES: To do is to be….

KANT: To be is to do ….

HAMLET: To be or not to be….

SINATRA: To do be do be do…

<em>A near riot ensues with the visitors congratulating the Guide, Confucius, Hamlet, themselves, and any of the numerous spectators awaiting them as they rushed to deliver the great news! </em>

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<strong>Citations</strong>

Janson, H.W.  <em>History of Art</em>, Prentice-Hall. 1983, 2<sup>nd</sup> edition.  Pg 188/189

Vitruvius, "The Decadence of Fresco Painting," in <em>the Ten Books of Architecture</em>. Trans. Morris Hicky Morgan (New York: Dover, 1969): 210–211. Text modified by James Allan Evans.

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Gāius Iūlius.  <em>Phaedrus Biography - (c.15 bc–c.ad50)</em>. <a href="http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html">http://www.jrank.org/history/pages/5145/G%C4%81ius-I%C5%ABlius-Phaedrus.html</a><em> </em>

Cooper, Helen. <a href="http://www.gradesaver.com/the-canterbury-tales/"><em>The Canterbury Tales</em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7

--- Gāius

Loomis, Roger S.<em> Was Chaucer A Laodicean? </em><em>Chaucer Criticism-The Canterbury Tales,<strong> </strong></em><em>An Anthology.</em> Edited by Richard J. Schoeck and Jerome Taylor. Notre Dame Books. Notre Dame (South Bend), IN.  1960. Pg 291

Cooper, Helen. <a href="http://www.gradesaver.com/the-canterbury-tales/"><em>The Canterbury Tales</em></a><em>.</em> Oxford Oxfordshire: Oxford University Press, 1996. ISBN 0-19-871155-7

Spence, Jonathan D. is George B. Adams. CONFUCIUS. Wilson Quarterly. Woodrow Wilson International Center for Scholars. 1993