Robert J. Allen reported a statement made by Professor Curry in his article “A Recurring Motif in Chaucer’s House of Fame”:
Professor Curry remarked thirty years ago, ‘It must be remembered that Chaucer was in his poetical works first an artist and secondarily a philosopher or scientist.’ What one looks for in the House of Fame is evidence of sustained artistic control, of a recurring motif which in some measure explains the seemingly haphazard way in which the dream-story is told. (Allen 393)
We must continue to acknowledge that the intent of the text was namely to be a poem. The statement above does on the other hand suggest that Chaucer’s interests were not limited to the arts. That being said, the text shows evidence that aspects of cognitive science have seeped into the lines of this literary work. In a literary article published in The Chaucer Review, Steven Kruger asserts:
The House of Fame thus concerns itself intensely with poetry and with the communicative and memorializing processes upon which poetry depends. The self-examination of the House of Fame, however, is not self-enclosed: the poem’s exploration of imaginative process focuses attention not only on the poem as formal construct, nor only on the creative mind as originator of artistic forms, but also on forces beyond the self that shape the poem and even the self itself. (Kruger, Imagination and the Complex Movement of Chaucer’s “House of Fame 120)
Cognitive science is deeply concerned with the question of self. This, as Kruger maintains, is a focus of the poem’s attention.
Again, while we are intended to acknowledge the work as poetry, we cannot deny that the questions and answers that cognitive science deems important are relevant even in this medieval poem.