The Delta
Volume 2 | Issue 1
Article 4
2007
Fabricating a Fabliau: Façade and Finance in the
Shipman's Tale
Rebecca Welzenbach '07
Illinois Wesleyan University
Recommended Citation
Welzenbach '07, Rebecca (2007) "Fabricating a Fabliau: Façade and Finance in the Shipman's Tale," The Delta: Vol. 2: Iss.
1, Article 4.
Available at: http://digitalcommons.iwu.edu/delta/vol2/iss1/4
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Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
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Fabricating a Fabliau: Fa~ade and Finance in the
Shipman's Tale
Rebecca We1zenbach
Of all the bawdy tales, or fabliaux, in Chaucer's
Canterbury Tales (Cl), the Shipman's Tale (ShT) tends to
alienate the most readers and critics, many of whom find it
lifeless and plain compared to other, more colorful tales like the
Miller's (MilT), Reeve's (RvT) and Merchant's (MerT) tales.
Read as it usually is, as a fabliau that reduces sexual
relationships to the level of commerce, the ShT seems flat and
lacks a moral standard by which to judge the characters­
anticlimactic and amoral, it is neither a tale of "most solaas"
nor of "best sentence." However, Herry Bailey, who judges
each story based on these criteria, lauds the tale, and so we must
dig deeper than the surface to unearth its moral and
entertainment value. I suggest an alternative approach to the
straightforward reading of this fabliau: rather than the substance
of the tale, the fabliau serves as the form. By telling a story of
trade in the familiar guise of a fabliau, which the audience
would inevitably associate with deception and adultery, the
Shipman takes a stand on the morality of financial exchange,
relegating it to the realm ofjaping and swyving, which elevates
the tale to a level of "best sentence" that is absent from the
fabliau on its own. Further, the Shipman, by drawing a
comparison between merchants and monks who cheat their
friends both financially and sexually, all while apparently
presenting an honest and just merchant as the hero of his tale,
quytes the Merchant pilgrim, who represents the class of his
biggest business rivals. In this way the tale also acquires a
playful aspect of "most solaas," and becomes a valuable
contribution to the pilgrims' tale-telling contest.
l. The Shipman's Tale: a Critical Castoff
In her chapter on the ShT tale in The Oxford Guides to
Chaucer: The Canterbury Tales, Helen Cooper's first comment
on the ShT is to point out the problematic feminine pronouns in
the first 15 lines as evidence for the common argument that the
tale was originally written for the Wife of Bath (278). Thus,
before commencing her analysis, she effectively divorces the
tale from its final narrator. She adds that "teller and tale have
less connection here than in any other of the Canterbury Tales"
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51
The Delta, Vol. 2 [2007], Iss. 1, Art. 4
(278). The evidence for the tale's original designation for the
Wife of Bath is compelling, and seems to satisfy many critics.
William Lawrence suggests that Chaucer's placement of the
tale with the Shipman was simply an afterthought, even a
mistake because "for the moment there was too much joyous
writing still to be done, and too many business distractions"
(Lawrence, "Chaucer" 68). However, to quote G.L. Kittredge,
'''Chaucer always knew what he was about'" (qtd. in Chapman
4). In reading ShT tale we should look further than the
conclusion that Chaucer simply dumped the tale with the
Shipman for lack of a better place.
It is reasonable to do as Cooper does, explaining the
mysterious feminine pronouns in lines such as "He moot us
clothe, and he moot us arraye" (ShT 7.12), which refer
inclusively to wives as a population, as editorial work left
unfinished by Chaucer, perhaps after reassigning the tale from
the Wife of Bath. In any case, this supposition makes more
sense than Robert L. Chapman's colorful depiction of this
section as an opportunity for the Shipman to impersonate a
woman, performing this part of the tale "in a piping falsetto"
(5). However, when dealing with the reassignment of the ShT, I
would not go so far as to say that Chaucer's "full interest was
not engaged when he made this shift" (Lawrence, "Chaucer"
68). While the argument for the tale's connection to Alisoun of
Bath is convincing, it is a mistake to end the analysis of the tale
here, if only for the reason that Chaucer himself did not. It is
important to examine this tale in the context it holds today, and
not simply assume that, because the tale may have had a former
place, its final one holds no meaning.
In order to find substantive meaning in the ShT, it is
necessary to look beyond the surface of the fabliau itself. As
John Finlayson writes, "[c]riticism which approaches [the tale]
as a dramatic story oversimplifies and confesses
disappointment" (336). Although Finlayson will ultimately
make a different argument than I do, we begin from the same
observation: that this tale, as is, reads a bit flat when compared
to those that that come before. Rather than tacking another­
less entertaining-fabliau on to the string of tales before it, the
Shipman takes advantage of the conventions of the well-known
genre, using the fabliau as a device to comment on the trickery
and immorality inherent in economic exchange. Rather than
equating marriage and sex with commodities as is usually
6
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understood, I suggest the oppositl
genre as a frame to make a moral
exchange, or at least on the men 1
the immoral, deceptive, and selfi5
audiences expect to find in a fabli
Tale is more complex than mereJ'
Canterbury series to the simple t~
II. Fulfilling Fabliau Conventio
than the Sum of its Parts
There is no quibbling among
the ShT differently than any ofth
examination of the differences bel
fabliaux such as the MilT, RvT ar
that the ShT must be written for a
interpretation. As Peter Nicholsor
Tale and the Fabliaux," "[w]hile (
in this poem is evident, it does nOI
his other tales... It has none ofth
the other fabliaux" (583). This sto
bones. Unlike the other tales, the I
Shipman's tale are anonymous ani
deliberately generic name. Furthel
"A rich gnof...he was a carpenter'
millere ...as any pecok he was pro
or "[a] worthy knyght, that born v.
as his main character, the ShT rev·
is relevant for the commercial ove
but also because, unlike the other
merchant is the stock social positi.
the generic French fabliau (Hellm;
replaces the clerks and apprentice~
is also typical of the original Fren.
Chaucer is drawing attention not t
but to the conventional positions f
of the deceived husband, the faith;
lover (here, as often, a cleric)" (LE
Lawrence and Cooper both attest 1
story, which contrasts with the dig
commentary by the tellers of the ()
impeded, as elsewhere in Chaucer
digressions, by citation of learned
2
Ie tale's original designation for the
g, and seems to satisfY many critics.
its that Chaucer's placement of the
l simply an afterthought, even a
noment there was too much joyous
ld too many business distractions"
). However, to quote G.L. Kittredge,
Ihat he was about'" (qtd. in Chapman
~ should look further than the
imply dumped the tale with the
terplace.
as Cooper does, explaining the
ouns in lines such as "He moot us
:aye" (ShT 7.12), which refer
)opulation, as editorial work left
~rhaps after reassigning the tale from
:ase, this supposition makes more
pman's colorful depiction of this
for the Shipman to impersonate a
)art ofthe tale "in a piping falsetto"
ng with the reassignment of the ShT, I
say that Chaucer's "full interest was
Ie this shift" (Lawrence, "Chaucer"
for the tale's connection to Alisoun of
.mistake to end the analysis of the tale
n that Chaucer himself did not. It is
: tale in the context it holds today, and
ecause the tale may have had a former
no meaning.
antive meaning in the ShT, it is
.the surface of the fabliau itself. As
c]riticism which approaches [the tale]
implifies and confesses
.lthough Finlayson will ultimately
It than I do, we begin from the same
, as is, reads a bit flat when compared
~fore. Rather than tacking anotherJ on to the string of tales before it, the
: of the conventions of the well-known
s a device to comment on the trickery
in economic exchange. Rather than
x with commodities as is usually
Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
understood, I suggest the opposite: the Shipman uses the fabliau
genre as a frame to make a moral comment on financial
exchange, or at least on the men who practice it, by tying it to
the immoral, deceptive, and selfish themes that readers and
audiences expect to find in a fabliau. Therefore, the Shipman's
Tale is more complex than merely "as close as any in the
Canterbury series to the simple telling of a story" (Cooper 281).
II. Fulfilling Fabliau Conventions: a Bawdy ITale) is More
than the Sum of its Parts
There is no quibbling among scholars that Chaucer treats
the ShT differently than any of the other fabliaux in the CT. An
examination of the differences between this fabliau and other
fabliaux such as the MilT, RvT and MerT tales will illustrate
that the ShT must be written for an entirely different kind of
interpretation. As Peter Nicholson points out in "The Shipman's
Tale and the Fabliaux," "[w]hile Chaucer's use of the fabliaux
in this poem is evident, it does not follow the pattern of any of
his other tales... It has none of the accustomed bawdiness of
the other fabliaux" (583). This story is stripped to the bare
bones. Unlike the other tales, the husband and wife of the
Shipman's tale are anonymous and the monk, daun John, has a
deliberately generic name. Furthermore, rather than telling of
"A rich gnof.. .he was a carpenter" (MilT 1.388-89), "[a]
millere ...as any pecok he was proud and gay" (RvT 1.3925-26),
or "[a] worthy knyght, that born was of Pavye" (MerT 1.1246)
as his main character, the ShT revolves around a merchant. This
is relevant for the commercial overtones of the tale, of course,
but also because, unlike the other characters' professions, the
merchant is the stock social position for the husband to hold in
the generic French fabliau (Hellman 188). The monk, who
replaces the clerks and apprentices of Chaucer's other fabliaux,
is also typical of the original French form. This suggests that
Chaucer is drawing attention not to the story of the individuals,
but to the conventional positions they hold in the "favorite plot
of the deceived husband, the faithless wife, and the demanding
lover (here, as often, a cleric)" (Lawrence, "Chaucer" 57).
Lawrence and Cooper both attest to the concise, action-packed
story, which contrasts with the digressions, intetjections and
commentary by the tellers of the other fabliaux. This tale is "not
impeded, as elsewhere in Chaucer's fabliau tales, by
digressions, by citation oflearned authorities, or by illustrative
Published by Digital Commons @ IWU, 2007
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The Delta, Vol. 2 [2007], Iss. 1, Art. 4
Lawrence, citing the "characteris'
(56), along with Nicholson (583)
all explicitly mention that the Sh~
tales to the formulaic French fabl
McGalliard further support this a:
characteristics unique to the ShT
correspond to typical characterist
summarized by Robert Hellman, :
others. Once again, rather than fte;;
create a unique story of his own,;
fabliaux, Chaucer has pared dowr
preserving the historical conventi.
is these conventions that allow C~
create a tale that is easily and wit~
fabliau while discussing somethin
puts it, "[t]he fabliau offered... a
of subject and style whose spirit C
when he found his specific story r
If Chaucer follows all the rule;;
model, why do we doubt his fullli
As many critics and readers have I
does follow fabliau convention, a~
the ShT fails to satisfY. Johnston l!
century French fabliau "embrace[~
chief one depicted is lechery" (viii
this requirement, however, not so
elements are over-emphasized" (x.
and the RvT delight in such graph
sodeynly anon this Damyan / Gan
throng" (MerT 4.2352-53) and "he;;
were mad" (RvT 1.4231), the ShT
exchange between the wife and me
(certainly contented) fulfillment ot
parfoumed was in dede. / In myrtb
lede" (ShIT 7.317-18). Joseph Be.
attested classic definition of the fal
vers" (qtd. in Hellman 182), is thm
includes the elements that suppose.
entertaining-----deception, wordplay
certainly ironic in its tums of even1
In short, then, in the ShT, Chal
out from his other fabliaux in very
exempla" (Lawrence 57). Once again, this draws the reader's
attention from each character's individual actions and directs it
toward the inevitable chain of events, the deception and
adultery that are essential to a fabliau.
Chaucer's physical descriptions of his characters in the ShT
contribute significantly to its overall brevity. In "The Portraits
in Chaucer's Fabliaux," Louis Haselmayer inadvertently
presents another piece of evidence to support the carefully
abstract nature of this particular fabliau, as compared to the
others in the CT. Louis Haselmayer writes that "[f1or some
reason, [Chaucer] did not incorporate any formal descriptions
into The Shipman's Tale, although the intrigue plot of a
merchant, his wife and a priest provided ample opportunity for
them" (312). He goes on to describe the lively portraits of the
Miller's Alisoun and the Reeve's Symkin, dismissing the ShT
completely for its lack of the vivid character portraits that color
the other tales (fairly enough, as its lack of portraiture makes it
irrelevant to his argument).
The contrast with the other fabliaux is striking. For
example, Alisoun, the young wife in the MilT, has
approximately 40 lines of description, from her eyebrows, "ful
smale ypuled" (1.3245) to her shoes, "laced on her legges hye"
(1.3267). The Miller's wife in the RvT, too, has over 25 lines
devoted to the description of her history, from her upbringing
"yfostred in a nonnerie" (1.3946) to her "somdel smoterlich"
reputation (1.3963). The unnamed wife of the ShT, however, is
presented in just two lines: "A wyfhe hadde of excellent
beautee; / And compaignable revelous was she" (7.3-4). The
"some reason" for omitting description, which Haselmayer does
not care to explore, is consistent with the bare bones structure
of the ShT as compared to Chaucer's other fabliaux. Chaucer
follows the same formula in each of his bawdy tales: like the
ShT, the MilT and the RvT also introduce their "heroines" with
reference to the fact that the carpenter or miller "hadde" a
"wyf." However, in the ShT, Chaucer stops there. This lack of
portraiture, then, is another example of how the ShT ignores its
characters as three-dimensional individuals with animated faces
and histories in order to maintain them as abstract figures in a
formula.
The very factors that so distinctly differentiate the ShT
from Chaucer's other reinvented fabliaux place it securely
th
within the standard 13 -century French model for a fabliau.
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4
Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
Once again, this draws the reader's
cter's individual actions and directs it
n of events, the deception and
to a fabliau.
~criptions of his characters in the ShT
its overall brevity. In "The Portraits
.ouis Haselmayer inadvertently
evidence to support the carefully
ticular fabliau, as compared to the
aselmayer writes that "[f]or some
incorporate any formal descriptions
although the intrigue plot of a
priest provided ample opportunity for
to describe the lively portraits of the
Reeve's Symkin, dismissing the ShT
'the vivid character portraits that color
ugh, as its lack of portraiture makes it
I
t).
: other fabliaux is striking. For
ung wife in the MilT, has
f description, from her eyebrows, "ful
() her shoes, "laced on her legges hye"
ife in the RvT, too, has over 25 lines
~ of her history, from her upbringing
(1.3946) to her "somdel smoterlich"
unnamed wife of the ShT, however, is
:s: "A wyfhe hadde of excellent
able revelous was she" (7.3 -4). The
ng description, which Haselmayer does
tlsistent with the bare bones structure
:0 Chaucer's other fabliaux. Chaucer
i in each of his bawdy tales: like the
vT also introduce their "heroines" with
the carpenter or miller "hadde" a
ihT, Chaucer stops there. This lack of
ler example of how the ShT ignores its
~sional individuals with animated faces
maintain them as abstract figures in a
t so distinctly differentiate the ShT
nvented fabliaux place it securely
century French model for a fabliau.
Lawrence, citing the "characteristic technique of the jongleurs"
(56), along with Nicholson (583) and Janette Richardson (303)
all explicitly mention that the ShT is the closest of Chaucer's
tales to the formulaic French fabliau. John Finlayson and John
McGalliard further support this assertion by pointing out
characteristics unique to the ShT among Chaucer's fabliaux that
correspond to typical characteristics of the French fabliau as
summarized by Robert Hellman, Richard O'Gorman, and
others. Once again, rather than fleshing out the formula to
create a unique story of his own, as in the case ofthe other
fabliaux, Chaucer has pared down the tale to its roots,
preserving the historical conventions to the best of his ability. It
is these conventions that al10w Chaucer, and the Shipman, to
create a tale that is easily and without doubt recognized as a
fabliau while discussing something else entirely. As Nicholson
puts it, "[t]he fabliau offered... a set of well-tested conventions
of subject and style whose spirit Chaucer could adopt even
when he found his specific story material elsewhere"(583).
If Chaucer fol1ows all the rules of the French fabliau
model, why do we doubt his full use of the genre in this tale?
As many critics and readers have pointed out, although Chaucer
does follow fabliau convention, as a bawdy, entertaining tale,
the ShT fails to satisJY. Johnston and Owen note that, if the 13 th
century French fabliau "embrace[s] a multitude of sins, the
chief one depicted is lechery" (viii). The ShT certainly fulfills
this requirement, however, not so another: that the "grotesque
elements are over-emphasized" (xii). While the tellers ofMerT
and the RvT delight in such graphic vulgarities as ""And
sodeynly anon this Damyan / Gan pullen up the smok and in he
throng" (MerT 4.2352-53) and "he priketh hard and depe as he
were mad" (RvT 1.4231), the ShT describes the sexual
exchange between the wife and monk as no more than the
(certainly contented) fulfillment of a deal: "And this accord
parfourned was in dede. / In myrthe al nyght a bisy Iyf they
lede" (ShTT 7.317-18). Joseph Bedier's nearly universally
attested classic definition of the fabliau, "un conte it rire en
vers" (qtd. in Hellman 182), is thus not fulfilled. While Chaucer
includes the elements that supposedly make the fabliau
entertaining-deception, wordplay, illicit sex-the tale, while
certainly ironic in its turDs of events, is too flat to be funny.
In short, then, in the ShT, Chaucer creates a tale that stands
out from his other fabliaux in very specific ways that tie it
Published by Digital Commons @ IWU, 2007
95
The Delta, Vol. 2 [2007], Iss. 1, Art. 4
closely to the generic conventions of the French fabliau, while
avoiding the real core of the tale-humor and shocking
immorality. Chaucer's most striking aberration from either the
typical French fabliau or his own other fabliaux is the anti­
climactic ending. However, this unconventional ending serves
the same end that his slavery to convention serves throughout
the tale: elimination ofthe personal, the humorous and the
emotional. Rather than being humiliated, like John of the MilT,
or horrified like January ofthe MerT, this merchant husband is
presumably ignorant of the way in which his wife got her hands
on the one hundred franks he lends to daun John, and is thus
spared any public or private mortification. Unlike in the typical
"Lover's Gift Regained" model, which forms an even more
universal basis for this tale than the fabliau alone (McGaHiard
I), when the husband reports to the wife that the third party (the
monk in this case) claims to have returned the borrowed money
to the wife, she is embarrassed and without recourse--the final
victim of the tale. By contrast, in the ShT the wife truthfully, if
boldly, replies to her husband that she has already spent the
money on clothing for herself and wi11 repay the debt in sexual
favors-and no other way.
Finlayson writes: "In the other fabliaux we laugh at what
we know to be immoral ... Here, there is no joy of i11icit sex, no
rampant lust, no pining Absalon or love-sick Damian ... Sex
may be the commodity of the transaction, but it is almost as
abstract as coffee beans on the Chicago commodities exchange"
(348). At the end of Chaucer's version of the tale, everyone is
satisfied. No one has been humiliated or cheated in a way that is
painful or damaging. There is no one to sympathize with, and
no one to laugh at. Although it is obvious that the monk is (or
perhaps should be) a rather deplorable character, because his
deception causes no harm it is difficult to judge him-there is
nothing to resent, no one to conspire with. Richardson notes
that this is unusual for Chaucer, pointing out that "no one is
subjected to the ludicrous humiliation with which Chaucer
elsewhere delights in punishing the most deserving of the
offenders" (303). By adjusting the end of his story, Chaucer
effectively cuts the reader off from connecting with the
characters on an individual level.
It is this lack of emotion, of morality, that makes the
Shipman's Tale so disappointing as a fabliau. Readers know
how to handle the immorality of Chaucer's other fabliaux.
10
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Although the standard fabliau gil
rather than punishing it, the imm
deception are clear enough. The
amoral-there is no standard by
no negative consequences (for ar
selfish and deceitful behavior. A:
humor of the previous fabliaux, t
letdown. Its flat, generic quality I
morality and humor of the tale. R
fabliau, then, the ShT is neither a
"most solaas"-nor is it, in essen
to HeHman, must be funny and rr
(182). This is the major clue that
substance of the tale. Rather, whi
explicitly the fabliau content" (Fi
something completely new. In its:
disappointment, so we must cone
"the surface narrative is a mere fc
disguising a more subtle topic un
much beloved) conventions ofa ~
III. Overturning Conventions: :
Merchant
The real substance of the tale
abundantly clear, the matter oftn:
exchanging. The tale opens withj
"chiere and reverence" (7.6) a yOi
to social events and the unfortuna
costs the household, and the refer
throughout. The wife equates mOl
promises to repay her loan from 11
"plesance and service" (7.191) he
again when she teHs her husband
tai11e" (7.416). Rather than simpl)
of the tale in economic terms, as i
does the opposite by using fablim:
exchange and speculation on the ~
sex. We shall see that, as Richard:
an artist like Chaucer, an overt fat
penetrating moral insight" (312).
The doubling in the vocabulm
both sex and economics, makes cL
6
ventions of the French fabliau, while
the tale-humor and shocking
lost striking aberration from either the
his own other fabliaux is the anti­
~r, this unconventional ending serves
'ery to convention serves throughout
e personal, the humorous and the
:ing humiliated, like John ofthe MilT,
lfthe MerT, this merchant husband is
Ie way in which his wife got her hands
s he lends to daun John, and is thus
ate mortification. Unlike in the typical
model, which forms an even more
Ie than the fabliau alone (McGalliard
orts to the wife that the third party (the
•to have returned the borrowed money
'assed and without recourse-the final
Itrast, in the ShT the wife truthfully, if
band that she has already spent the
:rself and will repay the debt in sexual
y.
I the other fabliaux we laugh at what
..Here, there is no joy of illicit sex, no
\.bsalon or love-sick Damian ... Sex
fthe transaction, but it is almost as
)fl the Chicago commodities exchange"
ucer's version of the tale, everyone is
:n humiliated or cheated in a way that is
~re is no one to sympathize with, and
lugh it is obvious that the monk is (or
ler deplorable character, because his
n it is difficult to judge him-there is
: to conspire with. Richardson notes
haucer, pointing out that "no one is
IS humiliation with which Chaucer
nishing the most deserving of the
usting the end of his story, Chaucer
~r off from connecting with the
lIallevel.
ltion, of morality, that makes the
'pointing as a fabliau. Readers know
rality of Chaucer's other fabliaux.
Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
Although the standard fabliau glorifies this ignoble behavior
rather than punishing it, the immorality of adultery and
deception are clear enough. The ShT, in contrast, is entirely
amoral-there is no standard by which to judge the characters,
no negative consequences (for anyone) as a result of his or her
selfish and deceitful behavior. After the lively imagery and
humor of the previous fabliaux, the Shipman's Tale is a bit ofa
letdown. Its flat, generic quality undercuts both the potential
morality and humor of the tale. Read as a straightforward
fabliau, then, the ShT is neither a tale of "best sentence" nor
"most solaas"-nor is it, in essence, fabliau, which, according
to Hellman, must be funny and must have a moral purpose
(182). This is the major clue that the fabliau cannot be the
substance of the tale. Rather, while "retaining implicitly and
explicitly the fabliau content" (Finalyson 339), Chaucer does
something completely new. In itself the tale is a
disappointment, so we must conclude, as Richardson does, that
"the surface narrative is a mere fa9ade ofbawdry" (303)
disguising a more subtle topic under the easily recognized (and
much beloved) conventions of a tale of trickery and sex.
III. Overturning Conventions: Fabliau as Frame, Monk as
Merchant
The real substance ofthe tale is, as its language makes
abundantly clear, the matter of trade-buying, selling and
exchanging. The tale opens with juxtaposition between the
"chiere and reverence" (7.6) a young and beautiful wife brings
to social events and the unfortunate "dispense" (7.5) that she
costs the household, and the references to money continue
throughout. The wife equates money with sex when she
promises to repay her loan from the monk with whatever
"plesance and service" (7.191) he desires, an exchange she uses
again when she tells her husband to "score [her debt] upon my
taille" (7.416). Rather than simply describing the sexual action
of the tale in economic terms, as is usually understood, Chaucer
does the opposite by using fabliau conventions to put financial
exchange and speculation on the level of infidelity and illicit
sex. We shall see that, as Richardson puts it, "worked over by
an artist like Chaucer, an overt fabliau can set forth a
penetrating moral insight" (312).
The doubling in the vocabulary of commodity, referring to
both sex and economics, makes clear what will become the crux
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The Delta, Vol. 2 [2007], Iss. 1, Art. 4
have a name" (7.289). Like a mer
value of his reputation, his name,
monk must also live with caution
outward show of wealth is part of
activity," Richardson points out C
this front: he never fails to bring g
the merchant and his wife, and tht
the monk has the resources to len<
Perhaps the most important parall<
monk to merchant is the resembla
the Merchant pilgrim, as describel
(GP). Like the Merchant, the mon
bisette" (1.279) in order to disguis
merchant and his wife. "So estatly
(1.281) that "ther wist no wight th
says pilgrim Geoffrey of the Merc
this after the monk and wife make
them, ne no wight in the toun, ! Hi
suspicioun" (7.321-22). Both the ~
capable of flying under the radar tl
Through the symbolic portray
lecherous monk in a fabliau, the SI
opinion on economic exchange in
interchanges merchants' ability to
with the idea of illicit sex, obtainet
deceit-all of which are implied ir
frame for his tale. Making the mid
than a clerk or soldier may be ever
who exchange money rather than ,
who should not generate progeny,
solely in financial exchange is unI=
this business is self-serving and gr
sexual act. Furthermore, a monk \'0
would, instead be supported by thl:;
perhaps, the Shipman expresses th
merchant is supported by the work
contributing to the general good. Fi
then, the Shipman regains a moral
adamant stance on the issue of fin~
speculation-and thus, the tale reg
In addition to providing a c1eal
therefore a position from which re­
of the tale: "as the story moves toward its obvious conclusion,
all the conventional roles of the adulterous triangle are
completely subsumed beneath the elaborate and serious way in
which each plays out his merchant role" (Finalyson 346).
Before the action of the tale begins, the Shipman presents
middlemen, those who profit from exchange rather than
production, as dangerous with the metaphor of the doubtlessly
questionable involvement of an outsider in the interaction
between husband and wife:
And if that he noght may, per aventure,
Or ellis list no swich dispence endure,
But thynketh it is wasted and ylost,
Thanne moot another payen for oure cost,
Or lenne us gold, and that is perilous. (7.15-19)
Ifthe traders at each end of a deal fail to work directly and
honestly with one another, as partners in a marriage should,
then middlemen, money-exchangers, and lenders will become
involved, taking advantage ofthe situation and, as the Shipman
states explicitly, this is "perilous." The most important parallel
here is that of the monk and the merchant, for it is the monk and
not the merchant who represents that class in this tale. "The two
men--one honest, one flagrantly not so--both operate in
exactly the same way" (Richardson 306). The Shipman
describes the monk as "manly of dispense" (7.43) linking him
immediately to the earlier warning about dealing financially
with outsiders, and setting him up as the inevitable facilitator
(and benefactor) ofthe exchange to come-willing to spare no
"dispense" where the husband is not.
Just as the merchant makes his profit of one thousand
franks by taking a cut of the investments he solicits of wealthy
men in Paris, not by making or selling anything of substance,
the monk ultimately "takes a cut" of the exchange between
husband and wife. The wife wants money from her husband to
pay for her dress. Ultimately no more than an "opportunist,"
(McGalliard 4) the monk facilitates the exchange, puts up none
of his own money, loses nothing on the deal, and yet he comes
out ahead. Like the merchant's successful dealings in Paris, the
monk's profit is the reward for his speculation and willingness
to take a risk. The monk, described as "a merchant by
profession and character" (Nicholson 589), borrows from the
merchant on the credit oftheir'friendship-just as the merchant
explains men of his kind must: "We may creaunce whil we
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-
noves toward its obvious conclusion,
ofthe adulterous triangle are
~eath the elaborate and serious way in
merchant role" (Finalyson 346).
ale begins, the Shipman presents
roth from exchange rather than
with the metaphor of the doubtlessly
t of an outsider in the interaction
Fe:
)ght may, per aventure,
Nich dispence endure,
s wasted and ylost,
other payen for oure cost,
I, and that is perilous. (7.15-19)
ofa deal fail to work directly and
:r, as partners in a marriage should,
.exchangers, and lenders will become
ge of the situation and, as the Shipman
perilous." The most important paral1el
md the merchant, for it is the monk and
presents that class in this tale. "The two
agrantly not so-both operate in
Uchardson 306). The Shipman
nanly of dispense" (7.43) linking him
:r warning about dealing financial1y
Ig him up as the inevitable facilitator
xchange to come-willing to spare no
sband is not.
makes his profit of one thousand
'the investments he solicits of wealthy
dng or selling anything of substance,
"es a cut" ofthe exchange between
vife wants money from her husband to
ltely no more than an "opportunist,"
( facilitates the exchange, puts up none
nothing on the deal, and yet he comes
;hant's successful dealings in Paris, the
ard for his speculation and willingness
, described as "a merchant by
." (Nicholson 589), borrows from the
ftheir friendship-just as the merchant
I must: "We may creaunce whil we
Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
have a name" (7.289). Like a merchant, the monk trades on the
value of his reputation, his name, and so, like a merchant, the
monk must also live with caution and self-consciousness. "An
outward show of wealth is part of any wise merchant's business
activity," Richardson points out (305), and daun John puts up
this front: he never fails to bring gifts with him when he visits
the merchant and his wife, and thus, the wife has no doubt that
the monk has the resources to lend her the 100 franks she needs.
Perhaps the most important parallel to support the relation of
monk to merchant is the resemblance between daun John and
the Merchant pilgrim, as described in the General Prologue
(GP). Like the Merchant, the monk of the tale "wei his wit
bisette" (1.279) in order to disguise his actions from both the
merchant and his wife. "So estatly was he of his governaunce"
(1.281) that "ther wist no wight that he was in dette" (1.280),
says pilgrim Geoffrey of the Merchant. The Shipman echoes
this after the monk and wife make their exchange: "For noon of
them, ne no wight in the toun, ! Hath of daun John right no
suspicioun" (7.321-22). Both the Merchant and daun John are
capable of flying under the radar to protect their own interests.
Through the symbolic portrayal of the economic trader as a
lecherous monk in a fabliau, the Shipman is able to express his
opinion on economic exchange in no uncertain terms. He
interchanges merchants' ability to earn a profit out of nothing
with the idea of illicit sex, obtained through trickery and
deceit-all of which are implied in this use of the fabliau as a
frame for his tale. Making the middleman lover a monk rather
than a clerk or soldier may be even more ofa sting to merchants
who exchange money rather than commodities: like a monk,
who should not generate progeny, the merchant who deals
solely in financial exchange is unproductive, suggesting that
this business is self-serving and greedy, like the monk's empty
sexual act. Furthermore, a monk would not pay taxes and
would, instead be supported by the state. In the same way,
perhaps, the Shipman expresses that the money-exchange
merchant is supported by the work of others without
contributing to the general good. Reading the tale in this sense,
then, the Shipman regains a moral standard by taking an
adamant stance on the issue of financial exchange and
speculation-and thus, the tale regains value of ' 'best sentence."
In addition to providing a clear moral judgment, and
therefore a position from which readers can make sense of the
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tale, a symbolic, rather than literal, reading of this tale also
makes the ShT appropriate and highly relevant to the teller. By
disguising his critique ofthe money trading merchants as a
fabliau featuring a successful and dignified merchant, the
Shipman is cleverly able to "quyte" the Merchant pilgrim, who
represents a class of professional colleagues with whom the
Shipman would have to deal with often. This presentation of an
obvious merchant who is respectable, which actually criticizes
and disparages merchants by aligning them with the dishonest
monk, makes the tale entertaining and worthwhile for its
"solaas" as well as its "sentence." In order to appreciate the
ShT, then, we must look beyond the unsatisfying fabliau,
which, though conventionally correct, fails to fulfill our
expectations of "sexual titillation ..., intellectual and comic
stimulation..., and moral satisfaction (Finlayson 337).
Although a symbolic reading of the ShT may not have been
Chaucer's original intention when he may have written the tale
for the Wife of Bath, this alternative reading provides depth and
meaning for the ShT as readers attempt to make sense of it, not
in the context for which it may once have been designated, but
in the place it actually holds in the CT today.
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Works Co
Allman, W.W. and D. Thomas H;
Toward an Erotics of the Car
Review 38.1 (2003): 36-65.}
Bloomington, IL. 6 Mar. 200
Benson, Larry D., ed. The Riversi
Houghton Mifflin Company,
Chapman, Robert L. "The Shipml
Shipman." Modern LanguagE
JSTOR. The Ames Lib., Bloo
<www.jstor.org>.
Cooper, Helen. Oxford Guides to
Tales. 2nd ed. Oxford: Oxford
DuVal, John, trans. and Raymond
and Countrymen: Medieval F
University of Arkansas Press,
Finlayson, John. "Chaucer's Ship1
the 'Civilizing' of Fabliau." 1
(2002): 336-351. MLA Intem
EBSCO. II April, 2006 <http
Fulton, Helen. "Mercantile Ideolo:
Tale." The Chaucer Review. 3
International Bibliography. E
<http://www.iwu.edu/library/:
Haselmayer, Louis A. "The Portra
The Review ofEnglish Studie.J
JSTOR. The Ames Lib., Biool
<www.jstor.org>.
Hellman, Robert and Richard 0'0
Ribald Tales from the Old Frf
Cromwell Company, 1965.
Johnston, R.C. and D.D.R. Owen,
Texts: Fabliaux. Oxford: Basi
Justman, Stewart. "Trade as Puden
Bath." The Chaucer Review 2l
Kittredge, G.L. "Chaucer's Discus
Philology 9.4 (1912): 435-67.
Bloomington, IL. 13 Mar. 200
Lawrence, William W. "Chaucer's
33.1 (1958): 56-68. JSTOR. Tl
Ill. II April, 2006 <www.jstol
10
Jan literal, reading of this tale also
lte and highly relevant to the teller. By
·the money trading merchants as a
ssful and dignified merchant, the
to "quyte" the Merchant pilgrim, who
essional colleagues with whom the
jeal with often. This presentation of an
• respectable, which actually criticizes
s by aligning them with the dishonest
iertaining and worthwhile for its
entence." In order to appreciate the
beyond the unsatisfying fabliau,
Inally correct, fails to fulfill our
itillation ..., intellectual and comic
II satisfaction (Finlayson 337).
ding of the ShT may not have been
tion when he may have written the tale
s alternative reading provides depth and
readers attempt to make sense of it, not
it may once have been designated, but
:>Ids in the CT today.
Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
Works Consulted
Allman, W.W. and D. Thomas Hanks, Jr. "Rough Love: Notes
Toward an Erotics of the Canterbury Tales." The Chaucer
Review 38.1 (2003): 36-65. Project Muse. The Ames Lib.,
Bloomington, IL. 6 Mar. 2006 <http://muse.jhu.edu/>.
Benson, Larry D., ed. The Riverside Chaucer. Boston:
Houghton Miffiin Company, 1987.
Chapman, Robert L. "The Shipman's Tale was Meant for the
Shipman." Modern Language Notes 71.1 (1956):4-5.
JSTOR. The Ames Lib., Bloomington, III. II April, 2006
<www.jstor.org>.
Cooper, Helen. Oxford Guides to Chaucer: The Canterbury
Tales. 2 nd ed. Oxford: Oxford University Press, 1996.
DuVal, John, trans. and Raymond Eichmann. Cuckolds, Clerics
and Countrymen: Medieval French Fabliaux. Fayetteville:
University of Arkansas Press, 1982.
Finlayson, John. "Chaucer's Shipman's Tale, Boccaccio, and
the 'Civilizing' ofFabliau." The Chaucer Review 36.4
(2002): 336-351. MLA International Bibliography.
EBSCO. II April, 2006 <http://www.iwu.edu/library/>.
Fulton, Helen. "Mercantile Ideology in Chaucer's Shipman's
Tale." The Chaucer Review. 36.4 (2002): 311-28. MLA
International Bibliography. EBSCO. II April, 2006
<http://www.iwu.edu/library/>.
Haselmayer, Louis A. "The Portraits in Chaucer's Fabliaux."
The Review ofEnglish Studies 14.55 (1938): 310-314.
JSTOR. The Ames Lib., Bloomington, III. II April, 2006
<www.jstor.org>.
Hellman, Robert and Richard O'Gorman, trans. Fabliaux:
Ribald Talesfrom the Old French. New York: Thomas Y.
Cromwell Company, 1965.
Johnston, R.C. and D.D.R. Owen, eds. Blackwell's French
Texts: Fabliaux. Oxford: Basil Blackwell, 1965.
Justman, Stewart. ''Trade as Pudendum: Chaucer's Wife of
Bath." The Chaucer Review 28.4 (1994): 344-52.
Kittredge, G.L. "Chaucer's Discussion of Marriage." Modern
Philology 9.4 (1912): 435-67. JSTOR. The Ames Lib.,
Bloomington, IL. 13 Mar. 2006 <http://www.jstor.org/>.
Lawrence, William W. "Chaucer's Shipman's Tale." Speculum
33.1 (1958): 56-68. JSTOR. The Ames Lib., Bloomington,
III. II April, 2006 <www.jstor.org>.
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---. "The Wife of Bath and the Shipman." Modern Language
Notes 72.2 (1957):87-88. JSTOR. The Ames Lib.,
Bloomington, Ill. II April, 2006 <www.jstor.org>.
McGalliard, John. "Characterization in Chaucer's Shipman's
Tale." Philological Quarterly 54 (1995): 1-8.
Nelson, Marie. "Biheste is dette": Marriage Promises in
Chaucer's Canterbury Tales." Papers on Language and
Literature 38.2 (2002): 167-99. Wilson Select Plus.
WorldCat. The Ames Lib., Bloomington, IL. 6 Mar. 2006 <
http://www.iwu.edu/library/>.
Nicholson, Peter. "The 'Shipman's Tale' and the Fabliaux."
ELH 45.4 (1978): 583-96. JSTOR. The Ames Lib.,
Bloomington, Ill. 11 April, 2006 <www.jstor.org>.
Patterson, Lee. Chaucer and the Subject ofHistory. Madison:
The University of Wisconsin Press, 1991.
Richardson, Janette. "The Fa~ade of Bawdry: Image Patterns in
Chaucer's Shipman's Tale." ELH32.3 (1965): 303-13.
JSTOR. The Ames Lib., Bloomington, Ill. 11 ApriI,2006
<www.jstor.org>.
Sayers, William. "Chaucer's Shipman and the Law Marine."
The Chaucer Review 37.2 (2002): 145-158. Project Muse.
The Ames Lib., Bloomington, IL. 11 April 2006
<http://muse.jhu.edu/>.
A Feminist Discourse 01
Courtney
Deviating from traditional lite
structure, Carole Maso's contemp
story of a dying woman in a senSl
Memories return to Ava Klein, prl
literature, world traveler, lover an
her hospital room. But Maso's pre
in easily understood chronologica
the text is a compilation ofAva's
each memory intermingle. Like a
the story begins incoherently and '
beautiful understanding. Maso, ho
stylistic innovation. Highly remin
feminine,'" AVA draws extensivel
of Helene Cixous. Maso escapes t
and assumes a more feminine free
Verena Conley describes the 1
work: "The insistence is on movel
never all rational, scientific. Alwa:
becomes the system, the recipe to
Similarly, Maso'sAVA is fluid, co
the narrator's end. Most obvious a
text-Morning, Afternoon, Night.
Maso's work does not settle in a si
It moves constantly. But this progl
toward a specific initiative or goal
equilibrium, as if the text sought a
stagnant, flow. Maso illustrates th;
describes the process through whit
name. In the beginning Ava remer
the letter A. Make a mountain pea
(Maso 62). Later:
The girl draws the letter Ie
The letter L. (90)
Nearing completion, "The lovely'
(229). And finally:
The girl draws an A. She
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