Edited
by
Patrick
McBrine
The
Chaucer
Miscellany
Vol.
2
John
Carroll
University
Digitally
Imagined
Press
Spring
09
The
Chaucer
Miscellany
Vol.
2
First
Edition
Patrick
McBrine
John
Carroll
University
Digitally
Imagined
Press
JOHN
CARROLL
UNIVERSITY
DIGITALLY
IMAGINED
PRESS
Cleveland
Heights,
Toronto,
Fredericton,
St.
John’s
John
Carroll
University
Digitally
Imagined
Press
Nowhere
in
Particular,
Cleveland
Heights,
ON,
E3E
1S2
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Imagined
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Carroll
University
Digitally
Imagined
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2009
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McBrine,
Patrick
The
Chaucer
Miscellany
Vol.
2
/
Patrick
McBrine
p.
cm.
Does
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references
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ISBN
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1.
Language
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2.
Linguistics.
3.
Title
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Carroll
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Table
of
Contents
Preface
iv
1
5
8
12
15
18
21
24
27
31
35
38
42
45
49
Part
Two:
Selected
Passages
and
Readings
Knight’s
Tale:
Courtly
Love
of
First
Sight
(Brittany
Fako)
Reeve’s
Tale:
Serious
Comedy
(Kestutis
Kelvaitis)
Reeve’s
Tale:
Quitting
the
Miller
(Matthew
Weiss)
Wife
of
Bath’s
Tale:
Challenge
and
Choice
(Margaret
Phillips)
Wife
of
Bath’s
Tale:
What
Women
Want
Most
(Alexandra
Bregitzer)
Merchant’s
Tale:
Love
is
Blind
(Elizabeth
Stewart)
Merchant’s
Tale:
January’s
Ignorance
(Christine
Minges)
Merchant’s
Tale:
Damian’s
Love
Pangs
(Sofia
Zalesky)
Merchant’s
Tale:
Placibo
and
Justinus
(Mary
Santez)
Franklyn’s
Tale:
An
end
to
Marriage
Debating
(Lauren
Slovenec)
Franklyn’s
Tale:
Unconventionality
(Ellen
Klepac)
Pardoner’s
Tale:
I
Beg
your
Pardon?
(Megan
Griffin)
Prioress’s
Tale:
Miracle
of
the
Virgin
(Megan
McGinnity)
Manciple’s
Tale:
A
Question
of
Authority
(Jennifer
Gittinger)
Legend
of
Good
Women:
Forms
and
Appearances
(Loriann
Ace)
iv
Preface
The
purpose
of
the
Chaucer
Miscellany
is
twofold.
To
allow
students
to
research
a
facet
of
Chaucer’s
life
and
work
and
to
engage
the
language
of
a
particular
passage
from
the
Canterbury
Tales,
in
order
to
produce
a
glossed
text,
a
Modern
English
translation
and
a
critical
analysis
of
the
passage.
The
exercise
is
meant
to
develop
critical
analytical
skills.
The
focus
of
Part
Two
in
this
volume,
the
Selected
Passages
and
Readings,
is
therefore
not
secondary
research
but
careful
analysis
of
the
primary
text
itself.
Part
One
does
involve
some
research
though,
as
students
chose
a
topic
from
a
pre‐
assembled
list
and
carried
out
research
in
that
area.
Although
the
topic
itself
was
set,
students
had
the
freedom
to
pursue
the
subject
in
whatever
they
chose.
The
only
constraint
upon
the
exercise
related
to
the
number
of
words:
the
maximum
for
each
topic
in
Part
One
was
to
be
five
hundred
words,
which
proved
to
be
a
challenge
in
and
of
itself.
For
Part
Two,
students
chose
passages
of
approximately
thirty
lines
from
anywhere
in
the
Canterbury
Tales
and
submitted
these
passages
to
a
variety
of
close
readings.
Each
passage
had
to
be
reproduced
as
a
glossed
‘edition’
and
then
translated
into
Modern
English.
Students
also
had
to
submit
a
photocopied
version
of
the
text,
which
was
to
be
marked
up
with
preliminary
observations
and
ideas.
In
fact,
this
was
the
first
step
in
the
exercise,
though
all
of
these
ideas
were
to
form
a
final
critical
analysis
of
the
passage
with
reference
to
individual
sections
and
the
Canterbury
tales
as
a
whole.
As
far
as
the
text
of
the
Canterbury
Tales
goes,
I
would
like
to
acknowledge
Norton,
whose
critical
edition
of
served
our
class
well
this
semester
and
whose
text
forms
the
basis
for
most
of
the
glosses
in
this
collection.
The
Havard
Chaucer
Page
(http://courses.fas.harvard.edu/~chaucer/)
also
proved
to
be
a
valuable
resource
for
cruces.
In
the
end,
each
of
the
students
in
this
collection
carried
out
the
assignment
with
determination
and
creativity,
and
I
would
like
to
thank
each
of
them
for
their
efforts
here
and
throughout
the
semester.
For
most
of
you
this
was
your
first
experience
with
Middle
English
and
Chaucer’s
poetry,
and
you
have
done
very
well.
Thank
you
Margaret,
Megan,
Trish,
Lauren,
Shawnna,
Mary,
Loriann,
Christine,
Ellen,
Sofia,
Matt,
Kestutis,
Brittany,
Megan,
Alexandra,
Jen,
Cori,
Carolann
and
Lizzie.
A
delightful
year.
1
Part
II:
Selected
Passages
and
Readings
Knight’s
Tale
(1033­69):
Courtly
Love
at
First
Sight
Brittany
Fako
As
soon
as
Palamon
sees
Emily,
he
falls
helplessly
in
love
with
her.
His
brother
Arcite
does
the
same,
which
makes
this
scene
a
perfect
example
of
courtly
love
at
first
sight.
Since
this
is
the
first
tale
in
the
“Canterbury
Tales,”
it
establishes
a
version
of
ideal
love
that
can
be
recreated
and
parodied
throughout
the
remaining
tales.
The
Knight’s
Tale
is
also
very
different
from
many
other
love
stories
in
the
collection,
because
its
apparent
response
to
courtly
love
is
sincere,
not
ironic,
in
its
portrayal.
Emily
is
a
perfect
if
unusual
example
of
the
courtly
female,
because
she
literally
unattainable
to
both
Arcite
and
Palamon,
who
are
imprisoned
in
the
tower.
She
is
also
the
ideal
example,
because
of
her
beauty,
which
the
narrator
says
is
prettier
than
a
lily,
fresher
than
the
month
of
May
and
colored
like
a
rose.
Because
Chaucer
sets
Emily
up
as
the
perfect
example
of
a
courtly
woman,
it
is
ironic
that
the
woman
in
the
next
tale
is
Allison.
She
is
not
unattainable,
and
it
only
takes
Nicholas
a
short
while
to
act
out
his
courtly
love
for
her
on
the
way
to
the
bedroom.
Emily
is
described
in
natural
terms,
and
her
beauty
surpasses
the
beauty
of
springtime
in
the
garden.
Allison
is
also
described
in
terms
of
the
earthy
world,
but
she
is
as
graceful
as
a
weasel
and
wears
a
collar
like
coal
and
soft
as
a
sheep.
While
these
characteristics
are
supposed
to
be
redeeming,
they
parody
the
ideal,
edenic
imagery
with
which
Emily
is
described.
Emily
is
also
described
as
heavenly,
which
is
more
characteristic
of
the
woman
of
chivalric
romance.
When
she
sings
in
the
garden,
she
sounds
as
heavenly
as
an
angel.
The
sight
of
her
alone
is
enough
for
Palamon
to
fall
in
love
with
her.
This
is
important,
because
the
ideal
courtly
woman
is
celestial
and
unattainable,
and
her
virtues
are
tantamount
to
those
of
the
Virgin
Mary
or
a
saint.
Emily
sings
like
an
angel,
but
the
rest
of
her
qualities
are
drawn
from
nature.
Later
in
the
tale
Emily
prays
to
the
goddess
Diana
(the
goddess
of
Chastity)
to
remain
a
maiden
for
the
rest
of
her
life,
and
she
begs
that
both
Palamon
and
Arcite
fall
out
of
love
with
her.
Unfortunately
for
her,
this
2
prayer
is
not
answered,
and
she
ends
up
‘happily’
marrying
Palamon
at
the
end
of
the
story.
The
natural
imagery
is
important
to
the
scene
here,
because
it
is
our
first
glimpse
of
Emily
and
it
stands
in
direct
contrast
to
the
castle’s
dark
tower,
where
the
two
knights
are
imprisoned.
The
tower
is
‘thick
and
strong,’
which
makes
clear
that
Palamon
and
Arcite
are
physically
separated
from
Emily’s
natural
world
and
unable
to
escape.
And
although
they
cannot
walk
into
the
garden
and
awaken
to
observe
the
spring
as
she
does
and
as
the
narrator
says
the
season
encourages
everyone
to
do,
they
still
believe
Emily
to
be
superior
to
the
virtues
springtime.
But
Emily
is
not
simply
fairer
and
fresher
than
nature
itself;
she
also
interacts
with
nature
throughout
the
scene.
When
Palamon
first
sees
her,
she
is
walking
in
the
garden,
making
a
garland
of
red
and
white
flowers
to
wear
upon
her
head,
to
observe
give
honor
to
May.
Walking
in
the
garden
seems
to
be
Emily’s
main
pastime,
and
the
narrator
describes
her
as
walking
up
and
down
here
two
different
times
in
these
few
lines.
This
is
significant,
because
it
shows
the
woman’s
very
passive
role
in
chivalric
love.
Both
knights
fall
in
love
with
her
as
she
is
walking,
but
in
order
for
men
to
have
her,
they
must
fight
a
war.
They
are
the
ones
who
actively
work
for
love,
while
Emily
not
only
has
no
say
in
who
she
will
marry
but
she
does
not
even
have
to
do
anything
in
the
first
place
to
have
men
fall
in
love
with
her.
This
puts
her
at
the
opposite
end
of
the
spectrum
from
a
character
like
the
Wife
of
Bath,
who
plays
an
active
role
in
picking
her
husbands
and
exerts
her
both
her
dominance
and
independence
over
her
lovers.
The
scene
here
implies
that
all
should
awaken
early
and
do
honor
the
coming
of
May,
“Arys,
and
do
thyn
observaunce”
(1045).
The
“General
Prologue”
also
opens
with
the
observance
of
springtime
and
the
idea
that
the
season
injects
people
with
longing,
whether
it
is
to
go
on
a
pilgrimage
or
to
just
honor
spring
(i.e.
love).
In
the
“Merchant’s
Tale,”
January’s
beautiful
new
bride
is
named
May
precisely
because
she
is
meant
to
symbolize
the
youthfulness
and
beauty
associated
with
spring,
while
January’s
cold
and
decaying
age
represent
the
winter
of
his
life.
January
also
builds
a
beautiful
garden
in
honor
of
May
(or
symbolically,
spring
and
love),
and
this
garden,
as
the
narrator
says,
is
more
beautiful
than
the
garden
from
the
“Romance
of
the
Rose,”
another
allusion
to
springtime
and
the
beauty
of
this
season.
Spring
is
therefore
a
common
theme
in
these
tales,
and
it
is
an
effective
way
to
introduce
the
first
courtly
woman
to
the
readers,
since
the
beauty
of
nature
in
the
spring
can
be
compared
to
the
beauty
of
the
ideal
woman.
This
passage
not
only
introduces
courtly
love,
springtime
imagery,
and
nature
in
general,
which
are
persisted
evoked
in
subsequent
tales,
but
it
also
sets
up
the
main
plot
of
the
whole
tale:
Before
Palamon
sees
Emily
in
the
garden,
both
knights
are
content
to
live
out
their
lives
in
prison;
the
sight
of
her
is
what
drives
Arcite
to
beg
for
his
release,
and
Palamon
to
be
able
to
escape
from
prison;
and
it
is
what
forces
them
into
battle.
The
beauty
of
this
woman,
whom
they
have
both
only
seen
afar
is
what
drives
the
narrative
forward.
In
short,
this
is
a
pivotal
scene
in
the
tale.
Text
and
Gloss
(Knight’s
Tale
1033­69)
This
passeth
yeer
by
yeer
and
day
by
day,
Till
it
fil
ones,
in
a
morwe
of
May,
That
Emelye,
that
fairer
was
to
sene
1035
Than
is
the
lilie
upon
his
stalke
grene,
And
fressher
than
the
May
with
floures
newe
‐‐
For
with
the
rose
colour
stroof
hire
hewe,
I
noot
which
was
the
fairer
of
hem
two
‐‐
Er
it
were
day,
as
was
hir
wone
to
do,
1040
She
was
arisen
and
al
redy
dight;
For
May
wole
have
no
slogardie
a‐night.
The
sesoun
priketh
every
gentil
herte,
And
maketh
hym
out
of
his
slep
to
sterte,
And
seith
“Arys,
and
do
thyn
observaunce.”
1045
This
maketh
Emelye
have
remembraunce
To
doon
honour
to
May,
and
for
to
ryse.
Y‐clothed
was
she
fressh,
for
to
devyse:
Hir
yelow
heer
was
broyded
in
a
tresse
Bihynde
hir
bak,
a
yerde
long,
I
gesse.
1050
And
in
the
gardin,
at
the
sonne
upriste,
She
walketh
up
and
doun,
and
as
hire
liste
She
gadereth
floures,
party
white
and
rede,
To
make
a
sotil
gerland
for
hire
hede;
And
as
an
aungel
hevenysshly
she
song.
1055
The
grete
tour,
that
was
so
thikke
and
strong,
Which
of
the
castel
was
the
chief
dongeoun,
(ther
as
the
knyghtes
weren
in
prisoun
Of
which
I
tolde
yow
and
tellen
shal)
Was
evene
joynant
to
the
gardyn
wal
1060
Ther
as
this
Emelye
hadde
hir
pleyinge.
Bright
was
the
sonne
and
cleer
that
morweninge,
And
Palamoun,
this
woful
prisoner,
As
was
his
wone,
by
leve
of
his
gayler,
Was
risen
and
romed
in
a
chambre
an
heigh,
1065
In
which
he
al
the
noble
citee
seigh,
And
eek
the
gardin,
ful
of
braunches
grene,
Ther
as
this
fresshe
Emelye
the
shene
Was
in
hire
walk,
and
romed
up
and
doun.
3
morning
see
strove,
took
know
not,
do
not
know
before/
will,want
promply
dress,
delight
laziness,
sluggardlyness
season
arise
do/rise
as
I
may
tell,
I
claim
braided
behind
sun’s
rising
her
liking,
as
she
pleased
gathered
skillfully
woven/head
heavenly
great
tower
dungeon
joined
evenly,
directly
amusement
morning
permission/jailer,
guard
sheen,
shine,
bright
4
Translation
(Knight’s
Tale
1033­69)
This
passed
by
year
after
year
and
day
after
day
Until
if
befell
on
May
morning,
The
Emily,
who
was
fairer
to
see
Then
a
lily
upon
a
green
stalk,
And
prettier
then
May
with
its
new
flowers‐
For
with
the
rose’s
color
she
took
her
hue,
And
I
do
not
know
which
was
prettier
of
the
two‐
Before
it
was
day,
and
was
her
will
to
do,
She
rose
with
a
ready
delight;
For
May
has
no
lazy
people
from
night.
The
season
pricks
every
gentle
heart,
And
makes
him
wake
up
to
start,
And
say
“Arise,
and
observe”
This
reminds
Emily
To
do
her
honor
to
May,
and
to
rise.
Clothed
freshly,
for
example:
Her
yellow
hair
was
in
a
braid
Behind
her
back,
a
yard
long,
I
guess.
And
in
the
garden,
at
the
sun
rise,
She
walked
up
and
down,
and
as
she
pleased
She
gathered
flowers,
partially
red
and
white,
To
make
a
skillful
garland
for
her
head;
And
as
sang
as
heavenly
as
an
angel.
The
great
tower,
that
was
so
think
and
strong,
Which
was
the
main
dungeon
of
the
castle,
(There
the
knights
were
in
Prison
Who
I
told
you
of
and
shall
tell)
Was
even
joined
to
the
garden
wall
There
Emily
had
her
amusement.
The
sun
was
bright
and
clear
that
morning,
And
Palamoun,
the
woeful
prisoner,
As
was
his
will,
by
permission
of
his
jailer,
Was
awake
and
roaming
in
a
high
chamber,
Where
he
could
see
all
of
the
noble
city,
And
also
the
garden,
full
of
green
branches,
There
this
fresh
Emily
the
beautiful
Was
in
walking,
and
roaming
up
and
down.
1035
1040
1045
1050
1055
1060
1065
5
Reeve’s
Tale
(3941­76):
Serious
Comedy
Kestutis
Kalvaitis
The
Reeve’s
Tale,
which
immediately
follows
the
Miller’s
Tale,
is
intended
to
“quite”
or
match
the
previous
one.
As
such,
it
is
also
a
fabliau,
though
much
darker
in
nature.
While
the
Miller’s
drunken
narrative
is
harmless
enough
as
a
parod
of
the
language
and
subject
of
courtly
love,
the
Reeve’s
Tale
has
almost
none
of
the
courtly
trappings,
and
the
Reeve,
a
former
carpenter
himself,
makes
it
perfectly
clear
in
his
introduction
that
he
is
going
to
pay
the
Miller
back
for
his
slight
against
carpenters.
While
John
the
carpenter
is
something
of
a
‘silly’
old
man
in
the
Miller’s
Tale,
Symkin
the
miller
in
the
Reeve’s
tale
is
a
downright
thieving
cheat,
a
bully,
and
man
to
get
into
a
fight
with
anyone
for
any
reason.
After
characterizing
Symkin
the
miller
in
unflattering
terms,
the
Reeve
then
goes
on
to
the
miller’s
wife,
who
is
quite
a
contrast
from
the
attractive,
young,
adulterous
but
otherwise
likeable
Alisoun.
Symkin’s
wife
is
the
bastard
daughter
of
the
town
priest,
raised
and
educated
in
a
nunnery
and
well
aware
of
her
family
background.
Little
is
said
about
her
appearance,
aside
from
being
compared
to
a
magpie,
a
bird
associated
with
vanity,
thieving
and
ill
luck
in
Medieval
folk
lore.
Her
characterization,
though,
does
receive
a
deal
attention,
which
makes
her
believable.
Proud,
illegitimate,
arrogant
around
the
other
women
of
the
town
because
she
married
a
prominent
citizen,
but
still
painfully
aware
of
the
circumstances
of
her
birth.
While
not
sympathetic,
she
is
a
believable,
three
dimensional
character.
Alisoun
on
the
other
hand
is
a
simple
plot
device
to
get
the
filthy‐minded
Nicholas
into
action.
While
said
in
a
tongue‐in‐cheek
manner,
the
Reeve
does
say
that
Symkin
and
his
wife
deserve
each
other
and
make
a
fine
couple,
and
throughout
the
tale,
they
do
seem
loyal
to
one
another.
She
is
not
a
likable
character,
being
much
haughtier
than
she
has
any
right
to
be,
but
she
has
a
history
that,
while
not
excusing
her
unpleasant
personality,
gives
a
reason
for
it.
Symkin’s
daughter,
later
named
Malyne,
is
given
much
less
characterization.
The
words
used
are
simple,
matter‐of‐fact
and
utterly
blunt.
She
is
a
little
thickly
built,
has
a
pug
nose
but
is
attractive.
There
are
no
soaring
words
describing
her
beauty
as
heavenly
like
those
found
in
the
Knight’s
Tale.
Even
Alisoun
in
the
Miller’s
Tale
receives
agrarian
metaphors
for
her
beauty,
which
parody
the
courtly
language
of
the
Knight’s
Tale.
Here,
the
narration
completely
discards
any
courtly
trappings.
Malyne
is
flawed
but
attractive
for
obvious
physical
qualities
and
the
story
moves
on.
This
being
a
fabliau
makes
the
description
bawdy,
but
Malyne
is
inactive
for
most
of
the
story
and
only
reappears
near
the
end,
when
the
tale
becomes
very
lewd.
In
the
course
of
the
story,
two
scholars
from
Cambridge
come
to
town
to
try
and
trick
Symkin.
They
are
outwitted
and
come
back,
needing
lodging
for
the
night
and
get
their
revenge
after
a
large
meal
by
sleeping
with
the
miller’s
daughter
and
wife.
Malyne
has
little
say
so
in
the
matter;
one
of
the
scholars
climbs
into
her
bed
before
6
she
can
make
a
sound.
Symkin’s
wife
is
tricked
into
climbing
into
the
other
scholar’s
bed,
thinking
it
is
her
husband’s.
Both
women
are
essentially
raped
by
the
students,
but
this
being
fabliau,
they
enjoy
it,
and
the
narrator
glosses
over
any
otherwise
problemactic
implications.
The
characterization
of
Symkin’s
family
is
deceptive
in
its
straightforwardness.
These
are
blunt
characters
in
a
blunt
tale.
They
are
meant
to
be
unflattering
and
ultimately
nobody
is
sympathetic.
Symkin
is
a
jealous,
violent
lout;
his
wife
is
an
arrogant
woman
with
a
scandalous
birth;
their
daughter
is
apparently
not
very
bright
but
falls
for
one
of
the
scholars
after
the
night
of
passion.
Symkin’s
son
is
a
mute
prop
in
a
crib.
The
two
students
are
ultimately
dumb
brutes.
The
characters
are
as
far
away
from
the
highborn
language
and
behavior
of
courtly
romance
as
possible.
The
tale
is
meant
as
a
verbal
barb
against
millers
and
does
not
pretend
to
be
anything
more
than
a
comedic
attack.
However,
as
exaggerated
as
the
characters
are,
Symkin’s
wife
is
a
more
well
developed
character
than
Alisoun
in
the
Merchant’s
tale
or
any
of
the
female
characters
in
the
Knight’s
Tale,
which
helps
the
Reeve’s
Tale
stand
as
an
important
tale
in
its
own
right.
Translation
(Reeve’s
Tale
3941­76)
He
was
called
proud
Symkyn,
and
he
had
a
wife.
She
was
born
of
noble
kin;
her
father
was
the
town
parson.
He
gave
Symkyn
an
impressive
dowry
of
brass
pans
so
that
he
would
agree
to
marry
her.
She
was
raised
in
a
nunnery.
Symkyn
swore
that
he
would
have
no
wife
except
one
that
was
a
well‐raised
maiden,
to
preserve
his
yeoman’s
honor.
She
was
as
proud
and
pert
as
a
magpie.
A
full,
fair
sight
it
was
to
see
those
two;
on
holidays,
he
would
walk
before
her,
with
his
scarf
wound
about
his
head,
and
she
followed
after
him
in
a
gown
of
red;
and
Symkyn
wore
matching
hose.
There
was
no
man
in
town
who
dared
call
her
anything
other
than
“dame”,
and
there
were
none
so
foolhardy
as
to
flirt
with
her,
for
fear
of
being
slain
by
Symkyn
by
cutlass,
knife
or
dagger.
For
jealous
men
have
been
perilous
evermore,
or
at
least
they
wish
their
wives
to
think
so.
And
also,
she
was
somewhat
besmirched,
as
dignified
as
ditch
water
and
full
of
scorn
and
disdain.
She
thought
that
a
lady
should
be
proud
due
to
her
family
and
nunnery
learned
education.
Between
them,
they
had
a
twenty
year
old
daughter,
without
any
more
children
except
child
of
half
a
year.
He
lay
in
a
cradle
and
was
a
proper
boy.
This
wench,
thick
and
well
grown,
had
a
pug
nose
and
eyes
as
gray
as
glass,
with
buttocks
broad
and
breasts
round
and
high.
But
right
fair
was
her
hair,
I
will
not
lie.
Text
and
Gloss
(Reeve’s
Tale
3941­76)
His
name
was
hote1
deynous2
Symkyn.
A
wyf
he
hadde,
ycomen
of
noble
kyn;
The
person
of
the
toun
hir
fader
was.
With
hire
he
yaf3
ful
many
a
panne
of
bras,
For
that
Symkyn
sholde
in
his
blood
allye.
3945
She
was
yfostred
in
a
nonnerye;
For
Symkyn
wolde
no
wyf,
as
he
sayde,
But
she
were
wel
ynorissed4
and
a
mayde,
To
saven
his
estaat
of
yomanrye.5
And
she
was
proud,
and
peert
as
is
a
pye.6
3950
A
ful
fair
sighte
was
it
upon
hem
two;
On
halydayes
biforn
hire
wolde
he
go
With
his
ti7pet
wounde
aboute
his
heed,
And
she
cam
after
in
a
gyte8
of
reed;
And
Symkyn
hadde
hosen
of
the
same.
3955
Ther
dorste
no
wight
clepen
hire
but
"dame";
Was
noon
so
hardy
that
wente
by
the
weye
That
with
hire
dorste
rage9
or
ones10
pleye,
But
if
he
wolde
be
slayn
of
Symkyn
With
panade11,
or
with
knyf,
or
boydekin12.
3960
For
jalous
folk
ben
perilous
everemo
‐‐
Algate
they
wolde
hire
wyves
wenden
so.
And
eek,
for
she
was
somdel
smoterlich13,
She
was
as
digne14
as
water
in
a
dich,
And
ful
of
hoker15
and
of
bisemare16.
3965
Hir
thoughte
that
a
lady
sholde
hire
spare,
What
for
hire
kynrede
and
hir
nortelryre17
That
she
hadde
lerned
in
the
nonnerie.
A
doghter
hadde
they
bitwixe
hem
two
Of
twenty
yeer,
withouten
any
mo,
3970
Savynge
a
child
that
was
of
half
yeer
age;
1
called
2
scornful,
proud
3
gave
4
nourished,
raised
5
to
preserve
his
rank
as
a
freeman
6
magpie
7
scarf
8
gown,
dress,
petticoat
9
dally
10
once
11
a
type
of
cutlass
12
bodkin,
dagger
13
somewhat
besmirched
14
dignified,
worthy
15
scorn
16
disdain
17
education
7
8
In
cradel
it
lay
and
was
a
propre
page.18
This
wenche
thikke19
and
wel
ygrowen
was,
With
camuse20
nose
and
eyen
greye
as
glas,
With
buttokes
brode
and
brestes
rounde
and
hye.
But
right
fair
was
hire
heer21;
I
wol
nat
lye.
Reeve’s
Tale
4292­4324:
Quitting
the
Miller
Matthew
Weiss
Though
much
focus
has
been
placed
upon
the
Miller’s
Tale
for
its
humorous
and
sexual
content,
for
its
exhibition
of
the
fabliau
style,
it
is
not
the
only
one,
nor
perhaps
the
best
demonstration
of
the
genre
in
the
Canterbury
Tales.
Characteristically,
the
fabliau
is
a
short,
bawdy
tale
meant
to
entertain
more
than
instruct,
but
this
focus
does
not
preclude
the
potential
for
lessons
of
various
kinds.
Chaucer
offers
three
generic
fabliaux
in
the
Canterbury
Tales,
including
the
Miller’s
Tale,
the
Merchant’s
Tale
and
the
Reeve’s
Tale,
each
of
which
contains
sexually
explicit
acts
of
some
kind—such
as
Nicholas’
cuckoldry
of
the
gullible
John
in
the
Miller’s
Tale,
or
May
and
Damian’s
acrobatics
in
the
limbs
above
blinded
January
in
the
Merchant’s
Tale—but
neither
of
these
presents
scenes
as
shockingly
explicit
as
those
in
the
Reeve’s
tale,
nor
does
the
Miller
or
Merchant
respond
to
another
tale
or
teller
with
such
vicious
retaliation
as
the
Reeve.
Not
only
does
the
Miller’s
tale
disrupt
the
hierarchical
order
in
which
the
tales
are
supposed
to
be
told,
his
own
tale
propagates
the
relinquishing
of
order
as
the
cuckold
of
his
tale
happens
to
be
a
carpenter.
This
severely
offends
Oswald
the
Reeve
who
“was
of
carpenteres
craft”
(3861),
and
so
the
disorder
continues
as
Oswald
feels
compelled
to
his
occupation,
“[f]or
leveful
is
with
force
force
of‐showve”
(3912).
In
other
words,
an
“eye
for
eye,
tooth
for
tooth”
(Exodus
21:
23‐25).
Ultimately,
we
do
not
know
why
the
Miller
uses
the
occupation
of
a
carpenter
for
John’s
trade,
and
the
choice
may
be
arbitrary
or
a
simple
matter
of
his
drunkenness.
To
Chaucer’s
credit,
this
simple
point
of
the
Miller’s
plot
provides
a
convenient
segue
to
the
next
tale,
the
purpose
of
which
is
revenge
against
the
Miller.
Two
features
of
the
narrative
in
the
the
Reeve’s
tale
make
it
the
embodiment
of
fabliau,
features
which
the
other
two
tales
lack.
For
one,
the
length
of
the
tales
themselves
is
important,
considering
that
the
effect
of
the
fabliau
is
partly
due
to
its
quick
story
leading
to
a
sharp
climax.
While
this
does
occur
in
the
Reeve’s
Tale,
it
is
not
as
direct
in
the
other
two
which
are
over
twice
its
length
and
much
more
complex
in
18
fine
or
worthy
boy
19
stout
20
pug
21
hair
9
their
development.
In
fact,
this
leads
to
what
I
would
like
to
focus
on,
the
climax
of
the
tales,
specifically
that
of
the
Reeve’s
Tale.
In
the
last
thirty‐three
lines
of
the
Reeve’s
Tale
a
great
deal
of
action
takes
place.
Up
until
this
point,
the
miller,
Simkin,
has
tricked
the
two
scholars
out
of
some
of
their
grain
and
in
doing
so
has
provoked
both
John
and
Adam
to,
literally,
taking
it
out
on
Simkin’s
wife
and
daughter
in
terms
of
rape.
This
is
in
keeping
with
the
Medieval
literary
theme
of
clerks
and
their
lusty
pursuits.
However,
Allen
mistakes
the
Miller
as
his
companion,
John,
and
brags
of
his
sexual
exploits
with
Simkin’s
daughter.
Simkin
suddenly
jumps
up
along
with
the
rest
of
the
crowd,
furious
at
what
has
just
occurred.
These
last
lines
continue
this
theme
of
mistaken
identity,
as
the
room
is
too
dark
for
any
of
them
to
tell
who
is
who
save
for
a
small
hole
that
allows
a
ray
of
moonlight
through.
This
idea
of
disguise
or
mistaken
identity
is
not
solely
a
characteristic
of
this
tale
but
is
contained
in
all
three
of
Chaucer’s
fabliau
tales.
For
instance,
in
the
Miller’s
tale
Absolon
mistakes
Nicholas
for
Alison
when
he
thrust
the
red
hot
poker
into
his
“arse”
(3798‐9),
and
January
in
the
Merchant’s
Tale,
believes
Damian
is
loyal
to
him,
but
ends
up
mistaking
his
loyalty
altogether.
The
circus‐like
atmosphere
that
results
from
the
lack
of
light
in
Simkin’s
bedroom
propels
the
theme
of
mistaken
identity
further
as
both
Simkin
and
his
wife
scramble
to
find
a
“staf”
(4296)
left
by
the
wall,
in
order
to
retaliate
against
the
young
scholars.
The
wife
gets
to
it
first,
but
believes
her
husband
to
be
one
of
the
scholars,
and
striking
him
on
the
head.
Again,
the
single
ray
of
moonlight
that
allows
the
wife
alone
to
see
part
of
the
picture
is
symbolic
of
the
entire
theme
of
a
story
that
represents
pride.
At
the
beginning
of
the
tale,
Simkin
is
described
as
“deynous”
(3941)
and
is
also
expressed
at
the
tale’s
closing
as,
“[t]hus
is
the
proude
millere
wel
y‐bete”
(4313).
It
is
hubris
that
allows
Simkin
to
believe
he
can
outsmart
the
clerks
who
are
trying
to
do
the
same
to
him,
and
his
inability
to
see
the
two
scholars
for
what
they
really
are
blinds
him
to
what
is
taking
place
around
him.
So,
the
darkened
room
with
only
a
trickle
of
light
succeeds
in
emphasizing
this
point.
At
the
end,
it
is
said
of
Simkin
that,
“[h]is
wyf
is
swyved,
and
his
doghter
als”
(4317).
Artfully,
Chaucer
in
this
tale,
as
fabliau
generally
has
to
do
with
sex
that
is
unnatural
such
as
in
the
case
rape,
cuckoldry,
or
the
sexual
activity
of
the
clergy,
captures
all
three
of
these
sexual
offenses.
First,
John
and
Allen
rape
the
Simkin’s
wife
and
daughter,
second
these
actions
make
him
a
cuckold
twice
over,
and
third
since
Simkin’s
wife
was
the
daughter
of
the
local
parson
(3943),
bringing
up
the
question
of
celibacy.
Finally,
in
the
last
several
lines
of
this
passage,
the
Reeve
expresses
the
moral
of
the
tale,
which
is
that
“Him
thar
nat
wene
wel
that
yvel
dooth;
A
gylour
shal
himself
bigyled
be.”
This
appears
also
to
be
an
allusion
to
one
of
Chaucer’s
favorite
works,
Romance
of
the
Rose,
which
also
states,
“They
deceyve
other
and
hemselve.
Bigiled
is
the
giler
than,”
(B
5758‐9).
The
last
line
also
serve
to
tie
up
the
purpose
of
this
tale
as
the
Reeve
expresses,
“[t]hus
have
I
quit
the
Millere
in
my
tale,”
again
calling
back
to,
as
mentioned
before,
Exodus
21:
23‐25.
10
Text
and
Gloss
(Reeve’s
Tale
4292­4324)
This
John
sterte̊
up
as
faste
as
ever
he
mighte,
leaped
And
graspeth
by
̊
the
walles
to
and
fro,
groped
along
To
finde
a
staf;
and
she
sterte̊
up
also,
leaped
And
knew
the
estres̊
bet̊
than
dide
this
John,
4295
layout
/
better
And
by
the
wal
a
staf
she
fond
anon,̊
at
once
And
saugh̊
a
litel
shimering
of
a
light
saw
For
at
an
hole
in
shoon
the
mone̊
bright
moon
And
by
that
light
she
saugh̊
hem
bothe
two,
saw
But
sikerly
̊
she
niste̊
who
was
who,
surely
/
knew
not
But
as̊
she
saugh
a
whyt̊
thing
in
hir
ye.
except
that
/
white
And
whan
she
gan̊
this
white
thing
espye,
did
She
wende
the
clerk
hadde
wered
a
volupeer,¹
And
with
the
staf
she
drough̊
ay
neer̊
and
neer,
drew
/
near
And
wende
han
hit
this
aleyn
at
the
fulle,²
And
smoot̊
the
millere
on
the
pyled̊
skulle,
smacked
/
bald
That̊
doun
he
gooth,
and
cryde,
“Harrow!̊
I
dye!
So
that
/
Help!
Thise
clerkes̊
bete̊
him
weel
and
lete
him
lye,
scholars
/
beat
And
greythen̊
hem,
and
toke
hir
hors
anon,̊
at
once
/
to
ready,
prepare,
dress
themselves
And
eek
hire
mele,̊
and
on
hir
wey
they
gon.
meal
And
at
the
mille
yet
they
toke
hir
cake
Of
half
a
busshel
flour,
ful
wel
y‐bake.̊³
baked
Thus
is
the
proude
millere
wel
y‐bete,̊
beaten
And
hath
y‐lost
the
grindinge
of
the
whete,
And
payed
for
the
soper
everideel̊
completely
Of
Aleyn
and
of
John,
that
bette
him
weel;̊
beat
him
well
His
wyf
is
swyved,
and
his
doghter
als.⁴
Lo,
swich
it
is̊
a
millere
to
be
fals!̊
⁵
thus
it
is
for
/
false
And
therefore
this
proverbe
is
seyd
ful
sooth,̊
truth
“Him
thar
nat
wene
wel
that
yvel
dooth;
⁶
A
gylour̊
shal
himself
bigyled̊
be.”
⁷
beguiler
/
beguiled
And
God,
that
sitteth
heighe
in
magestee,
Save
al
this
compaignye,̊
grete
and
smale!
company
Thus
have
I
quit̊
the
Millere
in
my
tale.
⁸
requited
¹
She
thought
the
clerk
wore
a
nightcap.
²
And
then
she
went
and
tried
to
hit
this
Allen
full‐blow.
³
This
referring
to
the
half
bushel
of
flour
that
the
Miller
had
stolen
and
told
his
wife
to
bake
into
a
cake
for
concealment
purposes.
⁴
His
wife
has
been
made
love
to,
and
his
daughter
as
well.
⁵
Not
only
are
millers
stereotyped
as
false
in
economic
matters,
cheating
those
who
come
to
have
their
corn
ground
into
meal,
but
the
Reeve
might
also
be
making
an
all
encompassing
statement
citing
that
the
Miller
is
also
false
in
his
tale
that
makes
a
carpenter
look
like
a
fool
and
of
which
the
Reeve
is
one.
⁶
He
will
not
fair
well
who
does
evil.
⁷
This
is
probably
a
reference
to
the
Romance
of
the
Rose,
Part
B:
11
5758
They
deceyve
other
and
hemselve.
5759
Bigiled
is
the
giler
than,
or
the
Psalm
that
goes,
“[t]he
wicked
man
will
see
and
be
vexed,
he
will
gnash
his
teeth
and
waste
away;
the
longings
of
the
wicked
will
come
to
nothing”
(Psalm
112:
10).
⁸
This
harkens
back
to
the
original
purpose
of
the
Reeve’s
tale
as
he
states
in
line
3912,
“[f]or
leveful
is
with
force
force
of‐showve.”
In
essence,
this
means
that
it
is
lawful
to
meet
a
force
with
and
equal
force
or,
biblically,
an
eye
for
and
eye:
“[b]ut
if
there
is
serious
injury,
you
are
to
take
life
for
life,
eye
for
eye,
tooth
for
tooth,
hand
for
hand,
foot
for
foot,
burn
for
burn,
wound
for
wound,
bruise
for
bruise”
(Exodus
21:
23‐25).
Translation
(Reeve’s
Tale
4292­4324)
This
John
leaped
up
as
fast
as
he
ever
could,
and
groped
along
the
wall
to
and
fro,
to
find
a
staff;
and
she
leaped
up
also,
and
knew
the
layout
better
than
did
John,
and
by
the
wall
she
found
a
staff
at
once,
and
saw
a
little
shimmer
of
lightfor
through
a
hole
shown
the
moon
brightlyand
by
that
light
she
saw
the
(two)
both
of
them,
but
surely
she
knew
not
who
was
who,
but
she
caught
a
white
thing
in
the
eye,
and
when
she
espied
this
white
thing,
she
thought
the
clerk
wore
a
nightcap,
and
with
the
staff
she
drew
ever
near
and
nearer,
and
then
she
went
and
tried
to
hit
this
Allen
full‐blow,
and
smacked
the
miller
on
the
bald
skull
that
he
fell
down
and
cried,
“Help!
I
die!”
These
clerks
beat
him
well
and
let
him
lie,
they
got
themselves
ready,
and
took
their
horses
at
once,
and
also
their
meal,
and
on
their
way
they
went.
And
at
the
mill
they
took
their
cake
of
half
a
bushel
of
flour,
full
well
and
baked.
Thus,
this
is
the
miller
well
beaten,
who
hath
lost
the
grinding
of
the
wheat,
and
paid
for
the
supper
completely
of
Allen
and
of
John,
that
beat
him
well;
his
wife
is
been
made
love
to,
and
his
daughter
as
well.
Lo,
it
is
for
a
miller
to
be
false!
And
therefore
this
proverb
is
said
with
full
truth,
“He
will
not
fair
well
who
does
evil;
a
beguiler
shall
himself
be
beguiled.”
And
God,
that
sits
high
in
majesty,
save
all
this
company
great
and
small!
Thus
I
have
requited
the
Miller
in
my
tale.
12
Wife
of
Bath’s
Tale:
Challenge
and
Choice
Margaret
Philips
In
Chaucer’s
Canterbury
Tales,
“The
Wife
of
Bath’s
Tale”
reinforces
the
Wife’s
prologue
and
its
ideas
about
the
challenge
of
authority
and
convention.
The
Wife
of
Bath
famously
begins
her
prologue
with
“Experience,
though
noon
auctoritee
/
Were
in
this
world,
is
right
ynough
for
me”
(1‐2).
Thus
Chaucer
immediately
questions
the
religious
and
secular
authority
of
his
time
through
the
Wife
of
Bath.
While
he
does
not
rule
out
the
possibility
of
the
rulers’
authority,
Chaucer
also
considers
the
possibility
of
other
authorities,
but
especially
experience.
The
end
of
the
Wife’s
tale
neatly
wraps
up
her
major
points,
especially
the
challenge
to
traditional
authority
(books
and
men),
the
challenge
of
courtly
conventions,
and
the
defining
concept
of
mastery
as
choice.
Challenges
to
traditional
authority
are
easy
to
find
in
“The
Wife
of
Bath’s
Tale.”
The
basic
storyline
exists
in
multiple
forms
in
many
different
countries,
including
Chaucer’s
favorite
source,
The
Romance
of
the
Rose,
and
John
Gower’s
Confessio
Amantis.
In
the
tale,
an
egotistical
man,
a
knight,
harms
an
innocent
woman,
and
the
queen
sends
the
knight
on
an
“impossible”
quest:
to
find
what
women
really
want.
The
knight
struggles
until
he
comes
across
an
old
woman
who
informs
him
that
all
women
want
sovereignty
most
of
all,
but
in
exchange
for
the
information,
the
knight
must
marry
the
old
woman.
They
marry,
but
the
knight
is
distressed
by
his
new
wife’s
appearance.
The
old
woman
berates
him
for
his
superficiality,
but
in
the
end
she
gives
him
the
choice
of
having
her
her
be
an
old,
but
faithful
woman
or
a
beautiful
but
faithless
wife.
The
knight
returns
the
choice
to
his
new
wife
and
he
is
rewarded
by
her
her
transformation
into
a
woman
who
is
both
beautiful
and
faithful.
While
the
tale
provides
multiple
challenges
to
traditional
authority,
the
final
choice
of
the
knight
best
exemplifies
the
tale’s
themes.
The
old
woman
tells
her
husband,
“And
certes,
sire,
thogh
noon
auctoritee
/
Were
in
no
book,
ye
gentils
of
honour
/
Seyn
that
men
sholde
an
old
wight
doon
favour”
(1208‐1210).
In
other
words,
even
if
there
were
no
authority
in
books
saying
that
men
should
be
kind
to
the
elderly,
any
sense
of
honor
demands
such
kindness.
The
verses
serve
multiple
purposes.
On
a
plot‐level,
the
woman
reminds
her
husband
that
as
a
knight
he
is
a
gentleman
and
should
be
kind
to
her
because
of
her
age.
On
a
thematic‐level,
the
woman
calls
attention
to
the
fact
that
the
“authority”
of
books
is
not
needed
for
people
to
understand
(often
through
experience)
that
kindness
to
the
elderly
is
essential.
Thus
the
ending
highlights
and
reinforces
the
challenge
to
authority
in
books.
The
ending
also
challenges
men’s
authority
through
the
old
woman’s
actions
and
words.
While
she
gives
her
husband
a
choice
about
her
appearance,
it
is
worth
noting
that
she
is
the
one
giving
him
the
authority
to
choose.
The
implication
is
that
she
already
possesses
the
authority,
not
her
husband.
Her
authority
is
therefore
not
dependent
on
her
husband
giving
it
back
to
her
but
is
only
strengthened
by
his
action.
13
She
reinforces
her
authority
when
she
asks,
“Thanne
have
I
gete
of
yow
maistrye…
/
Sin
I
may
chese
and
governe
as
me
lest?”
(1236‐1237).
While
she
phrases
it
in
a
question,
the
woman
is
well‐aware
of
her
own
authority
and
merely
highlights
it
by
clarifying
it
to
her
husband
and
to
the
reader.
A
woman
holding
authority
over
a
man
is
another
example
of
Chaucer’s
challenge
to
traditional
authority.
In
addition
to
traditional
authority,
Chaucer
challenges
the
courtly
conventions
of
the
ideal
woman.
According
to
the
language
of
courtly
love,
women
must
be
beautiful,
chaste,
innocent,
graceful,
and
merciful.
The
old
woman’s
insistence
that
her
husband
must
choose
between
beauty
and
chastity
implies
that
beauty
and
chastity
cannot
exist
together
in
reality.
Several
of
Chaucer’s
other
tales
and
women
imply
a
similar
dilemma,
especially
the
characters
of
Alisoun
in
“The
Miller’s
Tale”
and
May
in
“The
Merchant’s
Tale.”
Both
Alisoun
and
May
are
described
as
exquisitely
beautiful,
but
ultimately,
faithless
to
their
respective
husbands,
John
and
Januarie.
While
the
old
woman
eventually
turns
into
both
beautiful
and
faithful,
Chaucer
implies
that
her
new
status
is
not
normal.
Even
the
character
of
Dorigene
from
“The
Franklin’s
Tale,”
who
stands
the
best
chance
of
being
both
beautiful
and
chaste,
is
thrown
into
a
situation
in
which
she
might
be
forced
to
be
unfaithful
to
her
husband
in
order
to
keep
her
word
to
Aurelius.
Thus,
while
Chaucer
may
allow
for
an
“ideal
courtly
woman,”
she
is
not
someone
who
exists
naturally,
but
rather
only
through
whatever
magic
the
old
woman
devises
to
make
herself
into
the
ideal.
Finally,
along
with
Chaucer’s
challenges
to
traditional
authority
and
conceptions
of
ideal
women,
he
explores
the
concept
of
sovereignty
and
mastery.
Along
with
the
words
“authority”
and
“experience,”
the
word
“sovereignty”
appears
most
frequently
in
“The
Wife
of
Bath’s
Prologue
and
Tale.”
The
power
existing
in
sovereignty
can
easily
be
compared
to
the
power
in
authority,
thus
linking
the
two
concepts.
If
Chaucer
can
define
the
meaning
of
mastery
or
sovereignty,
he
can,
in
some
sense,
define
authority.
The
final
passages
of
“The
Wife
of
Bath’s
Tale”
provide
a
definition
of
sovereignty
as
being
choice.
The
knight
explicitly
says,
“Cheseth
youreself”
and
the
wife
reiterates,
“Sin
I
may
chese”
(1232,
1237).
The
repetition
of
the
word
“choice”
alerts
readers
to
its
significance
and
ultimately
links
the
concept
of
choice
with
the
concept
of
sovereignty.
If
mastery
and
sovereignty
are
found
in
choice’s
power,
then
similarly,
authority
is
also
found
in
the
allowance
of
freedom
of
choice.
This
conception
of
authority
is
radically
different
from
the
traditional
conception
that
authority
is
found
in
books
and
rulers
who
command
rather
than
allow
such
freedom.
While
many
of
Chaucer’s
tales
in
The
Canterbury
Tales
challenge
the
authority
and
conventions
of
his
time,
“The
Wife
of
Bath’s
Prologue
and
Tale”
is
very
direct
in
its
challenge.
The
traditional
authority
of
books
and
men
are
undermined
by
the
old
woman’s
words
and
actions,
while
courtly
conventions
of
the
ideal
woman
are
questioned
through
the
choice
between
beauty
and
chastity.
Most
significantly,
choice
itself
determines
and
empowers
authority
and
mastery,
as
Chaucer
redefines
authority
for
his
readers
through
the
voice
of
his
most
powerful
woman,
the
Wife
of
Bath.
14
Text
and
Gloss
(Wife
of
Bath’s
Tale
1207­38)
“Now,
sire,
of
elde
ye
repreve
me:
And
certes,
sire,
thogh
noon
auctoritee
Were
in
no
book,
ye
gentils
of
honour
Seyn
that
men
sholde
an
old
wight
doon
favour
And
clepe
him
fader,
for
youre
gentillesse;
1211
And
auctours
shal
I
finden,
as
I
gesse.
Now
ther
ye
seye
that
I
am
foul
and
old,
Than
drede
you
noght
to
been
a
cokewold,
For
filthe
and
elde,
also
moot
I
thee,
1215
Been
grete
wardeyns
upon
chastitee.
But
nathelees,
sin
I
knowe
youre
delyt,
I
shal
fulfille
youre
worldly
appetyt.
Chese
now,”
quod
she,
“oon
of
thise
thinges
tweye:
To
han
me
foul
and
old
til
that
I
deye
1220
And
be
to
yow
a
trewe
humble
wyf,
And
nevere
yow
displease
in
al
my
lyf,
Or
elles
ye
wol
han
me
yong
and
fair,
And
take
youre
aventure
of
the
repair
That
shal
be
to
youre
hous,
by
cause
of
me,
1225
Or
in
som
other
place,
may
wel
be.
Now
chese
yourselven
whether
that
yow
lyketh.”
This
knight
avyseth
him
and
sore
syketh,
But
ate
laste
he
seyde
in
this
manere:
“My
lady
and
my
love,
and
wyf
so
dere,
1230
I
put
me
in
youre
wyse
governance:
Cheseth
youreself
which
may
be
most
pleasance
And
honour
to
yow
and
me
also.
I
do
no
fors
the
whether
of
the
two,
For
as
yow
lyketh,
it
suffiseth
me.”
1235
“Thanne
have
I
gete
of
yow
maistrye,”
quod
she,
“Sin
I
may
chese
and
governe
as
me
lest?”
“Ye,
certes,
wyf,”
quod
he,
“I
holde
it
best.”
old
age/reproach
even
if
who
are
honorable
an
old
person
call/out
of/gentility
authorities
ugly
fear/cuckold
as
I
may
prosper
guardians
of
since/pleasure
appetite,
lust
choose/two
die
faithful
you
else
chances/the
other
men
house
it
may
well
be
which
you
like
thinks/sighs
in
her
opinion
choose/pleasure
suffices
gotten
from/mastery
since/I
please
Certainly/consider
Translation
(Wife
of
Bath’s
Tale
1207­38)
“Now,
sir,
you
reproach
me
for
my
old
age:
And
surely,
sir,
even
if
there
were
no
authority
in
books,
you
who
are
honorable
would
say
that
men
should
favor
(be
kind
to)
an
old
person.
And
you
would
call
any
old
man
“father,”
out
of
your
gentility.
I
could
find
many
authorities
who
hold
a
similar
opinion.
“Now,
however,
since
you
say
that
I
am
ugly
and
old,
you
really
do
not
have
to
dread
becoming
a
cuckold
(being
cheated
on).
My
filth
and
age
will
help
you
prosper,
since
they
will
be
guardians
of
my
chastity.
But
nevertheless,
since
I
know
what
would
bring
you
pleasure,
I
will
fulfill
your
worldly
appetite
(lust).
15
“Choose
now,”
she
said,
“between
these
two
things:
To
have
me
foul
and
old
until
I
die,
but
remain
to
you
a
faithful
and
humble
wife
who
will
never
displease
you
all
of
my
life.
Or
else,
you
can
have
me
young
and
fair,
but
you
will
have
to
take
your
chances
against
the
other
men
that
I
will
bring
to
your
house
dishonor,
because
in
some
other
house
(man’s
bed)
I
might
stray.
Now,
choose
yourself
which
of
the
choices
you
like
best.”
The
knight
thought
to
himself
and
sorrowfully
sighed,
but
at
last
he
said
in
this
manner:
“My
lady
and
my
love,
and
wife
so
dear,
I
put
myself
into
your
wise
counsel:
Choose
yourself
that
which
will
bring
you
the
most
pleasure
and
the
most
honor
to
me
as
well.
I
do
not
force
either
of
the
choices
on
you,
for
whichever
you
like,
it
will
suffice
for
me
as
well.”
“Then,
have
I
gotten
from
you
mastery?”
she
asked,
“since
I
may
choose
and
decide
as
I
like?”
“Yes,
certainly,
wife,”
he
said,
“I
consider
it
best.”
Wife
of
Bath’s
Tale
(919­51):
What
Women
Want
Most
Alexandra
Bregitzer
Throughout
The
Canterbury
Tales,
Chaucer
presents
us
with
repetitive
imagery
and
allusions
as
well
as
figurative
language
that
tends
to
center
upon
themes
of
love,
marriage
and
gender
hierarchy.
This
focus
is
the
most
intense
in
the
so‐called
‘Marriage
Group,’
consisting
of
the
Wife
of
Bath’s
Prologue
and
Tale,
the
Merchant’s
Tale,
the
Clerk’s
Tale,
the
Franklin’s
Tale
and
perhaps
a
few
others,
including
The
Miller’s
Tale
and
Nun’s
Priest’s
Tale.
These
themes
in
Chaucer’s
work
typically
result
in
a
focus
on
medieval
ideas
of
courtly
love
and
romance
as
well
as
the
rejection
of
these
concepts
and
their
relationship
to
the
Church.
All
of
these
themes
are
presented
in
some
way
in
the
Wife
of
Bath’s
lengthy
prologue
and
unusual
Arthurian
Romantic
tale.
The
lines
I
have
chosen
attempt
to
answer
the
question
that
not
only
the
Wife
of
Bath
tries
to
answer
but
also
Chaucer
himself:
What
do
women
really
want?
This
passage
also
encompasses
different
meditations
on
love
and
marriage
and
whether
courtly
love
is
truly
what
people
want.
The
Wife
of
Bath
begins
this
passage
by
stating
that
this
‘lusty
bachelor’
is
hoping
to
find
‘grace’
or
what
is
glossed
as
‘good
fortune,’
in
his
search
for
the
thing
that
women
want
the
most.
Grace
is
a
celestial
term
typically
used
in
courtly
love
language
to
describe
the
ideal
love
of
a
woman,
so
it
is
only
ironic
that
Chaucer
uses
this
word,
since
the
only
reason
that
the
man
is
searching
for
this
answer
is
because
he
raped
a
woman.
It
should
also
be
noted
that
the
man
can
never
find
two
people
that
agree
on
what
women
want,
which
is
also
ironic
when
looking
upon
the
entire
The
Canterbury
Tales
and
the
multiple
views
on
love.
This
is
perhaps
why
the
Wife
of
Bath
includes
a
little
catalogue
of
the
different
things
women
supposedly
want.
Some
of
the
key
words
used
in
this
stanza
suggest
richesse,
honour,
jolynesse,
rich
array,
lust
abedde,
16
and
widwe
and
wedde.
All
of
these
different
views
on
what
women
want
seem
to
relate
to
characters
in
other
tales,
as
well
as
the
character
of
The
Wife
of
Bath
herself,
which
strengthens
the
argument
that
all
of
the
tales
must
be
read
as
one
inter‐relatable
work.
The
words
jolynesse
and
honour
can
be
attached
to
the
Franklin’s
Tale,
since
these
were
the
positive
views
that
Arveragus
had
towards
his
marriage
to
Dorigene.
This
was
supposed
to
be
a
marriage
of
trouthe
and
harmony
with
no
concept
of
dominance,
which
is
ultimately
what
The
Wife
of
Bath
claims
women
want.
Although
Arveragus
shows
a
sort
of
sovereignty
over
Dorigene,
by
making
her
keep
her
promise,
this
tale
ultimately
gives
the
most
positive
view
of
love
and
marriage
and
would
certainly
agree
with
the
statement
that
women
want
jolynesse
and
honour
even
if
from
a
male
perspective.
In
The
Miller’s
Tale
and
Merchant’s
Tale,
we
see
two
old
male
cuckolds,
John
and
Januarie,
who
seem
as
if
they
are
only
looking
for
jolynesse
and
honour
in
their
marriages,
but
their
wives
Alisoun
and
May
cheat
on
them.
Alisoun
and
May
seem
to
fall
into
the
other
categories
of
what
women
want,
which
throws
a
wrenge
into
this
whole
stream
of
discourse.
Alisoun
and
May
seem
to
want
rich
array
and
lust
abedde
from
their
Clerk‐lovers.
In
the
following
stanza,
The
Wife
says
that
some
women
want
to
be
y­flatered
and
y­plesed.
In
The
Nun’s
Priest’s
Tale
we
see
the
destructiveness
of
flattery
where
Chauntecleer,
who
is
characterized
in
female
courtly‐love
terms,
nearly
loses
his
life
to
the
fox’s
sly
talk.
As
for
the
reference
to
attention
and
diligence,
it
could
be
said
that
Absolon
and
Januarie
did
not
have
enough
of
these
two
entities
to
sustain
any
interest
in
their
wives.
It
seems
that
this
attentive
flattering
is
exactly
what
the
Clerk’s
did
to
Alisoun
and
May
to
lure
them
in,
and
it
appears
to
be
what
they
ultimately
wanted
since
they
fell
madly
in
with
these
men.
The
Wife
of
Bath
includes
herself
in
the
answer
of
what
women
could
possibly
want.
She
is
certainly
a
woman
that
enjoys
being
widwe
and
wedde,
as
well
as
in
rich
array,
which
can
be
seen
in
her
whip
and
other
accessories.
The
next
stanza
also
parallels
the
characterization
and
prologue
of
The
Wife
of
Bath.
Again,
her
whip
and
Chaucer
reiterating
the
idea
of
sovereignty
and
domination
relates
her
immediately
to
these
lines
where
she
notes
that
some
say
women
want
to
be
independent
and
do
just
as
they
please.
This
is
a
portrayal
of
a
type
of
feminist
woman
for
the
time
who
wants
to
be
respected
for
being
a
woman
and
not
be
seen
as
sinful
and
dirty
because
of
her
gender.
Just
as
The
Wife
of
Bath
rides
her
horse
like
a
man
does,
she
says
that
some
women
just
want
to
do
as
they
please
and
not
be
judged.
At
the
end
of
the
passage,
Chaucer
offers
a
typical
digression,
which
allows
him
to
change
pace
and
not
dwell
too
much
on
one
subject;
it
also
gives
him
the
ability
to
cite
a
scholarly
source
for
the
credibility
of
the
story.
This
also
represents
a
comment
upon
how
we
see
names
like
Ovid
and
immediately
trust
the
author
as
an
intelligent
person.
Chaucer
finds
irony
in
that
form
of
scholarship
and
that
even
though
we
may
17
have
not
read
Midas
or
the
later
mentioned
Ovid,
we
know
the
names
and
link
them
to
credibility
when
the
references
may
be
wrong.
Whether
or
not
we
agree
with
The
Wife
of
Bath’s
unique
view
on
love,
she
certainly
places
her
tale
as
one
of
the
most
important
in
The
Canterbury
Tales.
Without
The
Wife
of
Bath,
there
would
not
be
a
strong
woman’s
view
on
these
issues,
as
well
as
a
strong
sense
of
the
complete
reversal
of
the
values
of
courtly
love.
In
short,
these
lines
show
how
Chaucer
uses
language
to
include
multiple
views
and
insights
on
issues,
as
well
as
his
ability
to
parody
norms,
especially
those
of
a
sexual
nature.
Because
he
does
this
so
openly,
even
with
the
addition
of
the
Retraction
at
the
end,
we
can
still
study
him
today
and
find
his
work
as
an
accurate
comment
on
society.
Text
and
Gloss
(Wife
of
Bath’s
Tale
919­51)
He
seketh
every
hous
and
every
place
Wheras*
he
hopeth
for
to
find
grace,*
To
lerne
what
thing
women
loven
most;
But
he
ne
coude
arryven
in
no
cost*
Wheras
he
mighte
finde
this
matere*
Two
creatures
accordinge
in‐fere.*
Somme
seyde
women
loven
best
richesse,
Somme
seyde
honour,
somee
seyde
jolynesse;*
Somme
riche
array,*
somme
seyden
lust
abedde,*
And
ofte
tyme
to
be
widwe*
and
wedde.*
Somme
seyde
that
oure
hertes
been
most
esed*
Whan
that
we
been
y‐flatered
and
y‐plesed.
He
gooth
ful
ny
the
soothe,*
I
wol
nat
lye:
A
man
shal
winne
us
best
with
flaterye;
And
with
attendance*
and
wish
bisiness*
Been
we
y‐lymed,
bothe
more
and
lesse.
And
somme
seyn
how
that
we
loven
best
For
to
be
free
and
do
right
as
us
lest,*
And
that
no
man
repreve
us
of*
oure
vyce,
But
seye
that
we
be
wyse,
and
no
thing
nyce.*
For
trewly,
ther
is
noon
of
us
alle,
If
any
wight*
wol
clawe*
us
on
the
galle,*
That
we
nil
kike
for
he
seith
us
sooth:
Assay,*
and
he
shal
finde
it
that
so
dooth.
For
be
we
never
so
vicious
withinne,
We
wol
been
holden*
wyse,
and
clene
of
sinne.
And
somme
seyn
that
greet
delyt
han
we
For
to
ben
holden
stable*
and
eek*
secree,*
And
in
o*
purpos
stedefastly
to
dwelle,
And
nat
biwreye*
thing
that
men
us
telle—
But
that
tale
is
nat
worth
a
rake‐stele.*
Pardee,
we
women
conne
nothing
hele:
Witnesse
on
Myda*—wol
ye
here
the
tale?
Where
/
good
fortune
Coast,
country
Subject
Agreeing
together
Happiness
Adornment
/
pleasure
in
bed
Widowed
/
(re)married
Very
near
the
truth
Attention
/
diligence
Just
as
we
please
Reproach
us
for
Not
at
all
foolish
Creature
/
scratch
/
sore
spot
Try
Wish
to
be
considered
Steadfast
/
also
/
discreet
One
Reveal
Rake
handle
Midas
18
Translation
(Wife
of
Bath’s
Tale
919­51)
He
sought
every
house
and
every
place
where
he
hoped
to
find
good
fortune
and
to
learn
what
thing
women
love
the
most,
but
he
could
not
arrive
in
any
country
where
he
would
find
two
people
agreeing
on
this
subject.
Some
said
women
best
love
riches,
some
said
honor,
some
said
happiness,
some
rich
adornment,
some
said
pleasure
in
bed,
and
often
times
to
be
widowed
and
(re)married.
Some
said
that
our
hearts
are
most
free
when
we
have
been
flattered
and
pleased.
He
got
very
near
the
truth,
I
would
not
lie.
A
man
shall
win
us
best
with
flattery,
and
with
attention
and
diligence.
We
are
ensnared,
both
great
and
small.
And
some
said
that
we
love
best
to
be
free
and
do
just
as
we
please,
and
that
no
man
reproach
us
for
our
vice,
but
say
that
we
are
wise,
and
not
at
all
foolish.
Truly,
there
is
not
one
of
us
that
if
any
other
would
scratch
us
on
a
sore
spot,
who
will
not
kick
back?
Because
he
tells
us
the
truth.
Try,
and
he
shall
find
that
it
is
done.
We
are
never
so
vicious
within,
and
we
wish
to
be
considered
wise,
and
clean
of
sin.
And
some
say
that
we
have
great
delight
to
be
held
steadfast
and
also
discreetly,
and
in
one
purpose
steadfastly
to
dwell
and
not
reveal
things
that
men
tell
us.
But
that
tale
is
not
worth
a
rake
handle.
By
heaven,
we
women
don’t
know
how
to
conceal
anything.
Witness
on
Midas—would
you
hear
the
tale?
Merchant’s
Tale
(376­404):
Love
is
Blind
Elizabeth
Stewart
Geoffrey
Chaucer's
Merchant's
Tale
is
part
of
the
“marriage
group”
of
the
Canterbury
Tales
along
with
the
Clerk’s,
Franklin’s
and
Wife
of
Bath's
tales.
These
stories
consider
marriage
and
the
problems
which
can
arise
from
the
holy
union.
The
Merchant's
Tale
exists
in
dialogue
with
others
from
the
“marriage
group,”
especially
the
Wife
of
Bath’s
tale.
Lines
376‐404
from
The
Merchant's
Tale
exemplify
Chaucer's
preoccupation
with
marriage
and
relationships
between
men
and
women.
This
passage
describes
January’s
meditation
on
the
ideal
wife
and
provides
a
cross‐
section
of
Chaucerian
tendencies
including
irony
and
characterization.
The
Merchant’s
tale
appears
to
be
in
direct
contrast
to
his
prologue.
His
introduction
details
his
hatred
for
marriage
and
distrust
of
women
in
general.
He
will
prove
his
convictions
with
his
ironic
tale,
which
begins
with
the
knight
Januarie’s
declaration
of
his
love
for
marriage
and
belief
that
all
wives
are
loyal.
This
vein
of
confidence
continues
with
Januarie’s
characterization
of
his
ideal
woman,
which
reads
like
a
deliberation
over
what
food
to
order
from
a
menu.
In
this
case,
the
daily
special
is
“The
Courtly
Love
Lady.”
Stylistically,
the
passage
reflects
Chaucer's
tendency
to
use
courtly
love
conventions
in
an
unconventional
way.
The
phrases
that
suggest
the
woman
as
an
object
of
courtly
love
include
“myddel
smal,”
“arms
longe
and
sklendre,”
“wise
governaunce”
and
“gentillesse”
(lines
390‐391).
This
description
is
ironic
since,
traditionally,
courtly
lovers
experience
extreme
emotional
and
often
physical
love
19
pangs
because
they
cannot
attain
the
ideal
woman,
a
woman
who
does
not
exist.
Chaucer
makes
this
point
by
saying
that
she
is
Januarie’s
“fantasye”
(line
398).
The
problem
then
with
Januarie’s
adament
conviction
that
his
wife
will
be
loyal
is
that
a
non‐existent
woman
cannot
be
loyal.
Even
if
she
did
exist,
to
be
a
courtly
love
lady
she
would
have
to
be
ignorant
of
her
“lover’s”
existence.
This
foreshadows
the
lack
of
loyalty
Januarie
will
encounter
with
his
wife.
The
phrases
“fresshe
beautee”
and
“age
tendre”
evoke
Alison
from
The
Miller’s
Tale,
who
is
the
opposite
of
a
courtly
lady.
Her
story
is
a
fabliau,
a
humorous
tale
that
deals
with
sex.
Again,
this
contends
with
the
courtly
love
story,
where
the
pair
tend
not
to
consummates
their
love.
“Fresshe”
and
“tendre”
are
agrarian
images
suggesting
spring,
the
season
of
love
and
vitality.
Januarie’s
future
wife
is
May,
a
spring
month,
which
further
implies
connection
with
Alison,
who
is
almost
immediately
disloyal
to
her
husband.
Spring
cannot
contain
its
vital
energy,
just
as
Alison
and
May
cannot
contain
their
sexual
desires.
In
addition,
the
invocation
of
spring
stands
in
contrast
to
the
cold,
frail
winter
of
Januarie,
a
comparison
that
further
suggests
their
incompatibility.
Chaucer
uses
Januarie’s
the
description
of
the
knight’s
future
wife
to
foreshadow
the
fabliau
portion
of
the
tale,
where
May
betrays
him
and
shows
how
treacherous
women
really
are.
The
fabliau
in
this
tale
occurs
towards
the
end,
because
Chaucer
needs
first
to
respond
to
the
Wife
of
Bath
in
the
marriage
dialogue.
There
is
a
saying:
“If
a
poet
means
it,
he
will
say
it
twice.”
Chaucer
uses
this
rhetorical
strategy
through
his
repeated
forms
of
“to
choose”
(lines
385,
398)
and
several
forms
of
“to
decide”
(lines
383,
393,
395,
404).
The
reoccurrence
of
these
words
suggests
the
male
agency
of
January.
Chaucer
especially
makes
this
agency
obvious
in
line
385:
“And
chees
hire
of
his
owene
auctoritee.”
Chaucer
often
places
the
most
emphatic
words
at
the
beginning
and
end
of
sentences,
which
makes
the
keywords
here
“chees”
and
“auctoritee,”
which
both
suggest
power.
This
harkens
to
the
first
sentence
of
The
Wife
of
Bath's
Prologue:
“Experience,
though
noon
auctoritee/
Were
in
this
world,
were
right
ynough
to
me/
To
speke
of
wo
that
is
in
marriage”
(lines
1‐3).
Authority
refers
to
the
patriarchal
control
in
the
Church
and
experience
suggests
women’s
personal
knowledge
of
marriage.
The
Wife
of
Bath
believes
that
women
should
be
sovereign,
while
the
Merchant
thinks
men
should
have
all
the
authority.
Even
though
the
Merchant
evokes
male
authority,
this
authority
does
not
help
Januarie,
as
May
still
betrays
him.
When
Chaucer
writes,
“Agayn
his
choys,
and
this
was
his
fantasye”
(line
398),
he
equates
“choice”
with
“delusion,”
which
suggests
man
is
delusional
to
think
he
can
have
authority.
This
seems
to
help
the
Wife
of
Bath’s
case,
but
the
Merchant
criticizes
another
aspect
of
her
tale,
“gentillesse”
(line
391).
In
her
tale,
the
Wife
of
Bath
suggests
deeds
determine
nobility,
not
birth.
The
deeds
May
has
committed
do
not
make
her
seem
noble.
The
Merchant
could
also
argue
that
women
are
far
too
deceitful
to
be
governed
by
anyone
or
anything.
The
Wife
of
Bath
also
thinks
that
women
should
be
open
sexually
and
that
sex
is
natural.
The
evocation
of
the
month
of
spring
in
this
passage
further
suggests
the
naturalness
of
reproduction.
The
Merchant
links
the
treachery
of
May,
however,
to
her
20
sexual
escapade,
thus
giving
sex
a
negative
connotation
and
refuting
the
Wife
of
Bath’s
position.
The
phrase
“For
love
is
blynd
alday
and
may
not
see”
(line
386)
is
ironic
for
several
reasons.
First,
if
love
were
blind,
why
would
Januarie
require
a
wife
that
is
beautiful
and
has
a
small
waist
and
slender
arms?
This
reflects
his
superficiality
and
shows
he
is
not
looking
for
a
woman
but
an
object.
Second,
this
sightlessness
symbolizes
Januarie’s
naivety
in
regards
to
ideal
women
and
May’s
betrayal.
Third,
it
literally
foreshadows
Januarie’s
blindness
after
his
marriage.
Even
after
Pluto
restores
his
sight
so
that
he
may
see
May’s
treachery,
he
continues
to
be
blind
to
her
ways.
His
naivety
evokes
sympathy
from
the
readers,
solidifying
May
as
a
traitor
to
marriage.
The
allusions
to
the
Wife
of
Bath
and
The
Miller’s
Tale
not
only
help
to
characterize
Januarie
and
May
and
further
the
marriage
debate,
they
allow
him
to
create
unity
amongst
the
characters
and
stories
in
The
Canterbury
Tales.
Text
and
Gloss
(Merchant’s
Tale
376­404)
He
wiste
nat
wher
that
he
myghte
abyde.
For
if
that
oon
have
beaute
in
hir
face,
Another
stant
so
in
the
peples
grace
For
hire
sadnesse
and
hire
benyngnytee
That
of
the
peple
grettest
voys
hath
she.
380
And
somme
were
riche,
and
hadden
badde
name.
But
nathelees,
bitwixe
ernest
and
game,
He
atte
laste
apoynted
hym
on
oon,
And
leet
alle
othere
from
his
herte
goon
And
chees
hire
of
his
owene
auctoritee.
385
For
love
is
blynd
alday,
and
may
nat
see.
And
whan
that
he
was
in
his
bed
ybroght,
He
purtreyed
in
his
herte
and
in
his
thoght
Hir
fresshe
beautee
and
hir
age
tendre,
Hir
myddel
smal,
hire
armes
longe
and
sklendre,
390
Hir
wise
governaunce,
hir
gentillesse,
Hir
wommanly
berynge,
and
hire
sadnesse.
And
whan
that
he
on
hire
was
condescended,
Hym
thoughte
his
choys
myghte
nat
ben
amended.
For
whan
that
he
hymself
concluded
hadde,
395
Hym
thoughte
ech
oother
mannes
wit
so
bade,
That
inpossible
it
were
to
repplye
Agayn
his
choys,
this
was
his
fantasye.
His
freendes
sente
he
to,
at
his
instaunce,
And
preyed
hem
to
doon
hym
that
plesaunce
400
That
hastily
they
wolden
to
hym
come.
He
wolde
abregge
hir
labour,
alle
and
some.
Nedeth
namoore
for
hym
to
go
ne
ryde.
He
was
apoynted
ther
he
wolde
abyde.
settle
stands/favor
loyalty/kindness
fame
between
seriousness
and
jest
decided
himself
upon
one
chose/authority
always
imagined
small
waist/slender
behavior/nobility
demeanor
decided
choice
had
decided
intelligence
object
delusion
for/insistence
asked
them/pleasure
reduce/one
and
all
them/walk
or
ride
had
decided/abide
(by
decision)
21
Translation
(Merchant’s
Tale
376­404)
He
did
not
know
where
he
might
settle,
Because
if
that
one
has
a
beautiful
face,
Another
stands
so
in
the
people’s
grace
For
her
loyalty
and
kindness
She
was
the
most
popular
of
the
people.
380
And
some
were
rich
and
had
a
bad
name.
But
nevertheless,
between
seriousness
and
jest,
He
at
last
decided
himself
upon
one,
And
let
all
others
from
his
heart
be
gone
And
chose
her
of
his
own
authority,
385
For
love
always
is
blind
and
cannot
see.
And
when
he
went
to
his
bed
He
imagined
in
his
heart
and
in
his
thoughts
Her
fresh
beauty
and
her
young
age
Her
small
waist,
her
long
and
slender
arms,
390
Her
wise
behavior,
her
nobility
Her
womanly
demeanor
and
her
loyalty.
And
when
he
was
decided
on
her
He
thought
his
choice
could
not
be
changed.
When
he
had
decided
this
himself,
395
He
thought
that
other
men
were
so
unintelligent,
That
it
was
impossible
to
object
Against
his
choice,
this
was
his
delusion.
He
sent
for
his
friends,
at
his
insistence,
And
asked
them
to
do
him
the
pleasure
400
Of
quickly
coming
to
him.
He
would
shorten
their
labor,
one
and
all.
He
did
not
need
them
to
walk
or
ride
anymore.
He
had
decided
and
he
would
abide
by
his
decision.
Merchant’s
Tale
(1906­33):
January’s
Ignorance
Christine
Minges
Among
the
marital
group
of
poems
in
the
Canterbury
Tales
is
Chaucer’s
“Merchant’s
Tale.”
“The
Merchant’s
Tale”
specifically
falls
into
the
category
of
fabliau,
with
the
onset
occurring
at
the
selected
section
for
evaluation.
Chaucer
investigates
marital
relations
and
how
literature
aims
to
portray
reality
in
love.
“The
Merchant’s
Tale”
depicts
the
naivety
within
marital
power
dynamics
through
the
portrayal
of
January
as
a
cuckold
husband.
Despite
January’s
perceived
marital
power
due
to
his
patriarchal
view
of
marriage
and
his
gained
wisdom
with
age,
he
becomes
the
catalyst
22
for
May
and
Damian’s
love
affair.
The
selected
passage
also
aids
in
the
Merchant’s
characterization
of
January
and
Damian
by
contemplating
the
role
of
nobility.
The
names
within
the
“Merchant’s
Tale”
are
also
illustrative
of
the
character’s
personalities.
January
represents
an
old,
cold
man,
highly
contrasted
with
the
fresh,
springtime
buds
of
May.
Damian
also
serves
as
an
omen
of
Satan,
which
references
the
Merchant’s
prologue.
In
the
prologue,
the
merchant
reveals
his
negative
attitude
on
marriage
by
stating
that
if
the
devil
was
married
to
his
wife,
he
would
want
a
divorce.
The
merchant
utilizes
his
demonic
perception
to
contrast
January’s
highly
revered
idea
of
marriage,
ultimately
to
show
the
pitfalls
within
fully
trusting
someone
else.
In
addition,
the
dialogue
within
this
passage
is
representative
of
the
interiority
of
a
cuckold,
showing
his
contribution
to
his
own
marital
downfall.
Upon
realization
that
his
young
squire,
Damian,
has
been
absent
from
work
for
a
couple
days,
he
fears
that
Damian
has
fallen
ill.
In
result,
January
sends
May
to
check
up
on
his
well
being
while
he
decides
to
take
a
nap
after
dinner.
At
this
point
January’s
age
hinders
his
ability
to
visit
Damian
with
May
because
he
would
rather
stay
back
and
revive
his
energy
before
May
returns
to
sleep
with
him.
To
January
it
is
more
important
to
have
energy
to
please
himself
later,
rather
than
personally
follow
up
on
his
squire’s
health.
His
selfish
attitude
about
his
right
to
sex
whenever
he
desires
it
causes
him
ultimately
to
lose
his
power.
Chaucer
exemplifies
the
conflict
of
age
discrepancy
within
marriage
because
January
needs
a
nap
after
dinner
while
May
has
to
travel.
As
a
result,
January’s
age
thwarts
his
superficial
power
over
May
since
he
is
unable
to
assert
his
reign
as
husband
at
all
times.
He
perceives
himself
as
powerful
by
demanding
her
to
visit
Damian,
but
simply
serves
as
an
instigator
for
his
cuckolding.
January’s
need
for
sleep
may
also
foreshadow
his
future
blindness.
In
sleep,
which
is
a
temporary
state
of
blindness,
he
encounters
the
dangers
of
blind
trust
in
his
wife.
Although
he
is
peaceful
and
content
while
sleeping,
awaiting
her
return,
he
has
just
allowed
his
wife
the
freedom
to
betray
him.
In
his
future
state
of
blindness,
he
becomes
cuckolded
while
he
is
in
the
garden
with
May.
January
becomes
cuckolded
during
his
periods
of
blindness
and
continues
to
lose
his
power
even
after
regaining
his
eyesight.
He
is
deceived
by
his
wife
no
matter
his
physical
condition,
portraying
his
loss
of
authority
from
the
onset
of
his
marriage.
At
the
beginning
of
the
passage
January
describes
Damian
in
courtly
terms
by
asserting
his
noble
behavior
and
the
loss
he
would
endure
if
Damian
were
to
die.
He
claims
that
if
Damian
was
to
die,
that
he
would
feel
much
pity
and
grief.
January
also
states
that
Damian
is
wise
and
discrete,
which
shines
through
in
his
private
affair
with
May.
Ironically
though
January
claims
that
Damian
is
“secree”,
translated
by
NAEL
as
meaning
able
to
keep
secrets
(1909).
January
implies
that
he
is
able
to
keep
secrets
in
a
working
environment,
but
little
does
he
know
that
this
ability
also
transgresses
into
his
private
life.
Another
highly
ironic
statement
made
by
January
is
in
his
order
to
May
to
“doth
him
disport”,
meaning
provide
him
some
amusement
(1924).
While
January
is
implying
that
May
should
provide
Damian
with
comfort
and
support,
the
humor
lies
in
the
type
of
amusement
that
May
will
ultimately
grant
to
Damian.
His
relationship
with
23
Damian
is
questionable
because
of
his
illusionary
view
of
his
personality,
as
well
as
the
lack
of
concrete
evidence
that
their
relationship
stemmed
beyond
employment
terms.
Overall,
Chaucer
implements
these
ironic
statements
to
demonstrate
January’s
naïve
perception
of
individual
roles
in
marriage.
In
addition,
January
addresses
Damian
as
a
noble
man
multiple
times,
but
January
is
also
referenced
as
noble
and
doing
a
noble
deed
by
sending
his
wife
to
visit
him.
Since
Chaucer
describes
each
character
as
noble
an
equivalent
amount
of
times,
the
reader
has
to
question
who
the
actual
representative
of
true
nobility
is
within
his
tale.
From
one
perspective,
January
is
noble
in
his
authoritative
duties
over
Damian,
by
allowing
his
wife
to
check
up
on
his
squire,
rather
than
ordering
him
to
return
to
work
immediately.
However,
Damian
could
also
be
perceived
as
noble
in
his
love
for
May
that
stems
beyond
power
dynamics.
Another
analysis
of
Chaucer’s
multiple
use
of
“gentillesse”
could
also
allude
to
the
idea
that
neither
one
of
them
possesses
a
noble
temperament;
rather
they
both
just
have
a
superficial
view
of
nobility.
Either
way
the
reader
knows
that
Chaucer
is
adamant
in
his
use
of
nobility
because
of
its
multiple
usages.
In
conclusion,
the
selected
passage
illustrates
the
emergence
of
complicated
fabliaux,
which
continues
with
the
allegory
of
the
Garden
of
Eden.
In
the
scheme
of
the
tale,
the
merchant
portrays
May
as
full
of
lies
and
representative
of
deceitful
wives.
However,
this
passage
demonstrates
how
January
became
the
culprit
of
his
own
cuckolding.
By
asserting
his
power
and
rule
as
husband,
he
causes
her
to
seek
comfort
in
someone
else.
In
essence
this
passage
conflicts
with
the
merchant’s
idea
that
women
are
the
root
of
all
evil
in
marriage
by
showing
how
men
may
cause
them
to
act
in
the
manner
that
they
do.
January
could
have
avoided
his
cuckolding
by
treating
his
wife
with
respect,
but
instead
he
is
so
ignorant
that
he
instigates
and
allows
himself
to
be
cuckolded.
Text
and
Gloss
(Merchant’s
Tale
1906­33)
“That
me
forthinketh,”
quod
this
Januarie
“He
is
a
gentil
squyer,
by
my
trouthe!
If
that
he
deyde,
it
were
harm
and
routhe.
He
is
as
wys,
discreet,
and
as
secree
As
any
man
I
woot
of
his
degree,
And
therto
manly,
and
eek
servysable
And
for
to
been
a
thrifty
man
right
able.
But
after
mete,
as
sone
as
evere
I
may,
I
wol
myself
visyte
him,
and
eek
may,
To
doon
hym
al
the
confort
that
I
can.”
And
for
that
word
him
blessed
every
man,
That
of
his
bountee
and
his
gentillesse
He
wolde
so
conforten
in
siknesse
His
squyer,
for
it
was
a
gentil
dede.
“Dame”,
quod
this
Januarie,
“tak
good
hede,
1910
what
worries
me
noble,
truth
died,
pity
able
to
keep
secrets
rank
also
willing
to
serve
successful
meat
1915
comfort
nobility
sickness
1920
24
At
after­mete
ye
with
your
wommen
alle,
Whan
ye
han
been
in
chamber
out
of
this
halle,
That
alle
ye
go
see
this
Damian.
Doth
him
disport
–
he
is
a
gentil
man;
And
telleth
hym
that
I
wol
hym
visyte,
1925
Have
I
no
thing
but
rested
me
a
lyte;
And
spede
yow
faste,
for
I
wole
abyde
Til
that
ye
slepe
faste
by
my
side
And
with
that
word
be
gan
to
him
to
calle
A
squyer,
that
was
marchal
of
his
halle
1930
And
tolde
hym
certeyn
thynges,
what
he
wolde.
This
fresshe
May
hath
straight
hir
wey
y­holde,
With
alle
hir
wommen,
unto
Damian.
after
dinner
provide
him
amusement
after
I
have
rested
for
a
little
wait
gone
in
charge
of
arrangements
taken
Merchant’s
Tale
(1866­96):
Damian’s
Love
Pangs
Sofia
Zalesky
“The
Merchants’s
Tale”
is
a
fabliau,
a
story
designed
to
make
you
laugh,
which
usually
involves
sexually
explicit
scenes.
“The
Merchant’s
Tale”
is
also
part
of
the
so‐
called
marriage
group
in
The
Canterbury
Tales,
and
as
with
many
fabliaux
it
presents
a
love
triangle:
the
married
couple,
January
and
May,
and
the
lover,
Damian.
In
most
cases,
the
reader
does
not
know
much
about
the
cuckolded
husband,
and
so
he
is
not
terribly
sympathetic
to
the
character’s
downfall;
but
in
“The
Merchant’s
Tale,”
a
good
deal
is
known
about
January,
and
when
the
infidelity
takes
place,
the
reader
feels
genuinely
bad
for
him.
In
the
selected
lines
from
“The
Merchant’s
Tale,”
lines
1866
through
1896,
Chaucer
describes
the
lover,
Damian,
and
his
condition.
Damian
is
the
typical
courtly
lover.
Chaucer
enjoys
his
characterizations
of
the
pained
courtly
wooer,
as
we
can
see
from
many
of
his
other
tales.
Here
it
is
the
“woful
Damian,”
the
typical
mood
for
the
male
courtly
lover
(1866),
as
we
see
elsewhere
in
line
1872
but
also
in
“The
Franklin’s
Tale,”
when
Chaucer
portrays
the
courtly
woe
of
Aurelius:
“Save
in
his
songes
somewhat
wolde
he
wreye
/
His
wo,
as
in
a
general
compleyning,”
(944‐5).
So,
it
is
typical
for
the
male
courtly
lover
to
feel
woe,
and
this
is
but
one
of
the
conventions
Chaucer
uses
to
describe
his
courtly
characters.
In
“The
Merchant’s
Tale,”
Chaucer
has
Damian
“languissheth
for
love,”
(1867)
just
as
he
has
Aurelius
in
“The
Franklin’s
Tale,”
who
“languissheth
as
a
furie
dooth
in
helle”
(950).
The
idea
that
the
courtly
lover
languishes
over
his
love
for
the
woman
is
also
extremely
conventional,
and
suffering
men
often
fade
away
for
want
of
food
and
sleep
and
female
affection.
We
see
this
too
in
“The
Knight’s
Tale,”
with
Arcite
and
Palamoun,
as
well
as
in
“The
Miller’s
Tale,”
with
Absolon.
But
this
line
about
Aurelius
connects
with
Damian
in
that
he
“
in
Venus
fyr
/
So
brenneth
that
he
dyeth
for
desyr,”
(1876).
Aurelius
languishes
like
a
fury
does
in
hell,
like
Damian
also
burns
from
Venus’
25
fire
so
much
he
is
dying
from
it.
This
association
to
the
goddess
Venus
is
again
conventional
in
courtly
love
poetry.
Venus
is
the
goddess
of
sexual
love
and
therefore
acknowledging
her
in
the
context
of
fabliau
is
to
be
expected.
We
see
this
again
in
“The
Knight’s
Tale,”
where
Palamon
mentions
Venus
twice
in
lines
1102
and
1104.
Again,
this
is
typical
for
the
courtly
male
lover
and
typical
of
Chaucer.
Along
with
this,
he
also
describes
Damian
as
“sely”
or
hapless
and
unfortunate
and
“syke”
or
sick
or
sorrowful.
These
are
all
courtly
love
conventions.
The
entire
passage
deals
with
courtly
love,
which
lines
1871
through
1874
describe
clearly,
where
the
narrator
asks
Damian
how
he
will
tell
to
his
lady
his
woe,
and
that
if
he
does
she
will
always
say
no
anyway.
This
is
also
conventional,
where
the
female
courtly
lover
is
not
supposed
to
acknowledge
the
male,
and
any
sign
of
favor
or
grace
to
the
male
is
enough
to
satisfy
him
completely,
if
only
for
a
time.
The
male
courtly
lover
is
supposed
to
suffer
from
these
love
pangs.
What
is
also
conventional
is
that
Damian
decides
to
write
his
love
for
May
in
a
letter
in
the
form
of
“a
compleynt
or
a
lay”
or
in
other
words
a
poetic
lament
or
a
song
(1880‐1).
As
we
see
in
“The
Miller’s
Tale,”
Absolon
also
sings
to
Alison
(with
his
lovely
high‐pitched
voice).
Even
in
“The
Franklin’s
Tale”
Aurelius
writes
songs
and
laments
and
other
forms
of
lyric
poetry.
The
end
of
this
section
deals
with
the
custom
of
nobles.
Chaucer
talks
about
how
May
has
not
been
allowed
to
eat
in
the
main
hall
until
the
fourth
day
has
passed,
which
says
a
lot
about
January
and
his
noble
status.
This
can
also
affect
Damian,
because
May
is
a
noble
woman,
which
is
also
a
typical
courtly
love
convention.
Courtly
love
is
usually
between
nobles
or
people
of
higher
class.
This
mentioning
of
the
customs
here
can
help
emphasize
that.
This
is
something
interesting
because
in
“The
Miller’s
Tale,”
we
see
Chaucer
poke
fun
at
this
by
having
Nicholas
and
Alison
speak
in
the
courtly
love
fashion
but
they
are
not
of
the
higher
status,
and
therefore
are
sort
of
mocking
it.
It
is
a
way
for
Chaucer
to
poke
fun
at
the
upper
class.
Therefore,
as
seen
in
this
passage,
Chaucer
deals
a
lot
with
the
idea
of
courtly
love
and
its
conventions.
It
is
known
that
one
of
the
works
that
influenced
him
the
most
and
that
he
references
most
is
The
Romance
of
the
Rose,
which
also
deals
with
courtly
love.
There
are
many
other
works
by
Chaucer
in
The
Canterbury
Tales
that
also
mention
or
deal
with
courtly
love,
including
“The
Nun’s
Priests
Tale,”
but
only
a
select
few
were
mentioned
above.
It
is
a
topic
that
reoccurs
often
in
Chaucer’s
writing
and
therefore
allows
the
interpretation
that
Chaucer
enjoyed
playing
with
and
writing
about
the
courtly
lovers
and
the
conventions
that
are
attached
to
them.
26
Text
and
Gloss
(Merchant’s
Tale
1866­96)
Now
wol
I
speke
of
woful
Damian,
That
languissheth
for
love,
as
ye
shul
here.
Therefore
I
speke
to
him
in
this
manere:
I
seye,
“O
sely
Damian,
allas!
Answere
to
my
demaunde,
as
in
this
cas.
1870
How
shaltow
to
thy
lady,
fresshe
May,
Telle
thy
wo.
She
wole
alwey
seye
‘nay.’
Eek
if
thou
speke,
she
wol
thy
wo
biwreye.
God
be
thyn
help—I
can
no
better
seye.”
This
syke
Damian
in
Venus
fyr
1875
So
brenneth
that
he
dyeth
for
desyr,
For
which
he
putte
his
lyf
in
aventure.
No
lenger
mighte
he
in
this
wyse
endure,
But
prively
a
penner
gan
he
borwe,
And
in
a
letter
wroot
he
al
his
sorwe,
In
manere
of
a
compleynt
or
a
lay,
1880
Unto
this
faire,
fresshe
lady
May.
And
in
a
purs
of
silk,
heng
on
his
sherte,
He
hath
it
put
and
leyde
it
at
his
herte.
The
mone
that
at
noon
was
thilke
day
1885
That
Januarie
hath
wedded
fresshe
May
In
two
of
Taur,
was
into
Cancre
gliden.
So
longe
hath
Maius
in
hir
chamber
biden,
As
custume
in
unto
thise
nobles
alle.
A
bryde
shal
nat
eten
in
the
halle
1890
Til
dayes
foure,
or
three
dayes
atte
leste,
Y‐passed
been;
than
lat
hir
go
to
feste.
The
fourthe
day
compleet
fro
noon
to
noon,
Whan
that
the
heighe
masse
was
y‐doon,
In
halle
sit
this
Januarie
and
May,
1895
As
freshe
as
is
the
brighte
someres
day.
hapless,
unfortunate
question
And
/
reveal,
betray
sick,
sorrowful
burns
at
risk
secretly
/
pen
case
a
poetic
lament
/
song
which
hung
stayed
eat,
dine
being
completed
High
Mass
Modern
English
Translation
(Merchant’s
Tale
1866­96)
Now
will
I
speak
of
woeful
Damian,
That
languished
for
love,
and
you
shall
see
here.
Therefore,
I
speak
to
him
in
this
way:
I
say,
“Oh
unfortunate
Damian,
allas!
Answer
my
question
to
your
case.
How
shall
you
to
your
lady,
fresh
May,
Tell
you
woe?
She
will
always
say
no.
And
if
you
speak,
she
will
reveal
(or
betray)
your
wo.
God
be
your
help—I
cannot
say
better.”
This
sick,
Damian
in
Venus’
fire
So
burns
that
he
dies
for
desire,
That
he
puts
his
life
at
risk.
No
longer
in
this
way
may
he
endure,
But
secretly
a
pen
case
did
he
borrow
And
in
a
letter
wrote
all
his
sorrow,
In
the
form
of
a
poetic
lament
or
a
song,
Unto
his
fair,
fresh
lady
May.
And
in
purse
of
silk
which
hung
on
his
shirt,
He
put
it
and
laid
it
at
his
heart.
The
moon,
which
was
at
noon
the
same
day
That
January
had
married
fresh
May
Halfway
to
Taurus
has
Cancer
glided.
So
long
had
May
in
her
Chamber
stayed,
As
custom
unto
nobles
all.
A
bride
shall
not
eat
in
the
hall
Till
four
days,
or
three
days
at
least
Have
passed;
then
let
her
go
to
feast.
The
fourth
day
being
completed
from
noon
to
noon
When
that
the
High
Mass
was
done,
In
the
hall
sit
this
January
and
May,
As
fresh
as
is
the
brightest
summer’s
day.
27
Merchant’s
Tale
(1637­82):
Placibo
and
Justinus
Mary
Santez
This
excerpt
appears
early
in
the
Merchant’s
Tale,
when
Chaucer
is
still
setting
up
his
elaborate
fabliau.
The
fabliau
is
a
versified
short
story,
often
indecent
in
content
and
depicting
a
love
triangle
or
male
cuckold.
January
plays
the
role
of
the
naïve
male
cuckold.
January’s
name
is
no
incident
of
circumstance;
Chaucer
selects
it
to
symbolize
that
the
man
is
in
the
winter
of
his
life.
Its
significance
increases
later
in
the
tale,
when
January
announces
that
he
is
in
love
with
“May,”
a
beautiful
young
girl,
indicating
that
they
are
a
mismatched
couple.
January
asks
his
friends,
Placebo
and
Justinus,
for
some
assistance
in
resolving
a
discrepancy.
January
asks,
“How
sholde
I
thanne,
that
live
in
swich
plesaunce
/
As
alle
wedded
men
don
with
hir
wyvis,
/
Come
to
the
bliss
ther
Crist
eterne
on
lyve
is?”
(1650‐1652).
In
other
words,
January
is
concerned
with
his
eternal
soul.
He
worries
that,
once
he
is
married
to
such
a
wonderful
woman,
he
will
no
longer
want
to
leave
the
earth
and
enter
the
kingdom
of
heaven
upon
death.
This
might
be
a
legitimate
concern
in
the
courtly
love
tradition
popular
during
Chaucer’s
day;
a
traditionally
suffering
male
courtly
lover
could
very
well
ponder
how
he
could
want
to
enter
heaven’s
gates
when
heaven
is
on
earth
with
his
beloved.
Yet,
this
is
absurd
in
a
story
28
that
becomes
as
outrageous
as
this
one.
Already
Chaucer
has
blended
the
line
between
two
literary
genres:
the
“fabliau”
and
“courtly
love,”
and
the
Merchant’s
Tale
has
barely
begun.
After
January’s
question,
Chaucer
inserts
the
voice
of
reason
in
Justinus,
whose
name
literally
means
“rightful
one,”
indicating
that
January
should
follow
his
advice
rather
than
Placebo’s,
whose
name
means
“one
who
pleases.”
Of
course,
January
ultimately
follows
Placebo’s
empty
advice
to
happily
marry
May
and
expect
the
best,
carrying
the
fabliau
through.
Regardless,
Justinus
attempts
to
make
his
voice
heard
with
the
“rightful”
advice:
“Dispeire
yow
noght,
but
have
in
your
memorie,
/
Paraunter
she
may
be
your
purgatorie!”
(1669‐1670).
In
other
words,
Justinus
advises
his
friend
not
to
worry
over
such
concerns
and
that
in
fact,
the
opposite
sentiment
is
true
–
May
will
cause
her
husband
January
such
grief
that
he
will
happily
leave
this
world
for
the
next
–
and
hence,
marriage
becomes
a
state
of
purgatory
on
earth.
As
the
Merchant’s
Tale
is
a
part
of
the
group
in
the
Canterbury
Tales
known
as
“the
marriage
group”
tales,
it
makes
a
judgment
regarding
the
state
of
holy
matrimony.
The
Merchant
himself,
as
indicated
by
his
prologue,
has
been
largely
dissatisfied
with
his
own
marriage,
calling
his
wife
a
“shrew.”
His
argument
for
marriage
then
becomes
that
it
is
a
burden,
particularly
on
the
man.
And
furthermore,
because
this
is
Justinus’s
message,
it
is
the
“right”
advice
to
follow,
symbolically
speaking.
However,
Justinus
foreshadows
that
January
will
not
follow
his
advice
with
the
closing
line,
“My
tale
is
doon,
for
my
wit
is
thinne.”
(1682).
Here,
Justinus
is
commenting
that
he’s
tired
of
repeating
himself
to
an
audience
that
will
not
listen.
Yet
again,
this
is
another
example
of
Chaucer’s
intricate
sense
storytelling.
The
passage
maps
out
the
conclusion
of
the
fabliau
without
becoming
too
explicit
too
early
with
the
sexual
content
typical
of
fabliau
form,
displaying
Chaucer’s
ability
to
weave
literary
genres
together.
The
language
in
this
passage
is
also
stands
out
as
exemplary
of
Chaucer’s
poetic
style.
For
example,
marriage,
or
the
state
of
matrimony,
is
twice
referred
to
by
January
as
“parfit,”
meaning
“perfect.”
January
first
mentions
this
in
line
1638
with
reference
to
a
commonly
accepted
belief
that
no
man
could
be
happy
both
on
earth
and
in
heaven:
“Ther
may
be
no
man
han
parfite
blisses
two…”
The
second
time
January
refers
to
perfect
marital
bliss
occurs
mere
lines
later:
“Yet
is
ther
so
parfit
felicitee
/
And
so
greet
ese
and
lust
in
mariage,”
emphasizing
that
January
truly
believes
marriage
to
be
a
perfect
union
of
souls
(1644‐1643).
Chaucer
would
not
put
this
word
in
January’s
mouth
two
times
without
intention.
By
repeating
this
idea,
January
is
set
up
even
further
as
the
typical
naïve
male
cuckold.
Because
January
is
so
blatantly
wrong
at
the
end
of
the
tale,
the
Merchant
is
implicitly
arguing
that
the
opposite
is
true
of
marriage
–
rather
than
being
perfect
bliss,
it
is
perfect
unhappiness.
29
The
last
few
lines
of
Justinus’s
argument
to
January
also
reflect
well
on
Chaucer’s
skill
as
a
poet.
Justinus
argues:
“I
hope
to
God
herafter
shul
ye
knowe
That
ther
nis
no
so
greet
felicitee
In
mariage,
ne
never
mo
shal
be,
That
yow
shal
lette
of
your
savacioun,
So
that
ye
use,
as
skile
is
and
resound,
The
lustes
of
your
wyf
attemprely…”
(1675‐1679)
The
double
negatives
in
lines
1676,
“nis
no,”
and
1677,
“ne
never
mo,”
emphasize
the
rightful
Justinus’s
point
that
there
is
absolutely
no
such
thing
as
a
perfect
marriage,
and
that
January
is
absolutely
wrong
in
his
naïve
beliefs.
Beyond
this
argument,
Justinus
wants
his
friend
January
to
be
ever
mindful
about
his
eternal
soul
and
logical
about
his
expectations
for
marriage.
As
stated
previously,
this
section
highlights
the
Merchant’s
overall
point
that
Justinus
represents
the
right
view
of
marriage,
while
poor
January
is
hopelessly
optimistic
and
simple‐minded.
Overall,
this
particular
passage
in
“The
Merchant’s
Tale”
is
a
strong
example
of
some
of
Chaucer’s
finest
writing.
It
seamlessly
blends
the
literary
genres
of
fabliau
and
courtly
love.
It
moralizes
through
the
character
of
Justinus,
and
uses
humor
to
keep
from
appearing
too
righteous
in
its
conclusions.
The
language
Chaucer
uses
further
serves
as
a
mechanism
to
argue
the
Merchant’s
cynical
perspective
on
marriage.
And
yet,
when
placing
this
passage
in
the
larger
context
of
The
Canterbury
Tales,
it
is
impossible
to
place
this
view
on
Chaucer
himself,
since
he
argues
for
a
myriad
of
other
views
regarding
the
marriage
construct
in
his
other
tales.
For
these
reasons,
Chaucer
is
noted
as
one
of
the
greatest
English
poets.
Text
and
Gloss
(Merchant’s
Tale
1637­82)
“I
have,”
quod
he,
“herd
seyd
ful
yore
ago
January/a
long
time
ago
Ther
may
no
man
han
parfite
blisses
two,
perfect
This
is
to
seye,
in
erthe
and
eek
in
hevene.
also
For
though
he
kepe
him
fro
the
sinnes
sevene,
1640
seven
deadly
sins
And
eek
from
every
branche
of
thilke
tree,
that
tree
(of
sins)
Yet
is
ther
so
parfit
felicitee
such
perfect
happiness
And
so
greet
ese
and
lust
in
mariage
pleasure
That
ever
I
am
agast
now
in
myn
age
constantly
/
terrified
That
I
shal
lede
now
so
mery
a
lyf,
1645
So
delicat,
withouten
wo
and
stryf,
delightful
That
I
shal
have
myn
hevene
in
erthe
here.
For
sith
that
verray
hevene
is
boght
so
deere
since/the
real/at
such
expense
With
tribulacioun
and
greet
penaunce,
How
sholde
I
thanne,
that
live
in
swich
plesaunce
As
alle
wedded
men
don
with
hir
wyvis,
do
30
Come
to
the
bliss
ther
Crist
eterne
on
lyve
is?
where
/
eternally
alive
This
is
my
drede,
and
ye,
my
bretheren
tweye,
fear
Assoilleth
me
this
questioun,
I
preye.”
Resolve
this
problem
for
me
Justinus,
which
that
hated
his
folye,
1655
folly
Answerde
anon,
right
in
his
japerye,
at
once/directly/
mockery
And
for
he
wolde
his
longe
tale
abregge,
because
/
speech
/
abridge
He
wolde
noon
auctoritee
allege
cite,
appeal
to
But
seyde,
“Sire,
so
ther
be
noon
obstacle
as
long
as
Other
than
this,
God
of
his
hye
miracle
1660
miraculous
power
And
of
his
mercy
may
so
for
yow
wirche
work
That,
er
ye
have
your
right
of
holy
chirche,
before
/
last
rites
Ye
may
repente
of
wedded
mannes
lyf,
In
which
ye
sent
her
is
no
wo
ne
stryf.
And
elles,
God
forbede
but
he
sente
1665
further
/
but
(that)
A
wedded
man
him
grace
to
repente
reasons
Wel
ofte
rather
than
a
sengle
man!
more
often
And
therfore,
sire,
the
beste
reed
I
can:
advice
I
know
Dispeire
yow
noght,
but
have
in
your
memorie,
hold
Paraunter
she
may
be
your
purgatorie!
1670
By
chance,
perhaps
She
may
be
Goddes
mene
and
Goddes
whippe.
means,
instrument
Than
shal
your
soule
up
to
hevene
skippe
Swifter
than
dooth
an
arwe
out
of
the
bowe.
arrow
I
hope
to
God
herafter
shul
ye
knowe
That
ther
nis
no
so
greet
felicitee
1675
In
mariage,
ne
never
mo
shal
be,
That
yow
shal
lette
of
your
savacioun,
shall
keep
you
from
So
that
ye
use,
as
skile
is
and
resoun
as
is
proper
and
reasonable
The
lustes
of
your
wyf
attemprely,
pleasures
/
moderately
And
that
ye
plese
hir
not
to
amorously,
1680
too
And
that
ye
kepe
yow
eek
from
other
sinne.
My
tale
is
doon,
for
my
wit
is
thinne.
1682
weak
Modern
English
Translation
(Merchant’s
Tale
1637­82)
January
said,
“A
long
time
ago,
I
heard
that
no
man
can
be
completely
happy
on
earth
and
in
heaven
at
the
same
time.
Even
if
he
keeps
himself
from
succumbing
to
the
seven
deadly
sins,
and
keeps
himself
from
committing
every
other
sin,
he
just
can’t
resist
the
perfect
happiness
and
pleasure
that
is
found
in
human
marriage.
Now
that
I
want
to
get
married,
I’m
so
terrified
that
I’ll
find
this
perfect,
wonderful
wife,
that
I
will
feel
like
heaven
is
on
earth
and
I
will
not
want
to
leave
her
to
be
with
Christ
when
it’s
time
for
me
to
die.
I
guess
I
want
to
know
how
other
good
Christian
men
leave
their
perfect
marriages
to
go
live
eternally
with
Christ
when
they
die?
Can
you
guys
(friends
Placebo
and
Justinus)
answer
this
question
for
me?
It’s
my
biggest
dread.”
Justinus
was
getting
sick
of
January’s
naiveté
and
foolishness.
He
jumped
to
answer
before
Placebo
had
a
chance
to
and
quickly
said,
without
appealing
to
too
much
authority:
31
“Sir,
I
really
hope
that
God,
in
his
infinite
mercy,
pardons
the
fact
that
you
even
have
this
silly
question.
I
hope
that,
when
you
are
on
your
deathbed,
receiving
your
last
rites,
that
you
take
back
this
notion
that
marriage
is
perfect
and
repent
to
God.
After
all,
God
does
give
married
men
more
reasons
to
repent
than
he
gives
single
men!
Basically,
I’m
trying
to
help
you
out
here
by
giving
you
the
very
best
advice
I
know:
remember
this,
your
new
wife
might
be
your
“purgatory”
here
on
earth!
To
put
it
this
way:
she
might
make
you
want
to
light
up
to
heaven
faster
than
an
arrow
goes
out
of
a
bow.
Because
you
know
what?
There
is
no
such
thing
as
perfect
happiness
in
marriage.
No
earthly
marriage
will
ever
come
close
to
making
you
want
to
give
up
your
afterlife
in
heaven.
Of
course,
this
is
true
only
if
you
remain
reasonable
about
this.
Don’t
go
out
of
your
way
to
please
her,
and
make
sure
that
you
stay
away
from
sin.
I’m
done
talking
to
you,
I’m
tired
of
arguing
with
such
foolishness.”
Franklyn’s
Tale
(761­90):
An
end
to
Marriage
Debating
Lauren
Slovenec
In
Geoffrey
Chaucer’s
The
Canterbury
Tales,
The
Franklin’s
Tale
closes
out
the
collection
of
stories
known
as
the
marriage
group.
In
The
Franklin’s
Tale,
the
reader
sees
a
positive
view
of
marriage
in
which
the
couple,
Arveragus
and
Dorigen,
actually
lives
up
to
their
vows.
This
tale
shows
the
first
working
marriage
in
The
Canterbury
Tales.
One
important
feature
of
The
Franklin’s
Tale
is
that
it
contains
words
and
phrases
that
cause
the
reader
to
think
back
to
previous
stories
within
the
marriage
group
and
the
Franklyn’s
Tale
is
no
exception.
The
Franklin’s
Tale
begins
with
the
Franklin
interrupting
the
Squire’s
unfinished
tale.
The
Franklin
compliments
the
Squire
and
proceeds
to
go
into
his
own
tale.
The
Franklin’s
Tale
tells
the
love
story
of
Arveragus
and
Dorigen,
which
is
almost
foiled
by
a
sneaky
clerk,
Aurelius.
The
two
begin
as
courtly
lovers,
but
in
a
few
short
lines,
Dorigen
takes
pity
on
Arveragus
and
agrees
to
marry
him.
As
far
as
courtly
love
goes,
it
seems
very
strange
that
the
female
courtly
lover
would
agree
to
marriage
so
readily.
This
quick
agreement
to
marriage
is
a
device
used
by
Chaucer
so
he
can
explore
the
ideal
marriage
of
Dorigen
and
Arveragus.
Shortly
after
Dorigen
agrees
to
take
pity
on
him,
Arveragus
tells
her
that
in
their
marriage
they
will
have
mutual
mastery
and
sovereignty
over
each
other.
This
ideal
of
mutual
mastery
and
sovereignty
is
what
makes
The
Franklin’s
Tale
the
most
positive
view
of
marriage
within
The
Canterbury
Tales.
The
idea
of
mastery
and
sovereignty
also
brings
to
mind
another
tale
within
the
marriage
group,
The
Wife
of
Bath’s
Tale.
When
the
Franklin
mentions
the
words
“maistrye”(Franklin’s
Tale
l.
765)
and
“soveraynetee”(Franklin’s
Tale
l.751),
he
is
evoking
the
tale
told
by
the
Wife
of
Bath.
In
The
Wife
of
Bath’s
Tale,
the
claim
is
made
that
what
women
want
most
is
sovereignty
over
their
husbands
and
lovers.
It
is
in
this
manner
that
the
Wife
of
Bath
presents
the
ideal
marriage,
a
marriage
where
women
have
all
the
power.
This
idea
of
marriage
is
displayed
when
the
knight
tells
the
queen:
“Wommen
desyren
to
have
sovereyntee/As
32
wel
over
hir
housbond
as
hir
love,/And
for
to
been
in
maistrie
him
above.”(Wife
of
Bath’s
Tale
ll.1038‐1040).
While
the
Franklin
also
attempts
to
show
an
ideal
marriage,
he
amends
the
Wife
of
Bath’s
ideas
of
how
the
ideal
marriage
should
work
(762‐4):
That
frendes
everich
other
moot
obeye,
If
they
wol
longe
holden
compaignye.
Love
wol
nat
ben
constreyned
by
maistrye.
Whan
maistrie
comth,
the
God
of
Love
anon
Beteth
hise
winges,
and
farewell,
he
is
gon!
He
claims
that
when
one
person
is
the
master
of
another,
love
leaves
the
relationship.
While
the
Franklin
acknowledges
that
women
desire
liberty,
he
claims
that
“so
don
men,
if
I
soth
seyen
shall.”(Franklin’s
Tale
l.770).
While
the
Franklin
answers
The
Wife
of
Bath’s
Tale,
he
also
references
The
Merchant’s
Tale.
The
Merchant’s
Tale
takes
on
the
idea
that
a
wife
should
ease
men
into
old
age.
It
seems
to
say
that
women
are
meant
to
be
servants
in
the
household,
claiming,
“That
woman
is
for
mannes
help
y‐wroght”(Merchant’s
Tale
l.1324).
The
Franklin
paints
a
very
different
picture
of
marriage.
While
the
Merchant
claims
that
women
are
sent
by
God
to
be
men’s
servants,
the
Franklin
claims:
“Wommen
of
kinde
desiren
libertee,/And
nat
to
ben
constreyned
as
a
thrall;”(Franklin’s
Tale
ll.778‐779).
This
major
difference
makes
sense,
as
the
Merchant
shows
a
negative
view
of
marriage
and
the
Franklin
shows
a
positive
view.
As
he
seems
to
provide
an
answer
to
the
marriage
debate,
the
Franklin
also
references
The
Clerk’s
Tale.
The
Clerk’s
Tale
is
the
story
of
patient
Griselda.
Griselda
is
a
poor
but
virtuous
girl
whom
the
Marquis,
Walter,
chooses
to
be
his
wife.
Walter
tests
Griselda
over
and
over
again,
showing
her
patience
in
the
face
of
adversity.
This
tale
seems
to
be
in
direct
response
to
The
Wife
of
Bath’s
Tale,
and
is
equally
dealt
with
in
The
Franklin’s
Tale.
While
The
Clerk’s
Tale
shows
a
view
of
marriage
in
which
the
woman
is
patient,
the
Franklin
tells
men
to
show
patience.
The
Franklin
claims:
“Loke
who
that
is
most
pacient
in
love:/He
is
at
his
avantage
al
above.”(Franklin’s
Tale
ll.771‐772).
In
this
passage,
the
Franklin
seems
to
be
saying
that,
like
mastery
and
sovereignty,
patience
is
a
virtue
that
should
be
distributed
evenly
between
partners.
He
goes
on
declaring
that
“Pacience
is
an
heigh
vertu,
certeyn,/For
it
venquisseth,
as
this
clerkes
seyn,/Thinges
that
rigour
sholde
never
atteyne.”(Franklin’s
Tale
ll.773‐775).
These
lines
seem
to
directly
answer
the
Clerk’s
tale
of
Griselda’s
never
ending
patience
despite
her
harsh
treatment
from
her
husband.
The
Franklin
claims
that
patience
will
attain
things
that
harshness
and
strictness
never
will
within
a
marriage.
The
intertextuality
of
this
passage
of
The
Franklin’s
Tale
makes
it
a
significant
work
within
Canterbury
Tales.
This
passage
of
The
Franklin’s
Tale
helps
to
demonstrate
the
cohesiveness
of
the
marriage
debate
within
the
larger
framework
of
The
Canterbury
Tales.
Upon
first
glance,
it
might
seem
that
marriage
was
just
a
popular
topic
for
the
pilgrims,
but
The
Franklin’s
Tale
shows
something
different.
It
shows
that
Chaucer
was
consciously
writing
about
the
many
different
views
on
what
constitutes
the
ideal
33
marriage.
The
Franklin’s
Tale
is
final
tale
within
the
marriage
debate
and
it
references
all
of
the
other
tales
within
the
debate.
These
references
create
a
cohesive
conclusion
to
the
marriage
debate
and
even
help
to
strengthen
the
frame
narrative.
The
fact
that
the
Franklin
references
many
of
the
other
tales
within
this
passage
shows
that
this
tale
is
a
part
of
the
larger
frame.
It
reminds
the
reader
of
the
larger
framework
of
the
story
and
adds
to
the
richness
of
the
text,
while
helping
to
weave
the
narrative
together.
It
acts
as
a
reprise
of
everything
that
has
happened
within
the
marriage
debate,
while
creating
the
conditions
for
an
ideal
marriage.
By
referencing
other
contributors
to
the
marriage
debate,
this
passage
of
The
Franklin’s
Tale
creates
a
cohesive
end
to
the
question
of
how
men
and
women
should
relate
to
each
other.
The
Franklin
uses
words
and
phrases
that
evoke
past
tales,
which
allows
Chaucer
to
conclude
the
marriage
debate
and
weave
together
the
frame
narrative.
Text
and
Gloss
(Franklyn’s
Tale
761­90)
For
o
thing,
sires,
saufly
dar
I
seye,
That
frendes
everich
other
moot
obeye,
If
they
wol
longe
holden
compaignye.
Love
wol
nat
ben
constreyned
by
maistrye.
Whan
maistrie
comth,
the
God
of
Love
anon
765
Beteth
hise
winges,
and
farewel,
he
is
gon!
Love
is
a
thing
as
any
spirit
free.
Wommen,
of
kinde
desiren
libertee,
And
nat
to
ben
constreyned
as
a
thral;
And
so
don
men,
if
I
soth
seyen
shal.
770
Loke
who
that
is
most
pacient
in
love:
He
is
at
his
avantage
al
above.
Pacience
is
an
heigh
vertu,
certeyn,
For
it
venquisseth,
as
thise
clerkes
seyn,
Thinges
that
rigour
sholde
nevere
atteyne.
775
For
every
word
men
may
nat
chyde
or
pleyne.
Lerneth
to
suffre,
or
elles,
so
moot
I
goon,
Ye
shul
it
lerne,
wher
so
ye
wole
or
noon.
For
in
this
world,
certein,
ther
no
wight
is
That
he
ne
dooth
or
seith
somtyme
amis.
780
Ire,
siknesse,
or
constellacioun,
Wyn,
wo,
or
chaunginge
of
complexioun
Causeth
ful
ofte
to
doon
amis
or
speken.
On
every
wrong
a
man
may
nat
be
wreken:
After
the
tyme
moste
be
temperaunce
785
To
every
wight
that
can
on
governaunce.
And
therfore
hath
this
wyse,
worthy
knight,
To
live
in
ese,
suffrance
hire
bihight,
And
she
to
him
ful
wisly
gan
to
swere
That
nevere
sholde
ther
be
defaute
in
here.
790
one/safely
each
other/must
at
once
Beats
like
by
nature
thrall,
slave
truth
Consider
the
man
who
Above
all
others
vanquishes/scholars
harshness,
strictness/could
complain
as
I
may
live
Whether
you
wish
to
or
not
person
wrongly
Anger/fate,
his
stars
avenged
According
to/moderation
Understands
self‐control
promised
her
(his)
forbearance
truly
did
swear
A
lacking
in
her