STRUCTURE AND PATTERN IN CHAUCER'S
KNIGHT'S TALE
Elizabeth Ashman Rowe
The
of
Knight's
Tale
"conventional" or
General
Prologue.
e i t h e r end
extreme.
has
As
C h a r l e s Muscatine
g e n t i l l e s s e , / And
conventional
by
o f r h e t o r i c and
use
a classical
e p i c s as
s e t t i n g and
t h e Aeneid
correspondence
symmetrical
alongside
Tale
observes,
When he w r i t e s a t the K n i g h t ' s
h e a v i l y on
Nature,
i n c o n t r a s t t o the n a t u r a l i s m o f
o f the s c a l e o f v a l u e s , i n d e e d ,
that toucheth
the
o f t e n b e e n c i t e d a s an example o f C h a u c e r ' s
formal s t y l e ,
and
eek
forms."
1
Thebaid.
thyng
leans
formalism i s c h a r a c t e r i z e d not
a l s o by
correspondences
found
f o r example, y i e l d s an
only
t h e use
i n such
idea
"about" o r d e r .
more
T h e s e u s ' sermon i n t h e
disorder
as one
of
However, when more c l o s e l y e x a m i n e d ,
"about" d i s o r d e r than o r d e r .
f o l l o w i n g way:
o f God's w o r k s
i t counsels
(3057)"
and
Merle
"the
romance."
disorder
chaos and
of Arcite
and
order alternate.
The
emotional
Palamon l e a d them t o be
above them i s T h e s e u s , who
169
In
t o o r d e r the
fact,
fruitless
Knight's
the
interprets
acceptance
compared t o a n i m a l s
attempts
Fifield
of eternal
i t f o r b i d s " t h e expression of
2
e t h i c a l o r d e r i n the n a r r a t i v e a c t i o n o f the
and
of
when t h i s o r d e r i n g o f f o r m i s c o n s i d e r e d
i t i s n o t much o f a l e a p o f i n t e r p r e t a t i o n t o assume t h a t t h e
i s i n some way
of
Latin
ordered,
t h e p r o m i n e n t p r e s e n t a t i o n i n T h e s e u s ' sermon o f the o r d e r
poem seems t o be
but
he
Chaucer's development o f the
b e t w e e n gods and men,
set of characters,
correspondingly
'Of s t o r i a l
hoolynesse,'
a "high s t y l e " o f w r i t i n g but
t h e p a t t e r n s and
the
o f the s c a l e
m o r a l i t e e and
This
"When C h a u c e r w r i t e s a t
h i s s t y l e becomes
end
use
the
an
layers of
conflicts
(1655-59,
2626-33),
lives of his subjects
170
rationally
and
whose s y m m e t r i c a l b a t t l e a r e n a s y m b o l i z e s h i s w o r l d
Above T h e s e u s i s t h e
and
d i s o r d e r o f Olympus, where t h e
above them, i f we
stable
and
The
so
b e l i e v e Theseus
c o r r e s p o n d e n c e s and
patterned
explicit
t h e poem.
Fifield
i n both i t s parts
i t s whole by
and
r e s u l t b e c o m i n g a new
i n c i d e n t o r by
of
o f repeated
i s no
t h e Knight's
the p l o t c o r r e s p o n d w i t h
the
c a r r i e s on
the s t o r y
scene and
Theseus
theme o f
the
6
7
a t t e m p t s an
a n a l y s i s g r o u n d e d i n an
narrative.
This
numbers:
Part
1354
these
of Fifield's
(the end
b a s e d on
although
places.
the
by
the
by
the
t o the
i n general
the
o f her
Part
Part i i
and
effect'
the o t h e r
analyses
the
towards
hand,
admits
i t i n terms
Wilson,
division of
t o the
into five
s e c t i o n s may
and
the
narrator
following
I ) , 1881-83 ( t h e o p e n i n g o f
2965-66
of
catastrophe,
agrees with
(the e n d
of
the
her
my
asides
w e l l occur
line
her
s e c t i o n s , but
o f e v e n t s r a t h e r t h a n on
b r e a k s between the
lovers
d i r e c t i o n s which the
P a r t I I I ) and
the p a t t e r n
"Part i ,
patterns.
"grete
basic
sections
development o f
W i l s o n , on
I a l s o d i v i d e the K n i g h t ' s T a l e
d i v i s i o n s are
narrator,
s e t up
b a s i c themes and
actual five-fold
i s b a s e d on
and
related
text.
t h r o u g h o u t t h e poem, a c c o r d i n g
( t h e end
I I I ) , 2479
g
Part IV).
division
Fifield
of
alternation of order
sequence o f p r o t a s i s , e p i t a s i s ,
and
points
structures
a few
one
These
t o the s t r u c t u r e o f the
n a r r a t i v e i s d i v i d e d i n t o four parts but
at various
"vertical"
c o n t r a s t between the
H.S.
t o show
incidents.
narrator.
four parts
Part i v i s dedicated
anagnorisis.
the
unified
n o t o n l y by
the
peripeteia,
gives
t h i s paper I wish
i s ordered
t h a t the
develops the
five-fold Aristotelian
"At
P a t r i c i a Kean seems t o t h i n k
I i i i s l a r g e l y t a k e n up
gods [ a n d ]
other
pattern of alternating
interwoven
c o n s e n s u s as
w h i c h the whole work i s d e s i g n e d . "
t h a t the
and
a n a l y s i s o f the
e s t a b l i s h e s the
and
Part
the
In
Tale
c h a r a c t e r s and the
critical
Tale.
then, s e t s
to say,
In a d d i t i o n , I wish to d i s c u s s
t h a t a r i s e from t h i s
f a r there
elsewhere,
r e l a t i o n s h i p , each
a repeated
" h o r i z o n t a l " s t r u c t u r e s b a l a n c e the
c o r r e s p o n d e n c e s between the
p l o t of
t h a n by
a single p r i n c i p l e of order."^
d i s o r d e r mentioned above.
So
Mover,
characters
4
detail
f a r as
a cause-to-result
cause, r a t h e r
several patterns
sequential or
problems
scheme,
t e c h n i q u e the work i s most f r e q u e n t l y
n a r r a t i v e s t r u c t u r e o f t h e Knight's
a l s o by
the
r e l a t i o n s h i p s b e t w e e n the
a c t u a l l y goes so
artistic
but
First
t h a t t h e y seem t o h a v e o b s c u r e d t h e
l e v e l o f s t r u c t u r e as
the
i s the
T a l e , w h i c h h a v e b e e n gone i n t o i n g r e a t
i n t e r e s t i n g and
structures of
that
(2987 f f . ) ,
and
3
eternal.
o f t h e Knight's
are
may
gods q u a r r e l
view.
of
the
a t some o f
171
The
problem which F i f i e l d
accepting
the
f o u r partes
narrative
lies
i n the
episodes
(or groups o f
They are
both too
its
structure.
conquering of
ing
falling
But
Arcite,
/ And
includes
the
who
My
conflict
resolve
III
A r c i t e , and
divides
and
the
the
i s included
t e r c i a para.
"And
The
divides
the
narrator's
the
Section
action of
end
the
a basis
( a t 1334,
fourth
For
(at
1661)
Arcite,
the
at
prayers of
Palamon,
Venus.
Neither
the
t o any
2093)
of
Knight i s
f i r s t place,
also
i t seems
of his divisions.
(so c a l l e d i n o r d e r t o
avoid
the
Section
encompasses a l l o f t h e i r a t t e m p t s
(1033-1880) b e g i n s
b a t t l e w h i c h i s i n t e r r u p t e d by
o f the
discovering
the
units.
shift
a p r o l o g u e , s e t t i n g up
II
which
(beginning
Since
i n the
1449,
b u i l d i n g , and
Emetreus, the
I
is
for
seven s e c t i o n s
follows
using
now
(1-1032).
centre
difficulty
to which I s h a l l
lists
and
shortly return.
to S a t u r n ' s p l a n .
Like
normal r e s u l t s o f which are
the
the
meaning o f the
standstill,
Section
IV
Theseus.
temples o f
Tale, both l i t e r a l l y
poem t o a v i r t u a l
c o n f l i c t between Palamon a n d
gods a c c o r d i n g
that
prison.
secxmda
A r c i t e and
d e s c r i p t i o n o f the
i s one
the
section
n a r r a t o r i a l partes)-
D i a n a , i s the
have had
from
o f Palamon and
d e s c r i p t i o n o f the
of
the
problem with
story
analysis without reference
i t , e n d i n g w i t h the
the
conquer-
i n the
(1449-50) as
grouping o f events.
follows:
the
Arcite, their
i n this blisse lete I
t h e poem i n t o f o u r p a r t s
characters
episodes of
Arcite's release
q u a r r e l b e t w e e n Mars and
b e t w e e n Palamon a n d
which b r i n g
battle,
the
t o make an
with
V e n u s , and
of
and
L y c u r g u s and
seems a l o g i c a l
with
narrative.
scene changes than o f n a r r a t i v e
w h i l e the
descriptions of
the
i n t o a p r o l o g u e and
lists,
(1881-2437), the
Critics
selected
the
Theban widows, t h e
lists
i s t h a t he
2741)
the
p o s i t i o n i s as
situation
( s u c h as
tournament, the
more a d v i s a b l e
confusion
to b u i l d the
structure
find
"parts" of
i m p r i s o n m e n t o f Palamon and
the
sections
one
includes
c o m p l a i n t o f the
s e c t i o n which b e g i n s w i t h the
of
Emelye, and
the
pars
e p i s o d e s o f Theseus' hunt, h i s d i s c o v e r y
decoration
four
a r b i t r a r y to provide a u s e f u l a n a l y s i s
i s found i n the
2093, 2479, a n d
decree o f
these
too
and
Knight
more i n d i c a t i v e o f
the
the
correspond very c l o s e l y to
s p e k e I w o l e o f Palamon a l i t e "
narrative
1661,
example, the
the
discovery
construction
analyzing
covers
and
example, t h e prima
d i r e c t i o n s o f the
1488,
not
as
c o n n e c t e d e p i s o d e s ) w h i c h make up
Theseus' d e c i s i o n
the
the
t o some e x t e n t W i l s o n )
Tale
t h e y do
Amazons, t h e
the
(and
i n l o v e w i t h Emelye a y e a r l a t e r ,
while
pars,
are
the
o f Thebes,
I
Knight's
f a c t that
general
For
and
o f The
the
Mars,
and f i g u r a t i v e l y .
long
and
descriptions
the
problem
(2438-2815) d e p i c t s
A r c i t e , w h i c h i s e n g i n e e r e d by
Section
II, Section
interrupted
to
Section
I V ends w i t h
t h i s t i m e by
Saturn
the
the
a
172
rather
t h a n by
the s t o r y
Theseus.
p o s s i b l e model f o r t h e
Hc'hilleid
from
Section V
(2816-3108) i s an e p i l o g u e w h i c h r e t u r n s
t o i t s t h e m a t i c b e g i n n i n g w i t h the r e s t o r a t i o n o f o r d e r .
f i v e - p a r t e p i c may
have been the v e r s i o n o f
(an u n f i n i s h e d e p i c i n f i v e b o o k s ) w h i c h was
9
the t e n t h century
overlies
the e t e r n a l
of
a circular
i s removed, t h e s t o r y
triangle.
1V-V,
occurs throughout
t h e e n t i r e poem.
first
of
Theseus'
and
the s e c o n d
t h a t o f the o l d e s t
"Fortune and
speaks
( S e c t i o n I) and
hire
The
first
f a l s e wheel"
(925) .
Where T h e s e u s s p e a k s
thyng"
Thebans
t o draw a t t e n t i o n
the
"vileynye"
(996)
and
(942)
the
fickle
of Jupiter,
the
(941) .
And
there i s f o r complaint,
o f the unburned b o d i e s b e i n g
again i n the t h i r d p a i r o f
the pyre o f A r c i t e
(2919
elements,
ff.).
the P r o l o g u e
be
treated
t o the b a l a n c e d nature o f the t h r e e
f r a m i n g s e q u e n c e o f t h e Knight's
b u r n i n g o f the b o d i e s , t h e
The
( 3 0 3 6 ) , t h e Theban l a d y
the E p i l o g u e , they a r e p a r t o f another p a t t e r n and w i l l
I would l i k e
(3094-98).
Where T h e s e u s t a l k s o f
there are a d d i t i o n a l episodes which o c c u r i n both
w h i c h make up
elsewhere
i s t h a t o f Theseus
" f u l f i l d o f i r e and o f i n i q u i t e e "
T h i s image i s t a k e n up
the p y r e o f the s l a i n
Although
which
Theban widow, i s i n s e v e r a l ways t h e i n v e r s e
" p r i n c e and cause o f a l l e
t h e Theban widow d e s c r i b e s t h e
dogs.
marriage
t h a t o f Palamon a n d E m e l y e
where T h e s e u s m e n t i o n s honour a n d a s k s what c a u s e
e a t e n by
link
" e t e r n e " ( 3 0 0 4 ) , t h e Theban l a d y t a l k s o f
o f the t y r a n t Creon,
Tale,
the Epilogue
as none o f them i s f o u n d
sermon, i t s mate i n t h e E p i l o g u e .
Mover, " s t a b l e " a n d
wise, benevolent
that
permutation
a r e a p a i r o f m a r r i a g e s , a p a i r o f matched
a p a i r of funeral pyres.
(868)
i s a simple
and E p i l o g u e o f t h e Knight's
o f the P r o l o g u e
These e l e m e n t s
speech,
First
rather
i n t e r l o c k i n g episodes which
are the e a s i e s t to d i s c e r n ,
and
and Y p o l i t a
seem
and a s i g n i f i c a n t a l t e r n a t i o n o f s e t t i n g s
r e c u r r i n g elements
t h e Tale.
speeches,
may
The o v e r l y i n g p a t t e r n w h i c h I p e r c e i v e i s composed
a t w o - f o l d s e r i e s o f a l t e r n a t i n g and
( S e c t i o n V)
t h a t remains
frame e n c l o s i n g t h e P r o l o g u e
S e c t i o n s I - I I and
in
Tale
b u t when the c o m p l i c a t e d p a t t e r n o f r e p e a t i n g e p i s o d e s
the p l o t
of
The
Statius*
w e l l - k n o w n i n Europe
on.
T h i s a n a l y s i s o f t h e a c t i o n o f t h e Knighfa
elementary,
A
Tale:
" e m o t i o n a l " w e d d i n g s , and
the
the
and
later.
elements
"physical"
"intellectual"
speeches.
A l a r g e r p a t t e r n o f repeated events i s t h a t which extends
as i t were, f r o m t h e P r o l o g u e
elements
which a l t e r n a t e
t o the E p i l o g u e .
and i n t e r l o c k
horizontally,
I t c o n s i s t s o f two
(see F i g u r e 1 ) .
The
("Group A " ) , w h i c h r e p e a t s t h r e e t i m e s , c o n t a i n s a b a t t l e ,
first
sets
group
a plea for
of
173
mercy, and
a scene
The
group
second
where T h e s e u s t a k e s a c t i o n
o n l y w i t h Palamon and
original
to restore p o l i t i c a l
("Group B " ) , w h i c h a l s o r e p e a t s t h r e e t i m e s ,
Arcite.
u n i t y ) o f t h e two,
I t s three elements are
is
order.
concerned
the r e u n i t i n g
a f i g h t between them, and
their
(or
subsequent
separation.
The
of
first
occurrence
the Seven a g a i n s t Thebes, which p i t s
E t e o c l e s a g a i n s t one
of
o f Group A i s i n t h e P r o l o g u e .
another.
Palamon a n d A r c i t e ,
taken
to Athens.
crime
Yet,
o f Thebes and
forward
t h e noblemen k i l l e d
i n this battle
(891)
forward
b e f o r e a s k i n g him
travel
t e a r down T h e b e s , and
before
the
ride
Creon.
ation of Arcite
they
and
are
home a
o f the l a s t o c c u r r e n c e
Palamon by d e a t h .
f u l l y q u y k e , ne
s e p a r a t i o n , however, A r c i t e
impending marriage
fully
dede"
(1015).
s e q u e n c e o f Group A e v e n t s ,
first
Arcite.
freed,
c a u s i n g the
Almost a hundred l i n e s
first
the
first
the
r e u n i t i n g o f Palamon and
mortal
by
s e q u e n c e o f Group B
foes r a t h e r than
fight,
s e p a r a t i o n o f t h e two
and
episode
the
i t contrasts
Arcite
i n a grove
sworn b r o t h e r s , t h e y
Arcite
o f the new
separ-
At t h e i r
final
After
Theseus' conquest
Group B
first
Perotheus
of
continues
quarrel of
has
Arcite
c o u s i n s and
also
ending
seven
later
events.
years
o u t s i d e o f Athens.
decide
to resolve t h e i r
f e t c h e s weapons f r o m A t h e n s and
f o r the b a t t l e which i s both
first
later,
s e q u e n c e o f Group B e p i s o d e s b e g i n s
means o f combat.
grove
the
about by
S e c t i o n I I , where t h e s i g h t o f Emelye p r o v o k e s t h e
Palamon and
second
and
on
d e a d a n d Palamon, by v i r t u e o f h i s
Thebes, which ends the
The
not
(1012)
t o E m e l y e , i s a b o u t t o become c o m p l e t e l y a l i v e .
order brought
thus
armes"
are d i s c o v e r e d
the r e s t o r a t i o n o f p o l i t i c a l
into
Theseus
o f Group B, w h i c h i s the
H e r e , when t h e y
i s completely
widows o f
conqueror,
T h i s i s t h e f i r s t o f t h e Group B e v e n t s ,
"nat
the
Theseus
( t h e l a s t e l e m e n t o f Group A) , b u t
d i s c o v e r y o f A r c i t e and Palamon " b o t h e i n o o n
l a s t episode
The
t o A t h e n s , where t h e y ask
order
together,
l o o k i n g back to
t o t a k e v e n g e a n c e on
restored p o l i t i c a l
the
the
and
" s t a r t i n g p o i n t " i s no
t o many o t h e r s t o r i e s .
does i n d e e d d e f e a t Creon,
the heap o f b o d i e s .
story
t o t h e c o n f l i c t o f t h e sworn b r o t h e r s
having
with
have b e e n d i s c o v e r e d
a repetition of history,
as w e l l as
mercy
and
i s the s t a r t i n g p o i n t o f the
i n t r u e Theban f a s h i o n , t h e
Palamon a n d A r c i t e ,
.for
i s that
f o r i f Theseus had n o t been c a l l e d i n t o revenge
a t a l l but merely
original
battle
the twin b r o t h e r s P o l y n i c e s
This b a t t l e
A r g i v e C a p a n e u s , Palamon a n d A r c i t e w o u l d n e v e r
beginning
The
the s e c o n d
Group A.
conflict
returns to
the
o f t h e e l e m e n t s o f Group B
T h e s e u s and
s e q u e n c e o f Group A e v e n t s
with
Now
his retinue interrupt
c o n t i n u e s when the women
and
the
174
accompanying
T h e s e u s , p r e s u m a b l y f r i g h t e n e d b y h i s r a g e , weep a n d a s k f o r
(1756).
mercy
T h e s e c o n d Group A sequence ends w i t h T h e s e u s ' a t t e m p t t o
e n s u r e t h e c o n t i n u e d p o l i t i c a l power o f A t h e n s b y m a k i n g
swear n e v e r t o r a i s e a n army a g a i n s t h i m
sequence ends w i t h
(1825).
t h e s e p a r a t i o n o f Palamon
Arcite
andA r c i t e
forces
sets
against
other.
The
Arcite
is
B
a f t e r Theseus
up t h e t e r m s o f t h e t o u r n a m e n t a n d s e n d s them o f f t o r a i s e
each
a n d Palamon
The s e c o n d Group
t h i r d o c c u r r e n c e o f Group B e v e n t s b e g i n s w i t h t h e r e u n i t i n g o f
a n d Palamon
a year l a t e r
f o r the tournament.
As b e f o r e ,
the b a t t l e
b o t h t h e s e c o n d e l e m e n t o f Group B a n d t h e f i r s t e l e m e n t o f t h e new
Group A.
Palamon
i s c a p t u r e d and A r c i t e ,
apparently the winner o f both the
t o u r n a m e n t a n d E m e l y e , i s a t t h e h e i g h t o f h i s g l o r y when S a t u r n c a u s e s h i m
to
be f a t a l l y wounded.
A r c i t e a s k s Emelye
the
The t h i r d Group A s e q u e n c e c o n t i n u e s when t h e
f o r mercy
n e w l y r e c o n c i l e d Palamon
m a r r i a g e o f Palamon
(2808).
Group
B ends
a n d A r c i t e b y d e a t h , a n d Group A e n d s w i t h t h e
and Emelye, which Theseus h a s a r r a n g e d w i t h the A t h e n i a n
p a r l i a m e n t i n t h e hopes o f o b t a i n i n g Theban
submission t o Athens.
T h i s s e q u e n c e o f e v e n t s i 3 diagrammed i n F i g u r e
Chaucer's p a t t e r n q u i t e
do n o t a l t e r n a t e
A
1 begins
B
3
clearly.
1 2
A a n d Group B
2
3
some o f w h i c h s e r v e
to link
ends
after
( t h e r e v e r s e o f A* a n d BS .
o t h e r patterns are v i s i b l e ,
Knight's
Tale
between
a l t e r n a t i o n between
Thebaid.^°
Theban
Thebes
The f i r s t
ladies
A t h e n s a n d Thebes
Athenian prison, while
lovesick A r c i t e .
third,
entire
h a l f a n d between
resembles t h e
a n d A r g o s w h i c h some s c h o l a r s have
s c e n e o f t h e Knight's
Tale
seen i n the
i s s e t o u t s i d e A t h e n s , where
The s e c o n d scene i s s e t i n
andA r c i t e are discovered.
The t h i r d
scene i s i n t h e i r
t h e f o u r t h i s i n T h e b e s , where M e r c u r y a p p e a r s t o
The f i f t h
s c e n e , i n many ways a r e p e t i t i o n o f t h e
i s s e t i n and around Athens.
the f i r s t
i n the f i r s t
This alternation
stop Theseus' p r o c e s s i o n .
T h e b e s , where Palamon
the
I I a n d I V , as t h e A-B
category i s the a l t e r n a t i o n o f the s e t t i n g s i n
A t h e n s a n d Olympus i n t h e s e c o n d h a l f .
out
reveals
i s completely contained w i t h i n B , and A
sequences d o . I n the f i r s t
the
which
i n a s i m p l e manner, b u t i n s t e a d o v e r l a p i n s u c h a way t h a t
before B , A
Still
the
1,
The d i a g r a m shows t h a t Group
poem a n d o t h e r s o f w h i c h s e r v e t o l i n k S e c t i o n s
the
dying
w i t h the s e p a r a t i o n o f
b a t t l e between
Arcite
The s e t t i n g r e m a i n s u n c h a n g e d
a n d Palamon
t e m p l e s o f t h e g o d s , b u t a f t e r A r c i t e ' s p r a y e r t o Mars t h e s c e n e
to
Mount Olympus, t h e d i s c o r d a n t home o f t h e g o d s .
at
the l i s t s
i n Athens, b u t a f t e r
through-
and the d e s c r i p t i o n o f t h e
changes
The n e x t scene i s s e t
t h e t o u r n a m e n t , when T h e s e u s
awards
Emelye
175
Figure 1
The C h a i n o f E v e n t s
i n t h e Knight's
The BATTLE o f t h e Seven A g a i n s t Thebes
The Theban Widows P l e a d f o r MERCY
(950)
PALAMON AND ARCITE ARE FOUND TOGETHER
(1011)
RESTORATION OF ORDER
(1023)
PALAMON AND ARCITE FIGHT
(1128)
PALAMON AND ARCITE SEPARATE
(1206)
PALAMON AND ARCITE ARE REUNITED
(1574)
PALAMON AND ARCITE FIGHT
(1654)
T h e s e u s ' Women P l e a d f o r MERCY
(1757)
RESTORATION OF ORDER
(1826)
PALAMON AND ARCITE SEPARATE
(1879)
PALAMON AND ARCITE ARE REUNITED
(2096)
PALAMON AND ARCITE FIGHT
(2602)
A r c i t e Pleads
(2808)
f o r MERCY
PALAMON AND ARCITE SEPARATE
(2809)
RESTORATION OF ORDER
(2974)
Tale
176
to
Arcite,
her.
the scene
This b r i e f
r e t u r n s t o Olympus as Venus weeps a n d S a t u r n
scene
i s n o t p a r a l l e l e d i n t h e Teseida,
comforts
and I s u s p e c t
that
C h a u c e r a d d e d i t a s much t o c o n t i n u e t h e Athens-Olympus a l t e r n a t i o n a s t o
confirm
the correspondence
fundamental
wards, the scene
in
between Egeus a n d S a t u r n a n d t o r e v e a l t h e
s i m i l a r i t y between t h e m a c h i n a t i o n s
o f the a c t i o n
o f Venus a n d M a r s .
r e t u r n s to Athens,
t h e same woods i n w h i c h i t b e g a n .
1 1
After-
where i t e n d s v e r y
probably
This a l t e r n a t i o n o f settings i s
a n o t h e r way o f r e p r e s e n t i n g t h e a l t e r n a t i o n between o r d e r a n d d i s o r d e r , w i t h
Athens s y m b o l i z i n g the former
it
a n d Thebes a n d Olympus t h e l a t t e r .
As
such,
i s the " h o r i z o n t a l " counterpart t o the " v e r t i c a l " a l t e r n a t i o n o f order
and
d i s o r d e r i n the c h a r a c t e r s .
The
disorderly
n a t u r e o f t h e j a n g l i n g O l y m p i a n gods n e e d s
little
comment, b u t t h a t o f t h e two " h e r o e s " i s more u n u s u a l , a n d i s r e v e a l e d i n
some s t y l i s t i c
Aeneid,
Tale
peculiarities
d e s c r i b i n g Palamon a n d A r c i t e
another.
During
the b a t t l e
c r i b e d a s "a c r u e e l
In
i n their description.
where n o two e p i c s i m i l e s a r e a l i k e ,
tigre"
the tournament a y e a r
In c o n t r a s t t o the
the s i m i l e s
a r e repeated each
i n the
time
they
i n the grove o u t s i d e o f Athens,
Knight's
f i g h t one
Arcite
i s des-
(1657) a n d Palamon a s a "wood l e o n " (1656) .
later, Arcite
i s again d e s c r i b e d as b e i n g as c r u e l
as a " t y g r e i n t h e v a l e o f G a l g o p h e y e , / Whan t h a t h i r w h e l p i s s t o l e whan
it
nys
i s lite"
(2626-27),
a n d Palamon i s s o f i e r c e
so f e l l e o n , / That hunted
desireth
"ne i n B e l m a r y e
s o t h e b l o o d , / As Palamon t o s l e e n h i s f o o A r c i t e "
We s h o u l d n o t t a k e
this
r a t h e r t h a t he w i s h e d
t o mean t h a t C h a u c e r was a t a l o s s
t o emphasize t h e f a c t t h a t A r c i t e
be
c o n s i d e r e d o n some l e v e l as a n i m a l s , a n d t h a t
12
be
considered equivalent.
escalate
that
from
Although
their
(2630-33) .
f o rsimiles, but
and Palamon a r e t o
two b a t t l e s
the
the f i g h t s o f P a l a m o n a n d A r c i t e
their descriptions
"animal" l e v e l .
When t h e two c o u s i n s a r e a r g u i n g o v e r E m e l y e ,
When t h e y come t o b l o w s s e v e n
A year after
remaining
lives
that,
a t a low l e v e l
and t h e a s o c i a l
years
later,
they a r e l i k e
on
Arcite
(1177 f f . ) .
t h e y a r e compared t o l i o n s a n d
l i o n s and t i g e r s
i n the n a t u r a l h i e r a r c h y .
nature o f t h e i r i n t e r a c t i o n
t h e i r breaking the oaths
symbolized
More
are i n t e n s i f i e d , b u t they always remain
compares h i m s e l f a n d Palamon t o two hounds f i g h t i n g o v e r a b o n e
tigers.
are to
t h e v e r b a l argument t o t h e one-on-one d u e l t o t h e f u l l - s c a l e
m e l e e , t h e r e i s no p r o p o r t i o n a l e s c a l a t i o n o f t h e i r d e s c r i p t i o n s .
accurately,
ther
i s , o r f o r h i s h u n g e r wood, / Ne o f h i s p r a y e
t h e y swore t o one a n o t h e r
on t h e o t h e r hand by t h e i r b a t t l e
still,
clearly
The d i s o r d e r o f t h e i r
(shown o n one h a n d by
and t o Theseus,
i n the grove
outside
and
177
o r d e r l y A t h e n s ) , as w e l l as the r e p e t i t i o n o f t h e i r
similes,
prove
them t o be more l i k e
I w o u l d l i k e now t o r e t u r n
l a v i s h n e s s o f the d e s c r i p t i o n s
with
t h e r e s t o f t h e Knight's
symmetry o f t h e l i s t s
of
t h a t i t i s through
in
the a c t i o n
tuous
logical
of Section I I I .
Chaucer's
draws a t t e n t i o n
halt
Although the
compatible
i n s i s t e n c e here on t h e
t o the lengthy
i n the n a r r a t i v e .
the d e s c r i p t i o n o f t h e i r temples
1 3
"characteristic"
men.
c e r t a i n l y makes i t s t y l i s t i c a l l y
Tale,
and temples
description
Kean m e r e l y
says
t h a t t h e theme o f t h e
Wilson regards the d e s c r i p t i o n o f the l i s t s
"calculated
setting
than
to the problem
the b u i l d i n g and the subsequent
gods i s d e v e l o p e d .
animals
as a b r e a k
t o a m p l i f y i t s s i g n i f i c a n c e b y p r o v i d i n g a sump-
f o r t h e c l i m a x a n d r e l a t i n g i t more d e f i n i t e l y
to the a s t r o 14
f o r c e s which a r e c o n c e i v e d as the i n s t r u m e n t s o f P r o v i d e n c e . "
Fifield,
c o m i n g c l o s e s t t o what I c o n s i d e r t o b e t h e c o r r e c t
observes
t h a t t h e t h i r d s e c t i o n c o n t r a s t s t h e symmetry o n e a r t h w i t h t h e
d i s o r d e r o f t h e gods a n d c o n c l u d e s
the f i r s t
two s e c t i o n s
theater description
actions."
1 5
two s e c t i o n s , " i n w h i c h " t h e
r e v e r s e s t h e human e x p e c t a t i o n s o f man's a n d g o d s '
I see the d e s c r i p t i o n o f the l i s t s
a mural
Tale.
does t h e poem h a v e
symmetrical structure
very
s y m m e t r i c a l s t r u c t u r e o f t h e poem i t s e l f .
are " f u l o f degrees,
was s e t o n o d e g r e e ,
as a microcosm o f the
The w i l d d i s o r d e r c a u s e d b y t h e gods i s
on the w a l l s o f a c i r c u l a r ,
s i m i l a r t o the c i r c u l a r ,
the l i s t s
t h a t i t i s " p l a c e d as a p i v o t between
. . . and the l a s t
u n i v e r s e o f t h e Knight's
merely
interpretation,
J u s t as
t h e h e i g h t e o f s i x t y p a s , / T h a t whan a man
/ He l e t t e d n a t h i s f e l a w e
f o r t o s e e " (1890-93),
"degrees" o f c h a r a c t e r s and r i s i n g
tiers
so
o f d i s o r d e r and
order.
In
fact,
t h e c i r c u l a r s t r u c t u r e o f t h e Knight's
the c i r c u l a r s t r u c t u r e o f t h e amphitheatre
of
c a n be mapped o n t o
Section II
t h e poem c o n t a i n s a number o f r e f e r e n c e s t o V e n u s , whom we s h o u l d remember
was o r i g i n a l l y
she
Tale
i n t h e f o l l o w i n g way.
"walketh
white
the L a t i n
goddess o f s p r i n g :
up a n d doun, a n d a s h i r e
a n d r e d e , / To make a s u b t i l
hevenysshly
she soong"
(1052-55),
liste
E m e l y e ' s homage t o May, when
/ She g a d e r e t h
floures, party
g e r l a n d f o r h i r e hede; / And a s an a u n g e l
Palamon's p r a y e r t o Venus
(1104-11),
A r c i t e ' s p a r a l l e l homage t o May, when "he gan . . . / To maken hym a g e r l a n d
of
t h e g r e v e s / Were i t o f wodebynde o r h a w e t h o m l e v e s ,
ayeyn
t h e sonne s h e n e "
a b o u t Venus
(1528-29).
which
into
armies
falls
of Arcite
(1506-09),
/ And l o u d e he
and t h e n a r r a t o r ' s subsequent
song
"digression"
These c o r r e s p o n d t o t h e g r e a t e v e n t i n S e c t i o n I V
t h e domain o f Mars, namely, t h e t o u r n a m e n t between t h e
and Palamon.
These p a r a l l e l s
a r e diagrammed i n F i g u r e 2.
178
Figure 2
The C i r c u l a r S t r u c t u r e o f t h e Knight's
Tale
NORTH
Diana
PROLOGUE
EPILOGUE
Mars
WEST
(Tournament)
EAST
Venus
(Homage t o S p r i n g )
(Description o f
the Temples)
SOUTH
179
When t h e p o i n t s o f t h e compass a r e a d d e d
is
" i n " t h e e a s t and the b a t t l e
section
t o the diagram,
the s p r i n g
i s " i n " the west.
section
This corresponds
e x a c t l y w i t h t h e p l a c e m e n t o f t h e t e m p l e s o f Venus a n d Mars i n t h e amphitheatre,
and leaves o n l y
w h i c h we
c a n deduce
the l o c a t i o n o f Diana's s e c t i o n
i n t h e f o l l o w i n g way.
Both A r c i t e
t o be
the
o b j e c t o f t h e i r p r a y e r s f r o m Mars a n d V e n u s , r e s p e c t i v e l y .
the
o t h e r h a n d , p r a y s t o D i a n a , b u t does
the
same way, t h e " t e m p l e " o f D i a n a , E m e l y e ' s
diagrammed
but
circle
by Diana's
diagram,
n o t , f o r example,
failures
" N o r t h " (where
logue and t h e E p i l o g u e .
patron deity,
t o p r o t e c t t h e m a i d e n s who c a l l
i s marked on t h e
on h e r . I n t h e
I n t h e f o r m e r we f i n d t h e d e f e a t o f t h e Amazons, a n d
Emelye t o Palamon.
i . e . , the marriage
t h e o p i n i o n o f F r e d e r i c k T u r n e r , "The c i r c u l a r harmony o f t h e poem,
s y m b o l i z e d i n microcosm by t h e c i r c u l a r shape o f T h e s e u s ' l i s t s
a major s t r u c t u r a l element.
junctions
the
The v a r i o u s
w a r d s a r e t h e p l a n e t s o f t h e m a j o r gods i n t h e poem:
Primum Mobile,
the
m e d i a e v a l model o f t h e u n i v e r s e :
the F i r s t Mover."
c e n t r e about which
V e n u s , Mars,
and unmoving.
immobility
Tale,
and o u t s i d e
A f u r t h e r w o r d may be a d d e d
In just
i n terms o f t h e a c t i o n ,
now
like
I do n o t v e n t u r e t o g u e s s w h e t h e r
t o turn
himself.
a l t h o u g h h e d o e s n o t undergo
only
(as
figure
well
Chaucer
heroes, as A r c i t e
Knight's
i s due t o "random r e f e r e n c e s
from t h e p r o b l e m o f Theseus'
H i s p a r t i n t h e Knight's
any d e v e l o p m e n t
Tale
literally
regarded t h i s
Tale
cannot b e l i e v e
t o generous
lists
of roles.
a n d Palamon a r e n o t ) T h e s e u s
Y e t h e does
dominates
i s the
For this
t h a t he i s one o f c l a s s i c a l m y t h o l o g y ' s
from the b e g i n n i n g .
t o the
i s l a r g e , and
o f c h a r a c t e r , Theseus
i n t h e poem who a p p e a r s i n a v a r i e t y
as t h e f a c t
about
o f S e c t i o n I I I a s s i m p l y a p p r o p r i a t e , humorous, o r
t h a t t h e slowness o f t h e pace
. .
_ „.
„17
periods o f time."
I would
that
t h e same way i s t h e
a t any r a t e ,
b o t h , b u t i n v i e w o f t h e c a r e f u l c o n s t r u c t i o n o f t h e poem we
p r o b l e m o f Theseus
out-
Jupiter,
i n i t , t h e E a r t h was t h e s t a t i o n a r y
the various spheres t u r n e d .
c e n t r e o f t h e Knight's
narrative
1 6
crystal-
concentrically
O u t s i d e S a t u r n was t h e s p h e r e o f t h e f i x e d s t a r s ,
the
still
and con-
model o f
D i a n a i s t h e Moon, w h i c h was f i x e d t o t h e i n n e r m o s t
sphere t h a t contained the earth and i t s environs;
Saturn.
(1887-89),
linear oppositions
o f t h e gods c a n b e mapped o n t o t h e m e d i a e v a l spherical
universe:
line
In
Diana's s e c t i o n s h o u l d be) i s o c c u p i e d by the P r o -
of
also
on
by l e n g t h y scenes d e v o t e d t o h u n t i n g ,
t h e l a t t e r i s the c o r r e s p o n d i n g d e f e a t o f Diana's p l a n s ,
is
receive
Emelye,
n o t g e t w h a t s h e most d e s i r e s .
in
In
identified,
a n d Palamon
reason
most famous
the a c t i o n o f the
not s i t e a s i l y
i n h i s niche.
180
corresponding
to S a t u r n .
to. J u p i t e r i n t h e same way
t h a t Egeus,
his father,
I n f a c t , w i t h the e x c e p t i o n o f S a t u r n , Theseus
w i t h e a c h o f t h e m a j o r gods who
J u p i t e r does n o t n e e d
D i a n a , and
t o be
appears
i n t h e poem.
c a n be
corresponds
identified
His i d e n t i f i c a t i o n
r e h e a r s e d , b u t what o f h i s r e l a t i o n s h i p
Venus?
Theseus
His s e r v i c e
i s d e s c r i b e d i n terms o f t h e god whose a c t i v i t y
t o Mars i s m e n t i o n e d
several
he
performs.
t i m e s i n t h e c o u r s e o f t h e poem,
as when he
carries
a b a n n e r w i t h t h e f i g u r e o f Mars on i t i n g o i n g t o
w i t h Creon
(975) .
Although Theseus,
o p p o n e n t o f D i a n a when we
first
n e c t i o n w i t h Venus i s l i k e w i s e e a s i l y
y o r e agon"
(1813) when he was
t h e d e a t h o f A r c i t e , when he
scene p a r a l l e l s
he
comes t o s e r v e h e r when he
tournament,
Dyane"
seenj
(1682).
n o t o n l y d i d he
a s e r v a n t o f Love
i s serving
serve her " f u l
the cause o f Athens, Theseus
Finally,
although
i s actually
t h a t Theseus'
s u c c e s s , b o t h a s a r u l e r and as a c h a r a c t e r , i s due
d e d i c a t e themselves
to a single
g i v e n t o h i s sermon.
t h e k n o w l e d g e o f God
sight.
Mover
why
philosophy, which
chaotic story
quotes
Theseus'
2 0
appears
which
account
arbitrary)
w i t h no F i r s t
Mover i n
i n the t a l e ?
i s treated quite b r i e f l y .
speech
m u c h e l moore / To t h i s
effect,
The
solution to this
t o the s o l u t i o n o f the n e x t problem
o f them t o g e t h e r .
f u l wisely
(2850-52),
Egeus
Knight
over a l
to enhorte
g i v i n g no h i n t as
problem
i s closely
I want t o d i s c u s s ,
so
1
the
The
(2843-49) a n d s a y s , "And
the c o n t e n t o f the remainder.
First
view o f the u n i v e r s e i s n o t
i n some ways t o be more i n k e e p i n g w i t h
reconforte"
c o n s i d e r t h e two
(and c o m p l e t e l y
t h e n i s i t g i v e n s o much p r o m i n e n c e
The p e p l e t h a t t h e y s h o u l d hem
nected
does n o t t a k e i n t o
i d e n t i f i c a t i o n o f J u p i t e r w i t h the
Yet i f Theseus'
o f Palamon and A r c i t e ,
he
c h a r a c t e r i s the weight
gods e x e r c i s e o v e r men,
a s h o r t s e c t i o n o f Egeus'
t h i s y e t seyde
characterization
deity.
o r the a p p a r e n t l y complete
(3035) i s i n c o r r e c t .
the r i g h t one,
be
to h i s
o f human t r a n s c e n d e n c e o f F o r t u n e / D i s o r d e r t h r o u g h
the Olympian
Furthermore,
well
must c a l l h i s p h i l o s o p h i c a l v i e w p o i n t
r a t h e r t h a n B o e t h i a n , f o r he
e i t h e r the p o s s i b i l i t y
c o n t r o l which
19
We
serving
I t may
i n c o n t r a s t t o the o n e - d i m e n s i o n a l
18
Another p r o b l e m a t i c a l a s p e c t o f Theseus'
pseudo-Boethian,
This
t a k e s p l a c e a f t e r Palamon i s c a p t u r e d i n the
a r r a n g e s t h e m a r r i a g e o f Palamon and E m e l y e .
o f t h o s e who
after
(2837).
Venus when he
multifaceted personality,
goes
con-
i n h i s youth, but a l s o
when Venus weeps and S a t u r n c o m f o r t s h e r .
he i m a g i n e s h e
Theseus'
i s unhappy and Egeus c o m f o r t s h i m
t h e one w h i c h
war
as c o n q u e r o r o f t h e Amazons, i s t h e
s e e him,
o u t h u n t i n g : " f o r a f t e r Mars he s e r v e t h now
s h o u l d be
with
t o Mars,
l e t us
/
to
con-
181
Why
or
the
i s t h e Knight's
Thebaid
answer, b u t
had
such i s not
t h e K n i g h t ' s Tale
And
by
as
a
the
divided into four parts?
the
for a
reference
to
the
f o r the
case.
by
f o u r - p a r t m o d e l , we
(3005-34), and
l i v e d and
such as
the
the
turns
he
c a l questions
The
looking
eterne."
outside
the
text
examples a r e
from the
general
and
philosophy
for chivalric
it
t h a t we
44) , b u t
may
nat
to
it
i s more h o n o u r a b l e t o d i e
one's o l d age,
and
down i n h i s p r i m e
wisdom "To
the
than to Chaucer.
of i t .
four-part
obtuseness.
The
authoritative
Boccaccio,
The
mortal
wisdom and
creatures
honour.
concludes with
Arcite's
Duke T h e s e u s o r
death.
the
Knight
t o us
alle
as
folly
or
himself.
/ And
i s due"
(military) authority
are
At
rhetori-
and
(3041-
r e b e l l i o n (3057).
flour"
ought to g r i e v e
forgotten.
take
which
(or i s i t propaganda?) t o say
t h a t a man
that
(3048) t h a n
less for a friend
With t h i s
t o T h e s e u s ' sermon t o t h e
identification of
i n the
does n o t
Knight
the
but
with
the K n i g h t ' s
t a l e which
for a
i n mind, I
Knight
rather
the
the
interests with
Theseus'
Knight i s narrating,
f o r the
not
Knight's
e v e n t s he
even
relates.
t e x t i s a s i m i l a r example o f n a r r a t o r i a l
f e e l s t h a t he
he
Tale,
account very w e l l
d i v i s i o n o f the
o r e v e n on
long-
p h i l o s o p h i c a l o u t l o o k o f T h e s e u s ' sermon c o i n c i d e s
m o d e l , and
u n d e r s t a n d a b l y ) he
third
t h a t are
speech are p e r f e c t l y
namely t h a t
things
thilke
i n the
(as T h e s e u s p r e s u m a b l y does f o r A r c i t e ) t h a n
i t a prominent place
though h i s p h i l o s o p h y
/ That
maken v e r t u o f n e c e s s i t e e ,
a c t u a l s i t u a t i o n o f t h e Knight's
perception
in this
rhetoric of
a t t e n t i o n given
The
discusses
i n one's " e x c e l l e n c e
therefore
part
(3035-69) , T h e s e u s
s p e c i f i c and
of bewailing
d i e s w i t h h i s deeds o f g l o r y
w o u l d a t t r i b u t e the
The
discerne
fourth part
the
part of m i l i t a r y r h e t o r i c
in
f r i e n d who
the
contained
condemns c o m p l a i n t s a b o u t the way
i s equally
In
e s c h u e , / And
i t is particularly
the
. . . wel
t o show t h a t e v e n t h i n g s
f i g u r e s s u c h as
s o l d i e r i t w o u l d be
explains
second
nature o f Nature i s d e s c r i b e d
about the p o i n t l e s s n e s s
F o r any
weel
men
given
end.
itself.
each begun
(2987-93)
The
an
o f l i f e s p a n s f o r a l l "engendered"
"may
The
f i r s t part
cheyne o f l o v e . "
F i r s t Mover w i t h J u p i t e r a n d
advice
appropriate
assures
than
must l o o k w i t h i n
The
"faire
establishment
must come t o an
the
with
rather
Teseida
further for
p h y s i c a l l y e n d u r i n g , as w e l l as more o b v i o u s l y
men,
identifies
end
" F i r s t e Moevere."
which, Theseus says,
Moevere s t a b l e i s and
cut
I f e i t h e r the
have t o l o o k
Instead,
c r e a t i o n o f the
(2994-3004) d e s c r i b e s
creatures,
It
might not
21
i t h a p p e n s , T h e s e u s ' sermon i s d i v i d e d i n t o f o u r s e c t i o n s ,
reason
part
Tale
f o u r b o o k s , we
needs t o s h a p e h i s d i s c o u r s e
does s o , b u t
n o t on
the
actual structure of his story.
t a k e s T h e s e u s f o r h i s model, and
on
model o f S t a t i u s
the
Instead
shape o f
some
or
(and
Theseus'
182
sermon as t h e m o d e l f o r what a p p e a r s
This m i l i t a r y
is
(or c h i v a l r i c )
"pseudo-Boethian."
glory
The
"Certes
beren
the g i f t s
f o r ye han
hem
joie
to c l e p e n thynges
a l i n the c o n t r a r i e j
swych power ne
aughte n a t ben
clepyd dignyte.
as i t e s
with
t o be
f u l wel yseene.
and
ignored
names,
And
ilke
cleped rychesses,
swich
a t the l a s t e ,
of Fortune,
For neither t h e i
ijoyned."
that
f u l ofte
so t h a t t h i s e
ne
dignyte
I may
i n which ther
ne
joygnen
i s incompatible with
the q u e s t
nys
bownte,
hem
a l w e y gode t o whom t h e y
22
(Book I I , p r . 6)
ne
conclude
t h a t hath i n hymselve n a t u r e 1
ne maken hem
f o r t h e knowledge o f God
false
c l e p y d power, ne
the y y f t e s
d e s i r e d , ne
a l w e y t o gode men,
nat
been
for earth-
fame.
The
r e l a t i o n s h i p o f form
t o meaning i n the K n i g h t ' s
o f a m i r r o r t o the t h i n g i t r e f l e c t s .
depends o n what we
c a n be
certain
locking,
and
critical
interpret
Naturally,
t h a t t h e r e i s a form
as
problem
i n courtly
love.
t o t h e poem, t h a t
own
Not
tragedy
world-view.
The
ideal
celestial
aristocracy
First
Mover.
i s contained, manipulated,
reflected
i n both
statement
to be.
surprisingly,
Tale,
and
We
Knight
Tale
the Athenian
shows how
and s u b v e r t e d by
discordant
q u a r r e l l i n g O l y m p i a n gods above and ambiguous Thebans b e l o w .
out of a
satire
a story
the i d e a l s
I n s t e a d , the s t o r y
there i s
is a
tells
inter-
i t has
t o the working
he b e l i e v e s shows the v i r t u e s o f good government, w i t h
the
that
i t is circular,
v i e w i s t h a t t h e Knight's
o f the n a r r a t o r ' s pseudo-Boethian
militarily-oriented
Tale
t o the meaning o f t h e Knight's
My
is like
the t r u t h o f t h i s
r e p e a t i n g , b u t what o f i t s meaning?
consensus
Tale
the m e a n i n g o f t h e Knight's
b e e n c o n s t r u e d as e v e r y t h i n g from a B o e t h i a n
and
philosophy.
fame,
t h e w h i c h e names b e n
r y g h t e t o ben
aughte n a t ben
t h e same t h y n g o f a l l e
no
as s u c h
t h e e f f e c t o f t h e same t h y n g e s ;
nothyng t o ben
quest
t o honour,
o f F o r t u n e , and
r y c h e s s e s ne o u g h t e n n a t by
ly
o f h i s own
t h e i r shared philosophy
after:
r e p r o v e d by
The
a statement
t r u l y Boethian approach
i s t o r e g a r d them as
r a t h e r than sought
t o be
c o n t e x t e x p l a i n s why
which
of a
Duke T h e s e u s
the
chivalric
Nature:
The
ironical
p a r t o f i t i s , o f c o u r s e , t h a t the K n i g h t never
r e a l i z e s how
turns h i s cherished ideology inside out.
i s o r d e r i n the u n i v e r s e ;
the problem
and
lower
lies
i n the f a c t
levels of disorder.
There
t h a t i t seems t o be
h i s own
n a t u r a l l y b o u n d e d by
tale
higher
183
The
—
advantage o f
recognizing
whether i t i s the
Boethian hierarchy
of
the
concentric
of
the
narrative i t s e l f
becomes s i g n i f i c a n t ,
the
Knight's
chain
as
Tale
the
i s that
t h i s h o r i z o n t a l and
instead of a r t i f i c i a l
h i s model.
Patricia
the
Kean has
which the
inter
se
vinculo
numbers t h r e e
c h a i n which Chaucer a t t r i b u t e s to love
the
and
in
Parlement
Tale.
the
Knight's
Tale
I f we
i n parts
and
can
disorder.
Turner's Hegelian
battle
e l e m e n t o f Group A
Theseus' attempt
h a n d , d e a l i n g as
disorderly
i-iii,
i n t e r p r e t a t i o n one
the
t h e s i s , the
the
We
to both
the
that
order
A r c i t e , then
Outside of
orderly
the
This
the
i v , the
the
the
a l l o t h e r , movement.
Knight's
alternating links
further,
of
the
Knight's
Creator.
Tale
Group A,
we
Group B,
can
and
call
on
the
the
other
circular structure of
external
t e x t i s the
is.
of
alter-
A r c i t e , comprises a s o c i a l o r
the
may
the
f o r mercy t h e a n t i t h e s i s ,
universe
t e x t , above them, we
fourteenth-century
of
Aristotelian
and
levels of existence
Inside
to
the t r a n s i t i o n
c o n f i g u r a t i o n o f Theseus' amphitheatre
fashion.
to
the
movements
to
outside
text
Palamon
disorder of
s e t Chaucer, whose
the
creation
A f f e c t i n g Chaucer i s
E u r o p e , and
of
the
disorder of
then the
the
within
Chaucer's
t h e w o r l d i s composed o f a l t e r n a t i n g l a y e r s
structure of
Christian
is
i n Theseus' speech and
synthesis.
r a t i o n a l i t y o f T h e s e u s , and
the
disorderly world of
orderly
step
plea
h a v e a l s o s e e n how
expands t o i n c l u d e
a d i s t u r b i n g l y easy
gods.
devinxit,"
them i n t o t h e p l a n
i t does o n l y w i t h Palamon and
the m e d i a e v a l view o f the
and
four.
S o c i a l o r o r d e r l y e v e n t s make up
24
idea
in
and
their,
Group B a r e
t h e poem, a n d
and
elementa
which, a c c o r d i n g
throw some l i g h t on
to, i n part
writing.
disorder
"unbreakable
i n t e r l o c k i n g c h a i n o f events i n the
to restore order
concerns.
poem c o r r e s p o n d s
The
Aristotelian
p l a n e t - g o d s as p r i m e movers i n
attempt to i n c o r p o r a t e
taking
and
constructing
F o r Macrobius, the bond
mover w h i c h i n i t i a t e s
a c c e p t t h a t Group A and
t h e n we
nating order
Foules.
from the
i s r e f l e c t e d i n the
chain,
of
s p h e r e s , a f a c t w h i c h may
the
love story
chain
In
structure
structure
elements i s e s p e c i a l l y a s s o c i a t e d w i t h the p l a n e t a r y
unmoved f i r s t
This
vertical
M a c r o b i u s r e f e r s t o the
the
universe
pseudo-
that:
elements a r e bound and
depends on
Nature i n the
the
vertical
or contrived.
noted
("mutuatus insolubili
Timaeus,
of
C h a u c e r seems t o have u s e d t h e
I n t h e Somnium Scipionis,
I . v i . 2 4 ) by
conception
o f mediaeval Europe, the
K n i g h t , o r t h e h o r i z o n t a l and
—
i n t h i s way,
chain"
"layered"
universe
the
above t h a t p e r h a p s i s
the
184
As
Tale
of
the l a c k o f consensus
about
shows, s t r u c t u r a l a n a l y s i s
the n a r r a t i v e s t r u c t u r e o f the
i s f a r f r o m o b j e c t i v e , and t h e
p a t t e r n s seems a p u r s u i t more s u b j e c t i v e s t i l l .
episodes
almost
i n the K n i g h t ' s Tale
t o o p a t t o be
correspondences,
for
Chaucer's
witness.
the
and
s h o u l d resemble
considered seriously.
the g e n e r a l c i r c u l a r
p o e t r y , as
s t r a n g e p l e a s f o r mercy and
the b r i e f
seemed i n d i s p u t a b l e ,
at least
my
interpretation will
a mediaeval
to
of
The
Tale
then, l i t t l e
unusual
Criseyde
bears
things such
as
things.
that
emerges
However, t h e u l t i m a t e
One
validity
i s the demonstration o f
"pattern-structured" poetry
available
o t h e r i s the presence o f r e f l e c t i o n s o f the p a t t e r n s o f the
elsewhere
Fragment I , which
Cornell
and
s c e n e o f Venus w e e p i n g a t Palamon's
to t h i s w r i t e r .
r e s t on two
of
denies the c h a r a c t e r
the e l a b o r a t e p a t t e r n
t r a d i t i o n of highly-wrought
Chaucer.
Knight's
Y e t no one
shape o f t h e t e x t i s n o t
P r o c e e d i n g from a c c e p t e d s t r u c t u r e s ,
i n t o p l a c e ; and
of
T h a t the sequence
t h e famous c h a i n o f l o v e i s
t h e c i r c u l a r s t r u c t u r e o f Troilus
defeat begin to f a l l
Knight's
identification
i n t h e C a n t e r b u r y Tales,
a r e most c l o s e l y
particularly
i n t h e poems
c o n n e c t e d w i t h t h e Knight's
Tale.
University
NOTES
1
Style
d i a r i e s Muscatine,
and
Meaning
Chaucer
( B e r k e l e y 1957)
and
the
French
Tradition:
A Study
in
173.
2
Merle F i f i e l d ,
ChauR 3 (1968)
3
are
Knight's
A l l q u o t a t i o n s f r o m and
f r o m F.N.
Boston
"The
Tale:
Incident,
Idea,
Incorporation,"
96.
Robinson's
line
numbers r e f e r r i n g
e d i t i o n o f The
Works of
t o t h e Knight's
Geoffrey
Chaucer
(2nd
1957).
4
For
Knight's
5
example, F r e d e r i c k T u r n e r ,
Tale,"
Fifield
ChauR 8
( a t n . 2)
(1974) 279-86.
105.
"A S t r u c t u r a l i s t A n a l y s i s o f t h e
Tale
ed.,
185
6
Patricia
The
Art
of
7
M.
Kean, Chaucez
Narrative
H.S.
(London
Wilson,
"The
and
1972)
Knight's
the
Making
16-17,
31.
Tale
and
of English
Poetry:
Vol. II,
t h e T e s e i d a A g a i n , " VTQ
18
(1949)
140.
8
Fifield
( a t n.
2)
96.
9
See
P a u l M.
C l o g a n , The Medieval
Achilleid
of Statius
(Leiden
1968)
1-7.
1
0
D a v i d V e s e y , Statius
1
1
E d w a r d C. S c h w e i t z e r p o i n t s o u t t h a t
mark t h e
in
correspondence
[i.e.,
the
Thebald
that Arcite
t h e v e r y g r o v e where he s u f f e r e d t h e
an i n c o n s i s t e n c y
make way
i n the t e x t ;
(Cambridge 1973)
"Chaucer's
fighting
lists
on
'hoote
f o r Theseus has
t h e s i t e where he
'as i t were i n a l y s t e s r o i a l l y '
Knight's
Tale,"
SAC
3 (1981)
320.
apparent eagerness
i s 'brent t o asshen
fires'
to
c o l d e ' (2957)
of love
(2862) ] c r e a t e s
a l r e a d y d e s t r o y e d the grove
f o r t h e s t a d i u m and s o , i t seems, t o r e a l i z e
constructing actual
The
and
to
a n o t h e r m e t a p h o r by
f o u n d Palamon and
(1713)"; see
Arcite
" F a t e a n d Freedom i n
25.
12
Unfortunately, the b e s t i a r i e s
t h a t Palamon and A r c i t e
animals,
Jeffrey
ELH
38
do n o t r e v e a l any
evidence t o suggest
are d e l i b e r a t e l y a s s o c i a t e d with
a s i d e from the g e n e r a l c o n n o t a t i o n s o f braveness
Helterman,
"The
D e h u m a n i z i n g Metamorphoses o f The
those
and
particular
ferocity.
Knight's
See
Tale,"
(1971) 493-511, f o r a B o e t h i a n r e a d i n g o f t h e s e m e t a p h o r s .
1
3
Kean
1
4
Wilson
1
5
Fifield
1
6
Turner
1
7
Muscatine
( a t n . 6)
17.
( a t n . 7)
140.
( a t n. 2)
102.
( a t n. 4)
(at n.
286.
1)
177.
18
For a Boethian i n t e r p r e t a t i o n ,
see S c h w e i t z e r
( a t n . 11)
35.
19
S c h w e i t z e r , o f f e r i n g a d e t a i l e d argument, c a l l s
"un-Boethian"
(at n.
11, p p .
Theseus'
speech
38-42).
20
For a s l i g h t l y
C h a i n o f Love:
of
Windsor
d i f f e r i n g view,
Chaucer's
Review
18
s e e B e r n a r d D. H a r d e r ,
Irony i n Theseus'
(1984) 47-52.
"Fortune's
Marriage C o u n s e l l i n g , "
University
186
21
Both
Vi rgi1's
t h e Thebaid
and II
Teseida
have 12 b o o k s , b e i n g m o d e l l e d on
Aeneid.
22
This
translation
reference
t o t h e Consolation
of
Philosophy
i n Robinson's e d i t i o n o f h i s works,
2
3
Kean
2
4
Turner
( a t n . 6)
30-31.
( a t n . 4)
282.
p.
i s t o Chaucer's
338.