(YTTINDES TO THE BODY I N GEOFFREY CHAUCER' S CANTERBURY
TALES^
Peter L. Lindsay
University o f Alberta
I n h i s b r i l l i a n t a r t i c l e e n t i t l e d "When was t h e Golden Age o f t h e
Body" (CAHPER J o u r n a l September 1970) F a i r s discussed t h e concept o f body
m o r a l i t y where:
On t h e one hand, t h e body was e v i l and t h e cause o f s i n ,
and on t h e other, t h e body was good and t h e source o f
pleasure and happiness. Exponents o f t h e d o c t r i n e t h a t the
body was a " f e s t e r i n g e v i l " perceived man's n a t u r a l ,
m a t e r i a l dimension as a v e h i c l e o f weakness and
c o r r u p t i o n . The p h y s i c a l body was c h a r a c t e r i z e d by
a p p e t i t e s and animal impulses t h a t l e d man t o s i n and
wickedness (p. 11).
Dennis B r a i l s f o r d a l s o r e f e r r e d t o t h i s concept when d i s c u s s i n g "The
Elizabethan I n h e r i t a n c e " i n h i s e x c e l l e n t book, Sport and Society - E l i z a b e t h
t o Anne (1969), as he wrote o f t h e " c e n t u r i e s o f p h y s i c a l r e j e c t i o n " through
t h e l a t e M i d d l e Ages. He spoke s p e c i f i c a l l y o f t h e p o s i t i v e s i d e o f t h e
s p i r i t u a l i t y o f t h i s p e r i o d w i t h reference t o "Chaucer's p i c t u r e o f t h e poor
parson, t h e s e l f - d e n y i n g a s c e t i c , spare i n l i m b and simple and f r u g a l i n d i e t ,
devoting h i m s e l f t o h i s p a s t o r a l d u t i e s , t o s a i n t l y r e a d i n g and humble hope o f
heaven" (p. 9). What i s i n t e r e s t i n g t o note when r e a d i n g Chaucer's
d e s c r i p t i o n o f t h e Parson i n t h e Prologue t o t h e Canterburv Tales i s t h a t
t h e r e a r e v i t u a l l y no references t o t h e Parson's p h y s i c a l being. D i d t h i s
mean t h a t "good" characters have l i t t l e o r no references t o t h e i r p h y s i c a l
appearance whereas " e v i l " , o r l e s s good, characters have a g r e a t e r number o f
body references? T h i s would c e r t a i n l y be i n l i n e w i t h F a i r s ' concept o f a
body m o r a l i t y . F u r t h e r r e a d i n g o f t h e Canterbury Tales supports t h i s
viewpoint o f "body e v i l " d u r i n g t h e l a t e Middle Ages, p a r t i c u l a r l y when t h e
type o f t a l e i s connected t o t h e p h y s i c a l d e s c r i p t i o n o f t h e t e l l e r .
I t should be noted here t h a t t h e t a l e s were gathered by Chaucer from
f a r a f i e l d and few o r i g i n a t e d from h i s pen, though he embellished them t o h i s
s t y l e . Chaucer's main t a s k was t o p r o v i d e a s u i t a b l e c o n t e x t and a l s o a v i v i d
image o f each p i l g r i m i n t h e mind o f t h e reader, an image d e r i v e d from l a t e
f o u r t e e n t h century E n g l i s h s o c i e t y and r e f l e c t i n g t h e values o f t h a t p e r i o d .
Since we beqan w i t h t h e Parson above, l e t us continue since " t h e r e
Chaucer begins h i s d e s c r i p t i o n :
never was a b e t t e r p r i e s t " (p. 3 1 ) .
A holy-minded man o f good renown,
There was, and poor, t h e Parson t o a town,
Yet he was r i c h i n h o l y thought and work.
He a l s o was a learned man, a c l e r k ,
Who t r u l y knew C h r i s t ' s gospel and would preach i t
Devoutly t o p a r i s h i o n e r s , and teach i t (p. 3 0 ) .
and we a r e a l e r t e d immediately. T f t h e mind/body dichotomy i s t o p e r s i s t ,
then "a learned man" o f "good renown" who " t r u l y " knew t h e gospel and
"devoutly" preached it, i s t o be seen as i n h e r e n t l y "qood" and t h e r e f o r e w i l l
have few i f any body references, and w i l l t e l l a "good' moral s t o r y . Chaucer
devotes f i f t y - t w o l i n e s t o t h i s p i l g r i m , making him a p r i n c i p a l c h a r a c t e r and
f i x i n g h i s image f i r m l y i n t h e r e a d e r ' s mind, though i t i s an image o f
suggestion n o t needing p h y s i c a l form. The only references t o body r e f e r t o
t h e Parson's method o f t r a v e l l i n g about h i s p a r i s h "upon h i s f e e t , and i n h i s
hand a stave," and do n o t e n l i g h t e n t h e reader as t o h i s p h y s i c a l appearance.
Chaucer seems t o take g r e a t care t o e s t a b l i s h t h e "good" c h a r a c t e r o f t h i s
p a r t i c u l a r man o f r e l i g i o n i n c o n t r a s t t o the dubious characters o f the o t h e r
supposedly r e l i g i o u s p i l g r i m s i n t h e p a r t y . The reader i s informed t h a t ,
The t r u e example t h a t a p r i e s t should g i v e
Is one o f cleanness, how t h e sheep should l i v e
He d i d n o t s e t h i s b e n e f i c e t o h i r e
And leave h i s sheep encumbered i n t h e m i r e
Or r u n t o London t o earn easy bread
By s i n g i n g masses f o r t h e wealthy dead,
Or f i n d some Brotherhood and g e t e n r o l l e d .
He stayed a t home and watched o v e r h i s f o l d
So t h a t no w o l f should make t h e sheep miscarry,
(P. 3 1 )
Other characters w i t h o u t body references a r e t h e Knight, t h e
Physician, t h e Manciple and t h e Plowman. Are these a l l t o be seen as "good"?
Chaucer devotes t h i r t y e i g h t l i n e s t o t h e Knight, choosing such words as:
There was a Knight, a most d i s t i n g u i s h e d man,
Who from t h e day on which he f i r s t began
To r i d e abroad had f o l l o w e d c h i v a l r y .
Truth, honour, generousness and courtesy.
He had done nobly i n h i s sovereign's war
And r i d d e n i n t o b a t t l e , no man more,
As w e l l i n c h r i s t i a n as i n heathen places,
Rnd e v e r honoured f o r h i s n o b l e graces (p. 1 8 ) .
J u s t as " t h e r e never was a b e t t e r p r i e s t " , t h i s c h i v a l r o u s champion o f t h e
l i s t s "was a t r u e , a p e r f e c t gentle-knight",
j u s t as t h e Doctor i s t o be seen
as "a p e r f e c t p r a c t i s i n g physician", and t h e Plowman as "an honest worker,
good and t r u e " .
These p i l g r i m s a r e i d e a l sterotypes.
The Knight l i v e s a very p h y s i c a l existence, he has fought f o r
Christendom a g a i n s t t h e Turks, he has survived " f i f t e e n m o r t a l b a t t l e s " and
" j o u s t e d f o r o u r f a i t h a t Tramissene, T h r i c e i n t h e l i s t s , and always k i l l e d
h i s man". y e t "he was wise and i n h i s b e a r i n g modest as a maid". Though t h e
reader i s drawn i n t o c o n j u r i n g up an image o f t h i s Knight, Chaucer leaves h i s
p h y s i c a l apearance e n t i r e l y t o t h e imagination. J u s t as t h e Parson i s t h e
s a v i o u r o f souls, t h e Kniqht i s t h e s a v i o u r o f Christendom, church, and
c h i v a l r y . These a r e "good" men. There a r e no references t o body.
find t h e " p e r f e c t , p r a c t i s i n g physician" i s t h e s a v i o u r o f t h e
instrument housing t h e soul, i . e . , t h e body. I f t h e body i s " e v i l " i t i s
almost a paradox t h a t t h e Doctor has no body references i n Chaucer's
t h i r t y - f o u r l i n e d e s c r i p t i o n o f him. I n s t e a d t h e reader i s informed t h a t ,
No one a l i v e could t a l k so w e l l as he d i d
On p o i n t s o f medicine and o f surgery,
For, being grounded i n astronomy,
He watched h i s p a t i e n t ' s favourable s t a r
find, by h i s N a t u r a l Magic, knew what a r e
The lucky hours and p l a n e t a r y degrees
F o r making charms and magic e f f i g i e s (p. 28).
b u t we a r e t o be cautious o f t h i s character, because,
f i l l h i s apothecaries i n a t r i b e
Were ready w i t h t h e drugs he would prescribe,
find each made money from the o t h e r ' s g u i l e (p. 28).
So, w h i l e Chaucer begrudgingly recognizes t h i s Doctor as being
e f f i c i e n t i n h i s mediaeval medicine and t h e r e f o r e casts him i n t o t h e
"bodyless, good" category as another s a v i o u r o f s o c i e t y , he a l s o warns t h e
reader o f t h e chicanery and (unstated) r i s k i n v o l v e d i n mediaeval medicinal
p r a c t i c e s . The Doctor has an encyclopaedic knowledge o f h i s subject (such as
i t was) and has p r o f e s s i o n a l f r o n t , but,
...
he was r a t h e r c l o s e as t o expenses
find k e p t t h e g o l d he won i n p e s t i l e n c e s .
Gold s t i m u l a t e s t h e h e a r t , o r so w e ' r e t o l d .
He t h e r e f o r e had a s p e c i a l l o v e o f g o l d (p. 29)
The Manciple i s a c h a r a c t e r c l o s e t o Chaucer's own p r o f e s s i o n i n t h e
" C i v i l Servicen, t h a t i s , i n v o l v e d i n commercial t r a n s a c t i o n s , so i t i s n o t
s u r p r i s i n g t o have him presented i n t h e "good" v e i n w i t h o u t body references i n
twenty l i n e s . Once a g a i n he i s t h e b e s t o f h i s type, and,
f i l l c a t e r e r s might f o l l o w h i s example
I n buying v i c t u a l s ; he was never r a s h
Whether he bought on c r e d i t o r p a i d cash (p. 32).
Now i s n ' t i t a marvel o f God's grace
That an i l l i t e r a t e f e l l o w can outpace
The wisdom o f a heap o f learned men? (p. 3 3 )
'The P l k n , "an honest worker, good and true", i s also, t h e reader
i s informed i n t h e f i r s t l i n e o f a seventeen l i n e d e s c r i p t i o n , t h e b r o t h e r of
t h e v i r t u o u s parson. T h i s immediately places him i n t h e "good" group so,
n a t u r a l l y , t h e r e a r e no body references. H i s l o w l y s t a t u s , emphasized by:
Many a l o a d o f dunq one t i m e o r o t h e r
He must have c a r t e d through t h e morning dew
and
F o r s t e a d i l y about h i s work he went
To t h r a s h h i s corn, t o d i g o r t o manure
Or make a d i t c h ; (p. 3 1 ) .
I t i s i r r e l e v a n t f o r he can almost
i s no hindrance i n a "goodness" concept.
be seen as a guardian o f nature, and t r u e t o t h e gospel. Once again, t h e
reader i s presented w i t h an i d e a l stereotype, a symbol o f t h e Peasant's Revolt
o f 1381.
The l i m i t s o f space prevent my d e a l i n g w i t h a l l t h e twenty--one
p i l g r i m s described i n t h e Prologue, and l i s t e d i n t h e f o l l o w i n q t a b l e .
S u f f i c i e n t c o n t r a s t may be provided by a comparison w i t h such characters as
t h e M i l l e r , t h e Prioress, t h e Pardoner, t h e Monk, and the Summoner, who each
has a h i g h number o f references t o body and p h y s i c a l appearance.
ORDER OF DESCRIPTION
I N PROLOGUE
Knight
Squire
Yeoman
Prioress
Monk
Friar
Merchant
Oxford C l e r i c
S e r j e a n t a t t h e Law
Franklin
Cook
Skipper
Doctor
Wife o f Bath
Parson
Plowman
M i 1l e r
Nanciple
Reeve
Summoner
Pardoner
NUMBER OF
I-INES
BODY
REFERENC
I t would be s t r e t c h i n g Chaucer's i n t e n t t o c a l l these characters
" e v i l " , as opposed t o t h e concept o f "good" suggested i n t h e characters
discussed above, b u t c e r t a i n l y they d i s p l a y c h a r a c t e r i s t i c s which may be
considered bawdy, immoral, o r perhaps s i n f u l . The Table above shows t h a t
Chaucer uses a body reference on p r a c t i c a l l y every l i n e o f h i s d e s c r i p t i o n o f
t h e M i l l e r , f o r example:
H i s beard, l i k e any sow o r f o x , was red
And broad as w e l l , as though i t were a spade;
And, a t i t s very t i p , h i s nose displayed
A w a r t on which t h e r e stood a t u f f o f h a i r
Red as t h e b r i s t l e s i n an o l d sow's ear.
H i s n o s t r i l s were as black as they were wide.
He had a sword and b u c k l e r a t h i s side.
H i s mighty mouth was l i k e a furnace door (p. 32).
The reader i s provided n o t o n l y w i t h a s t r i k i n q image o f t h e M i l l e r ' s p h y s i c a l
appearance b u t a l s o h i s character, f o r example:
.
. . he had a s t o r e
Of t a v e r n s t o r i e s , f i l t h y i n t h e main.
H i s was a master hand a t s t e a l i n g g r a i n .
He f e l t i t w i t h h i s thumb and t h u s he knew
I t s q u a l i t y and took t h r e e times h i s due-(p.
32).
Since "redheads" were u s u a l l y considered t o be u g l y , d e c e i t f u l , and
treacherous characters i n e a r l y l i t e r a t u r e a t h e reader i s introduced t o another
popular stereotype through symbolic use o f p h y s i c a l c h a r a c t e r i s t i c s . The one
o f t h e M i l l e r ' s t a l e w i l l be no s u r p r i s e .
The Pardoner and t h e Summoner rode t o g e t h e r on t h e p i l g r i m a g e so t h e
reader c o u l d expect them t o be two o f a k i n d . I n f a c t , Mann (1973, p. 138)
suggests they a r e homosexuals. Chaucer described t h e Summoner as d e a l i n g i n
t e r r o r and blackmai 1:
...
a f i r e - r e d cherubinnish face,
F o r he had carbuncles. H i s eyes were narrow,
He was as h o t and lecherous as a sparrow.
Black, scabby brows he had, and a t h i n beard.
C h i l d r e n were a f r a i d when he appeared (p. 35)
and.
...
t h e man could b r i n g duress
On any young f e l l o w i n t h e diocese
He knew t h e i r secrets, they d i d what he s a i d (p. 35).
Once again i t i s t h e r e v o l t i n g p h y s i c a l appearance which assures t h e reader o f
t h e Summoner's low c h a r a c t e r even b e f o r e h i s moral c o r r u p t i o n i s described. FI
Summoner was p a i d t o "summon" sinners t o t r i a l b e f o r e an e c c l e s i a s t i c a l court,
and o f f i c i a l s l i k e t h i s o r t h e Pardonner, who had a u t h o r i t y (from t h e Pope) t o
s e l l pardons, were o f t e n d e p i c t e d as lecherous, c o r r u p t , and open t o b r i b e r y .
I n t h e F r i a r ' s Tale, Chaucer reminds t h e reader a g a i n t h a t ,
A summoner i s n ' t much t o be commended.
I hope t h a t none o f you w i l l be offended.
' A summoner's one who runs about t h e n a t i o n
Dealing o u t summonses f o r f o r n i c a t i o n ,
I s beaten up by every v i l l a g e r
A t t h e town's end . . . ' (p. 309).
The Pardonner, who had " b u l q i n g eye-balls"
i s described as having,
. . . h a i r as y e l l o w as wax,
Hanging down smoothly l i k e a lank o f f l a x .
I n d r i b l e t s f e l l h i s locks behind h i s head
Down t o h i s shoulders which they overspread
....
He had t h e same small v o i c e a goat has g o t .
H i s c h i n no beard had harboured, n o r would harbour,
Smoother than ever c h i n was l e f t by barber (p. 36)
Chaucer t h e n g i v e s t h e k n i f e a f i n a l t w i s t w i t h :
Ijudge he was a gelding, o r a mare.
T h i s effeminate,
"honey-tongued''
p i l g r i m ' s character i s f u r t h e r unveiled
....
by h i s f l a t t e r i e s and p r e v a r i c a t i o n
Made monkeys o f t h e p r i e s t and congregation
(P. 36)
The Monk, "A manly man", i s another who i s p h y s i c a l l y described by Chaucer and
once a g a i n the reader i s a l e r t e d t o a s i n f u l c h a r a c t e r by:
H i s head was b a l d and shone l i k e looking-glass;
So d i d h i s face, as i f i t had been greased.
He was a f a t and personable p r i e s t ;
H i s prominent eye b a l l s never seemed t o s e t t l e .
They g l i t t e r e d l i k e t h e flames beneath a k e t t l e . (p.22)
H i s fatness, too, i s a s i n f u l sign, f o r c o n t r a s t s a r e o f t e n found i n
l i t e r a t u r e between a w e l l rounded body and a " s t a r v i n g " s o u l . T h i s monk i s no
a s c e t i c as a t t e s t e d by h i s g l u t t o n y , f i n e c l o t h e s , l o v e o f horses and hunting,
h i s laziness, and l a c k o f study.
The P r i o r e s s , a Nun, "known as Madam Eglantyne", a l s o r e f l e c t s a
Chaucerian m i s t r u s t o f e c c l i a s t i c a l personnel. She spoke " d a i n t i l y " , reached
"sedately", seemed " d i g n i f i e d " , was "most seemly", and s t r a i n e d " t o
f i t t e n t i o n seems t o be q i v e n t o h e r
c o u n t e r f e i t a c o u r t l y k i n d o f grace".
w o r l d l y a t t r a c t i v e n e s s and Mann (p. 127) r e f e r s t o h e r as " a woman i m p e r f e c t l y
sumberged as a nun".
Her
Her
Her
(P.
She has a p h y s i c a l presence, n o t a s p i r i t u a l one:
nose was elegant, h e r eyes glass-grey;
mouth was very small, b u t s o f t and red,
forehead, c e r t a i n l y , was f a i r o f spread,
21)
b u t perhaps t h e key t o t h e r e a l woman i s t o be found on the golden brooch
engraved, "bmor v i c i t omnia".
B r i e f reference t o o t h e r characters c o r r e l a t e s body reference count
t o character t y p e . F o r example, the Reeve a minor e s t a t e o f f i c i a l has 11
references, and i s an exacting man feared by those beneath him; t h e Wife o f
Bath, 10 references, i s a w o r l d l y woman, married f i v e times, s l i g h t l y deaf,
w e l l educated i n sexual p r a c t i c e s and " l o v e ' s mischances"; t h e F r i a r , 9
references, i s g l i b and wanton; the Squire, 6 references, "loved so h o t l y t h a t
t i l l dawn grew pale, he s l e p t as l i t t l e as a n i g h t i n g a l e " ; t h e Oxford c l e r i c ,
a student and t h e r e f o r e " o f t h e mind" r a t h e r than " o f t h e body", draws only
f i v e references; t h e Merchant, w i t h only f o u r references, i s an " e x c e l l e n t
f e l l o w " ; the Skipper, again w i t h f o u r references, i s a l s o "an e x c e l l e n t
f e l l o w " thouqh he made h i s p r i s o n e r s "walk t h e plank"; t h e F r a n k l i n i s "a
model among landed gentry" and a l s o has o n l y f o u r references t o body; and
f i n a l l y t h e Cook, 2 references i n only 9 l i n e s , i s h i g h l y s k i l l e d i n h i s t r a d e
b u t t h e readers should be cautious about him because he has an u l c e r on h i s
knee and t h i s mention i s a s s o c i a t i o n w i t h food p r e p a r a t i o n i n l i t e r a t u r e i s
u s u a l l y a s i g n o f moral c o r r u p t i o n . The Cook's Tale, though incomplete, has
leanings t o support t h i s concept b u t i s r e a l l y t o o s h o r t f o r f u r t h e r comment.
A f u r t h e r assumption i n t h i s p r e s e n t a t i o n i s t h a t t h e type o f t a l e
t o l d by each p i l g r i m w i l l be i n keeping w i t h t h e l e v e l o f m o r a l i t y e s t a b l i s h e d
by each Prologue d e s c r i p t i o n . That i s , t h e tone o f each s t o r y w i l l have baen
s e t a t a c e r t a i n l e v e l o f expectation i n t h e mind o f t h e reader through, i n
t h i s case, t h e number o f body references. We expect a " l o f t y " t a l e from t h e
Parson o r t h e Knight, and we expect the o p p o s i t e from t h e M i l l e r o r t h e
Summoner.
The K n i g h t ' s t a l e i s r e p l e t e w i t h c l a s s i c a l a l l u s i o n s and i s
reminiscent o f Homer and V i r g i l , even t o t h e f u n e r a l pyre and games which
t r a d i t i o n a l l y f o l l o w e d . I t i s a moral take o f honour, t r u e love and t h e
h i g h e s t i d e a l s o f c h i v a l r y complete w i t h v i r q i n , joust, sorrow, and o f course
a happy ending i n marriage:
bnd thus w i t h every b l i s s and melody
Palamon was espoused t o Emily,
end God t h a t a l l t h i s wide, wide world has wrought,
Send them h i s love, f o r i t was d e a r l y bought!
Now Palamon's i n joy, amid a w e a l t h
o f b l i s s and splendour, happiness and h e a l t h .
He's t e n d e r l y beloved o f Emily
And serves h e r w i t h a g e n t l y constancy; (p. 100).
The P h y s i c i a n ' s t a l e i s a s h o r t s t o r y o f love, sadness and j u s t i c e . The
b e a u t i f u l daughter o f a K n i g h t i s d e s i r e d by a lecherous judge who d i r e c t s a
"blackguard" t o c l a i m t h a t t h e g i r l i s a s l a v e and was s t o l e n from h i s house
when a c h i l d . The judge then r u l e s t h a t t h e g i r l be "returned" t o t h e
"owner's" custody. The K n i g h t i s unable t o bear t h i s , so k i l l s h i s l o v e l y
daughter i n a very moving scene. The judge orders t h e K n i g h t hanged b u t t h e
angered townsfolk i n t e r v e n e and c a s t t h e judge i n t o p r i s o n where he k i l l s
himself.
The Manciple's moral t a l e a l s o has a c l a s s i c a l s e t t i n g and b r i e f l y
t e l l s o f a jealous husband who k i l l s h i s w i f e f o r h e r u n f a i t h f u l n e s s and then
t u r n s on t h e i n f o r m e r who t o l d him o f h e r i n f i d e l i t y and so brought him
g r i e f . The i n f o r m e r i s a snowy, w h i t e crow who then has h i s feathers plucked
and t u r n e d black, as w e l l as h i s n i g h t i n g a l e v o i c e and power o f speech
removed. The moral o f t h e s t o r y i s repeatedly expressed i n l i n e s such as "you
h o l d your tongue and h o l d your f r i e n d s " , and "fi l i t t l e w i s e l y spoken as a
r u l e , W i l l save a man from being cursed f o r f o o l " , and "My son, say n o t h i n g
when a nod w i l l do", and "a tongue can sever f r i e n d s h i p a t a blow" (p. 498).
The Parson's t a l e i s n o t a t a l e a t a l l , b u t r a t h e r a two-hour sermon
on penitence and t h e seven deadly s i n s . Since i t i s t h e l a s t " t a l e " b e f o r e
t h e S a i n t ' s s h r i n e i s reached i n Canterbury i t s high, a l l e g o r i c a l tone i s
appropriate.
fit t h e lowest end o f t h e body m o r a l i t y continuum, as mentioned above,
a r e t o be found t h e M i l l e r , t h e Prioress, t h e Pardoner, t h e Summoner and t h e
Wonk. The M i l l e r ' s t a l e f o l l o w s immediately a f t e r t h e K n i g h t ' s t a l e and
provides an extreme c o n t r a s t . I t i s as bawdy as p o s s i b l e f o r t h e times and
t h e company, and c l e a r l y t h e "lowest" i n t a s t e , y e t i t i s humourous. I t t e l l s
a s t o r y of an o l d not-too-bright c a r p e n t e r (John), h i s f l i g h t l y w i f e
( A l l i s o n ) , h e r l o v e r (Nicholas) and an amorous p a r i s h c l e r k (Absalon).
One
n i g h t , Nicholas t a l k s o l d John i n t o s l e e p i n g i n a l a r g e t u b suspended from the
c e i l i n g a f t e r having convinced him t h a t a f l o o d o f Noah p r o p o r t i o n s i s on i t s
way.
A l i s o n and Nicholas then bed down t o g e t h e r f o r a n i g h t o f b l i s s when
Absalon comes crooning a t t h e window begging f o r a k i s s . The l o v e r s decide t o
p l a y a crude joke on t h e poor c l e r k and A l i s o n t e l l s Absalon she w i l l k i s s him
through t h e window. Chaucer's t r a n s l a t e d works e s t a b l i s h t h e tone o f t h e
story :
fibsalon s t a r t e d w i p i n g h i s mouth d r y ,
Dark was t h e n i g h t as p i t c h , as black as coal,
find a t t h e window o u t she p u t h e r hole,
And Absalon, so f o r t u n e framed t h e f a r c e
P u t up h i s mouth and k i s s e d h e r naked a r s e
Most savorously b e f o r e he knew o f t h i s (p. 17)
Absalon r a l i z e s a joke has been played on him so decides t o seek revenge f o r
"He d i d n ' t g i v e a t i n k e r ' s curse f o r t a r t s " .
A f t e r a quick v i s i t t o t h e
b l a c k s m i t h ' s shop he r e t u r n s t o t h e window and announces h i s presence:
. . . my l i t t l e f l o w e r - l e a f ,
I t ' s your own fibsalon my sweety-thing!
Nicholas decides t h a t i t ' s h i s t u r n t o p l a y t h e j e s t e r :
Now Nicholas had r i s e n f o r a piss,
And thought he could improve upon t h e joke
find make him k i s s h i s a r s e e r e he escape,
And opening t h e window w i t h a j e r k
Stuck o u t h i s arse, a handsome piece o f work,
Buttocks and a l l , as f a r as t o the haunch.
Said Absalon, a l l s e t t o make a launch,
'Speak, p r e t t y b i r d , I know n o t where thou a r t ! '
T h i s Nicholas a t once l e t f l y a f a r t
As l o u d as i f i t were a thunder-clap.
He was near b l i n d e d by t h e b l a s t poor chap,
But h i s h o t i r o n was ready; w i t h a thump
He smote him i n t h e middle o f t h e rump.
O f f went the s k i n a hand's - breadth round about
Where t h e h o t c o u l t e r s t r u c k and b u r n t i t o u t .
(P. 119)
T h i s i s e n t i r e l y i n keeping w i t h t h e image o f t h e M i l l e r established i n t h e
Prolosue where body references t o him abound. On a s i m i l i a r plane i s the
Summoner's t a l e where an a i l i n g man seeks revenge a g a i n s t a F r i a r f o r being
pressed i n t o l e a v i n g h i s poor savings t o him:
I'll
g i v e you what I have i n my possession,
Such as i t i s " , he s a i d 'I
have none o t h e r ....
And you s h a l l have i t i n your hand t o own
On one c o n d i t i o n and on one alone,
That you d i v i d e i t equally, dear brother,
And every f r i a r t o have as much as o t h e r (p. 332).
He then t o l d t h e F r i a r t o place h i s hand beneath h i s buttocks where:
I n t o t h e f r i a r ' s hand he blew a f a r t .
There never was a farm horse drawing c a r t
That f a r t e d w i t h a more perdigious sound (p. 332).
I t remains f o r a l o r d ' s s q u i r e t o solve t h e problems o f sharing the g i f t which
he does q u i t e i n g e n i o u s l y .
The Pardoner's t a l e i s one he f r e q u e n t l y r e l a t e s when preaching, and
i n i t he d i s p l a y s h i s shady c h a r a c t e r .
What! Do you t h i n k , as long
And g e t t h e i r s i l v e r f o r the
That Iw i l l l i v e i n poverty,
That's n o t the counsel o f my
..,.
as I can preach
t h i n g s Iteach
from choice?
i n n e r voice!
No, l e t me d r i n k t h e l i q u o r o f t h e grape
And keep a j o l l y wench i n every town!
(p. 260)
T h i s s e l f confessed h y p o c r i t e preaches a t a l e a g a i n s t a v a r i c e (a v i c e t o which
he has admitted) wherein t h r e e men p l a n t o k i l l each o t h e r o v e r l u s t f o r a
hoard o f money, and a l l end up l o s i n g t h e i r l i v e s . The "wickedness" o f t h e
t a l e l i e s i n i t s hypocrisy, i t s d e c e i t as a means o f s e l l i n g pardons t o t h e
congregation, r a t h e r than i t s immoral tone.
The P r i o r e s s ' s t a l e makes f o r an exception. I t does n o t f i t t h e
p a t t e r n . I n f a c t , scholars have questioned i t s a u t h e n t i c i t y i n t h e Canterbury
Nevertheless, i t i s a t a l e o f t h e k i l l i n g o f a c h i l d by Jews because
T
.*
he l e a r n t a c a t h o l i c song, 0 Alma Redemptoris, and i n n o c e n t l y sang it, n o t
knowing i t s l a t i n words, as he walked through t h e i r d i s t r i c t .
Although h i s characters r e v e a l Chaucer's sympathies w i t h the
teachings o f W y c l i f and h i s f o l l o w e r s , t h e L o l l a r d s , as d i s p l a y e d i n t h e hard
working v i r t u o u s Plowman and Parson, they a l s o show h i s denunciation o f t h e
church abuses o f t h i s t i m e . The q u e s t i o n i n g o f r e l i g i o u s b e l i e f s was very
much t o t h e f o r e i n Chaucer's day. The P r i o r e s s i s t h e mother s u p e r i o r o f h e r
convent y e t i s a romantic heroine type and n o t averse t o g o i n g on pilgrimages
w i t h a group o f strangers; the Monk leaves h i s c l o i s t e r o f t e n ; t h e F r i a r i s
c o r r u p t and immoral; t h e Summoner i s lecherous, t h e Pardoner, a h y p o c r i t e .
But t h i s paper i s n o t a l i t e r a r y c r i t i q u e o f t h e Canterbury Tales, i t
demonstrates t h a t where a p i l g r i m ' s c h a r a c t e r i s suspect, r a t h e r than "good",
b l a t a n t l y o b j e c t i o n a b l e , o r even bawdy, body references increase w i t h t h e
seriousness o f t h e offence. I t r e i n f o r c e s t h e argument t h a t matters o f t h e
soul and mind were considered "good" b u t t h e body was t h e suspect seat o f
weakness and c o r r u p t i o n .
REFERENCES
B r a i l f o r d , Dennis. Sport and Society - E l i z a b e t h t o Anne.
U n i v e r s i t y o f Toronto Press, 1969
Chaucer, Geoffrey. The Canterburv Tales.
Penguin Books,Baltimore, 1963.
F a i r s , Jack.
Toronto:
Translated by N e v i l l e C o g h i l l .
"When was t h e Golden fige o f t h e Body", CAHPER Journal, Vol. 37,
No. 1. (September) 1970, pp. 11-24.
Mann, J i l l . Chaucer and Medieval Estates S a t i r e : The L i t e r a t u r e o f S o c i a l
Classes and t h e General Proloque t o t h e Canterburv T a l e s . Cambridge
U n i v e r s i t y Press, 1973.