THE LOGIC OF OBSCENITY IN CHAUCER’S
LEGEND OF GOOD WOMEN
Sheila Delany
When some t h ir t y y e a rs ago H e lg e K o k e r it z opened the d i s c u s s i o n o f
C h a u c e r ’ s p u n s , he was c a r e f u l to s tr e s s
the c o n t in u i t y o f the r h e t o r ic a l
t r a d i t i o n in w hic h C h au ce ria n word-play p a r t i c i p a t e s . *
From the late-
c l a s s i c a l t r e a t i s e Ad fferennium to the high- m ediaeval a r t e s o f G e o f f r o i de
V in s a u f and John o f G a r l a n d , v a r io u s so rts o f word-play were recommended.
They were a l s o ,
poetry,
o f course,
common p r a c t ic e in L a t i n and French m ed ia ev a l
in c l u d i n g many o f C h a u c e r 's
fa vo ure d s o u r c e s .
In d e e d the work o f
Roger D r a g o n e t t i su g g e sts t h a t pun can be seen as a l i n g u i s t i c m a n i f e s t a t i o n
o f a tra it
fundam ental to m ed ia ev a l t hou ght:
s ea rc h es o ut resem blances
is
a t h e o l o g ic a l
the a n a l o g ic e p is tem o lo g y t h at
among t h i n g s , o r between t h in g s
t ra d itio n ,
and q u a l i t i e s .
t h is c o n ju n c tu re o f d i s j u n c t i v e
model can be found in the E ty m o lo g ies o f Is id o r e o f S e v i l l e .
It
t h i n g s , whose
2
A ltho ug h K o k e r it z was not s p e c i f i c a l l y co ncern ed w it h o bsc en e w ord- play,
he d id urge the accep tan ce o f s e v e r a l obscene p u n s .
In
as a n c ie n t and co ntin uo u s a p e d ig r e e as word-play d o e s ,
commonest fo r m s .
O b s c e n it y app ears
3
in c l a s s i c a l
fact,
o b s c e n it y has
and i s one o f i t s
tragedy.
I t was a p rom inent
f e a tu r e
in A t t i c
elegy.
I t had an im p o rtan t p la c e in Roman comedy and mime and in the p o e tr y
o f O vid,
a n a l it y
hum our:
comedy, whence i t was la t e r t r a n s f e r r e d by O v i d to e r o t i c
C atullus,
M a r t ia l,
and o t h e r s .
and in v o lu n t a r y n u d it y
there is
o f Cremona,
D u rin g the s o - c alled "D a r k A g e s , "
app ear as stock m o tifs in M er o v in g ian l i t e r a r y
the f a b l ia u - l i k e sho rt p rose n a r r a t i v e o f L iu t p r a n d ,
o f f e r e d in E r ic h A u e r b a c h 's d is c u s s io n o f la t e - C a r o lin g ia n
189
B is h o p
m annerism ;
th er e are the p la y s o f the German nun H ro t s w ith a w it h t h e i r o f t e n
r is q u e p l o t s .
obscene.
L a tin
"e l e g i a c
comedy" o f the t w e l f t h century was f r e q u e n t l y
H o m o s e x u a lit y , o f t e n
t r e a t e d c o m ic a lly , was a fr e q u e n t topos in
m ed ia ev a l c l e r i c a l l y r i c and o th e r c l e r i c a l g e n r e s ,
been aware
from h i s
as C haucer w o uld have
r e a d in g o f the De P la n c t u N a tura e o f A la n o f L i l l e .
o f the best-known d eba te s on hom osexual versus h e t e r o s e x u a l l o v e ,
L a t i n d ebate o f Ganymede and H e l e n ,
Cam bridge U n iv e r s it y where i t
o f G a r la n d .
s u r v iv e s in many m s s .,
is bou nd w it h
One
the Anglo-
in c l u d i n g one at
the r h e t o r ic a l t r e a t i s e o f J oh n
Some tro u bado r p o e ts vised o b s c e n it y :
i t m ight be crude and
o v e r t as w it h W i l l i a m o f A q u i t a i n e , o r i n d i r e c t and p un ning as w it h A rn a u t
D a n ie l.
A m an di;
songs,
A ndreas C a p e lla n u s
used o bs c en e imagery and pun i n De A r t e H o n e s ti
French p o p u lar l i t e r a t u r e
rid d le s,
and j o K e s .
is
f u l l o f obscene humour i n it s
tem po raries o f C haucer to be p o rn o g r a p h ic in i t s
ana to m ica l
terms a nd in i t s
fa b lia u x ,
The Roman de l a Rose was c o n s id e r e d by some con­
f o r t h r i g h t d e fe n s e o f v u l g a r
a l l e g o r i c a l r e p r e s e n t a t io n o f c o i t u s .
Even the
French e p ic does n o t esc a p e the o c c a s io n a l g r o s s i t y .
In
l i g h t o f r e c e n t work on m ed ia eva l European l i t e r a t u r e ,
and i n l i g h t
o f chan g in g s o c i a l and c r i t i c a l a t t i t u d e s , we need be n e it h e r coy nor d e f e n ­
s i v e abo ut l o c a t i n g s e x u a l word- play in C h a u c e r 's p o e tr y and a n a l y z in g i t s
fu n c tio n .
My p rem ise is
o b s c e n it y h a s ,
t h a t i n the hands o f an a cco m p lish ed w r i t e r ,
l i k e any o th e r s t y l i s t i c d e v i c e , a l o g i c o f i t s own,
a e s t h e t i c rea so n fo r b e i n g .
in The I*egend o f Good P/omen,
an
t h at rea so n i s
to
e x te n d in t o p o e t i c p r a c t i c e the a e s t h e t i c credo e s t a b l i s h e d in the Pro lo gu e
to the poem.
As I have a rg u ed e l s e w h e r e ,
d e f in e h im s e l f as a p o et f a i t h f u l
The leg en ds are p e r f e c t l y
the Pr o lo g u e a llo w s C h au cer to
to the c o n t r a d ic t io n s in h e r e n t in n a t u r e .
4
in t e g r a t e d w it h the Pr o lo g u e in t h e i r s u b v e r s io n
o f the re d u c t iv e p r o p a g a n d is t ic task l a i d on the p o e t by the God o f L o v e :
to p o rtra y women as n o t h in g b u t good
i n s t e a d is
(F 5 4 8 - 7 5 ) .
a v iew o f woman as no more and no le s s
What the p o et o f f e r s
them a n a t u r a l c r e a t u r e :
a ''m aculate m u s e ," to b orro w J e f f r e y H e n d e r s o n 's happy p h r a s e .
through the v a p id form ulae o f c o u r t ly
Slicing
love w it h s u r g ic a l a s t r in g e n c y ,
d is­
s o l v i n g the w h itew a s h ed v e r s io n o f womanhood t h a t the p o et h a s been o r d e r e d
to p r o d u c e ,
the o b s c e n it y h e lp s
s id e r e d a h e a lt h ie r e q u ilib r iu m :
to r e - e s t a b lis h what I b e l i e v e C haucer con­
a more a c c u r a t e , b a l a n c e d ,
and " n a t u r a l "
view o f women than co uld be p r o v id e d e i t h e r by c o u r tly love o r by i t s
c l e r i c a l m iso g y n y .
o f Harry B a i l l y 's
We are rem inded o f the p a r a d o x ic a l l y s a n i t i z i n g
a n a l and g e n i t a l o b s c e n i t i e s
the e f f e c t o f w hich is
to a n n i h i l a t e
to the Pa rdo n er
the P a r d o n e r 's
in v e r s e ,
fu n c tio n
( V I . 9 4 8 - 5 5 ),
attem pt to b i l k h i s
fello w
p ilg rim s.
I f we may sp eak there o f the m o ra lity o f o b s c e n i t y , h e r e we must
speak o f i t s
a e sth e tic .
Edmund S p e n se r was doubly w ro ng ,
o f E n g lis h u n d e f i l e d "
l a r y , wrong w it h
in g
fo r there i s ,
i n the le g e n d s ,
in d i c a t e my f i n d i n g s ,
in r e f e r r i n g
to C h au cer as
"w e l l
wrong w it h r e s p e c t to f o r e ig n vocabu­
r e s p e c t to low humour.
t h at C h a u c e r 's o b s c e n it y is
briefly
then,
(F . 0 . I V . i i . 3 2 ) :
H a ld e en B raddy a ls o e r r e d in a s s e r t ­
"h e a r t y and r o b u s t , w it h o u t s n ig g e r o r l e e r , " ^
p le n t y o f s n ig g e r a nd l e e r .
then g iv e
I shall
first
the "p u r p l e p a s s a g e s ," and f i n a l l y
s u g g e s t some c o n c l u s io n s .
S in c e I
am n ot c o n s i d e r i n g as obscene those case s where s e x is
clearly
in t e n d e d b u t co yly c ir c u m lo c u t e d , I s h a l l not l i s t such common euphemisms
f o r s e x u a l a c t i v i t y as
or
"p l a y ."
a ctiv ity,
"g r a c e ,"
such as
"j o u s t .”
where an a n a l o r a g e n i t a l
ly n ot
" e a s e , ” ‘’ l a b o u r ,"
" r e f r e s h m e n t ,” ’’ d a l l i a n c e "
Nor am I in t e r e s t e d in o r d in a r y sy m bo lic im agery f o r s e x u a l
What I have looked fo r p r im a r il y are the p la c e s
i n t e r p r e t a t io n o f a word o r l i n e o r image is
the f i r s t le v e l o f m eaning but i s ,
o f words o r images so t h a t in n uen do is
rather,
clear­
i n v i t e d by c e r t a in c l u s t e r s
c r e a t e d a l o n g s id e the l i t e r a l s e n s e .
I n a few cases an a c t u a l pun is p rod uc e d that makes co h eren t sen se on two
lev els
(s i g n i f i c a t i o ) .
More o f t e n , ho w ev er, there i s no a c t u a l pun but
r a th e r a homophonie sound- play
c o h eren t meaning in
(a n n o m in a t io ) where the s e x u a l
the s en te n c e b u t c o n s t it u t e s
r e f e r e n t o r g r a t u it o u s a s s o c i a t i o n , w it h the e f f e c t ,
elbow in the r i b s .
or situ a tio n
A t h ir d categ o ry r e l i e s
o f an
{A t a b l e o f c l a s s i f i c a t i o n s
The terms are p r im a r ily a n a l and g e n i t a l ,
to both male and fem ale organs and a c t i v i t y .
p r o m in e n t ly ,
more o r ' l e s s ,
le s s on la ng ua ge th an on an image
t h at provokes e r o t i c a s s o c i a t i o n s .
i s a p p e n d e d .)
term has no
in s t e a d a f r e e - f l o a t in g
the l a t t e r r e f e r r i n g
Ho m o sex ua lity app ears b u t n ot
though to be c e r t a in o f t h is we w o uld r e q u ir e more f a m i l i a r i t y
w it h the la ng ua ge o f gay s u b c u lt u r e in m ed iaeval E n g la n d than is p r e s e n tly
a v a ila b le.
in g
I a ls o
fo un d no o u t r ig h t s c a t o lo g y ,
and t h is
is somewhat s u r p r i s ­
fo r a p e r io d when sc a t o lo g y was a s t a p l e o f p o p u la r humour? b u t then our
t e x t is n ot a p o p u la r b u t a c o u rtly p r o d u c t io n .
S k e p t ic s
my assurance
in the m atter o f C h au ce ria n o b s c e n it y w i l l n a t u r a l l y welcome
that n o t a l l oc c urren c es in C haucer o f the words o r images
d is c u s s e d here are n e c e s s a r i l y se x u a l p u n .
i t k e e p s ,"
"A word is known by the company
as H i l d a Hume rem inded us when she w rote about Sh akesp eare
A l l o f my exam ples
in
the p r e s e n t p ap er o ccur in c l u s t e r s .
word i s o l a t e d in a p a s s a g e ,
there s k e p t ic is m is
Where we have one
l e g i t i m a t e , b u t where we
have t h r e e , o r t e n , p o s s i b l e d o u b le s e n te n d r e s in a p a s s a g e we must p e r fo r c e
a c c e p t the p r o b a b i l i t y ot a u t h o r ia l c o m p lic it y .
I
w i l l p r o c e e d through the leg en ds i n o r d e r ,
c o n f i n i n g m y self to the
most p e r s u a s iv e e x a m p le s .
In
the
fir s t legend,
o f A ctiu m c o n t a in s
that o f C leo p a tra ,
7
C h a u c e r 's account o f the b a t t l e
these l i n e s :
And from the top doun come the g re te s t o n e s .
In goth the g r a p e n e l ,
so fu l o f c r o k e s ;
The s t o n e s w i l l be used as w ea p o n s; y e t
.
is
a sm all
( V I I ,3 4 4 8 ).
these
p la c e m e n t ,
it s
im a g e ry ,
es p e c ia lly
"I - b l e s s e d be thy b r e c h e ,
A "c r o o k " is
a c c o r d in g to the M id d le E n g l is h D i c t i o n a r y ,
Is
rhythm ,
its
that o f n a v a l b a t t l e ,
from s t a r t to i i n i s h .
i s o ne o t
from A t t i c comedy to Sh a k esp ea re and b e y o n d .
o u t comes the b i g g u n ,
fo r th —
sure —
o f p e a s ;* ^
(s a y s MED)
"g o
t o g e t h e r ."
thus the lo ng e day i n
w it h
i n goes the
F i n a l l y th er e i s
"fy Jc e d ," p a s t
i n h i s o b s e r v a t io n
" f y k k e n ,"
to be
T n is l a s t is a common synonym
as "come
The e p is o d e i s sum m arized t h is w a y :
fy g h t they s p e n d e "
t en se o f
a pour­
lim e ,
fo r c o p u l a t i o n , a nd I s u s p e c t we m ight w e l l t r a n s l a t e i t
t o g e t h e r ," m a in t a in in g the p u n .
y
The s h ip s m eet,
down come the s t o n e s ,
then a s t i c k y w h it e su b s ta n c e app ea rs —
and the o p po n ents
John
and I s h a l l show t h at
an i r o n i c a l l y a nd u n iq u e ly a p p r o p r ia t e rep lac e m en t.
the trum pet,
8
" i n p l a c e o f the w e d d in g "
g ra p n e l w it h i t s p n a l l i c c r o o k s , the men p r e s s i n .
in g
N a u t ic a l im a ge ry,
the most e n d u r in g ly p o p u la r images
the w e d d in g h a v in g b een d e a l t w it h in an o c c u p a t io —
up goes
I t h in k n o t .
a c t u a l c o n t en t o f f r e n z i e d c o n f r o n t a t io n a l a c t i v i t y ,
and i t s p r o g r e s s io n
F y le r remarks t h a t C h au ce r rec o u n ts the b a t t l e
is
the
i t sh e e r c o in c id e n c e t h at
a m i l i t a r y s c e n a r i o s e x u a l l y s u g g e s tiv e by v i r t u e o f it s
fo r s e x u a l c o n g r e s s ,
it
(to the w a t e r ) ,
a curved segm ent or
c o n t a in the sec o nd a ry image o f male g e n i t a l i a ?
The c o n t e x t h ere i s
it s
" c r o k e s ."
used " a l l u s i v e l y " o f the male g e n i t a l .
two l i n e s
(639- 40)
The g r a p n e l , w h ic h is g o in g in
anchor w it h s e v e r a l
a b a r w it h a kn ob bed t o p ;
word is
.
"s t o n e s " a ls o means " t e s t i c l e s " ; we
r e c a l l H a rry B a i l l y 's words to the N u n 's P r i e s t :
and e v e r y s t o o n ! "
.
(6 5 0 ).
"t o f u c k " ;
"F y g h t "
(fig h t)
"And
i s homophonie
and i f S a u s s u r e was c o r r e c t
t h a t "N o t h in g e n t e r s la n g u a g e w it h o u t h a v in g b een t e s t e d
in s p e a k i n g ,” * *
then we n o t o n ly may b u t o ug ht to assume t h at the word " f u c k "
(o r a c o g n a t e ),
f i r s t a t t e s t e d i n p r i n t in 1 5 0 3 , was a lr e a d y i n o r a l
la tio n in C haucer’s day.
W h ile
h ere a n d thus n ot a tru e p u n ,
the homophony i t s e l f is
i n c o n t e x t o f the r e s t o f t h is p a s s a g e .
In
"T h i s b e ,"
d e s c r ib e s
circ u ­
the sec o n d a ry m eaning would be ungram m atical
the p o i n t , e s p e c i a l l y
12
the key p a s s a g e f o r my p r e s e n t p urp o se i s
the w a ll s e p a r a t i n g the two lo v e r s
(7 3 7 - 8 1 ) .
the one that
The p a s s a g e is
F is s u s e r a t t en u i rim a , quam d u x erat o l im ,
cum f i e r e t ,
S p lit
p a r ie s domui communis u t r i q u e .
(65- 66)
i t was by a narrow crac k w hic h h ad formed lo n g a g o ,
when i t was b e in g b u i l t —
the w a l l common to b oth h o u s e s .
(my t r a n s l a t io n )
A com parison o f t exts shows C hau ce r a t p a in s to em phasize the s c u r r i l o u s
p o tential o f
the L a t in n a r r a t i v e
done b e fo r e h im ;
a synonym fo r
as in d e e d J u v e n a l and A la n o f L i l l e had
fem ale g e n i t a l i a , 1 ^ w h ile A l a n ,
h o m o s e x u a lit y ,
in
—
fo r Ju v e n a l a p p r o p r ia t e d the image o f tne narrow crack as
in c o r p o r a te d O v i d 's
d e p lo r in g the p r e v a l e n c e o f
image in to a t r i p l e homophonie w ord- play
the De P i a n c t u N a t u r a e , where C hau cer m ight w e l l have fo un d i t :
Non modo p e r rimas rim a tu r b a s i a T h is b e s
Pyramus , h u ic v e n e ris
rim u la n u l l a p l a c e t .
(Metrum I ,
I n no way d id Pyramus sea rc h o ut T h i s b e 's k is s
cracks;
the l i t t l e
53-54)
14
through
crac k o f Venus no lo n g e r p l e a s e d h im .
(my t r a n s l a t io n )
In C h a u c e r 's
v e r s io n o f the T h is b e s t o r y , we n e a r f i r s t
c lo ve a-two.
.
(fo u n d in g )
less
(/3 8 - 3 9 ).
is n e a r l y homophonie w it h
"fu n d e m e n t"
( a n u s ) ; i n c o m bin a tio n w it h
it
is
T ale
is
d i f f i c u l t to a v o id se e in g
The a s s o c i a t i o n is
than th re e times i n
crack:
"w as
fu n d a c io u n "
"c l o v e a-two" i t
lin e s .
t h a t the w a l l
. o f o ld e tyme o f h i s
"F u n d a c io u n "
tne image o f b u tt o c k s i n th ese
s tr e n g th e n e d when we f i n d the w ord " c l y f t e "
the n e x t sev en l i n e s .
"C l y f t e " i s ,
the crac k in the w a l l through w hich the lo vers s p e a k .
d is tin c tiv e ly
( I I I . 2 1 4 5 ).
the c l e f t in the b u t t o c k s ,
To t h is
unorthodox s e x u a l
contact.
once in the p hrase
the w a l l ’ s s t o n e :
The word "s t o n e " occurs
"t h y lym and ek thy s t o n "
docum ented synonym fo r the male g e n i t a l , ^
"y o u r lime and your s t o n e " o r as
a
B ut in E n g l is h
as we r e c a l l from the Sunom ner
c l e f t the lo v e r s apply t h e ir l i p s ,
can n o t k i s s one ano ther they k i s s
no
o f course,
(7 6 5 ) .
and s i n c e they
two s u g g e s t io n s o f
tw ice in
S in c e
fo u r l i n e s ,
"lim b "
is
a well-
t h is p h rase can be r e a d e i t h e r as
"y o u r lim b and your t e s t i c l e . "
C o n t in u in g the g e n i t a l a s s o c i a t io n s b ut t r a n s f e r r in g them to a female
c o n tex t is
T h i s b e 's
lam ent b e fo r e h er s u i c i d e :
"My w o fu l h a n d / ' quod s h e ,
"Is
s t r o n g ynogh in s w ic h a werk to me;
F o r love s h a l yeve me str e n g th e and h a rdy ne sse
To make my wounde la r g e y n o g h ,
In
the f i r s t c o u p le t
m a s t u r b a t io n ,
("my h a n d is
stro n g en o u g h ")
a fem ale s e x u a l o ff e n s e
m a n u a l s ;a n d ,
in
(890- 93)
I w o uld rea d an a l l u s i o n to
commonly t r e a t e d in c o n f e s s i o n a l
the sec o nd c o u p le t ,
make my wound la r g e e n o u g h " ) .
I g e s s e .”
an a l l u s i o n to the v u lv a
Many f o l k l o r i s t s
("lo v e w il l
t e s t i f y to the a n c ie n t
c o n n ec tio n b etw e en a wound and tne fem ale g e n i t a l i a :
the p h y s i c a l resem blance
is d o u b t le s s s t r e n g t h e n e d by the homonym v u l v a /v u l n u s .
L a t e r b oth R a b e l a is
and S h a k e s p e a r e w o u ld use the a s s o c i a t io n to c rude com ic a d v a n t a g e .
17
S h o u ld i t be o b j e c t e d t h a t such o b s c e n i t i e s are o u t o f p l a c e in a t a l e
o f t r a g i c d o u b le d e a t h ,
I w ould r e p ly that the tone o f t h i s leg en d i s
le sq u e and b a t h o s
th ro u g h o u t.
in a n im a t e o b j e c t s
such as w a ll and wimple is
o f s e n t im e n t a l a n p l i f i c a t i o
F o r exam p le,
gone w i l d .
jdut -
the r e p e a t e d apo strop he o f
a lr e a d y r i s i b l e as an in s t a n c e
E s p e c ia lly i f
the LGW were r e c i t e d
a l o u d , such r h e t o r i c a l e x c ess would c re a te a comic atm osphere in w h ic h a
18
l i t t l e s u b t l e o b s c e n it y w o uld be q u it e in k e e p in g .
The t a l e o f D ido u n fo ld s under the eye o f V e n u s ,
and i t
is
s u f f u s e d w it h s e x u a l i t y :
sig h in g and k n e e lin g ,
theme,
in g
the p o e t uses
p it y
is
the consummation o f h i s p r o t a g o n is t s *
horse;
’’amorous l o k y n g ” and " l u s t y
the image o f
d e s ir e
"t h e
f o l k ,"
As i f to u n d e r l in e the c o pu lato ry
the word " p r i c k " tw ice in the tw enty l i n e s
two o c c u r r e n c e s a p p ea rs
(1 1 9 2 - 1 2 1 3 ).
fomy b r y d e l "
(1 2 0 8 )
ju s t preced­
B etw een these
o f A e n e a s 's
so t h a t the c l u s t e r is pric k- foa m - p ric k , w it h a f u r t h e r p la y on
b r i d l e /b r id a l .
W h ile
usage as a s e x u a l
—
all
and g e n t i l e s s e .
the a n t i- h e r o ’ s m other,
m eaning
"p r ic k "
term u n t i l
as noun w o uld n ot come i n t o docum ented l i t e r a r y
the s ix t e e n t h c e n tu r y , none the l e s s
to s p u r , p r o d , s t i m u l a t e , o r r id e h a r d —
the verb
was in C h a u c e r 's day
w e l l enough known as a s e x u a l metaphor to o c c u r w it h o b v io u s e r o t i c m eaning
19
i n the R e e v e 's T a le (4 2 3 1 ) a nd in p o p u la r b a l l a d s .
We o ug h t to r e c a l l
furtherm o re
orgasm
th at i f
the word " d i e " were s t i l l
(as i t was i n C h a u c e r 's
l it t l e d iffe r e n tly
J a s o n 's
betray al.
—
"D ie ,
c u r r e n t as a euphemism fo r
time) , we w o uld h e a r the h e r o i n e 's
name a
dol"
tre atm en t o f H y p sip y le i s b oth an econom ic and a s e x u a l
He b r i b e s
h e r f o r t u n e ; he
the q u e e n ’ s c o u n s e llo r s so as to w in h e r a f f e c t i o n and
"t o k o f h i r sub sta un c e /
"s u b s t a n c e ” meant p ro p e rt y o r w e a lt h ,
What so hym l e s t e "
and H y p s ip y le i s
(1 5 6 0 - 6 1 ).
Now
a la d y o f s u b s t a n c e .
B u t the w o rd a ls o meant p h y s i c a l m atter in a more in t im a t e s en s e —
sem en,
sp e c ific a lly
—
and t h is g iv e s us a true p u n .
p o p u la r view o f
female s e x u a l p h y s io lo g y was t h at fem ale "s e m i n a t i o n ” co­
in c id e d w it h o rgasm ,
to o c c u r .
and that
female sperm had to be e m itt e d f o r co nc ep tio n
T h is b e l i e f e x te n d e d back to O v i d and w o uld c o n t in u e w e l l in t o the
s ix t e e n t h c e n t u r y .
b ecau se we are
20
We know t h a t the seq uence has o c c u r r ed w it h H y p s ip y le
t o ld t h a t Jaso n b e g a t two c h il d r e n
C haucer r e f e r s
s in i f
The a c c e p t e d m e d ic a l and
Mupon"
(a n o t h e r pun)
to fem ale sem in a tio n twice in the P a r s o n * s T a l e :
"man o r womman s h ed eth h i r e n atu re in manere o r in p l a c e
c h il d may n at be c o n c e iv e d "
in a church ( X . 9 6 5 ) .
"s u b s t a u n c e "
( X . 5 7 7 ) , and i f
her.
i t is
a
t h e r as a
"man or womman s p i l l e h is k y n d e "
C haucer e v id e n t l y has the p h y s i o l o g ic a l m eaning o f
firm ly in mind when he w r it e s
in the P a r s o n 's
T a l e about lec h ery
that
Unto
the body anoyeth i t g re v o u sly a l s o ,
I t w a s te t h eek h is
it
c a t e l and h is
a f o u le r thyng whan t h a t
c a t e l and s u b s t a u n c e ,
One m ight assume
.
.
fo r i t d re y e th hym,
su b s t a u n c e .
And c e r t e s
.
.
that "s u b s t a u n c e " here i s
a synonym f o r " c a t e l "
(p r o p e r t y );
We h a ve in H y p s ip y l e ,
expense o f s p i r i t in a w aste o f s h a m e ." Y et in T r o il u s C h au ce r goes
t a r ia n ,
p h ilo so p h ic al,
and s e x u a l s e n s e s .
For a c c id e n t h i s
In
suD sta un c e ay to l e s e "
the le g e n d o f Lucrece
is,
places,
tries
there is s u g g e s t iv e n e s s —
(1 7 1 5 )
to p ersua de
whan man may c h e s e ,
/
(I V .1 5 0 5 ).
b u t o nly one s e x u a l pun t h a t I was a b le to l o c a t e .
knew the e s t r i s w el and f y n "
the
t h at p l a y s on proper-
When T r o il u s
C r is e y d e to e lo p e witji h im , he a rgu es t h at " f o l i e
where
lin es
It
is
1 8 1 8 and 1 8 5 9
"T h e husbonde
" e s t r i s " means i n t e r i o r o r h id d e n
norm ally o f a g arden o r c o u r t y a r d , b u t f i g u r a t i v e l y p erh ap s o f a
human b o d y .
The same pun appears in
the Pomaunt o f the R o s e , where B e la c u e iX
shows the lo v e r "T h e e s t r e s o f the swote p l a c e "
s io n
to
the same pun t h a t S ha kesp ea re p ut to e f f e c t i v e use in h i s So n net 1 2 9 ,
b ard one b e t t e r , p r o d u c in g a t r i p l e pun on "s u b s t a n c e "
—
.
( X . 848- 49)
d i s t i n g u i s h betw een s o c i a l and p h y s i o l o g ic a l m a t e r i a l s .
"Th*
.
. is
. womraen d is p e n d e n upon men h i r
y e t to s p e c if y p h y s i c a l d e s ic c a t io n as a consequence o f l u s t i s s u r e l y
then,
.
"o v e r a l
t ra d itio n a l
to g o , "
(3 6 2 6 )
thus r a i s i n g the lo v e r from h e l l
c o u rt ly vo c a bu lary o f consummation.
and g iv e s him p e r m is ­
to p a r a d i s e
in the
The e x e g e t i c a l and l y r i c a l
t r a d it i o n o r i g i n a t i n g in cojnmentary upon the So n g o f So n g s w o uld have p r e ­
p ar ed the way f o r such a p a r a l l e l between lady and g a r d e n ;
t h is
t r a d i t i o n is
e v id e n t in
the M e r c h a n t 's T a le .
C h a u c e r ’ s use o f
M oving on to A r i a d n e ,
image c e n t r a l
vo y eu r is m .
b e lo n g in g
we p ic k
to t h a t leg en d ) :
T heseu s i s
up the thread a g a in
im p ris o n e d n e x t to a "f o r e y n e "
to A r i a d n e a n d P h a e d r a .
t a i l e x c e p t p erh ap s
I may b orrow an
(1 9 6 2 ) , o r t o i l e t ,
There i s no dram atic reaso n fo r t h is
to t i t i l l a t e :
can o v e r h e a r T heseu s la m e n t ,
(if
a na l and g e n i t a l o b s c e n i t y , w it h a h i n t ot
fo r i f
the p r in c e s s e s
de­
from t h e ir q u a r te r s
does i t n o t fo llo w t h at he i n
turn must o v e r ­
h e a r them wnen n a t u r e c a l l s ?
Later,
when P h a ed ra p la n s
twenty l i n e s
hym a t h is
to h e lp T h e s e u s ,
lo a d e d w it h o bsc en e imagery
h e r t e - r o t e ,"
or t e e l ,
en jo y ,
o r ev en
t a s t in g ,
testing,
the p ass a g e b e g i n s :
t ast e i t .
o r en jo y m en t?
lu s t and g e n i t a l i t y ,
book p o in t s o u t ,
What is
fo llo w s a p as s a g e o f
" L a t us w el taste
“l e t us t e s t h is
the o b j e c t o f t h is
character" —
fe e lin g ,
H e a r t has a w e l l - e s t a b l is h e d c o n n ec tio n w it h
not least because,
"t h e
th ere
(1 9 9 3 - 2 0 1 J ).
as a fo urteen th - c en tu ry m e d ic a l hand21
r is y n g e o f a mannes yerde cometh o f a mannes h e r t e " ;
and as C h a u c e r rem inds us i n the G en era l Pro lo gu e to the C an terb ury T a l e s ,
some such c o n n e c t io n h o ld s ev en fo r b i r d s .
"r o o t "
un h esita ting ly
as
seems the l i k e l y one i n
" h e r te r o t e "
C learly
(1 0 2 6 )
For S h a k e s p e a r e , P a r t r i d g e g lo s s e s
"e it h e r p enis or p enis e r e c t u s "
22
and t h is meaning
the Romaunt o f the Rose when the lo v e r f e e l s h is
a f f e c t e d by the memory o f h i s
l a d y 's
"e v e r y m em bre."
tne p r i n c e s s 's p r o j e c t has stro n g g e n i t a l o v e r t o n e s ,
to s p e c u l a t e a b o u t the ups and downs o f p e n i l e v i r i l i t y :
" w e p e n ," a n d " i f
t h a t he b e a m a n ," l e t ' s
i n tne p l a c e where
"h e s h a l d e s c e n d e ,"
p ro c la im s P h a e d r a —
se e w h eth er
I f Theseu s h a d a
"h e d a r
,
.
"We sh u l make hym b a l l e s "
b a l l s o f wax and s t r i n g ,
a ls o meant then e x a c t l y w ha t i t does now,
pun i n a f if t e e n t h - c e n t u r y l y r i c ,
and she goes on
it s
to be s u r e .
. F y g h ten "
(2 0 0 3 )
B ut the word
s e x u a l r e f e r e n t p r o v id in g the
"None b u t she my b a l e s may b e t e "?
that i s ,
"n on e b u t s n e may amend my s u f f e r i n g , " o r "n o n e b u t s h e may b e a t (o r : r e s t o r e
23
to h e a l t h ) my b a l l s . "
I n any c a s e , the new b a l l s w i l l be c a s t in t o the
m in o t a u r 's
throat:
"k r y n k e l e d "
a n o t h e r h i n t o f o r a l- g e n it a l c o n t a c t .
(c o n v o lu t e d )
a llu s iv e o f ,
and has
"q u e y n t e " t u r n s :
the s ec o n d a d i r e c t pun o n ,
o u t w it the m o n st e r,
The l a b y r in t h is
the f i r s t a d j e c t i v e
the fem ale g e n i t a l .
thanks to "H i s w ep ne, h i s c l e w e , h i s
Theseu s does
th y n g "
(2 1 4 0 ).
Weapon and t h in g are b o t h well-known euphemisms fo r the male g e n i t a l ,
suspect th at,
rid dle
fram ed b etw e en them,
illu s tr a te s
"c l e w "
(b a i l )
the p o p u la r u n d e r s ta n d in g o f the w o rd " t h i n g " ;
p o s t - C h a u c e r i a n , b u t o t h e r t e x t s in d i c a t e c o n t in u i t y o f m eaning :
Thus my r i d d e l
and I
s h a r e s t h e i r m e a n in g .
doth b e g i n :
a mayde w o uld e have a tnin g e to p u t te in
it
is
A
and witft h e r hande she bro u ght i t
i t was so meek,
to:
i t w o uld not d o ,
ana at len gth she used i t so
t h a t to the h o le she made i t g o .
When i t had done as she c o u ld w ish
Ah hat
The answ er is
quoth s h e ,
I 'm
g lad de o f t h i s .
24
"A m aid w en t to t h read a n e e d l e , ” b u t the p o i n t o b v io u s l y r e l i e s
on the a u d ie n c e assum ing t h at " t h i n g ” r e f e r s
to the male g e n i t a l .
o f course,
as the W i f e o f B a th rem inds us
in
a ls o
r e f e r to the
female g e n i t a l ,
u s in g the common French euphemism "b e l e c h o s e "
In
"P h y l l i s ,"
la tio n :
sa il
c o u ld n ’ t stand
alm o st "a t
a s s a u l t e d from b e h in d by a w in d t h a t sh o ve d so so re h is
(2 4 1 2 );
later
the d e t h , "
haven l e y d e "
( I I I . 4 4 7 ).
s e v e r a l images su g g e st hom oerotic and h e t e r o s e x u a l copu­
Demophon is
a n t ic ip a t in g h is
the s e a pushes Demophon "now u p ,
"doy n ge to and f r o "
and P h y l l i s
refers
(2 4 7 1 )
now d o u n "
w it h P h y l l i s ;
to "y o u re a n k e r , w h ic h ye in oure
(2 5 0 1 ).^
the name Ly no ,
b u t s in c e
the r e a d in g
w h ic h is
c lo se to the L a t in
P h i l o m e l a 's
b e the o n ly one n o t u n d e rc u t by ir o n y , o b s c e n i t y ,
t h is h o r r i f y i n g m a te r ia l
re p r e s e n t s
And,
("le n o ");
too s tro n g fo r ir o n y ;
s t o r y seems to
o r t e d io u s w r i t i n g ;
is w r it t e n w it h a g e n u in e i n t e g r i t y and p o w er .
"P h i l o m e l a "
lo v e r
fo r w ho rem aster
" L i n o " oc c urs in s e v e r a l so urc e m a n u s c r i p t s , we c a n ’ t
assume t h is was o t h e r than an in n o c en t m is t a k e .
mind i t
(2 4 2 0 ),
tw ic e he is
In the l a s t le g e n d C hau cer e rr o n e o u s ly g iv e s H y p e r m n e s t r a 's
Lynceus
I t m ig h t,
to my
Perh a p s C h au cer found
c e r t a i n l y the o p e n in g to
the u lt im a te in reader- response c r i t i c i s m :
as to me,
so g r i s e l y was h i s dede
T h a t , whan t h a t I h is
Myne eyen wexe
fo u le sto ry e r e d e ,
t ou le a nd sore a l s o .
W ha t may we co n c lu de
(2 239- 40)
from t h i s b r i e f stu dy ?
F i r s t and m ost o b v io u s is
th at an in t e r p r e t a t i o n o f LGW t h a t d is m is s e s ir o n y sim ply does n ot t i t the
lin g u istic
facts.
For too lo ng the w eigh ty a u t h o r it y o f J . L .
en c o u r a g e d us to see
d ’e s p r i t .
26
It
is
t h is
Lowes h as
f a s c i n a t i n g poem as l i t t l e more than a c o u r t l y je u
time to acknowledge LGW as an im p o rtan t work i n w h ic h a
s tr o n g la te- m ed iaev al p o e t e x p lo r e s
the most in tim a t e co ncern s o f a u t h o r s h ip ;
and to t r e a t i t
f i e l d to w hich a v a r i e t y o f c r i t i c a l
app ro aches i s
as a m e t h o d o lo g ic al
a pp ro priate.
whose co ncern w it h
We n eed to approach t h is n e g l e c t e d work as one
t r a d i t i o n and o r i g i n a l i t y ,
t e x t u a l i t y and the l i t e r a r y
n isto n o g r a p h y
f i g u r a t i o n o f woman maKe i t
fo r the c r i t i c a l m etho do lo gies o f o ur own d a y .
and d e s i r e ,
an a p p r o p r ia t e focus
We need to remember,
too,
lo n g shadow o f C a l v i n i s m .
t h at betw een C haucer and o u r s e lv e s
For many c r i t i c s
sh a p ed t h e i r n o t io n o f w hat i t is
C h ristia n p o e t.
its e lf
Y e t the u n i v e r s a l i t y
It
c o n c e p tu a l.
the
tac t has d e c i s i v e l y
a great p oet,
fo r w hich C h a u c e r 's
is n o t o n ly g e o g r a p h ic a l b u t a ls o
and i n c l u s i v e .
—
the P u r it a n
to be a p o e t ,
fa lls
a moral
r e l i g i o n names
C a t h o l ic is m is la r g e
c o n t a in s w hat look to us l i k e im p o s s ib le c o n t r a d ic t io n s
among them the f a c t t h a t a g r e a t and moral C h r is t i a n p o e t may w e l l use
s e x u a l word p la y
I t is
D e s ir e
i n the p u r s u i t o f h i s
—
C u p id ,
w r it e woman a l l g o o d n e s s ; p a t i e n c e ,
o r d e s ir e
it
to be abo ut o u r s e lv e s
we may w e l l im a gine i t
there
is n a t u r e ,
tra d itio n .
and f a i t h .
In d e e d ,
sw ayed by d e s i r e ,
Y e t we l e a r n e v e n t u a l l y t h at b e s id e s d e s i r e
there is e x p e r i e n c e ,
The o b sc en e la n g u a g e in
there i s l i t e r a r y o r r h e t o r ic a l
the leg en ds rem inds us ot t h e s e ;
us the ea sy u t o p ia n
m
K o k e r it z saw C h au ce r as a "p r e c u r s o r o f
b e lie v e
And so m ight any o f us w ish
and about l o v e .
to b e s o .
b u t s t u b b o r n ly i t d e n ie s
art.
the god o f love — who commands (ieffrey to r e ­
s u b tly
form ulas o f b l i n d D e s i r e .
27
the E l i z a b e t h a n s , "
and I
i t w o u ld be u s e f u l were we to g ra n t C haucer the b a la n c e we concede
to S h a k e s p e a r e :
to see him as a w r i t e r who, w h ile e x p l o r in g m ajor is s u e s o f
a r t and the moral l i f e ,
i s n o t so o b s e s s e d w ith h ig h s e r io u s n e s s as to f o r ­
g et the p la y o f la n g u a g e —
o r the la n g u a g e o f p l a y .
Simon F r a s e r U n iv e r s it y
CHART
I.
True pun
( s i g n i f i c a t i o ) , m aking gram m atical and n a r r a t i v e s e n s e on both
l e v e l s o f m ea n in g :
su b sta n ce
(w e a lth /
upon
es t r is
H y p s ip y l e ,
1560
(w it h / on top o f )
H y p s ip y l e ,
1562
(in n e r p a r t s :
Lucrece,
17 1 5
A r ia d n e
1933
tural /
t a s t e a t h e r t e rote
(test
semen)
p h y s i o l o g ic a l )
(h is ]
taste,
arch itec­
character;
feel,
g enital)
en jo y
[his]
II.
S u g g e s t iv e im a g e :
o ut goes the g u n ,
down come the s t o n e s ,
in goes the g r a p n e l ,
in w it h
C leo pa tra ,
637- 48
T h is b e,
890-9 3
Dido ,
1208
the p o le a x p res s
the men, he p o u r s , w h it e su b s ta n c e a p p e a r s ,
opponents go t o g e t h e r .
my hand i s s tr o n g enough
love w i l l make my wound la r g e enough
foamy
toile t
( " foreyne" )
A riad n e,
ly 62
co nv o luted
("k r y n k e l e d ")
A riad n e,
2012
P h y llis,
2411- 12
p ush es him up and down
P h y llis ,
24 2 1
yo ur a n c h o r w hic h y ou l a i d i n o u r haven
P h y llis ,
25 0 1
the w in d came from b e h i n d and sho ved so
hard h i s
III.
Homophone
Cleo patra:
s a i l c o u ld n o t sta n d
(an/iom inatio) :
stones,
crokes,
"f y g h t "
a nd p o s s i b l y ,
(shoot /
s h it );
they go t o g e t h e r ,
S t . A n t h o n y 's
fir e
T hisbe :
fu n d a c io u n ,
Dido :
h e r o i n e 's nam e, p r i c k , b r i d l e /
c lifte ,
are in D i d o ,
queen
shete
(s y p h ilis ).
thy lym and ek thy s t o n ,
n o t d is c u s s e d in p a p e r :
"l o o s e w o m a n ."
they spend the day in
though n ot d is c u s s e d in p a p e r :
b rid a i.
ston.
A lso p o ss ib le but
(w ith seco nd ary meaning
O f 31 o c c u r ren c es o f t h is w ord in LGW,
even though se v e r a l o t h e r o f the h e r o in e s
25
are
o r become queens in the prim ary s e n s e ) .
A riadn e:
w ea p o n , d e s c e n d ,
th in g .
P h y llis :
i t he be a man, b a l l s ,
q ueynte,
clew e,
serve,
death.
"R h e t o r ic a l Word-Play i n C h a u c e r ," PMLA 69
(1 9 5 4 )
A lso p o s s i b l e b u t n ot d i s c u s s e d :
death.
NOTES
^ H e lg e K o k e r i t z ,
9 3 7 - 52.
See a ls o P a u l i F . Baum,
and " C h a u c e r 's
Puns :
" C h a u c e r 's P u n s , " PMLA 71
A Supplem entary L i s t , " PMLA 73
(1 9 5 8 )
(1 9 5 6 )
225- 4 6 ,
167- 70.
The
l i s t o f puns a nd word- play i n C hau cer c o n t in u e s to grow as o t h e r s c h o lar s
c o n t r ib u t e to the d i s c u s s i o n .
2
Roger D r a g o n e t t i , La
Vie de l a
See a l s o Pa u l Zum thor,
L e t t r e a u Moyen Age
1 9 80)
esp.
chap.
3.
Pun:
The Grands R h éto riq u eu rs o f F ifte e n th - C e n t u r y F r a n c e ,” New L it e r a r y
H i s t o r y 10
(1 9 7 9 )
to Poem, o r the P a th s o f
231- 63.
Most o f the in fo r m a t io n i n t h is p a r a g r a p h is
3
sources:
D .C .C .
Q u a r t e r ly 14
Young,
(1 9 6 4 );
"G e n t l e r M e d ic in e s i n
George L .
A m erican J o u r n a l o f P h i l o l o g y
Word in A esc h y lu s
101
and the L a t in M id d le A ges
the Agameimon, " C l a s s ic a l
( 1 9 8 0 ) ; W i l l i a m B lak e T y r e l l ,
J e ffr e y Henderson,
(New Haven 1 9 7 5 ) ;
T h e o r ie s o f the L a u g h a b le
taken from the f o l l o w in g
K o n i a r i s , "A n O bscen e Word in A es c h y lu s
(I I )," i b i d .;
L a n g u a ge in A t t i c Comedy
cal
"From H i ( s t o r y )
(P a r is
(New York 1 9 5 3 )
The M aculate Muse.*
Mary A .
(M adiso n 1 9 2 4 ) ;
Grant,
E .R .
386,
n.
(I ),"
"A n Obscene
Obscene
The A n c ie n t R h e t o r i­
C u r t i u s , European L i t e r a t u r e
17,
113- 2 7 , 4 1 7 - 3 5 ; E r ic h
A u e r b a c h , L i t e r a r y Language a nd I t s P u b l i c i n L a t e L a t in L it e r a t u r e a nd in
the M id d le A ges
G a n d ers h eim :
(New York 1 9 6 5 )
Her L i f e ,
1 52 - 56 ;
Times and Works
Anne Lyon H a ig h t , e d . , H r o s w ith a o f
(New York 1 9 6 5 ) ;
lam Thomson,
'E l e g i a c Comedy' o f the T w e lft h C e n t u r y ," in V e r s io n s o f M edieval
ed.
P a u l R u g g iers
a nd H o m o sex u a lity
U ncle:
(Norman 1 9 7 7 ) ;
John B o s w e l l ,
(C h ic ag o 1 9 8 0 ) ;
A m a u t D a n i e l 's
S e stin a
.
C h r i s t i a n i t y , S o c ia l
C h a r le s J e r n i g a n ,
.
.
S P 71
Roy,
e d . , L 'E r o t i s m e au Moyen Age
(P a r i s 1 9 7 7 ) ;
(1 9 7 4 );
l e Roman C o u r to is
.
.
E s s a y i n R e v a lu a t io n
(M on tre al 1 9 7 7 ) ;
Betsy Bow den,
. Genève 19 6 9 ) .
In In
(U n i v e r s i t y P a r k , P a .
fo r s e n d in g me h e r MS.
(B erk eley,
f o r t h c o m in g ).
C h a r le s
M u s c a t in e ,
and O b s c e n i t y ."
"T h e
Bruno
D e fe n se o f French P o e t r y : An
1987)
c h ap .
The Fren ch F a b l i a u x
3 , W i l l ia m C a l in
the c o n sc io u s use o f a
L aura K e n d r ic k o f Rutgers
The Game o f L o v e :
A d d i t i o n a l so urc es
T e s tify in g
(1 9 7 0 );
E r i c H i c k s , Le Débat s u r
I am a ls o g r a t e f u l to P r o f .
U n iv e r s it y
9
P h i l i p p e M e n a r d , L e R ir e e t l e S o u r ir e dans
t r e a t s o b s c e n it y as an a s p e c t o f sermo h u m i l i s :
t ra d it io n a l rh e t o r ic .
T o ler an c e
"The Song o f N a i l and
A r t o f C o u rtly C o p u l a t i o n ," M e d i e v a lia e t H u m a n is t ic a N . S .
l e Roman de l a Rose
"L a tin
Comedy,
Troubador Word P la y
are c i t e d in the n otes to
(New Haven 1 9 8 6 )
c h ap .
5,
"S e xu ality
to the p r e v a le n c e o f o b s c e n it y in p u b l i c l i f e ,
c l a s s i c a l manuals o f p u b l i c s p e a k in g g e n e r a l l y disrecommend i t as im proper
fo r the monied gentlem an
(A r is to t le , N ie . E th ,
f o r the la w y e r o r p o l i t i c i a n
xxxv; Q u in t ilia n ,
4
Bk.
IV)
and c o u n ter p r o d u c tiv e
(C i c e r o , O r a t o r x x v i ; De O f f i c i i s ,
I,
x xix,
1 1 1 ,2 8 ).
"R e w r it i n g Woman G o o d:
L a te- M ediev al T e x t s , "
Gender and the A n x ie t y o f In f l u e n c e in Two
in C hau cer i n the E i g h t i e s ,
e d . J u l i a n Wasserman
(S y ra cu se 198 6 ) , and "Women, N a ture and Language in
Women, " p ap er g iv e n a t New C h au ce r S o c i e t y ,
^ H a lde en B r a d d y ,
30
(1 9 6 6 ).
fo r h is
" C h a u c e r 's Bawdy T o n g u e ," So u th ern FolJfclore Q u a r t e r l y
very m ild by t o d a y 's
o r E m e ly e 's
lo v i n g
"s e r v i c e ."
Both a r t i c l e s
(P o rt W a s h in g t o n , N . Y .
as
i n V e n u s 's
1 9 7 1 ).
a n t iq u it y ";
cf.
L o r d Byron
in C a r o l in e Sp u r g e o n ,
(Cam bridge 1 9 2 5 ,
he owes
F iv e
r p t . New York
S tan da rd s as to w h a t does o r does n ot c o n s t it u t e a p u n , o r an
vary w i d e l y .
Thus I w o uld n ot c o n s id e r many o f Ba um 's exam ples
p u n s , b u t o n ly euphemisms o r even a m b ig u it ie s o f m ea ning .
n o t c l e a r why Thomas R o s s ,
in C h a u c e r 's Bawdy
Perhaps
S im ila r ly ,
(New York 1 9 7 2 ) ,
l e a s t three o f the most b l a t a n t o b sc en e puns i n LGWi
" q u e y n t e ."
he l i s t s
are r e p r in t e d in G e o f f r e y C h a u c e r ,
Hu nd red Y ears o f C haucer C r i t i c i s m and A l l u s i o n
29.
Thus in
he c o n s id e r e d C hau cer "o b s c e n e and c o ntem p tible :
c e l e b r it y merely to h i s
1960)
(1 9 6 9 )
" h o t l y " and P a le m o n 's vow to " d i e "
L i t e r a r y a nd H i s t o r i c a l S t u d i e s
h ad a no ther v i e w :
o bsc e n ity ,
standards.
R e alism o r O b s c e n i t y ? " A r l i n g t o n Q u a r t e r l y 2
o b s c en e the S q u i r e 's
h is
1986.
I t i s n o t d i f f i c u l t to see how B raddy rea c h ed h i s c o n c l u s i o n ,
d e f i n i t i o n o f o b s c e n it y is
"C h a u c e r :
the L egend o f Good
"b a l l ,"
it
is
e x c l u d e s at
"c l y f t e ,"
and
a p r i o r i n t e r p r e t a t i o n o f the poem i n t e r f e r e s w it h the
a p p r e c ia t i o n o f word-play o r o b s c e n i t y ;
my argum ent h ere i s
t h a t we l e t the
la n g u a g e g uid e the i n t e r p r e t a t i o n .
H i l d a Hume, E x p l o r a t io n s i n S h a k e s p e a r e ’ s Language
6
Hume is q u o tin g J . R .
^ As B e v e rly T a y lo r has p o in t e d o u t ,
e s t a b l i s h e s C h a u c e r 's
iro n ic in te n t io n ,
as a n e g a tiv e ex a m p le :
7
f o r C le o p a t r a i s
"T he m ed iev al C l e o p a t r a :
(1 9 7 7 )
249- 69.
F . N . R o b in so n , e d . , Works
8
H enderson
(a t n .
from A t t i c comedy
3)
9
10
n .d .)
and m ed iev al
o f M edieva l a nd R e n a is - - ·
A l l C h au ce r q u o t a t io n s i n my t e x t are from
(2n d e d . ,
lists
Boston 1 9 5 7 ) .
alm ost f i v e p ages o f n a u t i c a l
(London 1 9 4 7 )
36 a nd g l o s s a r y .
m a r in a r e s c a " in B o c c a c c i o 's C o r b a c c io :
N a p o li,
" i n v a r i a b l y " view ed
the c l a s s i c a l
term inology
(161- 66) , and E r i c P a r t r i d g e l i s t s numerous exam ples in
S h a k e s p e a r e ’ s Bawdy
/
100.
t h is c h o ic e o f f i r s t l e g e n d a lr e a d y
t r a d i t i o n o f C h a u c e r 's Legend o f C l e o p a t r a J o u r n a l
sance S t u d ie s
(London 1 9 6 2 )
F i r t h , b u t g iv e s no t e x t u a l r e f e r e n c e .
Opere,
ed.
C f.
a ls o the
"im m agine
P i e r G io r g io R i c c i
(M ila n o
5 33- 34.
John F y l e r ,
C haucer and O v id
(New Haven 1 9 7 9 )
100.
S c h o la rs are n o t e n t i r e l y a g r e e d on w h eth er p eas o r p i t c h w o uld a c t u ­
a l l y have been p o u r e d on the deck in a m ed ia eva l b a t t l e ; b o th are c a l l e d
p o is
in F r e n c h ,
a nd t h e r e i s some p r e c e d e n t fo r b o t h .
See R o b in s o n 's note
to l i n e 6 4 8 .
F . de S a u s s u r e ,
1915)
168.
Course in General L i n g u i s t i c s
" F u c k ” seems
use a t t e s t e d b y the OED i s
c an n o t b e shown
Modern E n g l i s h
(New York 1959,
to be the ghost-word in M id d le E n g l i s h .
1 5 0 3 , by D u n b a r .
OED claim s
t h at the German word
to be r e l a t e d to the E n g l i s h ; y e t i t p o s i t s
"a n s w e r s to a M iddle E n g l i s h t y p e ,
t h a t the e a r ly
f u k e n , w h ic h is n o t f o u n d ."
The MED h a s s e v e r a l homophones w ith o t h e r m e a n in g s , one o f w h ic h is
fl a t t e r or d e c e i v e ."
c o n t a in s
/
a pun
I t is po ssible
(d e c e iv e /
T h a t f e i r a n t f r e o l y ys
fuck)
t h at the b a l l a d
in the l i n e s :
to f y k e "
(2 5 - 2 6 );
of
a re c i t e d by E . J .
"Wymmon, war the w it h the swyke
the b a l l a d a p p ea r s as n o .
tra n slatin g
"fy k e "
Bawds a nd L o d g i n g ,
l a s t remark in
was f o c a r i a
b ac k
(London 1 97 6 )
as
t h is d ig r e s s io n ;
fo r m atio n
84.
82 i n
These
A H i s t o r y o f the London
B u r fo r d c i t e s MED as h i s
" f u c k , " y e t as I have n o t e d ,
(fro m f o c u s :
(O x f o r d 1 9 3 2 ) .
B u r fo r d as e v id e n c e o f " t h e f r e e and ea sy h a b i t s
the E n g l i s h women o f 1 3 2 5 " :
Bankside B ro th e ls
"to
" I n May h i t m urgeth"
C a r le t o n B r o w n , E n g l i s h L y r i c s o f the X l l l t h Century
v e ry l i n e s
o rig .
The e a r l i e s t
a u t h o r it y
fo r
MED has no such e n t r y .
A
the L a t i n word f o r a p r i e s t ’ s c o ncubine
h e a r t h , hen ce h o u s e k e e p e r ).
from fo c a r i a o r " f u c k e r ."
But t h is
"F u c k " c o u ld be a
s t i l l w o u ld n o t account
f o r the a p p a r e n t a b s en c e o f o c c u r ren c es in M id d le E n g l i s h .
12
A u e r b a c h 's s e c t i o n on a nn o m in atio o r homophony
(p p .
278- 80)
shows
th a t the d e v i c e was h i g h l y recommended in the m ed ia ev a l a r t e s and w id e ly
use d i n v e r n a c u l a r p o e t r y ;
^
Juvenal
3,
97.
it
is p a r t i c u l a r l y p r o fu s e i n D a n t e 's Commedia.
The n a r r a t o r i s d e s c r i b i n g Roman mimes who im it a t e
women so w e l l
t h a t y o u w ould t h in k a woman, n o t an a c t o r ,
d ic a s /
v e n t r ic u lu m e t t e n u i d i s t a n t i a r im a "
in fra
ev ery th ing
c r a c k ":
(t o b e )
of
95.
"f i s s a ,"
t h is im a g e .
and "V a cu a
judge
empty and f l a t betw een the b e l l y and t h a t f u r t h e r narrow
my t r a n s l a t i o n ) .
(London 1 9 8 2 )
use o f
spoke,
("Y o u w o u ld s a y /
C i t e d J . N . . Adams , The L a t in S e x u a l
V o cabulary
Though Adams g iv e s numerous o t h e r exam ples o f the s e x u a l
"r i m a " and "t e n u i r i m a ," he does n ot c it e O v i d as the source
I t is
to b e n o ted t h a t the Lo eb t r a n s l a t i o n g iv e s sim ply " a .
woman com plete i n a l l h e r p a r t s , " s u p p r e s s in g e n t i r e l y
the image o f the
crack.
14
X IX
A la n o f L i l l e ,
"D e P l a n c t u N a t u r a e ,” e d .
N ,M . H a r in g S t u d i M e d ie v a li
(1 9 7 8 ) .
^
MED r e f e r s ,
fo r in s ta n ce ,
o r Adam a nd E v e h i d i n g
t h e ir
to the c ir c u m c is io n o f a c h i l d 's
" l i m b s ."
A l s o P i e r s Plowman B 2 0 ,
"l i m b ,"
194- 95:
"
.
.
.
the lyme t h a t she lo v e d me f o r e ,
nam ely, whan we n aked w e r e ,
. . . "
and l e e f was to f e l e ,
m eaning when he h a s Ja n u a ry a s s e r t the s tr e n g th o f h i s
a man b i l o n g e t h
See,
to"
( I V .1458- 49,
fo r e x am p le,
lim bs
J .J .
F r a n c is
F ir t h ,
(Toronto 1 9 7 1 )
the M id d le Ages
(New York 1 9 6 5 )
(London 1 9 6 3 )
Pa n tag r u e J
103,
113,
e d . R obert o f Flamborough
167- 68,
229,
II:
15
and a woman)
and I V :
P i l g r im I X .
T h a t vu lva
47
" t o do a l t h at
A S u r v ey o f L o v e ,
2 8 3 on the eleventh-
century D e c r e t a l s o f B is h o p B u rc h a rd o f Worms; a l s o John T .
Handbooks o f P en ance
242,
244:
170,
.
.
185,
M c N e i l l , M edieval
191,
(an anec d o te w h ic h ,
lik e T h isb e,
("H o w the D e v il was f o o l e d * ');
ju x t a p o s e s a l i o n
S h a k e s p e a r e , P a s s io n a t e
in European f o l k and f a i r y
Curse:
from a wound
(T 5 4 1 .2 ).
(New York 1 9 7 6 )
O ld French l a i
numerous
Many c u lt u r e s
and a common m o tif
See J . D e l a n e y ,
M .J .
Lupton, E . Toth,
(New York 1 9 7 6 )
chaps.
8
The
and 16?
The M ean in g a n d Im p o rtan c e o f
p assim .
"P r o n u n t i a t i o and i t s E f f e c t on C h a u c e r 's A u d i e n c e ,"
the A ge o f C h au ce r 4
n ot un iq u e to C hau ce r i n
the
the M otif-
the p r ic k o r c ut whose b l e e d i n g r e p r e s e n ts
The Use o f E nc h a ntm en t:
See B e r y l R o w la n d ,
S t u d ie s in
c ita ls
is
A C u lt u r a l H i s t o r y o f M en stru a tio n
F a i r y T a le s
18
tale
Sle ep ing B e a u t y ).
Bruno B e t t e l h e im ,
In
(Bloom ington 1 9 5 5 ) , S t i t h Thompson l i s t s
i n v o l v in g b i r t h
and
. L ib e r P o e n it e n t ia lis
connect the menses w it h e i t h e r male o r fem ale c a s t r a t i o n ,
(e .g ..
253;
and vu ln u s are n ot e t y m o lo g ic a lly r e l a t e d ,
In d e x o f Folk L i t e r a t u r e
menarche
192,
the te x t is d a t e d a bo u t 1 2 0 0 .
m ed iaeval r e a d e r w o uld n e i t h e r know n o r , p r o b a b l y , b e l i e v e .
in s t a n c e s o f t a l e s
on nyghtes
1 4 6 5 ).
James C l e u g h , Love Locked O u t :
L ic e n s e a nd R e s t r i c t i o n in
/
C haucer s u r e ly r e l i e s on t h is seco ndary
(1 9 8 2 )
33- 51.
The abuse o f apo strop h e was
t r e a t i n g t h i s s to ry b u t was a lr e a d y p r e s e n t i n the
o f Piram us and T h i s b e , w h ic h ,
as one o f the most p o p u l a r r e ­
o f the hig h- m ed iev al p e r i o d , was in s e r t e d in t o the O v i d e M o r a l i s é .
Ch au cer was i n f l u e n c e d by the l a i
shown i n
"T h e Naked T e x t :
in h is
C h a u c e r 's
Problem o f T r a n s l a t i o S t u d i i
in
v e r s io n o f the s t o r y ,
'T h i s b e ',
as I have
the O v id e M o r a l i s é , and the
The Leg en d o f Good Women, " p a p e r g iv e n a t the
C e n t e r f o r M e d ie v a l and E a r l y R e n a is s a n c e S t u d i e s , B in g h am t o n , N . Y . , 1 9 8 6 .
Piram us e t
T isb é has b een e d i t e d by F . B r a n c i f o r t i
M o r a lis é by C .
de B o er
(Amsterdam 1 9 1 5 ) .
(F ir e n z e 1 9 5 9 ) ?
the O v id e
Shakesp eare b orro w ed b oth r h e t o r i ­
c al parody and o bscen e puns fo r h i s
"hempen hom espuns" v e r s i o n o f the T h is b e
s to ry in A Midsummer N i g h t 's Dream ,
though W .G . Van Emden has
S h a k e s p e a r e 's
a rgu ed t h a t
use o f the F rench T h isb e t r a d i t i o n was m e d ia te d through the
t r a n s la t e d v e r s io n in the E l i z a b e t h a n m is c e lla n y A G orgeous G a l l e r y o f
G a l la n t I n v e n t i o n s :
"S h a k e s p e a r e and the French Pyranus and T h is b e T r a d i t i o n , "
Forum f o r Modern L ang uage S t u d i e s 11
19
t u r ie s
20
(1 9 7 5 ) .
R o s s e l l Hope R o b b i n s , e d . , S e c u l a r L y r ic s o f the X lV th a nd XVth C en ­
(O x fo r d 1 9 5 2 ) ,
Se e J ohn T .
the C a t h o l ic
Nos.
2 8 and 3 2 ;
Noonan, J r .
c i t e d i n Ross
C o n tr a c e p tio n :
T h e o lo g ia n s and C a n o n is t s
Georges D u b y ,
France F é o d a le
(P a r i s
1981)
43;
5)
s .v .
A H istory o f i t s
(C am b rid ge,
M ass.
Le C h e v a l i e r , La Femme et l e P r ê t r e :
Anatom ie o f the Body o f M an,
(a t n .
1965)
"p r i c k ."
Treatm ent by
337 f f . ;
Le M ar ia g e d an s la
and the m id - six tee nth c en tu ry V i c a r y 's
EETS, E .S .
53
(1 8 8 8 )
78 on w om an's sperm .
may have b e n e f i t t e d p e r s o n a l l y from t h is b i t o f m ed ia eva l s e x - l o r e .
has b een s u g g e s t e d by s e v e r a l s c h o l a r s ,
C h au cer d e d i c a t e s
is p r o b a b le
sexual a s s a u l t .
1380,
and c o m p lic ity o f w i l l ,
court.
C f.
P .R . W atts,
C haucer and C e c i l a C h a u m p a ig n e , "
22
23
ed.
R.
(1 9 4 7 )
491- 515.
von F l e i s c h h a c k e r , E E T S , O . S .
174.
P artridge
(a t n . 8 )
B a llad #127 in
b e s te s t o t t e
is
so t h at a rape c l a im w ould
’’The Stran ge C ase o f G e o ffr e y
Law Q u a r t e r ly R e vie w 6 3
Lan f r a n c s S c i e n c e o f C i r u r g i e ,
Furn iv all
in
to drop charges a g a in s t the p o et f o r r a p t u s , o r
A c c o r d in g to la w , h e r p regn a nc y w o uld have p r o v e d s e m i n a t i o n ,
n o t have h e l d up i n
(1 8 9 4 )
as
the A s t r o la b e was the p o e t ’ s son by C e c il y C h a m p a ig n s , i t
hence o rga sm , p l e a s u r e ,
102
If,
to whom
t h a t the w o m an 's d is c o v e r y o f h e r p regn ancy was what l e d h e r ,
a document d a t e d M ay ,
21
the "L y t e Lowys my s o n e "
C h au cer
is b a l l e "
176.
Ro b bins
(a t n .
1 9 ).
See a ls o
in B a llad S o c ie ty , V o l.
and a t t r i b u t e d by John S h i r l e y
7
"F o r o f my p lo ugh e the
(London 1 8 7 1 ) ,
(136 6- 1 4 5 6 )
ed.
to C h a u c e r .
F .J .
The p i e c e
an e x t e n d e d p l a y on p lo w in g as a metaphor fo r s e x u a l a c t i v i t y .
24
F .J .
F u r n iv a ll
and p r i n t e d i t
(H e r t fo r d 1 8 7 4 ) .
volum e.
25
26
JEG P
8
a ls o B a l l a d #53 i n Brown
(a t n .
11)
w it h the l i n e
"L o v e is
a t h in g to wommone n e d e ."
J a n e t M. Cowen h a s a lre a d y commented on the l i k e l i h o o d o f a s e x u a l pun
on "h a v e n "
Q u e r ie s
fo r the B a l l a d S o c ie t y
The r i d d l e c o u ld o f course be a g r e a t d e a l o l d e r th an the
But c f .
lo v e lic h e
fo un d the r i d d l e in an e a r l y sev enteen th - c e ntury volum e,
i n Love-Poems and Humorous O n e s ,
in
31,
J.
" C h a u c e r 's Leg en d o f Good Women, L in e s
no.
3
(Septem ber 1 9 8 4 )
Liv in g sto n e Low es,
(1 9 0 9 )
513- 69.
2 5 0 1 - 3 ," N o tes and
2 98 - 99 .
" I s C h a u c e r 's Legend o f Good Women A T r a v e s t y ? "
I n the co ntest w it h H a r o ld G o d d a rd , whose e a r l i e r
monograph on LGW Lowes in t e n d e d to r e f u t e , modern s c h o l a r s h i p m ust,
b e l a t e d l y o f f e r the palm to Goddard —
n ot o n ly f o r h is
I t h in k ,
g e n e r a l in t e r p r e t a t i o n
b ut a ls o
fo r many s p e c i f i c s
about s e v e r a l o f C h a u c e r 's
( e .g .,
the m ed ia eva l am biv a lenc e o r n e g a t i v i t y
"g o o d " w o m en ).
Leg en d o f Good W o m en ," JEG P 1
(1 9 0 8 )
and
C f.
8
H .C .
(1 9 0 9 ).
o f the i r o n i c p o s i t i o n i s E l a i n e T u t t le H a n s e n ,
G o d d a rd ,
"I r o n y and the A n t i f e m i n i s t
N a r r a t o r in C h a u c e r 's Leg en d o f Good W om en," JEGP 82
(1 983) .
a cc e p t iro n y o r comedy in LGW in c lu d e Ro bert W orth F rank J r . ,
L eg en d o f Good Women
C lassic a l
^
T a le s
K o k e r it z
(C am b rid ge,
(I t h a c a 1 9 8 3 ) .
(a t n .
1)
952.
M ass.
1 97 2)
"C h a u c e r 's
A more r e c e n t s tatem en t
and L i s a J .
O t h e r s to
Ch au cer and The
K is e r ,
T e llin g