The Delta
Volume 2 | Issue 1
Article 11
2007
Twisting Texts and Tales: The Wyf of Bath's ProtoFeminist Beliefs Shown through Her Prologue and
Tale
Megan Ames '08
Illinois Wesleyan University
Recommended Citation
Ames '08, Megan (2007) "Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Beliefs Shown through Her Prologue
and Tale," The Delta: Vol. 2: Iss. 1, Article 11.
Available at: http://digitalcommons.iwu.edu/delta/vol2/iss1/11
This Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and Faculty
Development, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU by
the faculty at Illinois Wesleyan University. For more information, please contact [email protected].
©Copyright is owned by the author of this document.
Works Cited
. Gerhard. "Promiscuity,
ssion: The Civilizing Process and the
male Role Model in the Frame-Story
) Studies Quarterly 13.3-4 (1991): 1­
idnight Disease: The Drive to Write,
le Creative Brain. Boston and New
lin Company, 2004.
e. '''We were working on an erotic
Carole Maso's AVA as the Poetics of
lcan Cultural and Sexual Identity."
91-113.
"Carole Maso: An Introduction and an
w." Review ojContemporary Fiction
oclamation: Gender and Genre in
ltemporary Fiction 17-3 (1997): 175­
tion and Desire: Shahraziid." Woman's
d: Gender and Discourse in Arabo­
ceton: Princeton University Press,
nat, IL: Dalkey Archive Press, 1993.
rview with Carole Maso." Review oj
m 14-2 (1994): 186-191.
'Posthumous Posturing: The
'Death in Contemporary Women's
he Novel 32-2 (2000): 243-63.
Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief
Twisting Texts and Tales:
The Wyf of Bath's Proto-Feminist Beliefs Shown
through Her Prologue and Tale
Megan Ames
Geoffrey Chaucer's Wyf of Bath has been a controversial
figure since she first appeared in the Wyf of Bath's Prologue
and Tale (WB Pro & WBT) in The Canterbury Tales (CT) in
the 14 th century. Scholars cannot agree about how she uses her
knowledge of "auctoritee[s]" (WB Pro 1), like Ovid. Some
contend that she intelligently twists their words to articulate her
proto-feminist beliefs while others believe she foolishly
misquotes them. This inadvertently contradicts her beliefs, due
to her misunderstanding of the misogynist texts she cites. This
confusion is further compounded by Alisoun's tale, which is
considered by many critics as contradictory to Alisoun's beliefs
about gender roles in relationships. However, I contend that the
WBT, compared with its analogues, is a proto-feminist tale that
supports Alisoun's beliefs from the WB Pro, demonstrating her
ability to twist texts and tales to fit her argument.
Understanding how Alisoun "glose[s]" (WBT Pro 119) texts to
fit her proto-feminist position concerning gender roles in
relationships, as it is elucidated in the WB Pro, is vital to my
contention.
The best example of how the Wyf uses her inteJIigence to
twist texts to her liking would be her interpretation ofSt. Paul's
concept of the marriage debt. This concept was set down in
medieval canon law, and gave women "equal rights with men in
demanding ...the act of coition" (Holloway 3). The law was put
in place in order to maintain the wife's and husband's marital
duty to "satisfy the other's needs" (Good News Bible 1 Cor.
7.3). Alisoun tempers this concept with the assertion that it is
possible only if husbands relinquish control to their wives. The
Wyf maintains that it is her innate right as a Christian wife to
"have the power durynge al [her] lyf / Upon his propre body,
and noght he" (WB Pro 158-59). In doing so, the Wyftwists the
Pauline ideal that "[a] wife is not the master of her own body,
but her husband is; in the same way a husband is not the master
of his own body, but the wife is" (1 Cor. 7.4), by leaving out
the first half of the verse that detracts from her argument that
women should have control in their relationships. The Wyf's
87
Published by Digital Commons @ IWU, 2007
1
The Delta, Vol. 2 [2007], Iss. 1, Art. 11
strengthens her position about won
relationships.
Ovid's influence on the WB PI
directly, during Alisoun and Janky!
"book ofwikked wyves" (685), wh
(680) among its other misogynist 11
her sex is portrayed in Jankyn's bo
that
ifwommen hadde writen s
As clerkes han withinne hi
They wolde han writen of
Than al the mark of Adam
Here, Alisoun directly challenges tl
"auctoritees" to discuss gender role
pointing out the lack of female inpl
and the lack of stories about men's
at least one of the tales that disgust~
repulses her is that of Pasiphae, wh
leman of the [white] bull" (Ovid 1.;
from the rest of the contemptible w
he recites to Alisoun "nyght and da
Alisoun's strong negative reaction 1
namoore-it is a grisly thyng- / 0
likyng" (735-36). Helen Cooper in'
importance of Ovid to the text as a
to the tale of Pasiphae, because she
was "probably known to Chaucer 0
rose" (142). While I do not wish to
the Roman de fa rose, I am compell
Roman de fa rose draws heavily on
focus on Ovid derives more from P
Hoffman's observations that "Ovid
(Hoffman 134). Ovid's presence in
of Chaucer's text and should be cor
understanding of the Wyfs useofi
Many critics contend that Alisc
misogynist ideas from Ovid's texts,
she uses them erroneously to suppo
fourteenth century, Ovid was belie"
to the literal readings of his works <­
philosophical truths" (Allen 57). TI­
Calabrese states, "Ovid is not essen
desire for power in her own relationship and belief that power is
what all women want lead her to twist the texts she encounters
in order to sway the beliefs of the other pilgrims. Her use of
canonical texts to support her own beliefs demonstrates
Alisoun's ability to cleverly present information to the pilgrims,
even ifsome of that information is taken out of context.
Supporting her belief that states men should not be given
ultimate power in relationships, the Wyfproclaims men
frequently abuse that power. Focusing on men's jealousy by
addressing her old, dead husbands and using them as
representative of most husbands and writers of misogynist texts,
Alisoun states that wives "love no man that taketh kep or
charge / Wher that we goon; we wol ben at oure large" (321­
23). She says that women cannot love men who are in charge
because these jealous husbands keep women captive. Focusing
on jealous husbands stresses the need for women to be the
dominant force in relationships, according to the Wyf. These
covetous, controlling husbands greatly trouble the Wyfbecause
of their adherence to the principle that "men may nat kepe a
castel wal, / It may so longe assailled been overal" (263-64) as
justification to keep their wives away from the outside world, in
an attempt to keep themselves from being cuckolded. Alisoun
pokes fun at jealous husbands who try to control their wives:
Sire olde fool, what helpeth thee to spyen?
Thogh thou preye Argus with his hundred yen
To be my warde-cors, as he kan best,
In feith, he shal nat kepe me but me lest;
Yet koude I make his berd, so moot I thee! (357-61)
This declaration reveals the futility of men's attempts to prevent
their wives from having affairs, because the Wyf asserts that
women are intelligent enough to deceive their husbands should
they choose to do so. Alisoun's belief in the supremacy of
women's intelligence is further demonstrated by her claim that
women's "wit [is] yeven [them] in [their] byrthe" (WB Pro
400), making women's intelligence inherent and, thus, assumed
in this time to be God-given. Additionally, Alisoun's reference
to Argus is reminiscent of Ovid's Ars Amatoria in which he
maintains that women should deceive their husbands by
learning from Ovid how to be successful in their deception
"[t]hough as many keep watch as Argus has eyes" (3.618).
Here, Alisoun displays her God"given intelligence by
interpreting Ovid's supposedly misogynist text in a way that
88
http://digitalcommons.iwu.edu/delta/vol2/iss1/11
2
own relationship and belief that power is
:ad her to twist the texts she encounters
iefs of the other pilgrims. Her use of
)rt her own beliefs demonstrates
,erly present information to the pilgrims,
ormation is taken out of context.
iefthat states men should not be given
onships, the Wyf proclaims men
)wer. Focusing on men's jealousy by
d husbands and using them as
tlUsbands and writers of misogynist texts,
~s "love no man that taketh kep or
~oon; we wol ben at oure large" (321­
len cannot love men who are in charge
lusbands keep women captive. Focusing
:esses the need for women to be the
ionships, according to the Wyf. These
tUsbands greatly trouble the Wyfbecause
Ie principle that "men may nat kepe a
longe assailled been overal" (263-64) as
~ir wives away from the outside world, in
nselves from being cuckolded. Alisoun
lsbands who try to control their wives:
. what helpeth thee to spyen?
'eye Argus with his hundred yen
de-cors, as he kan best,
al nat kepe me but me lest;
lake his berd, so moot I thee! (357-61)
Is the futility of men's attempts to prevent
19 affairs, because the Wyf asserts that
enough to deceive their husbands should
'\lisoun's belief in the supremacy of
is further demonstrated by her claim that
en [them] in [their] byrthe" (WB Pro
s intelligence inherent and, thus, assumed
.given. Additionally, Alisoun's reference
It of Ovid's Ars Amatoria in which he
should deceive their husbands by
,w to be successful in their deception
:p watch as Argus has eyes" (3.618).
> her God-given intelligence by
pposedly misogynist text in a way that
Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief
strengthens her position about women's dominance in
relationships.
Ovid's influence on the WB Pro appears again, and more
directly, during Alisoun and Jankyn's argument about Jankyn's
"book ofwikked wyves" (685), which contains "Ovides Art"
(680) among its other misogynist texts. Disgusted with the way
her sex is portrayed in Jankyn's book, the Wyf astutely notes
that
if wommen hadde writen stories,
As c1erkes han withinne hire oratories,
They wolde han writen of men moore wikkednesse
Than al the mark of Adam may redresse. (693-96)
Here, Alisoun directly challenges the men who use these
"auctoritees" to discuss gender roles in a misogynist way by
pointing out the lack of female input into these stories they use
and the lack of stories about men's evils. Ovid is the source of
at least one of the tales that disgusts the Wyf. The tale that
repulses her is that of Pasiphae, who "rejoiced to become the
leman of the [white] bull" (Ovid 1.295). Pasiphae stands out
from the rest of the contemptible women on Jankyn's list that
he recites to Alisoun "nyght and day" (WB Pro 669) because of
Alisoun's strong negative reaction to her story: "Fy! Spek
namoore--it is a grisly thyng- / Ofhir horrible lust and hir
likyng" (735-36). Helen Cooper incorrectly diminishes the
importance of Ovid to the text as a whole, and more specifically
to the tale of Pasiphae, because she asserts that Ovid's work
was "probably known to Chaucer only through the Roman de fa
rose" (142). While I do not wish to diminish the importance of
the Roman de fa rose, I am compelled to point out that the
Roman de fa rose draws heavily on Ovid's writings. Thus my
focus on Ovid derives more from Peter Allen and Richard
Hoffman's observations that "Ovid is the ultimate source"
(Hoffman 134). Ovid's presence in the WB Pro is a crucial part
of Chaucer's text and should be consulted in order to gain a full
understanding of the Wyfs use of it as a source.
Many critics contend that AI isoun does not understand the
misogynist ideas from Ovid's texts, which is why they believe
she uses them erroneously to support her beliefs. In the
fourteenth century, Ovid was believed to be a misogynist, due
to the literal readings of his works "for their moral and
philosophical truths" (Allen 57). The truth is, as Michael
Calabrese states, "Ovid is not essentially an antifeminist
89
Published by Digital Commons @ IWU, 2007
3
-
r
The Delta, Vol. 2 [2007], Iss. 1, Art. 11
author" (85), nor were his texts intended to be antifeminist.
Medieval people saw his texts in that way, though, and
incorrectly interpreted and translated them into the misogynist
category. By using only a medieval, moralized understanding of
Ovid's texts, we would be forced to discount the satirical spirit
in which they were written. Allen contends that Andreas
Capellanus' De amore, just like Ovid's Ars Amatoria on which
Andreas' work is closely modeled (77), presents itself"
amoral[ly]"(75), with the intention that "the reader must share
the responsibility for understanding it and supplying any moral
meaning it may have" (75-76). However, this theory of
interpretation was not encouraged in medieval times for men,
let alone women who "were shut out of [the Church's] modes
of education and literacy" (Holloway 7), and generally not
formally educated at home. Yet, the Wyf cleverly does what she
is not supposed to do according to medieval custom and
interprets the texts in her own way, just as Ovid would have
wanted.
Women's lack of formal, book-oriented knowledge in the
fourteenth century did not bar them from learning through
experience. Though the Wyfhas more knowledge of texts than
most women in her position, she is more reliable as an authority
on relationships and marriage because of her extensive
experience in that field. Veri tying her marital experience,
Alisoun affirms, "sith I twelve yeer was of age, I Thonked be
God that is eterne on Iyve, I Housbondes at chirche dore 1 have
had tyve" (WB Pro 4-6). The Wyf also describes her belief that
"Experience, though noon auctoritee I Were in this world, is
right ynogh for me I To speke ofwo that is in mariage" (1-3), a
proclamation with which Ovid would readily agree. This
sentiment is echoed in Capellanus' Book 3 "when he notes that
no one can be fully educated about love and its pains without
being schooled by magistra experientia (Mistress Experience)"
(Allen 76). These similarities in thought are what led Calabrese
to draw parallels between the Wyf and Ovid by describing them
as "master[s] of' experience'" (81). Each uses personal
experiences to form generalizations about the behaviors of men
and women playing the game of love.
Alisoun's attitudes toward sex are also remarkably
comparable to those of Ovid. The Wyfs focus on sex "for [the]
ese" (WB Pro 127) of the two partners is mostly drawn from
her sexual experiences. Throughout the Ars Amatoria, Ovid
90
http://digitalcommons.iwu.edu/delta/vol2/iss1/11
describes sex as a mutual act in wi
woman feel love's act, unstrung tc
frame" in order to "let that act deli
sexual authorities think ofsex not
but as a source of pleasure. Ovid a
undeniably similar attitudes about
audiences in how to act when deal
Recognizing that Ovid and Al
opinions about relationships is im!
she does understand his texts and l
her beliefs. Alisoun can and does ~
feminist beliefs, though her impOI1
reality, only alterations to how his
medieval society. Therefore, the \\
correctly to support her positions, :
intelligent than many scholars ofh
among the misogynists of the day.
directly counters her detractors' ar;
understand the sources from whid
problem of the fit of Alisoun's tale
still remains.
Many critics, like Cooper and
Wyfs [hag's] decision to be both I
husband once he gives her the choi
contradict what she told him earlie
'maistre'" (Van 190). 1do not see!
rather as a proto-feminist tale in wI
vital positions of power. There is a
roles in teaching the knight, and th
hag, determines if the knight is w()
hag's decision to be "bothe fair an.
reward for the knight who has not
is] that wommen moost desiren" (~
apply this newfound knowledge to
Though it appears that the hag giv.
husband, she actually only commi.
equal partnership in her marriage,
her husband if she wished. While 1:
speculative, one need only compar
Lady analogues to see how probab
are two main analogues to the WJ3,
simi lar: "The Weddyng of Syr Ga­
4
is texts intended to be antifeminist.
:texts in that way, though, and
ld translated them into the misogynist
a medieval, moralized understanding of
)e forced to discount the satirical spirit
en. Allen contends that Andreas
ust like Ovid's Ars Amatoria on which
I modeled (77), presents itself"
e intention that "the reader must share
:lerstanding it and supplying any moral
75-76). However, this theory of
lcouraged in medieval times for men,
vere shut out of [the Church's] modes
/' (Holloway 7), and generally not
me. Yet, the Wyf cleverly does what she
cording to medieval custom and
r own way, just as Ovid would have
Irmal, book-oriented knowledge in the
lot bar them from learning through
Wyfhas more knowledge of texts than
ition, she is more reliable as an authority
rriage because of her extensive
Verifying her marital experience,
twelve yeer was of age, / Thonked be
ve, / Housbondes at chirche dore I have
). The Wyf also describes her beliefthat
,on auctoritee / Were in this world, is
speke ofwo that is in mariage" (1-3), a
:h Ovid would readily agree. This
2apellanus' Book 3 "when he notes that
cated about love and its pains without
istra experientia (Mistress Experience)"
arities in thought are what led Calabrese
en the Wyf and Ovid by describing them
ence'" (81). Each uses personal
leralizations about the behaviors of men
game of love.
toward sex are also remarkably
Ovid. The Wyf's focus on sex "for [the]
l1e two partners is mostly drawn from
Throughout the Ars Amatoria, Ovid
Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief
describes sex as a mutual act in which the man should "[I]et the
woman feel love's act, unstrung to the very depths of her
frame" in order to "let that act delight both alike" (173). Both
sexual authorities think of sex not as a method of procreation,
but as a source of pleasure. Ovid and Alisoun use their
undeniably similar attitudes about sex to advise their respective
audiences in how to act when dealing with the opposite sex.
Recognizing that Ovid and Alisoun share many of the same
opinions about relationships is important because it shows that
she does understand his texts and fittingly uses them to support
her beliefs. Alisoun can and does alter texts to fit her proto­
feminist beliefs, though her important alterations of Ovid are, in
reality, only alterations to how his texts were perceived in
medieval society. Therefore, the Wyf"gloses" his texts
correctly to support her positions, showing herself to be more
intelligent than many scholars of her time who counted him
among the misogynists of the day. The intelligence she displays
directly counters her detractors' arguments that she does not
understand the sources from which she quotes. However, the
problem of the fit of Alisoun's tale to her proto-feminist ideas
still remains.
Many critics, like Cooper and Thomas Van, feel that "[t]he
Wyf's [hag's] decision to be both beautiful and faithful to her
husband once he gives her the choice of doing either seems to
contradict what she told him earlier, that is, that women want
'maistre'" (Van 190). I do not see the story in this way, but
rather as a proto-feminist tale in which women hold all of the
vital positions of power. There is a distinct focus on women's
roles in teaching the knight, and the main female character, the
hag, determines if the knight is worthy enough for her. The
hag's decision to be "bothe fair and good" (WBT 1241) is a
reward for the knight who has not only learned "what thyng [it
is] that wommen moost desiren" (905), but has also learned to
apply this newfound knowledge to his relationship with the hag.
Though it appears that the hag gives up her sovereignty to her
husband, she actually only commits herself to a seemingly
equal partnership in her marriage, though she could still control
her husband if she wished. While this idea might seem
speculative, one need only compare the WBT with its Loathly
Lady analogues to see how probable this viewpoint is. There
are two main analogues to the WBT, which are extremely
simi lar: "The Weddyng of Syr Gawen and Dame Ragnell for
91
Published by Digital Commons @ IWU, 2007
5
The Delta, Vol. 2 [2007], Iss. 1, Art. 11
Helpyng of Kyng Arthoure," and "The Marriage of Sir
Gawaine." While these tales are all variations on the Loathly
Lady tales, there is a great deal of important variation between
them.
The integrity of the knight changes between the analogues
and the WBT, which affects the reason why the main character
must learn what women desire most. The "Weddyng" and the
"Marriage" are centered on Sir Gawain, a well-known virtuous
character of Arthuri an romance, and his fidelity to King Arthur.
In the "Weddyng," Arthur meets a "quyant grome" (50) named
Syr Gromer-Somer Jour who demands that Arthur return and
"shewe [Gromer-Somer] att thy comyng whate wemen love
best, / in feld and town" (91). Similarly, in the "Marriage,"
Arthur meets a Baron who demands that Arthur "bring [him]
word what thing it is / That a woman will most desire" (12-13).
In these two versions, it is for King Arthur that Gawain
attempts to find the answers to these two identical questions
and has nothing to do with any dastardly actions on his part,
unlike the WBT in which the knight's actions are the sole
reason why the question must be answered. In the analogues
Gawain nobly attempts to help his king by asking everyone he
finds the question in an attempt to reach some kind of
consensus.
Although the "Weddyng" and the "Marriage" are
extremely similar up to this point, they are distinguished from
each other here. In the "Marriage," Gawain chooses to kiss and
marry the hag out of "his exemplary courtesy and his desire to
honor Arthur's [rash] promise" ("Marriage" 385 n. 5) that she
could marry one of his knights. Gawain acts honorably because
it seems that none of the other knights are willing to fulfill their
king's promise. In the "Weddyng, " Arthur at least only
promises to "do [his] labour / In savying of [his] Iyfe to make itt
secour; / To Gawen wolll make my mone" (294-96), instead of
promising the hag that a knight will take her hand in marriage.
In this version, Gawain agrees to wed Dame Ragnell, the hag,
saying that "[t]or [Arthur's] love I woll nott spare" (371); here
he is actively attempting to save the king, unlike the
"Marriage" in which he seems to be simply forced into it. The
two tales show Gawain to be, as readers expect upon reading
his name, chivalrous, but to a slightly different extent in each
one. Regardless of this distinction, whether he was somewhat
92
http://digitalcommons.iwu.edu/delta/vol2/iss1/11
pushed into marriage with the hag
still able to pass the test that is put
While the WBT is also set at t
mention of Gawain at all. Instead,
otherwise unnamed "lusty bachele
maid, "[b]y verray force, he rafte I
Because of this act he "shoulde ha
an unusual move, King Arthur "ya
wille, / To chese wheither she wol,
98), thus turning over his power to
queene, with the consultation ofht
the knight the same task that Artht
However, there is a dramatic diffel
because the knight must find out tl
order to save his own life. Also, th
trouthe" (10 13) in order to learn th
question without knowing what he
this is an act of selfishness not sac]
male character a selfish rapist help
loyal knight helping his king, Alisl
in the tale to the women in the tale
The role that women play in tt
WBT and the two analogues. In tho
"Marriage," and the WBT, the onl:
Gaynour and Genever and the quel
hag, who appears in all. Gaynour a
only to lament Gawain's marriage
Genever is only in the "Marriage,"
described as a "bride soe bright of
queen has a very active role in the
convinces Arthur not to kill the kn
justise" (1028) when the knight co
question. At this time, "many a no­
And many a wydwe ... / Assemble.
heere" (1026-29); notably, no men
present in the court at that time. A~
"The Wyfthus briskly usurps the r
redistributes it to the women ofthe
of the court in the shadows off the
spot usually reserved for females"
reversal, the Wyfhighlights her be
superior intelligence by placing th.
6
-
lure," and "The Marriage of Sir
:tales are all variations on the Loathly
eat deal of important variation between
: knight changes between the analogues
fects the reason why the main character
1 desire most. The "Weddyng" and the
d on Sir Gawain, a well-known virtuous
romance, and his fidelity to King Arthur.
hur meets a "quyant grome" (50) named
If who demands that Arthur return and
r] att thy comyng whate wemen love
" (91). Similarly, in the "Marriage,"
Nho demands that Arthur "bring [him]
That a woman will most desire" (12-13).
it is for King Arthur that Gawain
,wers to these two identical questions
with any dastardly actions on his part,
ich the knight's actions are the sole
to must be answered. In the analogues
, to help his king by asking everyone he
1 attempt to reach some kind of
:ddyng" and the "Marriage" are
[) this point, they are distinguished from
"Marriage," Gawain chooses to kiss and
his exemplary courtesy and his desire to
promise" ("Marriage" 385 n. 5) that she
; knights. Gawain acts honorably because
he other knights are willing to fulfill their
"Weddyng, " Arthur at least only
labour / In savying of [his] Iyfe to make itt
0111 make my mone" (294-96), instead of
t a knight will take her hand in marriage.
n agrees to wed Dame Ragnell, the hag,
hur's] love I woll nott spare" (371); here
ng to save the king, unlike the
!1e seems to be simply forced into it. The
n to be, as readers expect upon reading
but to a slightly different extent in each
s distinction, whether he was somewhat
Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief
pushed into marriage with the hag or freely chose it, Gawain is
still able to pass the test that is put before him in these tales.
While the WBT is also set at the court of Arthur, there is no
mention of Gawain at all. Instead, the WBT begins with an
otherwise unnamed "lusty bacheler" (883) who, upon spotting a
maid, "[b]y verray force, he rafte hire maydenhed" (888).
Because of this act he "shoulde han lost his heed" (892), but in
an unusual move, King Arthur "yafhym to the queene, al at hir
wille, / To chese wheither she wolde hym save or spile" (897­
98), thus turning over his power to the women of the court. The
queene, with the consultation of her "other ladyes" (894), gives
the knight the same task that Arthur is given in the analogues.
However, there is a dramatic difference in the task in this story,
because the knight must find out the answer to the question in
order to save his own life. Also, the knight gives the hag "[his]
trouthe" (1013) in order to learn the answer to the queen's
question without knowing what he must do in return, making
this is an act of selfishness not sacrifice. By making the main
male character a selfish rapist helping himself as opposed to a
loyal knight helping his king, Alisoun shifts focus from the men
in the tale to the women in the tale.
The role that women play in the tale varies between the
WBT and the two analogues. In the "Weddyng, " the
"Marriage," and the WBT, the only women characters are
Gaynour and Genever and the queene, respectively, and the
hag, who appears in all. Gaynour appears in the "Weddyng"
only to lament Gawain's marriage to Dame Ragnell. Similarly,
Genever is only in the "Marriage," at the beginning when she is
described as a "bride soe bright of blee" (4). Conversely, the
queen has a very active role in the WBT. It is she who
convinces Arthur not to kill the knight and who sits "as a
justise" (1028) when the knight comes before her to answer her
question. At this time, "many a noble wyf, and many a mayde, /
And many a wydwe ... / Assembled been, his answer for to
heere" (1026-29); notably, no men are described as being
present in the court at that time. As Susan Carter astutely noted,
'The Wyfthus briskly usurps the male prerogative ofjustice,
redistributes it to the women of the court, and puts the knights
of the court in the shadows offthe edge ofthe narrative, the
spot usually reserved for females" (335). With this role
reversal, the Wyf highlights her belief that women have
superior intelligence by placing the queene at the head of the
93
Published by Digital Commons @ IWU, 2007
7
The Delta, Vol. 2 [2007], Iss. 1, Art. 11
That myghte doon hym pie
And thus they Iyve unto h
In parfitjoye. (1255-58)
However, this does not mean that tI
merely that she chooses to do so. A
is highly unlikely that the wife wou
sovereignty to her husband. Instead
juncture is that
once the woman has been ~
sovereignty she refrains frc
and this suggests that it is I
for achieving feminine indo
marriage so that more satis
between the sexes can havl
develop. (Leicester 173)
In this way, women are allowed to ­
limiting their husbands' control anc
equality between them as partners.
description of the knight and the ha
is extremely reminiscent of Alisour
After Jankyn was afraid he had kill.
the bridel in [her] hond, / To han th
lond" (WB Pro 813-14), and Alisou
day [they] hadden never debaat" (8:
that she believes that wives desire s
the power in relationships, but she r
one cannot obey their husband, so I,
wants and the wife retains ultimate
relationship.
Ultimately, the WBT is one in '
a series of women in order to becon
by understanding what women desi
fits in perfectly with Alisoun's protl
men's and women's roles in relatiol
auctoritees and to interpret them m<
her time, lends itself perfectly to he
using the Loathly Lady tales, to ere;
appropriate for her way oflife.
medieval legal system. By doing so, Alisoun makes the queen
an active presence within the story unlike the pretty, mindless
drone queens of the analogues. The way in which the Wyf
twists the tales effectively communicates her proto-feminist
beliefs.
Much like the queen characters in the different tales, the
hag characters vary a great deal, changing the meanings of the
tales. The "Weddyng" says that the hag Dame Ragnell "was
shapen by nygramancy, / With [her] stepdame" (691-92). And
just as in the "Weddyng," the hag in the "Marriage" says,
My father was an old knight,
And yett it chanced soe
That he marryed a younge lady
That brought me to this woe
She witched me. (175-79)
These characters' lack of control over their situation displays
them as weak and helpless women who need rescuing from a
knight like Sir Gawain. Conversely, Alisoun does not mention
the kind of magic that the hag in the WBT possesses. The Wyf
simply implies that the hag turns into a beautiful, faithful
woman of her own volition. I agree with Kathryn McKinley,
who states that the hag "rewards [the knight] by causing her
own transformation" (365). He is rewarded because he has
finally demonstrated his understanding of the lessons she has
taught him about women.
The answer to the principal question asked throughout the
different versions of these Loathly Lady tales is that
"[w]ommen desiren to have sovereynetee" (WBT 1038). While
this is at first just the answer to the riddle that the knight needs
to keep himself alive, he soon adopts this principle. As Edward
Vasta correctly maintains, unlike the husbands of the different
analogues, "Chaucer renders the husband enlightened by the
Loathly Lady's sermon on spiritual equality" (405). When the
knight applies his newfound knowledge to his own wife by
granting the hag sovereignty to make her own decision about
her physical appearance and fidelity, he is handsomely
rewarded.
What bothers many critics about the fit of tale and teller is
the section in which the hag, after turning into a beautiful
woman, seems to relinquish her sovereignty back to her
husband:
And she obeyed hym in every thyng
94
http://digitalcommons.iwu.edu/delta/vol2/iss1/11
8
Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief
By doing so, Alisoun makes the queen
n the story unlike the pretty, mindless
logues. The way in which the Wyf
:ly communicates her proto-feminist
n characters in the different tales, the
eat deal, changing the meanings of the
:ays that the hag Dame Ragnell "was
/ With [her] stepdame" (691-92). And
~," the hag in the "Marriage" says,
an old knight,
nced soe
:d a younge lady
Ie to this woe
e. (175-79)
:>f control over their situation displays
ess women who need rescuing from a
Conversely, Alisoun does not mention
he hag in the WBT possesses. The Wyf
hag turns into a beautiful, faithful
tion. I agree with Kathryn McKinley,
"rewards [the knight] by causing her
:65). He is rewarded because he has
s understanding of the lessons she has
~.
principal question asked throughout the
ese Loathly Lady tales is that
have sovereynetee" (WBT 1038). While
nswer to the riddle that the knight needs
Ie soon adopts this principle. As Edward
ins, unlike the husbands of the different
mders the husband enlightened by the
Ion spiritual equality" (405). When the
found knowledge to his own wife by
~ignty to make her own decision about
e and fidelity, he is handsomely
Y critics about the fit of tale and teller is
That myghte doon hym plesance or likyng.
And thus they Iyve unto hir Iyves ende
In parfit joye. (1255-58)
However, this does not mean that the wife must obey him, but
merely that she chooses to do so. As such a strong character, it
is highly unlikely that the wife would actually give up full
sovereignty to her husband. Instead, what takes place at this
juncture is that
once the woman has been granted
sovereignty she refrains from exercising it,
and this suggests that it is primarily a tool
for achieving feminine independence within
marriage so that more satisfactory relations
between the sexes can have a chance to
develop. (Leicester 173)
In this way, women are allowed to form their own identities by
limiting their husbands' control and thereby create a type of
equality between them as partners. Most importantly, this
description of the knight and the hag's relationship in the WBT
is extremely reminiscent of Alisoun's relationship with Jankyn.
After Jankyn was afraid he had killed Alisoun, "[he] yaf[her]
the bridel in [her] hond, / To han the governance ofhous and
lond" (WB Pro 8 13-14), and Alisoun insists that "[a]fter that
day [they] hadden never debaat" (822). Alisoun clearly shows
that she believes that wives desire sovereignty and should have
the power in relationships, but she never states that this means
one cannot obey their husband, so long as that is what the wife
wants and the wife retains ultimate control over the
relationship.
Ultimately, the WBT is one in which a male is educated by
a series of women in order to become a better man and husband
by understanding what women desire. This proto-feminist tale
fits in perfectly with Alisoun's proto-feminist beliefs about
men's and women's roles in relationships. Her ability to twist
auctoritees and to interpret them more correctly than scholars of
her time, lends itself perfectly to her tale, which she constructs
using the Loathly Lady tales, to create a theme that is
appropriate for her way oflife.
e hag, after turning into a beauti ful
~uish her sovereignty back to her
~
hym in every thyng
95
Published by Digital Commons @ IWU, 2007
9
The Delta, Vol. 2 [2007], Iss. 1, Art. 11
Trans. J.H. Mozley. Cambridg,
175.
---. "The Remedies for Love." Ovic
Poems. Loeb Classical Library
Trans. J.H. Mozley. Cambridg,
233.
Rigby, S.H. 'The Wife of Bath, C~
Medieval Case for Women." 1
(2000): 133-158.
Sadlek, Gregory M. Idleness Work
Labor from Ovid through Cha,
Washington, DC: The Catholic
2004.
Shenk, Robert. "The Liberation of
Medieval Romance." Journal.
Medieval and Renaissance As~
Van, Thomas A. "False Texts and :
Wife of Bath's Prologue and T
29.2 (1994): 179-193.
Vasta, Edward. "Chaucer, Gower,­
The Literary Liberation of t
Exemplaria 7.2 (1995): 395-4]
"The Weddyng of Syr Gawen and
of Kyng Arthoure." Middle En
H.A. Shepherd. New York: W.
Works Consulted
Allen, Peter L. The Art ofLove: Amatory Fictionfrom Ovid to
the Romance ofthe Rose. Philadelphia: U of Pennsylvania
P, 1992.
Beidler, Peter G, ed. The Wife ofBath (Case Studies in
Contemporary Criticism). Boston: Bedford-St. Martin's
Press, 1996.
Bollard, J.K. "Sovereignty and the Loathly Lady in English,
Welsh, and Irish." Leeds Studies in English 17 (1986): 41­
59
Bolton Holloway, Julia, Constance S. Wright, and Joan
Bechtold, eds. Equally In God's Image: Women in the
Middle Ages. New York: Peter Lang, 1990.
Calabrese, Michael A. Chaucer's Ovidian Arts ofLove
Gainsville: UP of Florida, 1994.
Carter, Susan. "Coupling the Beastly Bride and the Hunter
Hunted: What Lies Beneath Chaucer's Wife ofBath's
Tale." The Chaucer Review 37.4 (2003 ):329-341.
Chaucer, Geoffrey. "The Wife of Bath's Prologue and Tale."
The Riverside Chaucer. Ed. Larry Benson. New York:
Houghton Mi ftl in, 1987. 105-122.
Cooper, Helen. Oxford Guides to Chaucer: The Canterbury
Tales. 2 nd Edition. Oxford: Oxford UP, 1996.
Gower, John. "Tale of Flo rent." Confessio Amantis. Ed. and
Trans. Russell A. Peck. Toronto: U of Toronto P, 1980.58­
72.
Hoffman, Richard L. Ovid and the Canterbury Tales.
Philadelphia: U of Pennsylvania P, 1966.
Leicester, H. Marshall, Jr. "Of a Fire in the Dark: Public and
Private Feminism in the Wife ofBath's Tale." Women's
Studies 11 (1984): 157-178.
"The Marriage of Sir Gawaine." Middle English Romances. Ed.
Stephen H.A. Shepherd. New York: W.W. Norton, 1995.
380-387.
McKinley, Kathryn L. "The Silenced Knight: Questions of
Power and Reciprocity in the Wife of Bath's Tale." The
Chaucer Review 30.4 (1996): 359-378.
Ovid. "The Art of Love." Ovid: The Art ofLove and Other
Poems. Loeb Classical Library Edition. Ed. G.P. Goold
96
http://digitalcommons.iwu.edu/delta/vol2/iss1/11
10
Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief
Vorks Consulted
{Love: Amatory Fictionfrom Ovid to
Rose. Philadelphia: U of Pennsylvania
Wife ofBath (Case Studies in
c:ism). Boston: Bedford-St. Martin's
!
tty and the Loathly Lady in English,
eeds Studies in English 17 (1986): 41­
Constance S. Wright, and Joan
illy In God's Image: Women in the
{ork: Peter Lang, 1990.
:haucer's Ovidian Arts ofLove
lorida, 1994.
g the Beastly Bride and the Hunter
Beneath Chaucer's Wife ofBath's
Review 37.4 (2003 ):329-341.
e Wife of Bath's Prologue and Tale."
icer. Ed. Larry Benson. New York:
1987. 105-122.
Guides to Chaucer: The Canterbury
)xford: Oxford UP, 1996.
:Iorent." Confessio Amantis. Ed. and
eck. Toronto: U of Toronto P, 1980. 58­
Trans. J.H. Mozley. Cambridge: Harvard UP, 1979. 11­
175.
---. "The Remedies for Love." Ovid: The Art ofLove and Other
Poems. Loeb Classical Library Edition. Ed. G.P. Goold.
Trans. J.H. Mozley. Cambridge: Harvard UP, 1979. 179­
233.
Rigby, S.H. "The Wife of Bath, Christine de Pizan, and the
Medieval Case for Women." The Chaucer Review 35.2
(2000): 133-158.
Sadlek, Gregory M. Idleness Working: The Discourse ofLove's
Labor from Ovid through Chaucer and Gower.
Washington, DC: The Catholic University of America P,
2004.
Shenk, Robert. "The Liberation of the' Loathly Lady' of
Medieval Romance." Journal ofthe Rocky Mountain
Medieval and Renaissance Association 2 (1981): 69-77.
Van, Thomas A. "False Texts and Disappearing Women in the
Wife of Bath's Prologue and Tale." The Chaucer Review
29.2 (1994): 179-193.
Vasta, Edward. "Chaucer, Gower, and the Unknown Minstrel:
The Literary Liberation of the Loathly Lady."
Exemplaria 7.2 (1995): 395-418.
"The Weddyng ofSyr Gawen and Dame Ragnell for Helpyng
ofKyng Arthoure." Middle English Romances. Ed. Stephen
H.A. Shepherd. New York: W.W. Norton, 1995.243-268.
vid and the Canterbury Tales.
Pennsylvania P, 1966.
Jr. "Ofa Fire in the Dark: Public and
nthe Wife ofBath's Tale." Women's
157-178.
awaine." Middle English Romances. Ed.
herd. New York: W.W. Norton, 1995.
'The Silenced Knight: Questions of
city in the Wife of Bath's Tale." The
1.4 (1996): 359-378.
." Ovid: The Art ofLove and Other
ical Library Edition. Ed. G.P. Goold
97
Published by Digital Commons @ IWU, 2007
11