Sexual love and erotic in Chaucer's the Canterbury Tales - Essay Example

?The Miller’s Tale The Miller’s Tale is a combination of two types of moral stories based on fiction. The first one is about a young wife who cheats on her husband who is now old and the second one is story about biter reality when the trickster’s tricks are discovered. The Miller’s Tale is outstanding in that Alison, a young woman aged eighteen cheats her elderly husband with another young man. The unforgettable scene is where the angry Absolon labels Nicholas where the cunning of John is regarded as a success but the trick does not go down well with the rival. Another important aspect typical of Chaucer’s prowess in literary work is the creation of the blacksmith who is approached by Absolon as a tool to seek revenge. This episode is comprised of 25 lines and it is very important hence I will base my discussion on the ideas of Cornelius Novelli. Blacksmiths during the Medieval period were closely associated with the devil as a result of their scary workplaces and they were also associated with Christianity as a result of their ability to cast the iron into different shapes which resembles the preacher’s ability to shape the heart of the person. Therefore, Gerveys is considered as a significant combination of devilish aspects as well as Godly things. As a result of the cleric’s need for revenge, Novelli states that “He has switched wholeheartedly to...an alternative concupiscence. What he needs is a spiritual advisor. What he gets is,” (Gerveys, p. 170). He goes on to say that the blacksmith's discussion is comprised of utterances which can either be taken as faithful or irreligious. For instance, this is revealed in the following statements, '...for Cristes sweete tree (l. 3767),' or, 'By Seinte Note (l. 3771).' This state of affairs brings us to the question of whether Absolon’s intention to revenge is God sent or is just a result of the devil’s work. Absolon’s desire is replaced by the burning 'kultour' but the ploughshare is preented in another way. This is reflected by Morey when he states that 'Nicholas is repaid in kind for his burning heat, and is "plowed" for having "plowed" where he should not have been (p. 373).' During the medieval period, the pain from burning signified justice for wives who were suspected of committing adultery given that it was believed that if the wound healed, then the suspect is not guilty of adultery but if it failed to heal, then she will be guilty. In this case, Absolon is not trying to implementing a judgement in the form of punishment but just an attempt to herald Alisoun's adultery. Given that he is a part-time barber-surgeon, he is better positioned to carry out this task as explicitly said by Morey who says 'Absolon, as a clerk in minor orders, is an appropriate administrator of the iudicium Dei (p. 375).' It can be seen that Chaucer is able to control the story in a skilful way as shown in the comparisons of the Miller's Tale where the blacksmith is the defeated lover, not an unintentional aide. Chaucer's choice to call it a 'koulter,' shows his prowess in improving his sources. The Reeve’s Tale The Reeve’s Tale is structured in a complementary way to the Miller's Tale. The Reeves portrays the identity of the humiliated old man in the Millers Tale as the carpenter. The aim of the Reeves is to show how a miller is duped and subsequently portrayed as insignificant. Chaucer also infers the aspect of identity on the bases of the region of origin implying that people who can be tricked by such aspect are not clever. This shows Chaucer’s prowess in innovative thinking which differs from the traditional fabrication stories. This story is also of the ‘biter bit’ type - the trickster is compensated for his tricks. This is a continuation of the theme of the clerks who bet that they will not be tricked of ‘half a pekke / Of corn’ (ll. 4010, 4011). The miller revenges this hard thinking by making them chase their own horses while he also stole some flour. Symkyn's is humiliated even greater as shown by the repeated theft. There is nothing sinister in this story though the miller has pride in his illegal wife he views as ‘ycomen of noble kyn’ (l. 3942). This is similar to the older husband's jealous guard of his young wife. The type of clothing also shows the couple’s desire for high class as shown by the following statement: ‘And she came after in a gyte of reed; / And Symkyn hadde hosen of the same’ (ll. 3954, 3955). For instance, red stockings were regarded as not appropriate for people in the lower class since they were closely associated with aspects related to dignity. Through creating a character who wears them while considering himself as self important, Chaucer seeks to create humour in the readers of the Reeves as they discover their downfall. A similar aspect of intended breaking of the norm also describes the nature of sexual activity ‘The Reeve’s Tale’. Aleyn the student is of the opinion that Symkyn the Miller owes him something as repayment for his offence of stealing their corn. Legally, easement refers to the right to one’s property and in this case, the property referred to is Miller’s daughter. Though metaphorical, this entails that the Miller’s daughter is regarded as his property which is degrading. This is very unfair given that the daughter is a third party on her own right not to be considered as property. This has connotations of hatred for women where they are portrayed as sexual objects by men. The following statement shows an element of high appetite for sexual activities ‘Yon wenche wil I swyve,’ Aleyn declares (I, 4178). The term ‘yon’ is rude on its own given that it is as good as pointing a finger at someone, the term ‘wenche’ is also a derogatory term that is used to refer to people from the lower class while the verb ‘swyve’ refers to an element of labour and it has its connotations to sexual intercourse in this particular story. Chaucer also uses the term to refer to prostitution elsewhere (in ‘The Cook’s Tale’, I, 4422). It is suggested that there will be no violence committed Aleyn when he invades the young woman’s bed given that she is not married. The woman’s consent is of little significance in this case given that Aleyn’s behaviour would be equated to that of a rapist as it may turn out the girl is deceived into believing that she is dealing with a genuine lover. The lack of desire to appreciate the women’s consent strongly emanates from an intention to satisfy sexual needs on the basis of masculinity where women are relegated to the position of being sexual objects. This aggression is based on an element of insanity as implied by Reeves in the following statement ‘Withinne a while this John the clerk up leep, And on this goode wyf he leith on soore. So myrie a fit ne hadde she nat ful yore; He priketh harde and depe as he were mad.’ (I, 4228–31). The story teller informs us that Miller’s wife appreciates this kind of aggression given that this part of sexual urge does not exist in the relationship with her husband. There is a similarity with the Wife of Bath’s use of the word ‘a myrie fit’ (III, 42) to show her own desire for aggressive sexual intercourse. It seems Miller’s wife greatly enjoys the rough sexual intercourse with the student given that the sexual performances are inferred to those of the biblical King Solomon as stated from her statement, he was blessed with a ‘yifte of God’ that no man alive now possesses (III, 39–40). The way the women are subjected to sexual activities in these tales is just a means of trying to express his own expression with regards to sexual aggression toward Miller as stated in the following statement ‘His wyf is swyved, and his doghter als [. . .] Thus have I quyt the Millere in my tale’ (I, 4317, 4324). 230 This story is specifically meant to repay Miller for being treated as a foolish person. This story is a fabrication which presents two young clerks before a deceitful miller and reaches a climax through sexual aggression towards Symkyn’s wife and daughter by Aleyn. Unlike Alison in the first story, these two women in The Reeve’s Tale are however not directly involved in any planned activity to have sexual intercourse with the young men. This story has however come under criticism by some sectors of the society especially the feminists. For instance, Angela Jane Weisl, has commented on the aspect of normalising violence especially in the The Canterbury Tales, and she is of the view that the ‘quitting’ of Mller by the Reeve is just a conflict of men against men which shows a pattern of violent acts against women as depicted by the following statement ‘beneath … is another kind of quiting: the quiting of women, of Eve, through a continuous pattern of violent acts against her [sic]’ (1998: 118). Weisl’s perception of sexuality in The Reeve’s Tale starts as ‘virtual rape.’ Though she does not explain their meaning, she goes on to describe sexual intercourse in the tale without clarifying the adjective: as plain ‘rape’. There is a suggestion that there is lack of sympathy for women in The Reeve’s Tale. On the other hand, there is also a suggestion that a sympathetic response might also be inappropriate. There is an element of suggestion that the reader ought to sympathise with the Miller for his beating as observed by Helen Cooper ‘comes not from his care for his daughter nor outraged morality, but from the affront to his social standing’ (1996: 114): ‘Who dorste be so boold to disparage/My doghter, that is come of swich lynage?’ (I [A], 4271-2). Sheila Delany emphasises the economic aspect of the situation: Symkyn has expected ‘an advantageous match for his virginal Malkin, until the goods are damaged by Aleyn the clerk’ (1994: 74). Symkyn’s wife is said to have experienced the best sexual intercourse in years (I [A], 4230); and Malyne cries not as a result of the loss of her virginity, but the leaving of the person who has taken it as suggested by John Hines: ‘it is Alayn’s going, not his coming, that upsets her’ (1993: 127). It is important to note that at twenty, Malyne has managed to keep her virginity for a long time given that in the Middle Ages, girls could be married as young as twelve years of age as depicted in the Wives of Bath (III [D] 4). The father is not the only person concerned with a good marriage as it turned out that Malyne has remained unmarried given that her grandfather wishes her to be a good match. This person of the toun, for she was feir, In purpose was to maken hire his heir, Both of his catel and his mesuage, And strange he made it of her marriage, His purpose was for to bestow hire her Into some worthy blood of ancestry (I [A] 3975-82) Therefore, it can be observed that Malyne is a victim of child abuse whereby she has failed to get a chance to satisfy her biological functions (I [A] 3958). Though some feminists have not criticised Malyne’s upbringing that is characterised by lack of fulfilment of sexual desire or the status created by marriage, Chaucer is particularly concerned with this aspect given that he wants to portray that Malyen has not been able to enjoy the fun which characterises the youthful stages of life in view of the father’s violence. With regards to the aspect of Malyen’s sexuality, a few aspects can be drawn from the book. She is not considered as a drying flower as she is described by the Reeve as ‘thikke and wel ygrowen…’ (I [A] 3973). The book however does not mention the fact that Malyne the opportunity to ask for help but she neither did that but instead suggests that Alyen was given the opportunity to put extra effort in the sexual related activities taking place the whole night as sreflected by this statement: he ‘wax wery in the dawenynge,/For he had swonken al the longe nyght’ (I [A] 4234-5). This is not rape but a perfect opportunity for a young lady to enjoy sexual intercourse, an opportunity she has been deprived for a long time. When Aleyn has sex with her three times then two times as suggested by her, this can be explained from a feminist perspective given that she chooses to do so. Thus, Helen Cooper’s observation that ‘Everybody except Simkin, it would seem, has a good time’ (1996: 114) is a valid assessment by virtue of the type of the genre. The Merchant’s Tale The Merchant's story though it is portrayed in a different manner from the other two stories, it is also an attempt to highlight certain elements presented in these tales. For instance, the Merchant is angered by the idealism presented in his wife Griselda who is ill just in as much as the Miller is also angered by the idealism of the Knight’s story. The Merchant is concerned with presenting a different personality and it is set in Italy and it is comprised of a nobleman from Lombardy. Just like the Clerk’s the husband is a playboy and not aggressive and the wife on the other hand is also tricky. The story is also concerned with drawing the difference between something real and imaginary, a thing that the Merchant could have experienced as a business person who was concerned with success in business every time. The type of introduction in the Merchant's Tale is not expected in a fabrication especially with consideration of Theophrastus, Seneca and Cato. The advisor’s of January reminds of Job's comforters, while on the other hand presenting two interrelated aspects of the moral part of the world and the amoral part of it. Biblical comparisons can also be drawn from the relations between January and May. Mary’s husband, Joseph, is shown as someone who is not given due consideration as a result of his impairment of sight while on the other hand, May is able to convince her husband that it does not matter to consider his visual impairment but to have faith in the words of the angels and ignore the earthly things. The scene in the garden draws comparisons with the demise of Eden though it is adjusted by the infiltration of the pagan gods. The inclusion of Pluto and Proserpina shows Chaucer's prowess given that it enables January to recover from blindness to regain full sight. In comparisons of the Merchant's Tale, it can be seen that the husband is convinced that he has a problem related to eyesight but this is not true in reality but Chaucer is able to portray it aas real in the story. There is a resemblance in the story of Lippijn, a short Middle Dutch play with the Merchant's Tale. In this particular play, the husband observes his wife with a lover but he is somehow coaxed by Trise, the wife's godmother, into believing that his sight has a problem and is seeing nonexistent things. The end is that the husband is beaten. Chaucer however chooses a rather interesting end to the story where May is in a position to wood wink her husband into believing that he is in firm control of the whole situation. This story is identical to various fabliau types: the senex amans ; the 'blind husband' type where he regains his sight and at one moment she discovers the wife in a compromising position but she claimed that such action is responsible for curing him and the 'enchanted tree' where the lover claims to be to make the husband see if she is cheating. The story is also set amongst the aristocracy. Chaucer appeals to the interests of the audiences to think of people’s mistakes, mischief as well as selfishness through portraying the actors as in a romantic connotation. The episode of sexual intercourse between May and Damyan in a tree towards the end of the Merchant’s Tale often been rather ignored by the critics. They have taken a softer stance towards it such as describing the act of having sex in a tree as “arboreal exploits.” For January, the hope of marrying May means a perfect opportunity for him to derive maximum sexual pleasure. The symbol of the fruit is complicated given that Chaucer chooses to use symbols to suggest acts of promiscuity. This is a real fruit that can be desired by women who are pregnant as implied by May to her jealous and heir-hungry husband. At the same time, the fruit is either Damyan himself, or Damyan’s sexual desire. It might also be regarded as the offspring conceived out of the sexual intercourse with Damyan. May herself is also portrayed as a fruit of the old man’s wealth. May on the other hand can be seen to be lying in order to achieve extra marital sexual satisfaction with her lover whereby she brushes aside January’s sexual desire in an atmosphere that is corrosive. She is also portrayed as a woman of noble position and status when she is described as “smal degree” (IV 1625), who has been married to a self centred old knight in order to conceive this lineage. She grabs any opportunity to portray the husband’s notion of family tree in an attractive manner but this is a source likely to impact on January’s line. Thus, in the Merchant’s Tale, adulterous affair between Damyan and May is completed by the words, ‘sodeynly anon this Damyan / Gan pullen up the smok, and in he throng’ (IV, 2352–3). This is a rather quick description with a violent emphasis on sexual intercourse which puts emphasis on the Damyan’s sexual vigour in sharp contrast to the old man, May’s husband which is regarded as an element of trespass against the privacy of married people. The absence of romantic affection is shown by the violent sexual aggression being portrayed by Chaucer. He however draws attention about his failure to mesmerise the ladies into believing that they are not treared as sexual objects in the Merchant’s tale. The apology is far from genuine as shown by the phrase he chooses (‘in he throng’). Emerson Brown's argument (Chau R 4 (1970): 31-40) that Damian does not reach orgasm in the fruit tree with May is also not convincing. Damian is not moulded as either Priapus or Pyramus and there is no apparent reason why they may share this frustration. Secondly, there is no reason to suggest that Chaucer altered his sources for the sole purpose of cutting short the time between May and Damian such that orgasm could not be reached before they were interrupted by January. The third point is that Chaucer provides little details about the background and personality of the narrator of the Merchant's Tale and there is no reason of thinking that the Merchant could not let one of the characters to achieve sexual satisfaction. However, Chaucer does not inform us whether or not Damian completes the sex act and it can be conclude that the author does not seem to think that such information is important in the "tale of Januarie. Read More