Chaucer and the Middle Ages: The Canterbury Tales - Assignment Example

Quote Analysis and Discussion 5 For this ye knowen al so wel as I,  Whoso shal telle a tale after a man,  He moot reherce as ny as evere he kan  Everich a word, if it be in his charge,  Al speke he never so rudeliche and large,  Or ellis he moot telle his tale untrewe,  Or feyne thyng, or fynde wordes newe” (Chaucer 730-736). The above quotation is perhaps one of the most candid and interesting that is presented within the entire prologue to The Canterbury Tales. One particular reason for this level of importance has to do with the fact that it is one of the few quotes that openly warns the reader concerning the fact that some of the information they might be presented with story could be considered as rude, crass, or unfit in other ways. However, even with such a warning, the reader is also made to understand that regardless of what is represented within the forthcoming story, the reader should bear in mind the overall veracity and truthfulness of the information can only be as resilient as the veracity and truth of the individual that is relating the story. This is an especially interesting due to the fact that the inherent fallibility and humanity of those who are supposedly responsible for relating this tale is brought firmly to the reader’s attention (Pugh 97). Whereas many other stories and works of literature do not include such a caveat prior to engaging the reader/listener with what they seek to represent, the approach that is taken by Chaucer is one that references the frailty of human nature in terms of the possibility that without relating the actual words, as near as can be remembered, the reader would be presented with a story that might otherwise seek to embellish or take away from the events that transpired. This has relevance not only the Prologue; but indeed to the way in which the entirety of The Canterbury Tales is understood and represented. With an authors that seemingly take firsthand accounts and the representation of information, as near as can be recollected, seriously, the reader comes to understand that what they are about to read is somewhat divergent from many of the other folktales that they might have heard in the past. Whereas this is not indeed entirely true, it does help to add a further level of complexity to the tale and increases the degree of fascination that the reader has in the story itself. 2: An elf-queen wol I love, y-wis, For in this world no womman is Worthy to be my make In toune; Alle othere wommen I forsake, And to an elf-queen I me take By dale and eek by doune!’ (Chaucer 411-417) Whereas virtue and chivalry are very much common and core aspects of the culture that pervades The Canterbury Tales, the obstinate and unrequited lust that is represented within the above quotation is particularly telling with respect to the way in which the culture of love, lust, longing, and determination are represented within The Canterbury Tales. Ultimately, this representation is one in which love and lust is predicated entirely upon the male point of view. For instance, the lust and desire of a woman for a man is not something that is discussed in any depth whatsoever within The Canterbury Tales. Taking the above quotation as an example, found within the Tale of Sir Thopas, the reader can adequately note that the speaker is professing a degree of “pickiness” concerning his future mate or lover (Laynesmith 346). Instead of realizing that women are indeed approachable and indeed even human, the representation that is given in the above quote denotes that they must necessarily be some type of spiritual or magical creature; unattainable, divine, and/or otherworldly. Even though this representation is understood to be nearly impossible to maintain, the speaker of the above quotation goes a step further and notes that he will not lower his standards and will go to his dying day seeking out this mythical representation of a woman; even if it means that he will be alone for the remainder of his life and loveless (Horobin 351). The relevance of this particular quote to the story itself is powerful. Ultimately, Chaucer is able to represent the foolish way in which the qualities of chivalry and cultural virtue have boxed men into a very tight corner; making it all but impossible, and at best improbable, that they can be satisfied with a relationship in the course of their adult lives. By placing women on such an unreachable pedestal, the reader is made to understand that those who so strongly desire that which is unattainable will likely find themselves living a self fulfilling prophecy of self-imposed celibacy and loneliness. Further, this interpretation of feminine virtue and chastity is not only represented at one juncture within The Canterbury Tales; rather, it is a continuing theme that is represented throughout. 3: And is this song maked in reverence Of Cristes moder? Seyde this innocent; ‘Now certes, wol do my dillegence To conne it al, er Cristemasse is went; Though that I for my prymer shal be shent And shal beten thryes in an houre, I wol it conne, our lady for to honoure (Chaucer 893-899) Although many aspects of virtue, culture, and expectations of gender are represented within The Canterbury Tales, the above quote, found in the Tale of the Prioress, illustrates the subservience and dedication that believers espouse. As can be seen, the quote references a question of whether or not a particular song is in honor of Christ’s mother. Once this answer is known, the Prioress takes it upon herself to learn the words, even if it means that she will be beaten three times in a row for not learning her other lessons or performing her other tasks (Sisk 151). This level of abject dedication and servitude is directed towards the understanding that the highest honor and duty is performing a level of service towards the Almighty and the Blessed Mother. Although this may seem as something absurd to the current reader, this level of servitude was expected within the culture of the time, and something that was absolutely encouraged among those who dedicated their lives to serving God. Interestingly, there is a level of comparison between the dedication and subservience that is indicated in the above quote and the level of subservience and dedication that is represented within the journey to recover the relic and perform a ritual pilgrimage that is indeed the backbone of the entire story. Further, by engaging the reader in an understanding that regardless of the temporal discomfort or hardships that might be faced, the Prioress is able to reflect a determination of will and godliness that is impervious to the hardships that life might place upon her. A further interesting component of the above quote has to do with the fact that dedication and subservience to an ideal or goal is not only something that is reflected by the men of the story (Horobin 372). Ultimately, whereas the analysis bus far as the focus upon chivalry and virtue, as it relates to men, the need to follow the Creator and submit one’s will to Him, serves as the chivalric calling that women must ascribe to as well. Although it is true that the Prioress does not represent all women, she nonetheless stands as a virtuous representation of goodness; in much the same way that the men of the story oftentimes denote the honorable representation of Middle Age’s virtue (Harris 45). 4: Now sire, and eft sire, so bifel the cas, That on a day this hende Nicholas Fil with this yonge wyf to rage and pleye, Whyl that hir housbond was at Oseneye, As clerkes ben ful subtile and ful queynte; And prively he caughte hir by the queynte, And seyde, ‘y-wis, but if ich have my wille, For derne love of thee, lemman, I spille.’ (Chaucer 34-41) The above quote, found in The Miller’s Tale, is perhaps one of the compliments of the story that the author originally warned about as being “rude”. As was discussed within the first essay question of this response examination, the prologue itself provided an injunction with respect to the fact that aspects of the story that would be told have not been altered and are represented as truthfully as the teller can recall. Accordingly, the semi-pornographic nature of the above quote describes a situation in which a married woman is engaging in an adulterous affair with a younger man. The salacious nature of this particular quote is maximized by the fact that the husband is currently away on business and the woman’s actions are being described in detail. Although intercourse itself is not defined within the quote, heavy petting, foreplay, passion, and indescribable desire are noted (Da Rold 375). Once again, the relevance to the injunction that has been discussed within the prologue is of special importance. Whereas the other quotes that have thus far been analyzed have been almost entirely concentric upon discussing the virtues and honor that men or women should reflect, humanity, in all its different thoughts, actions, and considerations, is not nearly as lofty or high-minded as most within this particular era would come to expect. As such, Chaucer has found it necessary to incorporate the lustful and “sinful” components of human nature as a means of representing the full gamut of actions and thoughts that humanity is capable of producing. Rather than brushing aside this particular discussion or focusing upon another aspect of humanity that would be more fitting to the subject matter, Chaucer instead engage with this reality and presented it as he saw fit. Although many analysts have incorrectly assumed that the representations of sexual lust and adultery that are denoted within The Canterbury Tales are merely a gratuitous form of erotic literature, is the belief of this particular analyst that this interpretation could not be further from the truth. Instead, as has been reference, a realistic view of humanity must include a discussion of its most noble as well as its most base and/or ignoble characteristics. As such, the ultimate rationale for Chaucer including this particular quote, and a discussion of lust and adultery in general, is most likely done as a means of presenting a complete and realistic understanding of the way in which human thoughts and actions operate. 5: Telle me also, to what conclusioun Were membres maad of generacioun, And for what profit was a wight y-wroght? Trusteth right wel, they wer nat maad for noght. Glose who-so wole, and seye bothe up and doun, That they were maked for purgacioun Of urine, and our bothe thinges smale Were eek to knowe a femele from a male, And for noone other cause: sey ye no? The experience woot wel it is noght so (Chaucer 172-181) Found in the Prologue to the Wife of Bath, the above quote provides a candid discussion into sex and sex organs; likely a discussion that was not common for the era or one that few individuals actively engaged in with anyone else. What is interesting about this particular quote has to do with the fact that it discusses sex, sexual attraction, and sex organs from a dispassionate point of view. Rather than providing a discussion of the way in which sex takes place, the speaker discusses the purpose of sexual union (Edwards 237). Whereas the Catholic Church had long promoted the view that sexual union between a husband and a wife was only meant as a means of propagating the species, the speaker seems to question this; wondering how the sex organs themselves could be seen as something other than instruments of pleasure. The speaker goes on to make the assertion that these sexual organs, whether enjoyed within the bounds of marriage or not, were not created for nothing. The obvious illusion that is being made here is that these organs were made for pleasure; thus, an individual that seeks to derive pleasure in sex is not doing something that is tacitly immoral or wrong. The pleasure of the human and the need to feel this pleasure is represented in terms of an innate human want and desire; one that should not be repressed to stifled. Additionally, a further “dig” is provided in terms of the disparaging remarks that are directed towards the more “pious” individuals within the religious community; namely those priests, nuns, and celibate amongst the believers that understand these sex organs as serving no purpose beyond excretion of urine or the bearing and production of children. Once again, instead of approaching this topic in terms of representing sex itself as a lustful experience, the speaker focuses upon the fact that those amongst society that purposefully misrepresent the nature and reality of sex are the ones that are misled. This theme of openness and derision against the standards of religious morality serves as a fundamental approach that is represented again and again throughout the Canterbury Tales. Essay Response: The Theme of Regret in Chaucer’s “Retraction”: Agony of Leading Others to Sin A particular element of Chaucer’s work that continues to engage scholars is whether or not his “Retraction” should be understood in terms of its literal meaning or whether or not it was something of a comet in cheek response to the information that is thus far been provided. Whereas it is unlikely that this ongoing debate will conclude at any time in the near future, perhaps a more relevant question to consider is why Geoffrey Chaucer chose to beg forgiveness from those he had potentially “sowen into synne”. As such, the following discussion will be concentric upon the ultimate meaning of this particular phrase and three potential passages/components of the stories that were polled which could conceivably be understood as “leading an individual into sin”. Further, it is the hope of this author that such a level of discussion will provide the reader with a more nuanced and definitive interpretation of the way in which Geoffrey Chaucer ultimately meant for his story to be taken. Likewise, the three component parts of the analysis which will follow will be predicated upon The Prologue, The Miller’s Tale, and The Wife of Bath. Whereas it is true that there are of course litanies of other examples which could potentially be understood as “leading to sin”, it is the understanding of this analyst that these three are perhaps the most effective in representing this particular theme. Near the latter half of the prologue, the reader is presented with the following thoughts: “For this ye knowen al so wel as I,  Whoso shal telle a tale after a man,  He moot reherce as ny as evere he kan  Everich a word, if it be in his charge,  Al speke he never so rudeliche and large,  Or ellis he moot telle his tale untrewe,  Or feyne thyng, or fynde wordes newe” (Chaucer 730-736). As has been discussed by many analysts and researchers, the underlying rationale for the thought process and approach that is represented within the above quote is concentric upon representing a degree of honesty and truthfulness; regardless of the penalties that morality, appropriateness, or cultural sensitivities might have otherwise promoted. In effect, the author seeks to distance himself and divorce himself from the requirement of acting as an editor and censor for the information that would be represented within the following tales. However, comparing this particular quotation to the statement in the “Retraction” which references the fear of leading others into sin, it is likely to assume that Chaucer could potentially have regretted this honest and “hands off” approach that he took to the subject matter that he represented within his tales. Although few literary experts are of the opinion that these tales which were represented were in fact first-hand accounts, the imagination of Chaucer and the bias in which he engaged these topics could have been the impetus for his conscience that encouraged him to regret the level of honesty and liberality with which he approached the topics that have thus far been discussed. Although elevated within the Prologue as an element of the story-telling process that could serve to set it apart from others, Chaucer apparently comes to regret this approach as he feared that the level of candidness and honesty could have encouraged others to follow the poor examples of those he described and related. Although it goes as unspoken within the “Retraction”, the reader is forced to question whether or not Chaucer would have chosen to self-censor or whether or not he would have written the stories at all if given a second chance to do so. Even though it appeared as if Chaucer championed basic honesty as his duty as a story teller, this is not something that is championed over a fear of leading others astray; at least within the “Retraction”. A specific and relevant regret that Geoffrey Chaucer would have likely noted, if given the chance to redact some of the information that was presented, concerns the overly graphic representation of adultery and lust that was presented within “The Miller’s Tale”. Says Chaucer of the act of adultery: “Now sire, and eft sire, so bifel the cas, That on a day this hende Nicholas Fil with this yonge wyf to rage and pleye, Whyl that hir housbond was at Oseneye, As clerkes ben ful subtile and ful queynte; And prively he caughte hir by the queynte, And seyde, ‘y-wis, but if ich have my wille, For derne love of thee, lemman, I spille.’” (Chaucer 34-41) Regardless of whether Chaucer chose to represent the information concerning the adulterous affair in terms of absolute and complete honesty or whether or not the graphic representation was done for affect, the end result contributed to an extraordinarily graphic representation of foreplay and the manner through which an adulterous affair serves as the fuel of passion and lust for both participants involved. Whereas it is true that Chaucer stopped short of actively encouraging adultery or elaborating upon some supposedly virtue of the physical relationship that was described, he may have very well felt a level of guilt concerning the fact that such a vivid representation could have stirred the passion of an individual reading it to engage in a similar model of behavior (Edwards 243). Accordingly, even though it is unlikely that Chaucer ever intended for his work to serve as a stumbling block for another, the fear that this could happen and a level of regret for the semi-pornographic nature of the information represented likely prompted him to fear. A final element of the Canterbury tales that could ultimately have promoted Geoffrey Chaucer to regret writing them and feel a level of guilt that he might have led an individual into sin as a result can necessarily be found with respect to the extraordinarily open conversation and discussion that is represented within the Tale of the Wife of Bath. Beyond merely regretting the fact that an extraordinarily candid discussion of sexual organs, desire, and lust is represented within this particular tale, Chaucer invariably regretted the level of disparaging comments that were directed towards the Catholic Church and established morality; at least as it existed within the period in question. Although it is true that the discussion of sex and sexual organs that takes place within The Tale of the Wife of Bath is not necessarily blasphemous, it does a ridicule the overly sensitive and seemingly absurd approach to human sexuality that was apparently taken by so many members of the Roman Catholic Church during the time in which the story itself was penned (Da Rold 150). Attempting to understand and analyze this particular tale, specifically the discussion of human sexuality and desire, the reader can come to an interpretation of the fact that Chaucer must have eventually reconciled many of the disputes and frustrations that he might have had against the Roman Catholic Church after he wrote this particular story. Says the wife of Bath concerning the absurdity of understanding sex organs for excretion alone: “Telle me also, to what conclusioun Were membres maad of generacioun, And for what profit was a wight y-wroght? Trusteth right wel, they wer nat maad for noght. Glose who-so wole, and seye bothe up and doun, That they were maked for purgacioun Of urine, and our bothe thinges smale”(Chaucer 172-181) Ultimately, whereas it is true that none of Chaucer’s writings can be viewed as atheist or agnostic, he might have come to the conclusion that his overly strident tone, or indeed the levity with which he engaged such topics, could in fact be seen as a reason for individuals reading the story to doubt the power and reality of the Christian God (Thaisen 399). Although it is the view of this particular reader that such a point of view was never expressly denoted by any of Chaucer’s works, criticism during his lifetime could have prompted him to become overly fearful of leading others to sin; thereby regretting the representations that have thus far been discussed. From the analysis that has thus far been engaged, it is clear and apparent that Chaucer felt regret, remorse, and fear concerning the belief that he might be responsible for leading others into sin. Although this concern is something that should be respected, it should also be understood that the representation of material alone is not sufficient for the fear that Chaucer held. Although the situations that are described engage with different subject matter as compared to many of the stories and tales that were presented within Chaucer’s own era, they nonetheless are able to engage with an element of truthfulness and candor that few other stories within this particular time period had been able to effect. As such, this is one of the primary reasons that Geoffrey Chaucer’s The Canterbury Tales continues to be a work of high literature that is read, analyze, and assigned to countless students around the globe. Whereas Chaucer’s fear of leading others into sin must of course be respected, it is the interpretation of this author that it was and unfounded fear that is not corroborated or supported by the relevant discussions and analysis which has thus far taken place. Works Cited Chaucer, Geoffrey, V. A. Kolve, and Glending Olson. The Canterbury tales : fifteen tales and the general prologue : authoritative text, sources and backgrounds, criticism. New York: W.W. Norton, 2005. Print. Da Rold, Orietta. "The Canterbury Tales: Wife Of Baths Prologue And Tale." Review Of English Studies 64.263 (n.d.): 148-150. Arts & Humanities Citation Index. Web. 14 Apr. 2014. Da Rold, Orietta. "Should We Re-edit The Canterbury Tales?." Studies In The Age Of Chaucer (2010): 375. Project MUSE. Web. 14 Apr. 2014. Edwards, A. S. G. (Anthony Stockwell Garfield). "Sir James Ware, The Collecting Of Middle English Manuscripts In Ireland In The Seventeenth Century, And Chaucers Canterbury Tales." The Chaucer Review 1 (2011): 237. Project MUSE. Web. 14 Apr. 2014. EDWARDS, A. S. G. "Whats It Worth? Selling Chaucers Canterbury Tales In The Twentieth Century." Chaucer Review 48.3 (2014): 239-250. Academic Search Complete. Web. 14 Apr. 2014. Harris, Carissa M. "Inserting A Grete Tente, A Thrifty, And A Long: Sexual Obscenity And Scribal Innovation In Fifteenth-Century Manuscripts Of The Canterbury Tales." Essays In Medieval Studies 1 (2011): 45. Project MUSE. Web. 14 Apr. 2014. Horobin, Simon. "Compiling The Canterbury Tales In Fifteenth-Century Manuscripts." The Chaucer Review 4 (2013): 372. Project MUSE. Web. 14 Apr. 2014. Horobin, Simon. "Adam Pinkhurst, Geoffrey Chaucer, And The Hengwrt Manuscript Of The Canterbury Tales." The Chaucer Review4 (2010): 351. Project MUSE. Web. 14 Apr. 2014. Laynesmith, J.L. "A Canterbury Tale." History Today 62.10 (2012): 42-48. Academic Search Complete. Web. 14 Apr. 2014. Pugh, Tison. "Perverse Pastoralism And Medieval Melancholia In Powell And Pressburger’S A Canterbury Tale." Arthuriana 3 (2009): 97. Project MUSE. Web. 14 Apr. 2014. Sisk, Jennifer L. "Religion, Alchemy, And Nostalgic Idealism In Fragment VIII Of The Canterbury Tales." Studies In The Age Of Chaucer (2010): 151. Project MUSE. Web. 14 Apr. 2014. Thaisen, J. "Gamelyns Place Among The Early Exemplars For Chaucers Canterbury Tales." Neophilologus 97.2 (n.d.): 395-415.Arts & Humanities Citation Index. Web. 14 Apr. 2014. Read More