Reference > Cambridge History > The End of the Middle Ages > “Piers the Plowman” and its Sequence > The Scene in the Ale-house
  Piers’s Pardon The Third Vision  

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The Cambridge History of English and American Literature in 18 Volumes (1907–21).
Volume II. The End of the Middle Ages.

I. “Piers the Plowman” and its Sequence.

§ 15. The Scene in the Ale-house.


In this second vision, the satire of passus V is very general, consisting, as it does, of a series of confessions by the seven deadly sins, in which each is sketched with inimitable vividness and brevity. It is significant of the author’s religious views, and in harmony with such hints of them as he has given us elsewhere, that these confessions are not formal interviews with an authorised confessor, but, for the most part, sudden outcries of hearts which Conscience has wrought to contrition and repentance. The notable exceptions are the cases of Glutton and Sloth. Of these, the former has often been cited as one of the most remarkable pieces of genre painting in our early literature. It presents the veritable interior of an English ale-house in the fourteenth century, with all its basenesses and its gross hilarity.   40
  Glutton is moved to repent, and starts for the church to confess, but, on his way thither, the ale-wife cries out to him. He says he is going to church to hear mass and confess. “I have good ale, gossip; wilt thou try it?” He does not wish to drink, but asks if she has any spices to settle a queasy stomach. “Yes, full good: pepper, peony, a pound of garlic and a little fennel-seed, to help topers on fasting days.” So Glutton goes in, and finds a crowd of his boon companions, Cis the shoemaker’s wife, Wat the warrener and his wife, Clarice and Pernel and a dozen others; and all welcome him and offer him ale. Then they begin the sport called the new Fair, a game for promoting drinking. The whole day passes in laughter and ribaldry and carousing, and, at evensong, Glutton is so drunk that he walks like a gleeman’s dog, sometimes aside and sometimes aback. As he attempts to go out, he falls; and his wife and servant come, and carry him home and put him to bed. When he wakes, two days later, his first word is, “Where is the cup?” But his wife lectures him on his wickedness, and he begins to repent and profess abstinence.   41
  As for Sloth, his confession, though informal, is not sudden, for the sufficient reason that he is too slothful to do anything suddenly.   42
  The satire of passus VI and VII is directed principally, if not solely, against the labouring classes. In sentiment and opinion the author is entirely in harmony with parliament, seeing in the efforts of the labourers to get higher wages for their work only the unjustifiable demands of wicked, lazy, lawless vagabonds. In regard to the remedy, however, he differs entirely from parliament. He sees no help in the Statutes of Labourers or in any power that the social organisation can apply; the vain efforts of the knight when called upon by Piers for protection from the wasters (VII, 140 ff) clearly indicate this. The only hope of the re-establishment of good conditions lies in the possibility that the wicked may be terrified by the prospect of famine, God’s punishment for their wickedness, and may labour and live as does Piers Plowman, the ideal free labourer of the established order. The author is in no sense an innovator; he is a reformer only in the sense of wishing all men to see and feel the duties of the station in life to which they belong, and to do them as God has commanded.   43
  Passus VIII is an explicit presentation of this idea, a reassertion of the doctrine announced by Holy Church at the beginning of passus I and illustrated by all the visionary events that follow—the doctrine, namely, that, “When all treasure is tried, Truth is the best.” The pardon sent to Piers is only another phrasing of this doctrine; and, though Piers himself is bewildered by the jibes of the priest and tears the pardon “in pure teen,” though the dreamer wakes before the advent of any reassuring voice, and wakes to find himself hungry and poor and alone, we know authentically that there lies in the heart of the author not even the slightest question of the validity of his heaven-sent dreams.   44
 

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  Piers’s Pardon The Third Vision  
 
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