House Of Fame Analysis

In terms of literary quality, Chaucer went great lengths to give all elements a bit of attention. The work is primarily about a knight who is pardoned from a rape on the condition that he acquires the answer to one of life’s

In Geoffrey Chaucer’s poem The Canterbury Tales a young Chaucer tells of the people he meets on a pilgrimage to the shrine of Saint Thomas Beckett in Canterbury. One of the most vivacious characters on the pilgrimage is The Wife of Bath. Both the Wife of Bath’s prologue and tale share a common theme of a woman’s control in a relationship with a man. The Wife of Bath and the old hag in her tale share a similar perspective on what women want most in life. In the prologue and tale the reader is exposed to the idea that what women most desire in life is to have control over their husbands and lovers. This tale and its prologue are linked through the way that Dame Alice, the Wife of Bath, fashions the old hag in her tale after herself.

Through the use of the Pardoners confession Chaucer is highlighting how corrupt, greedy and self obsessed the Pardoner is, this is portrayed through his overconfident nature as Toba Beta the Indonesian author said “Overconfidence precedes carelessness” this suggests that the Pardoner is not aware of what people actually think of him. This contributes to the pardoner’s prologue and tale as it shows the irony that Chaucer is putting implying through the tale.

Chaucer’s “The Canterbury Tales” is a collection of over twenty stories told from the perspective of different members of a group of travelers as part of a story telling competition. Each member devises their own tale, ranging anywhere from a tale about chivalry and valor, fittingly told by a knight, to a comedic tale of a cheating wife and all the consequences that her actions bring, told by the miller. Through the act of introducing and telling their tales, each traveler puts themselves on display for the rest of the group and in doing so, reveals much about their true character. One storyteller’s tale in particular stands out in the way it does this: the Wife of Bath. Throughout her lengthy prologue, the Wife of Bath freely portrays herself as an imperfect person. Of herself she gives a complicated account, defending and explaining her many marriages and describing her actions towards her husbands, which were often very shaky morally speaking. She follows up her prologue by telling the story of a young man who, after committing a heinous crime and being sent on a quest to redeem himself, succeeds in this mission and ends up marrying a beautiful woman, living happily ever after. The narrator, who may at first seem to be incongruously paired with her tale, is actually working towards a greater purpose in this juxtaposition. The wife of bath, by following up her

Homer’s The Odyssey and Virgil’s ¬The Aeneid are both epic poems chronicling the travels and trials of their respective heroes. Though both stories deal with the fates of their leading men, Homer employs the use of hubris with his protagonist, Odysseus, while Virgil utilizes the trait of pietas with his protagonist, Aeneas. A comparative analysis of the heroes in their reactions to the mythical creatures they encounter, their relationships with the women they love, and their ultimate purposes in seeking passage to the underworld demonstrate the differences in their fatal character flaws.

In Virgil’s The Aeneid, he tells the tale of Aeneus, “a man remarkable for goodness” (Book I, 16). From the beginning of the story, Virgil emphasizes the roles that the gods and goddesses play in the lives of everyday people. By focusing on Juno, the queen of the gods and goddess of marriage, and Venus, the goddess of love, Virgil gives reason to the “so many crises . . . so many trials” (Book I, 17) that Aeneus faces throughout his arduous journey.

How Chaucer acts and how he tells the stories they must just be a regular story that is not trying to change something. What would Chaucer be trying to change with his story? I cannot find anything he wants to reform in his world or ours. He must be telling

The integration of Chaucer’s dual persona is important in showing her immediate appearance and how her character develops in her Prologue and Tale.

This tragedy is accompanied with the tragedy of Chaucer’s death. Because of Chaucer’s death, he was unable to finish the Canterbury Tales in its entirety. It leaves us wondering what other brilliant radical ideas, did Chaucer have stored for us? We can thank Chaucer for the language we speak today and the great works to follow his like Shakespeare’s. His decision to write his stories in English has forever shaped Western Culture and the

Chaucer’s “Wife of Bath Prologue and Tale” focus on the story telling of a woman who has experienced her fair share of marital issues. She is depicted as a promiscuous woman, married five times and had plenty of male suitors, the Wife was not like any other woman during this era. Although her reputation was how most perceived her, she was not a fan of being scrutinized for what she considered as her duty as a woman; to not remain single. This is seen through the depiction of women in society, how marriage ought to be in the eyes of religion, and how men were to view a woman like her. The language that is used throughout Chaucer’s prologue and tale allude to the evolution of women as well as how they struggled to gain any recognition in

We cannot read the CT as an honest criticism of 14th century English society without examining the entire picture - and this picture includes Chaucer's ideological contradiction. To better understand Chaucer's real message - criticizing the Three Estates system in order to encourage acceptance of his own Estate, the merchant or middle class - I will briefly discuss the Three Estates system and Chaucer's role in the system's shift to include a Fourth Estate (and how this shift influenced the CT). Then I will examine four stories from the CT (The Wife of Bath's Prologue, The Friar's Tale, The Summoner's Tale, and The Pardoner's Tale) in which Chaucer seems to denounce elements of the social paradigm. I will then examine four stories from the CT (The Knight's Tale, The Man of Law's Tale, The Second Nun's Tale, and The Parson's Tale) in which Chaucer contradicts his criticism of his society. Finally, I will discuss how the dominant social paradigm influenced Chaucer's view of the lower classes, and how the classist structure led to ideological contradictions within the CT. Before we discuss Chaucer's ideological contradictions, however, we must first examine the system he was attempting to change, the Three Estate system.

Geoffrey Chaucer lived from thirteen-forty-three to fourteen-hundred. “Chaucer is one of the most interesting writers in English literature because he straddles two worlds: the Middle Ages and the Renaissance” (Collin 1). He wrote his poems in middle-English, which is called Vernacular. “Geoffrey Chaucer chose to write his poetry in the Vernacular – the everyday language – of his time and place” (Chaucer et al. 18). Perhaps one of Chaucer’s most important literary works, “The Canterbury Tales,” sets the stage for a more in depth understanding of the feudal systems and classes of the Middle Ages.

Virgil was Rome’s unwilling epic poet, he gave the Roman people a cohesive narrative that tied them to the past and propelled them towards the future. This narrative, The Aeneid, had its basis in local lore as well as ties to the older Greek epics of Homer. The Aeneid almost functions as an extension of The Iliad and Odyssey, with its protagonist, Aeneas, being a minor figure in the earlier poems, and the work itself academically divided into “Odyssean” and “Iliadic” parts. In this relationship Virgil owes a creative debt to Homer, and there is a resemblance that can be seen with striking clarity when the experiences of Homers’ Odysseus and Virgil’s Aeneas are examined side by side. Odysseus and Aeneas are both honour bound to reach the destinations of their respective journeys, Odysseus to rule Ithaca and Aeneas to found Rome, and while ones journey often mirrors the others, there are significant differences between the two. The major differences that can be observed lie in their characters and forms of heroism and these variations shape the course of their narratives, yet the similarities of their internal journeys and ultimate fates remain intact.

The House of Fame was written between 1378 and 1383, which means that Chaucer wrote the poem when he was in Paris as a diplomat or just when he came back to England. Consequently, it is not strange that he introduced French vocabulary in the poem as an example, the first 30 lines of The House of Fame contain 175 words and although most of them have an Anglo-Saxon origin, we can find 26 French words. That means that the 13% of the vocabulary used by Chaucer has a French origin. This is corroborated by other scholars such as Sergeantsen (cit. by Adler in pp 256), in other Chaucer´s works in the 14th century.

Chaucer is generally considered the father of English poetry, and The Canterbury Tales has been required reading for countless students over the generations. The influence of his work on generations of English-language writers is undisputed. Some critics have worried that such wide and shallow exposure of the reading public to Chaucer's work has diluted full appreciation for his complex contribution to literature. Critic Derek Traversi says, “The appreciation of Geoffrey Chaucer has suffered a good deal in the past from his reputation as the ‘Father of English poetry.’ It has been easy to think of him as a ‘naif,’ the possessor of a charming simplicity of outlook which tends to convey itself, for a modern reader, through language considered ‘picturesque’ or simply childish, alternately ‘quaint’ or redolent of innocence for readers who think of themselves as more sophisticated and more psychologically complex.” However, this view is not correct, Traversi argues: “His early poems show him engaged in exploring the possibilities of the English language as an instrument for sophisticated literary creation.” As poet William Blake put it, over four hundred years after the book's first publication: “Of Chaucer's characters, as described in his Canterbury Tales, some of the names are altered by Time, but the Characters themselves for ever remain unaltered and consequently they are the Physiognomies or lineaments of