The Friar's Tale: A Study of the Character and Values of the Storyteller

“Let you not mistake your duty as I mistook my own. I came into this village like a bridegroom to his beloved, bearing gifts of high religion; the very crowns of holy law I bought, and what I touched with my bright confidence, it died;

In this passage, King’s presentation of logos is genius. He effectively shows the clergymen two sides of the community, the one of complacency and the other of hatred and cynicism. In this excerpt he does not attempt

Therefore I'll none of it. Honour is a mere scutcheon. And so ends my catechism." (5.1.129-140)

A consequence of this technique is a stage full of characters with whom we cannot identify. it is difficult for an audience member, medieval or otherwise, to identify with a character who is a concept without individuality. The uniqueness we associate with humans can not be found here, as the characters represented do not represent actual human beings. Even Everyman, the primary narrative agent, is problematic. Although we feel for him, we can only do so at a distance. He is not one of us, he is all of us. Obviously, the play is a product of the Christian religion. Most important among the ideas and recurring themes presented in this passage is God's statement: "Charity do they clean forget." Too concerned for their own worldly possessions, human beings

He has many issues with the church, starting with indulgences. He found them rather unnecessary. He believed that one can gain salvation through faith alone. That ones works were not as important as a strong faith in Christ. Teaching needs to be from the bible itself and not from a priest's interpretation. He didn't even believe that a priest should share

Early in the poem, Jarman points out the “sermon’s trenchant commentary on the world’s ills” (2-3), illustrating a mutilation of the connectedness of the congregation focusing instead on the very real but nonetheless generic ills of the world. Furthermore, the phrase “hand-wringing” (4) seems to describe the shaking of hands as the congregation members greet each other with the peace of Christ, again listing the routine of the congregation. Although, it appears to be more inclined towards a description of a helpless, passive anxiety that corresponds well with a sermon designed to impose guilt without inspiring action. Jarman goes on to compare the persistent nature of sin even in moments of peace with “motes of dust ride, clinging” (8). In this line, Jarman suggests that the congregation is sinful even after all the doctrinal procedure done to become clean from sin. Even the structure of the octave suggests a conventional and never changing sonnet form with 14 lines, a perfect Italian rhyming scheme, and a fascinating iambic pentameter alone, that inspires nothing more than an

The Friar’s character is another materialistic shyster, who gives easy penances in exchange for bribes. He spent these earnings on finery for himself, and “pocket-knives for the pretty girls”, leading one to wonder whether he was keeping his vows of chastity. Whereas a true priest would follow Jesus' teaching to tend to the lowest of his sheep, the friar did not wish to be bothered with the lepers and beggars. (Although he did on occasion, beg to supplement his own income!) The friar spent his time drinking in the taverns, socializing with the barmaids and innkeepers. Overall, he is portrayed as a greedy, gluttonous

After the Friar’s offensive tale, the Summoner “rose in wrath against the Friar”(303). As a bitter response to The Friar’s Tale, the Summoner tells a tale that mocks the Friar. Before his tale, the Summoner mocks the Friar in his prologue. In his prologue, a friar goes to hell with an and he is surprised that of all the friars “none ever come into this place?”(304). The angel then shows the friar “some twenty thousand friars...crept into his (the Devil’s) arse”(304). After his funny prologue, the Summoner then tells his even funnier tale.In The Summoner’s Tale , the tale includes acts of perversion of office committed by the friar. These perversions are mainly related to the Friar’s vow of poverty such as “pretence of praying”(308) for “those who gave him offerings or food”(305).

Friar Lawrence is a sacred figure which fits the traditional characteristics of tragic heroes in English literature. Citizens in Verona, despite their polar ethical values and family history, all recognize him as a prestigious man who always helps others to the best of his ability. This is shown when Juliet and Romeo confide in Friar Lawrence to conduct their secret marriage, “We met, we woo’d, and made exchange of vow, I will tell thee as we pass, but this I pray, that thou consent to marry us today,” (II, 3). His holy impression on people is illustrated when the prince states “We still have known thee for a holy man,” (V, 3). Through his high prestige, all citizens in Verona follow his lead without ever questioning the rationality and practicality behind his

Therefore, Wieland’s supposed holy motivation of pleasing the Lord is discounted by his ignorance of the nature of God. Though Wieland’s actions follow a desire to please the Lord, one must question why Wieland did not stop to consider such an illegitimate command.

Now came the question that changed the course of Francis’ life, and in many ways, the course of human history. "Why then are you seeking the servant instead of the master, the vassal instead of the prince?" the voice spoke again. Francis recognizing the voice as that of Christ, suddenly grew weary of retreat. "Lord, what will You have me do?" asked Francis. "Return home, Your vision will have its spiritual fulfillment through Me." replied the voice. Francis then returned to Assisi. Although the residents of Assisi rejoiced at his return, Francis was known as their leader during the time, they soon sensed that Francis had changed. Something was troubling him. The townspeople concluded that Francis had fallen in love. Francis’ companions would ask him who it was. Francis had to answer, but he couldn’t tell them that it was someone who he hardly knew or someone that he was slightly afraid. So he said to his friends, "I do dram of taking a wife, and she whom I shall marry is noble, so rich, so fair and so wise, that not one of your has seen her like".

when this loose behaviour I throw off/ And pay the debt I never promised,/ By so much shall I falsify men’s hopes;/ And, like bright metal on a sullen ground,/ My reformation, glittering o’er my fault,/ Shall show more goodly and attract more eyes/ Than that which hath no foil to set it off./ I’ll so offend to make offence a skill,/ Redeeming time when men think least I will. (1H4, 1.2.199-207)

The duality of his relics symmetrizes itself at the end of his tale, but not before he speaks of the oppositions of religion and sin that directly criticize his audience and, subconsciously, his own hypocrisy.

This letter not only incriminates God but it also incriminates the church. In their duty to come to the aid of the unloved and depressed they have failed and instead begun to play God themselves, judging society's mistakes in the name of righteous superiority. This is evident in Pauline's successfully achieved martyrdom at the cost of her marriage and the lives of her children.

Throughout early English history, the Catholic Church was a huge influence on a person’s life. The members of the church class are supposed to set an example for others; the people mimic what they do because they think it is right. Two main figure-heads of the Medieval Catholic Church are the parsons and the monks. In Geoffrey Chaucer’s The Canterbury Tales, these characters are introduced in “The Prologue.” Chaucer initially states that the Monk is “a good man,” (The Canterbury Tales l. 193). Chaucer then later introduces the Parson, who he says is “Benign and wonderfully delight” (l. 493). These two members of the church show how other members are supposed to live and behave.