Understanding Fate, Women, And Oaths

The two tales, told by the Wife of Bath and the Clerk in The Canterbury Tales, have parallel plots. “The Wife of Bath’s Tale” begins with a

Throughout the Canterbury Tales, various characters are introduced and tell a tale, each of which tells a different story. All of the tales are unique and address different issues. “The Miller’s Tale” is the second of the many stories and varies from all of the rest. As seen from the “General Prologue,” Chaucer clearly depicts the Miller as a crude, slobbish man who will say anything. This reputation is held true as the Miller drunkenly tells a story full of adultery and bickering. Despite the scandalous nature of “The Miller’s Tale,” the story also displays some of Chaucer’s prominent beliefs. As “The Miller’s Prologue” and “The Miller’s Tale” are told, it becomes evident that Chaucer is challenging the common roles and behaviors of women, and he is also questioning the effectiveness of social class.

To eat or not to eat. In this battle of concocted tales, this is where it all boils down to. Both the Pardoner and the Wife of Bath have surely produced fine stories, each with their own charm; however, it will not be a battle without a clear winner—only one can enjoy a free meal. Although the “Wife of Bath’s Tale” tapped into a strong topic—gender equality—it only stated that women want to be equal to men as well, but never delved in deeper. The story even disregards the problem at hand: a knight who raped a girl and got away scot-free, even finding himself a beautiful and loyal wife. If the story went differently, the “Wife of Bath’s Tale” has all the components of a great story. Meanwhile, the “Pardoner’s Tale”, although short, successfully showed the corruptness that humans have, as well as the consequences if ever one finds themselves stuck in greed’s vice grip. Therefore, the Pardoner’s tale is better than the “Wife of Bath’s Tale” because it delves into the darkness of humanity, the consequences when one has dug themselves too deep and shows how, despite people knowing the result of their misconduct, will still choose to sink further into darkness.

The debate on whether to sanction Queen Guinevere by death, or not, takes place between the Pope, King Arthur and Sir Lancelot through letters. Men who are the source of women’s suffering are the same ones to redeem them from their bondage.

For my report, I chose to summarize how Brian Helgeland’s movie “A Knight’s Tale” (2001) draws its medieval themes and story from Geoffrey Chaucer’s “The Canterbury Tales: The Knight’s Tale”. Besides the nearly identical titles of these works and the moderately similar storyline, it can be further proven that “A Knight’s Tale” is an adaption of “The Knight’s Tale” because Geoffrey Chaucer appears as a character himself—and a vital one at that—in the movie. Furthermore, just to make certain that there is no mistake among the viewers about who they are dealing with, Geoffrey Chaucer (Paul Bettany) even refers to himself as a writer in the movie and points out his very first own work “The Book of the Duchess” in disbelief when some peasants don’t

During a high point in medieval chivalric romance, both Marie de France’s Lanval and the anonymous Sir Gawain and the Green Knight tell fanciful tales of knighthood, chivalry, and spiritual and temporal (courtly) love. Both Lanval and Sir Gawain and the Green Knight portray their female characters as possessing considerable power and influence, within the events in the story and in the structure of the plot. Indeed, the female characters in both works function as the catalysts of the events within the stories, and also as instruments for each author's conveyed meaning. While Lanval presents its female characters in an unorthodox reversal of gender roles, Sir Gawain and the Green Knight employs the female characters as moral and spiritual trials for the hero, Sir Gawain. I will examine how the fairy princess and Queen Gwenevere in Marie de France's Lanval present a reversal of gender roles as was traditionally understood; she presents femininity as powerful, inspiring, and morally dynamic (for a woman can be ideal, or she can be corrupt). I will compare this to the representation of Lady Bertilak and Morgan le Fay in Sir Gawain and the Green Knight, in which they are used to convey a “Biblical” warning for an ecclesiastical audience; particularly that of moral failure and the temptation of the flesh.

In The Wife of Bath’s Tale and Prologue and The Franklin’s Tale, the central theme is the relationship between man and woman. There are different views of this relationship or marriage in these two tales: either the woman has the power in the marriage granted from her husband, or the husband and wife grant each other power in the marriage so neither dominates.

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.

In Chaucer’s “Franklin Tale” the plot revolves around a married couple: the knight, Arviragus, his young wife, Dorigen, and a young squire, Aurelius who importunes and attempts to Dorigen. The characters can be said to oscillate between desire and their ego honor which affects what they say and do. Lacan’s definition of desire tells us that we desire for recognition from this “Other.” Our desire is to become what the other person lacks. Duby’s model of courtly love is a concept that focuses on chivalry, nobility and women being at the center. In this paper, I will examine what the story reveals about the relation each character has to his or her desire, how they act in accordance to their desire and the role magic or illusion plays in the plot and how it affect characters’ relation to desire.

There is no question that contradictory values make up a major component of The Canterbury Tales. Fate vs. Fortuna, knowledge vs. experience and love vs. hate all embody Chaucer's famous work. These contrasting themes are an integral part of the complexity and sophistication of the book, as they provide for an ironic dichotomy to the creative plot development and undermine the superficial assumptions that might be made. The combination of completely contradictory motifs leads to the unusual stories and outcomes that come to play out in the tales. And these outcomes draw focus on the larger universal issues that in many cases transcend the boundaries of vernacular periods to all of

The Canterbury Tales begin with The Knight’s Tale; which chronicles the tragic love triangle of Palamon, Arcite and Emilye. The following tale, which is told by the Miller, is also a love triangle, and is in many ways similar to the Knight’s tale. However, the Miller’s tale sharply contrasts the Knight’s, almost parodying it. The Knight’s tale is a tragic of nobility, heritage and focuses heavily on mythology and astrology, whereas The Miller’s tale is a comedy, focusing on the common-man and his less civilized, and bawdy lifestyle. The two stories mirror one another in many ways, but are presented from completely different sides of the spectrum. When the two tales are looked at closely, it doesn’t seem to be a coincidence that they occur

It is a well-known fact that the past has not been kind to women’s potential. With stereotypes of virtuousness and what it means to be a proper ‘lady’ still persisting today, it does not have to be imagined how strong of a code it was earlier in history. However, works such as William Shakespeare’s “Twelfth Night” and Geoffrey Chaucer’s “The Wife of Bath’s Prologue” demonstrate the few instances of a female character standing out from the traditional mold of their time. Despite adhering to society's norms at the end of their stories, the female perspective adds credibility to the gender's portrayal while breaking down gender stereotypes. By allowing the female characters to take an active role in the patriarchal society, it enables them to show themselves as potential equals to men.

The portrayal of men and women has varied in different stories throughout history. Many portray women as beautiful, deceptive, manipulative, and smart, while men are portrayed as being strong, masculine, and easily tricked. In many of the works covered in the course “Major British Writers to 1800,” men are advised to refrain from acting lustful, believed that it would harm their overall ability to succeed in whatever the characters aimed to do. An example of this is seen in “Sir Gawain and the Green Knight” when Gawain is deceived by Lady Bertilak in an effort to prove that Sir Gawain is imperfect. The depictions of men and women are very similar in Fantomina by Eliza Haywood, Sir Gawain and the Green Knight, and Phyllis and Aristotle. .

Though Chaucer’s franklin sets his tale in the pagan setting of Brittany, Dorigen’s speech contains an apostrophe that is seemingly addressed to the Judeo-Christian God rather than to any Celtic deity. Dorigen addresses her apostrophe to “Eterne God” which she later addresses as “Lord.” Though Chaucer often sets his tales in pagan settings, the word choice in the apostrophe makes the auditor of Dorigen’s speech quite clear. Dorigen’s theological debate is not addressed to Jove or any other pagan figure from classical antiquity; her questions are unequivocally directed at the eternal God of Christianity. Chaucer (through Dorigen) clearly desires for the larger philosophical questions concerning divine creation and its relation to worldly misfortune

Edmund Spenser’s Sonnet 67 is one of 85 sonnets from Amoretti which was written about his courtship of Elizabeth Boyle. Spenser and Boyle were married in 1594. Sonnet 67 uses a hunting themed metaphor common in 16th century England comparing the woman to a deer and the man to a huntsman in pursuit. Sonnet 67 appears to have been inspired by an earlier work by Petrarch, Rima 190, but with a different ending. In this paper we will take an in depth look at this work, also commonly referred to as “ Lyke as a Huntsman”.