Summary and Analysis of The Man of Law's Tale
Fragment II
The Words of the Host to the Company and Prologue to the Man of Law's Tale:
The host speaks to the rest of the travelers, telling them that they can regain lost property but not lost time. The host suggests that the lawyer tell the next tale, and he agrees to do so, for he does not intend to break his promises. He says that we ought to keep the laws we give to others. He even refers to Chaucer, who works ignorantly and writes poorly, but at the very least does not write filthy tales of incest. The Man of Law tells the company that he will tell a tale by Chaucer called the tale of Cupid's Saints. The lawyer prepares for the tale he will tell about poverty, and does so in a pretentious and formal manner.
Analysis
In the prologue to the Man of Law's Tale, Chaucer once again plays with the divergence between the actual author and the narrator of each tale with the lawyer's critical reference to Chaucer, as if he were not the actual architect of the tale's words. The lawyer's critique of Chaucer is playful, little more than a sarcastic jibe at Chaucer's own abilities and a critique of Chaucer's contemporaries not meant to be taken seriously. In fact, little that the lawyer says is momentous or significant. Chaucer portrays the lawyer as pompous and formal, addressing the motley crowd as if he were speaking to the court.
The Man of Law's Tale, Part One:
In Syria there dwelt a company of wealthy traders who made a journey to Rome. After a certain time there, they beheld Constance, the emperor's daughter, who was renowned equally for her goodness and beauty. When the merchants returned to Syria, they reported to the sultan what they had seen; he immediately ...
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... Constance survives and remains devoted to her faith. She is thus comparable to biblical characters such as Jonah and Job. Her final reward for her steadfast faith comes when she reunites with both her father and her husband upon her final return to Rome. Even in the fate of Maurice is the influence of Christianity felt. He becomes emperor of Rome only when the pope gives his assent.
Epilogue to the Man of Law's Tale:
The Host praised the Lawyer for his tale, and urged the Parish Priest to tell a tale. The Parson chides the Host for swearing, and he in turn mocks the Parson as a "Jankin" (a contemptuous name for a priest). The Shipman decides that he will tell a tale next. In the fragments that remain of the Canterbury Tales, however, the Shipman's Tale exists later in the manuscripts, in the seventh set of stories. The Wife of Bath's Tale follows instead.
Coastal Medical Center was established a few years after World War II and began as a 100 bed, acute care hospital, serving the population of the tri-county area. Since conception, CMC significantly grew into a larger, more proficient hospital. However, in the past few years, Coastal Medical Center has become a declining 450-bed tertiary care hospital serving the current population of the tri-county area. CMC has a governing board which consists of 27 members and a parent cooperation board which consists of 19 members. The parent cooperation board, Coastal Healthcare Inc., has 24 subsidiary cooperation’s including Coastal Medical Center, three nursing homes, three hospitals, a home health company, and many additional services. Coastal Medical Center also coordinates 53 major new service projects and 66 special programs.
It is obvious that there is a large gap between where Coastal Medical Center is and where they need and want to be. When comparing CMC’s competitors, Johnson Medical Center and Lutheran Medical Center, CMC needs to provide more efficient, high quality care and focus on more profitable priorities instead of funding multiple unsuccessful projects such as the fifty-three unfinished developments.
In “The Pardoner’s Tale,” Geoffrey Chaucer masterfully frames an informal homily. Through the use of verbal and situational irony, Chaucer is able to accentuate the moral characteristics of the Pardoner. The essence of the story is exemplified by the blatant discrepancy between the character of the storyteller and the message of his story. By analyzing this contrast, the reader can place himself in the mind of the Pardoner in order to account for his psychology.
The narrator is the first element of humor Chaucer uses in his story. The Miller is rude and drunk but generally a jolly fellow. This sets the tone of story as being fun and even a bit coarse, just like the Miller himself. He tells a few jokes before he tells his story: "One shouldn't be two inquisitive in life? / Either about God's secrets or one's wife. / You'll find God's plenty all you could desire"(53). As well, the Miller wants to punish the Reeve, a ...
In summation Chaucer’s “The Canterbury Tales” is a story that mocks the church, shows us class separation and uses a language which may today be lost to us. But it has stood the test of time and showed us a pilgrimage of the century that to this day is still a good read.
However, after hearing his tale it is quite shocking about his frankness about his own hypocrisy. We know that he bluntly accuses himself of fraud, avarice, and gluttony, all things that he preaches against throughout this tale. It is in lines, 432-433 that the Pardoner states, “But that is not my principal intent; I preach nothing but for convenience.” It is here that we truly begin to learn that The Pardoner’s Tale is merely an example of a story that is often used by preachers to emphasize a moral point to their audience. That is why, this tale in particular helps to comprehend Chaucer’s own opinions, and how he used satire to display them.
“The Canterbury Tales” was written in the 14th century by Geoffrey Chaucer. These tales constitutes a frame story which each pilgrim has to tell their own story to the Chaucer, the pilgrim; not the poet. As we know, the tale itself is a satire, but the stylistic structure in the tales creates a sense that can be a parody as well. To support this idea of parody, it is need to know the definition of parody and how Chaucer use this style to make his own ideas clear through the general prologue and the tales such as “The Miller’s Tale” and “The Knight’s Tale”.
Although thin people seem to dominate society, the average size for a woman today is a size twelve. That puts the number of models on a smaller scale, and boosts the number of ordinary girls that make up most of society today. It’s not just about ordinary girls outnumbering models; it’s about the way that the media portrays these models. Slowly, the image of the “thin and beautiful” being the best is going down the drain. Larger models and actresses are taking the places of the “thin.” Hopefully, this will decrease the increasing numbers of anorexics in the United States as well as all over the world.
... creation is just a doll” says the article “Beyond Thin”. But with people in pictures and magazines it’s different. A study in Europe links the fashion industry's use of super-thin models to the self-identity problems of many young women.
Chaucer’s book The Canterbury Tales presents a frame story written at the end of the 14th century. It narrates the story of a group of pilgrims who participate in a story-telling contest that they made up to entertain each other while they travel to the shrine of Saint Thomas Becket at Canterbury Cathedral. Because of this, some of the tales become particularly attractive for they are written within a frame of parody which, as a style that mocks genre, is usually achieved by the deliberate exaggeration of some aspects of it for comic effect. Chaucer uses parody to highlight some aspects of the medieval society that presented in an exaggerated manner, not only do they amuse the readers, but also makes them reflect on them. He uses the individual parody of each tale to create a satirical book in which the behaviours of its characters paint an ironic and critical portrait of the English society at that time. Thus, the tales turn satirical, ironic, earthy, bawdy, and comical. When analysing the Knight’s and the Miller’s tale, one can realise how Chaucer mocks the courtly love convention, and other social codes of behaviour typical of the medieval times.
Within the larger context, the tales can be divided into groups. These ‘fragments’ are each cohesive, not in the least because of their treatment of a single overarching question or issue, as is examined in detail by structuralist critic Jerome Mandel, in Building the Fragments of the Canterbury Tales. Using Mandel’s premise as a beginning, one can further conjecture a structural similarity between the fragments; for the immediate purposes, a similarity between Fragments I (beginning with the Knight’s Tale) and III (beginning with the Wife’s Tale) is worth noting, in which an opening tale poses a serious question and partially addresses it, and a pair of lighter tales follows, each playing off the other to further examine the question. As the fragments progress, moreover, the questions as they arise encompass the previous question. Thus, the Wife of Bath’s Tale serves an important didactic purpose in encompassing the Knight’s, and heightening the level of the dialogue as Alice, the Wife of Bath, exams the validity of the question the knight poses in its entirety.
Chaucer identifies a pardoner as his main character for the story and utilizes the situational and verbal irony found in the pardoner’s interactions and deplorable personality to demonstrate his belief in the corruption of the Roman Catholic Church during this time. Chaucer first begins his sly jab at the Church’s motives through the description of the Pardoner’s physical appearance and attitude in his “Canterbury Tales.” Chaucer uses the Pardoner as a representation of the Church as a whole, and by describing the Pardoner and his defects, is able to show what he thinks of the Roman Catholic Church. All people present in the “Canterbury Tales” must tell a tale as a part of a story-telling contest, and the pilgrim Chaucer, the character in the story Chaucer uses to portray himself, writes down the tales as they are told, as well as the story teller. The description of the Pardoner hints at the relationship and similarity between the Pardoner and the Church as a whole, as well as marks the beginning of the irony to be observed throughout the “Pardoner’s Prologue and Tale.”
The Canterbury Tales by Geoffrey Chaucer is a collection of stories by a group of pilgrims who are heading to Canterbury Cathedral. In this book, the pardoner and the reeve show antipodal characters in many ways. The pardoner is beautiful blonde hair man who is being loved by everyone. However he is very corrupted and smart and sells fake religious stuff to people saying very good compliment. On the other hand, the reeve is very serious and honest business man. He is very smart enough to know what criminals think and do. The pardoner story-tells a great example (or tale?) of seven deadly sins and reeve’s story is mocking of the miller. These very different characteristic men tell story telling that human beings are always punished for being greedy. The crooked pardoner and the honest reeve have different purposes for telling their tales, but their stories have the same major theme; sins deserve punishment.
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The Church is the first institution that Chaucer attacks using satire in The Canterbury Tales. Chaucer wants to attack the church’s hypocrisy. Chaucer decides to create the character of the pardoner to prove his point. Cawthorne conveys, “His Canterbury Tales collects together 24 narratives with a General Prologue and an epilogue or Retraction.” Chaucer describes the character before telling their tale. The Pardoner is a man who steals from the poor. Chaucer says on page 127 line 77, “For though I am a wholly vicious man don’t think I can’t tell moral tales.” The pardoner knows what he does is wrong, but he continues to do it anyway.