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The wife of bath and courtly love in the tale
Women's role in literature
Women's role in literature
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Comparing two women indeed gives you, as an individual, a peek into each woman’s life. At times you may discover that they are very similar, while other times you may discover shocking differences. When comparing the Wife of Bath, an older pilgrim traveling to Canterbury, and the Fairy Queen, a beautiful and supernatural woman, we uncover distinct similarities and differences in their lives. We notice similarities in the way they view a relationship and their manipulative behaviors. Yet we notice differences in their actions, previous relationships and the necessity for their relationships, and their general appearance. Both women desire control in their relationship yet handle their relationship differently than the other. Each woman shows a unique way of handling situations and possess differing qualities.
The Wife of Bath and the Fairy Queen are controlling in their relationships with men. The Wife believes a happy match is one in which the woman has control and sovereignty over the man. In her prologue she tells of her husbands and how she always had control over them, it was a necessity for her to enjoy life. The norm in society was for the wife to submit to her husband, as clearly stated in the Bible; the wife denied this and ran her life apart from the norm. The Wife’s tale clarifies her belief that women should control the man in a marriage. In her tale, a knight is given one year in which to figure out what women want most in a marriage. Toward the end of the year, the knight talks to an old woman who says she will give him the answer if he will grant her one request. The old woman gives the knight his answer “Wommen desire to have sovereinetee as wel over hir housbonde as hir love, and for to been in mais...
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...r drawn, a cloak of deep-dyed purple lawn” (France, 557-570).
It’s amazing that she was a woman so beautiful that she captured the attention of everyone in the town. As we see, the two women differed widely in their appearances. The Fairy was a figure of beauty, everyone received pleasure while gazing at her, whereas the Wife was an older woman who is not nearly as attractive.
The Wife of Bath and the Fairy Queen have similar qualities in that they both desire control in a relationship, and behave manipulatively to get what they want. Yet, the two women are dissimilar in their actions, the reason they desire a relationship, and their general appearance. By comparing these two women, we can conclude that although each individual handles situations in different ways and each acquire different qualities, these make a person unique; uniqueness should be valued.
The story of Dame Ragnell and "The Wife of Bath's Tale" are works that are very similar yet have differences that set the two apart. The most obvious comparison between the two works is the dilemma faced in each. In both stories a man's life is at stake and all he has to do to be spared is to answer one question. That question has to do with what women really want. Another similarity involves the outcome of each story. The differences between the two stories are revealed in the plots. The differences that stand out the most are the circumstances leading up to the question being asked and the attitude of the person that has to marry the old hag to get the answer to the question. There are many small differences between the stories but they are not as important as the two mentioned.
In the tale that Geoffrey Chaucer had wrote, The Wife of Bath’s Tale, a man was described as a Knight. This Knight wasn’t like any normal Knight, he messed up and raped a girl. This is a big mistake, giving a lot of Knights a bad name, and having those that look up to them start to be disappointed in them. Usually the punishment that is given to those that rape, or in general any other crime, is death or time in the slammer, however, the Queen says no because he is a good looking guy. Instead of death, he had find out what women most desire from men. He is given a year and a day to find out, and on the last day, when he nearly had given up all hope, he sees an old woman in a field who makes a deal with him. The old lady gives the Knight a choice: to have an old, but faithful, wife, or to have a drop-dead gorgeous woman, but to have her never to be faithful, before she tells him what the Queen wants to know. The old lady and Knight get married and she wants him to sleep with her, like husbands are supposed to do with their wives. They argue and she gives him the two choices again; to have an ugly wife, but she is faithful. The other choice is to have a drop-dead gorgeous wife, but is never faithful. With this, he learns a lesson, and sufficient punishment.
Overall, in these fairy tales Carter succeeds in delivering a feminist message and provides a counter argument for the moral message of traditional fairy tales in which young women were encouraged to remain obedient and pure. Unlike in earlier fairy tales, in these stories it is the straying from the path that results in transformation and releases women from the subjugation that women over history have been subjected to.
Today, adults reading Charles Perrault’s Cinderella realize similarities and differences between Cinderella and a modern western woman. Adults recognize that Cinderella in Perrault’s fairy tale has undesirable qualities for a modern western woman, today. Cinderella is affectionate, goodwill, forgiving, and loyal. On the other hand, Cinderella is not independent, outspoken, confident, and strong. Cinderella has low self esteem and is incapable of solving problems. Inferiority, dependence and passiveness are characteristics that represent Cinderella do not characterize a modern western woman.
Presently, many books and fairytales are converted movies and often, producers alters the original tales to grasp the attention of a large audience. However, some of these interpretations hide the primary interpretation. The original interpretations of the Disney classics Snow White and Sleeping Beauty are greatly reinvented from the original fairytales Sun, Moon, and Talia and Snow White and the Seven Dwarfs because of the brutal nature of the treatment women in these original forms. Although there are differences in certain aspects from the original tales to the movies, there are many issues that are influential to the young girls who are still watching the Disney version. I realize this when my youngest niece, Anella asks me, “Why can’t I be beautiful and fall asleep and suddenly wake up to finally find my prince?” This is true in all cases of the four different translations of the fairytales. Every single girl in these stories are in a “beautiful” state of half-death who wake to find a prince who if eager to carry them off. This can lead to negative psychological effects on young girls as they are growing up, creating a large amount of pressure and low self-esteem due to the beauty that these stories portray and maintaining restrictions that these women experience in the stories. While it is true that Sleeping Beauty and Snow White and the Seven Dwarves are considered Disney classics that entertain children and provide meaningful role models, it is evident that the true, vulgar nature of these tales are hidden; these stories are about women who are thrown away.
The claim presented in “The Wife of Bath’s Tale” argues that a woman who is free to make her own decisions will reward her husband with a happy marriage. The first hint of the concept of women being dominant begins when the knight is faced with death for raping a woman. Typically this is an automatic death sentence in the kingdom, but the Queen changed the King’s mind so she was put in power over the knight’s life. As stated in the book “he granted him his life on the spot,/and gave him to the queen, completely at her will,/to choose whether she would save or destroy him” (Page 339, lines 40-43). Already at this point the idea of the women having dominion over men is being hinted at, where she has complete control even over his life. In order to save his life the knight was told by the Queen to find what all women want in life, a great...
In the Middle Ages, the roles of women became less restricted and confined and women became more opinionated and vocal. Sir Gawain and The Green Knight presents Lady Bertilak, the wife of Sir Bertilak, as a woman who seems to possess some supernatural powers who seduces Sir Gawain, and Geoffrey Chaucer’s The Wife of Bath Prologue and Tale, present women who are determined to have power and gain sovereignty over the men in their lives. The female characters are very openly sensual and honest about their wants and desires. It is true that it is Morgan the Fay who is pulling the strings in Sir Gawain and the Green Knight; nevertheless the Gawain poet still gives her a role that empowers her. Alison in The Wife if Bath Prologue represents the voice of feminism and paves the way for a discourse in the relationships between husbands and wives and the role of the woman in society.
Though Chaucer showed multiple tales of various characters in The Canterbury Tales, the Miller’s and Wife of Bath’s tale surpassed them all on their concept of marriage and love. Both allow the reader to understand where they are coming from and their perception. While one does not seem to believe too much in love, the other does. However, both clearly believe that women control the game of love in their own respective ways.
Walt Disney needed to change his version and many of his other fairy tales and in doing so started a change in the way we see fairy tales. Ask someone today to define a fairy tale and they will tell you along the lines of a beautiful woman put threw hardships that in the end of the story gets the man and becomes a queen of her own castle.
Over centuries of children have been enjoying the classic fairy tales of the Grimm Brothers and Charles Perrault. The fanciful plots and the vivid details allow children to be entranced by characters and adventures that can only be found in these stories. One of the most beloved fairy tales, which both the Perrault and the Grimms have their own separate versions of, is Cinderella. Cinderella is able to show how both versions are able to feed off the same plots while personifying the century and social economic situation in which they have lived.
They serve many purposes, as both demonstrated by Lurie’s article “What Fairy Tales Tell Us,” as well as what is investigated in this paper. Nevertheless, one must keep in mind how dated of many of these stories are; what some may view as having a deeper meaning, such as abuse, may also be reflecting the habits and occurrences of the time period, such as seen in “Hansel and Gretel.” That is not to say, however, that these stories are to be taken lightly. Ostensibly, romantic tales where true love is apparently the only motive may actually be harbouring important ethics and beliefs. This can be seen in the tale of Sleeping Beauty; criticized in modern times for being a feminist’s nightmare, the tale actually consists of genuine messages about the world. It takes insipid daily lessons and turns them into something magical, or, more eloquently, “the fairy tale survives because it presents experience in vivid symbolic form”
“The Wife of Bath’s Tale” is written in an entertaining and adventurous spirit, but serves a higher purpose by illustrating the century’s view of courtly love. Hundreds, if not thousands, of other pieces of literature written in the same century prevail to commemorate the coupling of breathtaking princesses with lionhearted knights after going through unimaginable adventures, but only a slight few examine the viability of such courtly love and the related dilemmas that always succeed. “The Wife of Bath’s Tale” shows that women desire most their husband’s love, Overall, “The Wife of Bath’s Tale” shows that the meaning of true love does not stay consistent, whether between singular or separate communities and remains timeless as the depictions of love from this 14th century tale still hold true today.
In Feminism and Fairy Tales, Karen E. Rowe asserts that “popular folktales” have “shaped our romantic expectations” and “illuminate psychic ambiguities which often confound contemporary women.” She believes that “portrayals of adolescent waiting and dreaming, patterns of double enchantment, and romanticizations of marriage contribute to the potency of fairy tales” makes “many readers discount obvious fantasy elements and fall prey to more subtle paradigms through identification with the heroine.” As a result, Karen Rowe contends “subconsciously women may transfer from fairy tales into real life cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues suggest that culture’s very survival depends upon a woman’s acceptance of roles which relegate her to motherhood and domesticity.” It is undeniable that numerous folk tales implant male chauvinism into women’s minds and thus convey an idea that woman should obey and depend on men. However, Rowe neglects the aspect that many other folk tales, on the contrary, disclose the evil and vulnerable sides of man and marriage and thus encourage women to rely on their own intelligence and courage other than subordinating to man. The Fairy tales “Beauty and Beast” and “Fowler’s Fowl” challenge Rowe’s thesis to some extent and exemplify that some fairy tales motivate women to be intelligent and courageous and to challenge patriarchy.
In a society unbridled with double standards and set views about women, one may wonder the origins of such beliefs. It might come as a surprise that these ideals and standards are embedded and have been for centuries in the beloved fairy tales we enjoyed reading as kids. In her analytical essay, “To Spin a Yarn: The Female Voice in Folklore and Fairy Tales”, Karen Rowe argues that fairy tales present “cultural norms which exalt passivity, dependency, and self-sacrifice as a female’s cardinal virtues.” Rowe presents an excellent point, which can be supported by versions of the cult classics, “Cinderella” and “Snow White”. Charles Perrault’s “ The Little Glass Slipper” and the Brothers Grimm’s “ Snow White” exemplify the beliefs that females are supposed to be docile, dependent on the male persona and willing to sacrifice themselves. In many cases, when strong female characters are presented they are always contradicting in these characteristics, thus labeled as villainous. Such is the case of the Cinderella’s stepsisters in Perrault’s “Cinderella” and the stepmother in the Brothers Grimm’s “Snow White.” These female characters face judgment and disapproval when they commit the same acts as male characters. With such messages rooted in our beloved fairy tales it is no wonder that society is rampant with these ideals about women and disapprove of women when they try to break free of this mold.
How did we get here? In 1697, French writer Charles Perrault updated an age-old fairy tale about a young woman named Cinderella to appeal to his contemporaries, French nobility and bourgeoisie. So many of the early versions of the tale boasted a very resourceful young woman who played an active role in her destiny. Perrault, however wrote his Cinderella as a well-mannered, docile, selfless women who would fit seamlessly with the ideal 17th century upper-class society. Historically, fairy tales have reflected the values of society in which they were written or revised mirroring its preoccupations, obsessions, ambitions, and shortcomings. What do these updates say about our culture’s view of women and marriage?