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Masculinity in The Wife of Bath's Prologue and Tale
The Wife of Bath, with the energy of her vernacular and the voraciousness of her sexual appetite, is one of the most vividly developed characters of 'The Canterbury Tales'. At 856 lines her prologue, or 'preambulacioun' as the Summoner calls it, is the longest of any of the pilgrims, and matches the General Prologue but for a few lines. Evidently Chaucer is infatuated with Alisoun, as he plays satirically with both gender and class issues through the Wife's robust rhetoric. Scholars and students alike have continued this obsession with her, and as a consequence Chaucer's larger than life widow has been subject to centuries of scrutiny. Indeed, she is in the vast minority amongst the Canterbury bound pilgrims; apart from the in-vogue Prioress she is the only female - though she appears in no way daunted by the apparent inequality in numbers. It seems almost a crime to examine masculinity in her prologue and tale, but as I hope to show, there is much to learn both about the Wife and about Chaucer from this male presence.
When we consider that Chaucer chose his pilgrims with careful precision to present a cross section of late-medireview society, the small number of women travellers can be seen as a clear reminder of the patriarchal culture in which the Wife existed. Nevertheless, despite Alisoun's vigorous assault on 'olde and angry nigardes' she is the first to recognise the political ascendancy of men. Her prologue is peppered with allusions to great biblical patriarchs such as Abraham and Jacob:
Lo, heere, the wise king, daun Salomon;
I trow he hadde wives mo than oon. (35-36)
Here, the Wife makes no attempt to d...
... middle of paper ...
...rue subject of the poet's irony in this piece.
Works Cited and Consulted
Amsler, Mark. "The Wife of Bath and Women's Power." Assays 4 (1987): 67-83.
Bott, Robin. "The Wife of Bath and the Revelour: Power Struggles and Failure in a Marriage of Peers." Medieval Perspectives 6 (1991): 154-161.
Carruthers, Mary. "The Wife of Bath and the Painting of Lions." PMLA 94 (1979): 209-18.
Chaucer, Geoffrey. The Riverside Chaucer. Ed. Larry Benson. 3rd ed. Boston: Houghton, 1987.
Crane, Susan. "Alison's Incapacity and Poetic Instability in the Wife of Bath's Tale." MLA 102 (1987): 20-27.
Leicester, Jr., H. Marshall. "Of a fire in the dark: Public and Private Feminism in the Wife of Bath's Tale." Women's Studies 11.1-2 (1985): 157-78.
Oberembt, Kenneth. "Chaucer's Anti-Misogynist Wife of Bath." The Chaucer Review 10 (1976): 287-302.
each time I view it. For a direct to video film, your not gonna find
Eisner, Sigmund. A Tale of Wonder: a Source Study of the Wife of Bath’s Tale. New York: B. Franklin, 1969.
Plummer, John F. "The Wife of Bath's Hat as a Sexual Metaphor." English Language Notes, 18 (1980-1981).
Huppé, Bernard F. "Rape and Woman's Sovereignty in the Wife of Bath's Tale." Modern Language Notes 63.6 (1948): 378-81. The Johns Hopkins University Press.
The Great Gatsby is a parody of itself. While Fitzgerald tries hard not to make Gatsby and especially Daisy laughable personalities, this is where he ultimately fails. There's not enough ironic distance to his characters. As Gatsby, at least in the eyes of many critics, should represent the idea of the American Dream, the presentation of his character puts the whole concept in question again, without being intended as criticism. This is mainly the fault of another weak character in the novel, Nick Carraway.
Gatsby is a local celebrity, and everyone that goes to his parties has a theory about how he's made it in the wealthy world. In reality, everyone seems to know his name and is endlessly interested in his life for unknown reasons. So in that way, he seems to be pretty great, he even wins back the girl of his dreams for a short period of time.
THE IDEA (Day One): Creating a Board Game that teaches math and vocabulary skills. Similar to Monopoly, which uses a spinner, cards, and a game board will various squares, our game board will have squares color coated to various subjects (blue for math, yellow for English/vocabulary, green for science, and red for Social Studies/History). The child would would spin the spinner and, having a marker in the shape of a car, would move the appropriate number of squares that it says on the spinner (for example, if you spin a three on the spinner, you move three spaces forward). When the child moves his or her piece to its final location of the turn, the color of the block determines which subject the child receives a question from. For example, as already mentioned, a green square receives a science based question. An example question would be "What force is responsible for an apple falling to the ground?" The child would then have four choices to choose from A: Sublimation, B: Gravity, C: Equivalence, and D: Harpison, for example [the answer, B, is on the back]. The child would then answer the question; if the child got the question wrong, no money is awarded. Depending on the difficulty of the question, the child would receive between one hundred and five-hundred E(ducational)-Dollars. With the money, the children can either put it in the bank to rack up interest (which requires math skills) or they can buy lucrative properties. A small toy store, for example, would cost three thousand E-Dollars, and brings in five hundred dollars a month. A month passes by as soon as the player passes the starting line. In addition to money from businesses that you earn, players also rack up and additional thousand E-Dollars each month. Depending on how long you plan to play, whoever has the most money at the end wins. Cards for this game are constantly being made; used cards for new questions can be traded amongst others. After all, using the same cards over and over would not really educate or amuse the child. Children can also prepare for this excruciating, competitive board game by reading the E-Book, a book filled with knowledge in all subjects up to sixth grade.
In the Wife of Bath’s portrait she is described as heavy, bluff woman that is industrious, a talented weaver, her five husbands and her pilgrimages to Jerusalem. There is some reference to her potential promiscuity in youth but it is glossed over.
Chaucer, Geoffrey. “The Wife of Bath’s Prologue.” The Canterbury Tales. Ed. Larry D. Benson. Boston: Wadsworth Cengage Learning, 2000. 87-98.
Rigby, Stephen Henry. (2000). The Wife of Bath, Christine de Pizan, and the Medieval Case for Women. Chaucer Review, (pgs 133-165)
1. Schmalleger, F., & Smykla, J. O. (2009) Corrections: In the 21st century. New York, NY: McGraw Hill Companies.
One of the most interesting and widely interpreted characters in The Canterbury Tales by Geoffrey Chaucer is the Wife of Bath. She has had five different husbands and openly admits to marrying the majority of them for their money. The wife appears to be more outspoken and independent than most women of medieval times, and has therefore been thought to symbolize the cause of feminism; some even refer to her as the first actual feminist character in literature. Readers and scholars probably argue in favor of this idea because in The Canterbury Tales, she uniquely gives her own insight and opinions on how relations between men and women should be carried out. Also, the meaning of her tale is that virtually all women want to be granted control over themselves and their relationship with their husbands, which seems to convince people that the Wife of Bath should be viewed as some sort of revolutionary feminist of her time. This idea, however, is incorrect. The truth is that the Wife of Bath, or Alisoun, merely confirms negative stereotypes of women; she is deceitful, promiscuous, and clandestine. She does very little that is actually empowering or revolutionary for women, but instead tries to empower herself by using her body to gain control over her various husbands. The Wife of Bath is insecure, cynical towards men in general, and ultimately, a confirmation of misogynistic stereotypes of women.
The investigation into whether or not Geoffrey Chaucer was ahead of his time in terms of his views on feminism has been up for debate for hundreds of years. The Wife of Bath’s Prologue is just one solitary
Retribution, is one of the four goals within corrections. It’s the belief that those who committed should have to pay for what they did. Such as when someone commits a crime, they should have to pay a certain way. Either those ways being fines, or serving time in jail or prison. Or it could be something along the lines of community service for a certain amount of hours.
Chaucer, in his female pilgrimage thought of women as having an evil-like quality that they always tempt and take from men. They were depicted as untrustworthy, selfish and vain and often like caricatures not like real people at all. Through the faults of both men and women, Chaucer showed what is right and wrong and how one should live. Under the surface, however, lies a jaded look of women in the form that in his writings he seems to crate them as caricatures and show how they cause the downfall of men by sometimes appealing to their desires and other times their fears. Chaucer obviously had very opinionated views of the manners and behaviours of women and expressed it strongly in The Canterbury Tales. In his collection of tales, he portrayed two extremes in his prospect of women. The Wife of Bath represented the extravagant and lusty woman where as the Prioress represented the admirable and devoted followers of church. Chaucer delineated the two characters contrastingly in their appearances, general manners, education and most evidently in their behaviour towards men. Yet, in the midst of disparities, both tales left its readers with an unsolved enigma.