Chaucer And Marie De France Research Essay

Chaucer And Marie De France Essay, Research Paper

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In his The Miller & # 8217 ; s Tale Chaucer presents a side of the courtly love tradition

ne’er seen earlier - Chaucer And Marie De France Research Essay introduction. His characters are mean in-between category workers instead than

elect aristocracy. There is an interesting comparing between the Miller & # 8217 ; s

characters and those in two of Marie de France & # 8217 ; s lais that portion really near secret plan

lines. Alternatively of being idealized Chaucer & # 8217 ; s characters are farinaceous. Alternatively of

being involved in “ courtly love ” there is some grounds that the

relationship between Alison and Nicholas is one of lecherousness. Chaucer & # 8217 ; s usage of the

lower category makes the absurdness of what they are making base out. In the lais of

Marie de France, Guigemare and Yonec, are built on the same original which is

the same as Chaucer & # 8217 ; s Miller & # 8217 ; s tale utilizations. Marie & # 8217 ; s lais can give supply a set of

“ land regulations ” for this original. The two lais portion several similar

elements. They both contain the same three cardinal characters, who possesses

cardinal similarities, the same beginning secret plan line and several of the same

subjects. The first character shared by the two lais is the narrative & # 8217 ; s scoundrel, the

aged hubby. He is a powerful Godhead who is much older than his married woman. Because he

is witting of this fact, he worries invariably that his married woman will bewray him,

so he locks her up. He is both the least and most of import figure in the narrative.

He & # 8217 ; s of import because without his presence and actions the narrative could ne’er

take topographic point. But he has really small existent interaction with the other two more

cardinal characters. The hubby in Yonec is ne’er described as meeting either

his married woman or her lover. In Guigemare the hubby, married woman and Guigemare are merely

together when the two lovers are discovered. The figure of the beautiful,

captive married woman is the 2nd cardinal character. She is the quintessential

demoiselle in hurt, beautiful, baronial ( and with the exclusion of her one true

love ) chaste. The 3rd character is the valorous lover who rescues the unhappy

and captive demoiselle. In both Guigemare and Yonec this character is a knight,

and like his lover, the demoiselle in hurt, he is the stereotyped “ knight

in reflecting armour. ” He is described as being afflicted by love, and says he

will decease without it. He will travel to any extent for his true love. As with

characters both Guigemare and Yonec portion a similar secret plan line. The immature married woman is

locked up by her covetous hubby. Then by some charming means her lover is

transported to her. After some protestation from the adult female, and some courtship from

the knight, the two become lovers, until they are discovered and separated.

After this point the two secret plans diverge. Besides cardinal to both narratives is the thought

that these extra-marital personal businesss are non improper. In Guigemare, the lady & # 8217 ; s amah

says to the knight: “ The adult male who wishes to love my lady must maintain her

invariably in his ideas and, if you remain faithful to each other, the love

between you will be right and proper. ” ( pg. 49 ) Obviously fidelity is

of import, but non forced fidelity. Love is more of import than matrimony in

these lais. It & # 8217 ; s besides of import to observe the celibacy of the lovers. There is no

reference of contact between the captive married womans and their hubbies. In Yonec the

Lord of Caerwent takes his married woman for the intent of kid bearing, but she is

imprisoned for seven old ages before run intoing her lover and no kids are

evidenced from the text. Guigemare has ne’er been in love before he meets his

true love. This gives the love and actions between the braces seem even more

pure, and besides makes it look to be less iniquitous. Love is a powerful force in both

these narratives. It is non merely the drive force behind the character & # 8217 ; s actions,

but it besides causes them physical affliction. Marie de France writes in Guigemare:

“ But love had now pierced him to the quick and his bosom was greatly

disturbed. For the lady wounded him so profoundly he had wholly forgotten his

fatherland. . .The knight remained entirely, plaintive and downcast. He did non yet

recognize the cause, but at least he knew that, if he were non cured by the lady

his decease would be assured. ” ( pg. 48 ) To Guigemare at least love is the

most of import thing there is. This consideration is even more dramatic by the

fact that Guigemare either could non or would non fall in love while in his ain

land. So those are the basic elements involved in the “ captive

married woman ” original used by Marie. In The Miller & # 8217 ; s Tale Chaucer uses same basic

secret plan line, and similar characters. One of the largest differences between the

Chaucer & # 8217 ; s characters and Marie & # 8217 ; s characters is their degree of wealth and their

place in society. This causes them to be portrayed in a different mode than

Marie & # 8217 ; s rich, baronial characters. The first of the three major characters is

present mostly unchanged. He is non of class a male monarch or Godhead, but John the

carpenter is evidently a adult male of at least some sum of wealth, evidenced by the

fact that he has a house that is large plenty that he can lease suites from. He is

besides more present than the covetous hubby of Marie. He does non lock his married woman

up in a tower and remain far off from her. Unlike the hubbies in Marie & # 8217 ; s lais he

still has contact with his tungsten

ife. The two slumber in the same bed ( as we see when

Absalom tries to sing to Alison ) . John & # 8217 ; s degree of green-eyed monster is non every bit great as

that of Marie & # 8217 ; s hubbies. When he awakens to hear Absalom singing to his married woman he

does nil. And as Absalom continues to seek to court John & # 8217 ; s married woman off from him

in his presence, he still does nil. The male monarch in Yonec kills his married woman & # 8217 ; s

lover, in Guigemare he at first efforts to make the same. He even allows a adult male,

Nicholas, to be near to his married woman. The lone adult male allowed close to Guigemare & # 8217 ; s

lover is a priest who had “ lost his lower members. ” Alison, Chaucer & # 8217 ; s

captive married woman, is less of the ideal than her opposite numbers in Marie. Surely

she is beautiful. But her is beauty is somewhat flawed. She is “ graceful

and slim like [ a ] weasel. ” By comparing her with a weasel Chaucer makes

Alison seem to be soiled and untrusty. Morally the comparing between Alison

and her opposite numbers in Marie is more confusing. Chaucer describes her as holding

a “ wanton oculus. ” But her protestation seems to be more existent, and

Nicholas seems to hold gone to farther lengths to do her his lover. When

Nicholas professes his love to her Chaucer describes her reaction as such:

“ [ She ] twisted her caput off hard/ and said, & # 8216 ; I won & # 8217 ; t snog you, on my

religion ; / why allow me be, & # 8217 ; she said, & # 8216 ; let be, Nicholas, or I & # 8217 ; ll call

“ Aid! ” and “ alas! “ & # 8221 ; ( pg. 155 ) Alison seems rather adamantly

opposed to going Nicholas & # 8217 ; lover here, as opposed to the married woman in Yonec, who

merely needs cogent evidence that her lover to be is Christian. Her refusals, and so

Nicholas merely winning when he had “ pushed her so difficult ” sounds, at

least to the modern reader, to be colza. But merely lines subsequently she swears a vow

with Nicholas. The displacements made by the adult females in Marie are non about so drastic.

At no point in Guigemare or Yonec do you acquire the feeling that the adult females will

garbage either of their lovers. Their protests are about merely for properness

interest, the mediaeval version of playing difficult to acquire. But in Alison & # 8217 ; s refusal there

is no evident support for her actions shortly thenceforth. Possibly the ground

for Alison & # 8217 ; s switching actions is due to Chaucer & # 8217 ; s image of adult females at the clip, as

was argued against by Christine de Pisan. The figure of the rescuing lover is

divided into two parts by Chaucer. Pleasant Nicholas is the existent lover, but

Absalom is the stereotype of the courtly lover. Aside from the fact that he

really becomes her lover Nicholas portions really small with the knights of Marie

de France. He is non particularly fine-looking, being described as looking “ as

meek as a maiden. ” Besides unlike Guigemare surely he is non chaste, nor is

this his first love. Chaucer writes: “ he knew all about secret love and

enjoyable solaces. ” ( pg. 151 ) This makes the love between Alison and

Nicholas seem to be less pure. Alternatively of Alison being the lone adult female for him,

as is Guigemare & # 8217 ; s lover, she may merely be another in a twine of many. Absalom,

on the other manus, possesses many more of the qualities that one would anticipate

that a lover in a narrative about courtly love would hold. He is described as being

handsome, or at least good groomed. He involves himself in what could be

described as “ courtly ” chases such as dance ( Chaucer says that he

knew twenty different stairss ) and can play two instruments. His efforts at

winning her love are more traditionally romantic. He sings under her window,

sends her gifts and even money to seek to gain her love. Like Marie & # 8217 ; s knights

Absalom is “ afflicted ” by love. Alison causes him to remain awake at

dark. But he is besides “ a small squeamish/ about flatus and prim in

address. ” ( pg. 157 ) , non the most masculine of characters. The Miller positions

John & # 8217 ; s matrimony to Alison as a error. He says: “ Peoples should get married

harmonizing to their status, / for young person and age are frequently at odds. ” ( pg.

153 ) In sing what happens to the two lovers at the terminal of the narrative at that place

is no indicant that Chaucer thought that what they were making was incorrect. It

would look that if their actions where thought to be wrong so they would

have been discovered, and some kind of bad luck would hold resulted ( to mention a

more utmost instance, the Jews in the Prioresses Tale ) . But alternatively, of being

punished they get off with their matter. Absalom gets his retaliation on Nicholas

with a hot fire hook, but John the carpenter seems to be the ultimate also-ran.

Nicholas and Alison acquire off with their dark of passion, and he & # 8217 ; s made to look

like a sap in forepart of the whole vicinity. Class is the major difference

between the characters of Chaucer the Miller & # 8217 ; s Tale and Marie & # 8217 ; s lais. Marie & # 8217 ; s

lovers are idealized, what each knight and lady should endeavor for. Chaucer & # 8217 ; s

lovers are soiled, carnal like and strident. The Miller & # 8217 ; s Tale is a lampoon of the

courtly love tradition. But the fact that Chaucer uses the lower categories as his

characters makes his narrative even more absurd. Alternatively of being wise they are

foolish.

Chaucer, Geoffrey The Canterbury Tales trans. Kent & A ; Constance Hieatt ;

Bantam 1964 de France, Marie The Lais of Marie de France trans. Glyn Burgess

& A ; Keith Busby ; Penguin 1986

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