Friday, September 20, 2013

The Women of Medieval Times

So far we have read four different tales containing many different women. These women give us a representation of women during the medial period. This representation ranges from the most pure to that of a prostitute. What do these representations say about women and how they were looked upon during the time period? Let's start with "The Knight's Tale".

In "The Knight's Tale" we get Emelye. Emelye is the representation of what every Medieval women wants to be (or at least should want to be). She has goddess like beauty and walks in gardens. Emelye also speaks very little in this tale. In fact the only time she does speak is when she prays to the goddess Diane. In this prayer and sacrifice she also exhibits the traits of what a Medieval woman should be; she prays "As send me him that moist desireth me.\ Bihoold, goddesses of clone chastitee,\ The bittre teeres that on my cheeks falle!\ Sin thow art maide and kepere of us alle,\ My maidenhode thow kepe and we'll conserve,\ And whil I live, a maide I wol thee serve. (Ll. 2325-2330). Emelye reveals two important things for the time her lack of choice and her chastity.  Emelye leaves the choice of man she is left with in the end, up to that man. It is the man that loves her the most that gets her; her feelings do not really matter. Also, Emelye keeps her virginity, ultimately for Palamoun. 

On we go to "The Miller's Tale". In this tale we get a young bride who is married to a carpenter. Physically, she is a beautiful woman. Alisoun would not be an example of what medieval women should be. She is more like the example of a medieval wife that everyone knows exist and talk about behind closed doors. Alisoun is flirty, wild and unfaithful; but she is married. Being married for a woman during the medieval times seems to be the honorable thing. By the end of "The miller's Tale" we come to realize that a woman like Alisoun does not really win. She is left with a husband that everyone thinks is crazy. At the same time she does not really lose either because her true intentions and actions are never revealed.

The dynamic of the next two tales are very different than the former two.  In "The Reeve's Tale" we get two women, a mother and wife as well as her daughter. These women represent a whole different idea a part from the idea of chivalry we had been previously presented with.  I believe their role aids the story in advancing the point the Reeve is trying to get across. Who they are and what they do are only important by being a cause not an effect. 

The incomplete "Cook's Tale" the woman is even less important. It is here that I stumble as to what the importance of a married prostitute plays in this story. I do think it is important to note that she is important.  This further shows the importance marriage is during medieval times.

Tuesday, September 17, 2013

La Llorona

http://www.youtube.com/watch?v=_-F8GxI0t7I

This link will take you to folk singer Joan Baez's rendition of La Llorona. Not being a speaker of Spanish, I was wondering if this song (which I have known for years-- our Mexican exchange student used to sing it) is a song version of the tale that Suzanna told today. Can anybody translate it?

Answer to "What is Diana's Temple Telling Us?" by Laura

Woops--my answer was too long for the comment section. Go figure....

What good questions. I really appreciated your pointing out the images having to do with change and transformation. I hadn't noticed that. Here's some thoughts.

First--It's hard to say what Chaucer, who had a different understanding of Roman mythology than we do, and was not worried about keeping strictly to the myths, meant with his gods.

I'm going to assume he knew the basic myths and if he was messing with them it was for a purpose.

2055--painted on the walls pictures of hunting and shamfast chastity. Shamfast could mean modest and humble, but also unwilling or ashamed of (MED). So we have chicks who are modestly chaste, would be better if they weren't chaste, or might wish to not be chaste.

According to the notes on this tale:
Calistopee (2056-2061)
--Jupiter got her pregnant, Diana kicked her out of her group of virgins, Juno got jealous of Jupiter and turned Calistopee into a bear, Jupiter made her and her son into constellations. Chaucer changes the myth so that Diana was the one that got mad and got even. So the problem goes from philandering husband and jealous wife, to leaving the goddess of virgins. So we go from a situation where it didn't matter whether or not Calistopee consented or not, the identity of her mate is what got her into trouble; to a situation where it is the act of sex, regardless of the situation, that gets Calistopee into trouble. Also in the original becoming the north star is kind of a reward from Jupiter.

Dane (2062-2064)
Chaucer spends three lines just identifying Dane. According to the notes he was writing about Daphne, a nymph who wanted to stay a virgin, and was turned into a tree by her father to save her from being raped. So this transformation was good. Chaucer doesn't mention the transformation as protective. He does connect Dane to Diane. It goes from a protective act to a maybe warning about perpetual virginity--becoming wood (mad), or isolated (trees live alone, not in pairs)

Actaeon (2065-2068)
as near as I can tell Chaucer keeps to the original story in this. Moral--don't spy on naked all-powerful goddesses if they might get mad. Or maybe, a warning to men like Palamon and Arcite not to lust after and invade the privacy of a woman who doesn't know or want them?

Atalanta (2070-2072)
OK, according to ye olde Wikipedia--Atalanta was a great hunter and virgin like her role-model Diane.Diane did send the boar to Calydon because King Oeneus neglected her worship. Lots of guys showing off hunting. Meleager, although married, had the hots for Atalanta, and made the guys include her in the hunt. Meleager shared credit for the kill with Atalanta, which made his family mad, so they killed him.

So now we have a virgin punished for being attractive to a married guy (but having it blamed on her giving up her chastity). A male (virgin?) being punished for being attracted to a virgin. And a married dude being punished for being attracted to a virgin.

To finish the story of Atalanta, she doesn't want her to marry, her dad says she must, she says she'll marry whoever can beat her in a race, Hippomenes wins by using 3 golden apples given him by Venus (which go on to cause the Trojan war). Hippomenes and Atalanta neglect some god and get turned into animals that can never have sex together again.

The portrait of Diane:
Diane is sitting on a hart, surrounded by hunting dogs. Underneath she has a moon near full. In general, new-waxing moon= virgin, full-moon = mother, waning moon = crone (at least in all the fantasy stuff I read). Diane is looking down to the ground and the realm of Pluto (the underworld, but not a necessarily evil underworld). In front of Diane a woman is struggling in labor and calls out to Lucina (which could mean Juno-mother or Diane-virgin) for help.

The gods' reactions:
Diane to me kind of represents acceptance of fate. She tells Emelye--this is going to be your fate, suck it up. Mars and Venus seem more attuned to fortune (and actually to Nicholas and Alisoun in "The Miller's Tale"). They whine and complain and don't accept things and finally get their ways.

So, putting it all together. I wonder if the way Chaucer plays with the myths represent the difference between men looking on the outside towards women's experiences, and women on the inside looking out.

To the men the myths mean:
Chicks who give up virginity are bad and will be punished.
Chicks who don't accept sex may end up never being women (being trees).
Chicks who entice (attract) married men are going to ruin those men's lives.
Giving birth can really suck.
Goddesses that only serve women don't have the power to change things.

To the women the myths mean:
Having a more powerful married man attracted to you, whether you want him or not, is going to ruin your life.
Withdrawal from the life of man (going to an abbey?) may be the only way to avoid rape.
It is not OK for men to spy on you with lust without your permission.
If a married dude is nice to you it's not your fault if it ruins his family life?
Women have goddesses that are only for them to help them give life to new people.
Accept your fate, don't whine and complain.

Well, this is my brainstorm for now.


Monday, September 16, 2013

What is Diana's temple telling us?

The temples that Palamon, Arcite, and Emily visit are obviously very significant points in the tale. The decorations in each of the temples are described in deep detail. In Venus' temple, we see love and all the consequences, good and bad, that come from it. In Mars' temple, we also see the consequences that can come from war.
The trouble comes when we look at Diana's temple in lines 2051-2074. Her temple is decorated with depictions of change. We see many transformations that are spoken of throughout Greek mythology.
I'm not sure what Diana's temple is supposed to tell us. Venus' and Mars' temples seemed to be warnings. If Diana is the goddess of virginity, could she be warning against the transformation from virgin to a sexually knowledgeable being? The transformations depicted were of humans being transformed into animals or plant: . One could argue that these would be a step down from humans and if we follow the metaphor, a loss of virginity would be a bad thing. Why then does Diana tell Emily that she must go through with the marriage?
I'm really unsure of this passage and would love to hear some other possibilities, if anyone has any ideas?

Gentillesse in "The Knight's Tale"?


Does anyone in "The Knight's Tale" behave consistently with gentillesse or chivalry? Or do their imperfections outweigh their successes?

I think people may find it easiest to see the flaws in Palamon and Arcite. In his blog, “Lions, Tigers, and Prayers” (http://hood-college-chaucerians.blogspot.com/2013/09/lions-tigers-and-prayers.html), Andrew does a great job of summing up the characters of Palamon and Arcite. What may be harder to find is the examples of gentillesse and chivalry. Up until they sight Emelye they seem to be doing well with both of the above ideals of behavior. Then it flies apart. But bits of the ideals remain. As Amtower and Vanhoutte point out, Arcite parallels Gareth in “The Tale of Gareth” in Malory’s Morte Darthur—young men who appear in court, act nobly (or with gentillesse) although denying noble blood, thus rising up through the court. But only Gareth gets the girl (Amtower and Vanhoutte, 260-261). It’s more of a reach’ but Palamon does try to keep his promise (to be a good prisoner), just as Gawain tries to keep his promise. Both of them fall short towards the end. But, like many of today’s melodramas, impending death cures everything.

Theseus definitely has the type of gentillesse signified by birthrank and manners. In fact, he shows many of the qualities of chivalry and gentillesse that I listed in my last blog. So what’s missing?  Theseus’ refusal to take ransoms for Palamon and Arcite is supposed to show that he isn’t motivated by greed. However, to me, it also fails both chivalry and gentillesse. These two souls were the only living men in a pile of bodies; both youths, cousins and noble. One could argue that they were protected by god(s) and therefore deserved to be treated with care. If they had been allowed ransom, they might have even been able to go home to raise the money. At the least, I believe (although I can’t find the cite) that at least some noble prisoners were allowed freedom within the castle, just not freedom to leave. Being kept in a room seems needlessly cruel. I think, on the chivalry side, Theseus fails to show Faith, Charity, Justice or Temperance in his treatment of the youths (Duke of Burgundy’s Code of Chivalry). According to Andrew’s translation of Gawain’s shield, two of the qualities of the Fifth Five are mercy and pity, which Theseus lacked as well. To me, Theseus failed the test.

WORKS CITED:

Amtower, Laurel, and Jacqueline Vanhoutte. "’Trouthe and Honour, Freedom and Curteisie’: War, Pageantry, and the Knighthood." A Companion to Chaucer and His Contemporaries: Texts & Contexts. Peterborough, Ont.: Broadview, 2009. 256-302. Print.

Thomas, A.  “Lions, Tigers, and Prayers” Hood College Chaucerians .
(http://hood-college-chaucerians.blogspot.com/2013/09/lions-tigers-and-prayers.html)

Thomas, A, and unknown. “Gawain’s Shield.” AncienTrails. 9 Sept. 2013.
http://www.ancientrails.com/?p=193

The Courtly Knight vs. The Chivalrous Knight

In The Knights Tale there is quite an interesting love triangle between Arcite, Palamoun, and Emelye. This triangle in which Emelye is not aware of being a part of until towards the end. In this tale it becomes hard to figure out whether courtly love over rules the laws of chivalry. Palamoun and Arcite both are immediately  overcome by Emelye's "Goddes" like appearance. The two knights, also cousins, both decide that they must have the girl. Out goes chivalry for "Love is a greater lawe" according to Arcite (ll 1165). So it seems Arcite is to be associated with chivalry. For me, this is the last time that he is associated with chivalry.
Arcite is all about winning, he is a knight. For him everything is war. How cunning is he? When he is released from prison and banished from Thebes he finds a way to return in order to see Emelye's face. Now one may look at this as his undying love but after I thought about Arcite and how he worked I saw this was just yet anther win for him. The most pivotal moment that revealed this character trait was Arcite's choice of the god he chose. And which god is that? No other than Mars, "Arcite unto the temple walked is\ Of fierse Mars" (2368-69).  Ah! Arcite I have caught you now. Sending offerings to the god of war. Love is more of a fight for you.
Palamoun is the romantic at heart. When he first saw Emelye he was not sure if she was a woman or a goddess for she was so beautiful! For Palamoun love is just love separate from the idea of chivalry. While he is left imprisoned  he has the opportunity to gaze upon Emelye everyday (awesome!) which helps him survive. When Palamoun escapes and has the opportunity to fight Arcite for Emelye's love he prays to no other than Venus, the goddess of love (Ooooo!).
But who wins the girl? Dun duuuuh dunnnn!!!!!!!!!!! Why Palamoun of course. So true love prevails. Well, to me at least it does. This does not mean that it over rules chivalry. These two knights show that there must be a balance created, one in which chivalry and courtly love is entertained. Maybe this is why it is thought of as one in the same today.

Gentil(l)esse an Intro


What is gentillesse?


 The MED describes it as:

1. (a) Nobility of birth or rank;  

2. (a) Nobility of character or manners; generosity, kindness, gentleness, graciousness, etc.; also, good breeding;

    (b) a noble or gracious action; don ~, to behave nobly, be kind. 

3. People of rank, aristocracy, gentry. 


The OED adds 

1. a. The quality of being gentle; courtesy, politeness, good breeding; an instance of courtesy. Frequent in Chaucer, esp. in phrases of gentilesse, for gentilesse, through (one's) gentilesse . 

 2. Slenderness; elegance.


 And Chaucer, according to Jill Mann's version, also uses gentillesse to mean mark of nobility, largeness of soul, virtue, elegance, and distinction (Mann 1167).


 I feel I need to master this concept because Chaucer uses it throughout The Canterbury Tales with all its various shades of meaning.


 Gentillesse is very connected to the ideas of chivalry. It seems to me that gentillesse is the embodiment of chivalric ideals.


Compare the following list of chivalric ideals:


o   Knights Code of Chivalry described by the Duke of Burgandy:
The chivalric virtues of the Knights Code of Chivalry were described in the 14th Century by the Duke of Burgandy. The words he chose to use to describe the virtues that should be exhibited in the Knights Code of Chivalry were as follows:

§  Faith

§  Charity

§  Justice

§  Sagacity

§  Prudence

§  Temperance

§  Resolution

§  Truth

§  Liberality

§  Diligence

§  Hope

§  Valour


To me there seems to be a fair amount of overlap. So when, in The Canterbury Tales, narrator Chaucer says of the knight that “He was a verray farfit gentil knight” (CT, GP, 72), he is talking about both the knight’s gentillesse and his chivalry.


WORKS CITED:


Chaucer, Geoffrey, and Jill Mann. The Canterbury Tales. London: Penguin, 2005. Print.

“gentilese". Middle English Dictionary." Middle English Dictionary. N.p., n.d. Web. 05 Sept. 2013. <http://quod.lib.umich.edu/m/med/>.

"gentilesse, n.". OED Online. June 2013. Oxford University Press. 5 September 2013 <http://www.oed.com/view/Entry/77649?rskey=I3rIgh&result=6&isAdvanced=false>.

 "Kneeling knight and chivalric code."
<http://www.aledebasseville.com/2012/08/chivalry-or-chivalric-code-by-ale-de.html>

"Knights Code of Chivalry." Knights Code of Chivalry. N.p., n.d. Web. 05 Sept. 2013. <http://www.middle-ages.org.uk/knights-code-of-chivalry.htm>.


 


Sunday, September 15, 2013

Conquering Coral

I’m curious what people think about our introduction to the Prioress, and if there’s a possibility that our overall interpretations of her as some sort of floozy are founded or not.
In looking at line 118, we see a woman who, at first glance, is high-born and sent to a priory.  She has become a Prioress, and knows how to appear the most proper of ladies through her upbringing. She eats her meat daintily, and even saves scraps for her lapdogs.  She has a large heart, which we see in how she feels about a mouse caught in a trap, or if one of her pups were to die.  Why is it that these things aren’t lauded or praised? Is it because her French isn’t good? She is kind hearted, generous, and looks out for the smaller of God’s creatures—so what makes us think she’s not living up to the role of Prioress? A simple love token. A set of beads which includes a piece of coral and the words engraved in gold “Amor Vincit Omnia”—love conquers all.
This beaded bracelet, I think, is the key to understanding more about this Prioress, especially because I no longer think that she is the tarty woman she is so often made out to be. Many feel that this bracelet must be a love token from a lover, someone who the prioress loves more than the God she is supposed to be serving. I feel differently.
While my first idea is definitely a simplistic one, and one that I’m sure will be shot down by many, the immediate phrase which comes to mind is something that was taught to me in church and church school repeatedly: “god is love.” If this is the case, isn’t she making a subtle statement that, perhaps, God can conquer all? (at this point, I’m well aware that the concept of “amor” is going to be more earthly love, etc. You may crucify me now, as I’ve opened the door, but at least see where my mind is going.)
Second, and the more compelling argument, brought about by my first point, is that the other prominent element, other than the golden words, is a piece of coral. Seemingly insignificant, as it’s essentially a piece of stone to the untrained eye, coral signifies so much more to me. Coral has a long history in art, being used in artwork depicting Perseus’ battle with Medusa (after he cuts of her head, it’s thought that her blood turned to stone, which could explain why coral is so brightly red). Because of this, and the fact that it grows so slowly, there were many who believed that coral had healing and protecting qualities.  Additionally, because it was thought that the Pegasus sprang forth from Medusa’s body, there is an element of rebirth also associated with coral, should it be related to the blood of Medusa.
Later, as Christianity takes precedence, we no longer see coral solely used in the stories of Greek and Roman myths, but begin to see coral being associated with Christ.  Firstly, because of the connotation of rebirth, the connections between Christ and coral are obvious. To further this idea, the bright red of the coral is connected to the blood of Christ, and is therefore thought to represent his blood solidified as protection and help for those lucky enough to have a piece of it.  In fact, coral became something which was given to babies in beads, especially those of a child’s rosary, for many years, to ward evil away.  We can see an example of this protection in the painting, seen below, of the Madonna Della Vittoria, where a large piece of coral hangs above Mary and the Christ child, used both to reinforce the idea that coral is protecting, and life-giving, as Christ will eventually be resurrected.
So, returning to our Prioress, I raise two questions: If she is the opposite of what a prioress should be, which is almost always what I have said, and what I hear everyone else who has discussed her has said, then here are my problems with this assumption. First, what if the love she holds for someone is really an overly ornate trinket which is really about her love for God? Second, what if she is actually an extremely clever person who is using her potentially educated background to have a lover’s token which is heavily disguised to be a religious bauble instead? Third, what if she is overly superstitious and is using the coral bead as a talisman of protection for the trip she is currently undertaking?

Here are pictures of the Madonnad Della Vittoria. The first is the entire painting, the second is the dangling bit of coral from the top, center of the painting. Both images are taken from Wikipedia... (I know, I know. It's terrible, but at least they can't screw up images of art...)
DOA: 9/14/13  http://en.wikipedia.org/wiki/Madonna_della_Vittoria