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>.

 

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

Gving Emelye a second glance

"The Miller's Tale" is a perfect complement to "The Knight's Tale" in a number of ways. The Knight's story is long with specific transitions and long speeches. The Miller's story is fast-pace with no transitions and lots of quick dialogue. There is the theme of elevated and courtly love juxtaposed with a bawdy and lustful type of love. Finally, The Knight is an eloquent, though long-winded, story teller while the Miller is quick with no loose ends. What I find to be even more interesting are the women.

Emelye, we agreed, seems to be a flat and lifeless character, so to speak. She plays no real role in the action, and what action she has is just further proof of her passivity, "(For wommen, as to speken in comune, / Thei folwen alle the favour of Fortune)" (2681-82). Granted she does not want to marry, therefore, does not put much thought into it. She is the ideal woman of a courtly romance. However, Chaucer takes the untouchable woman of the courtly romance and makes her tangible, at least for Palamon. The flatness of her character is a little disappointing, but not for long.

I took another look back at "The Knight's Tale" after reading "The Miller's Tale," and I found that Emelye is not as flat anymore. She is more dynamic in a comparison with Alisoun. Yes, Alisoun is more of an active player in "The Miller's Tale," but it was too obvious what was going to happen. She is a younger wife to and older man, and she is approached and wooed by a young clerk. Were we really surprised by that? In contrast, Emelye, though passive, takes on more depth as a character. She is willing to give up what she wants for what she must do. She knows she has no choice.

The "fallen woman" theme has been quite popular for a long time. Thanks, Eve. So, it comes as no surprise that Chaucer would give us a young, lustful, trickster woman. It takes no effort to fall victim to the appetites of the flesh or the vices.

Thoughts?

Lions, Tigers, and Prayers.

Lions, Tigers, and Prayers.

            I was thinking back on the Knight’s Tale and something Meg pointed out to me. It was that as Palamon and Arcite fight in the forest glade they are compared to animals. I could make statements about representing ferocity or the fact that animals were used all the time in heraldry (well actually I do want to talk about heraldry but not yet) that pertain to that passage, but what I realized that the two knight keep those descriptions. Both in the forest and in the arena Palamon is a “wood leon” (1656 and 2629-2632) and Arcite is always “cruel tigre” (1657 and 2626-2629). Actually here are the two passages.

            Thou mightiest wene that this Palamoun

            In his fighting were a wood leon,

            And as a cruel tigre was Arcite. (1655-1657)

 

And then the arena.

            Ther nas no tigre in the vale of Galgopheye,

            Whan that hir whelp is stole whan is lite,

            So crule on the hunte as is Arcite,

            For jalous herte, upon this Palamoun;

            N’in Belmarye ther nis so fel leon,

            That hunted is, or for his hunger wood,

            Ne of his praye desireth so the blood

            As Palamon to sleen his foo Arcite. (2626-2633).

Now certainly the last description is more elaborate than the first, but it is the same comparison. I think I am willing to attribute to Chaucer enough skill that he could have come up with something else if he really wanted to. Or if we want to stick with the idea that this story is in character of the knight, I’ll give him the benefit of the doubt and thousands of lines of poetry and say that he could have thought of something else too. So, it seems that this is deliberate consistency and might say something about the character of both.

            Palamon is the mad, it would seem both angry and crazy (wood and desireth so the blood) lion. In heraldry the lion is a beast of nobility and kings. Then to make it crazy creates a blunt, straightforward, but unstoppable force. This seems to be exactly who Palamon is. We know he was quite angry about Arcite’s confession of love in the tower. We also know he is as brutally honest as a cudgel because he turned himself and Arcite in as soon as Theseus asked. This would explain his application to Venus. Love is what he wants so love is what he asks.

            Arcite is the tiger. I don’t know a whole lot about the tiger in heraldry but in this description he is a “cruel tigre.” And not only cruel but cruel “For jalous herte” (2629). The term cruel in combination with “hunt” seems to imply some amount of cunning. This is also a perfect description of character. As he dies Arcite confesses that he fought with his cousin for “jalousye” (2784-2785). He also seems to exhibit a certain amount of conniving. He sneaks into Theseus household, argues his way out of bonds of brotherhood, and I think prays to mars because of it. He thinks that an application to love will be vain because it’s the victor who weds Emelye. So, in an effort to cheat the system he pleads to the god of war.

There, that’s me going on and on. I’m sorry there is no audio visual to go with this. I can only present this awesome illustration of sir Gawain and the Green Knight that Meg and I couldn’t work into our presentation.

 

And God save al this faire compaignye!

 

 

http://theoddmentemporium.tumblr.com/post/21645666420/sir-gawain-and-the-green-knight-by-john-howe

Unicorn Tapestries and more

Hwaet.  For all of you RenFesters, I would like to let you know where you can hang out all year and get your Medieval cup filled: there is a museum in NYC called The Cloisters, which is a castle- actually four pieces of castle from different countries, all pieced together-- and is filled with Medieval art (including the Unicorn Tapestries) and gardens. There are special programs (lectures and concerts) all year long. Our family traveled up there a few years ago and heard Benjamin Bagby  http://www.bagbybeowulf.com/  recite the first third of Beowulf in Old English (with Celtic harp, no less).

I believe Hood is sponsoring a bus trip to NYC in the near future, so consider going up and enjoy this beautiful treasure of  a museum!

 http://www.metmuseum.org/events/programs/events-at-the-cloisters/guided-tours