Within the larger context, the tales can be divided into groups. These ‘fragments’ are each cohesive, not in the least because of their treatment of a single overarching question or issue, as is examined in detail by structuralist critic Jerome Mandel, in Building the Fragments of the Canterbury Tales. Using Mandel’s premise as a beginning, one can further conjecture a structural similarity between the fragments; for the immediate purposes, a similarity between Fragments I (beginning with the Knight’s Tale) and III (beginning with the Wife’s Tale) is worth noting, in which an opening tale poses a serious question and partially addresses it, and a pair of lighter tales follows, each playing off the other to further examine the question. As the fragments progress, moreover, the questions as they arise encompass the previous question. Thus, the Wife of Bath’s Tale serves an important didactic purpose in encompassing the Knight’s, and heightening the level of the dialogue as Alice, the Wife of Bath, exams the validity of the question the knight poses in its entirety.
“The Miller’s Tale” perfectly incorporates all of the necessary components that make up a winning tale. In Chaucer’s, The Canterbury Tales, “The Miller’s Tale” fully satisfies every rule required by the Host, in a humorous and intriguing way. He uses the misfortune of the characters to grasp the reader’s attention, and keep him or her interested throughout the story. In the tale, Chaucer includes the idea of religious corruption happening in England during the fourteenth-century. He takes this negative idea and manipulates it into comedic relief by making both Nicholas and Absalom clerks. The actions of those characters, who were supposed to be revered due to their religious position, proves Chaucer’s negative view of the Catholic Church in England at that time. Through Chaucer’s incorporation of fourteenth-century religious corruption,
In The Canterbury Tales Chaucer portrays a wide spectrum of marriage from what can be traditionally seen as the worst to the best. Three of these tales, The Miller's, The Franklin's, and The Wife of Bath's, support this examination of what can constitute an ideal marriage.
The debate of which individual should have the authority in a marriage, the man or the woman, is a topic that has remained unanswered for centuries. While he does not solve this debate, Geoffrey Chaucer attempts to unpack the different elements that factor into it. In Canterbury Tales, primarily in the prologue of the Wife of Bath and both tales of the Wife of Bath and the Clerk, Chaucer displays different types of marriages. These marriages analyze how a man or woman can gain authority over the other. These marriages vary in terms of their dynamics due to the unique individuals and their environments. Through an analysis of the marriages depicted by Chaucer in the prologue and tales of the Clerk and the Wife of Bath, one can see the different
Chaucer’s innovation in the Pardoner’s performance tests our concept of dramatic irony by suggesting information regarding the Pardoner’s sexuality, gender identity, and spirituality, major categories in the politics of identity, without confirming that information. Our presumed understanding of the Pardoner as a character lacks substantiation. As we learn about the Pardoner through the narrator’s eyes and ears, we look to fit the "noble ecclesiaste" (l. 708) into the figure shaped by our own prejudices and perceptions, as any active reader must do. But the Pardoner, ever aware of his audience, does not offer clear clues to his personality. This break between what the other characters say about the Pardoner and what the Pardoner says about himself has been a major source of tension for all readers of the Tales and especially critics who search for substantiation of their views beyond the Chaucer’s own language. The general tone of the Canterbury Tales is comic. After all, the pilgrims are traveling to the shrine St. Thomas Beckett in a public act of holy reverence, but the Tales take a darker turn when the Pardoner is brought to the foreground. The whole Canterbury Tales is a collected set of performances, stories told about telling stories. As Joseph Ganim has written, theatricality, by which he means "a governing sense of performance, an interplay among the author’s voice, his fictional characters, and his immediate audience," is "a paradigm for the Chaucerian poetic" (5). This paper shall endeavor to show that the major effect of the Pardoner’s presence in the Tales is to focus the reader’s attention to questions of performance and performativity, literary perception, ...
In the short story, “The Cask of Amontillado” by Edgar Allan Poe, Poe uses two types of irony, dramatic and verbal. Dramatic irony is when the reader perceives something that a character in the story does not. Poe uses this type of irony in the character Fortunato. Verbal irony is when the character says one thing and means something else. This type of irony can be recognized in the statements that the characters, Fortunato and Montresor, say to one another.
“The world the Miller describes… is rife with drinking, adultery, sex, and violence” (The Miller’s Prologue). In Geoffrey Chaucer’s collection of tales, The Canterbury Tales, more specifically, The Miller’s Tale, his life is influenced within the tale whether it be his philosophies he has acquired through his experiences or specific events in his life that has incorporated into his writing. Throughout his tale, the story tells of a lover’s quarrel between John, the old carpenter who is married to Alisoun, Nicholas, the young clerk who is in love with Alisoun, Absolon, the parish clerk who is infatuated with Alisoun, and Alisoun, the beautiful young women who is having an affair on her husband with Nicholas. John, the carpenter,
“The Canterbury Tales” was written in the 14th century by Geoffrey Chaucer. These tales constitutes a frame story which each pilgrim has to tell their own story to the Chaucer, the pilgrim; not the poet. As we know, the tale itself is a satire, but the stylistic structure in the tales creates a sense that can be a parody as well. To support this idea of parody, it is need to know the definition of parody and how Chaucer use this style to make his own ideas clear through the general prologue and the tales such as “The Miller’s Tale” and “The Knight’s Tale”.
In The Canterbury Tales, written by Geoffrey Chaucer, the stereotypes and roles in society are reexamined and made new through the characters in the book. Chaucer discusses different stereotypes and separates his characters from the social norm by giving them highly ironic and/or unusual characteristics. Specifically, in the stories of The Wife of Bath and The Miller’s Tale, Chaucer examines stereotypes of women and men and attempts to define their basic wants and needs.
Chaucer's Canterbury Tales are filled with many entertaining tales from a variety of characters of different social classes and background. The first two tales told, by the knight and the miller, articulate very different perspectives of medieval life. Primarily, The tales of both the knight and the miller bring strikingly different views on the idea of female agency, and as we will discover, Chaucer himself leaves hints that he supports the more involved, independent Alison, over the paper-thin character of Emily.