"The Prioress's Tale" is one of The Canterbury Tales by Geoffrey Chaucer.
It follows "The Shipman's Tale" in The Canterbury Tales . It is followed by Chaucer's "Tale of Sir Topas". The General Prologue names the prioress as Madame Eglantine, and describes her impeccable table manners and soft-hearted ways. Her portrait suggests she is likely in religious life as a means of social advancement, given her aristocratic manners and mispronounced French. She maintains a secular lifestyle, including keeping lap dogs that she privileges over people, a fancy rosary and a brooch inscribed with Amor vincit omnia ('Love Conquers All').
Her story is of a child martyr killed by Jews, a common theme in Medieval Christianity [ broken anchor ], and much later criticism focuses on the tale's antisemitism.
The story is introduced with an invocation to the Virgin Mary, then sets the scene in Asia, where a community of Jews live in a Christian city. A seven-year-old school-boy, son of a widow, is brought up to revere Mary. He teaches himself to sing the first verse of the popular medieval hymn Alma Redemptoris Mater ("Nurturing Mother of the Redeemer"); although he does not understand the words, an older classmate tells him it is about Mary, the mother of Jesus. He begins to sing it every day as he walks through the local Jewish ghetto to school.
Satan, "That hath (built) in Jewes' heart his waspe's nest", incites some Jews to murder the child and throw his body into a public cesspit. His mother searches for him and eventually finds his body, which miraculously begins to sing the Alma Redemptoris. The Christians call in the city magistrate, who has the Jews drawn by wild horses and then hanged. The boy continues to sing throughout his own Requiem Mass until the local abbot asks him how he is able to do so. He replies that although his throat is cut, Mary appeared to him and laid a grain on his tongue, saying he could keep singing until it was removed and she would come for him. The abbot removes the grain and the boy finally becomes silent and dies. The story ends with a reference to Little Saint Hugh of Lincoln, another child martyr whose death was blamed on Jews.
The story is an example of a class of stories, popular at the time, known as the "miracles of the Virgin" such as those by Gautier de Coincy. It also blends elements of common story of a pious child killed by the enemies of the faith; the first example of which in English was written about William of Norwich. Matthew Arnold cited a stanza from the tale as the best of Chaucer's poetry.
"My throte is kut unto my nekke boon,"
Seyde this child, "and as by wey of kynde
I sholde have dyed, ye, longe tyme agon.
But Jesu Crist, as ye in bookes fynde,
Wil that his glorie laste and be in mynde,
And for the worship of his Mooder deere
Yet may I synge O Alma loude and cleere.
In "Chaucer's Prioress and the Sacrifice of Praise", Sherman Hawkins juxtaposes the Pardoner and the Prioress as the representatives of two radically different forms of religious expression. The Pardoner's materialistic orientation, his suspicious relics and accusations of sinfulness (evident in his conflict with the Host) align him with Paul's account of the "outward Jew, circumcised only in the flesh", rather than the "inward" Jew of Romans 2.29 who is spiritually rather than literally circumcised: "the Pardoner, outwardly 'a noble ecclesiaste', actually reduces Christianity to a code as rigorous and external as the Old Law itself." [1] In his tale, "the Pardoner presents death as the wages of sin, an effect of justice" while the "Prioress, through the paradox of martyrdom, shows it as mercy, an effect of grace." [2]
In "Criticism, Anti-Semitism and the Prioress' Tale", L. O. Fradenburg argues for a radical rereading of the binary oppositions between Christian and Jew, Old Law and New Law, literal and spiritual in the tale in part to critique the "patristic exegesis" of Sherman Hawkins' earlier interpretation. [3] Fradenburg challenges Hawkins' "elision of the 'literal' or 'carnal' level of meaning in favour of the spiritual" [4] by lingering on those moments in the tale, such as the "litel clergeon's" transgressive rote memorisation of the Alma Redemptoris, in which this elision fails, or succeeds only ambiguously. She traces the impossibility of ultimately separating and opposing Old and New Laws in the "Prioress' Tale" back to a tension between letter and spirit internal to Paul's discourse itself. [5] Fradenburg gestures at a larger project of turning "patristic exegesis" against itself to read the contradictions revealed by the theological subtext of the tale.
Fradenburg notes that the substance of the "Prioress' Tale" can be linked to the "'child-host' miracle of the later Middle Ages" which involved the substitution of the "actual body of the Christ Child" for the Eucharist. [6] Such miraculous tales appear designed to reaffirm faith in the miraculous efficacy of transubstantiation in the face of the pressure of Lollard dissent, which broadly questioned the spiritual status of the Eucharist and other Church traditions: relics, clerical celibacy, even pilgrimages. [7] According to Fradenburg, these miraculous tales operate according to a paradoxical logic in which "visuality and carnality are used to insist upon the superior virtue of that which is beyond sight and flesh". [6] Yet such sacramental materialism remains vulnerable to the kinds of abuse more obviously associated with the Pardoner; Fradenburg cites the case of Little Saint Hugh of Lincoln, the historical episode of the young English Christian supposedly martyred by Jews, "slayn also / With cursed Jewes, as it is notable / For it is but a litel while ago" (VII 684–686), tacked onto the end of the "Prioress' Tale". The tale was intimately bound up with attempts to "aggrandise the spiritual prestige and temporal revenues" of the local cathedral. [8] Thus the vivid "carnality" of the miraculous tale of martyrdom could be deployed as easily to enhance the worldly prominence of the Church as to refute heretical doctrine by reaffirming the spiritual legitimacy of Church rituals. The "Prioress' Tale" may approximate the greedy exploitation of spirituality embodied by "The Pardoner's Prologue and Tale" insofar as it is indebted to tales of martyrdom circulated for worldly profit.
The Canterbury Tales is a collection of twenty-four stories that runs to over 17,000 lines written in Middle English by Geoffrey Chaucer between 1387 and 1400. It is widely regarded as Chaucer's magnum opus. The tales are presented as part of a story-telling contest by a group of pilgrims as they travel together from London to Canterbury to visit the shrine of Saint Thomas Becket at Canterbury Cathedral. The prize for this contest is a free meal at the Tabard Inn at Southwark on their return.
Hugh of Lincoln was an English boy whose death in Lincoln was falsely attributed to Jews. He is sometimes known as Little Saint Hugh or Little Sir Hugh to distinguish him from the adult saint, Hugh of Lincoln. The boy Hugh was not formally canonised, so "Little Saint Hugh" is a misnomer.
"The Miller's Tale" is the second of Geoffrey Chaucer's Canterbury Tales (1380s–1390s), told by the drunken miller Robin to "quite" "The Knight's Tale". The Miller's Prologue is the first "quite" that occurs in the tales.
"The Wife of Bath's Tale" is among the best-known of Geoffrey Chaucer's Canterbury Tales. It provides insight into the role of women in the Late Middle Ages and was probably of interest to Chaucer, himself, for the character is one of his most developed ones, with her Prologue twice as long as her Tale. He also goes so far as to describe two sets of clothing for her, in his General Prologue. She calls herself both Alyson and Alys in the prologue, but to confuse matters, these are also the names of her 'gossip', whom she mentions several times, as well as many female characters throughout The Canterbury Tales.
"The Reeve's Tale" is the third story told in Geoffrey Chaucer's The Canterbury Tales. The reeve, named Oswald in the text, is the manager of a large estate who reaped incredible profits for his master and himself. He is described in the Tales as skinny and bad-tempered and old; his hair is closely cropped reflecting his social status as a serf. His sword is rusty while he rides a fine gray horse called Scot. The Reeve is a skilled carpenter, a profession mocked in the previous "Miller's Tale". Oswald responds with a tale that mocks the Miller's profession.
"The Pardoner's Tale" is one of The Canterbury Tales by Geoffrey Chaucer. In the order of the Tales, it comes after The Physician's Tale and before The Shipman's Tale; it is prompted by the Host's desire to hear something positive after the physician's depressing tale. The Pardoner initiates his Prologue—briefly accounting his methods of swindling people—and then proceeds to tell a moral tale.
The Hengwrt Chaucer manuscript is an early-15th-century manuscript of the Canterbury Tales, held in the National Library of Wales, in Aberystwyth. It is an important source for Chaucer's text, and was possibly written by someone with access to an original authorial holograph, now lost.
"Sir Thopas" is one of The Canterbury Tales by Geoffrey Chaucer, published in 1387. The tale is one of two—together with The Tale of Melibee—told by the fictive Geoffrey Chaucer as he travels with the pilgrims on the journey to Canterbury Cathedral. The tale concerns the adventures of the knight Sir Thopas and his quest to win the elf-queen.
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The Squire is a fictional character in the framing narrative of Geoffrey Chaucer's Canterbury Tales. He is squire to the Knight and is the narrator of The Squire's Tale or Cambuscan. The Squire is one of the secular pilgrims, of the military group. The Knight and the Squire are the pilgrims with the highest social status. However his tale, interrupted as it is, is paired with that of the Franklin. The Squire is a candidate for the interrupter of The Host in the epilogue of the Man of Law's Tale.