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She has power, as judge over the knight's life. Author Emma Lipton writes that the Queen uses this power to move from a liberal court to an educational court. In this sense, the court is moving beyond punishment for the offense, and it, now, puts a meaning behind the offense, tying it to consequences. In the tale, the Queen is a figurehead for a feminist movement, within a society that looks much like the misogynistic world in which the
Canterbury Tales are told. From this tale's feminist notion that the Queen leads, women are empowered, rather than objectified. The effect of feminist coalition-building can be seen through the knight. As a consequence for the knight's sexual assault against the maiden, when the old woman asks the Queen to allow the knight to marry her, the Queen grants it. This shows support for the broader female community's commitment to education in female values. In response to this fate, the knight begs the court and the Queen to undo his sentence, offering all his wealth and power: "Take all my goods, and let my body go," which the Queen does not allow. The knight's lack of agency, in this scene, demonstrates a role reversal, according to Carissa Harris, in juxtaposition to women's lack of agency in situations of rape.
100:; it was not until the late 1380s to mid-1390s, when Richard's subjects started to take notice of the way in which he was leaning toward bad counsel, causing criticism throughout his court. It was evident that changes needed to be made, within the traditional hierarchy at the court of Richard II; feminist reading of the tale argues that Chaucer chose to address through "The Prologue of the Wife of Bath's Tale" the change in mores that he had noticed, in order to highlight the imbalance of power within a male-dominated society. Women were identified not by their social status and occupations, but solely by their relations with men: a woman was defined as either a maiden, a spouse, or a widow – capable only of child-bearing, cooking and other "women's work".
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outlines the existence of deportment books, the purpose of which was to teach women how to be model wives. Carruthers notes how the Wife's behaviour in the first of her marriages "is almost everything the deportment-book writers say it should not be." For example, she lies to her old husbands about them getting drunk and saying some regrettable things. Yet, Carruthers does note that the Wife does do a decent job of upholding her husbands' public honour. Moreover, deportment books taught women that "the husband deserves control of the wife, because he controls the estate"; it is clear that the Wife is the one who controls certain aspects of her husband's behaviour in her various marriages.
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explains how she can hold her own, when justifying her sexual behavior to the
Canterbury group. Further, Minnis explains that "being caught in possession of a woman's body, so to speak, was an offense, in itself, carrying the penalty of a life-sentence", showing a perception that in Medieval Europe, women could not hold priestly duties on the basis of their sex and no matter how flawless her moral status was, her body would always bar her from the ability to preach the word of God. Minnis goes on to say that "it might well be concluded that it was better to be a secret sinner than a woman," as a sinful man could always change his behavior and repent, but a woman could not change her sex.
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that her looks can be an asset—she will be a virtuous wife to him, because no other men would desire her. She asks him which one he would prefer—an old and ugly wife who is true and loyal, or a beautiful and young woman, who may not be faithful. The Knight responds by saying that the choice is hers. Happy that she, now, has the ultimate power, he having taken to heart the lesson of sovereignty and relinquished control, rather than choosing for her, she promises him both beauty and fidelity. The Knight turns to look at the old woman, again, but now, he finds a young and lovely woman. The old woman makes "what women want most" and the answer that she gave true to him, sovereignty.
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275:'s time raped a fair young maiden. King Arthur issues a decree that the knight must be brought to justice. When the knight is captured, he is condemned to death, but Queen Guinevere intercedes, on his behalf, and she asks the King to allow her to pass judgment upon him. The Queen tells the knight that he will be spared his life, if he can discover, for her, what it is that women most desire, and she allots him a year and a day in which to roam wherever he pleases and return with an answer.
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marriage". He, too, fails to exhibit behaviour conventionally expected within a marriage. This can, perhaps, be attributed to his young age and lack of experience in relationships, as he does change at the end, as does the Wife of Bath. Thus, through both the Wife's and her fifth and favorite husband's failure to conform to expected behaviour in marriage, the poem exposes the complexity of the institution of marriage and of relationships, more broadly.
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described as a woman in the trade of textiles, she is neither upper-class or lower, strictly a middle-class woman living independently off her own profit. The Wife of Bath sees the economics of marriage as a profitable business endeavor, based solely on supply and demand: she sells her body, in marriage, and in return, she is given money in the form of titles and inheritance. She is both the broker and commodity in this arrangement.
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that they married. Hence, while the point that
Carruthers makes is that money is necessary for women to achieve sovereignty in marriage, a look at the text reveals that love is, among other things, an economic concept. This is perhaps best demonstrated by the fact that her fifth husband gives up wealth, in return for love, honour, and respect.
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concerning virginity and marriage, by noting that God would have condemned marriage and procreation, if He had commanded virginity. Her decision to include God, as a defence for her lustful appetites, is significant, as it shows how well-read she is. By the same token, her interpretations of
Scripture, such as
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through marriage, land, and from inheritance when her husbands die; Chaucer's Wife chose to interpret the meaning of the statement by clarifying that she has no interest in childbearing, as a means of showing fruitfulness, but the progression of her financial stability is her ideal way of proving success.
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The Wife of Bath's Tale reverses the medieval roles of men and women (especially regarding legal power), and it also suggests a theme of feminist coalition-building. Appointed as sovereign and judge over the convicted knight, the Queen holds a type of power given to men in the world outside the tale.
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In an effort to assert women's equality with men, the Wife of Bath states that an equal balance of power is needed, in a functional society. Wilks proposes that through the sovereignty theme, a reflection of women's integral role in governance compelled
Chaucer's audience to associate the Wife's tale
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point to the link between sex and
Lollardy. Both describe the Wife's knowledge and use of Scripture, in her justification of her sexual behaviour. When she states that "God bad us for to wexe and multiplye", she appears to suggest that there is nothing wrong with sexual lust, because God wants humans
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In the
Prologue, she says: "God help me so, I was to him as kinde/ As any wyf from Denmark unto Inde,/ And also trewe, and so was he to me." In her Tale, the old woman tells her husband: "I prey to God that I mot sterven wood,/ But I to yow be also good and trewe/ As evere was wyf, sin that the world
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Cooper also notes that behaviour, in marriage, is a theme that emerges in the Wife of Bath's
Prologue; neither the Wife nor her husbands conform to any conventional ideals of marriage. Cooper observes that the Wife's fifth husband, in particular, "cannot be taken as any principle of correct Christian
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In both cases, the Wife says so to the husband, after she has been given "sovereyntee.” She is handed over the control of all the property, along with the control of her husband's tongue. The old woman in the Wife of Bath's Tale is also given the freedom to choose which role he wishes her to play in
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As author Ruth Evans notes in her book, "Feminist
Readings in Middle English Literature: the Wife of Bath and All her Sect,” the Wife of Bath embodies the ideology of "sexual economics," wherein described as the "psychological effects of economic necessity, specifically on sexual mores." The wife is
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The old woman, then, explains to the court the deal she has struck with the Knight, and publicly requests his hand in marriage. Although aghast, he realizes he has no other choice and eventually agrees. On their wedding night, the old woman is upset that he is repulsed by her in bed. She reminds him
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Author
Alistair Minnis makes the assertion that the Wife of Bath is not a Lollard, at all, but was educated by her late husband, Jankyn, an Oxford-educated clerk, who translated and read aloud anti-feminist texts. Jankyn gave her knowledge far beyond what was available to women of her status, which
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In her essay "The Wife of Bath and the Painting of Lions," Carruthers describes the relationship that existed between love and economics for both medieval men and women. Carruthers notes that it is the independence that the Wife's wealth provides for her that allows her to love freely. This implies
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The image of the whip underlines her dominant role as the partnership; she tells everyone that she is the one in charge in her household, especially in the bedroom, where she appears to have an insatiable thirst for sex; the result is a satirical, lascivious depiction of a woman, but also of feudal
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Outside a castle in the woods, he sees twenty-four maidens dancing and singing, but when he approaches, they disappear, as if by magic, and all that is left is an old woman. The Knight explains the problem to the old woman, who is wise and may know the answer, and she forces him to promise to grant
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Everywhere the knight goes, he explains his predicament to the women he meets and asks their opinion, but "No two of those he questioned answered the same." The answers range from fame and riches to play, or clothes, or sexual pleasure, or flattery, or freedom. When, at last, the time comes for him
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and is twice as long as the actual story, showing the importance of the prologue to the significance of the overall tale. In the beginning, the wife expresses her views in which she believes the morals of women are not merely that they all solely desire "sovereignty,” but that each individual woman
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The Wife of Bath does take men seriously and wants them for more than just sexual pleasure and money. When the Wife of Bath states, "but well I know, surely, God expressly instructed us to increase and multiply. I can well understand that noble text" to bear fruit, not in children, but financially
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The Wife appears to make reference to prostitution, whereby "love" in the form of sex is a "deal," bought and sold. The character's use of words, such as "dette (debt)" and "paiement (payment)" also portray love in economic terms, as did the medieval Church: sex was the debt women owed to the men
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Both Carruthers and Cooper reflect on the way that Chaucer's Wife of Bath does not behave as society dictates, in any of her marriages. Through her nonconformity to the expectations of her role as a wife, the audience is shown what proper behaviour, in marriage, should be like. Carruthers' essay
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While Chaucer's Wife of Bath is clearly familiar with the many ancient and medieval views on proper female behavior, she also boldly questions their validity. Her repeated acts of remarriage, for instance, are an example of how she mocks "clerical teaching concerning the remarriage of widows".
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The Wife of Bath's first marriage occurred at the age of twelve, which highlights the lack of control that girls and women women had over their own bodies in medieval Europe, as children were often bartered, in marriage, to increase family status. By choosing her next husbands and subsequently
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that autonomy is an important component in genuine love, and since autonomy can only be achieved through wealth, wealth, then, becomes the greatest component for true love. Love can, in essence, be bought: Chaucer makes reference to this notion, when he has the Wife tell one of her husbands:
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The simple fact that she is a widow who has remarried more than once radically defies medieval conventions. Further evidence of this can be found through her observation: "For hadde, God commanded maydenhede, / Thanne hadde he dampned weddyng with the dede." She refutes Jerome's proposition,
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In this extract, she addresses why society should not look down on her or any other woman who has wed to multiple men, throughout their life. The tale confronts the double standard and the social belief in the inherent inferiority of women and tries to establish a defense of secular women's
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any favour she might ask of him, in return. With no other options left, the Knight agrees. Arriving at the court, he gives the answer that women most desire sovereignty over their husbands, which is unanimously agreed to be true by the women of the court who, accordingly, free the Knight.
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Furthermore, she adds, "a rich widow was considered to be a match equal to, or more desirable than, a match with a virgin of property", illustrating this point by elaborating, at length, concerning her ability to remarry four times, and attract a much younger man.
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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
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of 1395". The very fact that she remarries, after the death of her first husband, could be viewed as Chaucer's characterisation of the Wife as a supporter of Lollardy, if not necessarily a Lollard, herself, since Lollards advocated the remarriage of widows.
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The Wife of Bath's tale, spoken by one who had been married five times, argues that women are morally identical to men who have also had more than one spouse. Double standards for men and women were common and deeply rooted in culture.
152:, goes on a nearly identical quest to discover what women truly want, after he errs in a land dispute, although, in contrast, he never stooped to despoliation or plunder, unlike the unnamed knight who raped the woman. By tradition, any
584:. By questioning universal assumptions of male dominance, making demands in her own right, conducting negotiations within her marriages, and disregarding conventional feminine ideals, Chaucer's Wife of Bath was ahead of her time.
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Scala cites Hammond, p. 256, in support, and points out that Kittredge himself, in his essay's first footnote, confesses that "The Marriage Group of the 'Canterbury Tales' has been much studied, and with good results" (Scala, p.
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Blake, Jonathan. "Struggle For Female Equality in 'The Wife of Bath's Prologue and Tale.'" Luminarium: Anthology of English Literature, 25 September 1994, www.luminarium.org/medlit/jblake.htm. Accessed 23 February
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and Alys in the prologue, but to confuse matters, these are also the names of her 'gossip' (a close friend or gossip), whom she mentions several times, as well as many female characters throughout
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As Cooper argues, the tension between experience and textual authority is central to the Prologue. The Wife argues for the relevance of her own marital experience. For instance, she notes that:
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The Wife of Bath's first three husbands are depicted as subservient men who cater to her sexual appetites. Her characterisation as domineering is particularly evident in the following passage:
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from 1380 have been misinterpreted and that mention of "raptus" were related to a labor dispute in which Chaucer hired a Cecily Chaumpaigne, before she was released from her previous employer.
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While she gleefully confesses to the many ways in which she falls short of conventional ideals for women, she also points out that it is men who constructed those ideals, in the first place.
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to procreate. The Wife's "emphatic determination to recuperate sexual activity, within a Christian context, and on the authority of the Bible echoes one of the points made in the Lollard
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should have the opportunity to make the decision. The Wife of Bath speaks against many of the typical customs of the time, and provides her assessment of the roles of women in society.
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The Wife of Bath particularly speaks out in defence of those who, like her, have married multiple times. As a counterargument, she mentions many holy men who have had multiple wives:
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also discuss this theme. A separation between tales that deal with moral issues and ones that deal with magical issues, as the Wife of Bath's does, is favoured by some scholars.
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Geoffrey Chaucer wrote the "Prologue of the Wife of Bath's Tale" during the fourteenth century, at a time when the social structure was rapidly evolving, during the reign of
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However, the end of both the Prologue and the Tale make evident that it is not dominance that she wishes to gain, in her relation with her husband, but a kind of equality.
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Jodi-Anne George suggests that the Wife's tale may have been written to ease Chaucer's guilty conscience. It is recorded that in 1380, associates of Chaucer stood
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for an amount equal to half his yearly salary for a charge brought by Cecily Champaign for "de rapto,” rape or abduction; the same view has been taken of his
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Brother Anthony. "Chaucer and Religion." Chaucer and Religion, Sogang University, Seoul, hompi.sogang.ac.kr/anthony/Religion.htm. Accessed 22 February 2017.
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Getty, et al. "The Wife of Bath's Tale." World Literature I: Beginnings to 1650, vol. 2, University of North Georgia Press, Dahlonega, GA, pp. 28–37.
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While sexuality is a dominant theme in The Wife of Bath's Prologue, it is less obvious that her sexual behaviour can be associated with
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Carter, Susan (2003). "Coupling the Beastly Bride and the Hunter Hunted: What Lies Behind Chaucer's Wife of Bath's Tale".
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in ancient and medieval literature. As Cooper notes, the Wife of Bath's "materials are part of the vast medieval stock of
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Rigby, S. H. (Stephen Henry) (2000). "The Wife of Bath, Christine de Pizan, and the Medieval Case for Women".
837:"Geoffrey Chaucer, Cecily Chaumpaigne, and the Statute of Laborers: New Records and Old Evidence Reconsidered"
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Green, Richard Firth (2007). ""Allas, Allas! That Evere Love Was Synne!": John Bromyard v. Alice of Bath".
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Crane, Susan (1 January 1987). "Alison's Incapacity and Poetic Instability in the Wife of Bath's Tale".
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Crane, Susan (1 January 1987). "Alison's Incapacity and Poetic Instability in the Wife of Bath's Tale".
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The tale is often regarded as the first of the so-called "marriage group" of tales, which includes the
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That does not, however, mean they are not correct, and after her critique she accepts their validity.
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Dinshaw, Carolyn (1999). "Good Vibrations: John/Eleanor, Dame Alys, the Pardoner, and Foucault".
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Columbia Critical Guides: Geoffrey Chaucer, the General Prologue to the Canterbury Tales
694:"Jonathan Blake. Struggle For Female Equality in 'The Wife of Bath's Prologue and Tale'"
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Crane, Susan. "Alyson's Incapacity and Poetic Instability in the Wife of Bath's Tale."
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bless women with meek, young, and submissive husbands and the grace to break them.
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Benson, Larry D. The Riverside Chaucer. Houghton Mifflin Company. 1987. 692-96.
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Carruthers, Mary (March 1979). "The Wife of Bath and the Painting of Lions".
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to return to the Court, he still lacks the answer he so desperately needs.
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Read "The Wife of Bath's Prologue and Tale" with interlinear translation
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A Wife of Bath 'biography' brings a modern woman out of the Middle Ages
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Scholarly work reported in October 2022 refutes this, stating that the
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1690:"The Wife of Bath's Tale" – a plain-English retelling for laypeople.
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Scala, Elizabeth (2009). "The Women in Chaucer's 'Marriage Group'".
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Getting Medieval: Sexualities and Communities, Pre- and Postmodern
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The English "Loathly Lady" Tales: Boundaries, Traditions, Motifs.
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The English "Loathly Lady" Tales: Boundaries, Traditions, Motifs
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The English "Loathly Lady" Tales: Boundaries, Traditions, Motifs
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The English 'Loathly Lady' Tales: Boundaries, Traditions, Motifs
1530:. Ed. Lesley Johnson and Sheila Delany. Routledge, 2004. 71–85.
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A Commentary on the General Prologue to The Canterbury Tales
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Chaucer's influence on fifteenth-century Scottish literature
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This is to seyn, myself have been the whippe. (III.179–81)
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sovereignty that opposes the conventions available to her.
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Evans, Ruth. "Sexual Economics, Chaucer's Wife of Bath."
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Chaucer, Geoffrey (1987). "The Wife of Bath's Prologue".
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978:. Ruth Evans, Lesley Johnson. London: Routledge. 1994.
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The Wife of Bath's Prologue is, by far, the longest in
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Cooper, Helen (1996). "The Wife of Bath's Prologue".
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Fallible Authors: Chaucer's Pardoner and Wife of Bath
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But I wol kepe it for youre owene tooth. (III.444–49)
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on marriage, are tailored to suit her own purposes.
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How pitously a-nyght I made hem swynke! (III.204–08)
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19:"Wife of Bath" redirects here. For other uses, see
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177:, which Chaucer, himself, describes as a penance.
1328:The Open Access Companion to the Canterbury Tales
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252:Or where did He order people to remain virgins?
290:The Wife of Bath ends her tale by praying that
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358:They would have written of men more wickedness
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502:Peter! I shrewe yow, but ye love it weel;
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1255:"Contracts, Activist Feminism, and the
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360:Than all the male sex could set right.
123:, not least because the later tales of
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1623:Medieval Institute Publications, 2007.
1585:Kittredge, George Lyman (April 1912).
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526:I koude walke as fressh as is a rose;
380:
354:By God, if women had written stories,
244:and many other holy men did as well.
214:And Iacob eek, as ferforth as I can;
1724:
516:For if I wolde selle my bele chose,
480:"queynte" = a nice thing, cf. Latin
464:
389:Unnethe myghte they the statut holde
356:As clerks have within their studies,
302:
246:When have you seen that in any time
212:I woot wel Abraham was an holy man,
662:, on whom the tale is partly based.
557:. Critics such as Helen Cooper and
548:
13:
2442:The Canterbury Pilgrims (De Koven)
1587:"Chaucer's Discussion of Marriage"
1574:Hammond, Eleanor Prescott (1908).
1309:Harvard's Geoffrey Chaucer Website
1229:Harvard's Geoffrey Chaucer Website
1170:Cooper 1996:150; Dinshaw 1999:129.
887:
587:
443:Of which I am expert in al myn age
352:Who painted the lion, tell me who?
14:
2659:
2643:Fiction with unreliable narrators
1985:The Complaint of the Black Knight
1664:
1512:. Durham: Duke University Press.
250:explicitly? Tell me, I pray you,
2051:
218:And many another holy man also.
1685:and Other Resources at eChaucer
1577:Chaucer: A Bibliographic Manual
1352:interview with Chaucer scholar
1315:
1297:
1217:
1203:
1164:
1155:
1146:
1132:
1118:
1109:
1100:
1091:
1082:
1073:
1064:
1055:
1032:
1023:
1014:
904:
226:Or wher comanded he virginitee?
134:The tale is an example of the "
119:and subsequently elaborated by
1978:The Cuckoo and the Nightingale
869:
828:
732:
718:
704:
596:
222:That hye God defended mariage
1:
1992:The equatorie of the planetis
672:
648:The Wife of Bath: A Biography
574:
484:with obvious connotation of "
70:) is among the best-known of
46:
21:Wife of Bath (disambiguation)
2006:Pierce the Ploughman's Crede
1275:10.5325/chaucerrev.54.3.0335
854:10.5325/chaucerrev.57.4.0407
67:The Tale of the Wyf of Bathe
16:Part of the Canterbury Tales
7:
1953:A Treatise on the Astrolabe
653:
614:plays the wife of Bath and
248:great God forbade marriage
240:as well, as far as I know,
192:
187:
10:
2664:
2398:Prologue and Tale of Beryn
2029:Prologue and Tale of Beryn
1681:Modern Translation of the
1363:
441:Of tribulacion in mariage,
140:Niall of the Nine Hostages
18:
2575:
2512:
2487:
2460:
2425:
2406:
2373:
2355:The Canon's Yeoman's Tale
2230:
2131:
2060:
2049:
1969:
1888:
1865:The Canon's Yeoman's Tale
1739:
1732:
1185:Minnis, Alistair (2008).
823:Columbia University Press
642:, as has Chaucer scholar
618:plays her fifth husband.
534:"tooth" = taste, pleasure
297:
1999:The Floure and the Leafe
1946:The Legend of Good Women
1322:Harris, Carissa (2017).
142:. In the medieval poem,
117:Eleanor Prescott Hammond
2537:The Book of the Dun Cow
2530:Chanticleer and the Fox
2345:The Nun's Priest's Tale
2275:The Wife of Bath's Tale
1925:The Parliament of Fowls
1904:The Book of the Duchess
1897:The Romaunt of the Rose
1855:The Nun's Priest's Tale
1785:The Wife of Bath's Tale
1484:Oxford University Press
898:The Wife of Bath's Tale
800:10.17077/1536-8742.1766
788:Medieval Feminist Forum
262:
65:
58:The Wife of Bath's Tale
33:The Wife of Bath's Tale
2496:The Canterbury Puzzles
1580:. New York: Macmillan.
1006:: CS1 maint: others (
628:in Kilburn in 2019 as
395:"unnethe" = not easily
121:George Lyman Kittredge
53:
2589:Descriptive Catalogue
2434:The Two Noble Kinsmen
2350:The Second Nun's Tale
2270:The Man of Law's Tale
1960:The Complaint of Mars
1860:The Second Nun's Tale
1780:The Man of Law's Tale
1455:The Riverside Chaucer
1253:Lipton, Emma (2019).
1052:Carruthers 1979: 213.
666:Bacon in the fabliaux
640:The Good Wife of Bath
630:The Wife of Willesden
368:Behaviour in marriage
31:
2638:The Canterbury Tales
2583:Chaucer's Retraction
2559:God Spede the Plough
2415:The Canterbury Tales
2310:The Physician's Tale
2087:The Canterbury Tales
2081:Manuscript tradition
1939:Troilus and Criseyde
1880:Chaucer's Retraction
1820:The Physician's Tale
1641:10.1353/cr.2000.0024
1551:10.1353/cr.2008.0005
1428:10.1353/cr.2003.0010
1079:Carruthers 1979:214)
607:The Canterbury Tales
450:power arrangements.
199:The Canterbury Tales
174:Legend of Good Women
91:The Canterbury Tales
42:The Canterbury Tales
37:Ellesmere manuscript
2386:The Tale of Gamelyn
2360:The Manciple's Tale
2335:The Tale of Melibee
2325:The Prioress's Tale
2315:The Pardoner's Tale
2305:The Franklin's Tale
2295:The Merchant's Tale
2285:The Summoner's Tale
2024:The Tale of Gamelyn
1870:The Manciple's Tale
1845:The Tale of Melibee
1835:The Prioress's Tale
1825:The Pardoner's Tale
1815:The Franklin's Tale
1805:The Merchant's Tale
1795:The Summoner's Tale
1683:Wife of Bath's Tale
1257:Wife of Bath's Tale
1097:Carruthers 1979:216
817:George, Jodi-Anne,
322:Adversus Jovinianum
148:, Arthur's nephew,
2648:Fiction about rape
2566:The Pilgrim's Tale
2552:Palamon and Arcite
2544:Palamon and Arcite
2381:The Plowman's Tale
2320:The Shipman's Tale
2155:Katherine Swynford
2039:The Pilgrim's Tale
2034:The Plowman's Tale
1918:Anelida and Arcite
1830:The Shipman's Tale
1629:The Chaucer Review
1539:The Chaucer Review
1416:The Chaucer Review
1263:The Chaucer Review
883:. 13 October 2022.
881:The New York Times
580:with the reign of
564:Twelve Conclusions
381:Female sovereignty
54:
2620:
2619:
2595:Ellesmere Chaucer
2365:The Parson's Tale
2300:The Squire's Tale
2255:The Miller's Tale
2250:The Knight's Tale
2184:
2183:
2123:Geoffrey Spirleng
2098:Ellesmere Chaucer
2047:
2046:
1911:The House of Fame
1875:The Parson's Tale
1810:The Squire's Tale
1765:The Miller's Tale
1760:The Knight's Tale
1196:978-0-8122-4030-6
1038:Cooper 1996: 144.
956:Cooper 1996: 141.
536:
524:
514:
500:
490:
465:Economics of love
433:
417:
407:
397:
303:Feminist critique
256:
255:
230:I know well that
2655:
2477:Canterbury Tales
2450:Canterbury Tales
2290:The Clerk's Tale
2280:The Friar's Tale
2260:The Reeve's Tale
2245:General Prologue
2236:Canterbury Tales
2223:Canterbury Tales
2218:Geoffrey Chaucer
2211:
2204:
2197:
2188:
2187:
2167:Alice de la Pole
2055:
1800:The Clerk's Tale
1790:The Friar's Tale
1770:The Reeve's Tale
1755:General Prologue
1737:
1736:
1726:Geoffrey Chaucer
1719:
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1591:Modern Philology
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1161:Cooper 1996:150.
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1088:Cooper 1996:149.
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549:Sex and Lollardy
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234:was a holy man,
208:
82:Late Middle Ages
77:Canterbury Tales
72:Geoffrey Chaucer
51:
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2607:Hengwrt Chaucer
2601:Have a nice day
2571:
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2483:
2456:
2426:Stage and music
2421:
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2392:Siege of Thebes
2369:
2340:The Monk's Tale
2265:The Cook's Tale
2235:
2226:
2215:
2185:
2180:
2174:A Knight's Tale
2169:(granddaughter)
2157:(wife's sister)
2127:
2103:Harley MS. 7334
2093:Hengwrt Chaucer
2062:
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1965:
1884:
1850:The Monk's Tale
1775:The Cook's Tale
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1604:10.1086/386872
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1571:
1545:(3): 298–311.
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1519:978-0822323655
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841:Chaucer Review
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1889:Other works
1235:14 December
1070:III.380–82.
821:(New York:
622:Zadie Smith
612:Laura Betti
597:Adaptations
457:was newe."
273:King Arthur
50: 1405
2627:Categories
2612:The Tabard
2554:" (Dryden)
2547:(Edwardes)
2488:Literature
2461:Television
2330:Sir Thopas
1840:Sir Thopas
1744:Canterbury
1020:III 69–70.
673:References
575:Femininity
508:"Peter" =
317:St. Jerome
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2232:Order of
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2063:and Texts
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482:quoniam,
309:misogyny
193:Prologue
188:Synopsis
127:and the
113:Franklin
109:Merchant
107:'s, the
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2132:Related
1364:Sources
1356:, 2023)
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232:Abraham
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2020:Tales
1932:Boece
1746:Tales
1733:Works
1653:S2CID
1645:JSTOR
1609:JSTOR
1563:S2CID
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238:Jacob
158:noble
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