The Knight's Tale
The Three Estates
"The Knight's Tale" is the first tale told in The Canterbury Tales. During the time that Chaucer was writing, the social hierarchy in society was in some ways similar to our distinctions between upper, middle, and working classes in contemporary society. However, during Chaucer's time they were called the Three Estates. There was the first estate composed of members of the aristocracy, nobility, royalty, and their entourage (knights, etc.). This would be comparable to what we call upper class. The second estate was comprised of members of the church and clergy. The third and largest estate was composed of all the other members in society. This would be comparable to our conceptualization of the middle class. The Knight is a member of the first estate. When the pilgrims draw straws, the Knight selects the shortest straw indicating that he is supposed to go first. For the deep thinkers out there, the Knight's tale is abundant with themes to analyze. From chivalry to love and war, from the fog of war to the concept of what makes a prison, from art to chaos, from barbaric fights to civilized tournaments, the Knight's tale makes the reader question the qualifiers of such specifications.
"The Knight's Tale" is the first tale told in The Canterbury Tales. During the time that Chaucer was writing, the social hierarchy in society was in some ways similar to our distinctions between upper, middle, and working classes in contemporary society. However, during Chaucer's time they were called the Three Estates. There was the first estate composed of members of the aristocracy, nobility, royalty, and their entourage (knights, etc.). This would be comparable to what we call upper class. The second estate was comprised of members of the church and clergy. The third and largest estate was composed of all the other members in society. This would be comparable to our conceptualization of the middle class. The Knight is a member of the first estate. When the pilgrims draw straws, the Knight selects the shortest straw indicating that he is supposed to go first. For the deep thinkers out there, the Knight's tale is abundant with themes to analyze. From chivalry to love and war, from the fog of war to the concept of what makes a prison, from art to chaos, from barbaric fights to civilized tournaments, the Knight's tale makes the reader question the qualifiers of such specifications.
General Prologue
43 A KNYGHT ther was, and that a worthy man,
A KNIGHT there was, and that (one was) a worthy man,
44 That fro the tyme that he first bigan
Who from the time that he first began
45 To riden out, he loved chivalrie,
To ride out, he loved chivalry,
46 Trouthe and honour, fredom and curteisie.
Fidelity and good reputation, generosity and courtesy.
47 Ful worthy was he in his lordes werre,
He was very worthy in his lord's war,
48 And therto hadde he riden, no man ferre,
And for that he had ridden, no man farther,
49 As wel in cristendom as in hethenesse,
As well in Christendom as in heathen lands,
50 And evere honoured for his worthynesse;
And (was) ever honored for his worthiness;
51 At Alisaundre he was whan it was wonne.
He was at Alexandria when it was won.
52 Ful ofte tyme he hadde the bord bigonne
He had sat very many times in the place of honor,
53 Aboven alle nacions in Pruce;
Above (knights of) all nations in Prussia;
54 In Lettow hadde he reysed and in Ruce,
He had campaigned in Lithuania and in Russia,
55 No Cristen man so ofte of his degree.
No Christian man of his rank so often.
56 In Gernade at the seege eek hadde he be
Also he had been in Grenada at the siege
57 Of Algezir, and riden in Belmarye.
Of Algeciras, and had ridden in Morocco.
58 At Lyeys was he and at Satalye,
He was at Ayash and at Atalia,
59 Whan they were wonne, and in the Grete See
When they were won, and in the Mediterranean
60 At many a noble armee hadde he be.
He had been at many a noble expedition.
61 At mortal batailles hadde he been fiftene,
He had been at fifteen mortal battles,
62 And foughten for oure feith at Tramyssene
And fought for our faith at Tlemcen
63 In lystes thries, and ay slayn his foo.
Three times in formal duels, and each time slain his foe.
64 This ilke worthy knyght hadde been also
This same worthy knight had also been
65 Somtyme with the lord of Palatye
At one time with the lord of Balat
66 Agayn another hethen in Turkye;
Against another heathen in Turkey;
67 And everemoore he hadde a sovereyn prys.
And evermore he had an outstanding reputation
68 And though that he were worthy, he was wys,
And although he was brave, he was prudent,
69 And of his port as meeke as is a mayde.
And of his deportment as meek as is a maid.
70 He nevere yet no vileynye ne sayde
He never yet said any rude word
71 In al his lyf unto no maner wight.
In all his life unto any sort of person.
72 He was a verray, parfit gentil knyght.
He was a truly perfect, noble knight.
73 But for to tellen yow of his array,
But to tell you of his clothing,
74 His hors were goode, but he was nat gay.
His horses were good, but he was not gaily dressed.
75 Of fustian he wered a gypon
He wore a tunic of coarse cloth
76 Al bismotered with his habergeon,
All stained (with rust) by his coat of mail,
77 For he was late ycome from his viage,
For he was recently come (back) from his expedition,
78 And wente for to doon his pilgrymage.
And went to do his pilgrimage.
A KNIGHT there was, and that (one was) a worthy man,
44 That fro the tyme that he first bigan
Who from the time that he first began
45 To riden out, he loved chivalrie,
To ride out, he loved chivalry,
46 Trouthe and honour, fredom and curteisie.
Fidelity and good reputation, generosity and courtesy.
47 Ful worthy was he in his lordes werre,
He was very worthy in his lord's war,
48 And therto hadde he riden, no man ferre,
And for that he had ridden, no man farther,
49 As wel in cristendom as in hethenesse,
As well in Christendom as in heathen lands,
50 And evere honoured for his worthynesse;
And (was) ever honored for his worthiness;
51 At Alisaundre he was whan it was wonne.
He was at Alexandria when it was won.
52 Ful ofte tyme he hadde the bord bigonne
He had sat very many times in the place of honor,
53 Aboven alle nacions in Pruce;
Above (knights of) all nations in Prussia;
54 In Lettow hadde he reysed and in Ruce,
He had campaigned in Lithuania and in Russia,
55 No Cristen man so ofte of his degree.
No Christian man of his rank so often.
56 In Gernade at the seege eek hadde he be
Also he had been in Grenada at the siege
57 Of Algezir, and riden in Belmarye.
Of Algeciras, and had ridden in Morocco.
58 At Lyeys was he and at Satalye,
He was at Ayash and at Atalia,
59 Whan they were wonne, and in the Grete See
When they were won, and in the Mediterranean
60 At many a noble armee hadde he be.
He had been at many a noble expedition.
61 At mortal batailles hadde he been fiftene,
He had been at fifteen mortal battles,
62 And foughten for oure feith at Tramyssene
And fought for our faith at Tlemcen
63 In lystes thries, and ay slayn his foo.
Three times in formal duels, and each time slain his foe.
64 This ilke worthy knyght hadde been also
This same worthy knight had also been
65 Somtyme with the lord of Palatye
At one time with the lord of Balat
66 Agayn another hethen in Turkye;
Against another heathen in Turkey;
67 And everemoore he hadde a sovereyn prys.
And evermore he had an outstanding reputation
68 And though that he were worthy, he was wys,
And although he was brave, he was prudent,
69 And of his port as meeke as is a mayde.
And of his deportment as meek as is a maid.
70 He nevere yet no vileynye ne sayde
He never yet said any rude word
71 In al his lyf unto no maner wight.
In all his life unto any sort of person.
72 He was a verray, parfit gentil knyght.
He was a truly perfect, noble knight.
73 But for to tellen yow of his array,
But to tell you of his clothing,
74 His hors were goode, but he was nat gay.
His horses were good, but he was not gaily dressed.
75 Of fustian he wered a gypon
He wore a tunic of coarse cloth
76 Al bismotered with his habergeon,
All stained (with rust) by his coat of mail,
77 For he was late ycome from his viage,
For he was recently come (back) from his expedition,
78 And wente for to doon his pilgrymage.
And went to do his pilgrimage.
Background Knowledge
During this time, knights were expected to follow a code of chivalry. Chivalry is broadly defined as "the usages and qualifications of chevaliers or feudal knights: bravery and courtesy" (1966, p. 94). The "General Prologue" paints the Knight as humble, meek, honorable, virtuous, valiant, and one who fights for a cause rather than for the benefits of pillage. The Orthodox conception of a knight upheld the notion that a knight's role was to support the widow and the orphan. During the time of knighthood, the Hundred Years War between France and Great Britain was happening. In the "General Prologue," we see that the Knight has been a part of a number of battles [(Pruce= Prussia) (Lettow=Lithuania) (Ruce=Russia) (Algezir=Algeciras in Spain) (Belmarye=Morocco) (Lyeys=Ayash in Turkey) (Satalye= Atalia in Turkey) (Tramyssene=Tlemcen near Morocco) (Grete sea=Mediterranean)]. However, many of these battles were defeats. Alisaundre, or Alexandria was the place were many knights campaigned. Knights were meant to be men of high class who defended Christendom or Christianity and its values. During this time, there was a lot of discrepancy between the theory of knighthood and the practices of knights associated with the theory of knighthood. Some knights were motivated by prideful and greedy desires to get what they wanted.
Building Film Literacy
As you watch this trailer, be cognizant of the similarities between the Knight described in the "General Prologue" and the knight shown in this trailer. What are the similarities? What are the differences? As you read the tale, keep these comparisons in mind. This will give you a visual of the dual between Palamon and Arcite in the tournament. Do you see traces of chivalry in this trailer?
As you watch this trailer, be cognizant of the similarities between the Knight described in the "General Prologue" and the knight shown in this trailer. What are the similarities? What are the differences? As you read the tale, keep these comparisons in mind. This will give you a visual of the dual between Palamon and Arcite in the tournament. Do you see traces of chivalry in this trailer?
The Knight's Prologue & Tale Synopsis
Let's recap. King Theseus conquers the people of the Amazon. He takes the Queen of the Amazon, Hippolayta, to be his wife. Emelye, Hippolayta's beautiful sister, is brought to live with them as well. While celebrating his wedding and his victory, three mourning widows dressed in black approach Theseus. He accuses the three women of being jealous of him and attempting to lower his spirits on his victory day. However, he then realizes one of the women to be a wife of an honorable king he once knew. The reader sees a shift in his attitude. He learns that the husbands of these women were dishonorably killed by Creon in a neighboring land, Thebes. During this time, a sign of respect was to give the dead a proper burial. These men were dishonored and not given a respectable burial and funeral. So what does Theseus do? He gets on his horse and rides to Thebes with his men to conquer Creon. He does. During the battle, he sees two young knights- cousins- on the edge of life and death stacked on a heap of dead bodies. They are wearing the same shield and coat of arms. The reader is offered this mixed scene- a romanticized horror. Thesus takes the knights and keeps them in a tower in his kingdom.
We learn that their names are Arcite and Palamon. They have a pretty strong bromance going on. They are best friends and pass the time in each other's company while imprisoned in the tower. One day when looking out the window at the garden, Palamon sees Emelye collecting flowers… Guess what happens… Yes, he is lovestruck. He cries out and draws Arcite's attention. Arcite immediately "falls in love" with Emelye as well. Time passes and they look forward to watching Emelye in the garden each day. One day, a message is sent that frees Arcite to go back to Thebes. Although he is free, he is never to return to Thesus' kingdom again. Do you see where this is going? They agree that Palamon has the better deal: at least, he gets to see Emelye everyday. Arcite returns to Thebes. Time passes. Arcite becomes extremely depressed- love sick. He loses weight and his physical appearance transforms. He decides he would rather die than live without Emelye. He decides to return to Theseus's kingdom, even if that means risking his life.
In the woods, Arcite, searching for Emelye, runs into Palamon, who has escaped from the prison… I know, what are the odds. Fate. The two decide that they should fight to see who should win Emelye's heart. It is interesting that we do not get a window into Emelye's perspective on the matter (or at least not at this point in the story). The two knights begin fighting in the woods. It is dramatic. There is blood up to their ankles, and guess who shows up? Thesus shows up with Hippolayta, Emeyle, and the ladies in waiting. The girls cry out to Thesus about this. Theseus is not happy. However, convinced by the women not to kill them both, he offers a proposal. He too recalls what it is like to be captured in love. He schedules a "civilized" fight in the amphitheater. Whoever wins in the civilized dual will be allowed to marry Emelye.
We learn that their names are Arcite and Palamon. They have a pretty strong bromance going on. They are best friends and pass the time in each other's company while imprisoned in the tower. One day when looking out the window at the garden, Palamon sees Emelye collecting flowers… Guess what happens… Yes, he is lovestruck. He cries out and draws Arcite's attention. Arcite immediately "falls in love" with Emelye as well. Time passes and they look forward to watching Emelye in the garden each day. One day, a message is sent that frees Arcite to go back to Thebes. Although he is free, he is never to return to Thesus' kingdom again. Do you see where this is going? They agree that Palamon has the better deal: at least, he gets to see Emelye everyday. Arcite returns to Thebes. Time passes. Arcite becomes extremely depressed- love sick. He loses weight and his physical appearance transforms. He decides he would rather die than live without Emelye. He decides to return to Theseus's kingdom, even if that means risking his life.
In the woods, Arcite, searching for Emelye, runs into Palamon, who has escaped from the prison… I know, what are the odds. Fate. The two decide that they should fight to see who should win Emelye's heart. It is interesting that we do not get a window into Emelye's perspective on the matter (or at least not at this point in the story). The two knights begin fighting in the woods. It is dramatic. There is blood up to their ankles, and guess who shows up? Thesus shows up with Hippolayta, Emeyle, and the ladies in waiting. The girls cry out to Thesus about this. Theseus is not happy. However, convinced by the women not to kill them both, he offers a proposal. He too recalls what it is like to be captured in love. He schedules a "civilized" fight in the amphitheater. Whoever wins in the civilized dual will be allowed to marry Emelye.
Temple of Diana Temple of Mars Temple of Venus
In preparation for the dual. Arcite, Palamon, and Emelye all consult different planet deities. Palamon consults Venus- the goddess of love. She gives him a good sign. He leaves confident that he will win Emelye in the dual. Arcite consults Mars, the god of war. He, too, receives a positive sign. He leaves confident that he will win Emelye in the dual. Emelye consults Diana, the goddess of chastity. The reader is finally given a glimpse into Emeyle's feelings. She hopes to be a virgin for the rest of her life. However, she receives a sign that she must marry one of the two. She prepares herself to accept this.
On the day of the dual, Arcite wins the dual. As he is leaving the ring, he falls off of his horse. The horse crushes Arcite, and he dies. Palamon and Emelye mourn. A funeral is held for Arcite. The knight ends the tale with Theseus giving a speech about making a virtue of necessity or taking the good from a bad situation. This speech is known as "The Prime Mover's Speech." The reader is left with this ending.
In preparation for the dual. Arcite, Palamon, and Emelye all consult different planet deities. Palamon consults Venus- the goddess of love. She gives him a good sign. He leaves confident that he will win Emelye in the dual. Arcite consults Mars, the god of war. He, too, receives a positive sign. He leaves confident that he will win Emelye in the dual. Emelye consults Diana, the goddess of chastity. The reader is finally given a glimpse into Emeyle's feelings. She hopes to be a virgin for the rest of her life. However, she receives a sign that she must marry one of the two. She prepares herself to accept this.
On the day of the dual, Arcite wins the dual. As he is leaving the ring, he falls off of his horse. The horse crushes Arcite, and he dies. Palamon and Emelye mourn. A funeral is held for Arcite. The knight ends the tale with Theseus giving a speech about making a virtue of necessity or taking the good from a bad situation. This speech is known as "The Prime Mover's Speech." The reader is left with this ending.
The Great Chain of Being
A widely held belief during the 14th century was the concept of a Great Chain of Being. The Great Chain of Being set the hierarchy and structure for power in society. It was thought that structure and order were determined and governed by God. The Three Estates were rooted in a similar theory. A professor at Carson-Newman University, Dr. Kip Wheeler, clarifies the moral ramifications that persisted with the Great Chain of Being concept, "It becomes a moral imperative for each creature to know its place in the Chain of Being and fulfill its own function without striving to rise above its station or debasing itself to behavior proper to lower links in the chain. A human who is gluttonous as a pig, or as lecherous as a goat, has allowed the lower, bestial instincts in his nature to supersede his divine capability of reason. He is guilty of fleshly or carnal sin, and denies the rational, spiritual aspect of his nature. Likewise, a human who attempts to rise above his social rank does so through arrogance, pride, or envy of his betters. Here, the error is an intellectual or spiritual sin." I want you to critically analyze this concept. What power mechanisms come into play with this view of social structure?
The Lighthouse of Alexandria
Random Fact: The lighthouse of Alexandria is one of the Seven Wonders of the ancient world. In the "General Prologue," we are told that the Knight has spent some time in Alexandria during the great siege. During this time, there was an increase in the Muslim world. The Christians believed that anyone believing in any faith or religion outside of Christianity were heathen. The term pagan may be familiar to you. If not, pagan is a term meaning a person who did not belong to the predominant belief system or religion. Pagans were thought to be sinners in the eyes of Christians during the Middle Ages.
Learn more about the siege of Alexandria: http://en.wikipedia.org/wiki/Siege_of_Alexandria_(641)
Learn more about the siege of Alexandria: http://en.wikipedia.org/wiki/Siege_of_Alexandria_(641)
The Code of Chivalry
Textual Spotlight: Prime Mover's Speech
Critical Thinking Questions
1. In the pile of bloody bodies, we are given a description of two knights lying side-by-side, wearing the same armor. They were cousins, because their mothers were sisters. They were lying there in between the states of life and death. Did this description desensitize or romanticize death? Is the fact that they are knights symbolic of the ambiguous middle ground in the chivalric code, in knighthood, in war? There seems to be a discrepancy that is hard to describe. There is a parallel between the relationship of God (faith or religious doctrine or the basis of Knighthood morality) and war and life and death. Does this scene represent the fog of war or the truth of war? Is this the dark side of war told in a romanticized lightness? Yes, these are over specified poles and incomplete binary understandings. However, what does this symbolize to you?
2. There is a pervasive theme of organized and civilized structure throughout this tale. The garden, in which Emelye spends her time picking flowers, is a man-made and man-kept garden. Is this natural? The fact that the Knight went first and he is a member of the first estate implicitly draws into question if the social hierarchy should be endorsed or critiqued. During this time frame, the Great Chain of Being philosophy was widely believed. The civilized tournament in a man-made amphitheater is more acceptable to the characters in the tale versus the "barbaric" fighting in the woods (a natural environment). What does this tell you about society and organization? Do you feel that these details are significant? What other details suggest or lead you to analyze structure and order in The Canterbury Tales?
3. What makes a prison? Are physical confinements what make a prison or is it a mental state that captivates one and ensures imprisonment? Richard Lovelace once wrote, "Stone walls do not a Prison make / Nor iron bars a cage / Minds innocent and quiet take / That for hermitage / If I have freedom in my love / And my soul am free / Angels alone that soar above / Enjoy such liberty" (1642). Between Palamon and Arcite, which situation do you believe was worse? Why? Which situation was more imprisoning?
4. Why do you believe that the Knight was selected to tell the first tale? Referencing the question I asked you to keep in mind in the beginning of this anthology, why do you think Chaucer makes this decision? Is Chaucer critiquing or endorsing/supporting the societal structure of the time?
5. Lastly, what is your take on the ending of the story? How do you feel about the Prime Mover's speech? Do you think this was a good ending? Palamon and Emelye live happily ever after. Do you feel that the ending was just right? Or perhaps a little rushed as if there was nothing more to say? If you had to come up with the moral of this tale, what would it be? What pervasive themes are present (love and war | art and chaos | etc.)?
2. There is a pervasive theme of organized and civilized structure throughout this tale. The garden, in which Emelye spends her time picking flowers, is a man-made and man-kept garden. Is this natural? The fact that the Knight went first and he is a member of the first estate implicitly draws into question if the social hierarchy should be endorsed or critiqued. During this time frame, the Great Chain of Being philosophy was widely believed. The civilized tournament in a man-made amphitheater is more acceptable to the characters in the tale versus the "barbaric" fighting in the woods (a natural environment). What does this tell you about society and organization? Do you feel that these details are significant? What other details suggest or lead you to analyze structure and order in The Canterbury Tales?
3. What makes a prison? Are physical confinements what make a prison or is it a mental state that captivates one and ensures imprisonment? Richard Lovelace once wrote, "Stone walls do not a Prison make / Nor iron bars a cage / Minds innocent and quiet take / That for hermitage / If I have freedom in my love / And my soul am free / Angels alone that soar above / Enjoy such liberty" (1642). Between Palamon and Arcite, which situation do you believe was worse? Why? Which situation was more imprisoning?
4. Why do you believe that the Knight was selected to tell the first tale? Referencing the question I asked you to keep in mind in the beginning of this anthology, why do you think Chaucer makes this decision? Is Chaucer critiquing or endorsing/supporting the societal structure of the time?
5. Lastly, what is your take on the ending of the story? How do you feel about the Prime Mover's speech? Do you think this was a good ending? Palamon and Emelye live happily ever after. Do you feel that the ending was just right? Or perhaps a little rushed as if there was nothing more to say? If you had to come up with the moral of this tale, what would it be? What pervasive themes are present (love and war | art and chaos | etc.)?
Application
Poetry Activity. I want each of you to select a minimum of 25 lines and do a loose translation into the form of a poem in your own words. You have the creative freedom to do what you like with this assignment. However, you must specify why you choose to take the approach that you do. Your response paragraph needs to be at least 300 words. Have fun and be divergent! We will share these in class.
Student Examples
Arcite's Funeral: Translation of the Prime Mover's Speech with a Twist:
From Palamon's Perspective
The Empty Field and Shallow Words
And I was there in this grey middle region between reality and a dream
No one spoke about the acts we had just seen
The crashing fall, the collapsing ribs, and the things no one talks about
The result of a fight, a dual, a crashing bout
I was caught in a grey dreamscape of disillusionment and unsatisfying speech
This priest of authority, such a “wise” king, above the grave, trying to teach
Teaching without emotion- theasaurusized third person voice
Implicitly telling me that it was I who had the choice
To make some necessity of virtue, as if this were fair
That I should be reprimanded for remembering- for trying to hold on in despair
Speaking. He kept speaking. He kept talking about the good that comes from bad
Imploring us to not be sad, but rather in some twisted analogy of the mind- glad
He spoke, “The First Mover, the First creator above
Established here a chain of love
A sublime effect with high intent
Knowing all the hows and whys as the creation went
And in this interconnected realm of love at hand
He tied together the fire, air, water, and land
Acknowledging that every part derives from the whole
Each tied to greaterness and destiny by the soul
Look at these oak trees lining this resting place
They grew slow in their pace
Yet, even they will come to fall
Do you not see this at all
That stone rubs away and the rivers grow dry
And it doesn’t matter how hard you might try
All things must come to an end
All things must meet death- then ascend or descend
So be wise and make virtue of necessity
Do not complain about what is determined before.”
And it was then that my eyes drifted to the empty field- the forest once more
I stopped listening and perhaps he thought it was passive acceptance
But I locked my glance- shut myself in- and held my stance
As he wrote some happily ever after tale in words that were shallow
Leaving me with an emptiness and a longing for something more
From Palamon's Perspective
The Empty Field and Shallow Words
And I was there in this grey middle region between reality and a dream
No one spoke about the acts we had just seen
The crashing fall, the collapsing ribs, and the things no one talks about
The result of a fight, a dual, a crashing bout
I was caught in a grey dreamscape of disillusionment and unsatisfying speech
This priest of authority, such a “wise” king, above the grave, trying to teach
Teaching without emotion- theasaurusized third person voice
Implicitly telling me that it was I who had the choice
To make some necessity of virtue, as if this were fair
That I should be reprimanded for remembering- for trying to hold on in despair
Speaking. He kept speaking. He kept talking about the good that comes from bad
Imploring us to not be sad, but rather in some twisted analogy of the mind- glad
He spoke, “The First Mover, the First creator above
Established here a chain of love
A sublime effect with high intent
Knowing all the hows and whys as the creation went
And in this interconnected realm of love at hand
He tied together the fire, air, water, and land
Acknowledging that every part derives from the whole
Each tied to greaterness and destiny by the soul
Look at these oak trees lining this resting place
They grew slow in their pace
Yet, even they will come to fall
Do you not see this at all
That stone rubs away and the rivers grow dry
And it doesn’t matter how hard you might try
All things must come to an end
All things must meet death- then ascend or descend
So be wise and make virtue of necessity
Do not complain about what is determined before.”
And it was then that my eyes drifted to the empty field- the forest once more
I stopped listening and perhaps he thought it was passive acceptance
But I locked my glance- shut myself in- and held my stance
As he wrote some happily ever after tale in words that were shallow
Leaving me with an emptiness and a longing for something more
When reading the Prime Mover’s speech in the Knight’s tale, I was intrigued by the incorporation of an interconnected view of life- a cycle. I enjoyed the implicit influences of the four crucial elements and The Great Chain of Being. With that being said, I felt unsatisfied by the ending of the tale. If I had read the Prime Mover’s speech independently, I would have been more inclined to praise the premise of its philosophy. However, I felt like I had dedicated a lot of time to reading this tale. The end seemed shallow. It was almost as if the Knight got tired of telling the tale, and due to proper tradition, ended the tale with a happily ever-after transition ending. Perhaps, this was the effect that Chaucer was striving for. Maybe he wanted the ending to be shallow so that we might critique the shallowness of societal propriety or practice/tradition without feelings. Maybe he was making a statement about what is entailed by passively going through the motions. Regardless, I wanted to introduce emotion in an attempt to make the ending more realistic- more personal. The change from mourning over Arcite’s death to Emelye and Palamon’s marriage is an extremely fast turn around in such a long tale. I typically read for the aesthetics of recognition and exploration. I like to put myself in the character’s shoes and experience the parts of the tale as if I were that character. So for my translation, I decided to create a loose translation exploring how Palamon probably felt as Theseus was giving the Prime Mover’s speech in response to Arcite’s death. I wanted to convey emotion and add a pathos spin to the ending of the tale. I thought this was best through uplifting an individual character’s thoughts and feelings. I also wanted to make the piece more contemporary. The setting is in a graveyard that is lined by trees and a neighboring field. The field is where Palamon and Arcite originally fought. They had just had another fight that went too far and resulted in Arcite’s death. The priest saying a final prayer in my translation mirrors Theseus. I took excerpts from the Prime Mover’s speech and weaved them into a speech.
Night of Day
There she stood in the dim lit hall
Watching angry shadows dance upon the wall
Two big figures seemed to dance intermingling with the dark
Shadows, crashing, and pain. She sat waiting for that telling mark.
She dropped to her knees, with tears pouring, streaming down her face
Another petite figure behind her of a solemn grey watercolor grace.
The table went first, the second murder of a tree, crashing on its side.
A wooden table leg was shattered; porcelain flew through the air in strides.
The old floor turned an unnatural cherry- crimson- blood on wood floors.
And she held her breath tears pouring evermore, searching for some open door,
But the doors were closed and his light wasn’t on. The door seemed full of wrath,
The yelling and noise amplified and the rivers of blood became the size of Bath.
She starred at his door, the one with the lion’s head as the doorknocker- pride.
She knew he was looking through the peephole, glaring at the young bride.
The young bride had pulled her into this he probably thought to himself.
She had pulled apart a family and with this contrived a crashing health.
Two men now fought over an indifferent daughter, who would
If given the choice, choose neither, nor could
He rightly blame her. They both claimed to love this four-year-old
Daughter, one by arrangement, another by biological hold
Yet, the father had gone to prison not so long ago and escaped to return
Home and find another suitor striving to take his place. So soon both would learn.
The apartment complex shook and all the while a mother and her daughter found
Safe haven in a dim lit hall, crouching down, crying, amid dreadful sounds.
The man behind the lion’s door, glanced through the peephole and starred
At these scarred brown eyes of a child robbed of childhood and found he cared.
In his heart, pity flowed and despite his wrath at the ignorance of adults, he stood.
He opened the door and he said as any king of a country would:
“May strife be upon a man without mercy. Strive to be a lion, both in word and deed.
To him who is not be sorrow and dread, and to an arrogant man who will not take heed,
That would persist in what he first began. A noble man has little choice, in such
A situation, no division can succeed the way of pride and humility for much.”
With this he entered the room where the fighting was taking place
And the room fell into that eerie silent embrace.
With an enlightened stance, he continued his reprimand,
“Young men, I have been in your shoes, once before- it is love’s strand.
To pay a price for love means taking with it all the pain and woe.
But have you not fought enough and do you still not know,
That your trespass on these frail lives is folly and blind love- incomplete and broken.
The thing, which you wish to set you free, has become your prison token.
So here we are. I was moved by the crying girl and woman in the hall.
By chance or fate, this situation has to fall.
But I warn you and advise you to take heed.
Never again will you make night of day, in word or deed.”
And to the reader, perhaps you will discern
The crucial elements of this adapted tale and concern
Your thoughts with the moral superiority portrayed in women through time
And the relationship that such a dynamic intertwines.
There she stood in the dim lit hall
Watching angry shadows dance upon the wall
Two big figures seemed to dance intermingling with the dark
Shadows, crashing, and pain. She sat waiting for that telling mark.
She dropped to her knees, with tears pouring, streaming down her face
Another petite figure behind her of a solemn grey watercolor grace.
The table went first, the second murder of a tree, crashing on its side.
A wooden table leg was shattered; porcelain flew through the air in strides.
The old floor turned an unnatural cherry- crimson- blood on wood floors.
And she held her breath tears pouring evermore, searching for some open door,
But the doors were closed and his light wasn’t on. The door seemed full of wrath,
The yelling and noise amplified and the rivers of blood became the size of Bath.
She starred at his door, the one with the lion’s head as the doorknocker- pride.
She knew he was looking through the peephole, glaring at the young bride.
The young bride had pulled her into this he probably thought to himself.
She had pulled apart a family and with this contrived a crashing health.
Two men now fought over an indifferent daughter, who would
If given the choice, choose neither, nor could
He rightly blame her. They both claimed to love this four-year-old
Daughter, one by arrangement, another by biological hold
Yet, the father had gone to prison not so long ago and escaped to return
Home and find another suitor striving to take his place. So soon both would learn.
The apartment complex shook and all the while a mother and her daughter found
Safe haven in a dim lit hall, crouching down, crying, amid dreadful sounds.
The man behind the lion’s door, glanced through the peephole and starred
At these scarred brown eyes of a child robbed of childhood and found he cared.
In his heart, pity flowed and despite his wrath at the ignorance of adults, he stood.
He opened the door and he said as any king of a country would:
“May strife be upon a man without mercy. Strive to be a lion, both in word and deed.
To him who is not be sorrow and dread, and to an arrogant man who will not take heed,
That would persist in what he first began. A noble man has little choice, in such
A situation, no division can succeed the way of pride and humility for much.”
With this he entered the room where the fighting was taking place
And the room fell into that eerie silent embrace.
With an enlightened stance, he continued his reprimand,
“Young men, I have been in your shoes, once before- it is love’s strand.
To pay a price for love means taking with it all the pain and woe.
But have you not fought enough and do you still not know,
That your trespass on these frail lives is folly and blind love- incomplete and broken.
The thing, which you wish to set you free, has become your prison token.
So here we are. I was moved by the crying girl and woman in the hall.
By chance or fate, this situation has to fall.
But I warn you and advise you to take heed.
Never again will you make night of day, in word or deed.”
And to the reader, perhaps you will discern
The crucial elements of this adapted tale and concern
Your thoughts with the moral superiority portrayed in women through time
And the relationship that such a dynamic intertwines.
Example of Student Explanation
I choose a passage to translate from “The Knight’s Tale.” Though male figures in literature are often incorporated in a story as superior, there is a recurring twist that I have observed. This twist involves a woman taking the initiative to cause a male figure to gain compassion and step into a place of moral reverence. The woman, in essence, though predominantly passive in nature, is empowered in the text through this action. From the excerpt I have selected, one can see such a situation fold out. A reader can relate this to Eve’s role in Paradise Lost by John Milton. Though Eve is the first to eat the fruit and sin, she is also the first to offer to take all the blame. This action leads Adam to “man up” and take the blame as well. Furthermore, in the nineteenth century, the Cult of Domesticity and the idea of true womanhood upheld the moral superiority of women. In “The Knight’s Tale,” a discerning reader will recognize a similar strand through the relationship between King Theseus and the Queen. Though filled with wrath when Theseus discovers Palamon and Arcite fighting in the woods over who will win Emily’s heart, he is driven by compassion for the wishes of the Queen and excuses their trespass.
In my translation, I applied this literary technique to a more contemporary tale. The poem reflects a conflict between two men over the rights of custody of a four-year-old daughter. The biological father mirrors Palamon, for he has been in prison. The mother’s new boyfriend mirrors Arcite. These two men fight in the small apartment where the mother and daughter live. To escape the violence, they retreat to the apartment hall. I used imagery to recreate a bloody forest setting. The little girl knows that the old man across the hall is in his room. She somehow knows that he is irritated with the scene. Yet, she also knows that he has the power to intervene. She is both the queen and Emily in this interpretation. She does not want either “father” and drives the old man to interfere and stop the fight. The old man across the hall is Theseus. He is irritated with the ignorance of the adults, but he has compassion for the little girl. While this contrasts with the knightly chivalric, romantic love, it does lead the reader to re-examine the influence a young girl can have on a superior male figure.
In my translation, I applied this literary technique to a more contemporary tale. The poem reflects a conflict between two men over the rights of custody of a four-year-old daughter. The biological father mirrors Palamon, for he has been in prison. The mother’s new boyfriend mirrors Arcite. These two men fight in the small apartment where the mother and daughter live. To escape the violence, they retreat to the apartment hall. I used imagery to recreate a bloody forest setting. The little girl knows that the old man across the hall is in his room. She somehow knows that he is irritated with the scene. Yet, she also knows that he has the power to intervene. She is both the queen and Emily in this interpretation. She does not want either “father” and drives the old man to interfere and stop the fight. The old man across the hall is Theseus. He is irritated with the ignorance of the adults, but he has compassion for the little girl. While this contrasts with the knightly chivalric, romantic love, it does lead the reader to re-examine the influence a young girl can have on a superior male figure.