Geoffrey Chaucer’s “The Miller’s Tale” is the second tale of The Canterbury Tales. That this place in the order of the tales is not a result of coincidence but is clearly done by purpose is one conclusion of this paper. The following does not only offer a close look at the single tale and its characteristics, but also shows how these relate to other tales of The Canterbury Tales, especially to “The Knight’s Tale,” which precedes it. It is necessary to shortly describe the tale’s plot at first, which is done in the next chapter. The tale’s genre and how it already relates to the placing in The Canterbury Tales is the content of chapter three. Structure and style of “The Miller’s Tale” can be connected to its preceding tale and will be explained next. Following that, sources and analogs and the tale’s themes will be presented. The context of the tale in The Canterbury Tales is the last important point described in this paper to understand the function of the tale’s characteristics in Chaucer’s tale-collection.
Table of Contents
1. Introduction
2. Plot
3. Genre
4. Structure and Style
5. Sources and Analogs
6. Themes
7. The Tale in Context
8. Conclusion
9. References
Objectives and Topics
This paper examines Geoffrey Chaucer’s "The Miller’s Tale" as the second installment of "The Canterbury Tales," analyzing its significance within the broader collection. The primary objective is to demonstrate that the placement of this tale is deliberate rather than coincidental, serving to contrast with the preceding "Knight’s Tale" and to establish the thematic range for the remaining stories.
- Analysis of the narrative structure, genre characteristics, and stylistic choices.
- Examination of the relationship between "The Miller’s Tale" and its sources, particularly Flemish analogs.
- Exploration of central themes, including moral ambiguity, youth versus age, and social dynamics.
- Evaluation of how the tale functions as a parody of courtly romance and as a structural counterpoint to "The Knight’s Tale."
- Assessment of the tale’s role in shaping the overarching context of "The Canterbury Tales."
Excerpt from the Book
3. Genre
“The Miller’s Tale” is considered to be a fabliau or an extended form of the fabliau. It is given as an example for the genre in literature-dictionaries (compare “Fabliau” 1998, “Fabliau” 1999, “Fabliau” 1991, and Preminger and Harrison 1993). The fabliau-genre developed in France in the thirteenth century (compare Benson 1987: 7 and others). Its typical features are described in the following, then compared to “The Miller’s Tale” and set in contrast to “The Knight’s Tale,” whose genre is a romance.
As all definitions agree, a fabliau is a short narrative in verse. Its verse is supposed to be octosyllabic, as is mentioned in three of the considered dictionaries (compare “Fabliau” 1991, “Fabliau” 1998, and “Fabliau” 1999); only Preminger and Harrison say that it is “commonly” so (1993). Its content is scurrilous, scatological, and/or obscene in nature, according to Benson (1987: 7). Fabliau-writers use satirical techniques, as is said in NTC’s Dictionary (“Fabliau” 1991 and “Satire” 1991), often against women and the clergy (compare “Fabliau” 1991 and “Fabliau” 1999). “[S]imple, vigorous, and straight-forward” style is typical of the genre, according to Benson (1987: 7). The Bedford Glossary states that the fabliau is “designed primarily to entertain” and does not have a moral behind its plot (“Fabliau” 1998), in contrast to the fable (compare “Fable” 1998 and “Fable” 1999). Fabliaux play in the present time (Benson 1987: 7 and others) with real and familiar settings and ordinary characters (Benson 1987: 7). The heroes and heroines of a fabliau are the witty and young, usually those that are disrespected by society, whereas its victims are usually those that are respected by society (Benson 1987: 7). “‘[F]abliau justice’ [...] does not always coincide with conventional morality,” claims Benson (1987: 7). Greed, pride, etc. are punished as well as old age for example (Benson 1987: 7). The plot of a fabliau contains “realistically motivated tricks,” which are overdone concerning the everyday life of the lower and middle class society in the given time (Benson 1987: 7).
Summary of Chapters
1. Introduction: Outlines the purpose of the paper, emphasizing that the placement of "The Miller’s Tale" as the second story in the collection is intentional and serves as a vital analytical point.
2. Plot: Provides a synopsis of the main narrative, detailing the love triangle between Nicholas, Absolon, and Alison, and the subsequent trick played on the carpenter John.
3. Genre: Defines the tale as a fabliau, contrasting its scurrilous and realistic features with the idealism and chivalry found in the preceding romance, "The Knight’s Tale."
4. Structure and Style: Analyzes the fast-paced narrative, the use of colloquial versus courtly language, and how the shifts in tone underscore the irony of the story.
5. Sources and Analogs: Discusses the rare sources for the tale, specifically the Flemish fabliau "Dits van Heilen van Beersele," and notes how Chaucer expands upon these earlier versions.
6. Themes: Examines themes such as harlotry, youth versus age, and moral ambiguity, noting that the tale departs from the standard didacticism of Middle Age literature.
7. The Tale in Context: Explains how the tale functions as a reply to "The Knight’s Tale," breaking social order and setting the thematic precedent for subsequent stories.
8. Conclusion: Summarizes the tale's status as an important individual creation that helps transform the collection from a mere anthology into a coherent, interconnected story.
9. References: Provides the bibliographic list of academic sources consulted for this analysis.
Keywords
Geoffrey Chaucer, The Miller’s Tale, The Canterbury Tales, Fabliau, Romance, Literary analysis, Plot structure, Parody, Medieval literature, Satire, Narrative style, Thematic contrast, Sources and analogs.
Frequently Asked Questions
What is the core subject of this paper?
The paper provides a background analysis of Geoffrey Chaucer’s "The Miller’s Tale," specifically focusing on its genre, structure, themes, and its critical role within the broader framework of "The Canterbury Tales."
What are the primary themes discussed?
The central themes include the contrast between youth and age, cleverness versus folly, amorality, the nature of infidelity, and the juxtaposition of sacred and profane elements.
What is the main goal of the research?
The study aims to prove that the placement of "The Miller’s Tale" following "The Knight’s Tale" is a deliberate choice by Chaucer to establish a thematic dialogue and set the range for the rest of the collection.
What scientific or academic methods are employed?
The paper utilizes a comparative literary analysis approach, examining genre conventions, source criticism, and structural parodies to interpret the function of the text within its literary context.
What does the main body cover?
The main body covers a plot summary, a detailed generic classification, an investigation into the tale's stylistic shifts, an analysis of available sources and analogs, and a study of how the tale interacts with other stories in the collection.
Which keywords characterize the work?
Key terms include "Fabliau," "Parody," "Chaucer," "The Canterbury Tales," "The Knight’s Tale," "Structure," "Theme," and "Genre."
How does "The Miller’s Tale" function as a parody of the "Knight’s Tale"?
The paper explains that the Miller’s story subverts the Knight’s idealism by replacing courtly love and high-status characters with bawdy humor, middle-class settings, and a narrative that highlights human folly rather than virtuous chivalry.
What specific impact does the "Flood-trick" have on the narrative?
The "Flood-trick" serves as a central plot device that demonstrates the contrast between the carpenter’s naive belief in religious prophecy and the scholar Nicholas’s pragmatic, lust-driven manipulation, driving the tale's climax.
- Quote paper
- Helga Mebus (Author), 2008, Background of Geoffrey Chaucer´s "The Miller´s Tale", Munich, GRIN Verlag, https://www.grin.com/document/93225
