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"The Reeve's Tale"--Quiz (15 pts)

1.  (1 pt) How does the Miller distract John and Allen from watching the milling of their college's grain? He lets their horse loose, forcing them to abandon their watch over the Miller, whom they already know is a crook. 2.  (5 pts) Here are four sets of beds.  In each set, indicate the occupants of the beds at each of the four different stages during the night at the Miller's house.  Those three stages are a) bedtime, b) after the first adjustment, c) after the second movement, and d) just as the cock crows and they all wake up.  Draw in the location of the cradle at each stage. a Miller & Wife cradle John & Allan Malyne b Miller & Wife cradle John Malyne & Allan c Miller                     cradle John & M's Wife Malyne & Allan d Miller & Allan                     cradle John & M's Wife Malyne 3.  (2 pts)"The Miller's Tale" represents various themes:  critique of courtly love, control within marriage, curiosity and God's "privitee" and all that suggests, the tendency of game to become a pretext for reprisal, the academic vs. common sense view of life, etc.  Identify two themes upon which the "The Reeve's Tale" turns.   revenge and reprisal ridicule of social climbing academic view vs. common sense sex as commodity (form of payment) business ethics (or lack thereof) kinship jealousy and control within marriage loss of control coming with attempt to gain it hospitality danger of telling/being heard by wrong person story-telling as weapon age vs. youth, as introduced in R's Prologue body (bawdy) love life as adjustment to circumstances 4.  (2 pts) Identify some difference of tone and/or style between the Miller's and Reeve's Tales.  Explain briefly. "The Reeve's Tale" is told in a more sarcastic or cynical way, which contributes to the fact that the Reeve is trying to "defend himself by force" and use the Milller's own weapon (the bawdy fabliau) against him. "The Miller's Tale" contains more aspects of courtly love and seduction.  "The Reeve's Tale" amounts to rape. 5. (5 pts)  Identify a difference that you found important between the "The Reeve's Tale" and its analogue .  Defend your claim that it is important. One major difference was in the motivation for lying with the Miller's wife and daughter.  In the analogue, the guests do not find out the miller has stolen their grain and horse until the wife tells them, whereas in "The Reeve's Tale" both Allan and John know they have been swindled by the Miller and are looking for vengeance as well as pleasure.  Their whole escapade during the night is as much for reprisal as it is for fun, making it even more satisfying.  (By the way, this picks up one of the themes of the story-telling contest as designed by Hairy Bailley--the best stories combine--according to Horace's dictate--utility and pleasure.) In "The Reeve's Tale," the two visitors are scholars and have the intention of keeping the miller honest.  The analogue displays the two characters as being taken advantage of by the miller.  This is important because "The Reeve's Tale" is more about revenge than an unfortunate situation, as is the case in the analogue. Extra Credit (3 pts).  What is the Miller's name and how is that name related to a primary theme in the tale? E.C. Symond Simpkin--very simple in thought so he doesn't see what's coming when the clerks board in his house. Simkin--"kin" is a very important concept in the tale, as the purity of "kin" is compromised.

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Quiz--The Wife of Bath's Prologue Open Book (10 points) Write a well-developed, sharply focused paragraph in which you point out and analyze some distinctive feature--some pattern or telling trait--in the Wife of Bath's Prologue.  Be sure to give examples, argue your point, and push the paragraph toward an explanation of why the feature you point out is important.

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1.  Medieval "stew"  (click) 2.  A couple in a bath (click) (click) 3.  Eating in the bath (click) 4.  A bath and entertainment (click) (click) 5.  Another bath, one per tub (click)  6.  Women and water (click) (click) 7.  The baths at Bath (click) 8.  Sulis-Minerva (click) (click)

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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"The Friar's Tale Quiz (10 pts) 1. (2 pts) Identify one way in which "The Friar's Tale" picks up on a theme, motif, or verbal pattern from the Wife of Bath's performance, which includes both her prologue and tale.  Explain briefly. Debts paid with sex.  Sex is a woman's currency of power:  depending on how she uses/misuses it, it can either pay off or cost.  (James Everett) In both tales, the protagonists are "given hell" by old women.  In the W of B's tale, the woman forces the knight into an unthinkably disgraceful marriage, and in the Friar's Tale, the woman literally condemns the "somnour"to hell. (Tim Shaffer) In the Wife of Bath's Tale, as in the Friar's Tale, a woman has control of the final situation, while requiring the authority of a male character.  This is seen in the W of B as the queen asks for the king's permission to determine the punishment, among other examples.  In the FT, the woman his control over the Summoner's fate, but the devil is the ultimate authority. (Michael DeCarolis) As is the case with the apparent hag who transforms into a beautiful woman in the Wife of Bath's Tale, a misleading appearance is at the center of The Friar's Tale (the devil posing as a bailiff).  This even brings to mind the "know who you are going to be with" theme of The Reeve's Tale. (Will Thomas) One theme or motif picked up from The Wife of Bath's Tale would be someone verbally handing over power to another.  In the Wife of Bath's Tale women want to have power over their husbands.  The old lady does this when the knight says she has power over him.  In The Friar's Tale the devil takes the summoner away when the lady says she wishes him to the devil. (Mariellen Carnes) 2.  (2 pts) Enumerate the ways in which the Friar's contribution adds to the pilgrimage's dramatic texture.  Create a short list. -Picks a fight with Summoner -Compliments the Wife of Bath on her tale -Tells a story that revolves around God and the devil, bringing back into the mix the religious figures -Tells pigrims how much he could expound on the summoner's crimes that would make them shudder -Warns party to watch out for satan because he could be anywhere (Glenn Moffat) Other dramatic elements developed in Friar's performance ("dramatic" here referring to the more technical element of the interplay among characters on the pilgrimage, as in a drama/play, as opposed to tensions that can occur even in narrative, which of course is different because of the "telling" than the imitation of an action, which is Aristotle's definition of drama: -Testing Host's control of pilgrimage -Tweaking the Wife of Bath through certain details--focus on experience vs. authority and the old hag -Perhaps even jabbing at the yeoman, by having the demon in his tale appearing as a yeoman 3.  (6 pts)  Identify a detail--image, word, a couple of lines--that you think captures the tale's essential meaning/method.  Explain in a well organized paragraph. "The carl spak oo thing, But he thoghte another " (1568)      This line conveys two things about The Friar's Tale.  One, it deals with the issue of "getting what you ask for" and paying attention to what you say and do.  The Summoner fell victim to this once the devil saw that he was neither compassionate nor truthful, which brings up the next point.  The Friar structured his tale to equate the summoner to the devil.  However in this particular line, you see that the devil is of a purer, more compassionate heart than the summoner.  Therefore, the friar is capping off his attack on the summoners by implying that they are even more evil than satan himself. (Jeff Rosser) "Pardee, ye may well knowe by the name That of somnour no good may be said."      "The Friar's Tale" is a bludgeon, thinly disguised as a story:  this is shown in the prologue before the Friar even begins the story.  He badmouths and insults the Summoner, essentially telling us that his tale will be a moralistic tale on the evil of summoners and their accustomed ways of making a living.  Since the Friar is clergy, he does his slander with a tale about the devil and hell, admonishing and disciplining tools with which he is familiar.  From his attitude at the beginning of The Wife of Bath's Tale to the end of his own tale, it seems apparent that he is using the knowledge of moralistic storytelling to "quyte" the Summoner; just as the Reeve and the Miller used their knowledge of every-day life--taking in guests and lodging--to "quyte" each other. (Samuel Capps)      When the devil tells the summoner that he cannot take the farmer's belongings because the farmer's proclamation is not heartfelt, there lies the story's essential struggle.  The summoner sells indulgences which do not constitute any repentance, any heart felt contrition on the part of the purchaser.  This plays with the notion of how if a devil cannot honor an oral proclamation because it lacks sincerity from the heart, then how could God forgive sin via sales of parchment?  Inherently this tale questions the validity of church actions and statements that circumvent genuine conviction. (Dylan Ors) "The leoun sit in his await alway / To seg the innocent."      This image of the lion sitting and waiting in ambush represents almost every character on the pilgrimage.  In the tale, the summoner sits to ambush people for their sins.  However, at the same time the Friar waits in ambush to attack the Summoner.  "As most able is our preys for to take" is a repeated image of the preditor/prey relation that I feel is the essence of this story.  Again, how the demons wait to attack the friars or summoners and devour them. (Matt Comer)     Extra Credit (2 pts)  Identify a physical detail in the projected illuminations that gets repeated in "The Friar's Tale."  Be specific:  "hell," for instance, is far too broad an answer.

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Images of Griselda 1.  Marriage ceremony and reclothing of G (click) 2.  Marquis putting G's obedience to the test (click) 3.  Griselda sweeping the Marquis' house for his wedding (click)

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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To be or not to be--An Exercise on Identifying Weak Verbs Steps to take with any paper, late in the drafting process: 1.  Circle all occurrences of to be verbs, except those in quotes. to be be                                        being                                        been                                        am                                        is                                        are                                        was                                        were 's, 're (in contractions) 2.  Count all the to be verbs you have circled. 3.  Count your sentences, excluding quotations. 4.  Divide the number of to be verbs by the number of sentences. 40% and below suggests that you have probably taken the time actually to think about and choose the verbs in your sentences.  You have avoided the following structures:                           the passive voice                           the "it is . . . . that"                            the "There is"                            noun formations--"he is supportive of me" (as opposed                            to "he supports me") Clickhere for some examples of how to turn to be sentences into active ones.  Read about the passive voice and active verbs in your Handbook, as well.

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Illustrations of the difference between topic/subject and thesis/controlling idea.  Student papers on literature often flounder because they address a topic or a subject before having actually turned that subject area or topic into a thesis.  Look at the difference  within the three examples displayed in the table below.
 

EXAMPLE #1 General Topic or Subject "The Miller's Tale" picks up on the topic of courtly love that the Knight treated in his tale. vs. Thesis or Controlling Idea In "The Miller's Tale" Chaucer uses palpable imagery and a contrast between characters to critique the problem of "distance" in the courtly love depicted in "The Knight's Tale." EXAMPLE #2 General Topic or Subject The Canterbury Tales is a work that is about "quyting," about one character getting back at another. vs. Thesis or Controlling Idea "Quyting" in The Canterbury Tales is not just about one character getting back at another; it involves almost an element of artistic mimicry, whereby a storyteller will pick up on a few speech patterns and pet ideas of the previous teller and build upon them.  This selective parroting of words and motifs emerges clearly in the Miller's building upon the Knight's use of the term "queynte."  The Miller's echoing of this achieves several important aims:  it exposes the material concerns beneath the Knight's display of courtly love; it builds upon a class stereotype of the merchant estate, and emphasizes the theme of women not only as object but also as ultimate mystery, even taboo. EXAMPLE #3 General Topic or Subject The Wife of Bath contradicts herself throughout her prologue and tale. vs. Thesis or Controlling Idea Chaucer exposes the double bind of females in his treatment of the Wife of Bath.  He does this mainly by having her, unconsciously it seems, layer one contradiction upon another.  On the one hand these contradictions suggest her hypocrisy.  More importantly, though, they produce a startling impression of how even her sense of autonomy and control is an illusion, even a self-delusion, because of her inability to get outside the male system of language.  What's worse, these contradictions almost amount to a male conspiracy against the Wife, representing her finally as at some level even wanting to be the compliant female she has always been told to be.  The two basic contradictions depicting this ultimate bondage are those between experience and authority and between sermonizing and story-telling, and they come to a head in the episode of violence between her and Jankyn.

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"The Clerk's Tale" Quiz (10 pts) Part 1 (6 pts).  Short answer. 1.  Identify the poet from whom the Clerk claims to have learned his tale.   2.  Explain the details of the "contract" between Walter and his people concerning his marriage.       3.  Name three of the four tests that Walter gives Griselda as his wife.       4.  The Clerk offers a version of women in his Envoy--the "song" with which he concludes his performance.  What is that version of women?         5.  In a phrase or two, name the tale's central theme (make sure the name you give it is broad enough to include      Part 2 (4 pts).  Paragraph.  In a well-developed and organized paragraph, flesh out a reaction that you have to some element of "The Clerk's Tale."  That reaction can by highly personal or rationale; at any rate, be sure to explain it for your classmates and me.                             Part 3 (2 pts) Extra Credit. Which contract/agreement that we've already seen in the CT most resembles in its details the one between Walter and his people concerning his marriage?

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"The Merchant's Tale" Quiz (10 pts) Part 1 (5 points).  Short answer. 1.  Just before marrying May, January expresses a qualm about getting married that he mentions to his advisers.  What is that worry? He worries that if he experiences the supernatural bliss he expects marriage will privide while in life he will be unable to experience joy in heaven. (Will Thomas) Because marriage is such a bliss on earth and because those who receive bliss on earth cannot receive it also in the life hereafter, he wonders if he'll be so happy as a married man that he might not go to heaven. (Samuel Capps) 2.  What is the significance of January's blindness?  Explain your answer in two or three sentences. January's blindness is the culmination of the blindness he already imposes upon himself. He refuses to believe that as a married man he will ever be subject to unfaithfulness, yet as soon as he is blind he becomes insanely jealous, and then when he gets his sight back, he is willing to believe his wife and believe he didn't see her with Damian in the tree.  Thus his blindness shows how unaware he really is and how he is willing to go along with things that aren't true ebven though he has seen them with his own eyes. (Hannah Ceen) January is blind because it is a physical analogue to the psychological phenomenon being treated in the tale:  the voluntary "blinding" of our conscience to certain unpalatable truths. (Kurt Albaugh) 3.  Identify Justinus. Advisor who tells J. to rethink his notion that marriage will be blissful. 4.  Identify Placebo. Supports January's thoughts about marriage. 5.  The main "action" of the story takes place in a very particular setting.  What is that setting and does it have any suggestive value? A variety of answers digested into the following: The enclosed garden alludes to Eden and the loss of bliss that took place there; it more specifically represents January's infantile dream of a paradise in marriage and his obsession, moreover, with the sexual site of joy he has always in mind.  That it is enclosed emphasizes, moreover, Janaury's tyranical control over May and her body.  Ultimately the setting is ironic:  marriage is hardily a paradisal garden! Part 2 (5 points).  Write a coherent, unified paragraph in which you explain how one of the passages below develops/engages in imagery, motifs, themes of the tale as a whole.  How does it contribute to the tale's meaning and method? a.  In trewe wedlok coupled be we tweye, And blessed be the yok that we been inne, For in our actes we mowe do no sinne. A man may do no sinne with his wyf, Ne hurte himselven with his owene knyf, For we han leve to pleye us by the lawe.      Paragraph A introduces marriage as atype of "safe haven" of mutual understanding.  Interestingly, January does manage to "hurte himselven" with the blade of marriage.  The references to "lawe" and "sinne" in this passage suggest that this conception of marriage is nothing more than a fictional utopia within the boundaries of wedlock.  In January's reality, law and sin do not stop May from being disloyal.  In the end, marriage is an arrangment between two people.  The success and sactity of this arrangment is only determined by the choices of people; it is not regulated by law or idealized "yok." (Tim Shaffer)      In the first passage January is justifying what he is about to do to his new wife. His use of phallic imagery is highly suggestive.  They will not sin in what they do because they are married, just like a man cannot hurt himself with his own knife, knife being here the obvious phallic symbol.  Everything seems to be aimed toward sex, and fulfilling his lust; in fact, by law she has to give herself to him because they are "yoked together in marriage.  Though the "knife" may not hurt anyone overtly, it is still a weapon that he will use on her to the extent that sex is his weapon.  But she uses it against him later in the tale.  It seems incredibly violent--not what is expected, at least now, in marriage. (Katie Halle) b.  On Damian a signe made she That he sholde go biforen with his cliket. This Damian thanne hath opened the wiket And in he stirte, and that in swich manere That no wight mighte it see neither y-here, And stille he sit under a bush anoon.      They're preparing to make a cuckold out of January; but in a sense he already is a cuckold.  DAmian, afterall, has the key to his wife's garden (so he has already essentially gained access to her).  In a sense, Damian already secretly possesser her.  Not only that, this passage describes him entering the garden itself.  This act of possessing access (the key) and then entering (the garden) is reminiscent of marriage: one takes the vows (the key, as it were, to the garden) and then, one may enter.  This passage shows the depth of Damian's possession of May, and the extent of January's lack of control over the situation. (Samuel Capps) Extra Credit  (3 points) In a strange sort of fictional disorientation one of the characters in "The Merchant's Tale" actually refers to a character on the Canterbury pilgrimage as an authority.  Identify both the pilgrim referred to and the character who makes the reference.  Justinus refers to the Wife of Bath

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The Two Version of the Medieval Garden Hortus conclusus (click) Hortus deliciarum (click) This highly detailed miniature depicts the Lover being shown the entrance to the walled garden by Lady Idleness, who is described as having yellow hair, grey eyes, a seemly neck and perfumed breath. Inside the garden, a lute player entertains elegantly dressed ladies sitting by a fountain. The walled garden played an important symbolic role in medieval art and literature, both religious and secular. Christians saw the enclosed garden - in Latin, the ‘hortus conclusus’ – as a symbol of the perpetual virginity of Christ’s mother, Mary. The metaphor derived from a verse in the biblical ‘Song of Solomon’: “A garden enclosed is my sister, my spouse; a spring shut up, a fountain sealed.” The secular equivalent was the ‘hortus deliciarium’, the garden of pleasure. It too was an enclosed space protected from the rigours of everyday life, a place where the wealthy, particularly women, could enjoy cultural amusement and intellectual inspiration. Both gardens usually had flower-strewn lawns, sometimes called ‘strews’, rather than beds of flowers. The grass was often raised to form turf seating. Trellises with grape vines and climbing roses were popular, and many gardens had decorative fountains or fish pools at their centre. Tree branches were trained to form shady arbours where ladies could enjoy the air without fear of compromising their fashionably pale complexions by exposure to the sun. Tanned skin was the sign of the labouring classes: wealthy women aspired to having skin as pale as alabaster. All these features appear in the idealised garden of the ‘Roman de la Rose’, which is planted with date palms and spice trees, as well as peaches, quinces, cherries and nuts. It’s carpeted with flowers of every colour and season, and inhabited by gentle creatures of the forest: the hart, rabbit and squirrel – each having symbolic associations with femininity or fertility.  (from Roman de la Rose: Lutenists and singers in a garden; the lover being shown the entrance to the garden by Lady Idleness. British Library Harley MS 4425, f.14v Copyright © The British Library Board)

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Franklin's Tale Quiz--Group Activity
 

Franklin's Tale Group Activity (10 pts) Directions:  each group meets for 20 minutes to construct an interesting, thoughtful, helpful report on the topics below designed for an audience that has already carefully read the tale. Group A Capps, O'Brien, Scarborough Topic:  What's at stake for the Franklin in his narration? Group B Albaugh, Halle, Carnes Topic:  "Trouth" Group C Spiese, Summers, Thomas Topic:  Chaucer's version compared with Boccaccio's Group D DeCarolis, Moffat, Ross Topic:  Rocks and transformation Group E Comer, Jones, Everett Topic:  Dorigen Group F Rosser, Shaffer, Ceen Topic:  Arveragus Group G Kruse, Lee, Mossholder Topic:  Aurelius

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"The Shipman's Tale" Quiz/Paragraph (10 points) Write a paragraph in which you explore the different suggestions developed by "taillying" at the end of "The Shipman's Tale."  Also explain how those senses relate to the values/themes developed in the tale as a whole.

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HE313 Review/Study Guide 1.  Genre knowledge.  Be able to link the genre below with the tale(s)/work that best illustrate its "laws": fabliau breton lai confession philosphical romance miracle of the virgin allegory exemplum animal fable sermon romance tragedy * A sophisticated treatment of genre would address, for example, the question that has hovered over almost all of our discussions:  Chaucer's exploration of the limits of allegory.  Another way of addressing this concern would be to ask:  which tale is the least allegorical? Or, in which tale does Chaucer most consciously explore the limits of allegory?  Of each of these genres, you might ask, "How does Chaucer handle it in his works and what does he try to get out of it in terms of meaning?"   2.  Know some important Chaucerian word (and phrases).  That means be able to write essays in which you explain how a tale or a theme that runs through the CT or The Troilus hinges upon that word. glosen quit queynte cosynage/cosen worthy lemman debt array taille auctoritee entente sad privetee game/pley sovereignty entente   3.  Know medieval themes/motifs and be able to discuss them in terms of the CT and/or The Troilus. pilgrimage host/guest mystery desire and journey misogyny individual/experience vs. community/authority courtly love and prescribed roles of genders free will vs. destiny direct experience vs. ecclesiastically mediated experience of the Bible authorship and authority exploration of role of story-things in human experience methods of opening up the interior of human narrator/character   4.  Be able to analyze several of the portraits in the GP in terms of how they illustrate Chaucerian irony and more generally Chaucerian artistry. 5.  Be able to analyze the relation between GP portrait and tale-telling performance in two ways:  a) in one case illustrate in detail a clear correspondence and in another case b) be able to present a problem, an apparent incongruency between the two, and to offer a solution that's not so apparent. 6.  Be able to discuss major themes/motifs: a)  problems with closure b)  transformation c)  marriage d)  female power--oxymoron or fact? e)  landscapes and settings, most obviously the garden f)   symbolic device--tailly stick, baby's crib, Griselda's clothes, Jankyn's book, kernal       of the boy's tongue, etc. g)  love--its varieties h)  fiction vs. history, or story vs. real events   7.  Interpretive problems, which would invite a "problem-solution paper": a)  Control of ceremony vs. actual problem solving in the "KT." b)  Indeterminancy of meaning c)  Inept tales--Chaucer's fault or method of developing pilgrims' characters? d)  The Wife of Bath as "independent." e)  Determining Chaucer's views; i.e. "the persona." f)   Do stories really matter afterall--the Retraction? g)  Criseyde's character h)  Pandarus' relationship with Criseyde i)   Apparent "disconnects" in Troilus' character--noble yet willing to lie and to trade in women???   7.  Be able to identify selected passages we have discussed and also to be able to do two things with them:  explain how they function to develop theme and/or method in their context (tale and even larger work) and also how they express Chaucerian mode(s) of development and theme(s).  a) But he that hath misseyd, I dar wel sayn, He may by no wey clepe his word agayn. Thing that is seyd is seyde, and forth it gooth, Though him repente, or be him leef or looth. He is his thral to whom that he hath sayd A tale of which he is now yvel apayd. My sone, be war, and be non auctour newe Of tydinges, whether they ben false or trewe. Wherso thou come, amonges hye or lowe, Kepe wel thy tonge, and thenk upon the crowe. b) And I seyde his opinioun was good: What sholde he studie, and make himselven wood, Upon a book in cloistre alwey to poure, Or swinken with his handes and laboure  As Austin bit?  How shal the world be served? Lat Austin have his swink to him reserved! c) Why grucchen we, why have we hevinesse, That goode Arcite, of chivalrye flour, Departed is with duetee and honour Out of this foule prison of this lyf? Why grucchen heer his cosin and his wyf Of his welfare, that loveth hem so weel? Can he hem thank?  Nay, God wot, never a deel, That bothe his soule and eek hemself offende, And yet they mowe hir lustes nat amende.   What may I conclude of this longe serie, But after wo I rede us to be merie, And thanken Jupiter of al his grace; And er that we departen from this place, I rede that we make of sorwes two O parfit joye, lastinge everemo; And loketh now, wher most sorwe is herinne, Ther wol we first amenden and biginne. d) Ye goon to Caunterbury--God yow your mede. And wel I woot, as yet goon by the weye, Ye shapen yow to talen and to pleye; For trewely, confort ne mirthe is noon To ryden by the weye doumb as a stoon; And therfore wol I maken yow disport. As I seyde erst, and doon yow som confort. e) Of elles, if free choys be graunted me To do that same thing or do it noght, Though God forwoot it er that I was wroght; Or if his witing streyneth never a del But by necessitee condicionel. I wot not han to do of swich matere; My tale is of a cok, as ye may here, That took his counseil of his wyf, with sorwe, To walken in the yerd upon that morwe That he had met the dreem that I yow tolde. Wommannes counseil broghte us first to wo, And made Adam fro Paradys to go, Ther as he was ful mery and wel at ese. But for I noot to whom it mighte displese, If I counseil of wommen wolde blame, Passe over, for I seyde it in my game. Rede auctours, wher they trete of swich matere, And what thay seyn of wommen ye may here. Thise been the cokkes wordes, and nat myne; I can noon harm of no womman divyne. f) His hote love was cold and al y-queynt; For fro that tyme that he had kiste hir ers, Of paramours he sette nat a kers, For he was heeled of his maladye.  Ful ofte paramours he gan deffye, And weep as dooth a child that is y-bete. g) This tresor moste y-caried be by nighte, As wisly and as slyly as it mighte. Wherfore I rede that cut among us alle Be drawe, and lat se wher the cut wol falle; And he that hath the cut with herte blythe Shal renee to the toune, and that ful swythe, And bringe us breed and wyn ful prively. And two of us shul kepen subtilly This tresor wel; and if he wol nat tarie, Whan it is night we wol this tresor carie, By oon assent, where as us thinketh best. h) "Ye, wyf," quod he, "lat slepen that is stille. It may be wel, paraventure, yet today. Ye shul youre trouthe holden, by my fay! For God so wisly have mercy on me, I hadde wel levere y-stiked for to be, For verray love which that I yow have, But if ye sholde youre trouthe kepe and save. Trouthe is the hyeste thing that man may kepe." But with that word he brast anon to wepe, And seye, "I yow forbede, up peyne of deeth, That nevere, whyle thee lasteth lyf ne breeth, To no wight tel thou of this aventure-- As I may best, I wol my wo endure-- Ne make no contenance of hevinesse, That folk of yow may demen harm or gesse." i) Who peyntede the leoun, tel me, who? j) And for that nothing of hir olde gere She sholde bringe into his hous, he bad That wommen sholde dispoilen hire right there; Of which thise ladyes were nat right glad To handle hir clothes wherinne she was clad. But natheles, this mayde bright of hewe Fro foot to heed they clothed han al newe. Hir heres han they kembd, that lay untressed Ful rudely, and with hir fingres smale A corone on hire heed they han y-dressed, And sette hire ful of nowches grete and smal. Of hire array what sholde I make a tale? Unnethe the peple hir knew for hire fairnessed, Whan she translated was in swich richnesse. k) "But on thing warne I thee, I wol nat jape: Thou wolt algates wite how we ben shape. Thou shalt herafterward, my brother dere, Com ther thee nedeth nat of me to lere. Fou thou shalt by thyn owene experience Conne in a chayer rede of this sentence Bet than Virgyle, whyle he was on lyve,  Or Dant also.  Now lat us ryde blyve, For I wol holde companye with thee Til it be so that thou forsake me." l) In trew wedlok coupled be we tweye, And blessed be the yok that we been inne, For in our actes we mowe do no sinne. A man may do no sinne with his wyf, Ne hurte himselven with his owne knyf, For we han leve to pleye us by the lawe."

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The Troilus Quiz, BK 1 (10 pts) Part 1 (5 points) Identification and/or short answer. a)  Calkas b)  Pandarus c)  C's marital status/history d)  Setting of the poem e)  A metaphoric pattern  Part 2 (5 points)  Well-developed paragraph.  Prompt:  entering into the beginning of a piece of literature, at least from my experience, resembles opening the door to a house or some other architecural structure and walking into that world.  What sort of structure or world do you feel as though you are entering as you move from the opening pages of The Troilus on through to the end of the first book?  Does it feel different from the CT, the language aside?  What sort of "place" is it?

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Rules of Love from Andreas Capellanus" The Art of Courtly Love (click) Exerpts from The Art of Courtly Love (click)

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

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"Quiz" on The Troilus, BK 3--Group Work

Directions:  each group takes 15 minutes to examine the passage or fictional element and then reports back to the class, first situating the passage or the element for classmates and then offering some brisk analysis of its importance to theme and/or artistic scheme of the poem.                 Area of Focus                                           Group BK 3, stanzas 37-60 1) Kurt, Mariellen, James, Tom, Lindsay BK 3, stanzas 169-73 2) Jeff, Marcus, Samuel BK3, stanzas 223-26 3) Pat, Hannah, Tim M., Colin The setting(s) 4) Michael, Will, Austin, Katie The narrator 5) Dylan, Matt, Chris

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The Troilus, BK 4—Quiz (15 pts) Part 1 (9 pts).  Using the following “characters,” identify the speaker of each of the passages listed below.  (Note:  you might find that you’ll have to use a character(s) more than once; and perhaps another not at all.) Narrator    Hector     Pandarus     Calkas    Criseyde    Troilus    Diomedes   Lady Fortune a.  Troy will be burnt and beaten to the ground.  (p. 185)       Calkas b.  It’s not our practice to sell women here.  (p. 181)         Hector c.  What are you good for now in my distress?  (p. 190)       Troilus For nothing but to weep away your sight, Since she is quenched that was your only light! d.  What about me?  I’ve never had my due  (p. 193)         Pandarus For my love service, never a friendly eye Or glance!  It is for me to wail and die. e.  She purposed to be true, as she professed,  (p. 229)       Narrator Or so they write who knew her conduct best. f.  On the tenth day; if death should not prevail  (p. 235)       Criseyde Against me, I’ll be with you, without fail. g.  But O, no more!  We’ve had enough of this;   (p. 223)     Criseyde Let us rise up at once and go to bed And talk about the woes that lie ahead; For, by that night-light which I see there burning, I know that daylight will be soon returning.” h.  Can you play racquets with it, to and fro,   (p. 195)       Troilus Nettle in, dock out, shift from here to there? Bad luck to her that takes you in her care! i.  Let us at once steal secretly away,      (p. 236)              Troilus Ever together, as now, and be at rest; My heart keeps saying that will be the best. Part 2 (6 pts).  Avoiding plot summary and mere description, write an interesting and valid literary analysis on one of the passages above.  Use a single well-developed paragraph.

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Here's a breakout of your grades.  The quiz totals differ because of excused absences and the variation in the low quiz grade that I eliminated in late September.

(Numerical equivalents for Letter Grades on Papers:  A+=17/ A=16.2/A-=15.6/B+=15/B=14.5/B-=14/C+=13/C=12.7/C-=12.2/D+=11.6/D=11/D-=10.5/F=8)
 

Alpha #	ICWritings/Quizzes          30 pts	Paper #1 17 pts	Paper 2  17 pts	Total at WK15 (64 pts)	Paper #3 17pts	Papers 50 pts	End of Term  80 pts	Final Exam 20 pts	Final Grade 100 pts
0126	145/160 (90.6%)  27.2	16.2	16.2	59.6 (93%)	A+  17	49.4	76.6 (95.8)  A	19.8 A	96.4  A
2538	136/155 (87.7%)  26.3	14	13	53.3 (83.3%)	A-  15.6	42.6	68.9 (86.1 )  B	17   B	86.9  B
4542	100.5/130 (77.3%) 23.2	15.6	14.5	53.3 (83.3%)	B-  14	44.1	67.4 (84.3)  B	15.5 C	82.9  B
4686	88/155 (56.8%)   17	14	13 (l)	31    (48.4%)	C+  13	40	57 (71.3 )    C-	17.5 B	74.5  C
5838	121.5/150 (81%)  24.3	12.2	14	50.5 (78.9%)	B   14.5	40.7	64 (80)       B-	15.3 C	79.3  B
5856	145/150 (96.7%) 29	14	15.6	58.6 (91.6%)	B+  15	44.6	73.6 (92 ) A-	16   B	89.6  A
6030	111/150 (74%)  22.2	12.2	13	47.4 (74.1%)	F (L) 8.5	33.7	55.9 (69.9) D+	15.5 C	71.4  C
1014	128/145 (88.3%) 26.5	15	14.5	56    (87.5%)	A-  15.6	45.1	71.6 (89.5) A-	17.9 A	89.5  A
1332	118/160 (73.8%) 22.1	15	14.5	51.6 (80.6%)	B+  15	44.5	66.6 (83.3 ) B	17.5 B	84.1  B
1626	149/155 (96.1%) 28.8	16.2	16.2	61.2 (95.6%)	A-  15.6	48	76.8 (96 ) A	18.5 A	95.3  A
1962	114/145 (78.6) 23.6	13	13	49.6 (77.5%)	B+  15	41	64.6 (80.8) B-	18   A	82.6  B
3144	64/90 (71.1%) 21.3	11	13	45.3 (70.8%)	D    11	35	56.3 (70.4 )  C-	15  C	71.3  C
3720	130.5/155 (84.2%) 25.6	14.5	14.5(15.6 )	55.7 (87%)	C+  13	43.1	68.7 (85.9) B	18  A	86.7  B
4974	104.5/145 (72.1%) 21.6	14	13	48.6 (75.9%)	B+  15	42	63.6 (79.5) B	15.8 C	79.4  B
6066	158/150 (100%)  30	17	16.2	63.2 (98.8%)	A+  17	50.2	80.2 (100)   A	20  A	100.2 A
6390	105/135 (77.8%) 23.3	12.2	11	46.4 (72.5%)	D    11	34.2	57.4 (71.8 ) C-	14  C	71.4  C
6534	116/155 (74.8%) 22.5	16.2	15	53.7 (83.9%)	B   14.5	45.7	68.2 (85.3)  B	17  B	85.2 B
6726	141.5/155 (91.3%) 27.4	12.7	13	53.1 (83%)	A-  15.6	41.3	68.7 (85.9) B	20  A	88.7 A
1074	130/135 (96.3%) 28.9	15.6	16.2	60.7 (94.8%)	A-  15.6	47.4	76.3 (95.4) A	17.4 B	93.7 A
1152	159/155 (100%) 30	15.6	16.2	61.8 (96.6%)	B+  15	46.8	76.8 (96)    A	19    A	95.8 A
3600	92/125 (73.6%) 22.1	12.7	14.5	49.3 (77% )	C   12.7	39.9	62 (77.5)     C+	16.6  B	78.6  C

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