twisting texts and tales: the wyf of bath's proto-feminist ... · ) studies quarterly 13.3-4...

The Delta

Volume 2 | Issue 1 Article 11

2007

Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Beliefs Shown through Her Prologue andTaleMegan Ames '08Illinois Wesleyan University

This Article is brought to you for free and open access by The Ames Library, the Andrew W. Mellon Center for Curricular and FacultyDevelopment, the Office of the Provost and the Office of the President. It has been accepted for inclusion in Digital Commons @ IWU bythe faculty at Illinois Wesleyan University. For more information, please contact [email protected].©Copyright is owned by the author of this document.

Recommended CitationAmes '08, Megan (2007) "Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Beliefs Shown through Her Prologueand Tale," The Delta: Vol. 2: Iss. 1, Article 11.Available at: http://digitalcommons.iwu.edu/delta/vol2/iss1/11

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Works Cited

.Gerhard. "Promiscuity, ssion: The Civilizing Process and the male Role Model in the Frame-Story ) Studies Quarterly 13.3-4 (1991): 1

idnight Disease: The Drive to Write, le Creative Brain. Boston and New lin Company, 2004. e. '''We were working on an erotic Carole Maso's AVA as the Poetics of lcan Cultural and Sexual Identity." 91-113.

"Carole Maso: An Introduction and an w." Review ojContemporary Fiction

oclamation: Gender and Genre in ltemporary Fiction 17-3 (1997): 175

tion and Desire: Shahraziid." Woman's d: Gender and Discourse in Araboceton: Princeton University Press,

nat, IL: Dalkey Archive Press, 1993. rview with Carole Maso." Review oj m 14-2 (1994): 186-191. 'Posthumous Posturing: The 'Death in Contemporary Women's he Novel 32-2 (2000): 243-63.

Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Beliefs Shown

through Her Prologue and Tale Megan Ames

Geoffrey Chaucer's Wyfof Bath has been a controversial figure since she first appeared in the Wyfof Bath's Prologue and Tale (WB Pro & WBT) in The Canterbury Tales (CT) in the 14th century. Scholars cannot agree about how she uses her knowledge of "auctoritee[s]" (WB Pro 1), like Ovid. Some contend that she intelligently twists their words to articulate her proto-feminist beliefs while others believe she foolishly misquotes them. This inadvertently contradicts her beliefs, due to her misunderstanding of the misogynist texts she cites. This confusion is further compounded by Alisoun's tale, which is considered by many critics as contradictory to Alisoun's beliefs about gender roles in relationships. However, I contend that the WBT, compared with its analogues, is a proto-feminist tale that supports Alisoun's beliefs from the WB Pro, demonstrating her ability to twist texts and tales to fit her argument. Understanding how Alisoun "glose[s]" (WBT Pro 119) texts to fit her proto-feminist position concerning gender roles in relationships, as it is elucidated in the WB Pro, is vital to my contention.

The best example of how the Wyf uses her inteJIigence to twist texts to her liking would be her interpretation ofSt. Paul's concept of the marriage debt. This concept was set down in medieval canon law, and gave women "equal rights with men in demanding ...the act of coition" (Holloway 3). The law was put in place in order to maintain the wife's and husband's marital duty to "satisfy the other's needs" (Good News Bible 1 Cor. 7.3). Alisoun tempers this concept with the assertion that it is possible only if husbands relinquish control to their wives. The Wyf maintains that it is her innate right as a Christian wife to "have the power durynge al [her] lyf / Upon his propre body, and noght he" (WB Pro 158-59). In doing so, the Wyftwists the Pauline ideal that "[a] wife is not the master of her own body, but her husband is; in the same way a husband is not the master of his own body, but the wife is" (1 Cor. 7.4), by leaving out the first half of the verse that detracts from her argument that women should have control in their relationships. The Wyf's

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Ames '08: Twisting Texts and Tales: The Wyf of Bath's Proto-Feminist Belief

Published by Digital Commons @ IWU, 2007

desire for power in her own relationship and belief that power is what all women want lead her to twist the texts she encounters in order to sway the beliefs of the other pilgrims. Her use of canonical texts to support her own beliefs demonstrates Alisoun's ability to cleverly present information to the pilgrims, even ifsome of that information is taken out of context.

Supporting her belief that states men should not be given ultimate power in relationships, the Wyfproclaims men frequently abuse that power. Focusing on men's jealousy by addressing her old, dead husbands and using them as representative of most husbands and writers of misogynist texts, Alisoun states that wives "love no man that taketh kep or charge / Wher that we goon; we wol ben at oure large" (32123). She says that women cannot love men who are in charge because these jealous husbands keep women captive. Focusing on jealous husbands stresses the need for women to be the dominant force in relationships, according to the Wyf. These covetous, controlling husbands greatly trouble the Wyfbecause of their adherence to the principle that "men may nat kepe a castel wal, / It may so longe assailled been overal" (263-64) as justification to keep their wives away from the outside world, in an attempt to keep themselves from being cuckolded. Alisoun pokes fun at jealous husbands who try to control their wives:

Sire olde fool, what helpeth thee to spyen? Thogh thou preye Argus with his hundred yen To be my warde-cors, as he kan best, In feith, he shal nat kepe me but me lest; Yet koude I make his berd, so moot I thee! (357-61)

This declaration reveals the futility of men's attempts to prevent their wives from having affairs, because the Wyf asserts that women are intelligent enough to deceive their husbands should they choose to do so. Alisoun's belief in the supremacy of women's intelligence is further demonstrated by her claim that women's "wit [is] yeven [them] in [their] byrthe" (WB Pro 400), making women's intelligence inherent and, thus, assumed in this time to be God-given. Additionally, Alisoun's reference to Argus is reminiscent of Ovid's Ars Amatoria in which he maintains that women should deceive their husbands by learning from Ovid how to be successful in their deception "[t]hough as many keep watch as Argus has eyes" (3.618). Here, Alisoun displays her God"given intelligence by interpreting Ovid's supposedly misogynist text in a way that

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strengthens her position about won relationships.

Ovid's influence on the WB PI directly, during Alisoun and Janky! "book ofwikked wyves" (685), wh (680) among its other misogynist 11 her sex is portrayed in Jankyn's bo that

ifwommen hadde writen s As clerkes han withinne hi They wolde han writen of Than al the mark of Adam

Here, Alisoun directly challenges tl "auctoritees" to discuss gender role pointing out the lack of female inpl and the lack ofstories about men's at least one of the tales that disgust~

repulses her is that of Pasiphae, wh leman of the [white] bull" (Ovid 1.; from the rest of the contemptible w he recites to Alisoun "nyght and da Alisoun's strong negative reaction 1 namoore-it is a grisly thyng- / 0 likyng" (735-36). Helen Cooper in' importance of Ovid to the text as a to the tale of Pasiphae, because she was "probably known to Chaucer 0

rose" (142). While I do not wish to the Roman de fa rose, I am compell Roman de fa rose draws heavily on focus on Ovid derives more from P Hoffman's observations that "Ovid (Hoffman 134). Ovid's presence in of Chaucer's text and should be cor understanding of the Wyfs useofi

Many critics contend that Alisc misogynist ideas from Ovid's texts, she uses them erroneously to suppo fourteenth century, Ovid was belie" to the literal readings of his works <

philosophical truths" (Allen 57). TICalabrese states, "Ovid is not essen

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The Delta, Vol. 2 [2007], Iss. 1, Art. 11


own relationship and belief that power is :ad her to twist the texts she encounters iefs of the other pilgrims. Her use of )rt her own beliefs demonstrates ,erly present information to the pilgrims, ormation is taken out ofcontext. iefthat states men should not be given onships, the Wyf proclaims men )wer. Focusing on men's jealousy by d husbands and using them as tlUsbands and writers of misogynist texts, ~s "love no man that taketh kep or ~oon; we wol ben at oure large" (321len cannot love men who are in charge lusbands keep women captive. Focusing :esses the need for women to be the ionships, according to the Wyf. These tUsbands greatly trouble the Wyfbecause Ie principle that "men may nat kepe a longe assailled been overal" (263-64) as ~ir wives away from the outside world, in nselves from being cuckolded. Alisoun lsbands who try to control their wives: .what helpeth thee to spyen? 'eye Argus with his hundred yen de-cors, as he kan best, al nat kepe me but me lest; lake his berd, so moot I thee! (357-61) Is the futility of men's attempts to prevent 19 affairs, because the Wyf asserts that enough to deceive their husbands should '\lisoun's belief in the supremacy of is further demonstrated by her claim that en [them] in [their] byrthe" (WB Pro s intelligence inherent and, thus, assumed .given. Additionally, Alisoun's reference It of Ovid's Ars Amatoria in which he should deceive their husbands by ,w to be successful in their deception :p watch as Argus has eyes" (3.618). >her God-given intelligence by pposedly misogynist text in a way that

strengthens her position about women's dominance in relationships.

Ovid's influence on the WB Pro appears again, and more directly, during Alisoun and Jankyn's argument about Jankyn's "book ofwikked wyves" (685), which contains "Ovides Art" (680) among its other misogynist texts. Disgusted with the way her sex is portrayed in Jankyn's book, the Wyf astutely notes that

if wommen hadde writen stories, As c1erkes han withinne hire oratories, They wolde han writen of men moore wikkednesse Than al the mark of Adam may redresse. (693-96)

Here, Alisoun directly challenges the men who use these "auctoritees" to discuss gender roles in a misogynist way by pointing out the lack of female input into these stories they use and the lack of stories about men's evils. Ovid is the source of at least one of the tales that disgusts the Wyf. The tale that repulses her is that of Pasiphae, who "rejoiced to become the leman of the [white] bull" (Ovid 1.295). Pasiphae stands out from the rest of the contemptible women on Jankyn's list that he recites to Alisoun "nyght and day" (WB Pro 669) because of Alisoun's strong negative reaction to her story: "Fy! Spek namoore--it is a grisly thyng- / Ofhir horrible lust and hir likyng" (735-36). Helen Cooper incorrectly diminishes the importance of Ovid to the text as a whole, and more specifically to the tale of Pasiphae, because she asserts that Ovid's work was "probably known to Chaucer only through the Roman de fa rose" (142). While I do not wish to diminish the importance of the Roman de fa rose, I am compelled to point out that the Roman de fa rose draws heavily on Ovid's writings. Thus my focus on Ovid derives more from Peter Allen and Richard Hoffman's observations that "Ovid is the ultimate source" (Hoffman 134). Ovid's presence in the WB Pro is a crucial part of Chaucer's text and should be consulted in order to gain a full understanding of the Wyfs use of it as a source.

Many critics contend that AI isoun does not understand the misogynist ideas from Ovid's texts, which is why they believe she uses them erroneously to support her beliefs. In the fourteenth century, Ovid was believed to be a misogynist, due to the literal readings of his works "for their moral and philosophical truths" (Allen 57). The truth is, as Michael Calabrese states, "Ovid is not essentially an antifeminist

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:

r

author" (85), nor were his texts intended to be antifeminist. Medieval people saw his texts in that way, though, and incorrectly interpreted and translated them into the misogynist category. By using only a medieval, moralized understanding of Ovid's texts, we would be forced to discount the satirical spirit in which they were written. Allen contends that Andreas Capellanus' De amore, just like Ovid's Ars Amatoria on which Andreas' work is closely modeled (77), presents itself" amoral[ly]"(75), with the intention that "the reader must share the responsibility for understanding it and supplying any moral meaning it may have" (75-76). However, this theory of interpretation was not encouraged in medieval times for men, let alone women who "were shut out of [the Church's] modes of education and literacy" (Holloway 7), and generally not formally educated at home. Yet, the Wyf cleverly does what she is not supposed to do according to medieval custom and interprets the texts in her own way, just as Ovid would have wanted.

Women's lack of formal, book-oriented knowledge in the fourteenth century did not bar them from learning through experience. Though the Wyfhas more knowledge of texts than most women in her position, she is more reliable as an authority on relationships and marriage because of her extensive experience in that field. Veri tying her marital experience, Alisoun affirms, "sith I twelve yeer was ofage, I Thonked be God that is eterne on Iyve, I Housbondes at chirche dore 1 have had tyve" (WB Pro 4-6). The Wyf also describes her belief that "Experience, though noon auctoritee I Were in this world, is right ynogh for me I To speke ofwo that is in mariage" (1-3), a proclamation with which Ovid would readily agree. This sentiment is echoed in Capellanus' Book 3 "when he notes that no one can be fully educated about love and its pains without being schooled by magistra experientia (Mistress Experience)" (Allen 76). These similarities in thought are what led Calabrese to draw parallels between the Wyf and Ovid by describing them as "master[s] of' experience'" (81). Each uses personal experiences to form generalizations about the behaviors of men and women playing the game of love.

Alisoun's attitudes toward sex are also remarkably comparable to those of Ovid. The Wyfs focus on sex "for [the] ese" (WB Pro 127) of the two partners is mostly drawn from her sexual experiences. Throughout the Ars Amatoria, Ovid

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-describes sex as a mutual act in wi woman feel love's act, unstrung tc frame" in order to "let that act deli sexual authorities think ofsex not but as a source of pleasure. Ovid a undeniably similar attitudes about audiences in how to act when deal

Recognizing that Ovid and Al opinions about relationships is im! she does understand his texts and l her beliefs. Alisoun can and does ~

feminist beliefs, though her impOI1 reality, only alterations to how his medieval society. Therefore, the \\ correctly to support her positions, intelligent than many scholars ofh among the misogynists of the day. directly counters her detractors' ar; understand the sources from whid problem of the fit of Alisoun's tale still remains.

Many critics, like Cooper and Wyfs [hag's] decision to be both I husband once he gives her the choi contradict what she told him earlie 'maistre'" (Van 190). 1do not see! rather as a proto-feminist tale in wI vital positions of power. There is a roles in teaching the knight, and th hag, determines if the knight is w() hag's decision to be "bothe fair an. reward for the knight who has not is] that wommen moost desiren" (~

apply this newfound knowledge to Though it appears that the hag giv. husband, she actually only commi. equal partnership in her marriage, her husband if she wished. While 1: speculative, one need only compar Lady analogues to see how probab are two main analogues to the WJ3, simi lar: "The Weddyng of Syr Ga

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is texts intended to be antifeminist. : texts in that way, though, and ld translated them into the misogynist a medieval, moralized understanding of )e forced to discount the satirical spirit en. Allen contends that Andreas ust like Ovid's Ars Amatoria on which I modeled (77), presents itself" e intention that "the reader must share :lerstanding it and supplying any moral 75-76). However, this theory of lcouraged in medieval times for men, vere shut out of [the Church's] modes /' (Holloway 7), and generally not me. Yet, the Wyf cleverly does what she cording to medieval custom and r own way, just as Ovid would have

Irmal, book-oriented knowledge in the lot bar them from learning through Wyfhas more knowledge of texts than ition, she is more reliable as an authority rriage because of her extensive Verifying her marital experience, twelve yeer was of age, / Thonked be ve, / Housbondes at chirche dore I have ). The Wyf also describes her beliefthat ,on auctoritee / Were in this world, is speke ofwo that is in mariage" (1-3), a

:h Ovid would readily agree. This 2apellanus' Book 3 "when he notes that cated about love and its pains without istra experientia (Mistress Experience)" arities in thought are what led Calabrese en the Wyf and Ovid by describing them ence'" (81). Each uses personal leralizations about the behaviors of men game of love. toward sex are also remarkably Ovid. The Wyf's focus on sex "for [the] l1e two partners is mostly drawn from Throughout the Ars Amatoria, Ovid

describes sex as a mutual act in which the man should "[I]et the woman feel love's act, unstrung to the very depths of her frame" in order to "let that act delight both alike" (173). Both sexual authorities think of sex not as a method of procreation, but as a source of pleasure. Ovid and Alisoun use their undeniably similar attitudes about sex to advise their respective audiences in how to act when dealing with the opposite sex.

Recognizing that Ovid and Alisoun share many of the same opinions about relationships is important because it shows that she does understand his texts and fittingly uses them to support her beliefs. Alisoun can and does alter texts to fit her protofeminist beliefs, though her important alterations of Ovid are, in reality, only alterations to how his texts were perceived in medieval society. Therefore, the Wyf"gloses" his texts correctly to support her positions, showing herself to be more intelligent than many scholars of her time who counted him among the misogynists of the day. The intelligence she displays directly counters her detractors' arguments that she does not understand the sources from which she quotes. However, the problem of the fit of Alisoun's tale to her proto-feminist ideas still remains.

Many critics, like Cooper and Thomas Van, feel that "[t]he Wyf's [hag's] decision to be both beautiful and faithful to her husband once he gives her the choice of doing either seems to contradict what she told him earlier, that is, that women want 'maistre'" (Van 190). I do not see the story in this way, but rather as a proto-feminist tale in which women hold all of the vital positions of power. There is a distinct focus on women's roles in teaching the knight, and the main female character, the hag, determines if the knight is worthy enough for her. The hag's decision to be "bothe fair and good" (WBT 1241) is a reward for the knight who has not only learned "what thyng [it is] that wommen moost desiren" (905), but has also learned to apply this newfound knowledge to his relationship with the hag. Though it appears that the hag gives up her sovereignty to her husband, she actually only commits herself to a seemingly equal partnership in her marriage, though she could still control her husband if she wished. While this idea might seem speculative, one need only compare the WBT with its Loathly Lady analogues to see how probable this viewpoint is. There are two main analogues to the WBT, which are extremely simi lar: "The Weddyng of Syr Gawen and Dame Ragnell for

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Helpyng of Kyng Arthoure," and "The Marriage of Sir Gawaine." While these tales are all variations on the Loathly Lady tales, there is a great deal of important variation between them.

The integrity of the knight changes between the analogues and the WBT, which affects the reason why the main character must learn what women desire most. The "Weddyng" and the "Marriage" are centered on Sir Gawain, a well-known virtuous character of Arthurian romance, and his fidelity to King Arthur. In the "Weddyng," Arthur meets a "quyant grome" (50) named Syr Gromer-Somer Jour who demands that Arthur return and "shewe [Gromer-Somer] att thy comyng whate wemen love best, / in feld and town" (91). Similarly, in the "Marriage," Arthur meets a Baron who demands that Arthur "bring [him] word what thing it is / That a woman will most desire" (12-13). In these two versions, it is for King Arthur that Gawain attempts to find the answers to these two identical questions and has nothing to do with any dastardly actions on his part, unlike the WBT in which the knight's actions are the sole reason why the question must be answered. In the analogues Gawain nobly attempts to help his king by asking everyone he finds the question in an attempt to reach some kind of consensus.

Although the "Weddyng" and the "Marriage" are extremely similar up to this point, they are distinguished from each other here. In the "Marriage," Gawain chooses to kiss and marry the hag out of "his exemplary courtesy and his desire to honor Arthur's [rash] promise" ("Marriage" 385 n. 5) that she could marry one of his knights. Gawain acts honorably because it seems that none of the other knights are willing to fulfill their king's promise. In the "Weddyng, " Arthur at least only promises to "do [his] labour / In savying of [his] Iyfe to make itt secour; / To Gawen wolll make my mone" (294-96), instead of promising the hag that a knight will take her hand in marriage. In this version, Gawain agrees to wed Dame Ragnell, the hag, saying that "[t]or [Arthur's] love I woll nott spare" (371); here he is actively attempting to save the king, unlike the "Marriage" in which he seems to be simply forced into it. The two tales show Gawain to be, as readers expect upon reading his name, chivalrous, but to a slightly different extent in each one. Regardless of this distinction, whether he was somewhat

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pushed into marriage with the hag still able to pass the test that is put

While the WBT is also set at t mention ofGawain at all. Instead, otherwise unnamed "lusty bachele maid, "[b]y verray force, he rafte I Because of this act he "shoulde ha an unusual move, King Arthur "ya wille, / To chese wheither she wol, 98), thus turning over his power to queene, with the consultation ofht the knight the same task that Artht However, there is a dramatic diffel because the knight must find out tl order to save his own life. Also, th trouthe" (10 13) in order to learn th question without knowing what he this is an act of selfishness not sac] male character a selfish rapist help loyal knight helping his king, Alisl in the tale to the women in the tale

The role that women play in tt WBT and the two analogues. In tho "Marriage," and the WBT, the onl: Gaynour and Genever and the quel hag, who appears in all. Gaynour a only to lament Gawain's marriage Genever is only in the "Marriage," described as a "bride soe bright of queen has a very active role in the convinces Arthur not to kill the kn justise" (1028) when the knight co question. At this time, "many a noAnd many a wydwe ... / Assemble. heere" (1026-29); notably, no men present in the court at that time. A~

"The Wyfthus briskly usurps the r redistributes it to the women ofthe of the court in the shadows off the spot usually reserved for females" reversal, the Wyfhighlights her be superior intelligence by placing th.

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-

lure," and "The Marriage of Sir : tales are all variations on the Loathly eat deal of important variation between

: knight changes between the analogues fects the reason why the main character 1 desire most. The "Weddyng" and the d on Sir Gawain, a well-known virtuous romance, and his fidelity to King Arthur. hur meets a "quyant grome" (50) named If who demands that Arthur return and r] att thy comyng whate wemen love " (91). Similarly, in the "Marriage," Nho demands that Arthur "bring [him] That a woman will most desire" (12-13). it is for King Arthur that Gawain ,wers to these two identical questions with any dastardly actions on his part, ich the knight's actions are the sole to must be answered. In the analogues , to help his king by asking everyone he 1 attempt to reach some kind of

:ddyng" and the "Marriage" are [) this point, they are distinguished from "Marriage," Gawain chooses to kiss and his exemplary courtesy and his desire to promise" ("Marriage" 385 n. 5) that she ; knights. Gawain acts honorably because he other knights are willing to fulfill their "Weddyng, " Arthur at least only labour / In savying of [his] Iyfe to make itt 0111 make my mone" (294-96), instead of t a knight will take her hand in marriage. n agrees to wed Dame Ragnell, the hag, hur's] love I woll nott spare" (371); here ng to save the king, unlike the !1e seems to be simply forced into it. The n to be, as readers expect upon reading but to a slightly different extent in each s distinction, whether he was somewhat

pushed into marriage with the hag or freely chose it, Gawain is still able to pass the test that is put before him in these tales.

While the WBT is also set at the court of Arthur, there is no mention of Gawain at all. Instead, the WBT begins with an otherwise unnamed "lusty bacheler" (883) who, upon spotting a maid, "[b]y verray force, he rafte hire maydenhed" (888). Because of this act he "shoulde han lost his heed" (892), but in an unusual move, King Arthur "yafhym to the queene, al at hir wille, / To chese wheither she wolde hym save or spile" (89798), thus turning over his power to the women of the court. The queene, with the consultation of her "other ladyes" (894), gives the knight the same task that Arthur is given in the analogues. However, there is a dramatic difference in the task in this story, because the knight must find out the answer to the question in order to save his own life. Also, the knight gives the hag "[his] trouthe" (1013) in order to learn the answer to the queen's question without knowing what he must do in return, making this is an act of selfishness not sacrifice. By making the main male character a selfish rapist helping himself as opposed to a loyal knight helping his king, Alisoun shifts focus from the men in the tale to the women in the tale.

The role that women play in the tale varies between the WBT and the two analogues. In the "Weddyng, " the "Marriage," and the WBT, the only women characters are Gaynour and Genever and the queene, respectively, and the hag, who appears in all. Gaynour appears in the "Weddyng" only to lament Gawain's marriage to Dame Ragnell. Similarly, Genever is only in the "Marriage," at the beginning when she is described as a "bride soe bright of blee" (4). Conversely, the queen has a very active role in the WBT. It is she who convinces Arthur not to kill the knight and who sits "as a justise" (1028) when the knight comes before her to answer her question. At this time, "many a noble wyf, and many a mayde, / And many a wydwe ... / Assembled been, his answer for to heere" (1026-29); notably, no men are described as being present in the court at that time. As Susan Carter astutely noted, 'The Wyfthus briskly usurps the male prerogative ofjustice, redistributes it to the women of the court, and puts the knights of the court in the shadows offthe edge ofthe narrative, the spot usually reserved for females" (335). With this role reversal, the Wyf highlights her belief that women have superior intelligence by placing the queene at the head of the

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medieval legal system. By doing so, Alisoun makes the queen an active presence within the story unlike the pretty, mindless drone queens of the analogues. The way in which the Wyf twists the tales effectively communicates her proto-feminist beliefs.

Much like the queen characters in the different tales, the hag characters vary a great deal, changing the meanings of the tales. The "Weddyng" says that the hag Dame Ragnell "was shapen by nygramancy, / With [her] stepdame" (691-92). And just as in the "Weddyng," the hag in the "Marriage" says,

My father was an old knight, And yett it chanced soe That he marryed a younge lady That brought me to this woe She witched me. (175-79)

These characters' lack of control over their situation displays them as weak and helpless women who need rescuing from a knight like Sir Gawain. Conversely, Alisoun does not mention the kind of magic that the hag in the WBT possesses. The Wyf simply implies that the hag turns into a beautiful, faithful woman of her own volition. I agree with Kathryn McKinley, who states that the hag "rewards [the knight] by causing her own transformation" (365). He is rewarded because he has finally demonstrated his understanding of the lessons she has taught him about women.

The answer to the principal question asked throughout the different versions of these Loathly Lady tales is that "[w]ommen desiren to have sovereynetee" (WBT 1038). While this is at first just the answer to the riddle that the knight needs to keep himself alive, he soon adopts this principle. As Edward Vasta correctly maintains, unlike the husbands of the different analogues, "Chaucer renders the husband enlightened by the Loathly Lady's sermon on spiritual equality" (405). When the knight applies his newfound knowledge to his own wife by granting the hag sovereignty to make her own decision about her physical appearance and fidelity, he is handsomely rewarded.

What bothers many critics about the fit of tale and teller is the section in which the hag, after turning into a beautiful woman, seems to relinquish her sovereignty back to her husband:

And she obeyed hym in every thyng

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That myghte doon hym pie And thus they Iyve unto h In parfitjoye. (1255-58)

However, this does not mean that tI merely that she chooses to do so. A is highly unlikely that the wife wou sovereignty to her husband. Instead juncture is that

once the woman has been ~

sovereignty she refrains frc and this suggests that it is I for achieving feminine indo marriage so that more satis between the sexes can havl develop. (Leicester 173)

In this way, women are allowed to limiting their husbands' control anc equality between them as partners. description of the knight and the ha is extremely reminiscent of Alisour After Jankyn was afraid he had kill. the bridel in [her] hond, / To han th lond" (WB Pro 813-14), and Alisou day [they] hadden never debaat" (8: that she believes that wives desire s the power in relationships, but she r one cannot obey their husband, so I, wants and the wife retains ultimate relationship.

Ultimately, the WBT is one in ' a series of women in order to becon by understanding what women desi fits in perfectly with Alisoun's protl men's and women's roles in relatiol auctoritees and to interpret them m< her time, lends itself perfectly to he using the Loathly Lady tales, to ere; appropriate for her way oflife.

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By doing so, Alisoun makes the queen n the story unlike the pretty, mindless logues. The way in which the Wyf :ly communicates her proto-feminist

n characters in the different tales, the eat deal, changing the meanings of the :ays that the hag Dame Ragnell "was / With [her] stepdame" (691-92). And ~," the hag in the "Marriage" says, an old knight, nced soe :d a younge lady Ie to this woe e. (175-79) :>f control over their situation displays ess women who need rescuing from a Conversely, Alisoun does not mention he hag in the WBT possesses. The Wyf hag turns into a beautiful, faithful tion. I agree with Kathryn McKinley, "rewards [the knight] by causing her :65). He is rewarded because he has s understanding of the lessons she has ~.

principal question asked throughout the ese Loathly Lady tales is that have sovereynetee" (WBT 1038). While nswer to the riddle that the knight needs Ie soon adopts this principle. As Edward ins, unlike the husbands of the different mders the husband enlightened by the Ion spiritual equality" (405). When the found knowledge to his own wife by ~ignty to make her own decision about e and fidelity, he is handsomely

Ycritics about the fit of tale and teller is e hag, after turning into a beauti ful ~uish her sovereignty back to her

~ hym in every thyng

That myghte doon hym plesance or likyng. And thus they Iyve unto hir Iyves ende In parfit joye. (1255-58)

However, this does not mean that the wife must obey him, but merely that she chooses to do so. As such a strong character, it is highly unlikely that the wife would actually give up full sovereignty to her husband. Instead, what takes place at this juncture is that

once the woman has been granted sovereignty she refrains from exercising it, and this suggests that it is primarily a tool for achieving feminine independence within marriage so that more satisfactory relations between the sexes can have a chance to develop. (Leicester 173)

In this way, women are allowed to form their own identities by limiting their husbands' control and thereby create a type of equality between them as partners. Most importantly, this description of the knight and the hag's relationship in the WBT is extremely reminiscent of Alisoun's relationship with Jankyn. After Jankyn was afraid he had killed Alisoun, "[he] yaf[her] the bridel in [her] hond, / To han the governance ofhous and lond" (WB Pro 8 13-14), and Alisoun insists that "[a]fter that day [they] hadden never debaat" (822). Alisoun clearly shows that she believes that wives desire sovereignty and should have the power in relationships, but she never states that this means one cannot obey their husband, so long as that is what the wife wants and the wife retains ultimate control over the relationship.

Ultimately, the WBT is one in which a male is educated by a series of women in order to become a better man and husband by understanding what women desire. This proto-feminist tale fits in perfectly with Alisoun's proto-feminist beliefs about men's and women's roles in relationships. Her ability to twist auctoritees and to interpret them more correctly than scholars of her time, lends itself perfectly to her tale, which she constructs using the Loathly Lady tales, to create a theme that is appropriate for her way oflife.

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Bolton Holloway, Julia, Constance S. Wright, and Joan Bechtold, eds. Equally In God's Image: Women in the Middle Ages. New York: Peter Lang, 1990.

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Carter, Susan. "Coupling the Beastly Bride and the Hunter Hunted: What Lies Beneath Chaucer's Wife ofBath's Tale." The Chaucer Review 37.4 (2003 ):329-341.

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"The Weddyng of Syr Gawen and of Kyng Arthoure." Middle En H.A. Shepherd. New York: W.

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Sadlek, Gregory M. Idleness Working: The Discourse ofLove's Labor from Ovid through Chaucer and Gower. Washington, DC: The Catholic University of America P, 2004.

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