Canterbury Tale(the Man of Laws Tale)

Her adventures and trials continue after she is shipwrecked on theNorthumberland  coast. Northumberland is a pagan country where the King, Alla (based on Chaucer’s understanding of the historical  ? lla of Deira[1]) eventually converted to Christianity. Alla’s evil mother intercepts and falsifies a letter between the couple, which results in Constance’s being banished. Constance is forced to go to sea again and is found by a Senator of Rome. The Senator takes Constance (and her child) back to Italy to serve as a household servant. King Alla, still heartbroken over the loss of Constance, goes to Rome on a pilgrimage, and fortunately finds Constance. In the end the couple return to Northumberland. Alla dies a year later, and the baby boy becomes the King. ————————————————- ————————————————- Sources The tale is based on a story within the  Chronicles  of  Nicholas Trivet  but the major theme in the tale, of an exiled princess uncorrupted by her suffering, was common in the literature of the time. 2]  Her tale is also told in  John Gower’s  Confessio Amantis, and both are similar to the verse  Romance  Emare, and the cycle is generally known as the â€Å"Constance† cycle. [2]  The oldest known variant of this particular type is  Vitae duorum Offarum. [3]  M ore distantly related forms of the persecuted heroine include  Le Bone Florence of Rome, and  Griselda. [4] An incident where Constance is framed for murder by a bloody dagger appears to be a direct borrowing from  Crescentia. [5] ————————————————- ————————————————- Analysis Saints’ lives genre The tale is meant as a morally uplifting story and is similar to  hagiography, or stories of the saints’ lives, which were common popular literature of the time. Custance, as her name suggests, is constant to her  Christian  religion despite the attacks and testing it receives from the  pagans  and  heathens  she meets on her travels. Rhetoric The Man of Law tells his story in a pompous over-blown style as if he is defending Custance in a court of law. He also uses manyrhetorical figures, taken straight from the manuals of rhetoric of the day, to emphasize Custance’s noble character—as well as the teller’s lawyerly skills—and state her case. John Gower Although Chaucer receives some praise and also criticism from his own character with favourable mentions of  The Book of the Duchessand  The Legend of Good Women; in the Man of Law’s prologue he seems to spare most of his opprobrium for  John Gower. [original research? ]  Two of the tales which he dislikes,  Canace  and  Apollonius of Tyre, involve  incest, as did the some versions of the story. Chaucer based this tale on the  Nicholas Trivet  story from his  Chronicle. Gower though had recorded all these stories. Chaucer is, perhaps, with friendly banter, trying to goad his friend and fellow writer into a storytelling challenge. But certeinly no word ne writeth he Of thilke wikke [wicked] ensample of Canacee, That loved hir owene brother synfully — Of swiche cursed stories I sey fy! — Or ellis of Tyro Appollonius, How that the cursed kyng Antiochus Birafte his doghter of hir maydenhede, That is so horrible a tale for to rede, Whan he hir threw upon the pavement. Sequence with other tales The various manuscripts of the tales differ on the structure of the tales with some containing the Man of Law’s epilogue and others not. In the  epilogue, the host invites the  Parson  but he is interrupted before he can begin and a different speaker tells the next tale. TheSummoner, the  Squire  and the  Shipman  are listed as interrupters in the different manuscripts but it is the Shipman whose character best matches the rude remarks although the mention of his â€Å"joly body† sounds closer to something the  wife of Bath  may say. What it probably shows is that Chaucer had not fixed his overall plan. There are also hints, with his claim he will talk in prose despite rhyming throughout, that the Man of Law originally told the  Tale of Melibee  before he was assigned Custance’s tale late in the composition of the tales. Canterbury Tale(the Man of Laws Tale) Her adventures and trials continue after she is shipwrecked on theNorthumberland  coast. Northumberland is a pagan country where the King, Alla (based on Chaucer’s understanding of the historical  ? lla of Deira[1]) eventually converted to Christianity. Alla’s evil mother intercepts and falsifies a letter between the couple, which results in Constance’s being banished. Constance is forced to go to sea again and is found by a Senator of Rome. The Senator takes Constance (and her child) back to Italy to serve as a household servant. King Alla, still heartbroken over the loss of Constance, goes to Rome on a pilgrimage, and fortunately finds Constance. In the end the couple return to Northumberland. Alla dies a year later, and the baby boy becomes the King. ————————————————- ————————————————- Sources The tale is based on a story within the  Chronicles  of  Nicholas Trivet  but the major theme in the tale, of an exiled princess uncorrupted by her suffering, was common in the literature of the time. 2]  Her tale is also told in  John Gower’s  Confessio Amantis, and both are similar to the verse  Romance  Emare, and the cycle is generally known as the â€Å"Constance† cycle. [2]  The oldest known variant of this particular type is  Vitae duorum Offarum. [3]  M ore distantly related forms of the persecuted heroine include  Le Bone Florence of Rome, and  Griselda. [4] An incident where Constance is framed for murder by a bloody dagger appears to be a direct borrowing from  Crescentia. [5] ————————————————- ————————————————- Analysis Saints’ lives genre The tale is meant as a morally uplifting story and is similar to  hagiography, or stories of the saints’ lives, which were common popular literature of the time. Custance, as her name suggests, is constant to her  Christian  religion despite the attacks and testing it receives from the  pagans  and  heathens  she meets on her travels. Rhetoric The Man of Law tells his story in a pompous over-blown style as if he is defending Custance in a court of law. He also uses manyrhetorical figures, taken straight from the manuals of rhetoric of the day, to emphasize Custance’s noble character—as well as the teller’s lawyerly skills—and state her case. John Gower Although Chaucer receives some praise and also criticism from his own character with favourable mentions of  The Book of the Duchessand  The Legend of Good Women; in the Man of Law’s prologue he seems to spare most of his opprobrium for  John Gower. [original research? ]  Two of the tales which he dislikes,  Canace  and  Apollonius of Tyre, involve  incest, as did the some versions of the story. Chaucer based this tale on the  Nicholas Trivet  story from his  Chronicle. Gower though had recorded all these stories. Chaucer is, perhaps, with friendly banter, trying to goad his friend and fellow writer into a storytelling challenge. But certeinly no word ne writeth he Of thilke wikke [wicked] ensample of Canacee, That loved hir owene brother synfully — Of swiche cursed stories I sey fy! — Or ellis of Tyro Appollonius, How that the cursed kyng Antiochus Birafte his doghter of hir maydenhede, That is so horrible a tale for to rede, Whan he hir threw upon the pavement. Sequence with other tales The various manuscripts of the tales differ on the structure of the tales with some containing the Man of Law’s epilogue and others not. In the  epilogue, the host invites the  Parson  but he is interrupted before he can begin and a different speaker tells the next tale. TheSummoner, the  Squire  and the  Shipman  are listed as interrupters in the different manuscripts but it is the Shipman whose character best matches the rude remarks although the mention of his â€Å"joly body† sounds closer to something the  wife of Bath  may say. What it probably shows is that Chaucer had not fixed his overall plan. There are also hints, with his claim he will talk in prose despite rhyming throughout, that the Man of Law originally told the  Tale of Melibee  before he was assigned Custance’s tale late in the composition of the tales.