Fabricating a Fabliau: Faã§Ade and Finance in the Shipman's Tale
The Delta
Volume 2 Issue 1 Article 4
Spring 2007
Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
Rebecca Welzenbach '07 Illinois Wesleyan University
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Recommended Citation Welzenbach '07, Rebecca (2007) "Fabricating a Fabliau: Façade and Finance in the Shipman's Tale," The Delta: Vol. 2 : Iss. 1 , Article 4. Available at: https://digitalcommons.iwu.edu/delta/vol2/iss1/4
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Fabricating a Fabliau: Fa~ade and Finance in the ion of The Delta, the English Shipman's Tale he success of the first edition, our Rebecca We1zenbach ltain the high standards of quality t first edition while also improving Of all the bawdy tales, or fabliaux, in Chaucer's :rial. Due to the standards Canterbury Tales (Cl), the Shipman's Tale (ShT) tends to litorial board, the efforts ofthis alienate the most readers and critics, many of whom find it who submitted their work, we lifeless and plain compared to other, more colorful tales like the :ssful on both counts. Miller's (MilT), Reeve's (RvT) and Merchant's (MerT) tales. Read as it usually is, as a fabliau that reduces sexual any high quality submissions, which relationships to the level of commerce, the ShT seems flat and challenging. We followed a blind lacks a moral standard by which to judge the characters r to ensure that the editorial board anticlimactic and amoral, it is neither a tale of"most solaas" lely on the criteria established in our nor of"best sentence." However, Herry Bailey, who judges each story based on these criteria, lauds the tale, and so we must dig deeper than the surface to unearth its moral and Ind analytical papers unified around a entertainment value. I suggest an alternative approach to the ~ paper must be cohesive, well straightforward reading of this fabliau: rather than the substance lere applicable, properly cited using ofthe tale, the fabliau serves as the form. By telling a story of Ie we will only publish excellent trade in the familiar guise of a fabliau, which the audience diverse representation of work so would inevitably associate with deception and adultery, the n covers many time periods, genres, Shipman takes a stand on the morality of financial exchange, lodologies. relegating it to the realm ofjaping and swyving, which elevates the tale to a level of "best sentence" that is absent from the like to thank everyone who fabliau on its own. Further, the Shipman, by drawing a ideration. We are also grateful to comparison between merchants and monks who cheat their : Hymer at Printing Services for their friends both financially and sexually, all while apparently lat of The Delta, as well as to Student presenting an honest and just merchant as the hero of his tale, ng for our publication. Thanks to quytes the Merchant pilgrim, who represents the class of his .making our blind selection process biggest business rivals. In this way the tale also acquires a ratulations to the Alpha Eta Pi playful aspect of"most solaas," and becomes a valuable :a. winner ofthe National contribution to the pilgrims' tale-telling contest. rd. Thank you also to Rachel :mr cover. And, last but not least, l. The Shipman's Tale: a Critical Castoff or his guidance and support In her chapter on the ShT tale in The Oxford Guides to Chaucer: The Canterbury Tales, Helen Cooper's first comment on the ShT is to point out the problematic feminine pronouns in cond edition of The Delta, the first 15 lines as evidence for the common argument that the tale was originally written for the Wife of Bath (278). Thus, before commencing her analysis, she effectively divorces the tale from its final narrator. She adds that "teller and tale have less connection here than in any other ofthe Canterbury Tales" 5 Published by Digital Commons @ IWU, 2007 1 The Delta, Vol. 2 [2007], Iss. 1, Art. 4
(278). The evidence for the tale's original designation for the understood, I suggest the oppositl Wife of Bath is compelling, and seems to satisfy many critics. genre as a frame to make a moral William Lawrence suggests that Chaucer's placement of the exchange, or at least on the men 1 tale with the Shipman was simply an afterthought, even a the immoral, deceptive, and selfi5 mistake because "for the moment there was too much joyous audiences expect to find in a fabli writing still to be done, and too many business distractions" Tale is more complex than mereJ' (Lawrence, "Chaucer" 68). However, to quote G.L. Kittredge, Canterbury series to the simple t~ '''Chaucer always knew what he was about'" (qtd. in Chapman 4). In reading ShT tale we should look further than the II. Fulfilling Fabliau Conventio conclusion that Chaucer simply dumped the tale with the than the Sum of its Parts Shipman for lack of a better place. There is no quibbling among It is reasonable to do as Cooper does, explaining the the ShT differently than any ofth mysterious feminine pronouns in lines such as "He moot us examination ofthe differences bel clothe, and he moot us arraye" (ShT 7.12), which refer fabliaux such as the MilT, RvT ar inclusively to wives as a population, as editorial work left that the ShT must be written for a unfinished by Chaucer, perhaps after reassigning the tale from interpretation. As Peter Nicholsor the Wife of Bath. In any case, this supposition makes more Tale and the Fabliaux," "[w]hile ( sense than Robert L. Chapman's colorful depiction of this in this poem is evident, it does nOI section as an opportunity for the Shipman to impersonate a his other tales... It has none ofth woman, performing this part of the tale "in a piping falsetto" the other fabliaux" (583). This sto (5). However, when dealing with the reassignment of the ShT, I bones. Unlike the other tales, the I would not go so far as to say that Chaucer's "full interest was Shipman's tale are anonymous ani not engaged when he made this shift" (Lawrence, "Chaucer" deliberately generic name. Furthel 68). While the argument for the tale's connection to Alisoun of "A rich gnof...he was a carpenter' Bath is convincing, it is a mistake to end the analysis of the tale millere...as any pecok he was pro here, if only for the reason that Chaucer himself did not. It is or "[a] worthy knyght, that born v. important to examine this tale in the context it holds today, and as his main character, the ShT rev· not simply assume that, because the tale may have had a former is relevant for the commercial ove place, its final one holds no meaning. but also because, unlike the other In order to find substantive meaning in the ShT, it is merchant is the stock social positi. necessary to look beyond the surface of the fabliau itself. As the generic French fabliau (Hellm; John Finlayson writes, "[c]riticism which approaches [the tale] replaces the clerks and apprentice~ as a dramatic story oversimplifies and confesses is also typical ofthe original Fren. disappointment" (336). Although Finlayson will ultimately Chaucer is drawing attention not t make a different argument than I do, we begin from the same but to the conventional positions f observation: that this tale, as is, reads a bit flat when compared of the deceived husband, the faith; to those that that come before. Rather than tacking another lover (here, as often, a cleric)" (LE less entertaining-fabliau on to the string of tales before it, the Lawrence and Cooper both attest 1 Shipman takes advantage ofthe conventions ofthe well-known story, which contrasts with the dig genre, using the fabliau as a device to comment on the trickery commentary by the tellers ofthe () and immorality inherent in economic exchange. Rather than impeded, as elsewhere in Chaucer equating marriage and sex with commodities as is usually digressions, by citation of learned https://digitalcommons.iwu.edu/delta/vol2/iss1/46 2 Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
Ie tale's original designation for the understood, I suggest the opposite: the Shipman uses the fabliau g, and seems to satisfY many critics. genre as a frame to make a moral comment on financial its that Chaucer's placement ofthe exchange, or at least on the men who practice it, by tying it to the immoral, deceptive, and selfish themes that readers and l simply an afterthought, even a noment there was too much joyous audiences expect to find in a fabliau. Therefore, the Shipman's ld too many business distractions" Tale is more complex than merely "as close as any in the ). However, to quote G.L. Kittredge, Canterbury series to the simple telling of a story" (Cooper 281). Ihat he was about'" (qtd. in Chapman ~ should look further than the II. Fulfilling Fabliau Conventions: a Bawdy ITale) is More imply dumped the tale with the than the Sum of its Parts terplace. There is no quibbling among scholars that Chaucer treats as Cooper does, explaining the the ShT differently than any ofthe other fabliaux in the CT. An ouns in lines such as "He moot us examination ofthe differences between this fabliau and other :aye" (ShT 7.12), which refer fabliaux such as the MilT, RvT and MerT tales will illustrate )opulation, as editorial work left that the ShT must be written for an entirely different kind of ~rhaps after reassigning the tale from interpretation. As Peter Nicholson points out in "The Shipman's :ase, this supposition makes more Tale and the Fabliaux," "[w]hile Chaucer's use of the fabliaux pman's colorful depiction ofthis in this poem is evident, it does not follow the pattern of any of for the Shipman to impersonate a his other tales... It has none of the accustomed bawdiness of )art ofthe tale "in a piping falsetto" the other fabliaux" (583). This story is stripped to the bare ng with the reassignment ofthe ShT, I bones. Unlike the other tales, the husband and wife of the say that Chaucer's "full interest was Shipman's tale are anonymous and the monk, daun John, has a Ie this shift" (Lawrence, "Chaucer" deliberately generic name. Furthermore, rather than telling of for the tale's connection to Alisoun of "A rich gnof.. .he was a carpenter" (MilT 1.388-89), "[a] .mistake to end the analysis ofthe tale millere ...as any pecok he was proud and gay" (RvT 1.3925-26), n that Chaucer himself did not. It is or "[a] worthy knyght, that born was of Pavye" (MerT 1.1246) :tale in the context it holds today, and as his main character, the ShT revolves around a merchant. This ecause the tale may have had a former is relevant for the commercial overtones of the tale, of course, no meaning. but also because, unlike the other characters' professions, the antive meaning in the ShT, it is merchant is the stock social position for the husband to hold in .the surface ofthe fabliau itself. As the generic French fabliau (Hellman 188). The monk, who c]riticism which approaches [the tale] replaces the clerks and apprentices of Chaucer's other fabliaux, implifies and confesses is also typical of the original French form. This suggests that .lthough Finlayson will ultimately Chaucer is drawing attention not to the story ofthe individuals, It than I do, we begin from the same but to the conventional positions they hold in the "favorite plot , as is, reads a bit flat when compared ofthe deceived husband, the faithless wife, and the demanding ~fore. Rather than tacking another- lover (here, as often, a cleric)" (Lawrence, "Chaucer" 57). J on to the string oftales before it, the Lawrence and Cooper both attest to the concise, action-packed :ofthe conventions ofthe well-known story, which contrasts with the digressions, intetjections and s a device to comment on the trickery commentary by the tellers of the other fabliaux. This tale is "not in economic exchange. Rather than impeded, as elsewhere in Chaucer's fabliau tales, by x with commodities as is usually digressions, by citation oflearned authorities, or by illustrative 7 Published by Digital Commons @ IWU, 2007 3 The Delta, Vol. 2 [2007], Iss. 1, Art. 4
exempla" (Lawrence 57). Once again, this draws the reader's Lawrence, citing the "characteris' attention from each character's individual actions and directs it (56), along with Nicholson (583) toward the inevitable chain of events, the deception and all explicitly mention that the Sh~ adultery that are essential to a fabliau. tales to the formulaic French fabl Chaucer's physical descriptions of his characters in the ShT McGalliard further support this a: contribute significantly to its overall brevity. In "The Portraits characteristics unique to the ShT in Chaucer's Fabliaux," Louis Haselmayer inadvertently correspond to typical characterist presents another piece ofevidence to support the carefully summarized by Robert Hellman, : abstract nature ofthis particular fabliau, as compared to the others. Once again, rather than fte;; others in the CT. Louis Haselmayer writes that "[f1or some create a unique story ofhis own,; reason, [Chaucer] did not incorporate any formal descriptions fabliaux, Chaucer has pared dowr into The Shipman's Tale, although the intrigue plot of a preserving the historical conventi. merchant, his wife and a priest provided ample opportunity for is these conventions that allow C~ them" (312). He goes on to describe the lively portraits of the create a tale that is easily and wit~ Miller's Alisoun and the Reeve's Symkin, dismissing the ShT fabliau while discussing somethin completely for its lack ofthe vivid character portraits that color puts it, "[t]he fabliau offered... a the other tales (fairly enough, as its lack of portraiture makes it of subject and style whose spirit C irrelevant to his argument). when he found his specific story r The contrast with the other fabliaux is striking. For If Chaucer follows all the rule;; example, Alisoun, the young wife in the MilT, has model, why do we doubt his fullli approximately 40 lines ofdescription, from her eyebrows, "ful As many critics and readers have I smale ypuled" (1.3245) to her shoes, "laced on her legges hye" does follow fabliau convention, a~ (1.3267). The Miller's wife in the RvT, too, has over 25 lines the ShT fails to satisfY. Johnston l! devoted to the description of her history, from her upbringing century French fabliau "embrace[~ "yfostred in a nonnerie" (1.3946) to her "somdel smoterlich" chief one depicted is lechery" (viii reputation (1.3963). The unnamed wife ofthe ShT, however, is this requirement, however, not so presented in just two lines: "A wyfhe hadde of excellent elements are over-emphasized" (x. beautee; / And compaignable revelous was she" (7.3-4). The and the RvT delight in such graph "some reason" for omitting description, which Haselmayer does sodeynly anon this Damyan / Gan not care to explore, is consistent with the bare bones structure throng" (MerT 4.2352-53) and "he;; ofthe ShT as compared to Chaucer's other fabliaux. Chaucer were mad" (RvT 1.4231), the ShT follows the same formula in each of his bawdy tales: like the exchange between the wife and me ShT, the MilT and the RvT also introduce their "heroines" with (certainly contented) fulfillment ot reference to the fact that the carpenter or miller "hadde" a parfoumed was in dede. / In myrtb "wyf." However, in the ShT, Chaucer stops there. This lack of lede" (ShIT 7.317-18). Joseph Be. portraiture, then, is another example of how the ShT ignores its attested classic definition ofthe fal characters as three-dimensional individuals with animated faces vers" (qtd. in Hellman 182), is thm and histories in order to maintain them as abstract figures in a includes the elements that suppose. formula. entertaining-----deception, wordplay The very factors that so distinctly differentiate the ShT certainly ironic in its tums ofeven1 from Chaucer's other reinvented fabliaux place it securely In short, then, in the ShT, Chal within the standard 13 th-century French model for a fabliau. out from his other fabliaux in very https://digitalcommons.iwu.edu/delta/vol2/iss1/48 4 Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
Once again, this draws the reader's Lawrence, citing the "characteristic technique of the jongleurs" cter's individual actions and directs it (56), along with Nicholson (583) and Janette Richardson (303) n of events, the deception and all explicitly mention that the ShT is the closest ofChaucer's to a fabliau. tales to the formulaic French fabliau. John Finlayson and John ~criptions ofhis characters in the ShT McGalliard further support this assertion by pointing out characteristics unique to the ShT among Chaucer's fabliaux that I its overall brevity. In "The Portraits .ouis Haselmayer inadvertently correspond to typical characteristics ofthe French fabliau as evidence to support the carefully summarized by Robert Hellman, Richard O'Gorman, and ticular fabliau, as compared to the others. Once again, rather than fleshing out the formula to aselmayer writes that "[f]or some create a unique story ofhis own, as in the case ofthe other incorporate any formal descriptions fabliaux, Chaucer has pared down the tale to its roots, although the intrigue plot of a preserving the historical conventions to the best of his ability. It priest provided ample opportunity for is these conventions that al10w Chaucer, and the Shipman, to to describe the lively portraits of the create a tale that is easily and without doubt recognized as a Reeve's Symkin, dismissing the ShT fabliau while discussing something else entirely. As Nicholson 'the vivid character portraits that color puts it, "[t]he fabliau offered... a set of well-tested conventions ugh, as its lack of portraiture makes it of subject and style whose spirit Chaucer could adopt even t). when he found his specific story material elsewhere"(583). :other fabliaux is striking. For If Chaucer fol1ows all the rules ofthe French fabliau ung wife in the MilT, has model, why do we doubt his full use of the genre in this tale? f description, from her eyebrows, "ful As many critics and readers have pointed out, although Chaucer does follow fabliau convention, as a bawdy, entertaining tale, () her shoes, "laced on her legges hye" th ife in the RvT, too, has over 25 lines the ShT fails to satisJY. Johnston and Owen note that, ifthe 13 ~ ofher history, from her upbringing century French fabliau "embrace[s] a multitude of sins, the (1.3946) to her "somdel smoterlich" chief one depicted is lechery" (viii). The ShT certainly fulfills unnamed wife of the ShT, however, is this requirement, however, not so another: that the "grotesque :s: "A wyfhe hadde of excellent elements are over-emphasized" (xii). While the tellers ofMerT able revelous was she" (7.3 -4). The and the RvT delight in such graphic vulgarities as ""And ng description, which Haselmayer does sodeynly anon this Damyan / Gan pullen up the smok and in he tlsistent with the bare bones structure throng" (MerT 4.2352-53) and "he priketh hard and depe as he :0 Chaucer's other fabliaux. Chaucer were mad" (RvT 1.4231), the ShT describes the sexual i in each ofhis bawdy tales: like the exchange between the wife and monk as no more than the vT also introduce their "heroines" with (certainly contented) fulfillment of a deal: "And this accord the carpenter or miller "hadde" a parfourned was in dede. / In myrthe al nyght a bisy Iyf they ihT, Chaucer stops there. This lack of lede" (ShTT 7.317-18). Joseph Bedier's nearly universally ler example of how the ShT ignores its attested classic definition ofthe fabliau, "un conte it rire en ~sional individuals with animated faces vers" (qtd. in Hellman 182), is thus not fulfilled. While Chaucer maintain them as abstract figures in a includes the elements that supposedly make the fabliau entertaining-deception, wordplay, illicit sex-the tale, while t so distinctly differentiate the ShT certainly ironic in its turDs of events, is too flat to be funny. nvented fabliaux place it securely In short, then, in the ShT, Chaucer creates a tale that stands century French model for a fabliau. out from his other fabliaux in very specific ways that tie it 9 Published by Digital Commons @ IWU, 2007 5 The Delta, Vol. 2 [2007], Iss. 1, Art. 4
closely to the generic conventions of the French fabliau, while Although the standard fabliau gil avoiding the real core ofthe tale-humor and shocking rather than punishing it, the imm immorality. Chaucer's most striking aberration from either the deception are clear enough. The typical French fabliau or his own other fabliaux is the anti amoral-there is no standard by climactic ending. However, this unconventional ending serves no negative consequences (for ar the same end that his slavery to convention serves throughout selfish and deceitful behavior. A: the tale: elimination ofthe personal, the humorous and the humor ofthe previous fabliaux, t emotional. Rather than being humiliated, like John ofthe MilT, letdown. Its flat, generic quality I or horrified like January ofthe MerT, this merchant husband is morality and humor ofthe tale. R presumably ignorant of the way in which his wife got her hands fabliau, then, the ShT is neither a on the one hundred franks he lends to daun John, and is thus "most solaas"-nor is it, in essen spared any public or private mortification. Unlike in the typical to HeHman, must be funny and rr "Lover's Gift Regained" model, which forms an even more (182). This is the major clue that universal basis for this tale than the fabliau alone (McGaHiard substance of the tale. Rather, whi I), when the husband reports to the wife that the third party (the explicitly the fabliau content" (Fi monk in this case) claims to have returned the borrowed money something completely new. In its: to the wife, she is embarrassed and without recourse--the final disappointment, so we must cone victim ofthe tale. By contrast, in the ShT the wife truthfully, if "the surface narrative is a mere fc boldly, replies to her husband that she has already spent the disguising a more subtle topic un money on clothing for herself and wi11 repay the debt in sexual much beloved) conventions ofa ~ favors-and no other way. Finlayson writes: "In the other fabliaux we laugh at what III. Overturning Conventions: : we know to be immoral ...Here, there is no joy ofi11icit sex, no Merchant rampant lust, no pining Absalon or love-sick Damian...Sex The real substance ofthe tale may be the commodity of the transaction, but it is almost as abundantly clear, the matter oftn: abstract as coffee beans on the Chicago commodities exchange" exchanging. The tale opens withj (348). At the end of Chaucer's version ofthe tale, everyone is "chiere and reverence" (7.6) a yOi satisfied. No one has been humiliated or cheated in a way that is to social events and the unfortuna painful or damaging. There is no one to sympathize with, and costs the household, and the refer no one to laugh at. Although it is obvious that the monk is (or throughout. The wife equates mOl perhaps should be) a rather deplorable character, because his promises to repay her loan from 11 deception causes no harm it is difficult to judge him-there is "plesance and service" (7.191) he nothing to resent, no one to conspire with. Richardson notes again when she teHs her husband that this is unusual for Chaucer, pointing out that "no one is tai11e" (7.416). Rather than simpl) subjected to the ludicrous humiliation with which Chaucer ofthe tale in economic terms, as i elsewhere delights in punishing the most deserving ofthe does the opposite by using fablim: offenders" (303). By adjusting the end of his story, Chaucer exchange and speculation on the ~ effectively cuts the reader off from connecting with the sex. We shall see that, as Richard: characters on an individual level. an artist like Chaucer, an overt fat It is this lack of emotion, of morality, that makes the penetrating moral insight" (312). Shipman's Tale so disappointing as a fabliau. Readers know The doubling in the vocabulm how to handle the immorality of Chaucer's other fabliaux. both sex and economics, makes cL https://digitalcommons.iwu.edu/delta/vol2/iss1/410 6 Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale
ventions ofthe French fabliau, while Although the standard fabliau glorifies this ignoble behavior the tale-humor and shocking rather than punishing it, the immorality of adultery and lost striking aberration from either the deception are clear enough. The ShT, in contrast, is entirely his own other fabliaux is the anti amoral-there is no standard by which to judge the characters, no negative consequences (for anyone) as a result of his or her ~r, this unconventional ending serves 'ery to convention serves throughout selfish and deceitful behavior. After the lively imagery and e personal, the humorous and the humor ofthe previous fabliaux, the Shipman's Tale is a bit ofa :ing humiliated, like John ofthe MilT, letdown. Its flat, generic quality undercuts both the potential lfthe MerT, this merchant husband is morality and humor ofthe tale. Read as a straightforward Ie way in which his wife got her hands fabliau, then, the ShT is neither a tale of "best sentence" nor s he lends to daun John, and is thus "most solaas"-nor is it, in essence, fabliau, which, according ate mortification. Unlike in the typical to Hellman, must be funny and must have a moral purpose model, which forms an even more (182). This is the major clue that the fabliau cannot be the Ie than the fabliau alone (McGalliard substance of the tale. Rather, while "retaining implicitly and orts to the wife that the third party (the explicitly the fabliau content" (Finalyson 339), Chaucer does •to have returned the borrowed money something completely new. In itself the tale is a 'assed and without recourse-the final disappointment, so we must conclude, as Richardson does, that Itrast, in the ShT the wife truthfully, if "the surface narrative is a mere fa9ade ofbawdry" (303) band that she has already spent the disguising a more subtle topic under the easily recognized (and :rself and will repay the debt in sexual much beloved) conventions of a tale of trickery and sex. y. Ithe other fabliaux we laugh at what III. Overturning Conventions: Fabliau as Frame, Monk as ..Here, there is no joy of illicit sex, no Merchant \.bsalon or love-sick Damian...Sex The real substance ofthe tale is, as its language makes fthe transaction, but it is almost as abundantly clear, the matter of trade-buying, selling and exchanging. The tale opens with juxtaposition between the )fl the Chicago commodities exchange" ucer's version of the tale, everyone is "chiere and reverence" (7.6) a young and beautiful wife brings :n humiliated or cheated in a way that is to social events and the unfortunate "dispense" (7.5) that she costs the household, and the references to money continue ~re is no one to sympathize with, and lugh it is obvious that the monk is (or throughout. The wife equates money with sex when she ler deplorable character, because his promises to repay her loan from the monk with whatever n it is difficult to judge him-there is "plesance and service" (7.191) he desires, an exchange she uses :to conspire with. Richardson notes again when she tells her husband to "score [her debt] upon my haucer, pointing out that "no one is taille" (7.416). Rather than simply describing the sexual action ofthe tale in economic terms, as is usually understood, Chaucer IS humiliation with which Chaucer nishing the most deserving ofthe does the opposite by using fabliau conventions to put financial usting the end of his story, Chaucer exchange and speculation on the level of infidelity and illicit sex. We shall see that, as Richardson puts it, "worked over by ~r off from connecting with the an artist like Chaucer, an overt fabliau can set forth a lIallevel. ltion, of morality, that makes the penetrating moral insight" (312). 'pointing as a fabliau. Readers know The doubling in the vocabulary of commodity, referring to rality ofChaucer's other fabliaux. both sex and economics, makes clear what will become the crux 11 Published by Digital Commons @ IWU, 2007 7 The Delta, Vol. 2 [2007], Iss. 1, Art. 4
of the tale: "as the story moves toward its obvious conclusion, have a name" (7.289). Like a mer all the conventional roles ofthe adulterous triangle are value of his reputation, his name, completely subsumed beneath the elaborate and serious way in monk must also live with caution which each plays out his merchant role" (Finalyson 346). outward show of wealth is part of Before the action of the tale begins, the Shipman presents activity," Richardson points out C middlemen, those who profit from exchange rather than this front: he never fails to bring g production, as dangerous with the metaphor of the doubtlessly the merchant and his wife, and tht questionable involvement of an outsider in the interaction the monk has the resources to len< between husband and wife: Perhaps the most important parall< And if that he noght may, per aventure, monk to merchant is the resembla Or ellis list no swich dispence endure, the Merchant pilgrim, as describel But thynketh it is wasted and ylost, (GP). Like the Merchant, the mon Thanne moot another payen for oure cost, bisette" (1.279) in order to disguis Or lenne us gold, and that is perilous. (7.15-19) merchant and his wife. "So estatly Ifthe traders at each end of a deal fail to work directly and (1.281) that "ther wist no wight th honestly with one another, as partners in a marriage should, says pilgrim Geoffrey ofthe Merc then middlemen, money-exchangers, and lenders will become this after the monk and wife make involved, taking advantage ofthe situation and, as the Shipman them, ne no wight in the toun, ! Hi states explicitly, this is "perilous." The most important parallel suspicioun" (7.321-22). Both the ~ here is that of the monk and the merchant, for it is the monk and capable of flying under the radar tl not the merchant who represents that class in this tale. "The two Through the symbolic portray men--one honest, one flagrantly not so--both operate in lecherous monk in a fabliau, the SI exactly the same way" (Richardson 306). The Shipman opinion on economic exchange in describes the monk as "manly ofdispense" (7.43) linking him interchanges merchants' ability to immediately to the earlier warning about dealing financially with the idea ofillicit sex, obtainet with outsiders, and setting him up as the inevitable facilitator deceit-all of which are implied ir (and benefactor) ofthe exchange to come-willing to spare no frame for his tale. Making the mid "dispense" where the husband is not. than a clerk or soldier may be ever Just as the merchant makes his profit ofone thousand who exchange money rather than , franks by taking a cut ofthe investments he solicits of wealthy who should not generate progeny, men in Paris, not by making or selling anything of substance, solely in financial exchange is unI= the monk ultimately "takes a cut" ofthe exchange between this business is self-serving and gr husband and wife. The wife wants money from her husband to sexual act. Furthermore, a monk \'0 pay for her dress. Ultimately no more than an "opportunist," would, instead be supported by thl:; (McGalliard 4) the monk facilitates the exchange, puts up none perhaps, the Shipman expresses th of his own money, loses nothing on the deal, and yet he comes merchant is supported by the work out ahead. Like the merchant's successful dealings in Paris, the contributing to the general good. Fi monk's profit is the reward for his speculation and willingness then, the Shipman regains a moral to take a risk. The monk, described as "a merchant by adamant stance on the issue of fin~ profession and character" (Nicholson 589), borrows from the speculation-and thus, the tale reg merchant on the credit oftheir'friendship-just as the merchant In addition to providing a c1eal explains men of his kind must: "We may creaunce whil we therefore a position from which re https://digitalcommons.iwu.edu/delta/vol2/iss1/412 8 - Welzenbach '07: Fabricating a Fabliau: Façade and Finance in the Shipman's Tale noves toward its obvious conclusion, have a name" (7.289). Like a merchant, the monk trades on the ofthe adulterous triangle are value of his reputation, his name, and so, like a merchant, the ~eath the elaborate and serious way in monk must also live with caution and self-consciousness. "An merchant role" (Finalyson 346). outward show of wealth is part of any wise merchant's business ale begins, the Shipman presents activity," Richardson points out (305), and daun John puts up roth from exchange rather than this front: he never fails to bring gifts with him when he visits with the metaphor ofthe doubtlessly the merchant and his wife, and thus, the wife has no doubt that t ofan outsider in the interaction the monk has the resources to lend her the 100 franks she needs. Fe: Perhaps the most important parallel to support the relation of )ght may, per aventure, monk to merchant is the resemblance between daun John and Nich dispence endure, the Merchant pilgrim, as described in the General Prologue s wasted and ylost, (GP). Like the Merchant, the monk of the tale "wei his wit other payen for oure cost, bisette" (1.279) in order to disguise his actions from both the I, and that is perilous. (7.15-19) merchant and his wife. "So estatly was he of his governaunce" ofa deal fail to work directly and (1.281) that "ther wist no wight that he was in dette" (1.280), :r, as partners in a marriage should, says pilgrim Geoffrey of the Merchant. The Shipman echoes .exchangers, and lenders will become this after the monk and wife make their exchange: "For noon of ge ofthe situation and, as the Shipman them, ne no wight in the toun, ! Hath of daun John right no perilous." The most important paral1el suspicioun" (7.321-22). Both the Merchant and daun John are md the merchant, for it is the monk and capable of flying under the radar to protect their own interests. presents that class in this tale. "The two Through the symbolic portrayal of the economic trader as a agrantly not so-both operate in lecherous monk in a fabliau, the Shipman is able to express his Uchardson 306). The Shipman opinion on economic exchange in no uncertain terms. He nanly ofdispense" (7.43) linking him interchanges merchants' ability to earn a profit out of nothing :r warning about dealing financial1y with the idea of illicit sex, obtained through trickery and Ig him up as the inevitable facilitator deceit-all of which are implied in this use ofthe fabliau as a xchange to come-willing to spare no frame for his tale. Making the middleman lover a monk rather sband is not. than a clerk or soldier may be even more ofa sting to merchants makes his profit ofone thousand who exchange money rather than commodities: like a monk, 'the investments he solicits of wealthy who should not generate progeny, the merchant who deals dng or selling anything of substance, solely in financial exchange is unproductive, suggesting that "es a cut" ofthe exchange between this business is self-serving and greedy, like the monk's empty vife wants money from her husband to sexual act. Furthermore, a monk would not pay taxes and ltely no more than an "opportunist," would, instead be supported by the state. In the same way, ( facilitates the exchange, puts up none perhaps, the Shipman expresses that the money-exchange nothing on the deal, and yet he comes merchant is supported by the work of others without ;hant's successful dealings in Paris, the contributing to the general good. Reading the tale in this sense, ard for his speculation and willingness then, the Shipman regains a moral standard by taking an , described as "a merchant by adamant stance on the issue of financial exchange and ." (Nicholson 589), borrows from the speculation-and thus, the tale regains value of ''best sentence." ftheir friendship-just as the merchant In addition to providing a clear moral judgment, and I must: "We may creaunce whil we therefore a position from which readers can make sense of the 13 Published by Digital Commons @ IWU, 2007 9 r I I The Delta, Vol. 2 [2007], Iss. 1, Art. 4 I
tale, a symbolic, rather than literal, reading of this tale also Works Co makes the ShT appropriate and highly relevant to the teller. By disguising his critique ofthe money trading merchants as a Allman, W.W. and D. Thomas H; fabliau featuring a successful and dignified merchant, the Toward an Erotics ofthe Car Shipman is cleverly able to "quyte" the Merchant pilgrim, who Review 38.1 (2003): 36-65.} represents a class of professional colleagues with whom the Bloomington, IL. 6 Mar. 200 Shipman would have to deal with often. This presentation of an Benson, Larry D., ed. The Riversi obvious merchant who is respectable, which actually criticizes Houghton Mifflin Company, and disparages merchants by aligning them with the dishonest Chapman, Robert L. "The Shipml monk, makes the tale entertaining and worthwhile for its Shipman." Modern LanguagE "solaas" as well as its "sentence." In order to appreciate the JSTOR. The Ames Lib., Bloo ShT, then, we must look beyond the unsatisfying fabliau, Jan literal, reading ofthis tale also Works Consulted lte and highly relevant to the teller. By ·the money trading merchants as a Allman, W.W. and D. Thomas Hanks, Jr. "Rough Love: Notes ssful and dignified merchant, the Toward an Erotics of the Canterbury Tales." The Chaucer to "quyte" the Merchant pilgrim, who Review 38.1 (2003): 36-65. Project Muse. The Ames Lib., essional colleagues with whom the Bloomington, IL. 6 Mar. 2006 Published by Digital Commons @ IWU, 2007 1511 r The Delta, Vol. 2 [2007], Iss. 1, Art. 4 I ---. "The Wife of Bath and the Shipman." Modern Language A Feminist Discourse 01 Notes 72.2 (1957):87-88. JSTOR. The Ames Lib., Courtney Bloomington, Ill. II April, 2006