We've heard a description of the Pardoner from the General Prologue in the previous entry. What follows now is the picture the Pardoner paints of himself in the prologue to his Tale.
Regarding his preaching, he says,
My theme is alwey oon [one], and ever was
. . . and that is avarice.
And to stir listeners to devotion, I show forth my . . . relics.
As he displays the shoulder bone of an animal, he exhorts:
Pay attention to what I say:
If this bone is immersed in your well water
All your animals will be cured.
Your beasts and your stores shall multiply.
Beyond those wonders, the water also overcomes jealousy!
If soup is made with this water,
Never more shall a husband mistrust his wife.
In another area of his talents, he assures,
If anyone has committed a horrible sin,
Or a wife has cuckolded her husband,
I'll absolve them as I've done
Year after year for 60 pounds.
He has only one objective.
All my preaching is to make them generous
To give their money, namely unto me.
For my intent is naught but to win,
And nothing for correction of sin.
But beware. Do not provoke his outrage.
If anyone offends me or my friends,
None will escape being falsely defamed.
. . .
Thus I spit out my venom under pretense
Of holiness, to seem holy and truthful.
His reputation is built on his old stories because he knows
Simple people love old tales
Which they can retell and remember.
Asceticism has no appeal for him. He'll not live like "the apostles."
I will have money, wool, cheese, and wheat,
No matter if it were given by the poorest servant,
Or the poorest widow in a village,
Even if her children die of hunger.
Though at times he will present an edifying story, it is always with the idea of profiting.
For though myself be a full vicious man,
A moral tale yet I can tell you
Which I am wont to preach for gain.
He directly recommends to all,
It is an honor to everyone that is here
That ye have a pardoner
To absolve you, as you ride,
In case someone falls
Down from his horse,
And breaks his neck.
The worthy Pardoner will absolve you
When the soul shall from the body pass.
After all his expressions of depravity, it comes as a surprise when the Pardoner--in a moment of candor--admits he still believes Christ is the Savior.
And Jesus Christ, that is our souls physician,
So grant you his pardon to receive,
For that is best; I will not deceive you.
As an evil man, we detest him. But, as Pisces, the Sign of the Fish, a personification of the Church, his actions are covert accusations against the life of the Church!
decadence
avarice
corruption
hypocrisy
lack of concern for souls
and Mariolatry
Chaucer has created a many-faceted portrait that recognizes and anticipates the protests that led to the Reformation.
Showing posts with label absolution. Show all posts
Showing posts with label absolution. Show all posts
Wednesday, March 12, 2014
Thursday, February 20, 2014
Summoner/Pardoner: death and pardon
The Summoner and Pardoner are said to be companions but we will come to see them as collaborators.
With him (the Summoner) ther rood a gentil Pardoner
Of Rouncivale, his freend and his compeer.
The camaraderie acted out between the Summoner (Aquarius/Death) and this Pardoner, has no comparable elaboration anywhere else in the General Prologue. Where the rest of the group is concerned, a friend of one of the travelers is merely said to be "in the company" of the other. In cases of pilgrims who are blood relatives--brothers, father and son--the poet only says "with him" was his son or his brother. The Summoner/Pardoner alliance is unique. The first six lines of what we would expect to be exclusively the Pardoner's introduction are taken up, instead, with details of the interaction between there two characters.
With (the Summoner) there rode a noble Pardoner
Of Roncevalles, his friend and his intimate companion,
That had come straight from the court of Rome.
Full loud he sang "Come hither, love, to me!"
The summoner bore him a stiff burden;
Was never a trumpet half so great a sound.
A direct clue to the source of their closeness is the Pardoner's connection to Rouncivale (modern Roncesvalle, in northern Spain). Importance of the city's name goes back centuries to Charles the Great, Charlemagne, and to the battle memorialized in the Song of Roland. Chaucer refers to it in the Book of the Duchess.
Written about the year 1100, Roland's epic is filled with crusading, although the action spoken of takes place in the 700s, predating the Crusades by centuries. Roland and the rear guard for Charlemagne were caught in an ambush. The hero's words, "We may be martyred" is terminology used in stories of saints who gave their lives for their faith. Archbishop Turpin, who is among the rear guard, encouraged the knights who were about to do battle against the "pagans":
"Charles has left us here, lord barons.
He is the king. It is our duty
To die for him and Christianity.
It's battle now for all you men;
There they are, the Saracens!
Confess your sins, and God's forgiveness
Will be ensured for those I bless.
If you die, you will be as martyrs,
High in Paradise hereafter."
Pardon is granted because of the circumstances of their death; they were designated as martyrs, pardoned of all sins, and destined for an immediate place in heaven. Roland's Song is a record of Pardon and Death collaborating at Rouncivale.
This form of general absolution was also granted to the actual Crusades. Pope Eugene III (in 1145) declared, "Those who devoutly undertake and accomplish [a crusade], or who die by the way, shall obtain absolution for all their sins . . . and receive (from God) the reward of eternal life." It is a promise that a soul will forego the cleansing of purgatory, as well as be released from the threats of hell. Chaucer knew of the close ties between death and pardon. Crusades, and plans for crusade, though lesser efforts, were made while he lived.
Now let's return to the two Canterbury pilgrims and Rouncivale. They perform a song together. The Summoner's voice, said to be more powerful than a trumpet blast, evokes heavenly trumpets proclaiming Judgment. It also serves as an allusion to Roland's trumpet call, a signal mystically heard miles away by Charlemagne.
Their duet says more than the words admit on first reading. The Summoner, with his great voice, is carrying a "stif burdoun." Musically that is a strong bass vocal line. At a deeper level there is a grim vision--the carrying of a rigid corpse, the daily mission of this Summoner/Death. The lyric "Come hither, love, to me," when delivered in unison by Pardon and Death, gives rise to foreboding. The significance of the medieval religious perspective may be difficult to assimilate today. However, the words "Come hither, love, to me" covertly convey "Become a Christian or die." The Song of Roland expresses this very sentiment, especially in the baptismal scene. It recounts the guiding principle of Charlemagne and his forces in avenging the fallen French martyrs. A throng of defeated Saracens are gathered together. Then, a simple ceremony of "conversion" begins.
The bishops speak their holy words
Over the water, and they lead
The pagans to the baptistry:
Any who opposes Charles's will
Is hung or burnt or otherwise killed.
A hundred thousand are baptised.
If the "come hither" invitation is refused, there is only one alternative.
A closer look at the Pardoner next time.
With him (the Summoner) ther rood a gentil Pardoner
Of Rouncivale, his freend and his compeer.
The camaraderie acted out between the Summoner (Aquarius/Death) and this Pardoner, has no comparable elaboration anywhere else in the General Prologue. Where the rest of the group is concerned, a friend of one of the travelers is merely said to be "in the company" of the other. In cases of pilgrims who are blood relatives--brothers, father and son--the poet only says "with him" was his son or his brother. The Summoner/Pardoner alliance is unique. The first six lines of what we would expect to be exclusively the Pardoner's introduction are taken up, instead, with details of the interaction between there two characters.
With (the Summoner) there rode a noble Pardoner
Of Roncevalles, his friend and his intimate companion,
That had come straight from the court of Rome.
Full loud he sang "Come hither, love, to me!"
The summoner bore him a stiff burden;
Was never a trumpet half so great a sound.
A direct clue to the source of their closeness is the Pardoner's connection to Rouncivale (modern Roncesvalle, in northern Spain). Importance of the city's name goes back centuries to Charles the Great, Charlemagne, and to the battle memorialized in the Song of Roland. Chaucer refers to it in the Book of the Duchess.
Written about the year 1100, Roland's epic is filled with crusading, although the action spoken of takes place in the 700s, predating the Crusades by centuries. Roland and the rear guard for Charlemagne were caught in an ambush. The hero's words, "We may be martyred" is terminology used in stories of saints who gave their lives for their faith. Archbishop Turpin, who is among the rear guard, encouraged the knights who were about to do battle against the "pagans":
"Charles has left us here, lord barons.
He is the king. It is our duty
To die for him and Christianity.
It's battle now for all you men;
There they are, the Saracens!
Confess your sins, and God's forgiveness
Will be ensured for those I bless.
If you die, you will be as martyrs,
High in Paradise hereafter."
Pardon is granted because of the circumstances of their death; they were designated as martyrs, pardoned of all sins, and destined for an immediate place in heaven. Roland's Song is a record of Pardon and Death collaborating at Rouncivale.
This form of general absolution was also granted to the actual Crusades. Pope Eugene III (in 1145) declared, "Those who devoutly undertake and accomplish [a crusade], or who die by the way, shall obtain absolution for all their sins . . . and receive (from God) the reward of eternal life." It is a promise that a soul will forego the cleansing of purgatory, as well as be released from the threats of hell. Chaucer knew of the close ties between death and pardon. Crusades, and plans for crusade, though lesser efforts, were made while he lived.
Now let's return to the two Canterbury pilgrims and Rouncivale. They perform a song together. The Summoner's voice, said to be more powerful than a trumpet blast, evokes heavenly trumpets proclaiming Judgment. It also serves as an allusion to Roland's trumpet call, a signal mystically heard miles away by Charlemagne.
Their duet says more than the words admit on first reading. The Summoner, with his great voice, is carrying a "stif burdoun." Musically that is a strong bass vocal line. At a deeper level there is a grim vision--the carrying of a rigid corpse, the daily mission of this Summoner/Death. The lyric "Come hither, love, to me," when delivered in unison by Pardon and Death, gives rise to foreboding. The significance of the medieval religious perspective may be difficult to assimilate today. However, the words "Come hither, love, to me" covertly convey "Become a Christian or die." The Song of Roland expresses this very sentiment, especially in the baptismal scene. It recounts the guiding principle of Charlemagne and his forces in avenging the fallen French martyrs. A throng of defeated Saracens are gathered together. Then, a simple ceremony of "conversion" begins.
The bishops speak their holy words
Over the water, and they lead
The pagans to the baptistry:
Any who opposes Charles's will
Is hung or burnt or otherwise killed.
A hundred thousand are baptised.
If the "come hither" invitation is refused, there is only one alternative.
A closer look at the Pardoner next time.
Thursday, February 28, 2013
The loathsome Pardoner clue
The Host's confrontation by the loathsome, contemptible Pilgrim Pardoner is a short but lively scene, ordinarily viewed with emphasis on humor.
He is a minor churchman, and a fraud, who peddles absolution. His targets--the unsuspecting and the impoverished faithful. What we learn about him from the narrator repels us, but when the Pardoner speaks for himself, he becomes even more hateful. For example, he tells us he has a collection of "relics," which he declares are authentic. He promises they will cure diseases in animals and humans and relieve suspicions of jealous husbands. He tells false stories and ruins reputations with his venom while claiming to edify. Greed is his only motive; he cares nothing about counseling sinners. But, so powerful and persuasive are his words that even the poorest give him money, wool and cheese, though their children are starving.
As he finishes promoting his cause to his companions, he offers to absolve each of them of his or her sins. Then he says, "I advise that Our Host here shall begin / For he is most enveloped in sin." The Host is invited to come forward and kiss each of the Pardoner's relics! At this, the Host lashes out at the Pardoner's boastfully confessed hypocrisy.
As we go to our task of finding the image of Christ within this action, the Host's anger is fitting. Recall Christ lashing out at the money changers in the temple.
One word, however, is the key to the scene--enveloped. Chaucer's Pardoner uses the word to describe the Host as most enveloped in sin. The Pardoner is not addressing a sinful man, that is, a sin-filled man. Sin surrounds, enfolds the Host. This image has long been a tradition with Christ. In the Harrowing of Hell, mentioned in our previous entry, Christ says to Satan, "Sin found thou never / In me as in other men."
And as Chaucer's humble Parson tells us, "Jesus Christ took upon Himself the pain of all our wickednesses," but "in Him is no imperfection." Sin is closely associated with Christ, but it is external to His being. The poet, in providing additional evidence of Christ, indicates the same of Our Host.
The tradition continues today. Christ is often described as taking all our sins upon Himself. Sinfulness is external to Christ; it envelops Him. That statement is a parallel to Chaucer's portrait of Our Host. Here again, we find a comic surface that needs to be penetrated in order to discover the portrait of Christ within. It takes only careful reading with an open mind to see the image Chaucer has concealed.
Next time, we will look at our penultimate clue, a matter of genuine substance.
He is a minor churchman, and a fraud, who peddles absolution. His targets--the unsuspecting and the impoverished faithful. What we learn about him from the narrator repels us, but when the Pardoner speaks for himself, he becomes even more hateful. For example, he tells us he has a collection of "relics," which he declares are authentic. He promises they will cure diseases in animals and humans and relieve suspicions of jealous husbands. He tells false stories and ruins reputations with his venom while claiming to edify. Greed is his only motive; he cares nothing about counseling sinners. But, so powerful and persuasive are his words that even the poorest give him money, wool and cheese, though their children are starving.
As he finishes promoting his cause to his companions, he offers to absolve each of them of his or her sins. Then he says, "I advise that Our Host here shall begin / For he is most enveloped in sin." The Host is invited to come forward and kiss each of the Pardoner's relics! At this, the Host lashes out at the Pardoner's boastfully confessed hypocrisy.
As we go to our task of finding the image of Christ within this action, the Host's anger is fitting. Recall Christ lashing out at the money changers in the temple.
One word, however, is the key to the scene--enveloped. Chaucer's Pardoner uses the word to describe the Host as most enveloped in sin. The Pardoner is not addressing a sinful man, that is, a sin-filled man. Sin surrounds, enfolds the Host. This image has long been a tradition with Christ. In the Harrowing of Hell, mentioned in our previous entry, Christ says to Satan, "Sin found thou never / In me as in other men."
And as Chaucer's humble Parson tells us, "Jesus Christ took upon Himself the pain of all our wickednesses," but "in Him is no imperfection." Sin is closely associated with Christ, but it is external to His being. The poet, in providing additional evidence of Christ, indicates the same of Our Host.
The tradition continues today. Christ is often described as taking all our sins upon Himself. Sinfulness is external to Christ; it envelops Him. That statement is a parallel to Chaucer's portrait of Our Host. Here again, we find a comic surface that needs to be penetrated in order to discover the portrait of Christ within. It takes only careful reading with an open mind to see the image Chaucer has concealed.
Next time, we will look at our penultimate clue, a matter of genuine substance.
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