Chaucer cleverly depicts the Pardoner/Pisces as the image of a fish. Then he has a bit of fun with the two images combined as he transitions to the characteristics of a man. Following that, he provides a brief identification of the actual sign.
Here he is still concentrating on the area of the "hair."
A hood, for jollity, wore he none.
He wears no hood. That's clear. But what can we make of,
Disheveled, save his cap, he rode all bare.
The line is generally explained to say he was bareheaded--except for his cap. But as a fish, of course, he rides all bare! (Disheveled, in this case, means unbound hair rather than unkempt. We had previously learned his appearance is neat and orderly.)
Identifying the sign of Pisces echoes Manilius, an ancient astronomer: One half of Pisces concludes winter, the other introduces spring. How does Chaucer express this?
Of his craft, from Berwick into Ware,
Never was there such another pardoner.
The Pardoner/Pisces is one of a kind, but so is each of the signs. Scrutinizing the names of the specific towns as words, the most meaningful is "Ware." It means spring. For example, In ware tyme he sews his whete. If "Ware" is spring, "Berwick" must communicate winter. "Ber" as an alternate spelling of bare (without vegetation) combined with "wick" (Hardwick, Brunswick) as a land area says "a region that is bare." Transforming the bare land of winter into the new life of spring is, indeed, the province of Pisces.
Once the identification is done with, the poet launches into a character study. In his traveling bag, the Pardoner claims to have Our Lady's veil, a portion of the sail from St. Peter's boat, and a glass filled with pig's bones; he declares all are holy relics. He uses these items to make fools of people. He flatters and tricks poor people and other clergymen. In doing so, he succeeds in taking in more money in a day than devoted preachers do in two months.
His performance in church, nevertheless, is outwardly exemplary. He preaches and sings expertly. His motivation, however, is greed. With a better performance, the "more silver he'd win."
This portrait is part of the undercurrent of protests in the Tales. The reason given for his expert performance, for example, conceals the exaggerated medieval devotion to Mary.
Therefore he sang merrier and loud.
Even more powerful is the line that follows the attention to his sleek surface.
I trust he were a gelding or a mare.
Because of his utter lack of beard, he is said to be impotent. To deny the power of the pardon of the "sign of the fish"--Whose sins you shall forgive, they are forgiven--is heresy!
The final member of Chaucer's clique is the Pardoner. The closing prayer of the Tales expresses the poet's need of forgiveness for his sins. So the concerns demonstrated in the group are Money/ the Manciple, the Devil/ the Miller, Judgment/ the Reeve, Death/ the Summoner, and the Sign of the Fish--the Church/ the Pardoner.
This General Prologue presentation does not end Chaucer's exposure of this pilgrim. These disclosures may repel us, but when the Pardoner speaks for himself, as he does in the prologue to his Tale, he becomes even more hateful. Chaucer want us to know him well.
Showing posts with label heresy. Show all posts
Showing posts with label heresy. Show all posts
Thursday, March 6, 2014
Saturday, January 28, 2012
Getting back to business--finally
Well, that "maybe even tomorrow" was certainly wishful thinking. We last spoke about the Canterbury Tales on September 26. Good grief! That's four months that I've left you anticipating the cause that made me "shudder." With all that's gone on in my life and yours, it's best that we refresh the ideas we were considering and work up to the shudder.
You may recall that the first time I read the description of the Host at the end of the General Prologue, what took shape in my mind's eye was the figure of Christ. His image became clearer with one detail after another.
The name "Host" opens the mind to the possibilities. His first action--after a warm welcome to the pilgrims--is to serve them the best food and strong wine. Such words were, and still are, often used poetically to describe the Eucharistic Host (the Bread of the Catholic Mass). Chaucer's Host offers to guide the pilgrims at his own cost. He declares that the group must accept his terms without discussion. He promises a banquet at the end of their journey. His repetition of "the way," in speaking of the journey, echoes the biblical declaration of Christ as "the way," (truth and life, John 14:6). And, as the travelers prepare to depart in the morning, Chaucer says the Host gathered them in a flock. Did you see a shepherd image momentarily--the Good Shepherd? Each attribute plays a part in creating the portrait.
The Pilgrim Cook mentions the Host's actual name--Herry Bailly--but it is never used. I bypassed the significance hidden in the name Herry Bailly in an earlier entry. But now let's see what Chaucer's imagination has hidden in these two words. Both the first and last name have another life as ordinary fourteenth-century Middle English words. Though herry is not a word in our modern vocabulary, it speaks of giving praise to God. Chaucer uses the word elsewhere. For example, "God they thank and herie (praise)" and "[He] herieth (praises) Christ, who is King of Heaven." As the Host's name, its ambiguity covertly praises God.
And, bailly, the second name, is defined as a figure of authority, an administrator. Together the words identify the Host as a praiseworthy leader. It is another link in a chain of clues.
Non-use of this given name demonstrates that the repetition of Host (sixty-six times) was the poet's aim, making its significance hard to ignore or dismiss. If the Host had been referred to as Herry, even now and then, Eucharistic possibilities--the Christic identity--would not exist.
The word/name directs our attention to the most renowned Host in the fourteenth century--the Eucharist. The presence of Christ within the Eucharistic Host had been proclaimed as dogma in 1215. The annual Feast of Corpus Christi (Body of Christ) was instituted and became mandatory in the Roman Church Calendar in 1312. Popularity of this feast grew as time went on. In Chaucer's lifetime, the celebration surpassed both Christmas and Easter in its resplendence. A grand procession became the traditional central element of the festivities. [We will speak of the procession another time.]
Returning to Chaucer's clues, the following lines have been difficult to decipher. The Host states:
And well I know the substance is in me,
If anything shall well-reported be.
Substance, here, has been interpreted as being able to understand, but that sense is not readily apparent. Instead, let's pursue substance in association with theology.
The primary definition of substance in the Oxford English Dictionary says: "Essential nature, essence; esp. Theol., with regard to the being of God, the divine nature or essence." That entry quotes the Athanasian Creed (1325) regarding Christ: "He is God of the substance of the Father." In addition, the first entry in the Middle English Dictionary says substance is "used of the incarnate Christ."
When the poet declares substance to be "in" the Host, this echoes Transubstantiation. Scholastic Theology, in describing transubstantiation, says the "accidents" (the attributes or qualities) of bread can be seen, while the "substance" (or essence) mystically becomes the body of Christ.
And what of the "oaths" (curses) the Host utters? In the General Prologue the poet inserted a disclaimer about Christ's words; though they may be strong, they are not meant to offend. When this character says, "for God's worshipful passion," and, "by the cross," if he is an ordinary man, we would take such phrases as blasphemy. But if spoken by Christ, rather than curses, they are allusions to his personal experience--to crucifixion!
One such oath--"Harrow!" said he, "by nails and by blood!"--we have already dealt with. Its significance could not be more powerful.
Our last consideration will be the Host/Pardoner confrontation which is ordinarily read with emphasis on humor. In a moment of apparent comedy, the Pilgrim Pardoner seems to reveal embarrassing information about the Host. Offering to absolve (pardon) each pilgrim of his or her sins, the Pardoner says first of the Host:
I advise that our Host here shall begin
For he is most enveloped in sin.
"Enveloped" is hand-picked by Chaucer; sins are external to the Host; sin surrounds, envelops him. Christ is often said to take all our sins upon Himself. Thus, sinfulness closely associated with Christ is external to His being; it envelops Him--as it does our Host. Here again, we find a comic surface that, when penetrated, reveals the presence of Christ. It takes only careful reading with an open mind to see the image.
Once we acknowledge that the figure of the Host contains both an innkeeper and Christ Himself, the question is: Why did the poet devise this covert plan? Why such an elaborate effort to disguise Christ? In the Canterbury Tales Chaucer creatively sets forth an affirmation and a dissension.
First is the affirming of Christ within the Host. Numerous depictions confirm His presence. With this identity established, recognition of the dissension is simple.
Recall that in England, the poet had lived through the violent end of The Peasant Revolt and the loss of many friends to sudden cruel ends. And, regarding the Church, he was well aware of the terror of the Inquisition and the anguish of the Great Schism.
Figures of authority, who ruled kingdoms or the Church, at that time, were believed to be chosen by God. Therefore, to oppose pronouncement of royalty or the hierarchy equaled high treason or heresy.
Chaucer's plan to record what he knew, to be guided by his conscience, in spite of possible dire consequences, is remarkable and courageous. With Christ's presence accepted, we are about to learn the dreadful situation that Virginia Adair recognized as concealed in the Host's personal disclosures.
You may recall that the first time I read the description of the Host at the end of the General Prologue, what took shape in my mind's eye was the figure of Christ. His image became clearer with one detail after another.
The name "Host" opens the mind to the possibilities. His first action--after a warm welcome to the pilgrims--is to serve them the best food and strong wine. Such words were, and still are, often used poetically to describe the Eucharistic Host (the Bread of the Catholic Mass). Chaucer's Host offers to guide the pilgrims at his own cost. He declares that the group must accept his terms without discussion. He promises a banquet at the end of their journey. His repetition of "the way," in speaking of the journey, echoes the biblical declaration of Christ as "the way," (truth and life, John 14:6). And, as the travelers prepare to depart in the morning, Chaucer says the Host gathered them in a flock. Did you see a shepherd image momentarily--the Good Shepherd? Each attribute plays a part in creating the portrait.
The Pilgrim Cook mentions the Host's actual name--Herry Bailly--but it is never used. I bypassed the significance hidden in the name Herry Bailly in an earlier entry. But now let's see what Chaucer's imagination has hidden in these two words. Both the first and last name have another life as ordinary fourteenth-century Middle English words. Though herry is not a word in our modern vocabulary, it speaks of giving praise to God. Chaucer uses the word elsewhere. For example, "God they thank and herie (praise)" and "[He] herieth (praises) Christ, who is King of Heaven." As the Host's name, its ambiguity covertly praises God.
And, bailly, the second name, is defined as a figure of authority, an administrator. Together the words identify the Host as a praiseworthy leader. It is another link in a chain of clues.
Non-use of this given name demonstrates that the repetition of Host (sixty-six times) was the poet's aim, making its significance hard to ignore or dismiss. If the Host had been referred to as Herry, even now and then, Eucharistic possibilities--the Christic identity--would not exist.
The word/name directs our attention to the most renowned Host in the fourteenth century--the Eucharist. The presence of Christ within the Eucharistic Host had been proclaimed as dogma in 1215. The annual Feast of Corpus Christi (Body of Christ) was instituted and became mandatory in the Roman Church Calendar in 1312. Popularity of this feast grew as time went on. In Chaucer's lifetime, the celebration surpassed both Christmas and Easter in its resplendence. A grand procession became the traditional central element of the festivities. [We will speak of the procession another time.]
Returning to Chaucer's clues, the following lines have been difficult to decipher. The Host states:
And well I know the substance is in me,
If anything shall well-reported be.
Substance, here, has been interpreted as being able to understand, but that sense is not readily apparent. Instead, let's pursue substance in association with theology.
The primary definition of substance in the Oxford English Dictionary says: "Essential nature, essence; esp. Theol., with regard to the being of God, the divine nature or essence." That entry quotes the Athanasian Creed (1325) regarding Christ: "He is God of the substance of the Father." In addition, the first entry in the Middle English Dictionary says substance is "used of the incarnate Christ."
When the poet declares substance to be "in" the Host, this echoes Transubstantiation. Scholastic Theology, in describing transubstantiation, says the "accidents" (the attributes or qualities) of bread can be seen, while the "substance" (or essence) mystically becomes the body of Christ.
And what of the "oaths" (curses) the Host utters? In the General Prologue the poet inserted a disclaimer about Christ's words; though they may be strong, they are not meant to offend. When this character says, "for God's worshipful passion," and, "by the cross," if he is an ordinary man, we would take such phrases as blasphemy. But if spoken by Christ, rather than curses, they are allusions to his personal experience--to crucifixion!
One such oath--"Harrow!" said he, "by nails and by blood!"--we have already dealt with. Its significance could not be more powerful.
Our last consideration will be the Host/Pardoner confrontation which is ordinarily read with emphasis on humor. In a moment of apparent comedy, the Pilgrim Pardoner seems to reveal embarrassing information about the Host. Offering to absolve (pardon) each pilgrim of his or her sins, the Pardoner says first of the Host:
I advise that our Host here shall begin
For he is most enveloped in sin.
"Enveloped" is hand-picked by Chaucer; sins are external to the Host; sin surrounds, envelops him. Christ is often said to take all our sins upon Himself. Thus, sinfulness closely associated with Christ is external to His being; it envelops Him--as it does our Host. Here again, we find a comic surface that, when penetrated, reveals the presence of Christ. It takes only careful reading with an open mind to see the image.
Once we acknowledge that the figure of the Host contains both an innkeeper and Christ Himself, the question is: Why did the poet devise this covert plan? Why such an elaborate effort to disguise Christ? In the Canterbury Tales Chaucer creatively sets forth an affirmation and a dissension.
First is the affirming of Christ within the Host. Numerous depictions confirm His presence. With this identity established, recognition of the dissension is simple.
Recall that in England, the poet had lived through the violent end of The Peasant Revolt and the loss of many friends to sudden cruel ends. And, regarding the Church, he was well aware of the terror of the Inquisition and the anguish of the Great Schism.
Figures of authority, who ruled kingdoms or the Church, at that time, were believed to be chosen by God. Therefore, to oppose pronouncement of royalty or the hierarchy equaled high treason or heresy.
Chaucer's plan to record what he knew, to be guided by his conscience, in spite of possible dire consequences, is remarkable and courageous. With Christ's presence accepted, we are about to learn the dreadful situation that Virginia Adair recognized as concealed in the Host's personal disclosures.
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