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Fire by Nikita Gill

 

๐…๐ˆ๐‘๐„

๐‘…๐‘’๐‘š๐‘’๐‘š๐‘๐‘’๐‘Ÿ ๐‘คโ„Ž๐‘Ž๐‘ก ๐‘ฆ๐‘œ๐‘ข ๐‘š๐‘ข๐‘ ๐‘ก ๐‘‘๐‘œ⁣⁣⁣⁣⁣⁣
๐‘คโ„Ž๐‘’๐‘› ๐‘กโ„Ž๐‘’๐‘ฆ ๐‘ข๐‘›๐‘‘๐‘’๐‘Ÿ๐‘ฃ๐‘Ž๐‘™๐‘ข๐‘’ ๐‘ฆ๐‘œ๐‘ข,⁣⁣⁣⁣⁣⁣
๐‘คโ„Ž๐‘’๐‘› ๐‘กโ„Ž๐‘’๐‘ฆ ๐‘กโ„Ž๐‘–๐‘›๐‘˜⁣⁣⁣⁣⁣⁣
๐‘ฆ๐‘œ๐‘ข๐‘Ÿ ๐‘ ๐‘œ๐‘“๐‘ก๐‘›๐‘’๐‘ ๐‘  ๐‘–๐‘  ๐‘ฆ๐‘œ๐‘ข๐‘Ÿ ๐‘ค๐‘’๐‘Ž๐‘˜๐‘›๐‘’๐‘ ๐‘ ,⁣⁣⁣⁣⁣⁣
๐‘คโ„Ž๐‘’๐‘› ๐‘กโ„Ž๐‘’๐‘ฆ ๐‘ก๐‘Ÿ๐‘’๐‘Ž๐‘ก ๐‘ฆ๐‘œ๐‘ข๐‘Ÿ ๐‘˜๐‘–๐‘›๐‘‘๐‘›๐‘’๐‘ ๐‘ ⁣⁣⁣⁣⁣⁣
๐‘™๐‘–๐‘˜๐‘’ ๐‘–๐‘ก ๐‘–๐‘  ๐‘กโ„Ž๐‘’๐‘–๐‘Ÿ ๐‘Ž๐‘‘๐‘ฃ๐‘Ž๐‘›๐‘ก๐‘Ž๐‘”๐‘’.⁣⁣⁣⁣⁣⁣
⁣⁣⁣⁣⁣⁣
๐‘Œ๐‘œ๐‘ข ๐‘Ž๐‘ค๐‘Ž๐‘˜๐‘’๐‘›⁣⁣⁣⁣⁣⁣
๐‘’๐‘ฃ๐‘’๐‘Ÿ๐‘ฆ ๐‘‘๐‘Ÿ๐‘Ž๐‘”๐‘œ๐‘›,⁣⁣⁣⁣⁣⁣
๐‘’๐‘ฃ๐‘’๐‘Ÿ๐‘ฆ ๐‘ค๐‘œ๐‘™๐‘“,⁣⁣⁣⁣⁣⁣
๐‘’๐‘ฃ๐‘’๐‘Ÿ๐‘ฆ ๐‘š๐‘œ๐‘›๐‘ ๐‘ก๐‘’๐‘Ÿ⁣⁣⁣⁣⁣⁣
๐‘กโ„Ž๐‘Ž๐‘ก ๐‘ ๐‘™๐‘’๐‘’๐‘๐‘  ๐‘–๐‘›๐‘ ๐‘–๐‘‘๐‘’ ๐‘ฆ๐‘œ๐‘ข⁣⁣⁣⁣⁣⁣
๐‘Ž๐‘›๐‘‘ ๐‘ฆ๐‘œ๐‘ข ๐‘Ÿ๐‘’๐‘š๐‘–๐‘›๐‘‘ ๐‘กโ„Ž๐‘’๐‘š⁣⁣⁣⁣⁣⁣
๐‘คโ„Ž๐‘Ž๐‘ก โ„Ž๐‘’๐‘™๐‘™ ๐‘™๐‘œ๐‘œ๐‘˜๐‘  ๐‘™๐‘–๐‘˜๐‘’⁣⁣⁣⁣⁣⁣
๐‘คโ„Ž๐‘’๐‘› ๐‘–๐‘ก ๐‘ค๐‘’๐‘Ž๐‘Ÿ๐‘  ๐‘กโ„Ž๐‘’ ๐‘ ๐‘˜๐‘–๐‘›⁣⁣⁣⁣⁣⁣
๐‘œ๐‘“ ๐‘Ž ๐‘”๐‘’๐‘›๐‘ก๐‘™๐‘’ โ„Ž๐‘ข๐‘š๐‘Ž๐‘›.

Nikita Gill - Everything I never asked him | Centre for Literacy in Primary  Education

Chaucer's prologue is a cross section of Fourteenth century English society - Explain

 

OR

 The Prologue - A microcosm of Fourteenth century English society 

OR

       The Prologue : A social chronicle - discuss

Chaucer lived in an age which was epoch-making in religious, social and political planes. Chaucer is the perfect exponent of his age. He has painted, with great fidelity, the body and soul of the society of his time. His poetry reflects the fourteenth century not in fragments but as a complete whole. He is the most comprehensive soul, and he takes a full view of the wide and variegated life of his times. “Here is God's plenty” exclaims John Dryden in the Preface to his Fables, as he praises the poetic genius of Geoffrey Chaucer for his brilliant placement of the different characters in The Canterbury Tales.

As Compton-Rickett remarks: "Chaucer symbolises, as no other writer does, the Middle Ages. He stands in much the same relation to the life of his time as Pope does to the earlier phases of the eighteenth century, and Tennyson to the Victorian era; and his place in English literature is even more important than theirs....."

 Chaucer was as much a representative of his age as Pope and Tennyson were of theirs. They were the perfect exponents and representatives of their respective ages. Firstly, their views and "philosophy of life" are, more or less, characteristic of their respective ages.


Thus, Chaucer may well be compared with Pope who faithfully represents the main social and literary tendencies of the earlier phases of the eighteenth century, or with Tennyson who gave expression to the hopes and aspirations,  and the fears and doubts of the Victorian age. Both Pope and Tennyson held the mirror up to the life of their respective times and reflected the fancies and sentiments of their respective ages.

 
The Augustan age is the remarkable period of English satire. Like Chaucer and Langland. Pope was a fine satirist who exposed the hollowness of the eighteenth century society. His satires were basically directed against the follies of polite society, against corruption in politics, and against false values in art, particularly the art of poetry. His genius is best exhibited in his satirical poems. Pope's masterpiece, The Rape of the Lock, is the best satirical picture of contemporary society. In this poem, Pope presented a social picture of his time, with all the lack of seriousness and foolishness of the young lords and the fashions and amorous adventures of the young ladies. This poem is a page torn from the pleasure seeking life of the fashionable society of his time. In the Essay on Man, Pope gave expression to the philosophical thought of his age, and in the Dunciad he let loose the flood-gates of offensive satire, presenting the political strife of the times and the law morals to which the wits of his age had fallen in those days.

Tennyson is the representative of the Victorian age. He was a thorough Victorian in his outlook as well as his intellectual approach. His poetry reflects the moral, social, and religous tendencies of the Victorian period. He wrote poems even of the gradual development of the democratic ideal. In the Princess, he undertook to grapple with one of the rising questions of the day-that of the higher education of women and their place in the fast changing conditions of society. In Locksley Hall, he reflected the restless spirit of Young England and of its faith in science, commerce and the progress of mankind; while in its sequel, Locksley Hall Sixty Years After, he showed the revolution of feeling which had occurred in many minds when the rapid development of science seemed to threaten the very foundations of religion, and commerce was filling the world with the sordid greed of gain. His Maud "gives a dramatic rendering of a revolt of a cultured mind against the hypocrisy and corruption. His In Memoriam, traces the triumph of Faith and Love over Death and Scepticism. In all these ways, Tennyson was giving voice to the ideal traditions, hopes, aspirations, fears, doubts and the griefs of the people of his age.


Like Pope and Tennyson, Chaucer too, painted the life of his time in his poetry. The General Prologue to The Canterbury Tales is a remarkable piece pertaining to social criticism and has been universally acclaimed as an 'unsurpassed social document of Chaucer's time. The social group of thirty pilgrims covers the entire range of fourteenth century Englsih society, leaving only royalty on the one hand, and the lowest life on the other. He truly becomes the social chronicler of his time and unfolds the colourful panorama of life which he saw around him. The following are the various traits which show the realistic presentation of the society.

 

Artistic and realistic presentation of society

 The Prologue is a picture-gallery of the fourteenth century English. Here he presents the different characters from the various classes of the English society of the time. Leaving aside the very highest and the very lowest of the English society, his 29 pilgrims represent the whole range of English nation. The design of bringing together the different representative figures, appears to be realistic because pilgrimages to the religious shrines were a common feature of that age. Chaucer's portraits are quite realistic, and with great tolerance and sympathy, he has given a vivid and true picture of the English society. Furthermost he discarded the fantastic world of dream and allegory. He painted his society in a realistic manner and with great artistic detachment. These make his poem a far greater work of art and a no less valuable social document than William Langland's Vision of Piers the Plowman.




Medieval chivalry of the age

 Chaucer's age was medieval although new trends were coming to the surface. He did believe in medieval chivalry which stood for love, heroism and religion. Chaucer's Knight is an example of medieval chivalry. He has been a warrior of fifteen battles, fought in defence of Christian shrines. The Knight's Tale is also a full of medieval chivalry, though it deals with the exploits of Greeks heroes in their proper setting. The Knight is not only the first in the social order but also the first in the medieval hierarchy. It is true that the Knighthood was losing its importance under the new trends of the age, and the new class was represented by his son the Squire, who was a modern young man full of zest for life. He shows the change that was coming in the later half of the fourteenth century.



Commercial sections of the fourteenth century society

 The trading and craftsman/mechanic  classes were gaining prominence in this age. The new industries of silk and glass-making and brassware (utensils) were becoming quite popular. This led to expansion of business. A class of merchants acquired prominence as the middle-men between craftsmen and consumers. Chaucer has given an important place to the Merchant. In spite of his doubtful practices, he has not criticized him. The other classes of craftsmen, namely, the Haberdasher the Carpenter, the Weaver, the Dyer and the Tapestry maker were also fairly prosperous. Their good clothes and equipments show that not only were they respectable in their looks, but also economically stable. Chaucer in The Prologue has given a vivid picture of the commercial classes. The Merchant is a typical representative of his class. His character-sketch as done by Chaucer, exudes prosperity. He is always talking about the increase in his income, and knows well how to make money in the marketplace. The countrymen and the merchants have always been made the two most common objects of humour and satire. But Chaucer lets the Merchant go without much of satire, perhaps, in recognition of the important that this class had gained in his age.


The medical profession

 The Doctor of Physic represents the medical profession of the fourteenth century. In those times, astronomy or rather astrology was an important element in the training of a medical man. The medieval theory of diseases was that they were due to the peculiar combinations of stars and planets, which affected the human body. The standard of cleanliness and sanitation was very low. So the great Plague raged for a number of years. The Doctor of Physic made a pile of money during the great Plague and was keen to keep it with him.

 

The characters of the Church

 The Prologue gives a vivid picture of the Church. Chaucer is aware of the weaknesses of the Churchmen, their love of money, corruption and materialism. The Monk, the Friar, the Summoner, the Pardoner, and the Prioress are the example of the corrupt clergy. They neglect their duty of looking after the moral and spiritual conditions of the parishioner. The Monk is fond of hunting and opposed to serious study and penance. The Friar used the gift of the holy words to knock out money from the people. The Pardoner makes money by selling pardons to the sinners. The Prioress is keen in her manners and modish in behaviour. All these characters, except the poor Parson, show how the Churchmen had become depraved. In a nutshell, the Monk is a fat, sporting fellow averse to study and penance; the Friar is a jolly beggar who employs his tongue to carve out his living, the Prioress bothers more about modish etiquette; the Pardoner is a despicable trading in letters of pardons with the sinners, who could ensure a seat in heaven by paying hard cash in penitence for their sins; the Summoner is, likewise, a depraved fellow. These characters indicate that various drawbacks had crept into the Church. Side by side, there was the movement which revolted against the corruption of the Church. The poor Parson was apparently a follower of Wycliffe who was not in favour of existing conditions of the Church.



A cross-section of the fourteenth century society

 Fourteenth century society, social historians tell us, consisted of three main classes-that of the knights representing medieval chivalry, that of the clergy representing the Church, and that of the workers. These three classes constituted the main social structure, and each of these had its individuals indicating their degree or order in the social scale. It was essentially a medieval society, although it was gradually breaking up into what we know as the modern English society. For example, the middle class of merchants and traders and shipmen was growing slowly but steadily powerful. The clergy was growing on the other way-corrupted and degenerated. Chaucer suggests this in the characters representing the Church. Keeping in new the Prologue, Chaucer paints a National Portrait Gallery with some thirty odd characters who, by and large, constitute the society of his time. The picture is complete, except for royalty and the lowest step of the ladder of English society. The Prologue is particularly representative of the ranks and professions of English medieval society with the Church and the State as its principal pillars. Chaucer, undoubtedly, is the social historian of his time, and the remark could be verified by reference to the standard social and political histories of the fourteenth century England.



Chaucer is the most representative poet of the fourteenth century. Other poets of his age direct their gaze and attention to only certain limited aspects of the time. The unknown author of Pearl shows us the mysticism of a refined mind. Wycliffe depicts the surging wave of religious reformation. Gower is pre-occupied with the fear produced in the wealthier class by the Peasant's Revolt. Langland represents the corruption in the Church and the religious orders of his time. Considering these points, we can say that in The Prologue and The Canterbury Tales, we do get an accurate picture of English social life in the fourteenth century. The only qualification we can make is that the highest and the lowest ranks the social ladder are missing. And since Chaucer is no chronicler, we need not point out that some of the social upheavals of his time-the Revolts, the Plagues, etc. But even these may be guessed at by reading between the lines of The Prologue. The Doctor's exploitation of the 'pestilence', and the slightly idealised picture of the Ploughman and the poor parish priest in an otherwise 'realistic portrait of the times do indicate these social and political upheavals of the fourteenth century.

Prologue to The Canterbury tales in modern English

 

When April with his sweet vernal showers has pierced to the root the dryness of March, and watered every vein in that moisture, of the quickening power of which is born the flower : when Zephyr also with his sweet breath has quickened the tender new shoots in every holt and moor, and young sun has run his half-course. The little birds, that sleep with open eyes at night, make melody, nature pricking them so in their hearts; then people long to go on pilgrimage to renowned shrines or well-known lands. Especially, from every shire's end in England, they go their way to Canterbury to seek the only blessed martyr who helped them when they were sick.


On a day in that season, as I lay at the Tabard Inn, at Southwark about to go on my pilgrimage with devout heart to Canterbury with the company of full nine and twenty sundry folk, who by chance had fallen into fellowship: they were all pilgrims who wanted to ride to Canterbury. The chambers and stables were wide (the people belong to different sections of the society) and we were entertained in the best manner. But in brief, when the sun was about to rest, I had spoken with every one of them and was soon of their company, and agreed to rise eagerly to make our way to the place I mention to you. Neverthless, whilst I have opportunity, before I proceed further in this tale, I think it is reasonable to tell you the quality of each of them, as it appeared to me, what sort of folk they were, and of what station; and what equipment they were with. I shall then begin first with a Knight.

 Description: The Canterbury Tales by Eljiasan on DeviantArt | Canterbury tales, Chaucer,  Shipman
 

The Knight

 There was a Knight, and a brave person he was, who loved knighthood, faithfulness and honour, liberality and courtesy. He was very valiant in his lord's war. He had joined expeditions in Lithuania and Russia.  He had been in fifteen mortal battles and had thrice fought for our faith.  Though he was valorous, he was wise, and as gentle as a maid of his bearing. In all his life he has never yet spoken discourtesy to any kind of person. he was truly a perfect gentle knight. But to tell you of his equipment, his horses were good, but he was not gaily clad.

 
The squire

 With him, there was his son, a young squire, a lover, and a gay young bachelor, with curled locks. He may have twenty years of age, I believe. Of his stature, he was of middling height, and wonderfully flexible, acrobatic and of great strength.  His clothes were embroidered red and white, as if it were a meadow full of fresh flowers. All the day long he was singing or playing upon his flute, he was as fresh as the month of May. His coat was short, with long, wide sleeves. Well could he sit on a horse and ride. He knew how to make songs, compose, dance, draw, and write. He loved so ardently that at night-time he slept no more than a nightingale He was courteous, modest and helpful.

 
The Yeoman

 He had a yeoman with him, and had no other servant on that journey, for it pleased him to ride in that manner. He was clad in coat and hood of green, and under his belt he bore very carefully a sheaf of peacock arrows, bright and sharp.

He knew how to arrange his gear like a yeoman;  in his hand he carried a mighty bow. His head was cropped, and his visage brown. He understood well all the practice of wood-craft. Upon his arm he carried a gay arm-guard, and at one side a word and a buckler, and a fine dagger.

 

The Prioress (head superior of Nuns)

There was also a nun, a Prioress, very quiet and simple in her smiling. She was named Madame Eglantine. Well she sang the divine service, beautifully intoned through her nose. And French she spoke properly. She was also taught well the art of eating; she let no morsel fall from her lips, nor did she wet her fingers deeply in the sauce. She knew well how to carry a morsel, and how to hold it, so that no drop fell upon her breast. She took great pleasure in courtesy. She wiped her upper lip so cleanly that no film of grease was to be seen on her cup after she had taken her draught. She reached her food with great seemliness; and surely she was very diverting, pleasant and amiable of bearing divine love.

 She took pains to imitate court manners, to be stately in her demeanour, and to be regarded worthy of reverence. But, to speak of her sensibility, she was charitable and compassionate that she would weep if she saw a mouse caught in a trap, if it were dead or bleeding. She had some small hounds whom she fed with roasted meat, or milk and bread of fine sour She would weep bitterly if any of them were dead. She has for all warm feeling and tender heart.  Her nose was long and well proportioned, her eyes grey as glass, her mouth was small, and soft and red besides : certainly she had a fine forehead,  I believe.  Her cloak was neat, I thought. She wore a brooch of gold, on which was engraved first an 'A' with a crown and over it, 'Amor Vincit Omnia'.

The Monk

 There was a monk, an excellent one, above all others, an outrider who loved hunting, fit to be an abbot (head of monks). He had an excellent horse in his stable, and when he rode, men could hear jingle in a whistling wind as clearly and as loudly as the Chapel bell. He was therefore rightly a hard rider, he had greyhounds, as swift as fowls in flight, all his pleasure was in hard riding, and in hunting the hare, for which he would spare no expenses. He was a fat lord, and in good condition; his eyes were bright. His boots were soft, his horse in a fine condition.

 

The Friar

 His name is Hubert. He is sensual, licentious and salacious person. Who seduces young girls and then arranges their marriages. He spends most of his times at bars and carries knives and pins in his sleeves. He accepts bribes, readily gives absolutions to people in exchange for money and avoids sick and poor people because they have no money to give. He is wanton, merry, unscrupulous and quite irreligious.


The Merchant

He is clever but arrogant and never let others become aware of his true financial status. The merchant talks of nothing, but business and thinks himself an expert on all matters related to trade. He represents the rising middle class.

 The clerk of Oxford

A sincere and devout student of philosophy at oxford university, who is fond of erudition. Much of his study is devoted to the works of Aristotle. He is basically poor and spends all money on books. He is laconic in words, but when he does, his words are full of wisdom and moral virtue.

 Sergeant of Law

A successful lawyer commissioned by the king. He is cautious and wise. He upholds justice in every dispute. He knows every statue of England’s Law by heart.  He projects an image of himself as busy and successful.

 The Franklin

He is a wealthy landowner, who lives for his own sensual pleasure. He is a hedonist and compared himself to Epicurus and St. Julian as he is also jovial and hospitable. He has a white beard and a ruddy complexion and carries a dagger and a trinket bag of silk in his girdle. He has served as a justice of the peace and a member of parliament.

 The  Guildsmen

The five guildsmen including Haberdasher (peddlers/ sellers of small goods), the carpenter, the weaver, the dyer and the tapestry maker. Though they have different trades, they appear as a unit. They represent the rising new middle classes.

 The Cook

He works for the guildsmen and is famous for his culinary skills. He is quite able and experienced. The only detail provided about him is a crusty sore on his leg.

 The shipman

The shipman is a huge, uncouth (lacking manners) man, who is an expert sailor. He rides his horse so poorly, it is obvious the man is much more comfortable on the sea than on the land. His skin has turned brown from years of sailing. He steals wine while the ship’s captain sleeps.

 The physician

Well educated and thrifty person. He is very much fond of gold and makes a lot of money during the plague time. He has not studied the Bible the lacks the concern of mercy.

 The Wife of Bath

She is one of the most famous characters in literature. Her real name is Alisoun. She is a professional weaver. She is gap-toothed, somewhat deaf and wears bright scarlet red stockings. She has been married five times and had many other affairs in her youth.  She was very much expert in the art of love making.

She makes a great show of being religious, takes part in charities. She is going to Canterbury to find her sixth husband.

 The Parson (vicar / rector)

The parson is very poor, but holy and virtuous man. He is gentle, kindly and diligent. He preaches the gospel and practices what he preaches. Whatever little money he has, he gives to his poor parishioners.

 The Plowman (ploughman)

Brother of the parson, honest and virtuous man like his brother. A member of the peasant class. He pays his tithes to the church and leads an ideal Christian life. He wears a tabard smock (sleeveless garment) that reflects his poverty.

 The Miller

Chaucer pays a great attention to the physical appearance of the miller. He is huge, stout, brawny, broad and strong and has red beard. His nose has a hairy wart. He has a large mouth and nostrils. He wears a blue hood and white coat. He is an expert in wrestling and has animal like instincts. He is always drunken, brash and vulgar man. His manners and conversation are as coarse as his appearance.

 The Manciple (steward)

He works at inns of court. He is in charge of getting provisions for the court. Though illiterate, he is smart and cautious. He is smarter than the thirty lawyers he feeds. He tricks his employers to earn maximum profit.

 The Reeve

He works as a steward on an estate. He is an old, choleric thin man with shaved head and lean legs. He wears a blue overcoat and carries a rusty blade. He was earlier a carpenter and resents the miller’s tale. He distrusts people and keeps a check on everyone.

 

The Summoner

He is an officer at the church, who calls people for a church trial. He is extremely unattractive with his red complexion, pimples and infected skin. He had a bad breath and often gets drunk. He is lecherous and morally corrupt.

 

The Pardoner (a church representative sells pardons to common people)

The most evil of the pilgrims.  He has yellow hair, bulging eye ball, goat like voice and wears a small hat. He fools people to make money and carries a bag full of fake relics. He is greedy and hypocrite. He has an ambiguous sexuality. He also good at singing and preaching.