Q. 1
Explain any two of the excepts of poems given below with reference to their
context:
(i)
Now, sire”, quod she, “When we flee fro the bemes
For Goddess love,
as taak som laxative.
Up peril of my soule and o lif,
I
counseille yow the beeste, I wol nat lye
From The Canterbury Tales: The Nun's Priest's Tale
A poor
widow lives in a little cabin with her two girls. Her fundamental belonging is
a respectable chicken called Chaunticleer. This chicken is lovely, and no place
in the land is there a rooster who can coordinate him in crowing. He is the
ace, so he thinks, of seven stunning hens. The loveliest of these is the
wonderful and thoughtful Lady Pertelote. She holds the core of Chaunticleer and
offers in the entirety of his wonders and every one of his issues.
One
spring morning, Chaunticleer stirs from an awful dream of a mammoth meandering
in the yard attempting to hold onto him. This current mammoth's shading and
markings were a lot of equivalent to a fox. Woman Pertelote shouts out,
"For disgrace . . . . Fie on you/wanton weakling" ("Avoi
(defeatist) . . . fy on you, herteless") and discloses to him that fearing
dreams is apprehensive and that, by indicating such dread, he has lost her
adoration. She discloses to him he imagined in light of the fact that he ate
excessively and that it is notable that fantasies have no significance; he just
needs a diuretic. Chaunticleer benevolently expresses gratitude toward Lady
Pertelote, yet he cites specialists who keep up that fantasies have an
unmistakable significance and demands that he needn't bother with a diuretic.
Afterward,
Chaunticleer notices a fox named Don Russel, who is stowing away close to the
yard. Chaunticleer starts to run, however the fox tenderly gets out that he just
came to hear Chaunticleer's wonderful voice. Hearing this, the vain chicken
closes his eyes and suddenly starts singing. Right then and there, the fox
races to the rooster, handles him about the neck, and snatches him. The hens in
the farm make such a horrible uproar, that they stimulate the whole family
unit. Before long the widow, her two little girls, the canines, hens, geese,
ducks, and even the honey bees, are pursuing the fox.
Chaunticleer
recommends to the fox to pivot and yell affronts at his followers. The fox,
believing Chaunticleer's thought a decent one, opens his mouth, and
Chaunticleer agilely disappears to a treetop. The fox attempts by and by to
bait Chaunticleer somewhere around praises and honeyed words, yet the chicken
has taken in his exercise.
At the
finish of the story, the Host adulates the Nun's Priest. Watching the Priest's
heavenly build, he remarks that, if the Priest were mainstream, his masculinity
would require seven hens, yet seventeen. He much appreciated "Sir
Priest" for the fine story and goes to another for the following story.
Investigation
The Nun's
Priest's Tale is one of Chaucer's most splendid stories, and it works on a few
levels. The story is an extraordinary case of the artistic style known as a
bestiary (or a monster tale) wherein creatures carry on like people.
Subsequently, this sort of tale is frequently an affront to man or an editorial
on man's shortcomings. To propose that creatures carry on like people is to
recommend that people regularly act like creatures.
This
story is told utilizing the system of the counterfeit chivalrous, which takes
an insignificant occasion and lifts it into something of extraordinary all
inclusive import. Alexander Pope's lyric The Rape of the Lock is an amazing
model a counterfeit gallant piece; it treats a trifling occasion (the robbery
of a lock of hair, for this situation) as though it were wonderful. In this manner when Don Russel, the fox, escapes with Chaunticleer in
his jaws, the pursuit that follows includes each animal on the premises, and
the whole scene is described in the raised language found in the extraordinary
legends where such language was utilized to upgrade the astonishing deeds of
epic saints. Chaucer utilizes raised language to depict a fox getting a chicken
in a farm — a long ways from the great stories. The pursuit itself
helps one to remember Achilles' pursuing Hector around the fortifications in
the Iliad. To contrast the predicament of Chaunticleer with that of Homer's
Hector and to propose that the pursuit of the fox is an epic pursue like old
style sagas shows the comic ridiculousness of the circumstance.
The
counterfeit chivalrous tone is likewise utilized in different occasions: when
the Nun's Priest depicts the catch of the Don Russel and alludes to the
occasion as far as other unmistakable double crossers (alluding to the fox as
"another Iscariot, a second Ganelon and a bogus wolf in sheep's clothing,
Greek Sinon") and when the farm animals examine high philosophical and religious
inquiries. For Lady Pertelote and Chaunticleer to examine divine foresight in a
high intelligent and moral tone with regards to farm chickens is the stature of
comic incongruity. We should likewise recollect the reason for the talk of
awesome prescience: Lady Pertelote feels that Chaunticleer's fantasy or bad
dream was the consequence of his obstruction, and she suggests a purgative.
Chaunticleer's rejoinder is a splendid utilization of old style sources that
remark on dreams and is a brilliantly funny methods for demonstrating that he
isn't blocked up and needn't bother with a diuretic. All through the fake
brave, humankind loses a lot of its human nobility and is decreased to creature
esteems.
The
Nun's Priest's thoughts and positions are set up in his amicably amusing
disposition toward both the straightforward existence of the widow and the life
of the rich and the incredible as spoke to by the cockerel, Chaunticleer (in
Chaucer's English, the name signifies "clear singing"). The Nun's Priest's opening lines set up the complexity. A poor old
widow with little property and little salary has an inadequate existence,
and it doesn't cost much for her to get along. The suggestion is that carrying
on with the unassuming Christian life is simpler for the poor than for the
rich, who have, as Chaunticleer, numerous commitments and incredible
obligations (all things considered, if Chaunticleer doesn't crow at day break,
the sun can't rise).
The
Nun's Priest differentiates the two human universes of poor people and the wealthy in
the portrayal of the poor widow and the rich Chaunticleer. The widow's
"bour and halle" (room) was "ful dirty," that is dark from
the hearth-fire where she had eaten numerous a thin or slim feast. Notice the
complexity: The expression "bour and halle" originates from elegant
stanza of the time and invokes the picture of a château. The possibility of a
"dirty thicket" or lobby is ridiculous: The rich could never permit a
wonder such as this. However residue is unavoidable in a worker's cottage, and
from the laborer's perspective, the neatness obsession of the rich may likewise
be preposterous. A thin supper ("sklendre meel") would obviously be
incomprehensible among the rich, yet it is all the poor widow has. Moreover,
the widow has no incredible need of any "poynaunt sauce" since she
has no gamey nourishment (deer, swan, ducks, and do on) nor meats safeguarded
past their season, and no refined plans. She has "No dayntee piece"
to go through her "throte," yet at that point, when Chaucer substitutes
"throat" ("throte) for the normal "lips," the humble
piece that the picture calls up is never again petite. The refined sickness
gout doesn't prevent the widow from moving, yet it's improbable that she moves
at any rate. Moving is for the youthful or rich. As a devout lower-class
Christian, she despises moving of numerous sorts. To put it plainly, the entire
depiction of the widow takes a gander at both the rich and poor people.
At the
point when the Nun's Priest goes to Chaunticleer, he starts to remark on the
life of the wealthy in other unexpected manners. Chaunticleer has extraordinary
gifts and grave duties, yet the cockerel's ability (crowing) is a marginally
ludicrous one, anyway glad he might be of it. (In center English. as in present
day, "crowing" can likewise mean gloating or boasting.) And
Chaunticleer's obligation, ensuring the sun doesn't return down in the first
part of the day, is ridiculous. His different obligations — dealing with his
spouses — are similarly senseless. Some portion of the Nun's Priest's strategy
in his cheerful investigation of human pride is an amusing distinguishing proof
of Chaunticleer with everything respectable that he can consider. His physical
portrayal, which utilizes huge numbers of the descriptive words that would be
utilized to depict the warrior/knight (words, for example,
"crenelated," "stronghold Wall," "fine coral,"
"cleaned stream," "purplish blue," "lilies," and
"polished gold," for instance) helps one to remember a rich knight in
sparkling reinforcement.
The peruser
ought to be always mindful of the unexpected complexity between the farm and
this present reality, which may be another kind of farm. That is, the
"mankind" and "honorability" of the animals is unexpectedly
compared against their farm life. This differentiation is a diagonal remark on
human demands and desires in perspective on the foundation, clarified when Don
Russel challenges Chaunticleer to sing, and the honeyed words blinds
Chaunticleer to the foul play. Here, the story alludes to people and the bad
form found in the court through honeyed words. Chaunticleer's getaway is
likewise affected by the utilization of blandishment. Wear Russel discovers
that he ought not jibber jabber or tune in to honeyed words when it is smarter
to stay silent. Also, Chaunticleer has discovered that adulation and pride go
before a fall.
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