Page 161 - DENG405_BRITISH_POETRY

British Poetry

Notes is congenial and anixous to participate in the fun. He tells a biographical tale which appears to be
about the Canon. The Canon’s Yeoman’s Tale is not a typical medieval story. It seems to be a
combination of the learning of the day about alchemy, preaching against alchemy, and biography/
autobiography about the teller and his master. It is certain that alchemy was widely practiced in
England at the time of The Canterbury Tales and that the church was strongly opposed to this pseudo-
science. Ironically, alchemy was practiced almoste xclusively by monks, the only ones with an adequate
education in Latin to decipher the ancient texts on the subject.
Unlike the Miller and the Reeve, or the Friar and the Summoner, the Manciple and the Cook do not
take their feud beyond the prologue itself. This segment functions merely as an amusing interlude.
The story of Phoebus, his unfaithful wife, and the transformation of the crow comes from an ancient
origin myth Chaucer must have encountered in the writings of Ovid. As in most myths, the central
character is divine. The origin of the modern crow is explained by the god's actions upon the crow of
the myth, changing him from white to black.
The theme of the story as it originated dealt with the terrible consequences of marital infidelity; but as
in so many of the tales, Chaucer makes a profound change here. As the Manciple concludes, the
theme of the tale becomes the foolishness to revealing all and the wisdom of keeping silent. It is
appropriate to convey this theme from the mouth of the Manciple when one remembers that the
Manciple stopped taunting the Cook for fear of what the Cook could reveal about him.

18.1 The Canon’s Yeoman’s Tale

18.1.1 Prologue to the Canon’s Yeoman’s Tale

With the story of Saint Cecilia finished, the company continues on its journey until two men overtake
them. One was clad all in black but with a white gown underneath–a Canon-and his horse sweated as
if it ridden for three miles. The horse that rides underneath the Canon’s Yeoman similarly sweated so
much that it could hardly go further. The Canon (the first man) greets the company warmly, and
explains that he had hoped to join them; his Yeoman too is extremely courteous.
The Host asks if the Canon can tell a tale, and his Yeoman responds that he knows more than
enough about mirth and jollity–and adds that, if the Host knew the Canon as well as he does, he
would wonder how he could do some of the things he can. The Canon is, the Yeoman says, a “passyng
man” (an outstanding, [or sur-passyng man). The Host guesses that his master is a clerk, but the
Yeoman says that he is something greater, telling him that he could pave all of the ground from
here to Canterbury in silver and gold.
The Host is quite amazed, but then asks why–if the Canon is so important-he cares so little for his
honor, and dresses so shabbily. The Yeoman seems initially horrified at the question, but then adds
in secret that the Canon believes that overdone dress-sense is a vice. The Host asks where the Canon
lives, and the Yeoman tells him that it is in hiding places and the back lanes of the suburbs of a
town. The Host then turns to the Yeoman himself, asking why his face is so discolored. The Yeoman
explains that is because he spends his time blowing in the fire–and then reveals that the Canon and
he spend most of their time doing “illusioun”, borrowing money, promising profit and then slipping
away.
While the Yeoman was talking, the Canon drew near and heard everything–and chastised him,
telling him to hold his peace, and warning him that he was revealing things that should not be
revealed. The Host bids the Yeoman to tell on, and when the Canon realized that the Yeoman would
not be silenced, he fled. Since his lord is gone, the Yeoman concludes, he will tell the company
everything he knows.

154 LOVELY PROFESSIONAL UNIVERSITY