Summary
Geoffrey Chaucer's "The Miller's Tale" is a humorous narrative about lust and trickery, seamlessly woven into the fabric of his Canterbury Tales. This bawdy tale of deception immediately follows the Knight's tale of chivalry, creating a stark contrast in both tone and content. Despite the Host's intentions to have the Monk recount a moral story, the inebriated Miller insists on sharing his own ribald narrative, much to the annoyance of the Reeve, the tale's unwitting target.
Characters and Setting
The story revolves around John, a gullible yet prosperous carpenter; his attractive young wife, Alisoun; and her admirers—the meticulous Absolon and the cunning Nicholas, both clerks. John, oblivious to the unfolding drama, has rented an upstairs room to Nicholas, a student of astronomy who decorates his chamber with fragrant herbs, cherished books, and a harp-like instrument known as a "gay sautrye." Nicholas, drawn to Alisoun's allure, quickly wins her favor, as she grows weary of John's possessive nature. Together, Alisoun and Nicholas plot to find a moment of privacy, free from John's watchful eyes.
Complications and Deceptions
The plot thickens with the presence of Absolon, a parish clerk who, unlike Nicholas, approaches Alisoun with courtly grace and serenades her with songs and gifts. Despite Absolon's best efforts, Alisoun remains enamored with Nicholas. On a Saturday when John is away, Alisoun and Nicholas devise a scheme to ensure their solitude. Upon John's return, Alisoun feigns ignorance of Nicholas's whereabouts, prompting John and his servant to break into Nicholas's room on Sunday evening. They find Nicholas in a trance-like state, claiming to have predicted through astrology an impending flood reminiscent of Noah's, set to occur on Monday.
The Ingenious Plan
Nicholas convinces John that the only way to survive the impending deluge is to fasten three large tubs—one for each of them—to the rafters. As Monday dawns, the trio ascends to their tubs, awaiting the rain. While John promptly falls asleep, Alisoun and Nicholas seize the opportunity to retreat to the bedroom. Meanwhile, Absolon appears beneath Alisoun's window, serenading her once more and pleading for a kiss. Alisoun, irritated by his persistence, decides to teach him a lesson. She offers him her bare buttocks to kiss, which he does unwittingly, only to recoil in horror.
Revenge and Chaos
Intent on avenging his humiliation, Absolon procures a hot metal blade from a blacksmith and returns to the window, asking for another kiss, this time promising Alisoun a ring as a reward. Nicholas, taking the place of Alisoun, presents his rear and releases a fart, only to be branded by Absolon's searing iron. Crying out in pain, Nicholas shouts for water, startling John awake. Mistakenly believing the flood has arrived, John cuts the rope holding his tub, crashing to the ground below.
The commotion attracts the attention of their neighbors, who gather to witness the spectacle. Amidst the laughter, John attempts to explain the situation, but his voice is drowned out by the merriment of the townspeople, who conclude that the poor carpenter has lost his mind.
Style and Technique
In Geoffrey Chaucer’s “The Miller’s Tale,” the use of the fabliau form serves as a vehicle for comic or satirical verse, capturing the essence of bawdy storytelling in a manner that breathes life into what might otherwise be a simple narrative. This literary form, popular in twelfth- and thirteenth-century France and flourishing in fourteenth-century England, is notable for its lewd themes and often centers around the cuckolding of a dim-witted husband by a clever wife. Chaucer’s masterful adaptation of the fabliau elevates it from mere verse to a vivid portrayal of character and plot, ensuring...
(This entire section contains 609 words.)
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that his tale reverberates with vitality and humor far beyond its traditional roots.
The Fabliau Form
The Miller’s use of the fabliau is an apt choice, given his reputation as a purveyor of ribald stories. Traditionally, fabliaux focused on the misadventures of lascivious clerics, wayward spouses, and deceived husbands. Chaucer’s narrative, however, distinguishes itself through its intricate characterizations and dynamic storytelling. Unlike the straightforward vulgarity of earlier fabliaux, Chaucer’s tale brims with vivid characters whose motivations and actions drive the plot.
Characterization: Absolon and Alisoun
Chaucer’s characters are vividly drawn, with each possessing unique traits that contribute to the tale’s humor and irony. Absolon, the parish clerk, is portrayed with an almost comical attention to his appearance. His hair is meticulously styled, and his attire exudes an air of finery, contributing to his characterization as someone averse to vulgarity. This sets the stage for the tale’s humorous turn, where Alisoun, a lively and earthy young woman, becomes his ironic foil. Her disinterest in Absolon’s refined mannerisms adds to the story’s comedic tension, as she prefers the straightforwardness of another suitor, Nicholas.
Alisoun and the Country-City Contrast
Alisoun symbolizes the uninhibited nature of countryside life, contrasting sharply with Absolon’s urbane sophistication. Chaucer paints her as a vibrant country girl, her physicality and playful spirit expressed in similes comparing her to small, lively animals. Her disdain for Absolon’s city ways and preference for Nicholas’s more rustic advances underscore the tale’s exploration of rural versus urban values, providing much of the comedic conflict that propels the narrative.
Nicholas: The "Hende" Character
Nicholas emerges as a distinct character, cleverly characterized by the recurring adjective “hende,” which encapsulates his multifaceted role in the story. This term, which can mean courteous, clever, close at hand, or lecherous, aptly describes Nicholas at various moments. Nicholas’s cunning and his strategic manipulation of situations move the plot towards its comical conclusion, emphasizing Chaucer’s skillful use of language and characterization.
Language and Wordplay
Chaucer’s deft use of language, particularly through puns and wordplay, is a defining feature of his fabliaux. The clever manipulation of phrases not only infuses humor but also foreshadows the tale’s events. An excellent example is found in the Miller’s prologue, where he warns the Reeve about the dangers of prying into divine secrets or a wife’s fidelity. This serves as a prelude to the tale’s central comedic motifs—the carpenter John’s misguided attempt to control his wife and his subsequent embarrassment.
Plot Intersections and Humor
The narrative’s dual plots—John’s flood preparations and the lovers’ clandestine meeting—culminate in a masterful intersection that highlights Chaucer’s timing and comedic prowess. When Nicholas cries out for water, John’s disastrous fall from his suspended tub brings the two threads together, resulting in a scene that is both uproarious and emblematic of Chaucer's talent for intertwining narrative elements. The collision of plots underscores the theme of human folly and the relentless humor of life’s unforeseen twists.
