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Narration in "The Knight's Tale" and "The Squire's Tale" of Canterbury Tales
"The Knight's Tale" and "The Squire's Tale" demonstrates the power of narration in Geoffrey Chaucer's "Canterbury Tales." Chaucer wanted to illustrate through the characters of the knight and squire stereotypical characteristics of each that make one remarkable, and the other, only ordinary in the eyes of people. In the character of the knight, Chaucer paints a picture of an individual who possesses bravery, gallantry, and commands respect from everyone. This is reflected in the knight's tale, wherein clarity and articulateness are apparent in him, in the same way that his characters, Arcita and Palamon. Through the two knights' characters, the knight was able to show the chivalry and respect knights are known for: Arcita is known for his rationality and knowledge, while Palamon is remarkable for his romantic and brave nature as a knight. Throughout the narration of his tale, the knight establishes the personalities of his character and the plot of the story clearly, holding the interest of his audience until the end of the tale. Brevity is also preserved to prevent his audience from losing their interest in listening to the knight's tale, as illustrated in the following passage: "The remnant of the tale is long enough. I will not hinder any, in my turn; Let each man tell his tale, until we learn Which of us all the most deserves to win..." Compared with his father, the knight, the squire pales in comparison to his father's narrating skills and ability to entertain an audience. In his tale, the squire expresses his insecurity over his inability to speak with brevity, clarity, and articulateness while making, at the same time, his tale appear more interesting to his audience. This insecurity is reflected in his claim that, "But to describe to you all her beauty, it lies not in my tongue nor my knowing; I dare not undertake so high a thing. My English is quite insufficient for What must require a finished orator... I am none such, I must speak as I can..."
But while it is true that he loved the funny side of life, he was also quite genuine and sincere in his purpose to expose the superficialities of social roles. "If we look at the whole corpus of his work, we see his tragic poems all interrupted, unfinished, or transfigured into celestial comedy" (Garbaty173). Chaucer unlike some tragedy masters of his time was not too concerned with gloom and sadness
Indeed, the trajectory of the narrative involves exacting revenge on those who prevented her marriage from taking place. Although the Bride's marital aspirations might suggest that she holds a conservative sensibility, this is far from the case and she is ultimately more aggressive than Jen. While Jen also exhibits physical prowess, her sacrificial gesture at the film's conclusion signifies how she maintains a strong reverence for the Confucian moral code,
" The final line of the ballad, "And no birds sing" reinforces the idea of loneliness and emptiness, and creates an invisible link with the beginning of the poem, more precisely the first stanza which ends with the same line. At a closer reading, one notices that the roles of the knight and the lady change throughout the following stanzas, with each of them being successively dominant over the other. In
Pearl-Poet Indeed, few figures are more dominant in any era of literature in any language or cultural tradition, than both Chaucer and the Pearl-Poet are in the way that they tower over the rest of Middle English literature in terms of having crated the most imposing, lasting, and resounding works of literature associated with that time period and that stage of the development of the English language. Indeed, both Chaucer's and
Middle Ages Romances Le Chevalier au Lion Chretien de Troyes' Le Chevalier au Lion (The Knight of the Lion) tells the story of the lovelorn Arthurian knight Yvain, rather than Arthur and Guievere themselves. Thus, the tale of Yvain acts a powerful challenge to contemporary assumptions of about what constitutes a Middle Age Arthurian Romance. First of all, the tale does not revolve around the knightly, courtly conventions of Arthurian honor
Italo Cavino Historians differ on the origin of tarot cards. Most believe that Egypt was the first to use similar images and symbols. Tarot is also represented from the early Greek, Roman, Norse and Indian cultures to the Italian and French medieval courts. The first clear reference to tarot is based on an Italian sermon from about 1500 A.D. (Pratesi). Regardless of origination, it is agreed that many civilizations -- ancient