Deterioration In The Man's Tale
In “The Man of Law's Tale,” Geoffrey Chaucer writes about a series of misadventures visited upon a woman. Over the course of her travels, the protagonist, Constance, attains a status usually reserved for her male counterparts, the heroes of medieval romance. This does not mean, however, that the author merely inserts a female protagonist into a male-centered genre. Rather, Chaucer takes the typical structure of medieval romance and manipulates it so that Constance's character progression fits the pattern of female and not male initiation. Professor Derek Brewer, Master of Emmanuel College, Cambridge, divides the structure of medieval romance into three parts: “integration,” “disintegration,” and “reintegration” (168). The first part, integration, comprises the separation of the hero from his society. This separation is typically accomplished by means of a journey into an unknown realm. Integration gives way to disintegration, successfully undergoing the trials of which leads to reintegration
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(Brewer 168). In Chaucer's tale, the 'tripartite' structure is so pronounced that each section takes place in a different geographical area. In the first section, Constance sets sail for Syria, and is then forced to undertake a journey in a “rudderless vessel” (MLT 310). The second section of the poem, in which the protagonist arrives in Northumberland, details Constance's struggle with her mother-in-law, Donegild. Rome is the setting for the third and final part of the tale. Constance, who has undergone a number of trials, is brought back to society. “Initiation” is another concept central to romance that is in “The Man of Law's Tale.” Mircea Eliade, a leading historian, proposes the following definition: “a change in the existential condition; the novice emerges . . . with a totally different being” (5). In keeping with this model, the Constance who returns to Rome is different from the girl who left that city for marriage in Syria. She, who feared the
“heathens,” advances to the point that she converts them (MLT 553). Her transformation is apparent
Moreau 2 externally: she is so altered upon her return that her own aunt does not recognize her (MLT 858-860). Constance's initiation corresponds to what Eliade deems the “universal” themes of female initiation (41).
Unlike male initiation, which is often accomplished in a group, this is usually individual and involves the separation of the protagonist from her society. The individual nature of female initiation is due to the onset of menstruation (Eliade 41-44), which is almost universally considered the sign for the commencement of a female's initiation. The relevance of this pattern to Chaucer's story is clear. Having reached marriageable age, Constance is sent off from her society. She travels to Northumberland, wins a mate, and returns to Rome with a child who will rule the empire. The initiating schema is borne out in Chaucer's text. Once she has married Alla, the author never calls Constance a “girl” (MLT 141) or a “maid” (MLT 184). When he does refer to her, he calls her a “wretched woman” (MLT 787) or a “virtuous woman” (MLT 894). Thus, Chaucer recognizes her altered
state. Constance undergoes another, more obvious change. She is initiated into three feminine roles. In Syria, she serves as a daughter to the Emperor, in Northumberland as a wife to Alla, and in Rome as a mother to Maurice. Her roles become increasingly important when one thinks of the divine agents who assist her. While a daughter, she is rescued by God, the Father (MLT 341-346), and in England, she is saved by Christ, the Bridegroom (MLT 560). During her voyage to Rome, she is saved by Mary, the Supreme Mother (MLT 797). In each case, the deity suits Constance's social role. The presence of the elements of “integration,” “disintegration,” and “reintegration” shows that “The Man of Law's Tale” is a romance whose protagonist is a woman. As evidenced by Constance's separation from society, a “day of fatal woe” (MLT 128), the tale is couched in the pattern of female initiation. By presenting Constance as a romance heroine whose efforts are furthered by deities, Chaucer elevates her to a status typically held by her male counterparts, so that her quest is a
Moreau 3 successful one set against the background of the period of the empire of Rome.
(Brewer 168). In Chaucer's tale, the 'tripartite' structure is so pronounced that each section takes place in a different geographical area. In the first section, Constance sets sail for Syria, and is then forced to undertake a journey in a “rudderless vessel” (MLT 310). The second section of the poem, in which the protagonist arrives in Northumberland, details Constance's struggle with her mother-in-law, Donegild. Rome is the setting for the third and final part of the tale. Constance, who has undergone a number of trials, is brought back to society. “Initiation” is another concept central to romance that is in “The Man of Law's Tale.” Mircea Eliade, a leading historian, proposes the following definition: “a change in the existential condition; the novice emerges . . . with a totally different being” (5). In keeping with this model, the Constance who returns to Rome is different from the girl who left that city for marriage in Syria. She, who feared the
“heathens,” advances to the point that she converts them (MLT 553). Her transformation is apparent
Moreau 2 externally: she is so altered upon her return that her own aunt does not recognize her (MLT 858-860). Constance's initiation corresponds to what Eliade deems the “universal” themes of female initiation (41).
Unlike male initiation, which is often accomplished in a group, this is usually individual and involves the separation of the protagonist from her society. The individual nature of female initiation is due to the onset of menstruation (Eliade 41-44), which is almost universally considered the sign for the commencement of a female's initiation. The relevance of this pattern to Chaucer's story is clear. Having reached marriageable age, Constance is sent off from her society. She travels to Northumberland, wins a mate, and returns to Rome with a child who will rule the empire. The initiating schema is borne out in Chaucer's text. Once she has married Alla, the author never calls Constance a “girl” (MLT 141) or a “maid” (MLT 184). When he does refer to her, he calls her a “wretched woman” (MLT 787) or a “virtuous woman” (MLT 894). Thus, Chaucer recognizes her altered
state. Constance undergoes another, more obvious change. She is initiated into three feminine roles. In Syria, she serves as a daughter to the Emperor, in Northumberland as a wife to Alla, and in Rome as a mother to Maurice. Her roles become increasingly important when one thinks of the divine agents who assist her. While a daughter, she is rescued by God, the Father (MLT 341-346), and in England, she is saved by Christ, the Bridegroom (MLT 560). During her voyage to Rome, she is saved by Mary, the Supreme Mother (MLT 797). In each case, the deity suits Constance's social role. The presence of the elements of “integration,” “disintegration,” and “reintegration” shows that “The Man of Law's Tale” is a romance whose protagonist is a woman. As evidenced by Constance's separation from society, a “day of fatal woe” (MLT 128), the tale is couched in the pattern of female initiation. By presenting Constance as a romance heroine whose efforts are furthered by deities, Chaucer elevates her to a status typically held by her male counterparts, so that her quest is a
Moreau 3 successful one set against the background of the period of the empire of Rome.