Examples Of Juxtaposition In The Miller's Tale

Meaning through Juxtaposition in “The Miller’s Tale”

“I can a noble tale for the nones/With which I wol now quite the Knightes tale … if I misspeke or saye/Wite it the ale of Southwerk, I you praye” (Chaucer 18-19, 31-32); so the Miller prefaces his tale. Told immediately after the Knight’s elevated narrative, this bawdy and amoral farce is presented as a challenging “quite” (response) to its predecessor. It incorporates and consequently lampoons the romantic ideals presented by the knight, and shows the stark contrast between the two storytellers’ social classes. “The Miller’s Tale” is, in essence, the antithesis of contemporary noble and romantic ideals.

“The Miller’s Tale” takes much of its meaning from its juxtaposition with “The Knight’s

This allows Geoffrey Chaucer to use the pilgrim’s tales as Estates Satire, to explore and criticize the nature and failings of the rigidly hierarchical society of the day. “The Miller’s Tale”, therefore, acts as a response and contrast to the aristocracy represented by “The Knight’s Tale”. The prologue largely serves to stress the low class and questionable character of the Miller. It’s the Monk’s turn to tell his story after the Knight, but the Miller barges in, insisting facetiously that he has a “noble tale” of his own. The Host argues that it is a better man’s turn, but the Miller threatens to leave if he doesn’t get his way, and is allowed to tell his story. He is proved to be a drunken churl, and as such will regale the audience with a “cherles tale” – as opposed to the Knight’s tale which was deemed worthy by the “gentil” members of the group. “The Miller’s Tale” is put in the context of the lower classes so that it is immediately relatable to those in the 3rd estate. A prime example is the lengthy effictio of Alisoun. She is likened to animals (a weasel, sheep, calf, colt), rural food (pears, ale, honey, mead, apples), and other commonplace objects (coal, hay, common wildflowers). This is a far cry from the otherworldly beauty and fairy women that star in most romances, and it makes Alisoun a more believable and accessible character for the audience. While romances conventionally deal with society’s elite in upper class surroundings, the Miller’s story is set in a provincial town populated by common, working-class people. The main characters are not knights and royalty, but laborers and clerks. And much in opposition to the honorable and chivalrous heroes of the Knight’s story and the like, the Miller’s heroes are conniving, foolish, and amoral. And the character in the poem representing the church,