The Nun ‘s Priest ‘s Tale ‘ by Geoffrey Chaucer

The usage of animate beings in the narrations ‘The Nun’s Priest’s Tale’ by Geoffrey Chaucer and ‘The Company of Wolves’ by Angela Carter allows the reader to further understand the significance that the composer has created within the text. ‘The Nun’s Priest’s Tale’ is an illustration of Chaucer proving the bounds of a animal fable genre. Beast fable is a narrative where ‘animals are used as incarnations or imitations of human virtuousnesss, frailties, prudence’s, and follies… and other typical qualities of mankind.’ ( Coghill & A ; Tolkien 12 ) . ‘The Company of Wolves’ is the Reconstruction of the folktale Little Red Riding Hood. The female character in the narrative ends up in the wolf ‘s weaponries alternatively of his tummy contradictory to the faery narrative which challenges the narration of masculine desire. With these illustrations we can clearly see the carnal influence within these texts.

Geoffrey Chaucer was an English writer who wrote many plants, he is best remembered for his frame narrative The Canterbury Tales. ‘The Nun’s Priest’s Tale’ is a portion of The Cantebury Tales which tells a narrative of an old adult female who had a little farm in which she kept animate beings, including a cock named Chantecleer. Chantecleer had seven biddies as his comrades, the most esteemed of which was Pertelote. ‘Chantecleer does so stand for abstarct thoughts – and represents them in a manner the is elusive, altering and frequently dry – Chantecleer himself ne’er becomes a mere abstraction. He is a really piquant creative activity in a really existent world’ ( Stephen Coote 52 ) . The thought of a cock being able to keep such qualities those of human existences, reinforces Chaucer’s verse form as a ‘particlar signifier of amusing wisdom’ ( Coote 33 ) , through the usage of barnyard animate beings. The verse form begins with the love affair between Chantecleer and Pertelote. Romance being a genre normally having baronial knights and their ladies, evokes the amusing position of such epic traditions with the usage of animate beings. Chantecleer’s first debut is that ‘In all the land, at gloating he’d no peer’ ( Geoffrey Chaucer 203 ) . In this context, the description of Chantecleer evokes wit at the epic traditions of that clip on two counts. One is that ‘crowing’ ( 203 ) is non a epic signifier and secondly that it is non peculiarly surprising that he does it good seeing as though he is a cock, and that it is of course what they do. The cock is so described from his ‘comb’ ( 203 ) right down to his ‘nails’ with the colorss of flowers and gems. This is really unusual when it is applied to Chantecleer, as this method is normally employed when depicting a beautiful adult female. Ironically this description of Chantecleer tantrums absolutely, reminding us of the tittuping beauty of this animate being.