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As he approaches them, the maidens disappear, and the only living creature is a foul old woman, who approaches him and asks what he seeks. The knight explains his quest, and the old woman promises him the right answer if he will do what she demands for saving his life. The knight agrees. When the queen bids the knight to speak, he responds correctly that women most desire sovereignty over their husbands. Having supplied him with the right answer, the old crone demands that she be his wife and his love.

The knight, in agony, agrees. On their wedding night, the knight pays no attention to the foul woman next to him. When she questions him, he confesses that her age, ugliness, and low breeding are repulsive to him. The old hag reminds him that true gentility is not a matter of appearances but of virtue. She tells him that her looks can be viewed as an asset. If she were beautiful, many men would be after her; in her present state, however, he can be assured that he has a virtuous wife. She offers him a choice: an old ugly hag such as she, but still a loyal, true, and virtuous wife, or a beautiful woman with whom he must take his chances.

The knight says the choice is hers. And because she has "won the mastery," she tells him, "'Kiss me. The Wife's prologue is unique in that it is longer than the tale itself. The Wife of Bath uses the prologue to explain the basis of her theories about experience versus authority and to introduce the point that she illustrates in her tale: The thing women most desire is complete control "sovereignty" over their husbands. Because she has had five husbands, the Wife feels that she can speak with authority from this experience, and, in the prologue, she tells how she got the upper hand with each of them.

In Chaucer's time, the antifeminism of the church was a strong controlling factor. Women were frequently characterized as almost monsters; they were sexually insatiable, lecherous, and shrewish, and they were patronized by the church authorities. Women were not allowed to participate in church doctrine in any way. Likewise, in Chaucer's time, a second marriage was considered suspect, so the Wife of Bath carefully reviews the words of God as revealed in scripture. And her knowledge of scripture although confused at times reveals that she is not simply an empty-minded woman.

Nowhere, she confesses, can she find a stricture against more than one marriage, save the rebuke Jesus gave to the woman at the well about her five husbands. But this, she confesses, she cannot understand. Furthermore, in Chaucer's time, perpetual virginity received considerable praise; some of the saints were canonized because they preferred death to the loss of their virginity, or some struggled so fiercely to retain their virginity that they were considered martyrs and were canonized. After the Wife of Bath departs from the holy scriptures, she appeals to common sense — if everyone remained a virgin, she offers, who would be left to give birth to more virgins?

Even more basic, she maintains that the sex organs are to be used for pleasure as well as for procreation: She admits that she is a boisterous woman who enjoys sex and is not ashamed of it — a violation of the medieval view that saw sex as justified only for procreation.

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She also denies the popular belief that women should be submissive, especially in matters of sex. The reader should remember that the Wife's arguments, in all cases, go against the authorities of the church and that she is a woman who prefers her own experiences to scholarly arguments. The truly remarkable aspect of the Wife of Bath's prologue is not her argument with the mores of her time or with the strictures of the church, but the very wonderful portrait of a human being.

She is a woman of great vitality, a woman who is wonderfully alive and responsive. And after five husbands and hardships — she has lost her beauty and her youth — she has survived. She has the power to enjoy life with a zest denied the other dour pilgrims, and she has the will to enjoy what she cannot change. The Wife of Bath's Tale is referred to technically as an exemplum, a story told to illustrate an intellectual idea.

The Canterbury Tales

In this case, the tale is to provide an answer to the question "What do women most desire? Jerome's comments on celibacy in Hieronymous contra Jovinianum , he reshaped the tale to fit in with the Wife of Bath's introduction and her basic thesis that women most desire "sovereignty. Throughout the Wife's tale, traditional values and headships, that is leadership and supremacy, are reversed or overthrown. At the beginning of the tale, King Arthur submits to the rule of Guinevere thus abandoning both his headship of the state and his headship of the family ; the ladies of the court, instead of the men, serve as justices; and the authority of books and scriptures gives way to experience.

Furthermore, the knight, a rapist who has violated the sanctity of a young girl's chastity, is redeemed by another woman, albeit a hag. Finally, in the choice the hag offers the knight, both choices are intolerable. Thus, when he lets her make the decision, he has abandoned the male's sovereignty in favor of the woman's rule, thus turning the medieval world-picture "up-so-doun. Mark can tell The miracle of the loaves and fishes and the barley bread is actually John, not Mark see John VI:9 , but this is a slight error for a woman of the Middle Ages to make.

Geoffrey Chaucer

The Wife of Bath's quote shows that she is familiar with such a famous person. Dunmow Fliatcah a prize awarded to the married couple in Essex who had no quarrels, no regrets, and, if the opportunity presented itself, would remarry each other. In Cinthio, the ensign's wife accompanies her husband to Cyprus.

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She is described as "a beautiful and virtuous young woman" who, "being of Italian birth, In Cinthio, the ensign filches Desdemona's handkerchief when she visits his house and hugs his three-year-old daughter. It is presumed his wife is present since Cinthio makes clear earlier in the tale that Desdemona often spent part of the day with the ensign's wife. However, his wife takes no part in the mischief. The next appearance of the ensign's wife in the tale occurs when Desdemona discusses her husband's troubling behaviour with her.

Here, Cinthio makes clear the ensign's wife is aware of her husband's plotting, but remains silent in fear of him.

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She advises Desdemona not to give the Moor any cause for suspicion and to assure him of her love and loyalty. The last mention of the ensign's wife is in the final sentence of the tale when, long after Desdemona's murder and once her husband is dead, she reveals what she knows of the past.

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Though Emilia is mentioned in 1. She banters briefly with her companions before leaving the stage, presumabably in Desdemona's entourage. Though not specifically mentioned, she probably appears as Desdemona's attendant at the beginning of 2. At the end of the scene, Iago is alone and plots to have Emilia "move for Cassio to her mistress". In the same scene, Emilia finds Desdemona's handkerchief, but, she hands it over to Iago as he had been urging her to steal it. He takes it and forbids her from mentioning its whereabouts.

After Othello rages over the loss of the handkerchief, Emilia attempts to comfort Desdemona. Emilia states she would commit adultery if it gained her husband the world and also asserts that husbands are to blame, arguing for equality and mutual respect in marriage. She briefly appears in 5. She calls for help and Iago, Montano and Gratiano appear. Emilia having heard from Othello that Iago told him of Desdemona "cheating" on him with Cassio, accuses him of gross dishonesty leading to an unjust murder.

When she hears about the handkerchief, she reveals her role and Iago threatens and then kills her at the first opportunity. Emilia is a comparatively minor character for much of the play; however, she serves to provide a strong contrast to the romantic and obedient Desdemona, demonstrating that she is both intelligent and distinctly cynical, especially on matters relating to men and marriage — her speech to Desdemona listing the faults and flaws of the male sex in 4.

She also states in the same scene that she would be willing to commit adultery for a sufficiently high price — this shows her cynical and worldly nature in sharp contrast to Desdemona, who seems almost unable to believe that any woman could contemplate such an act. Throughout the play, Iago uses Emilia's close friendship with Desdemona to gain access to her and, in particular, asks her to steal Desdemona's handkerchief, which he subsequently drops in Cassio's house and later uses this as evidence to convince Othello that Cassio has been with Desdemona.

Emilia does not agree to steal the handkerchief for Iago. Iago snatches it from her and all she can do is ask about what he'll do with it III. Iago is the one who drops the handkerchief in Cassio's chamber.