The Wife of the Bath‘s Tale(4)

The Wife of the Bath‘s Tale

If we agree with the former, we may see the Wife as an idealistic character who believes that bad men can change. If we choose the latter, the Wife becomes a much more cynical character, inclined to mistrust all men. In the second interpretation, both transformations—the knight’s shallow change in behavior (but not in soul) and the hag’s transformation into the physical object of desires—are only skin deep. Perhaps she is giving him exactly what he deserves: superficiality.

The Wife begins her tale by depicting the golden age of King Arthur as one that was both more perilous and more full of opportunity for women. Every time a woman traveled alone, the Wife

suggests, she was in danger of encountering an incubus, or an evil spirit who would seduce women (880). But the society is also highly matriarchal. After the knight commits a rape, the king hands him over to Arthur’s queen, who decides to send him on an educational quest. His education comes through women, and the queen’s challenge puts him in a situation where what is traditionally

thought of as a shortcoming—a woman’s inability to keep a secret—is the only thing that can save him. The Wife’s digression about King Midas may also be slightly subversive. Instead of finishing the story, she directs the reader to Ovid. In Ovid’s version of the story, the only person who knows about Midas’s ass’s ears is not his wife but his barber. The wife could, therefore, be slyly trying to point out that men, too, are gossips.