When the Nun's Priest turns to Chaunticleer, he begins to comment on the life of the rich in other ironic ways. Chaunticleer has great talents and grave responsibilities, but the cock's talent (crowing) is a slightly absurd one, however proud he may be of it. (In middle English. as in modern, "crowing" can also mean boasting or bragging.) And Chaunticleer's responsibility, making sure the sun does not go back down in the morning, is ludicrous. His other responsibilities — taking care of his wives — are equally silly. Part of the Nun's Priest's method in his light-hearted analysis of human pride is an ironic identification of Chaunticleer with everything noble that he can think of. His physical description, which uses many of the adjectives that would be used to describe the warrior/knight (words such as "crenelated," "castle Wall," "fine coral," "polished jet," "azure," "lilies," and "burnished gold," for example) reminds one of an elegant knight in shining armor.
The reader should be constantly aware of the ironic contrast between the barnyard and the real world, which might be another type of barnyard. That is, the "humanity" and "nobility" of the animals is ironically juxtaposed against their barnyard life. This contrast is an oblique comment on human pretensions and aspirations in view of the background, made clear when Don Russel challenges Chaunticleer to sing, and the flattery blinds Chaunticleer to the treachery. Here, the tale refers to human beings and the treachery found in the court through flattery. Chaunticleer's escape is also effected by the use of flattery. Don Russel learns that he should not babble or listen to flattery when it is better to keep quiet. And Chaunticleer has learned that flattery and pride go before a fall.
When the Nun's Priest turns to Chaunticleer, he begins to comment on the life of the rich in other ironic ways. Chaunticleer has great talents and grave responsibilities, but the cock's talent (crowing) is a slightly absurd one, however proud he may be of it. (In middle English. as in modern, "crowing" can also mean boasting or bragging.) And Chaunticleer's responsibility, making sure the sun does not go back down in the morning, is ludicrous. His other responsibilities — taking care of his wives — are equally silly. Part of the Nun's Priest's method in his light-hearted analysis of human pride is an ironic identification of Chaunticleer with everything noble that he can think of. His physical description, which uses many of the adjectives that would be used to describe the warrior/knight (words such as "crenelated," "castle Wall," "fine coral," "polished jet," "azure," "lilies," and "burnished gold," for example) reminds one of an elegant knight in shining armor.
The reader should be constantly aware of the ironic contrast between the barnyard and the real world, which might be another type of barnyard. That is, the "humanity" and "nobility" of the animals is ironically juxtaposed against their barnyard life. This contrast is an oblique comment on human pretensions and aspirations in view of the background, made clear when Don Russel challenges Chaunticleer to sing, and the flattery blinds Chaunticleer to the treachery. Here, the tale refers to human beings and the treachery found in the court through flattery. Chaunticleer's escape is also effected by the use of flattery. Don Russel learns that he should not babble or listen to flattery when it is better to keep quiet. And Chaunticleer has learned that flattery and pride go before a fall.
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When the Nun's Priest turns to Chaunticleer, he begins to comment on the life of the rich in other ironic ways. Chaunticleer has great talents and grave responsibilities, but the cock's talent (crowing) is a slightly absurd one, however proud he may be of it. (In middle English. as in modern, "crowing" can also mean boasting or bragging.) And Chaunticleer's responsibility, making sure the sun does not go back down in the morning, is ludicrous. His other responsibilities — taking care of his wives — are equally silly. Part of the Nun's Priest's method in his light-hearted analysis of human pride is an ironic identification of Chaunticleer with everything noble that he can think of. His physical description, which uses many of the adjectives that would be used to describe the warrior/knight (words such as "crenelated," "castle Wall," "fine coral," "polished jet," "azure," "lilies," and "burnished gold," for example) reminds one of an elegant knight in shining armor.
The reader should be constantly aware of the ironic contrast between the barnyard and the real world, which might be another type of barnyard. That is, the "humanity" and "nobility" of the animals is ironically juxtaposed against their barnyard life. This contrast is an oblique comment on human pretensions and aspirations in view of the background, made clear when Don Russel challenges Chaunticleer to sing, and the flattery blinds Chaunticleer to the treachery. Here, the tale refers to human beings and the treachery found in the court through flattery. Chaunticleer's escape is also effected by the use of flattery. Don Russel learns that he should not babble or listen to flattery when it is better to keep quiet. And Chaunticleer has learned that flattery and pride go before a fall.
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