data.flinttworks.kayak.rocks/i-am-special.php The essay by Elizabeth Biebel reminds us of the moral significance that was logically attached to kinds of food eaten or rejected as well as to occasions for. Personality, gender distinctions and the line between purity and impurity could be traced, to some extent, by a study of consumption patterns and predilections. How one sought to blend personal style and choice into the larger rhythms of the world might be revealed, both in terms of health and of moral disposition, by an examination of one's shopping list and collection of pots and pans.
Martha Carlin. Brown The Anglo-Saxon feast hall was at the heart of early English society. Here people met to celebrate their victories, to proclaim social bonds with one another and to share the products of the land. Feast-hall scenes frequently appear in Old English literature, notably in heroic poems such as Beowulf, in which much of the action occurs within a magnificent royal hall.
In poetry adapted from Christian rather than Germanic legendary sources, the protagonists may also meet within the mead halls, but the tone of these meetings tends to be darker, even demonic. The shifting literary representation of the feast hall invites an examination of its multiple roles in the Anglo-Saxon world. Some physical remains of feast halls have been found in England.
Archeological excavations at Yeavering have uncovered the traces of a royal hall eighty feet long and forty feet wide, with plank walls set eight feet into the ground to support a high roof. As important as the material evidence may be, however, the descriptions of feast halls found in Anglo-Saxon language and literature present a fuller picture of the hall's importance. The Old English language has an extensive vocabulary of terms to denote the feast hall and its furnishings.
Terms for the feast hall's servants, provi-. James Campbell, ed. Eala beorht bune! Eala byrnwiga! Where has gone the man? Where has gone the giver of treasure? Where has gone the place of the banquets? Where are the pleasures of the hall? Alas, the gleaming chalice; alas, the armoured warrior; alas, the majesty of the prince! A priest illustrates the transitory nature of human existence by comparing life to a sparrow that, for a moment, flies into a warm, well-lit hall, where the king sits dining with his thegns, and then vanishes again into the winter storm raging outside.
Servants' wages and land-rents might be paid in so many loaves of bread, a standard Anglo-Saxon unit of food. Bread was an important constituent of a feast, along with meat, fish and game. Kevin Crossley-Holland, trans. Providing drink to the hall-guests was the mark of a king and the duty of a queen. A set of gnomic verses from the Exeter Book describes the queen's hospitable responsibilities, which begin with the king: 'she must always and everywhere greet first the chief of those princes and instantly offer the chalice to her lord's hand'.
The husband sends word to the woman 'who swore oaths together' with him when they shared the mead-halls saying that he will lack for nothing, 'neither horses not riches nor joy in the mead-hall', if she will join him. Presumably she will bring the halljoy with her. Beor was not the hopped beverage drunk today, as hops were not used in England until the fifteenth century. Bradley, ed. For commentary on the potential power a royal woman might wield through her formal presentation of drink, see Michael J.
The best-known literary example of the Anglo-Saxon feast hall is the hall named Heorot, or 'hart', built by the order of King Hrothgar in the opening verses of Beowulf. The people in the feast hall also serve as an audience for the music and poetry of the scop, literally the 'shaper', who, like the Beowulf poet, presents tales of famous heroes and their deeds.
The scop's stories are powerful enough to compel his audience to action. For instance, when the outcast Grendel hears the sound of the scop singing the Creation story in the hall, the monster's hatred for the people of Heorot begins. Since the scop commences his song shortly after the Beowulf poet has described the making of Heorot, the two creation episodes connect the earthly hall with the garden of Eden, and the scop's ability with the Creator's.
Therefore the hall may be a manifestation of paradise on earth, a Christian concept supported by Alvin Lee, who says 'the newly created hall is in paradisal harmony with heaven'. Grendel is the transgressor exiled by God from paradise, which explains his rage upon hearing the scop's description of its beauties. The scop's use of the Genesis material recalls how the first recorded Anglo-Saxon poet made his reputation by turning the Creation story into Old English verse. Klaeber Lexington, Massachusetts, ; trans. Bradley, Anglo-Saxon Poetry, p. An important activity in the hall is the sealing of bonds between royalty and their followers, the German war-band or comitatus, through the giving of drink, gifts and pledges.
When Wealhtheow first meets Beowulf, the hero who has come to rid her husband's hall of the monster Grendel, she pours mead into his cup and bids him welcome in a formal speech. He also replies formally, promising her that 'I shall achieve a deed of manly courage or else have lived to see in this mead-hall my ending day'. Well-pleased, the queen seats herself next to the king.
After Beowulf himself becomes a king, one of his men reminds the others that they owe loyalty to him by recalling 'that time we drank mead, when we promised our lord in the beer-hall' to support him. Talbot Donaldson, Beowulf, ed. Joseph F. Tuso New York and London, , p. As the wanderer indicates, a good king distributes rich gifts in his hall. The greatest triumphs in Beowulf are marked by the spectacular, public and lavish presentation of gifts from the king's throne in the feast hall, known as a 'gift-seat', gifstol.
In return for killing Grendel, Beowulf receives a golden standard, a helmet, a mail-shirt and eight horses with golden bridles and jewelled saddles. The horses are led into the feast hall by order of the king so that all may see the hero's rewards. Queen Wealhtheow also offers Beowulf precious gifts, including a rich necklace and a mail-shirt.
In return Beowulf gives many of these treasures to his own king when the hero returns home. The king then bestows upon Beowulf an heirloom sword, land and a hall of his own. Once again, these exchanges take place in the feast hall. Thus the hall is the site of the redistribution of wealth within the community as well as the locus of societal bonds. Despite the rich gifts, the alcoholic pledging done by the hall's inhabitants may have a negative impact on their relationships. A feast is sometimes referred to as gebeorscipe, 'beer-drinking', and drunken men maybe violent.
The Beowulfpoet announces that one of Beowulf s chief virtues is that he never slays any of his companions while drunk on the mead benches. In contrast, the poet describes a bad king, Heremod, who 'killed his table-companions' line Drunkenness may contribute to violent tendencies already present in the hall-guests. Images of the hall reddened with blood and strewn with bodies appear in many Old English poems as evidence of the furious feuds that could tear apart royal families and their kingdoms.
The poetic fragment known as the 'Fight at Finnsburgh' tells of a blood-feud that erupts into afive-daybattle, with one side valiantly defending the doors to a hall. Although both groups are related by marriage, the enraged warriors fail to keep the peace in their shared hall because they cannot forget their old enmities. The most immediate threat to the hall, however, comes from Grendel's nightly attack on the sleeping warriors of the hall, whom he devours in a ghoulish parody of the feasts held by the king. The shining blood contrasts grimly with the gleaming decorations of the hall.
Grendel's attacks invert the pleasures of the hall in other ways as well. When Beowulf wrestles with the monster, the struggle is vividly shown in feast-related images: the gold-adorned mead benches go flying and, rather than the song of the scop, the building resounds with Grendel's wailing, which the poet calls 'terrible drink for the Danes' literally ealuscerwen, 'ale-sharing', line The Beowulfpoet also contrasts the dwellings of the monsters with the feast halls of men. Grendel and his mother live in a cold, dark, deathly mere on the edge of civilisation.
At the bottom of the mere Beowulf finds Grendel's mother in a nidseleor 'hostile hall' line During the struggle, she sits on Beowulf, whom the poet ironically terms a selegyst, 'hall-guest' line The 'guest' rewards his 'hostess' by slaying her. The Grendel family keeps an ancient sword, carved with runes, hanging on the walls of their lair, like the treasures kept in the halls of men.
Beowulf uses the sword to kill Grendel's mother and to cut off Grendel's head, thus turning the hall-treasure against its owner. In the second section of the poem, Beowulf, now a venerable king, fights a dragon that attacks his kingdom after a golden cup is stolen from its hoard. The dragon's dwelling is described poetically as an eorbsele or earth-hall line , a hringsele or ring-hall line , and a At the end of their fight, both opponents are dead.
The dragon's body is pushed over the cliff into the sea, while Beowulf s corpse burns on a funeral pyre. The mourners build Beowulf a tomb on the cliff, burying the dragon's treasure with the king's remains. In contrast to the treasures that Beowulf had received earlier, no one will profit from the dragon's hoard, which has a curse set upon it. The construction of Beowulf s barrow, surrounded by a splendid wall devised by skilled workers, echoes the building of Heorot at the beginning of the poem.
However, Beowulf s tomb exists to remind the people of his fame on earth, rather than to point to heaven. Beowulf s people, left without the protection of their hlaford, predict that their foes will soon attack and disperse the kingdom, ending the hall-joys of the hero's people. This ending seems more Germanic than Christian, more reminiscent of Ragnarok than the Day of Judgement with its hope for the future. The halls portrayed in Beowulf generally follow an Anglo-Saxon paradigm derived from Germanic myths of heroic warriors, enchanted swords and monstrous opponents.
Judith is derived from the Old Testament book of the same name, which recounts the tale of a brave and pious Jewish widow who saves her city from a besieging Assyrian army. In the biblical version, Judith dons the festive clothing of a married woman, adorns herself with all her jewellery, and goes into the enemy camp, taking along a bag of kosher food so that she may keep the Jewish dietary laws.
Her great beauty captivates the Assyrian general, Holofernes, at a banquet. He is so stupefied, in fact, that she is able to decapitate him with his own sword and to take the head back to her city, using the bag to smuggle the grisly trophy out of the camp. The demoralized Assyrians flee from Israel, andjudith enjoys an honoured old age as the saviour of her people. The Old English poetic form of Judith's story begins abruptly, because some of the manuscript is missing - how much is not certain.
As the poem commences, Holofernes invites his senior commanders to attend a banquet with spendidly prepared dishes and bowls brimming with intoxicating liquor. Judith, who has been in the Assyrian camp for several days, does not attend, but remains in a separate 'guest-hall', gysterne line Her absence marks a significant change from the biblical version, in which she dresses in her most seductive clothing, sprawls on a pile of fur rugs and lies to the dazzled Holofernes about his chances of success with her and with her besieged city.
The presence of noblewomen was certainly a feature of the AngloSaxon hall, as shown by Queen Wealhtheow's appearance in Beowulf. Why, then, exclude Judith from the feast? An answer may appear in the poet's description of the banquet. He characterizes the gathering as 'insolent men' who are the general's 'confederates in evil'.
They drink excessively, unaware that they are 'doomed'. Holofernes also behaves badly at the celebration: Hloh 7 hlydde, 2et mihten fira beam hu se stidmoda modig 7 medugal bencsittende, Swa se inwidda dryhtguman sine swidmod sinces brytta oferdrencte his dugude ealle.
He laughed and bawled and roared and made a racket so that the children of men could hear from far away how the stern-minded man bellowed and yelled, insolent and crazed with mead, and frequently exhorted the guests on the benches to enjoy themselves well. So the whole day long the villain, the stern-minded dispenser of treasure, plied his retainers with wine until they lay unconscious, the whole of his retinue drunk as though they had been struck dead. The description of the feast shows Holofernes and his men to be debauched and lecherous drunkards headed for doom, whereas Judith, by staying apart from their uproarious banquet, remains virginal and undefiled.
The soul of Holofernes sinks under the ground on its way to hell, to be eternally wrapped in snakes and fiery torment. In another Old English All Old English quotations from Judith are taken from Judith, ed. Timmer London, ; revised and reprinted, Exeter, Bradley, ibid. Juliana wins sainthood for her refusal to sacrifice to pagan idols and to wed a pagan nobleman, Eleusius. The poet Cynewulf adds a new twist to the fate of Eleusius and his men. Rather than simply drowning, as in the Latin version, they go to hell, which Cynewulf compares to a feast hall: Ne JDorftan jaa Jaegnas seo geneatscolu to amfrumgaree witedra wenan, ofer beorsetle aspplede gold.
The thanes in that dark dwelling, the flock of retainers in that deep pit, had no reason to look expectantly to the overlord for the appointed treasures, or that they would receive upon the beer-bench rings and embossed gold in the wine-hall. Cynewulf also credits the violence that often erupts in feast halls to demonic influence when a devil confesses to Juliana that he has often encouraged men drunk with beer to renew old grievances. The devil boasts that 'I have served them strife out of the wine goblet'. One reason for the demonization of the hall in Judith and Juliana may be that the Christian virtues of the time included sobriety, fasting and chastity, all of which were codified in rules for churchmen and laymen.
The Old English poem Christ and Satan describes how Christ set an example of restraint for good Christians by fasting for forty days in the wilderness, even though the devil tempted him to show his power by turning stones into bread. Rosemary Woolf London, ; revised and reprinted, Exeter, By feeding his disciples on bread and wine representing his body, Christ supplanted the role of the hlaford as bread-provider and shifted the setting of the feast from specific earthly locations to more spiritual sites, either the church, the world in toto, or heaven. The hall is the world that needs the care of Christ, the master architect, to remain together.
Where is brotherly love? Let your use of clothes and food be moderate. The servants of Christ in the Anglo-Saxon monastic dining hall did not lack for food, but the amount and type were strictly controlled, and You are the corner-stone the builders once discarded. It becomes you well to stand as the head of the great hall, to lock together the lengthy walls, the unbreakable flint, in your firm embrace. Crossley-Holland, ibid. Krapp; trans. Crossley-Holland, Anglo-Saxon World, pp. He eats with moderation 'as befits a monk. Bede says that Cuthbert 'was ready to suffer hunger and thirst in this life in order to enjoy the banquets of the next'.
Among the laws of Wihtred, a late seventh-century king of Kent, are these: 'If anyone gives meat to his household in time of fasting, he is to redeem both freeman and slave with healsfang [one-tenth of one's wergild]. If a slave eat it of his own accord [he is to pay] six shillings or be flogged' ,33 To do penance for their sins, lay persons might fast on water, green herbs and coarse bread or restrict themselves to one meal a day and offer the rest to the poor.
The wealthy might pay others to fast for them. Ambrose, commenting on the story of Judith, credits her sobriety for her escape from the Assyrians, 'for if she had drunk she would have slept with an adulterer' 'nam si Judith bibisset, dormisset cum adultero'. By her moderation, he adds, 'the fasting of one woman defeated an innumerable army of drunken men'. The Benedictine Rule forbade meat-eating, except for sick brethren and the children in the monastery.
Monks and nuns were allowed to eat pinguedo, a type of meat dripping or lard, but had to abstain during Lent and Advent Hagen, Handbook of Anglo-Saxon Food, pp. Wilfrid also distinguished himself by washing every night in holy water, winter or summer. Farmer, trans. Webb, revised ed. New York, , pp. Bede chronicles jEpeldryd's moderate eating habits in Historia ecclesiastica, iv, c.
Likewise, Bede mentions many food miracles performed by Cuthbert as well as making this comment about the saint in chapter 6 of his life: see 'Bede: Life of Cuthbert', in The Age of Bede, ed. Even animals may feast differently in secular and Christian poems. A well-known topos of heroic Old English poetry is the description of the 'beasts of battle', usually the raven, the eagle and the wolf, who lurk near the battle so that they may feed on the dead bodies of the fallen warriors.
In the Battle of Brunanburh, for example, the victorious English return to Wessex, leaving behind the 'horny-beaked raven', the 'greycoated eagle' and the 'wolf in the wood' to devour the corpses with relish. Although the Anglo-Saxons enjoyed their feast halls, the Christian concept of sin seems to have altered the way in which some poets described banqueting scenes. Thus, even in manuscripts that may be contemporary, the shining halls found in Beowulf appear in contrast to the licentious banquet of doomed Assyrians in Judith.
The multiple interpretations of the feast hall in Old English literature demonstrate poetic awareness of source material and a sense of the appropriate use for the central paradigm of Anglo-Saxon society. Ambrose, Liber de viduis, 7, Patrologia Latino, 16, col. Liber de Elia et leiunio, 9, Patrologia Latino, 14, col.
Biebel Food consumption plays a role in medieval society that extends far beyond the concepts of sustenance and survival. Bridget Ann Henisch's. The Monk has a taste for roasted swan; the friar in the Summoner's Tale prefers capon liver. While the Franklin is a veritable gourmet, the widow in the Nun's Priest's Tale contents herself with a more humble 1. The Tacuinum of Vienna finds dill 'brings relief to a stomach that is cold' p.
Vogel notes that dill seeds 'have a warming affect and are good for the stomach and intestines, especially in cases of chills', The Nature Doctor New Canaan, , p. Larry D. Benson et al. Boston, Massachusetts, Various critics have noted the relevance of Chaucer's food references in relation to an individual character; they analyse how diet may be used as an interpretive guideline for the health, personality or morality of a particular consumer. Keeping in mind that Chaucer's cast of characters is making a religious pilgrimage, the concept of physical food readily lends itself to that of spiritual nourishment.
Such a movement can take two directions. While the symbolic nature of the Eucharist highlights the positive elements of food, the sin of gluttony is the result of the abuse of food. These disparate functions that food can assume may incorporate many other polarized facets. The physicality of gluttony in its opposition to the ascetic nature of the Eucharist provides an illustration of the dichotomy of feast versus fast. The exclusion of meat in a fasting diet results in a juxtaposition of animal versus vegetable.
Out of this opposition, society has created gender associations for both of these food types. The high-protein content of meat has contributed to the traditional view that meat is the appropriate food source for men.
Conversely, women have been aligned both with vegetation and with butchered animals. While the nurturing, gentle and other so-called feminine qualities are seen as being reflected in plant life, woman's physical attractiveness to heterosexual man is at times described in meatlike terms. Woman does not benefit from her association with dead animals as man does from his link with living ones. For woman the analogy can be both debasing and victimizing. That Chaucer links woman through metaphor to butchered animals does result, however, in a sacred connotation of her gender with the sacrificial nature of Jesus Christ.
Chaucer achieves this connection through the process of association. The awareness of the motif in which Christ is given feminized attributes in the middle ages allows the incidents of food consumption found in the Canterbury Tales to be interpreted in a religious light that is reverential towards woman, although it does stereotype her in the role of passive victim.
Before the nature of food consumption in the Canterbury Tales can be examined as a whole, the significance of diet should be evaluated at the individual level. In the General Prologue, there are three pilgrims who are 5. In his Philosophy of Right Hegel wrote, 'The difference between men and women is like that between animals and plants.
Men correspond to animals, while women correspond to plants because their development is more placid', quoted in Carol J. Take, for example, Chaucer's Monk. Among the many worldly pleasures this 'lord ful fat' A enjoys, 'A fat swan loved he best of any roost' A As Heiner Gillmeister notes, the sixth-century Rule of Saint Benedict does not allow members of monastic communities to consume the meat of quadrupeds.
His specific preference for swan, though, does reveal certain traits that one would not expect to find in a truly ascetic man. Among the medieval prices for fowl that Ramona Bressie indexes, a chicken is valued at two and a halfpence, whereas a swan is priced at six or seven shillings. Further flaws in the Monk's morality are revealed in the writing of Rabanus Maurus: 'Cygnus est superbia, ut in lege prohibetur, nequis manducet cygnem [Leviticus, ], id est ne exhibeat se elatum. His pride in worldly goods leads him into the spiritual desperation of sloth.
While much has been said about the Prioress and her courtly table manners, Madame Eglantyne never consumes a specific food item. The reader is only informed of what types of dainties are fed to her dogs. Also, the Cook's portrait consists of the dishes he knows how to prepare; it does not mention what Roger of Ware prefers on his own table. Another character whose moral condition is revealed by dietary preference is the Summoner: 'Wei loved he garleek, oynons, and eek lekes' A In addition to the state of his soul, the health of the Summoner's body is also perceived through food analysis.
Referring to the works of, among others, Bartholomaeus de Glanvilla and Bernardus de Gordon, Walter Clyde Curry diagnoses the Summoner as one who suffers from alopecia. Connecting the Summoner's diet with his disease, Curry quotesJoannitius and Paulus Aegenita, who believed that indulging in the bulbs and culinary herbs listed above led to ill effects in the bloodstream. Additional and slightly more timely support for this theory can be found in the late fourteenth-century Tacuinum ofViennawhich lists 'influences coitus' among the uses of leeks and 'facilitates coitus' among the benefits of onions.
Wood notes Garabaty's belief that the Summoner is suffering from secondary syphilis pp. Kaske offers a moral interpretation of the Summoner by comparing his favourite foods to the people of Israel's longing for the foods of Egypt in Numbers, Ful many fat partrich hadde he in muwe, And many a breem and many a luce in stuwe. A If food consumption may be relied upon as a guide for interpreting the Franklin's character, the man's adherence to a seasonal diet speaks of him in a positive light.
Joseph Bryant comments upon Hippocrates' Regimen in Health, a work that was influenced by the Secreta secretorum, which advocates maintaining a diet that focuses on balancing the humours in one's body as a regimen for good health. Factors such as 'age, season, habit, land and physique' are to be considered in this plan. The Secreta secretorum offers a physiognomy-oriented interpretation of a sanguine personality: 'The sangyne by kynde sholde lowe loye and laughynge. On the other hand, D.
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Robertson in his A Preface to Chaucer: Studies in Medieval Perspectives Princeton, New Jersey, , finding a negative reference to Epicureans in Gower's fourteenth-century Mirourde Vomme, believes the Franklin is 'blind to anything beneath surface appearance' because he is merely a possessor of the 'Superficial nobility of a wealthy man of the middle class' p. Chaucer's vivid image of it snowing food and drink in the Franklin's home provides additional commentary for both camps of the Franklin's critics.
While Robert Miller believes the precipitation of food is a material substitution for spiritual manna, Hugh Keenan finds no adulteration of the manna image Chaucer provides: 'The snowing of food as in the manna storyjoins his feast and the Mass'. Eucharistic imagery does not, however, always appear in the positive context that it does in the Franklin's portrait. A corrupted representation of the Eucharist may be found in the Pardoner's Tale. Helen Cooper notes that the bread and wine that the third rioter brings back to his associates become transformed 'into the vehicle of bodily death' for the rioters, not the means of their salvation.
In 'Carnival Food Imagery in Chaucer's Description of the Franklin', Studies in the Age of Chaucer, 16 , Frederick Jonassen asserts: 'The Franklin's change in diet which accompanies the change in seasons corresponds to the customary alteration between the meat diet typical for the season of Christmas and Shrovetide and the fish diet prescribed by the church for fasting days, especially during Lent' p. An example of such exegesis maybe found in the Parson's Tale i, , in which it is explained that Eve represents the flesh or the senses and Adam portrays the intellect.
It is through the weakness of the senses that man's reason may be persuaded to succumb to temptation. Using Eve's gluttony towards the forbidden fruit as a basis for his argument, Andreas Capellanus wrote: Woman is also such a slave to her belly that there is nothing she would be ashamed to assent to if she were assured of a fine meal, and no matter how much she has she never has any hope that she can satisfy her appetite when she is hungry. A mid fourteenthcentury sculpture of the Seven Deadly Sins in the Doge's Palace in Venice depicts Gluttony as a woman who 'holds a jewelled cup in her right hand and gnaws a limb of a bird held in her left'.
The medieval conception of gluttony not only involved overindulgence in food but also the abuse of alcohol. Chaucer's Parson supplies such a definition: 'Glottonye is unmeasurable appetit to ete or to drynke.. This union of food and wine in sin further develops gluttony as a dark parallel of the Eucharist.
Yeager notes that the Pardoner's reordering of the cardinal sins agrees with the fifth-century writings of John Cassian. It was Gregory the Great who, in the sixth century, listed pride as the first of the sins.
In his discussion of the Seven Deadly Sins, Chaucer's Parson adheres more closely, although not exactly, to Gregory's ordering of the sins and indexes pride as the foremost of them. In A Preface to Chaucer, Robertson offers a thorough explanation of both Augustine's philosophy and Peter Lombard's incorporation of the Augustinian account of the Fall in his Sententiae pp. John Jay Parry New York, , pp. In all due fairness, Gluttony has not been exclusively depicted as a woman in medieval art. An illustration from a fourteenth-century manuscript of the Roman de la Rose, reprinted in Robertson, A Preface to Chaucer, personifies the sin as a man gulping the contents of the goblet in his right hand fig.
It is interesting to note that, in the two discussions of gluttony in the Canterbury Tales, there is no emphasis placed upon woman as a creature of inordinate appetite. Indeed, the Pardoner's Tale uses male historical figures to illustrate the folly of gluttony, and the Parson's Tale only refers to the culpability of Eve in its discussion of the allegorical interpretation mentioned above.
The absence of such traditional notions causes one to speculate that Chaucer saw beyond the standard conceptions of his day. If the food consumption that occurs in the Canterbury Tales is examined as a whole, a method does begin to emerge. There is a pattern of pure, balanced or even vegetarian intake surrounding the genuinely good individuals in both the General Prologue and the separate tales that is countered by a meat-oriented diet evinced by a less upstanding cast of characters.
The friar in the Summoner's Tale insists that no special attention should be given to the food that will be prepared for him. His requests, however, for 'nat of a capon but the lyvere. And after that a rosted pigges heed' D , , exhibit a pampered nature that desires rich food. What begins as simple requests for grain and cheese escalates into repeated petitions for 'brawn' D , and 'Bacon or beef D In the Reeve's Tale, Simkin has to send his daughter out for ale and bread, but there is a goose on hand to be roasted for his guests.
Symbolic of Simkin's lack of ethics and his misguided worldliness, the Eucharistic symbol of ale and bread is absent from this man's house. As with the rioters in the Pardoner's Tale, the image of the key to salvation is not perceived, and the ale and bread contribute instead to a gluttonous feat that climaxes in an evening of vengeful lechery and violence. In sharp contrast to these corrupt diets, the ever-patient Griselda maintains a vegetarian existence, sustaining herself with 'Wortes or other herbes.
The good widow of the Nun's Priest's Tale also lives simply, drinking no wine and eating milk and brown bread. Occasionally, she enjoys a treat of bacon and eggs. At this point, the subtle emergence of a pattern that allies diet with gender should be noted. Those characters who indulge in meat are The Medieval Health Handbook informs us that, while liver was believed to be hard to digest, the meat of gelded animals was considered to be extremely tender p.
Roasted meat contributed to a phlegmatic disposition p. In his negative representation of the more carnivorous food regimen, Chaucer is not making any direct pro-vegetarian statement; however, there are traces of a humanistic sensitivity in this dietary patterning. For, in addition to the alignment of disreputable natures with the consumption of flesh, there are elements woven into certain segments of the Canterbury Tales that link women to meat, thereby suggesting an association between the stereotypically feminine quality of passivity and the killing of animals for food.
The primary example of the association of women with meat is found in the Merchant's Tale. When January explains to his friends why he wishes to marry a young woman instead of one closer to his own age, he creates a debasing analogy: I wol noon oold wyf han in no manere.
She shal nat passe twenty yeer, certayn; Oold fissh and yong flessh wolde I have fayn. E While the diets of Sir Thopas and the Summoner might initially seem to counter the above assessment, Carol J. Adams, in The Sexual Politics of Meat, notes the following social connotation concerning diet and sexuality: 'Men who decide to eschew meat eating are deemed effeminate; failure of men to eat meat announces that they are not masculine' p.
Thus, the point of having the hero of Chaucer's mock-romance munch on gingerbread and liquorice is to highlight his effeminacy. This is not to say that in medieval times the word vegetable or any of its derivation had the same extremely passive connotations as it does today. The sense of positive growth surrounded this word to the extent that it was used in religious writing. The human soul was conceived of as being female in nature during the middle ages. Were this the only example of equating woman with edible flesh, the passage could be dismissed as a rejoinder to the Wife of Bath's insulting remark that refers to her three, old husbands: 'And yet in bacon hadde I nevere delit' D Another pointed example of linking women with slain animals is mentioned in the Monk's portrait.
This lusty man 'lovede venerie' A The implications are that this passion is twofold: the Monk not only loves to hunt animals but also desires to prey upon women. Women and animals are used to slake these two strong appetites of men. Frowning, the Doctor moans in disappointment. Martha tells the Doctor he shouldn't meet his heroes. Shakespeare then announces there will soon be a sequel, Love's Labour's Won ; it will answer the questions Lost left behind.
Watching from above is Lilith, dressed as royalty. When Will is about to announce when the play will be performed, she takes control of his mind with a puppet; Will declares that it will be tomorrow night. The Doctor is left bewildered by Will's sudden behaviour. As they leave the theatre, Martha asks why she has never heard of Love's Labour's Won. The Doctor knows of the lost play as it appears in the listing of Shakespeare's works, but the play itself is non-existent. Martha asks if he has an advanced gadget for recording things; they could record the play and seal it back in the 21st century, make a fortune.
The Doctor tells her no; Martha agrees that would be taking advantage of time travel the wrong way. He decides to find out more about why it was never published. In the room is Lilith, disguised as a maid. The actors ask Will why he announced the play for tomorrow instead of next week as they planned. He states that he will have the last scene finished by the morning. The Doctor enters and Shakespeare tells him to leave. He says he won't give him an autograph or a portrait done with him. He tells for the Doctor not to ask him where he gets his ideas.
Upon seeing Martha enter, he stops dead. Recognising the signs, the actors excuse themselves; to them, it looks like Shakespeare has found a new muse. Shakespeare is confused by Martha's clothing and the Doctor explains she's from " Freedonia ". Martha is confused by this as she sees the Doctor's title on the paper. Shakespeare remains adamant about what he sees and the Doctor explains the psychic paper, noting that Shakespeare's immunity to the paper proves the writer is an "absolute genius". The writer takes interest in the word and wonders who the Doctor is.
However, his attention shifts to Martha, whom he tries wooing, describing her as "a queen of Afric " or a " blackamoor lady", which she finds slightly offensive. The Doctor says it's "political correctness gone mad".
At that moment, Lynley , Master of the Revels, barges in, demanding to see the script before he allows the play to proceed. Shakespeare tells him that the play will be given to him tomorrow morning; however, Lynley arrogantly declares that the Master of Revels does not work to an author's schedule. He again demands the play, but Shakespeare insists it's not ready yet. Insulted, Lynley declares that this slight means he will ensure the play will never be performed, even if it's the last thing he does; he will return to his office for a banning order.
The Doctor assumes that this explains why Love's Labour's Won was never shown. Martha, on the other hand, thinks it's karma for Will insulting her. Lilith overhears this, contacting her mothers to warn them; they tell her that the play must be performed the next night. She tells them to calm down and chant with her, adding hair she secretly took from Lynley to a doll; it is now a voodoo doll. Lillith plunges the doll into a bucket of water.
The Doctor, Martha and Shakespeare hear a commotion in the street and run out, where Lynley vomits water. Lilith stabs the doll in the chest, and Lynley collapses, dead. Martha and the Doctor try helping him, with the Doctor noting that it's like something stuck Lynley's heart. Martha attempts CPR but is shocked to find Lynley's lungs full of water. The Doctor calmly announces to the crowd that Lynley died a natural death, of a sudden imbalance of the humours.
He asks for a constable to take Lynley's corpse; Lillith offers to do so, walking off with a hidden grin on her face. Confused, Martha asks the Doctor why he told the crowd a lie. The Doctor whispers that they've got "one foot in the Dark Ages", and any seemingly unnatural answer would lead them to think that it was witchcraft. When Martha asks what actually killed Lynley, the Doctor responds, "witchcraft", confusing her further.
Inside the inn, they wonder about Lynley's murder, but Shakespeare is equally confused by Martha's training as a doctor , wondering what kind of land Freedonia is. Martha defends herself by saying that in Freedonia, women can have any profession they want. He then asks the Doctor how he can have eyes so old for someone young. The Doctor says it because he reads a lot. Shakespeare sees it's a trite reply, something he'd do himself; both would rather not go into detail if they can help it.
He then notes Martha looks at the Doctor like she's surprised that he even exists. The Doctor and Martha have been informed by Dolly that she's prepared a room for them. Shakespeare explains he still has to finish writing the end of the play and bids the Doctor good-night, saying he will solve why the constant performance from him tomorrow. The Doctor then gives Shakespeare his "All the world's a stage" line before retiring for the night.
Martha is less than impressed with the room, complaining she doesn't even have a toothbrush.
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The Doctor gives her one from one of his pockets, explaining it contains Venusian spearmint. An excited Martha says these oddities remind her of Harry Potter ; with a smile, the Doctor tells her "Wait to till you read book seven. Oh, I cried. She complains about starting to believe in time travel. The Doctor gives a disgruntled Martha mixed signals by casually sharing the bed with her only to show no interest, then dismissing the idea that a mere human could be channelling the psychic energy and bemoaning the lack of Rose 's insight.
However, without seeming to notice Martha's reaction, he attributes this to Martha being a novice to time travel. He says he'll take her home tomorrow. Meanwhile, Lilith entrances Shakespeare and, using a marionette, compels him to write a strange concluding paragraph to Love's Labour's Won. She is discovered by Dolly, who had just finished her work to help "relax" Will.
Lilith shows her true face, scaring Dolly with a snarl as she reaches to steal her broom to aid her flight. Upon hearing another scream, the Doctor and Martha run into to find Dolly's body as Shakespeare wakes; the Doctor notes that Dolly's heart gave out from a powerful fright. Through the window, Martha sees Lilith flying away on a broomstick. When asked by the Doctor what she saw, Martha answers, "A witch". In the morning the Doctor, Martha and Shakespeare are confused by what has happened.
Correctly guessing that Shakespeare is central to the witch's plot, Martha accidentally tells Shakespeare he will write about witches. Shakespeare then remembers Peter Streete spoke of witches; he was the architect for the Globe Theatre. This leads the Doctor to investigate the Globe next. There, he wonders why the theatre is tetradecagal. The Doctor thinks he's heard of something before that involves the number 14, but can't seem to remember it. Upon his companions ' opinions of what has the number 14 in it, the Doctor asks why the Globe was designed like this.
Shakespeare explains the architect thought it allowed the sound to carry well. When questioned as to the whereabouts of Peter Streete, Shakespeare says that he was admitted to Bedlam. The Doctor decides that is their next stop. Shakespeare follows after him after giving his actors the final draft of his play. He tells them the Queen may come, before muttering "As if. A Carrionite spectre appears at the rehearsal. The actors rehearse, with the lead actor reading what he thinks is gibberish; he guesses Will was dozing off as he wrote it.
This alerts the witches, who say it's too soon for their spell. However, Lilith tells them it's just a preview of what's to come that night. They all cackle in glee as a spirit appears to the actors before they can finish reading the spell. It fades away, making them decide to keep it a secret. Or else they risk getting committed to Bedlam.
Once at Bedlam, Martha and the Doctor are disgusted to learn that the patients are whipped to entertain the gentry. Shakespeare defends it, saying that fear of the place helped "set him right". The Doctor explains that Shakespeare fell into depression after his son's death. Shakespeare then speaks, "To be or not to be", from his future play when explaining what he felt then, but wonders if the line is a bit pretentious; the Doctor is indifferent about it.
They are led into Streete's cell, where the Doctor finds he is suffering from catatonia. This visit causes Lillith to sense something is amiss; she and her mothers look into their cauldron and find the Doctor at the mad house with Shakespeare. Lillith notes the Doctor was at the inn with Shakespeare and smells of something new.
Fearing that they would be revealed if the Doctor can get Peter to talk, Lilith has Doomfinger transport herself. In the cell, the Doctor uses his telepathy to help Peter think that all the horrible things that happened to him were nothing more than an illusion, calming the man and making him aware of their presence. On the Doctor's order, Streete reveals that witches spoke to him and made him design the Globe to their design, not his own; once he has served his usefulness, they snapped his wits to keep him quiet about their plans. He also tells the Doctor that the witches were based in All Hallows Street.
Immediately, Mother Doomfinger appears in the cell and kills Peter with a touch to the heart. Martha yells to be let out but is told by the Doctor that it's pointless as the entire building is yelling that. Doomfinger tells them she'll stop their hearts, asking who would like to go first. The Doctor steps forward to confront her; Doomfinger explains no-one on Earth has knowledge of them. He then begins rambling about the facts: humanoid females that channel energy into power through words.
The Doctor figures out that the 14 walls of the Globe are based on the 14 stars of the Rexel configuration. Rather than cut down on her food intake to slim down before a show, the Victoria's Secret beauty admits she stuffs her face even more and rejects advice not to eat big meals in the evening. Work or vacation? The model turned a day at the beach into a catalog worthy moment while holidaying in Miami this week.
Asked if she diets before the famous Victoria's Secret catwalk show, she told website The New Potato: 'I just make sure I get protein in every meal and I try to eat cleaner than usual. Most of my snacks involve peanut butter or almond butter. How she does it: Martha previously revealed she hits the gym regularly to maintain her figure.
Early riser: She said she would never alter her schedule but instead would get up earlier if that was the only way to fit in her exercise sessions. Toning up: Martha enjoys weight training, though she knows that isn't an approach that works for everyone. And when she does workout, Martha enjoys weight training, though she knows that isn't an approach that works for everyone. When asked which workout gives her the best results, she said: 'Squats! I also started seeing better results once I added weights into my training. All bodies are different; I don't think there's one answer suited for everyone.
Truth be told: 'I'm bad about eating my biggest meal at night; I know that's not the healthiest thing to do,' said the star. The views expressed in the contents above are those of our users and do not necessarily reflect the views of MailOnline. Share or comment on this article: Martha Hunt works her model magic on the beach in Miami e-mail Most watched News videos Bouncers attack festival goers after objects thrown at Hideout Children scream as two families get into shocking brawl at Disneyland Baseball fans brawl in the stands at Chicago Cubs-White Sox match London: Man seen scaling the outside of The Shard skyscraper There she goes: Parked car is swallowed by a giant sinkhole Locals take turns to ride turtle as distressed animal tries to move Spectacular moment hundreds of horses spiral together at festival Shocking CCTV shows up to 60 teens vandalizing and looting Walgreens Teenage girls attack McDonald's worker and spit in his face Final moments of mountaineers seen before Himalayas avalanche 'Flight from hell': Brits filmed throwing up on plane to festival Jeremy Corbyn confirms Labour is backing a second referendum.
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