The Wife of Bath, Miley Cyrus and Feminism

Growing up as a middle child, I’ve epitomized the term “middle child syndrome.” I owe most of this to my older brother, the giver of hand-me-downs, the “angelic” child, the mighty one: in other words, I am the Miranda to his Carrie Bradshaw (or the Charlotte to his Lizzie Bennett if you want to talk about this in literary terms). Though my parents, bless their souls, never made me feel as though I was less, teachers, family members and even friends, typically overlooked me for my brother; however, a psychic once told me that I had a black soul so perhaps that was a deterrent, but I digress. Through my experience as a female middle child, I am compelled to associate that experience with my exposure to feminism and female prejudice. It’s a little strange, but most of my analysis stems from feminism, and how different texts depict women. I think this fascination (though some may call it obsession) is why the Wife of Bath’s Prologue and Tale in Geoffrey Chaucer’s The Canterbury Tales intrigues me.

            When I first read The Wife of Bath’s Tale in high school my first thought was something along the lines of: “What did I just read?” yet, as I read, and re-read, this section in Chaucer’s frame narrative, I began to develop an appreciation for the woman. Confidently stating, “Yblessed be God that I have wedded five!” (44) The Wife begins by addressing societal perceptions of marriage, and possesses an authority I wish I had. One of my favorite parts of her prologue is the break down husband-by-husband, of which “thre men of hem were goode and two were bade” (196).  The most provocative husband (and sleazy) is the fifth, and his physical abuse over a book (A BOOK, PEOPLE) partially deafens her (668). In close proximity to this account, The Wife of Bath then references Crisipus, Trotula, and Tertulan, women that defied the social dogma.  These women that defy the female archetype of 14^th century are similar to the females that defied the female roles of the late 19th^h century and early 20^th century, such as Susan B. Antony and Elizabeth Cady Stanton at the Seneca Falls Convention. Though the Wife of Bath is not literally advocating social change, she is addressing issues of gender, sexuality, and the rights a wife possesses, such as financial rights. Her use of her body is not insinuated, she overtly discusses her sexual organs, and the pleasure they bring.

            This prologue, and tale, offers a plethora of females: the smart, the promiscuous (and gap toothed), the mystical and obedient. The Wife of Bath is unapologetically woman, and she does not apologize for her sex, her many husbands or the fact that she “nyl nat enye no virginitee” (142).  Though the females featured in the prologue are either well-known fictional or historical figures, the Wife of Bath creates the women presented in her tale. With her development of these female characters, I cannot help but to think of things such as the woman question, or Miley Cyrus and her absurdity (sorry for any Cyrus fans out there).  Cyrus, who may seem like an odd choice to compare the Wife of Bath to, uses her feminist perspective to advocate for things such as gay rights, sexual freedom and not shaving your armpits (also known as “lets make everyone European”). The Wife of Bath’s characterization reflects Cyrus’ advocacy because they are both challenging social norms: the Wife of Bath’s unapologetic stance on sex, and her lustily disposition, is extremely forward, and Cyrus’ performance, and display of her body, delivers a similar shock value.

            I am consumed by the idea that The Wife of Bath’s Prologue and Tale reflects social anxieties in regards to females. I wonder how much of the Wife of Bath is meant to shock, and the how much is intended to scare. Though the Wife of Bath is a comical, almost absurd character with her descriptions and notions, she does convey the social climate. Her dialogue reminds me of contemporary discussions pertaining to female space, and her collection of husbands makes me wonder how she could deal with so many men, and how any time period would misconstrue a serial-bride as a black widow, a woman that kills her husband(s).
            In her tale, the Wife of Bath discusses the Knight, who raped a young maiden, and later saved by an "old" woman. The tale highlights female appearance, and how society measures female value: virginity, as mentioned in the prologue, or beauty, as pointed out in the tale. This mimics themes seen in classic Disney movies, specifically Snow White and the purity of her pale, beautiful skin. Commodifying women, and using their beauty and virginity as trade, appears to be an issue that has especial longevity. The transformation of the Wife of Bath's old hag into a beautiful woman is reminiscent of the Evil Queen's metamorphosis in Snow White, and positions the female body as a tool for deceit.