The Manciples Tale:
The Journey
Many critics have argued the meaning of givement and order of each tale in Geoffrey Chaucers The Canterbury Tales. Accordingly, the arrangement of The Manciples Tale, next to last and sooner The Parsons Tale, has been supported by both the Ellesmere and Chaucer Society (Storm 2). Chaucers decision to place a tale teaching guilt and silence provided before a tale preaching justness and compunction surely has a meaning far beyond chance. A tale of evil followed by a tale of devout matches the overall theme of The Canterbury Tales: a pilgrimage leaving sin (the inn) and traveling toward redemption (the cathedral.) Likewise, The Manciples Tale is saturated with contradictions and contrasts that are greens to The Canterbury Tales as a whole.
Chaucers main source for The Manciples Tale, Ovids Metamorphoses, and its hero, Apollo, is the first of legion(predicate) ironic twists that Chaucer incorporates in this tale. Chaucer reverses Apollos traditional qualities and shows his unsuccessful attempt as a hu macrocosm lover. Michael Kensak in his essay Apollo exterminans: The God of numbers in Chaucers Manciples Tale agrees that Phebus in The Manciples Tale bears all the traits of Apollo, the incorrupt god of music and medicine, art and eloquence. The Manciple describes Phebus as Pleyen he doude on every mynstralcie and Was wont to beren in his hand a bowe (lines 113,129).
Also, akin Apollo, Phebus is the height of male attractiveness. No less than three multiplication in the first twenty lines Phebus manliness (lusty baccilar) and good looks (seemliest man and noon so faire enslave) are mentioned (107,119,122). However, Chaucers Phebus reduces these attributes and contradicts the illumination, healing and truth that constitutes this Olympian deity. By the end of the tale, there is little relation to the traditional Apollo and proof that gods...
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