Wife of Bath: Women are children of Venus

About the scene and clip:
The performer, as the Wife of Bath, uses two classmates as gender props to explain how women are the children of Venus, while scholars are under the domination of Mercury: as one planet sinks, the other rises. Women and scholars can never be in harmony—therefore women are never praised by scholars.

About the work:
Geoffrey Chaucer’s The Canterbury Tales, dating from around the last decade of the 14th century, tells how a group of pilgrims journey to the shrine of St. Thomas Becket at Canterbury and agree to tell stories on the way there and back, to pass the time. The two dozen or so pilgrims represent various classes and stations of men and women, both lay and religious. There are tales of many different types, including a fabliau (“The Miller’s Tale”) and a miracle story (“The Prioress’s Tale”). Tales are told in a wide range of styles, from the high, noble, and serious, to the low and the bawdy. Most of the tales are in verse, generally in rhymed couplets; a few are in prose. The Canterbury Tales exists in many manuscripts but is fragmentary: as we have the work, the pilgrims do not actually get to Canterbury, or back, and scholars disagree as to the order in which the tales should go. But this collection of great stories, often told by highly memorable characters, is one of the masterpieces of medieval literature.

The Wife of Bath is among the most forceful and memorable figures in The Canterbury Tales. In the lengthy prologue to her tale, she talks about marriage (virginity was not for her!), and about her five husbands, most of whom she bullied and dominated. The story the Wife of Bath tells comes from Arthurian tradition: a bold knight of King Arthur’s court is sentenced to death as a punishment for rape, but the Queen intervenes on his behalf and arranges for him to be pardoned—but only if he can find the answer to the question: what do women want most? After a long and fruitless search, an old crone gives him the answer, but she makes him promise that in return he will grant whatever she asks of him. She demands his hand in marriage. He reluctantly assents and marries her—but, to his delight, she turns into a beautiful young woman.

Another clip on this website–“Wedding of Gawain: What do women want?”–is from a work that tells essentially the same story as Chaucer’s “Wife of Bath’s Tale”—only there, the knight is Sir Gawain.

About the genre:
This story belongs to the tale tradition. The tale, like the epic, is an ancient genre and one found everywhere in the world. Many tales are firmly rooted in oral tradition and are recited or told by amateur and professional storytellers and performers. Other tales are the work of literarily sophisticated authors and are often intended to be read aloud or silently from written texts. Some tales circulate separately, while others are part of collections, which may be set in complex frames (as in the case of Ovid’s Metamorphoses, Boccaccio’s Decameron and Chaucer’s Canterbury Tales). There are many sub-groups of tales with specific characteristics; see for example the “lai” and the “fabliau.”

About the edition/translation:
Geoffrey Chaucer, The Canterbury Tales, trans. David Wright, Oxford/New York: Oxford University Press, 1986, pp. 236ff. There are many editions of The Canterbury Tales.

About the performer/ensemble:
Hannah McGinley is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts(2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger was the videographer.

Nibelungenlied: Sifried’s body is taken to the church

About the scene and clip:
Sifrid’s lifeless body is taken to the church—and in the presence of Hagan, his murderer, the body begins to bleed again. Krimhild confronts Hagen. Recorded church bells add to the somber but dramatic performance.

About the work:
The Nibelungenlied, or Song of the Nibelungs, is an anonymous German epic composed around 1200, probably by a professional poet or entertainer for performance in a court in Bavaria or Austria. This violent poem draws both on Germanic legends and on historical events of the distant past; it recounts the love and marriage between Siegfried and Kriemhild, a Burgundian queen of the Nibelung dynasty; the great quarrel between Kriemhild and her sister-in-law Brunhild; the treacherous murder of Siegfried; Kriemhild’s marriage to Etzel (Attila the Hun), her violent revenge for Siegfried’s death, and her death. The Niebelungenlied is composed in 4-line strophes of rhymed couplets. The long lines of somewhat irregular length have 7 accented syllables to a line for the first 3 lines of the strophe, and 8 for the last line. Over 30 manuscripts preserve this lengthy epic, in 3 main versions. It is known that the Nibelungenlied was originally sung, and a surviving melody called the “Hildebrandston” is believed to be very close to the original melody for the epic.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Das Nibelungenlied: Song of the Nibelungs, trans. Burton Raffel, New Haven, Yale University Press, 2006, pp. 145ff. Note: characters’ names are spelled differently in this translation than they sometimes are. Original: Das Nibelungenlied, ed. Karl Bartsch & Helmut de Boor, trans. Siegfried Grosse, Stuttgart, Reclam, 2003.

About the performer/ensemble:
Hannah McGinley is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger was the videographer.

Erec: Erec defeats three robbers

About the scene and clip:
The solo performer dynamically acts out a scene where Erec defeats and drives away three robbers who had attacked him and Enide.

About the work:
Erec et Enide is the earliest of the five surviving romances by Chrétien de Troyes, who is often considered the father of Arthurian romance. This great work, in octosyllabic rhymed couplets, was composed for Marie, Countess of Champagne, around 1170. It tells how the noble knight of the Round Table, Erec, wins the beautiful Enide as his wife—but his honor is then compromised because he spends all his time with his lovely wife instead of doing his knightly duties. When Enide inadvertently reveals to him that his honor has been damaged, he rides off on adventure to restore it, taking her with him—and indeed in many of the adventures Enide plays a central role. Erec does many good deeds, recovers his honor—and finds the proper balance between love and chivalry.

About the genre:
Medieval romances are typically long narratives of love and adventure in which an aristocratic hero (or occasionally a heroine) proves himself in combat and courtship. Medieval romance arose in France and Anglo-Norman England in the 12th century and spread through Western and even Eastern Europe. Many early romances tell the stories of knights and ladies at King Arthur’s court. In the 12th and 13th centuries, romances are composed in verse (typically octosyllabic rhymed couplets), and are commonly performed aloud from memory by minstrels; romances are also sometimes read aloud. In the 13th century, some romances begin to be written in prose; public and private readings become more frequent.

About the edition/translation:
Erec and Enide, trans. Ruth Harwood Cline, Athens, GA, University of Georgia Press, 2000, pp. 84ff. Old French: Erec et Enide, ed./trans. Jean-Marie Fritz, Paris, Livre de Poche, 1992.

About the performer/ensemble:
Hannah McGinley is a Drama student in the CAP 21 Studio at New York University’s Tisch School of the Arts (2010).

About the production:
This performance was created for “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in spring 2010. Sam Erenberger was the videographer.

Nibelungenlied: Comic, abridged, group

About the scene and clip:
Five students rapidly summarize, act out and (occasionally) sing to kazoo accompaniment the story of the Nibelungs, in a comic handling of the epic material; they provide a useful body count for this frequently gory epic.

About the work:
The Nibelungenlied, or Song of the Nibelungs, is an anonymous German epic composed around 1200, probably by a professional poet or entertainer for performance in a court in Bavaria or Austria. This violent poem draws both on Germanic legends and on historical events of the distant past; it recounts the love and marriage between Siegfried and Kriemhild, a Burgundian queen of the Nibelung dynasty; the great quarrel between Kriemhild and her copy richard mille rm 030 sister-in-law Brunhild; the treacherous murder of Siegfried; Kriemhild’s marriage to Etzel (Attila the Hun), her violent revenge for Siegfried’s death, and her death. The Niebelungenlied is composed in 4-line strophes of rhymed couplets. The long lines of somewhat irregular length have 7 accented syllables to a line for the first 3 lines of the strophe, and 8 for the last line. Over 30 manuscripts preserve this lengthy epic, in 3 main versions. It is known that the Nibelungenlied was originally sung, and a surviving melody called the “Hildebrandston” is believed to be very close to the original melody for the epic.

About the genre:
The epic is an ancient genre and is found in almost every culture. It is a long heroic narrative that tells of war and great deeds. Epics are generally composed in verse, and sung from memory or improvised in performance by professional performers with instrumental accompaniment. These narratives are created from traditional elements, commonly without recourse to writing, by poets whose names are often unknown vape Tank to us. Among the famous traditional epics are the Iliad and the Odyssey, attributed to Homer; the Anglo-Saxon Beowulf; and the Old French Song of Roland. Many known poets adopt epic forms and themes for their literary verse (such as Virgil in his Aeneid).

About the edition/translation:
Das Nibelungenlied: Song of the Nibelungs, trans. Burton Raffel, New Haven, Yale University Press, 2006. Note: characters’ names are spelled differently in this translation than they sometimes are. Original: Das Nibelungenlied, ed. Karl Bartsch & Helmut de Boor, trans. Siegfried Grosse, Stuttgart, Reclam, 2003.

About the performer/ensemble:
Julie Benko, Mary Lane Haskell, Hannah McGinley, and Samantha Morrice are Drama students in the CAP 21 Studio at New York University’s Tisch School of the Arts. Zachary Maher is a student in Political Science in the College of Arts and Science at New York University (2010).

About the production:
This scene was created for the final public performance of the course “Acting Medieval Literature,” taught at New York University by Prof. Timmie (E.B.) Vitz, in April 2010 at New York University. It was filmed by Nitzan Rotschild.