Globalizing Jewish communities: mapping a Jewish geography in Fragment VII of the Canterbury Tales.(Critical essay)(Essay)

This essay moves beyond the bounds of the Prioress's Tale to explore alternative texts that Chaucer probably never consulted yet whose histories resonate in Chaucer's work in Fragment VII of the Canterbury Tales. These tales of Fragment VII (specifically, the Prioress's Tale, Sir Thopas, and the two tragedies, "De Petro Rege Ispannie" and "De Rege Antiocho illustri," from the Monk's Tale) form what I term the Jewish history cluster. (1)Reexamining the significance of Jewish presence in O/other texts than those traditionally documented as sources or analogues that "Chaucer knew" or was "acquainted with"--as W. F. Bryan and Germaine Dempster write--this essay reconsiders the texts that lie silently behind the Chaucerian tales. (2) Tracing the Jewish presence in the history embedded within the sources cited in but not charted by Bryan and Dempster's volume reveals that the displacement of Jewish presence haunts four tales in Fragment VII. At best, the texts I discuss can be construed as "soft analogues," what Peter Beidler takes to indicate "a work that . . . Chaucer could scarcely have known." (3) Such a pursuit introduces some complexity to source study, inviting us to reflect on what Giuseppe Mazzotta characterizes as "the free, unbiased analysis of texts, and a different understanding of what influence'is." (4) The stories this essay considers serve as silent reminders of other lingering histories of Jewish presence that exist alongside the traditional sources and analogues. Rather than limiting our discussion to an analysis of a source or an analogue in a Chaucerian tale whose relationship with a Chaucerian text is immediately apparent, I study texts that comprise the technology of the (in)visible. Kathleen Biddick's work with the technology of the visible helps us here because Jews (and Jewish things) are deployed simultaneously as "displaced and dead bodies" and presently absent echoes of a painful past. (5) These (in)visible texts emerge in the Jewish history cluster that surfaces in and unites all four of the tales in Fragment VII of Chaucer's Canterbury Tales.

The link between Jewishness and Chaucer has long been observed, and most of us would agree with Theodore Steinberg: "if Langland's use of the Jews is the most complex among medieval English authors, Chaucer's is certainly the most famous, thanks to the 'Prioress' Tale." (6) Not only the "most famous" depiction of Jews by a medieval English author, the Prioress's Tale also is best known for memorializing the representations of medieval Jews as vengeful and homicidal. As such, the Prioress's Tale, permanently embodying the impulses of medieval anti-Judaism, enables readers to dwell upon and linger over a vexed Christian fantasy in which Jews are imagined as well poisoners, Eucharist stabbers, and Christ killers. (7) The Prioress's account, vile and problematic as it is, overshadows other Chaucerian representations of Jews that reflect the memory of medieval Jewries' participation in the culture of Christendom. Lisa Lampert-Weissig wishes to put an end to this tradition of allowing the Prioress's Tale to eclipse other representations of Jewishness in Chaucer's work; Lampert-Weissig reasons that Jewishness in Chaucer "is not limited to those moments when demonized Jews leap out from beyond the ghetto walls with murderous intent." (8) Lampert-Weissig's desire to complicate this Chaucerian representation is joined by Sheila Delany's similar concern in her edited volume, Chaucer and the Jews: Delany purposefully includes only one essay on the Prioress's Tale because this tale is "only one of Chaucer's works to animate Jews directly." (9)

What remains most interesting about the Prioress's depictions is that Jews are simultaneously present and absent, simultaneously now here and no where, simultaneously a living fantasy and a fading historical remembrance. (10) Arguing for a Jewish history cluster in Fragment VII of Chaucer's Canterbury Tales, the following essay documents what emerges from a careful reading of Jewishness in four of Chaucer's tales. Admittedly, in the following essay I turn to the Prioress's Tale, but I do so in order to explicate the Prioress's theologically driven anti-Judaism about Jews of "Asye" (VII, 488) and to map how the Prioress's Tale initiates a move toward globalization that is continued in the tale of Sir Thopas and two tales from the Monk's Tale--"De Petro Rege Ispannie" and "De Rege Antiocho illustri." (11) This essay, then, details the historical landscape that surfaces in Fragment VII. Together, the geographies of these tales form a Jewish history cluster in Fragment VII of the Canterbury Tales.

The Jews, fantasized as at once no where and now here, what Roger Friedland and Dierdre Boden describe as simultaneously absent and present, imagined as real in multiple sites at the same time that they are absent from view, speak to the connection among the Prioress's Tale, Sir Thopas, and "De Petro Rege Ispannie." (12) Acultural geigraphy surfaces in Fragment VII and points toward a more complex awareness of Jewishness than what is revealed only by the popular (anti-Judaic) cultural representations immortalized in the Prioress's Tale. After the Prioress maps the first site of the Jewish history cluster in the global community as taking place in "Asye," the globalization continues: in the tale of Sir Thopas, the audience is transported to the "countree of Fairye" (VII, 802); in "De Petro Rege Ispannie" to "Spayne" (VII, 2375); and in "De Rege Antiocho illustri" to the Judea of the Book of the Maccabees (VII, 2575). Interrogating alternative legends of Jewishness and mapping an emerging cultural geography, this essay queries the Jewish and monastic histories embedded in the Prioress's Tale; the social history that materializes in the tale of Sir Thopas; the political history that exists in the interstices of the little tragedy about Don Pedro of Castile in the Monk's Tale; and the Jewish history that surfaces in "De Rege Antiocho illustri." (13) In what follows I look closely at several tales that have been reexamined a number of times, but I return to these tales precisely because they have been examined multiple times; my glance imparts a new vision--one that combines fantasy and history, that reveals what has been overlooked about the historical past in four tales in Fragment VII. (14)

(Re)Seeing Jewish Presence in Fragment VII

Anthony Giddens theorizes that globalization creates a shift in time and space where what had been "' becomes "thoroughly 'explored."' (15) We can see Giddens's remarks materializing in the complex space mapped by the Prioress's Tale. By setting her tale in "Asye," the Prioress forms a knot of time and space that represents a link between "global and local" sites for the Canterbury pilgrims. (16) The Prioress also acquaints her audience with the time and space phenomenon that globalization creates. For instance, the Prioress's listeners encounter a shift in space: they are at once on the pilgrimage and in "Asye." Even more complex is the likelihood that "Asye" is a sort of England--in fact, even the Lincoln of 1255-and probably also evokes medieval Spain. (17) The Prioress also introduces a collapsing of time: the pilgrims travel in both the fourteenth century (their present) and the thirteenth century (the date of Hugh of Lincoln's legend). By transmitting the global as the local, the Prioress alters the direction of the pilgrimage. First, she creates a Jewishness that constitutes a (real) presence on the pilgrimage. And, second, by appealing to globalization with "Asye" and investing that globalization with the local, "Lyncoln" (VII, 684), the Prioress implies that a "local" evil has globalized. In this way, then, the Prioress's gestures toward globalization--the Prioress's introducing the nowhere setting "Asye"--actually reduces the distance between the travelers on the English pilgrimage and the mapping of a global "Asye," for the pilgrims are at once on and not on the pilgrimage, at once on and not in "Asye," at once in and not in "Lyncoln." (18) In making Jewish evil more proximate and less distant (by introducing Lincoln in her closing remarks: "O yonge Hugh of Lyncoln, Slayn also / With cursed Jewes, as it is notable" [VII,684-85]), the Prioress sets the way for what Giddens describes as "substantive reorientation in social thought" and what Chaucer-the-pilgrim and the Monk show to be a new and complex way of mapping Jewishness--as distinct and yet similar. (19) The Canterbury pilgrims, specifically the Prioress, Chaucer-the-pilgrim, and the Monk, are (re) mapping the geographies of their world.

Mapping the many geographies of the Prioress's Tale reveals that the sites of Jewish presence, especially places where Jews allegedly sacrificed Christians, have very real effects, at times even fatal ones, to Jewish bodies. (20) The Prioress's Tale retells the story of a little boy allegedly murdered by Jews who occupy a ghetto through which the little boy walks every day on his way to school. To tell this anti-Judaic tale, the Prioress marshals theologically inflected rhetoric and ideologically driven history. For her, the Jews are "Hateful to Crist and to his compaignye" (VII, 492); in league with Satan--"Oure firste foo, the serpent Sathanas, / That hath in Jues herte his waspes nest" (VII, 558-59); and repeat the slaughter of the Innocents as the "cursed folk of Herodes al newe" (VII, 574). (21) Embedded in this religious narrative is a monastic history that speaks in equal parts about antisemitic impulses and the inventions that follow the rhetoric of hate. Her tale is modeled after, as the Prioress herself reveals in her closing remarks, the history of Hugh of Lincoln: "O yonge Hugh of Lyncoln, slayn also / With cursed Jewes, as it is notable." By referring to Hugh's alleged martyrdom, the Prioress locks her tale into an important moment in a thirteenth-century Christian legend and also ensures a perpetual present of English, Christian history. (22)