Greimas, Bremond, and the 'Miller's Tale.' - A.J. Greimas; Claude Bremond

As Terence Hawkes points out, structuralists have often built their systems on the basis of binary opposition (93), which seems to be a fundamental human thought process. Not surprisingly, binary oppositions are not difficult to find in literary works, and the Miller's Tale is certainly no exception (see Turner 291-92 for a brief application of Levi-Strauss's binary oppositions to the Miller's Tale). A handy cover term for some oppositions there might be "work" with its synonyms and other derivatives. Assigning labels to character traits and actions on the basis of this isotopy and its opposites yields an awareness of both the comic irony and interpretive clues about the value system of the fictional world and about the assigning of characters to Greimasian roles and to places on the semiotic square. Work is, of course, most often associated with the carpenter John, who even when he leaves town does so apparently for business reasons - to buy timber, for instance (3667) - as opposed to Absolon, who goes to Oseneye rather for pleasure (3659-60).(2) We would assume also that John, a carpenter, works at his trade while in his hometown: work would be attached to him regardless of the locale. He proposes himself to Nicholas as a model of the working man (3491). Significantly, the other major characters, whether at Oseneye or at Oxford, are for the most part occupied with pleasure, and ironically on both occasions that John supposedly goes on business to Oseneye, Nicholas and Alison plot their pleasures. A further irony occurs, whether intended or not by the speaker, when Nicholas, in making arrangements for the night of play with Alison, advises John to follow Nicholas's advice in language particularly suitable for John's understanding: Nicholas uses the word "werken" thrice in the space of five lines (3527-31). Of course, Nicholas's work as a student seems to be neglected in favor of making music, and his avocation as an astrologer is directed ultimately to the service of pleasure. Likewise, Absolon perverts the meaning of "sweat," customarily linked with work, in a parodied imitation of the frustrated romantic lover in his appeal for Alison's favors (3702-03). In fact, it is rather difficult to determine which of the two suitors is potentially the more worthy lover if the criteria are good looks and the ability to play musical instruments. Actually, Absolon would seem to be the more qualified.

Such talents suggest that another set of oppositions could be generated by the isotopy of knowledge. In addition to the knowledge of grooming, dressing, and playing music, both Nicholas and Absolon know the ways of wooing, and though the former is more successful, the latter employs a greater variety of methods, including talk, serenades, and gifts. Absolon is also skilled in the various duties associated with the barber's trade, in minor legal acts, and in dancing. Opposed to the knowledgeable is John the "gnof," who, though rich, is something of a miserly churl, even proud of his ignorance (3455). Linked with this is his religious superstition, his gullibility, which leaves him open to Nicholas's deception by means of the pseudoreligious prediction of the second Flood, preparations for which send John to his "wery bisynesse" that puts him into a "dede sleep" (3643), a state contrary to that of Nicholas and Alison at the same time.