s greatly. It is the Millers good-humor that trans-forms the chivalric tale of the Knight into an account of adultery that is both bawdy and hi-larious. As will be discussed in greater detail in this essay, it is the Reeves introversion that causes him to recite his mean-spirited tale of adultery as punishment. II. Outward Manifestations of Suppressed Emotions The Reeves vindictiveness and mood swings are based in his being repeatedly silenced and his subsequent suppression of emotions. Oswald speaks three times in Fragment I, and on the first occasion his wishes are ignored, on the second he is told to speak of a more amusing subject, and he is finally allowed to speak on the third, but only because every pilgrim must tell a tale. The Reeves first words are spoken to the Miller. He orders Robin to Stynt thy clappe! before beginning his story of a carpenter and his wife which will defame him and bring scandal to wives in general (I 3144). Instead of forcing the Miller to wait until he is so-ber so that he will recite a less offensive tale, the Host lets him compete next, disregarding the Reeves and his own objections. When the Miller finishes, the Reeve does not introduce his story, but ruminates on his old age and the lifeblood that has been flowing out of him since he was born. He tells us that his heart is full of mold, that his fire has burnt out. All that remains are four embers: boasting, lying, anger and greed. And though his body is failing him, sexual cravings and desire in general are still present: Oure olde lemes mowe wel been unweelde, But wyl ne shal nat faillen, that is sooth (I 3886-3887). He is expressing his fears and inade-quacies to the group, but they find it too serious. The Host interrupts him and commands that he begin his story. ...
