unallowable. Because of this, the Reeve stifles them so as to not offend his audi-ence and thus be allowed to finish his tale. But the Reeves manipulation and censorship of the characters does not mean he com-pletely separates himself from them. He channels his sexual frustration into the story along with his anger. Since he cannot use his body to find satisfaction, he must use his imagination. The Miller, who gratifies his appetite in the real world, builds up the tension between Nicho-las and Alison through the long wait before consummation, but barely mentions the act itself: And thus lith Alison and Nicholas, In bisynesse of myrthe and of solas, Til that the belle of laudes gan to rynge, And freres in the chauncel gone synge. The reverse occurs in the Reeves story, with John and Alan engaging in sex with Malyne and the millers wife almost as soon as the thought comes to their minds. His description is short as well, but much more detailed: He priketh harde and depe as he were mad (I 4231). In this line, which is referring to the cause of the wifes pleasure, John appears to embody Oswalds frustration. The Reeve is as mad to find satisfaction, both sexually and emotionally, as John is. The Reeve lives through the students, finding an alternate outlet this way. He creates two characters who have no qualms about taking another mans wife and daughter in the same room to perform a rather twisted fantasy. The silence and objectification of the females also supports this. In the Reeves Tale, there is no seduction; the wife and daughters willingness is ignored. The Reeve does not view them as participants, but as the objects of desire. It would not do to have sexual objects demand courtship or...
