"The Reeve's Tale" is the third story told in Geoffrey Chaucer's The Canterbury Tales. The reeve, named Oswald in the text, is the manager of a large estate who reaped incredible profits for his master and himself. He is described in the Tales as skinny and bad-tempered. The Reeve had once been a carpenter, a profession mocked in the previous Miller's Tale. Oswald responds with a tale that mocks the Miller's profession. The tale is based on a popular fabliau of the period with many different versions, the "cradle-trick." Chaucer improves on his sources with his detailed characterisation and sly humour linking the act of grinding corn with sex. The northeastern accent of the two clerks is also the earliest surviving attempt in English to record a dialect from an area other than that of the main writer. Chaucer's works are written with traces of the southern English or London accent of himself and his scribes, but he extracts comedy from imitating accents.
Summary
Symkyn is a miller who lives in Trumpington near Cambridge and who takes wheat and meal brought to him for grinding. Symkyn is also a bully who cheats his customers and claims to be a Master with a sword and dagger and knives. Symkyn and his wife are extremely proud of the fact that she is the daughter of the townclergyman. They have a twenty-year-old daughter Malyne and a six-month-old son. When Symkyn overcharged for his latest work grinding corn for Soler Hall, a Cambridge University college also known as King's Hall, the college steward was too ill to face him. Two students there, John and Aleyn, originally from Strother in North East England, are very outraged at this latest theft and vow to beat the miller at his own game. John and Aleyn hold an even larger amount of wheat than usual and say they will watch Symkyn while he grinds it into flour, pretending that they are interested in the process because they have limited knowledge about milling. Symkyn sees through the clerks' story and vows to take even more of their grain than he had planned, to prove that scholars are not always the wisest or cleverest of people. He unties their horse, and the two students are unable to catch it until nightfall. Meanwhile, while they are away chasing their horse, Symkyn the miller steals the clerks' flour and gives it to his wife to bake a loaf of bread. Returning to the miller's house, John and Aleyn offer to pay him for a night's sleeping there. He challenges them to use their rhetorical training to make his single bedroom into a grand house. After much rearranging, Symkyn and his wife sleep in one bed, John and Aleyn in another, and Malyne in the third. The baby boy's cradle sits at the foot of the miller's bed. After a long night of drinking wine, Symkyn and his family fall fast asleep while John and Aleyn lie awake, plotting revenge. First Aleyn creeps over to Malyne in her bed while she remains fast asleep. He leaps on her and then, the narrating Reeve announces, "it had been too late for to crye". The sex that follows is sometimes read as rape. When the miller's wife leaves her bed to relieve herself of the wine she's drunk, John moves the baby's cradle to the foot of his own bed. Upon returning to the darkened room, the miller's wife feels for the cradle to identify her bed. She mistakenly assumes that John's bed is her own. When she crawls into the bed she thinks is her own, John leaps upon her and begins having sex with her. Dawn comes, and Aleyn says goodbye to Malyne. She tells Aleyn to look behind the main door to find the bread she had helped make with the flour her father had stolen. Seeing the cradle in front of what he assumes is Symkyn's bed, he goes to the other bed, shakes the miller—whom he thinks is John—awake and recounts that he'd "thries in this shorte nyght / Swyved the milleres doghter", Malyne. Hearing this, Symkyn rises from his bed in a rage, which wakes his wife in John's bed. She takes a club and hits her raging husband by mistake, thinking him one of the students. John and Aleyn beat up the miller and flee, taking with them their horse and the bread made from their stolen grain. The Reeve goes on to say that the story demonstrates the proverb "Hym thar nat wene wil that yvele dooth" and concludes "A gylour shal hymself bigyled be".
Analysis
Malyne
There is ongoing debate about the nature of the sex that Malyne has with Aleyn. Some argue that, although she is surprised at the beginning, by the end of the night she seems to be in love with Aleyn. Evidence for this reading includes the fact that she call him her "lemman" after the fact and tells where the cake made out of his stolen flour is hidden. Others emphasize that Aleyn, by surprising Malyne and covering her mouth, prevents her from consenting, which makes the sex rape. Nicole Nolan Sidhu takes a different angle and argues that this scene stages tensions between Christian doctrine and social practices over women's free will in marriage. Malyne's parallel in the Decameron also finds the night enjoyable after some initial fear and is eager for future meetings with the clerk. By removing this from his version of the tale, Chaucer creates a more ambiguous and unsettling ending. Malyne is called "this wench" at line 3973, which has been sometimes used to suggest that she is "immoral" or "wanton", and perhaps therefore enjoys her night. However, definitions for "wench" in the Middle English Dictionary primarily suggest a woman's youth and lower class status.
As morning approaches, Aleyn and Malyne have an exchange of feelings which scholars have described as a mock aube or dawn-song, where two lovers express their sorrow at parting in the morning after a night together. Chaucer himself used aube elsewhere, for example in his Troilus and Criseyde. This type of love poem was usually written in a very high, courtly style and the characters in them were usually knights and ladies, but in this tale Chaucer brings it down to the level of a fabliau, which gives it a strong satire. For example, Aleyn, instead of saying to Malyne, "I am thyn own knight", says "I am thyn own clerk", and Malyne, between emotional words of parting, tells Aleyn about a bread in the mill—an odd fixture in any love poem.
