The eyesight of William related to Piers the Plowman can be an allegorical poem written in alliterative verse by means of a dream vision, which depicts in great detail the composition and moral ideals of the English society through the fifteenth century. It offers a perspective on the interpersonal matters during that period and poses questions regarding the religious life and moral ideals of the many public classes, offering serious insight into the problematic issues of the time. The energy of its narrative lies in the strong satire directed at the corruptness and depravity of the public system which stems from the individual's lack of true knowledge of the moral principles displayed in the biblical text. The poem suggests the author's indignation and discontent with the immoral procedures on all levels of cultural hierarchy, criticizing the corruptive nature of all classes, like the peasantry, the stores and above all the clergy, and revealing their reps as lacking the basic individuals morality and whose living is deprived of any religious value.
The attractiveness of the poem through the fourteenth century accounts for the energy of its moral and politics satire. It remained popular throughout the fifteenth century and it was regarded in the sixteenth by the market leaders of the reformation as an ideas and a prophecy, and, in modern times, has been quoted by every historian of the fourteenth century as the utmost vivid and reliable source for the communal and economic history of the time (The Cambridge Background of British and American Literature). It has often led to its misinterpretation as a demand interpersonal reformation and an expression of overall dissatisfaction with the social organization of that time period. The poem, though used for the rebels' propaganda during the peasant revolts, is not cutting edge in its substance. It does not suggest a reorganization of the public structure but rather expresses "criticism of the prevailing conditionsand condemnation of the life span led by pretty much all the classes: blame of friars, of attorneys, of the clergy, of bishops, of nobles, of the indegent who'll not work" (Mincoff, 126). Throughout the narrative we come across multiple references to the inadequate performance of these individual duties and the shortcoming to satisfy their sociable role. The interpersonal corruptness is the result of man's moral depravity, which is at the bottom of most misfortunes and the root cause for the breakdown of the social system as a whole (Mincoff, 126).
A breathtaking view of the English medieval society emerges in the 1st part of the poem, the Prologue. It includes a general explanation of the major class representatives, thus providing the reader with a alternative perspective on the British society. There is a certain irony in this initial description which sets the satiric firmness that may be felt down the road throughout the written text of the poem. Many of those in the crowd walking through the valley are put through the satire and moral condemnation of the writer, no matter their social status. The rich and the indegent are criticized equally - beggars, friars, the pardoner, the priest and the lawyers
Bidderes and beggeres faste aboute yede
[Til] employ the service of bely and retain the services of bagge [were] bredful ycrammed,
Faiteden for seek the services of foode, foughten at the ale
I fond there freres, alle the foure ordres,
Glosed the gospel as hem good liked;
For coveitise of copes construwed it as thei wolde
Love is leche of lif and then Oure Lord selve,
And also the graithe gate that goth into hevene.
Whan alle tresors ben tried, Treuthe is the beste.
The author's satire can be felt particularly strong through the skilled use of the grotesque in the depiction of the wedding company setting off for Westminster. The voyage of the laughable party is by no means an exception to the poem, it is only one of the numerous shows where caricature is used to convey the author's strong disapproval and discontent. Due to the insufficient horses the get together rides on the backs of saddled sheriffs, assessors, notaries and a variety of representatives (Mincoff, 127).
And Favel fette forth thanne foles ynowe
And sette Mede upon a sherreve shoed al newe,
And Fals sat on a sisour that softeli trotted
And Favel over a flaterere fetisly atired.
Some of the most impressive examples of this quality use of the grotesque we find in the confessions of the Seven Fatal Sins (Mincoff, 128). They are simply defined with such a great skill that their appearance speaks more than their words.
And thanne cam Coveitise, I kan hym naght discryve--
So hungrily and holwe Sire Hervy hym loked.
He was bitelbrowed and baberlipped, with two blered eighen
And as a letheren purs lolled hise chekes--
Wel sidder than his chyn thei chyveled for elde;
And as a bondeman of his bacon his berd was bidraveled;
With an hood on his heed, a lousy hat above,
In a [torn] tabard of twelf wynter age group;
But when a lous couthe lepe the bettre,
She sholde noght wa[ndr]e on that Welche, so was it thredbare!
Meed is the character who embodies to the greatest degree the author's satire. She brings distress and corruption to the earth and the love for Meed is multiply through all classes of population and it is deeply rooted in the viciousness of man's nature. You can find no satirical disorders against any category in particular, because they're all equally poisoned by the love of Meed. The energy of the satire lies in the competent use of allegory. The personified heroes are not mere one-dimension abstractions hired to speak the author's mind, they are completely fledged individuals, vividly depicted, moving and respiration, taking part in various situations and characterized by a distinctive speech manner. The writer very hardly ever interferes right to criticize or moralize, making the poem more aim. We may say that the poem's satire works on subconscious level, influencing the audience through powerful and memorable images and the portrayal of colourful characters instead of imposing his views and ideas directly (The Cambridge Background of British and American Literature). His satire is nearly only conveyed through the talk of his characters and the connections between them. In that sense, it's implicit alternatively than explicit, more understated and far more effective.
The evil-doers in world are not the sole ones subjected to the author's satire, the wasters who spend almost all their lives in idleness and who are not willing to work are also significantly criticized for each of them fail in executing their social assignments. The passive presence of the idlers is really as unacceptable as the living of those who do damage and enjoy immoral activities. The author's take on the labour company within society is clearly explained by Piers' refusal to nourish those who do not work, except for many who are physically disabled. Every part of the society has to make its contribution and perform its duties. Really the only possible solution is Hunger, who is the only person with the capacity of forcing the wasters to work. The author of the poem is well aware that the beggars and everything the others who refuse to work disrupt the balance is modern culture and pose a hazard to the cultural order. One should not rely on others' effort and effort. Decisive measures should be performed in order to compel these to earn their living. The idlers must be refused any kind of food except for bread and normal water.
But the author seems alternatively unwilling to simply accept effort as, the burkha virtue as it is noticeable from the pardon that Piers will get.
"-Do wel and also have wel. and God shal have thi soule, '
And " Do yvel and have yvel, and wish thow noon oother
That after thi deeth day the devel shal have thi soule!'
Everything should be applied in moderation. Surplus is the real at the mercy of his fierce criticism. Every man should dedicate sufficient amount of his time not and then work but to prayer and penance, and to religious contemplation, or, as Mincoff said, it is "a alert not to let oneself be carried away too completely by worldly cares, to remember that there surely is the spiritual life as well" (132).
The ultimate moral lesson of the poem is the fact that those who find themselves guided by their conscience have a chance for salvation. Conscience is the only one who stays to protect the Church of Unity and search for Christ in the person of Piers by the end of the poem. Conscience shows up in the poem as early as in the first eyesight when the writer clearly states his views regarding the government of the united states that ought to be predicated on Conscience and Reason. Therefore, we might conclude that both moral expansion of the individual and the well-being of the whole population are rooted in human being conscience, which is the guiding rule for a good genuine life as well as prosperous society as the allegoric treatment of the problem increases the electric power of suggestion and contributes to the author's trenchant satire.
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