From noticing Absolon’s attempts to woo the general women in church by spreading the perfume from his censer liberally in their direction, and also absurdly refusing their donations to the church in line 243, in conjunction with the references to his effeminacy, it is not difficult to see why he is unsuccessful. Absolon also attempts to woo Alison by acting the part of Herod in a religious play, but considering that this was a part for a ranting man with a big-vice and threatening personality, it seems absurd for Absolon to choose such an ill-matched character to play. In line 263, Absolon’s idea of it being a merry life simply to look at Alison makes it seem like he is detached from the situation and is planning to romantically admire her from afar, in complete contrast to Nicholas and his direct approach. Absolon’s seemingly eccentric fastidiousness about bodily functions being ‘squaymous of farting’ is contrasted in line 698 when ‘Nicholas anon leet fle a fart’. It could be suggested that this is another reference to Absolon’s femininity by being so squeamish about such issues that are ordinary to other men, particularly Nicholas. When Absolon is described to be a man frequently in all the ‘brewhous’ and ‘taverns’ we see another contrast to the actions of Nicholas, who seems very self-contained; keeping himself to himself, and playing his instrument in his room. This illustrates Absolon’s gaiety of temperament and draws yet another contradiction between his and Nicholas’s characters. It appears that all the references to Absolon being such an effeminate character, in almost direct contrast with Nicholas in many ways, he is almost comically out of place in such a plebeian setting. The comparisons made between Nicholas and Absolon can perhaps be explained in lines 284-5 ‘alwey the nire slie maketh the ferre leeve to be looth’ suggesting that Absolon’s intentions of successfully wooing Alison are dashed immediately because Nicholas lives under the same roof as her, thus, Absolon is ‘out of sight and out of mind’.
The fact that Absolon’s quest to woo Alison begins after she has already agreed to commit adultery with Nicholas indicates that his case is almost defiantly lost before he had opened it. Also, despite both of the characters sharing the common intention of wooing Alison, despite the suggestion that Nicholas is slightly more sincere, the characters completely contrast each other in their approach to Alison. Nicholas is direct and forthright, whereas Absolon attempts to woo her by ‘meenes and brocage’; giving her presents and also offering gifts of money. Absolon addresses Alison as ‘deere lady’ in line 253, which is an entirely inappropriate attempt to make himself appear like a courtly lover and Alison has clearly a good sense to ignore his advances. All of the means used by Absolon avoid direct contact with Alison and encourage romantic conceptions of himself as a lover, until the climax of the story when Absolon reaction perhaps reveals his true feelings. This fact, in conjunction with the fact that Absolon is ‘out of sight’ and Nicholas lives under the same roof as Alison, it is hardly surprising that Absolon is unsuccessful in his attempts to woo Alison.
The absurdity of Absolon affectation with fashion demands an abrupt realisation to bring Absolon to his senses. The realistic bluntness of the language is moral justice for Absolon’s humiliation and exposition of a romantic fake. The practical joke at the climax of the tale acquaints Absolon with the physical reality that his elaborate courtship has carefully avoided and his reaction to the kiss shows the falsity of his performance; the abhorrence of physical contact and the insincerity of his appeal for Alison’s sexual interest.
Absolon is quite a key character to support the idea that the Miller’s Tale is a fabliau consisting of conventional middle class characters involved in unlikely and complex deceptions concerning often concerning sex. Absolon plays a key role in the climax of the poem and also is important in providing the tale with a realistic element; it is not difficult to imagine such a character in real life and the concept has frequently been used in movies.
Chaucer uses a variety of language techniques to portray the contrasts with Absolon and other characters but also to show his general importance in the tale. Irony being a frequently used technique by Chaucer, is shown in lines 273-4, ‘som folk wol ben wonnen for richesse…and somme for strokes, and somme for gentillesse’ because Alison is not too be wooed by Absolon at all. These lines are very similar to a comment made in the Wife Of Bath’s Tale, ‘somme seyde women loven best richesse, somme seyde jolynesse’. Considering that the character of Herod, that Absolon chooses to act in order to impress and woo Alison, is almost the complete opposite of meek Absolon perhaps suggests an ironic undertone implies by Chaucer.
Chaucer includes both colloquial and more complex diction into his rhyming couplets, giving the tale a sense of rhythm and strong rhyme. The use of rhyming couplets throughout makes the tale easier to read and because of the nature of ‘The Canterbury Tales’, which were told to a group of people, it would have made the stories more interesting to listen to. The tale excellently captures direct speech by characters as well as the ongoing narrative voice, and at times Chaucer is writing as the miller, who is telling the tale but also speaking as other characters, like Absolon.
Imagery is also used in the descriptions and portrayals of Absolon in order to provide some dramatic emphasis and provide a vivid picture for the reader. For example, ‘he sente hir piment, meeth, and spiced ale, and wafers, piping hot out of the gleede’. The imagery also makes it easy to imagine the characters and relate to them, for example ‘crul was his (Absolon’s) heer, and as the gold it shoon, and strouted as a fanne large and brode’. These particular lines are quite powerful; they do not only provoke a vivid image, but also make a comparison to Absolon’s biblical namesake, showing that he too is proud of his hair. Also, Absolon is described to have ‘Poules window corven on his shoos’ which, as such a precise metaphor, not only illustrates his preoccupation with dress and current fashions but, provides us with a very detailed mental picture of the shoes. The descriptions being so vivid leave the reader with images planted clearly in their head, no thought is required to obtain mental pictures of the characters and their attire.
The religious story of Noah’s Ark rescuing his family from a flood intended to drown sinners and wash away sins. The idea is similarly used at the climax of the ‘Miller’s Tale’, when the fictional ‘flood’ created by Nicholas provides social retribution for adultery, paralleling God’s punishment for licentious people. The love rivalry between Nicholas and Absolon allowed for comic procedures following the adultery committed by Alison.
The character of Absolon is perhaps not the most important in the tale, but does serve a very important role in many of the key themes of the fabliau, like courtly love. Chaucer has used many common language techniques to emphasise the importance of Absolon and also to portray the image of his character in comparison with others.
