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Few of Chaucer’s works provoke such animosity as does his “Clerk’s Tale.” Modern critics are divided by the social and gender issues that to which the tale lends itself. However, the tale was immensely popular to Middle Age audiences and was one of the best loved of the Canterbury Tales. Therefore, to dismiss this tale’s literary values outright, as some critics have done, is a mistake. By examining the history of the Griselda story, Chaucer’s use of his source materials, and the tales placement within the Canterbury Tales, this thesis is an attempt to examine the tale in more culturally, religiously, and historically appropriate way.

As a theatre for young audiences (TYA) practitioner and artist, I have noticed the prevalence of edited fairy tales on TYA stages. Artists tend to present versions of traditional tales that do not explore the dark places found in the original forms, the very same parts of humanity that young people often yearn to understand. Within TYA, fairy tales have become a safe option because many are well-known titles that generate audiences and income. Theatre practitioners and producers frequently present selections from the canon of fairy tales without exploring its many layers of meaning; failing to recognize the message that is being communicated to the audience. This thesis will explore how and why theatres continue to present these tales to contemporary young audiences. How do TYA companies create productions of fairy tales that capture the attention of a contemporary audience and still remain true to the traditional psychological framework? The staying power of fairy tales points toward a common human connection. Parents pass the stories down to their children, generation after generation. There must be a reason for this and I would like to examine it. Research on the long-term effects fairy tales have on young people focuses on the psychological values and ramifications of exposure to these classic stories. This thesis will explore the use of fairy tale structures in theatre for young audiences and where this author feels we can produce fairy tale shows in a manner that considers the developing psyche. I will consider the underlying significations in fairy tales and how theatre artists can provide young people a means to explore and understand these meanings, while avoiding metanarratives that reinforce submission and oppression. Guided by an understanding of research in psychology, productions already performed, and the definition of a contemporary young audience, I will look beyond the simple tale and find ways to create fairy tales onstage responsibly. I will analyze the works of Bruno Bettelheim, Jack Zipes, and Maria Tatar, compare and contrast their differing views on the place of fairy tales in a young person's psychological life, and define what a child gains from hearing these stories. Finally, I will interview three directors from around the world about their approach to directing fairy tales, then synthesize the information to create a view of how some companies currently present fully-actualized fairy tales. The prevailing presentation of fairy tales follows an edited and lighthearted way of looking at these classic tales. However, a growing movement exists to re-imagine our view of fairy tales. The work of three of these innovative directors--Kevin Ehrhart, Dougie Irvine and Andy Packer--inspired this thesis with their fearless approaches to teaching young people through the lessons created in fairy tales.

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The poems in this thesis address ideas of transition and movement, and are preceded by a critical introduction on two collections of poetry that also address some of these concepts. The poetry in Maggie Smith’s The Well Speaks of Its Own Poison and in Anne Sexton’s Transformations make old tales worth reading again, by taking the structured narratives of these familiar stories and making them darker, more thrilling, and more personal. Smith and Sexton use fairy tale tropes in their collections as a way to identify and cope with some of the more difficult human problems we would rather avoid, such as death, family, and self-harm. I explore how these collections use the darker sides and lesser characters of these familiar stories—elements that are often overlooked in contemporary versions of legends, myths, and fairy tales—to illustrate these difficult human problems in their various poems.

Chaucer’s Man of Law’s Tale has been largely ignored in comparison to the rest of The Canterbury Tales due to the rhetorical embellishment in the tale. However, examining the tale in the cultural context of its narrator, as well as in the context of the textual and oral rhetorical strategies of the fourteenth century, reveals that the Man of Law creates an argument out of his fictional tale that ties the developing fourteenth century common law system to divine justice, thereby justifying his profession to his audience

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