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"This Janurie the olde"
Chaucer highlights to the readers the recurring image of Janurie being old. Builds on the idea of May being trapped through the age and commitment. Links to the image of Pluto abducting Priapos.

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"Dame," quod this Pluto, "be no lenger wrooth; I yeve it up! But sith I swoor myn ooth
that I wolde graunten hym his sighte ageyn, my word shal stonde, I warne yow certeyn. I am a kyng, it sit me noght to lye."

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Pluto that is the king of faierye

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"So fair a gardyn woot I nowher no One."

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January's garden symbolically becomes the underworld, where Pluto and Proserpine alone determine the final outcome of the action. January, May, and Damyan, blindly following the path of earthly lust, finally put themselves, both spiritually and physically, under the devil's control.

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That I wolde graunten him his sighte ageyn

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"To his degree was Maked as a kinges"

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In an interlude, the god Pluto and his wife, Proserpina, discuss the situation involving January and May. Pluto admits that he will restore January's sight because women are so deceitful, but he wants to wait until just the right moment to do so. His wife, Prosepina, says men are so lecherous that she will provide May with a believable excuse when he does.

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"Ful ofte tyme he Pluto, and his queen Preserpina, and al the fayerie"

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and what he wolde paye his wyf hir dette

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"Ful ofte tyme he Pluto, and his queen Preserpina, and al the fayerie"

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"Ful ofte tyme he Pluto, and his queen Preserpina, and al the fayerie"

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"Snort lines and pull nines" line 815- Januari

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"Snort lines and pull nines" line 815- Januari

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Ful ofte time he Pluto and his queene, Proserpina, and al hire fairye

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"Ne Priapus me might not suffise,
Though he be God of gardens, for to telle,
The beauty of the gardyn and the Welles"

Used as exaggeration, not even the God of gardens can describe the beauty of this one, contrasting the beautiful setting with the adulterous act.

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Priapus serves to remind the reader, or listening audience, that Januarie's intentions are driven by lust and not love.

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In an interlude, the god Pluto and his wife, Proserpina, discuss the situation involving January and May. Pluto admits that he will restore January's sight because women are so deceitful, but he wants to wait until just the right moment to do so. His wife, Prosepina, says men are so lecherous that she will provide May with a believable excuse when he does.

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The garden where Damian and May get it on is rese

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The whole section dealing with the Merchant turns on a series of parallelisms:the Merchant and his money;the Merchant And his wife;January and May; Pluto and Proserpina. Each pair is emblematic unreasonably possessed. In each case, possessoris opposed to possessed as deathto life.'Altogether the pairs extend Chaucer's satire the particulars of his own time to classical and universalarche- types whichare broaderthan theirparticularmanifestationisn any one historical period

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Priapus does not appear to have had an organized cult and was mostly worshiped in gardens or homes, though there are attestations of temples dedicated to the god. His sacrificial animal was the ass, but agricultural offerings (such as fruit, flowers, vegetables and fish) were also very common.

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The Merchant's Tale is one of Chaucer's most complex poems and possibly one of his highest achievements. For a long time its surface brilliance, its comedy and wit, and its carefully crafted plot have received high praise. The poem is a delight to read. In recent years scholarship has begun to realize that, in addition to all these features, the poem has unusual philosophical heft and that it possesses wide-ranging implications for the whole of The Canterbury Tales. Brown (1978:141-56, 247-62) has argued that the poem is a kind of confession, for example, a position I have assumed for some time now, and that as such it suggests how the whole of The Canterbury Tales might be confessional, a suggestion we ought not to take lightly. Smarr, to take another example, has demonstrated the extraordinary care with which Chaucer has shaped his sources in the poem, one of which might have been the Decameron. 1 My own researches into the sources, which I am about to report, will support her approach even as they extend the range and type of sources we assume to be relevant to the poem. At the same time I will make a conscious effort to isolate and articulate the philosophical position of the poem. My remarks are necessarily incomplete, but I do hope to suggest that in the Merchant and his tale Chaucer explores the position of nihilism and in particular a nihilism of the sign and that he does this by assigning the Merchant a style best described as "usurious"; moreover, I will argue that the tale is the work in which Chaucer most successfully exposes the nature of allegory. Finally, I will suggest that, if the Merchant claims that "craft is al, whoso that do it kan" (MerT E 2016), Chaucer, consummate craftsman though he be, repudiates this position of malicious instrumentality and repudiates it in favor of a poetry whose content is not the victim of its craft.

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Pluto1 in Greek mythology, the god of the underworld, Hades; Pluto is the Latin form (used in English) of the Greek name Ploutōn, meaning ‘wealth-giver’, because wealth is seen as coming from the earth.

Plutonian means of or associated with the underworld or the god Pluto; infernal; gloomy and dark.

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One day, as Proserpine picked flowers with her friends, Pluto, the king of the underworld and ruler of the dead, saw her and fell madly in love with her. Riding a chariot pulled by four black horses, Pluto grabbed Proserpine and dragged her down into the underworld with him.

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Pluto was the Roman god of the sesh and the judge of the dead. Pluto is an alternative name for the Greek god Hades, but was more often used in Roman mythology in their presentation of the god of the underworld. He abducted Proserpina (Gr. Persephone), and her mother Ceres (Gr.

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The relationship between the Gods and the narrative. 

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The relationship between the Gods and the narrative. 

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The capture of Prosperina by Priapos and his keeping of him represents the relationship between Januarie and May, both of the girls are "unwilling" to stay with their captor wanting to break free from the other.

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Pluto, in Greek religion and mythology, god of the underworld, son of Kronos and Rhea; also called Hades. After the fall of the Titans, Pluto and his brothers Zeus and Poseidon divided the universe, and Pluto was awarded everything underground. There, with Persephone as his queen, he ruled over Hades. Not only a god of the dead, he is identified as a god of the earth's fertility. The Romans derived their god of the dead—Orcus, Dis, or Dis Pater—from Pluto.

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Pluto, in Greek religion and mythology, god of the underworld, son of Kronos and Rhea; also called Hades. After the fall of the Titans, Pluto and his brothers Zeus and Poseidon divided the universe, and Pluto was awarded everything underground. There, with Persephone as his queen, he ruled over Hades. Not only a god of the dead, he is identified as a god of the earth's fertility. The Romans derived their god of the dead—Orcus, Dis, or Dis Pater—from Pluto.

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PRIAPUS: THE GOD OF THE SESH In Greek mythology, Priapus was a a lover of student life, protector of memes, gardens fruit plants, and male genitalia. He is usually depicted with an oversized, permanent erection

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PRIAPOS (Priapus) was the god of vegetable gardens. He was also a protector of beehives, flocks and vineyards.

Priapos was depicted as a dwarfish man with a huge member, symbolising garden fertility, a peaked Phrygian cap, indicating his origin as a Mysian god, and a basket weighed down with fruit.

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Had a "large member to symbolise garden fertility"

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Proserpine (Proserpina) is a Goddess of the Underworld, her story is the basis of a myth of springtime. Her Greek goddess equivalent is Persephone. She was abducted by Pluto who wished to marry her and live together in the underworld. Her mother Ceres searched for her, but was unable to find her, in sorrow she stopped the fruits and vegetables from growing.
Eventually Jupiter sent Mercury to order Pluto to free Proserpina. Before letting her go he made her eat three pomegranate seeds which meant she would have to live three months of each year with him. In spring when Ceres receives her daughter back, the crops blossom, and in summer they flourish.

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A later critic understands the gods' presence as a sort of self-reflexive intervention to "remind us of who we are" as if such a metaphoric self-association is crucial for us "to see in that pear tree what we might have been. ,,4 As absurd as such blatantly correspondent theories might initially appear, critics were quick to acknowledge the textual
economy and practicality they implied.5 The authorial word became at least functional, if not essential, to the story being told.

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Proserpina (/proʊˈsɜːrpɪnə/; Latin: Prōserpina [proː.ˈsɛr.pɪ.na])[1] or Proserpine(/proʊˈsɜːrpɪˌni, ˈprɒsərˌpaɪn/)[1] is an ancient Roman goddess whose cult, myths and mysteries were based on those of Greek Persephone and her mother Demeter, the Greek goddess of grain and agriculture. The Romans identified Proserpina with their native fertility goddess Libera, daughter of the grain and agriculture goddess Ceres and wife to Liber. In 204 BC, a new "greek-style" cult to Ceres and Proserpina as "Mother and Maiden" was imported from southern Italy, along with Greek priestesses to serve it, and was installed in Ceres' Temple on Rome's Aventine Hill. The new cult and its priesthood were actively promoted by Rome's religious authorities as morally desirable for respectable Roman women, and may have partly subsumed the temple's older, native cult to Ceres, Liber and Libera; but the new rites seem to have functioned alongside the old, rather than replaced them.