Enough has been said about this entrancing book to show how vividly it brings not only the Ménagier, but the Ménagier's young wife before our eyes after these many years. In the morning she rises, much earlier than ladies rise nowadays, though not so early as nuns, who must say matins, for that, her husband tells her, is not a fitting hour for married women to leave their beds. Then she washes, much less than ladies nowadays, hands and face only perchance, and says her orisons, and dresses very neatly, for she knows whose eye is upon her, and so goes with Dame Agnes the béguine to Mass, with eyes on the ground and hands folded over her painted primer. After Mass, and perhaps confession, back again to see if the servants are doing their work, and have swept and dusted the hall and the rooms, beaten the cushions and coverlets on the forms and tidied everything, and afterwards to interview Master John the steward and order dinner and supper. Then she sends Dame Agnes to see to the pet dogs and birds, "for they cannot speak and so you must speak and think for them if you have any". Then, if she be in her country house, she must take thought for the farm animals and Dame Agnes must superintend those who have charge of them, Robin the shepherd, Josson the oxherd, Arnoul the cowherd, Jehanneton the milkmaid, and Eudeline the farmer's wife who looks after the poultry yard. If she be in her town house she and her maids take out her dresses and furs from their great chests and spread them in the sun in the garden or courtyard to air, beating them with little rods, shaking them in the breeze, taking out spots and stains with one or other of the master's tried recipes, pouncing with lynx eyes upon the moth or sprightly flea.
After this comes dinner, the serious meal of the day, eaten by our ancestors about 10 a.m. What the Ménagier's wife gives to her lord and master will depend upon the time of year and upon whether it be a meat or a fast day; but we know that she has no lack of menus from which to choose. After dinner she sees that the servants are set to dine, and then the busy housewife may become the lady of leisure and amuse herself. If in the country she may ride out hawking with a gay party of neighbours; if in town, on a winter's day, she may romp and play with other married ladies of her tender years, exchange riddles or tell stories round the fire. But what she most loves is to wander in her garden, weaving herself garlands of flowers, violets, gilly flowers, roses, thyme, or rosemary, gathering fruit in season (she likes raspberries and cherries), and passing on to the gardeners weighty advice about the planting of pumpkins ("in April water them courteously and transplant them"), to which the gardeners give as much attention as gardeners always have given, give still, and ever shall give, world without end, to the wishes of their employers. When she tires of this, the busy one gathers together Dame Agnes and her maids, and they sit under the carved beams of the hall mending his mastership's doublet, embroidering a vestment for the priest at his family chantry, or a tapestry hanging for the bedchamber. Or perhaps they simply spin (since, in the words of the Wife of Bath, God has given women three talents--deceit, weeping, and spinning!); and all the while she awes them with that tale of Griselda, her voice rising and falling to the steady hum of the wheels.
At last it is evening, and back comes the lord and master. What a bustle and a pother this home-coming meant we know well, since we know what he expected. Such a running and fetching of bowls of warm water to wash his feet, and comfortable shoes to ease him; such a hanging on his words and admiring of his labours. Then comes supper, with a bevy of guests, or themselves all alone in the westering sunlight, while he smacks connoisseur's lips over the roast crane and the blankmanger, and she nibbles her sweet wafers. Afterwards an hour of twilight, when she tells him how she has passed the day, and asks him what she shall do with the silly young housemaid, whom she caught talking to the tailor's 'prentice through that low window which looks upon the road. There is warm affection in the look she turns up to him, her round little face puckered with anxiety over the housemaid, dimpling into a smile when he commends her; and there is warm affection and pride too in the look the old man turns down upon her. So the night falls, and they go round the house together, locking all the doors and seeing that the servants are safe abed, for our ancestors were more sparing of candlelight than we. And so to bed.
We may take our leave of the couple here. The Ménagier's wife evidently had a full life.
Some respit to husbands the weather may send, But huswiues affaires haue neuer an end.
There was no room in it for the idleness of those lovely ladies, with their long fingers, whom Langland admonished to sew for the poor. Moreover, exaggerated as some of her husband's ideas upon wifely submission appear today, the book leaves a strong impression of good sense and of respect as well as love for her. The Ménagier does not want his wife to be on a pedestal, like the troubadour's lady, nor licking his shoes like Griselda; he wants a helpmeet, for, as Chaucer said, "If that wommen were nat goode and hir conseils goode and profitable, oure Lord God of hevene wolde never han wroght hem, ne called hem "help" of man, but rather confusioun of man."[[23]] Ecclesiastical Jeremiahs were often wont to use the characteristically medieval argument that if God had meant woman for a position of superiority He would have taken her from Adam's head rather than his side; but the Ménagier would have agreed with the more logical Peter Lombard, who observed that she was not taken from Adam's head, because she was not intended to be his ruler, nor from his feet either, because she was not intended to be his slave, but from his side, precisely, because she was intended to be his companion. There is something of this spirit in the Ménagier's attitude towards his little wife, and it is this which makes his book so charming and causes it to stand head and shoulders above most other medieval books of behaviour for women. But, above all, its social and historical value lies in the fact that it gives us, in hues undimmed by time, a full length portrait of a medieval housewife, who has her place (and it is a large one) in history, but concerning whom historians have almost invariably been silent.