, 14th century
Chaucer A fruit which is rotten before it is ripe, the medlar is used figuratively in literature as a symbol of
prostitution or premature destitution. For example, in the Prologue to ''
The Reeve's Tale'',
Geoffrey Chaucer's character laments his old age, comparing himself to the medlar, which he names using the
Middle English term for the fruit, "open-arse":
Shakespeare In
William Shakespeare's
Timon of Athens,
Apemantus forces an apple upon
Timon: "The middle of humanity thou never knewest, but the extremity of both ends. When thou wast in thy gilt and perfume, they mock'd thee for too much curiosity; in thy rags thou know'st none, but art despised for the contrary. There's a medlar for thee; eat it", perhaps including a pun on "meddler", one who meddles in affairs, as well as on rottenness. (IV.iii.300–305). In
Measure for Measure, Lucio excuses his denial of past fornication because "they would else have married me to the rotten medlar." (IV.iii.171). In
As You Like It, Rosalind makes a complicated pun involving grafting her interlocutor with the trees around her which bear love letters and with a medlar: "I'll graff it with you, and then I shall graff it with a medlar. Then it will be the earliest fruit i' th' country; for you'll be rotten ere you be half ripe, and that's the right virtue of the medlar." (III.ii.116–119). The most famous reference to medlars, often
bowdlerized until modern editions accepted it, appears in Shakespeare's
Romeo and Juliet, when Mercutio laughs at Romeo's unrequited love for his mistress Rosaline (II, 1, 34–38): In the 16th and 17th centuries, medlars were bawdily called "open-arses" because of the shape of the fruits - a name that first appears in
Old English as
openærs - inspiring boisterous or humorously indecent puns in many
Elizabethan and Jacobean plays. The name survived in common use well into the 20th century. In the southwest of England it was historically called '''monkey's bottom''', due to the appearance of its large calyx (sepals).
Other 16th- and 17th-century authors In
Miguel de Cervantes'
Don Quixote the eponymous hero and Sancho Panza "stretch themselves out in the middle of a field and stuff themselves with acorns or medlars." In
François Rabelais'
Gargantua and Pantagruel, medlars play a role in the origin of giants, including the eponymous characters. After
Cain killed
Abel, the blood of the just saturated the Earth, causing enormous medlars to grow. Humans who ate these medlars grew to great proportions. Those whose bodies grew longer became giants, and were the ancestors of Gargantua and Pantagruel.
Thomas Dekker also draws a comparison in his play
The Honest Whore: "I scarce know her, for the beauty of her cheek hath, like the moon, suffered strange eclipses since I beheld it: women are like medlars, no sooner ripe but rotten." Another reference can be found in
Thomas Middleton's
A Trick to Catch the Old One in the character of Widow Medler, impersonated by a courtesan, hence the following pun: "Who? Widow Medler? She lies open to much rumour." In the Memoirs of
Glückel of Hameln, Glückel recalls having had a craving for medlars when she was pregnant with her son Joseph, but ignoring the desire. When the baby was born, he was sickly and too weak to be breastfed. Remembering a superstition about the dangers of pregnant women not fulfilling their cravings, Glückel asked for someone to fetch her some medlars for the baby. As soon as the fruit touched the baby's lips, he ate all the pulp given to him, and was then able to be breastfed.
Modern literature In modern literature, some writers have mentioned this fruit.
Saki uses medlars in his
short stories, which often play on the decay of Edwardian society. In "The Peace of Mowsle Barton", the outwardly quiet farmstead features a medlar tree and corrosive hatred. In "The Boar Pig", the titular animal,
Tarquin Superbus, is the point of contact between society ladies cheating to get into
the garden party of the season and a not entirely honest young schoolgirl who lures him away by strategically throwing well-bletted medlars: "Come, Tarquin, dear old boy; you know you can't resist medlars when they're rotten and squashy." Italian novelist
Giovanni Verga's naturalist narrative
I Malavoglia is titled
The House by the Medlar Tree in the English translation.
H. C. Bailey's detective Reggie Fortune is very fond of medlars.
Philip Pullman describes Sir Charles Latrom's perfume as "rotted like a medlar" in his book
The Subtle Knife. ==See also==