This line from Pangur Ban reflects a strong pride in self-sufficiency and the value of personal pursuits. By defining the joy of solitary study as better than all fame, the writer challenges the common understanding of pride as something derived from external approval or recognition. Alternatively, the writer promotes a private form of pride that grows from his own pursuit of knowledge,suggesting that fulfillment and identity are rooted in internal achievements rather than societal validation, reinforcing a deeper philosophical commentary on the enduring importance of intellectual and personal independence over transient external acclaim.
In this line, the writer draws a parallel between the work as a poet and Pangur's "childish craft," suggesting a similar emotion of pride from both the cat and the writer and how it is coexistent. By emphasizing that Pangur does not envy the writer, the speaker defines a form of pride that is unbothered by comparison. Pangur's satisfaction in his craft mirrors the contentment and self-worth that the writer derives from his own pursuits. This form proposes a redefinition of pride as authentic joy in ones own labor, independent of external validation. It further implies that pride in self can exist harmoniously with others, without assuming competition, hierarchy, or a need for dominance, reflecting a sense of mutual fulfillment and shared purpose.
This line represents a vision of pride that is based in self-respect within the context of a personal relationship. For the Wife of Bath, pride in self is not about independence. It is about establishing and maintaining control within a traditionally submissive role. This line touches on the subversive nature of her pride, as she reclaims pride as something that empowers women by giving them authority and voice in the marital dynamic. Her pride challenges societal norms, reshaping the idea of submission into an opportunity for personal power, autonomy, and mutual respect within the framework of marriage.