This chapter uncovers the unintended trajectory of Taiwanese women’s freedom among younger adopted daughters in the Japanese colonial courts. Family-centric, gender-based physical unfreedom continued to be one of the salient administrative and legal problems in Taiwan from the precolonial period to the late 1910s. Male household heads were not ready to follow the judicial construction of women’s freedom of movement during the early to mid-1920s. However, Japanese judges involved with female litigants shifted their focus to women’s freedom of choice – defined by intent and contractual freedom among adopted daughters – as a new boundary delineating their relationships with households in civil and criminal cases in the late 1920s. Women’s choice continued to be a central point of dispute when adopted daughters became targets of their parents and strangers. These daughters’ ambiguous capacity regarding their age, class background, and sexual integrity was misrepresented to legitimize their adverse labor and life conditions, including sex work. Yet, it was within the flexible contours of choice that the courts protected women’s agency, which, in turn, became a constitutive part of colonial history.

The first chapter deals with women's various roles within their families and households and covers women of all classes indiscriminately (except for the imperial family). It starts with their central positions as wives, throwing light on the traditional wifely virtues and Roman marital ideals but also on marital problems, including divorce and even murder. The first part is followed by separate parts on women's roles as mothers, daughters, grandmothers, siblings and other relations such as aunts and nieces, and on women's roles in foster families and step families, thus presenting a lively overview of women's various familial roles in the course of their lives and the expectations that went with these different roles. The inscriptions and graffiti record feelings of joy at childbirth, love and praise for a happy marriage, attachment between mothers and children and mourning and anger at bereavement. Many epitaphs express the wish to have died first or the hope to be reunited in death.

Chaucer’s God considers how characters invoke God, both in terms of the everyday language of late medieval England and in the ways that the idea of God is reflected in Chaucer’s fiction. Conventional, non-theological utterances of the names for God by Chaucer’s characters as part of their, by turns, outwardly pious and unthinkingly impious phraseologies are discussed in the opening section, God Woot – ‘God knows’. Under the heading God Forwoot – ‘God foreknows’, some of the more challenging invocations of God are considered, such as the implications of divine foreknowledge and predestination on human free will in the Knight’s Tale, the Nun’s Priest’s Tale and Troilus and Criseyde. The concluding section, God in a Cruel World, asks whether in the Clerk’s Tale and the Franklin’s Tale, if Chaucer allowed his tales to reflect, and characters to reflect upon, the heretical notion of a God lacking in compassion for humanity.

Geoffrey Chaucer had a mother. He also had a wife, a daughter, a sister-in-law. He was a page in the household of a noblewoman. He may well have had a lover. He encountered women of all kinds, all shapes and sizes, ranks and degrees, ages and stages of life, and many versions of these women found their way into his works. In the later Middle Ages, society was divided into three estates: those who pray -- the clergy; those who fight -- the aristocracy and landed gentry; and those who work -- commoners, encompassing peasants, artisans, merchants and burgesses, among others. Women, tellingly, were usually categorised by virtue of the estate of their father or husband. This chapter sets out to convey, briefly, a sense of the wide range of women’s lives in Chaucer’s England. It offers glimpses into the lives of young women, widows, nuns, women of the court, urban women, country women and women of the streets, bolstered by vignettes of historical figures from the period.