THE AUTHOR AND HIS TIMES

Most people in the English society of Chaucer's time, about 600 years ago, viewed the world in a similar
way and accepted the same beliefs. People then believed that behind the chaos and frustration of the
day-to-day world there was a divine providence that gave a reason to everything, even though that
reason wasn't always obvious. When you've got faith in an overall system like that, it's easier to accept
and understand the world around you. People in Chaucer's society could feel, at least much of the time,
a sense of security about the world, knowing that it was following a divine plan. They trusted the system
they believed in; it was true, and they felt no need to question it.
So behind all of Chaucer's satire and social put-downs in the Canterbury Tales is an unshaken belief in a
divine order. It's easier to make fun of something when, underneath, you know you take it seriously.
Also, as Chaucer knew, it's easier to write for a group of people who at least roughly share the same set
of values, whether they be a cook, a parson, or an upper- class prioress.
Those values were represented in the medieval world by two structures: the class system and the
church. People believed both setups were established by God, and each went unchallenged. A peasant,
like Chaucer's Plowman, wasn't "upwardly mobile" as in our society, and didn't aspire to become a
knight. He may want to buy more horses or farm more land, but he wouldn't change his basic lifestyle or
his station in life.
In the Middle Ages, each person was classified according to his or her "estate" or place on the social
scale depending on birth, profession, and other factors (such as whether a woman was married-an
important discussion of which is in the Wife of Bath's Tale as well as others). Each social grouping was
like a symbol of the divine order, as immune to change as the hierarchy of angels. That's why a move
from the peasant to the middle class, for example, was almost unheard of.
The middle class was in its infancy then. Chaucer himself was a member of what we'd call the upper
middle class; he got jobs at court without actually being royalty. He started out as a page, serving meals
and learning the ropes of becoming a courtly gentleman. He also quickly found out about the conflicting
whims of human nature and the importance of the right appearances, both lessons he draws on in the
Canterbury Tales. He evidently learned them well in real life, too, because he became a diplomat and
traveled for the king to France and Italy, where he picked up plenty of literary influences that show up in
the Canterbury Tales and other works.
Chaucer uses class structure very clearly in the Tales, presenting the Knight first and having him tell the
first tale because he's the highest-ranking pilgrim present. The nobility, being at the top of the social
scale, was responsible for cultivating virtue, keeping the peace by maintaining social order, and setting a
moral example for the other classes to follow.
Apart from the worldly order but just as important was the church hierarchy. It, too, was a structure
ordained by God (especially since everyone in the church was Roman Catholic in the hundreds of years
before Martin Luther and the Reformation). Yet within the church ranks there was incredible in-fighting
between the "regular" clergy (those in convents and monasteries, like the Monk, Prioress, and Friar in
the Tales) and the "secular" clergy (parish priests like the Parson and eventually perhaps the Clerk).
Each section was, in a sense, feuding with the other for "turf." Chaucer exemplifies this by showing an
argument between the Pardoner (a church official of the secular variety) and the Friar, who is in direct
competition with the Pardoner for money and religious influence over the parish villages they both travel
through.
The regular clergy, in particular, had a reputation for corruption at that time. Monasteries, which were
supposed to be apart from the world and whose inhabitants were to avoid worldly goods, were almost as
lavish as castles by the 14th century, and most people assumed that friars (like Chaucer's picture of one)
kept much of the money they were supposed to give to the poor. At one point in his life Chaucer lived in
a part of London that was very near several large monastic orders, and he probably got to see a good
deal of their life and work. He also, as we can see from his portraits, had little sympathy for cheating
clerics. In fact, he was once fined for beating up a friar outside a courthouse!
Yet people still gave money to friars and pardoners because you could never be too sure. Even if the
friar or pardoner were corrupt, giving to charity or buying a papal pardon could still help get you into
heaven or at least knock a few thousand years off your stay in purgatory. Also, just because a friar or
monk was a less-than-sterling example of his station, the social position itself still commanded respect.
What about the importance of pilgrimages, which certainly are important in Chaucer's Tales? You must
realize, first of all, that pilgrims were ordinary people, not even necessarily very religious (as you can see
from the Prologue), who visited religious shrines as much for a holiday as for the heavenly benefits.
Such trips even took on the qualities of holidays at the shrines, with people like Chaucer's Pardoner
selling holy "relics", and souvenir stands set up along the route. For some people, like the Wife of Bath, it
was the only way to escape the pressures of home, especially for a woman. (We suspect that the Wife
may be along for other reasons as well.) Spring was a particularly popular pilgrimage time in England,
and Chaucer duly begins this report of a pilgrimage with a description of the spring.
It's also not unusual to have a large, oddly assorted mixture of people heading out on a pilgrimage
together, sort of a medieval tour bus. Travel was slow, roads were rutted, and there were highway
robbers, accidents, and illness. Then, as now, there's company and comfort in numbers, so why travel
alone when you could travel with others, especially if they told such entertaining stories? Because of the
festive atmosphere of many pilgrimages, some clerics frowned on them, but neither Chaucer nor his
pilgrims cares about such matters.
By using the format of a pilgrimage, however, Chaucer reminds us that behind all the jokes are the
serious truths that he and his pilgrims believed in. Amid the clamor of different characters and different
points of view, he's reminding us that earthly truth has as many aspects as there are pilgrims, and that
the pilgrims are trying to find a single truth that is impossible for mortals to find. It doesn't matter that the
tales are chaotic and unfinished; what matters is that God's truth existed for Chaucer beyond the chaos
of everyday lives and explanations.

GENERAL PROLOGUE: CHARACTERS AND THEMES

The opening of the General Prologue bursts with spring, with new life, and shows that Chaucer is both
similar to and different from his poetic predecessors. He uses many images of spring that would be
familiar to a medievel audience: the April showers (familiar to us too) "piercing" March's dryness, the
"licour" in each plant's "vein," the breezes "inspiring" the crops. It's short, but enough of a description to
give us a sense of waking up to new and exciting events. Even the birds sleep with "open eyes" because
of the rising sap.
Then, instead of moving from the conventional spring setting to a description of courtly romantic or
heroic deeds, as his audience might expect, he draws us into a very down-to-earth world. Spring isn't
romance; it's the time of year "when people long to go on pilgrimages." We can all identify with the
feeling of "spring fever," when we want to travel and shake off the winter doldrums.
What's more, in case we or Chaucer's listeners are expecting a conventional medieval description of
moral allegorical types-Greed, Love, Fortune, etc.- or battles, we're in for a shock. Other poets presented
characters for moral purposes or to embody ideals such as courtly love. But Chaucer doesn't deal in
types, whether religious or courtly, but in portraits of real people. He even ignores the unwritten rule of
the time that, if you're describing someone, you start at the top, very orderly, and work down. Chaucer
will start with someone's beard, then hat, boots, tone of voice, and finally his political opinions! (That's
just a partial description of the Merchant.) He's not reporting for a moral purpose, but out of love of life
and the people around him.
Imagine that you're minding
in a wayside tavern and in burst 29 people representing every facet of society. For Chaucer, that meant
the nobility, embodied in the Knight and Squire; the church, in the form of the Prioress, Monk, and
others; agriculture (the Plowman); and the emerging middle class (the Merchant, Franklin and
tradesmen). Rather than shy away from this motley crew, Chaucer the narrator (who is not the same,
remember, as Chaucer the poet) befriends and describes them, inserting his own opinions freely.
Chaucer uses the framework of a springtime pilgrimage to the sacred shrine of Saint Thomas Becket at
Canterbury for his most popular work The Canterbury Tales. In the General Prologue a group of around
thirty odd pilgrims come together in a fellowship and genially agree with the Host’s suggestion of a story
- telling contest whereby each of them shall tell two tales on the way to Canterbury and two tales on the
way back. There is an additional condition that the tales must either be entertaining or instructive in
character. The winner shall be treated to a grand dinner by the rest of the pilgrims. This ingenious device
enables Chaucer to combine numerous narratives of diverse literary styles and genres ranging from
courtly romance, Breton Lay, fabliaux, saint’s legend, tragedy, exemplum, and sermon to a beast fable
into a holistic work of art. The pilgrimage device also provides Chaucer with a vast range of characters.
From the Knight who is a zealous crusader for the Church to the Monk who loves hunting and the good
life, from the Wife of Bath who is an expert on marital troubles to the Pardoner whose bag is stuffed with
sermons hot from Rome.
In fact Chaucer presents the microcosm of medieval society through these thirty odd pilgrims. All the
three basic traditional strata of medieval society have ample representation: the Knighthood represented
by the Knight and the Squire, the spiritual clergy idealized in the figure of the Parson and the Clerk, and
the agricultural represented by the Plowman. These were the three pillars of medieval society. The
Plowmen were honest laborers who worked hard with their hands to provide sustenance for all; the
clergy protected everybody’s souls; and the Knight upheld justice and protected civilian life and property.
Further Chaucer also represents the genteel nobility through the Prioress and the Monk, the medieval
manor through the Miller and the Reeve, and the rapidly rising middle classes through the London
Merchant, Harry Bailey the innkeeper, the Manciple, the Cook, and the guildsmen. Provincial England
too finds its representative in the Wife of Bath and the Sea captain. The frame of the Prologue is very
essential to the structural design of the whole poem. Chaucer captures the reader’s interest from the
opening lines and also introduces the Themes that are later explored in detail through the individual
Tales.
Prologue describes portraits that proceed to become life-like vibrant characters.
In his descriptions of the pilgrims in The Prologue, Chaucer begins with a description of the most
noble, the Knight, and then includes those who have pretensions to the nobility, such as the Squire,
and those whose manner and behavior suggest some aspects of nobility, such as the Prioress.
Then he covers the middle class (the Merchant, the Clerk, and the Man of Law, for example) and
ultimately descends to the most vulgar (the Miller and the Reeve). The reader must ask why the
Pardoner is placed at the very end of the descending order.

The Knight
Chaucer describes an ideal Knight, a "verray parfit, gentil knyght", who conscientiously follows all the
social, moral, chivalric, and religious codes of conduct. Chaucer does not have any particular individual
in mind but casts the Knight as an idealistic representative of his profession. Socially, the Knight is by
far the most prestigious person on the pilgrimage. Although the institution of chivalry had become
decadent in the fourteenth century Chaucer withholds his criticism and instead endows the Knight with
all the gentlemanly qualities that are in keeping with his character. Thus the Knight possesses all the
traditional chivalric virtues of politeness in speech, consideration for others, righteousness, generosity,
helpfulness, and loyalty. He is the very essence of chivalry, honor, and courage. Similarly, he is the
epitome of gentility, a man who loves truth, freedom, and honor. Everyone in the pilgrimage looks
up to and respects him.
He also loves truth, honor, freedom, and courtesy. Moreover he is not only brave and worthy but also
wise. Although the Knight rides on a good horse, he isn’t ostentatiously dressed himself. He has come
straight from his expedition and is still wearing his armor. His simple coarse sleeveless tunic made out of
fustian bears the stains of his armor. This minute detail serves to impart a certain degree of realism to
the portrait and also serves to underline the Knight’s religious devotion and his eagerness to go on the
pilgrimage. The Knight’s ascetic clothing thus stands to his credit and highlights his integrity and honor.
He has fought in many battles and served his king nobly. (Readers should note that the Knight has
not fought in secular battles; all his battles have been religious battles of some nature.) Scholars
have pointed out that the majority of the Knight’s campaigns are religious in nature and are by and large
crusades against the heathens.
Despite his elevated position, the knight is also filled with humility. He does not participate in the
quarreling or complaining, nor does he condemn it. Although he has distinguished himself several
times in battle, he never talks about his brave and valorous deeds. He is completely satisfied with
his station in life and is courteous to the other pilgrims without becoming friendly with them.

The Squire
The young Squire with his fashionably curled locks and stylish short gown is the embodiment of the
romantic chivalric tradition and provides a stark contrast to the religious chivalric tradition represented by
his father, the Knight. His short coat with long wide sleeves is exquisitely embroidered with red and white
flowers. This provides a stark contrast to the Knight’s ascetic clothing. In the medieval chivalric hierarchy
a Squire ranked immediately below a Knight. A Squire had to serve as an attendant to several Knights
and their ladies before he himself received Knighthood. Chaucer’s Squire possesses all the socially
desirable accomplishments that were expected of young men in his position. He is an excellent
horseman and also knows how to draw. Moreover he is fond of singing, dancing and composing lyrics.
He also likes to joust. A joust was a trial of strength and expertise in which one individual fought another.
This sport was strictly restricted to the nobility. Chaucer states that the Squire had been on cavalry
expeditions to Flanders, Artois, and Picardy with the hope of winning his lady’s favor. The desire to win a
lady’s favor is one of the main motivations for chivalric action in the tradition of courtly love. Thus unlike
his father the Squire, he is not motivated by religious feelings but by love. The Squire is strong and
extremely agile. Further he is courteous and considerate towards others. He willingly serves his lords
and carves before his father at the table. Carving was considered to be a very strenuous task. Chaucer
is indulgent of the Squire’s romantic fervor and carefree attitude. His singing and playing upon the flute
all day long are perfectly in accordance with his cavalier sensibility. On the whole one is convinced that
the Squire would make a worthy Knight like his father.
The Yeoman
A Yeoman was an attendant to an official and ranked above a ‘garson’ or groom in the medieval
hierarchy. The modern meaning of a small landowner came about much later. Chaucer makes it clear
that the Yeoman was also a ‘forester’ i.e. thoroughly proficient in hunting and woodcraft. He is a robust
individual with closely cropped hair and tanned complexion that bear testimony to a hectic outdoor life.
His apparel of a green hunting coat and hood is brightened by a sheaf of sharp peacock arrows that he
carries carefully under his belt. He carries all the equipment necessary for his occupation as a Yeoman
and a hunter: a mighty bow, a bracer, sword, buckler, a well - sharpened dagger and a hunting horn. A
St. Christopher medal that dangles on his breast provides the finishing touch to his physical appearance.
Chaucer indicates that the Yeoman is proficient in his work by his statement that he carried his
equipment in true Yeomanly fashion. There are no ironic notes in the Yeoman’s portrait. Rather the gay
and colorful Yeoman wins a positive response of unrestrained appreciation from Chaucer.

The Prioress
Chaucer has painted an utterly charming and elegant portrait of the Prioress. She is named Eglentyne or
Sweetbriar. She has a broad forehead, perfect nose, blue-gray eyes, and thin red lips. Her smile is
simple and coy. Her appearance conforms to the contemporary ideal of a beauty. She only swears by
‘St. Loy’ which is to say that she hardly swears at all. She sings the divine service very well with a
pleasant nasal intonation and can speak French elegantly. She is obviously a lady who has not forgotten
her past of extravagance and fine living. She strives to imitate courtly manners which is evident in her
precise table manners where she even takes care not to wet her fingers too deeply in sauce. Her tender
heart runs over with pity at the sight of dead or bleeding mice caught in a trap. She is fond of animals
and feeds her three dogs with roasted meat and expensive fine bread. Chaucer criticizes the Prioress by
praising her very faults. The Prioress’s kindness to her pet dogs is seen as a weakness. Her charity
should extend towards needy people rather than animals. Moreover in the medieval world animals were
not thought to possess souls and were as such outside the scheme of salvation. As a nun she cannot
strictly follow the rules of simplicity and poverty. This is seen in her love of jewelry as she possesses a
red-coral rosary and an elegant gold brooch with the vague motto ‘Amor vincit Omnia’ i.e. love conquers
all. Keeping her ecclesiastical background in mind the inscription should rather have been ‘Amor Dei’,
i.e. concerned with divine love instead of worldly profane love. She is elegantly dressed in a cloak and
her wimple is neatly pleated. Thus Chaucer combines strokes of irony with unconcealed appreciation in
his presentation of the gentle, demure, aristocratic and worldly Prioress.

The Monk
Chaucer presents a corrupt Monk who loves the good life and finds more pleasure in hunting than
studying in the cloister. The Monk’s weakness for good food and expensive clothing and his love for
hunting violate the monastic vows of poverty and simplicity. He is riding a sleek berry brown horse on his
way to Canterbury. The bells attached to his horse’s bridle tinkle pleasantly with the wind. Chaucer
ironically pronounces that the Monk is perfectly suitable for the office of abbot. The Monk, Daun Piers, is
an outrider; i.e. he takes care of the monastery’s estates. He spends more time outside his cloister than
he should. He does not care at all about the rules laid down by St. Benedict and bears no guilt about the
fact that he rides out instead of devoting himself to his monastic duties. Chaucer ironically agrees with
the Monk’s point of view and innocently asks why should the Monk make himself mad by pouring over a
book in a cloister. The Monk’s pleasure in hunting is a fitting object of satire. In the Middle Ages Monks
who took delight in hunting were severely condemned by the reformers. In fact hunting itself was
considered an immoral activity. Chaucer’s Monk is a perfect hunter and one who takes extreme interest
and pleasure in tracking and hunting wild rabbits. He thus keeps fine horses and well bred hunting
hounds in his stable. The Monk is a worshipper of materialism. The sleeves of his coat are trimmed with
the finest gray fur in the land. His hood is fastened under his chin with an exquisite gold love knot. His
boots are supple and expensive. His bald - head and face shine radiantly as if anointed with oil. His large
eyes roll in his head and gleam like a furnace under a cauldron. He is healthy and well fed and loves to
eat a plump roasted swan. Chaucer ironically concludes that the Monk is certainly a "fair prelat".
Chaucer’s subtle ironic portraiture of the ‘manly’ Monk and repeated approbation of the Monk’s abilities
only arouses the reader’s derision.

The Friar
The Friar, Brother Hubert, is among Chaucer’s portraits of the corrupt clergy. The Friar is a gay, merry,
wanton man. He is a seeker of pleasure. He is a limiter; i.e. he is licensed to solicit alms within certain
assigned limits. He is a grand imposing man and the only member in all the four orders of the
Dominicans, Franciscans, Carmelites, and Augustinians, who was so well- versed in the language of
dalliance and flattery. In contrast to the Monks, Friars had the liberty to preach outside the monastery
walls and they followed the ideal of active as opposed to contemplative service. The prime objective of
the Friars however was to attack evil and sinners by preaching among the people. However this
mendicant life soon degenerated into a pleasurable way of life. Friars transformed begging into an
extremely profitable business proposition. Moreover Friars who were supposed to guard people against
evil themselves committed venal sins like seducing village girls and married women by their sweet talk
and gifts. Chaucer’s lecherous Friar too has arranged marriages of many young girls whom he had
seduced. He is thoroughly familiar with the tricks of the trade and his hood is always stuffed with trinkets
cherished by gullible women. Chaucer ironically commends the Friar as a strong pillar of the church. The
Friar is very familiar with the rich and powerful men of his town. He claims to have more power to hear a
confession than a parson does and his absolution is pleasant since he easily grants pardon whenever he
is certain of a good offering. He argues that many hard-hearted men could not weep even if they are
truly repentant for their sins. In such cases charity to friars is equivalent to tears and prayers.
The Friar has a merry voice and could sing well to the accompaniment of a rote (a stringed instrument).
He always won the best prize in ballad singing competitions. His musical ability helps in his seduction of
women. He has a lily-white neck although he has an athletic constitution. This corrupt Friar is well
acquainted with all the innkeepers and barmaids but avoids the poor beggars and lepers like the plague.
Chaucer sarcastically comments that it is neither fitting nor profitable for the Friar to associate himself
with such poor people. Chaucer then commends the Friar for his humility, virtuousness, and courtesy.
He is indeed the best beggar of his order and has the ability to extract money from even the poorest of
the poor. For even if a poor widow did not have a shoe / sou (French coin), the Friar’s recitation of "In
principio" was so pleasant that he would extort a farthing from her before he left. The proceeds of his
begging were far greater than the rent that he paid to the church. Moreover the Friar was actively
involved in settling secular matters on love-days. Love days were days appointed for out of court
settlement of disputes under the arbitration of the clergy. Gradually the practice degenerated and the
church forbade the clergy to arbitrate except in case of the poor. Chaucer’s comment that the Friar
actively participated on love days is an indirect criticism since the readers know that the Friar does not
associate with the poor. The Friar is not like an ascetic wearing threadbare clothes. Rather he is wearing
a well pressed double worsted coat. Hubert lisps in order to make his speech sound sweet. His eyes
twinkle in his head like stars in a frosty night. Chaucer’s ironic portrait of the merry, sweet, pleasant and
worthy Friar is an excellent satire against the corrupt clergy.

The Merchant
The Merchant with his forked beard is a representative of the rising middle classes. He is well dressed
with fashionable motley colored clothes, stylish Flemish beaver hat and expensive boots. He gives his
opinion on English trade policies in a pompous manner and always bases it on what would be favorable
to his own trade. He manages his financial affairs so cleverly that nobody knows that he is actually in
debt. He never loses any money in his bargains and is extremely knowledgeable about the business of
borrowing and lending money. Chaucer says that the Merchant is a worthy man but declines knowing his
name.

The Clerk
The Oxford clerk is among Chaucer’s idealized portraits. The Clerk is a serious student who had long
ago devoted himself to the study of logic. Perhaps he is studying for a Master’s degree. He is very thin,
hollow and pale and his horse is as thin as a rake. He does not have any benefice and is extremely poor
which is evident from his threadbare short upper coat. He prefers to single - mindedly pursue his
insatiable quest for knowledge and learning rather than mindlessly run after wealth and riches. He would
rather have twenty books of Aristotelian philosophy at his bedside than fine clothes, fiddle or a gay harp.
Although he is a philosopher he has little gold in his coffer. He is a man of few words and does not speak
more than necessary. But whatever he does say tends to increase moral virtue in the listeners. The
scholarly Clerk religiously prays for the welfare of his friends and benefactors. Chaucer seriously
appreciates the Clerk’s solemnity and openly praises him. There are no ironic overtones in the Clerk’s
portrait apart from the pun on his being a philosopher and yet being poor. In the Middle Ages, a
philosopher also implied an alchemist who claimed to transform base metals into silver and gold.
Chaucer’s Clerk does not have gold in his coffer. He is a serious student of logic and philosophy and has
willingly forfeited worldly pleasures for intellectual enrichment.

The Sergeant at Law

The Sergeant at Law is an expert lawyer and a man of considerable importance. He has often functioned
as a judge at the assizes. He has often been at the ‘parvys’; i.e., porch of St. Paul’s church where
lawyers often met for consultations. He was highly renowned for his knowledge and knew all the statutes
by heart. He commanded high fees for negotiating the purchase of land and could draft his legal
documents so well that nobody can find any fault with them. Therefore he has attained mastery in his
profession. The Sergeant at Law is also very discreet and cautious in his speech. He was a very busy
man but he always pretended to be busier than he really was. Chaucer here ironically comments on the
tendency of humans to pretend. The Sergeant at Law has misconceptions about his importance and
holds a high opinion of himself.

The Franklin
The Franklin with his daisy white beard and sanguine complexion is an excellent portrait of a hedonist.
He owns a big house in the countryside and pretends to be a noble landlord for which he is respected by
the country folk. He is a true Epicurean who delights in the pleasures of life. He is a social climber and
greatly values everything connected with nobility. He has often served as Member of Parliament for his
county and is a man of authority. He is extremely fond of fine food, good wine and jovial company. In fact
Chaucer states that it rained food and drink in his house. His hospitality is evident from the fact that his
table is always laid with food. He has the best cellar in the county and changes his menus in accordance
with the seasons. Chaucer completes his portrait with the comment that the Franklin is a worthy sub-
vassal.

The Physician
The peerless Physician is the master of his profession. Chaucer says that the Physician is "a verray,
parfit praktisour". He is trained in astronomy and would observe his patients carefully through the
astrological hours and place the waxen figures of his patients when a beneficent planet was ascendant.
He knew the cause of every disease - whether it was hot or cold or moist or dry - and also which humor
was responsible for it. It was believed during the Middle Ages that physical diseases as well as mental
temperaments were the result of the relationship of one humor with another. The term humor refers to
the four fluids of the human body: blood, phlegm, yellow bile, and black bile. An imbalance would result
in the dominance of one humor and affect the health of the person accordingly. An excess of black bile
for instance resulted in melancholy, brooding and gluttonous temperament. When the humors were in
balance, an ideal temperament prevailed. However the Physician was in league with the apothecaries
and each worked to increase the other’s profits. Although he was well read in all the medical texts, he
devoted little time to read the Bible. He had made a lot of money during the plague and clung to it as if
his very life depended on it. He is very conscious of his health and eats moderately. Chaucer suggests
that the Physician was greedy by commenting on his fondness for gold. The Physician truly represents
the fourteenth century doctor.

The Wife of Bath

The Wife of Bath is Chaucer’s most delightful character. She is a skilled weaver who even surpasses the
weavers of Ypres and Ghent. She thinks highly of herself and loses all patience if anybody dares to
precede her in making an offering. She is garishly dressed. She wears scarlet red stockings and supple
new shoes. Her handkerchiefs are of the finest weave and weigh over ten pounds. Chaucer mentions
that she has been married five times and has had innumerable affairs in her youth. She has traveled
widely and has been on pilgrimages to Jerusalem, Rome, Bologna, Galicia and Cologne. She is gap-
toothed and rides her gentle ambling horse easily. It was believed in the Middle Ages that a gap-toothed
person would be very lucky and travel far and wide. The lengthy description of her travels indicates that
she has led a fairly comfortable life. She wears a riding skirt round her large hips and a pair of sharp
spurs on her heels. She knows how to enjoy herself in company and her special forte lies in her
knowledge of all the cures of love.
Her knowledge about the remedies of love is probably a reference to Ovid’s "Amor Remedia". The irony
lies in her knowledge of "Amor Remedia" rather than "Ars Amatoria". Chaucer comments that it is a pity
that the good Wife of Bath is somewhat deaf. The reader learns in the Prologue to her Tale that this is a
result of her dominating character. Her fifth husband had struck her angrily on the head in response to
her attempt to dominate him. But ultimately the Wife of Bath had governed him for the rest of his life. The
Wife of Bath is a happy daughter of Venus from whom she gets her lecherous temperament and Mars
from whom she gets her fiery temper. She is frank and forthright in her opinions and believes in leading
an enjoyable life. She is the first feminist character in English Literature and appeals for the liberation of
women in her tale. She is a charming, lively, energetic character. Although some readers are offended
by her coarseness, one must concede that her bold face and domineering spirit make her portrait
immensely vivid.

The Miller
The Miller's physical stature fits his story, which is uncouth and, for many, obscene. He is a
heavyset man, "a stout Carl (fellow) full big" of muscle and bone, and he is always the winner at
wrestling. He is a fearful sight and vulgar. Most noticeable is a large wart with hairs growing out as
long and as red as a thistle at the tip of his nose. If most of the pilgrims are going to Canterbury for
religious reasons, the Miller is probably going to benefit from the curative powers which were
heralded. He is an awesome fellow, and, like the Summoner, a person one would not want to meet
in the dark. His tale is one of the best constructed and the best comic situations of the all the tales.
As evidenced in his tale, the Miller also has an obvious grudge against carpenters and perhaps
towards the Reeve himself, who was once a member of a carpenter's guild.

The Parson
The Parson, like the Knight, is an idealized figure. The Parson’s portrait is totally devoid of any ironical
undertones or satire. He is a truly virtuous, devout, conscientious, pious, diligent and patient individual.
However Chaucer’s description of this ideal Parson in turn serves to indicate the sins of the average
priest in the fourteenth century. He is a learned man, a clerk, and devoutly teaches his parishioners the
tenets of Christianity. It was unusual for a Parson to be learned and scholarly during the Middle Ages. In
fact the majority of the parish ecclesiastics were totally uneducated and incompetent men. The Parson
retains his faith in God even in times of adversity. Further he is benign, wonderfully hardworking and
bears his troubles patiently. He is very generous and gives his sparse income to the needy parishioners
even when there is scarcely enough left for himself.
He is opposed to excommunicating poor parishioners for the non- payment of tithes (taxes paid to the
church). The Parson would also give away the offerings made by the parishioners to the very poor and
needy. His parish is far flung but, the Parson nevertheless trudges along religiously with a staff in hand
to provide solace to those who are sick or needy. Chaucer uses the biblical imagery of a shepherd
tending to his flock of sheep to describe the Parson’s activities. Indeed the Parson sets a noble example
before his flock or people as he practices what he preaches. Unlike other mercenary priests, Chaucer’s
Parson does not hire out his benefice and run off to St. Paul’s in London, in pursuit of an endowment by
singing masses for the dead or to be retained by a gild. Rather, he stays at home in his parish and
guards his flock against all kinds of evil. Although the Parson is holy and virtuous he isn’t contemptuous
of sinners and nor is he overbearing and haughty in his speech. But if some sinner proved to be
obstinate he would reprove him sharply without regarding whether he belonged to the high or low estate.
Chaucer asserts that he does not know a better priest than this Parson who preached Christ’s gospel but
first followed it himself. The Parson is obviously meant to be an ideal stereotype and a reflection of what
priesthood should be like.

The Plowman
The Plowman is the Parson’s brother and another idealized portrait. Chaucer emphasizes the Plowman’s
industriousness by stating that he is a good and true laborer. The Plowman lives in peace and perfect
charity and willingly helps out his neighbors. He would thresh, carry dung, dig, and make ditches to help
a poor neighbor. He loves God with all his heart and promptly pays his tithes to the Church. Chaucer
here negates the commonly held perception of the peasant’s supposed hatred of the church. The
Plowman not only loves God but also pays his tithes without any grudges. Chaucer’s Plowman follows
Christ’s both commandments: to love God and to love one’s neighbor as one’s self. The Plowman rides
an inferior mare and is humbly dressed in a laborer’s coat. Many feel that Chaucer’s Plowman is
modeled on the allegorical ploughman of Langland’s poem, Piers Plowman, who always serves Truth.
Chaucer has portrayed the humble Plowman sympathetically and admires his pride in his calling and
true Christianity.

The Miller
The Miller, named Robin, is a stereotypical representation of a dishonest man. He is a rich villager
whose prime concern is the augmentation of his own profits. Professor Curry has provided a scientific
explanation of the Miller’s character based on Aristotle, Rhazes, and the Secreta Secretorum. His
physical characteristics are a reflection of his personality and temperament. His broad-shouldered,
stocky built, his huge plump face with luxuriant red beard, and squat nose with an ugly black wart on top
--- is symptomatic of his shameless, loquacious, quarrelsome, deceitful and lecherous character.
Chaucer states that the Miller is quite an expert in stealing grain and charging thrice the amount and yet
has a golden thumb. Chaucer uses the common saying, "An honest miller hath a golden thumb" as a
pun, to ironically suggest that this Miller’s golden thumb only serves to increase his own profits. The
Miller is very strong and can heave the strongest door off its hinges by battering it with his head. He
comes across as a repulsive buffoon who likes to joke about sin and scurrilous tales. He plays the
bagpipe very well, and leads the company of pilgrims out of the town, to its soulful music.

The Manciple
A Manciple is an attendant who purchases provisions for a college, an inn of court, or the like. Chaucer’s
Manciple serves the lawyers and students at the temple that is the Inner or Middle Temple near the
Strand. The Manciple is as dishonest as the Miller and always makes a profit on his purchases. Chaucer
ironically praises his financial wisdom that enables him to hoodwink his masters comprising of the best-
learned lawyers in the country. Chaucer has drawn a satiric portrait of the Manciple’s professional
malpractice.

The Reeve
Chaucer’s Reeve named Oswald is a slender choleric man. Professor Curry has scientifically interpreted
the Reeve’s physical attributes. There is a traditional connection between choleric temperament and
thinness. Further a choleric man always has thin pipe like legs which indicates a lecherous character.
Chaucer’s Reeve is also close shaven that is an indication of his inferior position in the social hierarchy.
The Reeve occupies a position between that of the steward or seneschal and a bailiff. He was a
carpenter in his youth. Oswald is a typical presentation of a deceitful Reeve. He has managed his lord’s
account since his lord was twenty years old and cheats him to fill his own coffers. Moreover he also
knows all the secrets of the bailiffs and laborers and blackmails them. He is thus feared by all and
nobody dares to expose him. He is richer than his lord and often lends him his own money. This
treacherous Reeve lives in a pleasant house upon a heath, shadowed by green trees. The Reeve rides a
farm horse named Scot and wears a long coat tucked in like a friar’s. Throughout his portrayal of the
Reeve, Chaucer highlights his deceitful malicious and reprehensible character.

The Summoner
The Summoner was a church official who was responsible for summoning the sinners before the
ecclesiastical courts. Chaucer shows his extreme loathing and hatred for the two characters of the
corrupt Summoner and Pardoner. He groups them together as joint partners in spiritual crime and makes
the Pardoner accompany his brother the Summoner in a bawdy song about lustful love. The Summoner
possesses disgusting physical features that reflect the sordid state of his soul. His fiery red pimpled
cherubic face is the direct result of his sinful and lecherous activities. His food habits are far from sober.
His delight in eating garlic, onions and leek and his fondness for wine further aggravates his physical
condition. He suffers from some kind of leprosy. The Summoner appears extremely repulsive with
suppurating blotches on his cheeks, black scabby eyebrows and scanty beard. It is hardly surprising that
innocent children are afraid of his gruesome appearance. Chaucer sarcastically approves of the
Summoner saying that there wasn’t a friendlier rascal to be found.
The Summoner would allow a sinner to keep a mistress for an entire year just in return for a quart of
wine. He is sympathetic to such people because in all likelihood he commits the same sin himself. The
Summoner is also illiterate and broadcasts his ignorance by repeating a few Latin phrases when drunk.
The extent of his entire knowledge lies in the refrain, "Questio quid iuris?" (The question is what is the
law?). The Summoner’s moral depravity can be glimpsed from his views on excommunication. He is ever
ready to forgo excommunicating a sinner if he is sure of a hefty bribe and proclaims that purse is the
archdeacon’s hell. This means that the punishment is to the sinner’s purse rather than to his soul. This
corrupt Summoner extorts protection money from every gullible sinner by threatening them of
excommunication At this point Chaucer directly speaks and states that every man should fear the
archdeacon’s curse:
"of excommunication since it will certainly kill his soul just as absolution will save it. This gluttonous
Summoner carries a shield of cake or loaf and his head is garlanded with flowers. There is a consistent
strain of moral disgust, outrage and loathing throughout the Summoner’s portrait."

The Pardoner
If the Summoner received Chaucer’s unmitigated disapproval, the Pardoner is a personification of
absolute evil. A Pardoner sells papal indulgences and relics. He preached that Papal indulgences
pardoned the sins committed in one’s life and ensured a place in purgatory instead of hell. Pardoners
made a commercial business out of sale of indulgences as they made them easily available through
payment of money. Chaucer’s Pardoner has come straight from Rome with a bag overstuffed with
indulgences. He also carries false relics to cheat naïve people. These include a pillow case which had
served as the Virgin’s veil, the piece of sail with which St. Paul went to sea until Christ caught him, and a
glass jar filled with pig’s bones. He has duped many innocent parsons and his parishioners by selling
them false indulgences and relics. He confesses in the Prologue to his Tale, that, he knows the exact
method of extorting money from people by preaching against the avarice of money. The hypocritical
Pardoner has repulsive physical features. His sparse waxy yellow hair hangs limply by the sides like
strands of flax. His glaring hare like eyes, small goat like voice and absence of facial hair indicates that
he is a eunuch. He rides ‘dischevelee’ and his hood is in his bag. He wears a vernicle on his cap to
indicate his official authority. His special skill lies in singing at the offertory to extract maximum money
from the people. The Pardoner does not invite Chaucer’s gentle irony but harsh sarcasm. There is an
outright condemnation of the Pardoner’s mal-practices and moral corruption.

Chaucer
Chaucer is the author of "The Canterbury Tales" and also appears as one of the pilgrims throughout the
entire book. He functions as the naïve narrator and the reader’s guide on the way to Canterbury and his
ironic comments as the poet reveals the true color of this assorted group. Chaucer’s cheeky presence as
one of the pilgrims lends an air of realism and immediacy to the book and the reader feels that he is
reading an eyewitness account. He tells the tales of Sir Topas and Melibee during the course of the
journey. He finally identifies himself as the poet at the end in "Retracciouns". The reader first meets him
in the "General Prologue" where he describes the pilgrims that he encounters at the Tabard inn. He
poses as a naïve first person narrator and claims to be objective in his appraisal of the pilgrims’
appearance but it is seen that he seems to possess the knowledge of an omniscient narrator. The reader
thus learns not only about the pilgrims’ physical appearance but also details about their personal lives
and careers. Chaucer, the observer and recorder of events as one of the pilgrims, frequently pronounces
his judgement as the poet. He openly condemns the corrupt Summoner and the evil Pardoner. This
intrusion of the poet’s voice does not effect the narrative. Rather it helps the story to achieve immediacy.

The Host
The Host, named Harry Bailey, is not included among the twenty-nine pilgrims who gathered at the
Tabard Inn. He is introduced at the end of the "General Prologue". The character of the Host is not fully
developed. He appears to be a friendly, agreeable and sensible man. His genial warmth is his most
outstanding characteristic. Chaucer comments that the Host is the fairest burgess in the whole of
Cheapside and is fit to serve as a marshal in a lord’s house. He is frank and forthright in his speech.
The Host proposes the story telling competition for the long journey to Canterbury and says that each
pilgrim is to tell two tales on the way to Canterbury and two tales on the way back. The others will reward
the pilgrim who tells the best tale by a supper at the Tabard Inn. The Host then proposes to join the
group of pilgrims himself. The pilgrims immediately accept him as the guide, judge, manager and
reporter. Thus thirty people set off towards the shrine of Saint Thomas Becket in Canterbury the next
evening. The Host frequently provides the link between the various stories and decides the order in
which the pilgrims narrate their tales. After each tale the Host provides his opinions and comments which
reveal his intelligence. The Host for instance stops Chaucer’s Tale of Sir Topas in the middle because he
senses that it is mindless rhyming. Critics believe that the Host was modeled on a certain Harry Bailly
who actually lived in Southwark in Chaucer’s time.

The Guildsmen
The guildsmen are sketchily portrayed in the "General Prologue". The reader learns very little about
them apart from the fact that they are wearing fine clothes and are financially well off. Chaucer ironically
says that they are able men and worthy to serve as aldermen. They are members of a guild, and wear
the distinctive dresses of their occupations. The Guildsmen include a haberdasher, a dyer, a carpenter, a
weaver, and a tapestry-maker. Their trade appears to have been randomly chosen by Chaucer and do
not have any significance. The guildsmen are treated as a group and no individual importance is given to
them. Chaucer’s intention seems to be to satirize the self-importance of the guildsmen and their wives
who are addressed as ‘madam’ and have their trails carried behind them just as the royalty.

THEMES ANALYSIS
"The Canterbury Tales" is a complex work with several overlapping thematic concerns. The poem
represents the English society of the fourteenth century All the three fundamental strata of medieval
society-the Knighthood, the spiritual clergy and the toiling agricultural classes - have ample
representation in the portraits of the Knight, Parson and Plowman. The well - born gentility is
represented through the Prioress and the Monk. The medieval manor is depicted through the Miller and
the Reeve. The Merchant, the innkeeper Host, the Manciple, the Cook, and the five guildsmen represent
the middle classes. The professional class is depicted through the Sergeant at Law and the Physician.
Provincial England is also represented through the Wife of Bath and the Sea captain from Dartmouth.
Another prominent theme is Chaucer’s critique of the church of medieval England. The Canterbury Tales
provides the reader with a picture of a disorganized Christian society in a state of decline and
obsolescence. Chaucer is aware of the corruption of the clergy and draws an ironic portrait of the
Prioress and presents satiric portraitures of the Monk, the Friar, the Summoner, and the Pardoner. The
ideal portrait of the Parson counterbalances the moral depravity and corruptness of the other
ecclesiastics and represents what should be. Chaucer’s ironic praise of the Prioress’s affectations,
classical beauty, and attachment to worldly concerns only serves to highlight her inappropriateness as
the head of a religious convent. Her achievements would have been more suitable for a fashionable lady
of the society.
Similarly Chaucer’s approbation of the Monk’s delight in the finer things of life and passion for hunting is
aimed at eliciting the reader’s disapproval as they go against his monastic vow of poverty. His frequent
hunting expeditions contravene the monastic vow of leading a cloistered life and devoting oneself to
studies. The irony is intensified when Chaucer commends the Monk’s refusal to follow the rules laid
down by St. Benedict and reminds the reader that, "And I seyde his opinion was good." The Friar is first
praised for his humility, courtesy, virtuousness, and ability to extract money from the poor. Chaucer
approvingly says that the worthy Friar had arranged the marriage of many young women at his own cost.
The readers only realize a moment later the Friar’s motive for doing so and are filled with derision at his
lechery. Similarly Chaucer praises the Friar’s knowledge of the taverns and bars in town and agrees that
it is unprofitable to associate with the poor. Thus in the portraits of the ecclesiastics Chaucer praises
those qualities which are diametrically opposed to their profession. There is a sort of ascending scale of
moral depravity and corruption from the indulgent portrait of the worldly Prioress to the portrait of the
dissolute Friar. But Chaucer reserves his maximum acrimony for the Summoner and the Pardoner.
The Summoner’s main function was to summon sinners before the ecclesiastical courts for justice. It is
extremely ironic for a corrupt Summoner who is himself guilty of committing sins, to bring sinners to
justice. His repulsive physical appearance is an indicator of his diseased soul. Chaucer strongly
condemns the Summoner’s acceptance of bribes and the philosophy that the purse is the archdeacon’s
hell, which implies that the only punishment is to the purse of the sinner. The ‘gentil’ Pardoner is the
representation of evil. He sells indulgences and dupes naïve people by selling them false relics.
Moreover the hypocritical crook always preaches against avarice even while he himself is guilty of the
same sin. The Canterbury Tales thus constitutes a passionate attack on the decadence and corruption of
the medieval church. Chaucer exposes the evils attacking the very root of Christianity. Chaucer’s portrait
of the ideal Parson, indicates his desire for reform and revitalize Christianity.
The problem of the position of women and the issue of marriage relationships constitutes yet another
strand of thematic concern. Critics have labeled the Fragments 3,4, and 5 (or Groups D, E, and F) as the
‘Marriage Group’. They hold the tales told by the Wife of Bath, Clerk, Merchant, and Franklin. These
consist of a serious debate on what constitutes the ideal marital relationship. The Wife of Bath presents
a strong case for the emancipation of women. In the Middle Ages marriage was considered as inferior as
celibacy was highly prized. The sexual act was considered dishonorable even within marriage. The Wife
of Bath argues in favor of marriage and points out that virginity was only for those who wanted to lead a
perfect life. Moreover she argues that the sexual organs were made for both procreation as well as
pleasure. She argues through her Prologue and Tale that women desire sovereignty in marriage. In the
Middle Ages women were expected to be subservient and were expected to love, honor and obey their
husbands. The Wife of Bath’s assertion that women should have sovereignty in marriage thus amounts
to a heresy.
The Clerk’s Tale is an indirect response to the Wife of Bath’s argument. The Clerk puts forth a
diametrically opposite view and draws the sketch of a totally submissive woman in the character of
Griselda. The Merchant in distinct contrast to the Clerk’s ideal depiction of the submissive Griselda,
opines that marriage is basically an undesirable state. The Merchant puts forth the view that happiness
in marriage can only be achieved by self-imposed blindness. When old January’s sight is restored, he
allows himself to be blinded to the true facts and lets himself believe that his wife is faithful to him. The
Franklin takes the middle path between the Clerk’s insistence on patience and submissiveness and the
Wife of Bath’s demand of sovereignty. The Second Nun’s Tale is the final tale dealing with the Themes
of love and marriage. Cecilia submits to marriage but attains sovereignty by her husband’s consent.
Cecilia’s marriage is on a higher plane of existence and upholds saintliness in love. Neither she nor her
husband achieves sovereignty over each other. Rather both subjugate themselves to the divine will.
The Canterbury Tales may be allegorically interpreted as a book about the way or life of man in the
world. The book metaphorically represents human life as a one way journey on earth, to the heavenly
city of Jerusalem, through the device of the pilgrimage. The pilgrimage is thus not merely a physical
journey to an actual place but also a metaphor or symbol of an inner journey of the soul towards God.
This interpretation is supported by the Parson’s Prologue where he expresses a desire to lead the
pilgrims to the celestial city of Jerusalem: "And Jhesu, for his grace, wit me sende / To shewe you the
way, in this viage, / Of thilke parfit glorious pilgrimage / That highte Jerusalem celestial". Thus the
journey from one city to another may be seen as the journey from the worldly city to the city of God.
The Canterbury Tales also uphold the highest ideals of conduct - ‘trouthe’ and honor in duty, constancy,
faith and patience in times of adversity, purity and saintliness in love. These Themes recur in several
tales told by the noble characters. For instance the thematic concern of the Knight’s Tale is the chivalric
code of conduct. The tale praises courage and valor in war and also courtesy, truth and honor. It
represents Arcite and Palamon’s idealized love for Emily. Their love is pure and untainted by any
unchaste thoughts. The only possible end for their love is marriage. Arcite and Palamon fight a joust to
retain their honor and seek a solution for their conflicting love for Emily. The theme of honor and truth in
relationships is continued in the Franklin’s Tale. Here Arveragus leaves Dorigen for an extended period
to acquire skills required in warfare. This is the traditional conception of honor being gained through
fighting battles. But in the Franklin’s Tale ‘honor’ is not accorded so much importance as ‘trouthe’.
Arveragus is ready to give his wife to Aurelius for the sake of truth. He tells Dorigen to honor her promise
even though adultry was the most dishonorable thing in the Middle Ages. The Sergeant at Law’s Tale
takes up the thematic concern of the Christian virtue of constancy and patience in times of adversity. The
Sergeant at Law tells the tale of Constance who retains faith in the goodness of the Blessed Virgin even
in the most excruciating circumstances of her life. This theme is continued in the Clerk’s Tale of the
exemplary patience of Griselda. During the Middle Ages saintliness and purity in love was emphasized.
The Second Nun’s Tale of St. Cecilia takes saintliness in love as its thematic concern. Cecilia converts
her husband to Christianity and both surrender themselves to the will of God.