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Canterbury Tales: Prologue and Pilgrims — Study Notes

Canterbury Tales: Prologue and Pilgrims — Study Notes

  • Context and timing

    • The Canterbury Tale is set in the late medieval period and was written between the years 1387 ext{ to } 1400.
    • It centers on a group of pilgrims who travel from a tavern to Canterbury for a holy pilgrimage, seeking forgiveness, renewal, and spiritual cleansing.
    • The journey is framed by a belief in miracles at Canterbury, notably associated with Thomas Becky (Becket) who was murdered by Henry II's knights for opposing the crown’s authority; his shrine at Canterbury became a site of pilgrimage and miracle.
    • Pilgrims travel approximately 60 ext{ miles} outside London to reach Canterbury; the springtime journey is a spiritual and social crucible where people’s traits are revealed.

  • Purpose and themes

    • The pilgrimage functions as a narrative device to expose social satire and critique of medieval society: class structure, religious hypocrisy, and human foibles.
    • Chaucer uses the tales told by the pilgrims to reveal character, virtue, and vice, as well as to mock various societal roles within the church and the nobility.
    • There is a tension between piety and worldly behavior: some travelers are portrayed as pious, others as hypocritical or self-serving.
    • The host’s framing of the storytelling contest creates a playful competition that drives the narrative and allows for diverse voices to emerge.

  • Structure and purpose of the work

    • There are 30 pilgrims described as they begin their journey to Canterbury at the tavern; they plan to travel and tell stories in return for supper at the end of the trip.
    • Each pilgrim is expected to tell two tales on the way to Canterbury and two on the return, totaling four tales per pilgrim.
    • Chaucer intended to write a total of 120 tales, but the Canterbury Tale is incomplete due to Chaucer’s death; this is why the collection stops partway through the storytelling.
    • The Prologue introduces the pilgrims and sets up the social and religious themes; the subsequent tales (which we do not have here in full) would continue to develop those themes.
    • Chaucer presents a structured order among the pilgrims: three broad social orders are highlighted:
    • Nobility (knights, squires, and other nobles closely associated with the royal class)
    • Clergy (monk, friar, priest, nun, prioress, etc.)
    • Tradespeople and commoners (craftsmen, merchants, doctors, and other skilled workers)
    • Within this framing, medieval social hierarchy is both depicted and critiqued; the narrator claims authority but also reveals biases and complex judgments about the travelers.

  • The pilgrimage and its religious significance

    • The journey is framed as a holy pilgrimage to Canterbury—a symbol of spiritual renewal and forgiveness.
    • The miraculous association with Becket’s shrine underscores the medieval belief in saints and relics as sources of divine intervention and healing.
    • The pilgrimage is not simply a religious act; it is also a social stage where different classes perform and performatively reveal themselves.

  • Key figures and group dynamics during planning

    • The first presentation on the itinerary is scheduled for the sixteenth (date context from the class session).
    • A detailed list of initial signups appears: Addison, Nicholas, Sophie, Louise, Zion, Mariana, Payton, Bryce, Hace, Mason, Megan, Sydney, Griffin, Jessica, Ellie, Bella, Joseph, Sarah Grace, Katelyn, Mari, Mari, Willie, Anna, and others (reflecting class rosters and planned presenters).
    • The instructor announces that a reminder for presenting can be taken by taking a picture of the sign-up sheet; this is classroom logistics rather than literary content.
    • The host in the tale (the innkeeper/presenter) will judge the best tale; the other pilgrims will pay for the winter’s supper on their return.
    • The first preacher/storyteller among the pilgrims to be introduced is the Knight, who has the highest status in the Prologue’s ordering.

  • The narrator and the authorial stance

    • The Prologue features Chaucer as both observer and commentator; he positions himself as a reporter who will relay the tales but not fully endorse the moral outcomes.
    • There is a formal apology from Chaucer about the “villainous” nature of some of the tales and about potential misinterpretation; he suggests that he is merely reporting what he has learned from others and cannot be held fully responsible for their content.
    • The narrator acknowledges that he cannot easily rank or judge the pilgrims but he nonetheless offers a critical lens on their behavior and hypocritical tendencies.
    • The Prologue signals that the tales to come will reveal a range of virtues and vices, often through contrasts within and between characters.

  • The three social orders and examples of their members

    • Nobility (the highest status in the hierarchy, focusing on chivalry, knightly conduct, and martial achievements):
    • Knight: described as valiant, Christian, chivalrous, with a long record of battles and tournaments; embodies honor, truth, and lordly virtue.
    • Squire: the Knight’s son; age around 20; a lover rather than a fighter; dresses in floral, colorful garments; artistically inclined, writes poetry, sings, plays the flute, may dance; courteous, humble, and serviceable; represents youthful, romantic, artistic, non-martial traits.
    • Yeoman: a freeborn servant traveling with the Knight and Squire; wears a green coat, carries a bow with peacock feathers, a sword, a buckler, and a dagger; bears an image of Saint Christopher; skilled in woodcraft and survival.
    • Clergy (monastic and ecclesiastical figures closely connected to the church):
    • Prioress (Madam Eglantine): described with refined tastes, speaks French, excellent table manners, compassionate (e.g., would weep if a mouse is caught), has small dogs, and wears a rosary; Pharase-like inscription “love conquers all.”
    • Nun: accompanied by a secretary; part of the ecclesiastical entourage.
    • Monk: modern-man-in-the-world; hunts with greyhounds rather than study; described as well-fed and with eyes that gleam; his worldly comforts and pleasures contrast with monastic ideals.
    • Friar (Hubert): depicted as worldly (married, willing to beg in certain districts) and ironically hypocritical; capable of absolution yet entangled in social debt; not named explicitly in some descriptions.
    • Priest: travels with the Nun; part of the religious team accompanying the Prioress.
    • Tradespeople and commoners (craftsmen and professionals with specific skills):
    • Merchant: wears a forged beard and flashy clothes, solemn in speech, excellent in business; yet the narrator hints at hidden debts or concerns about his true reputation.
    • Clerk of Oxford: a scholar who values Aristotle and learning over wealth; poor clothing but rich in knowledge; spends money on books rather than luxuries; reserved and studious.
    • Man of Law (Sergeant of the Law): generally judicious and dignified in appearance; a respected legal professional who travels in a modest coat, signaling a blend of status and practicality.
    • Franklin: a landowner of considerable means; described with a long white beard, fond of bread and wine; hospitable and sociable; connected to governance or social status (parliament representational role) and capable of generous entertainment.
    • Guildsmen (five): haberdasher, carpenter, weaver, dyer, and other craftspeople forming a collective group; each has status as a craftsman, with a shared interest in professional reputation and social mobility.
    • Cook: part of the traveling party; noted for culinary skills (also tied to the Franklin’s table and the theme of pleasure and indulgence).
    • Shipman (Sailor): traveler with seafaring experience; part of the occupational diversity in the Prologue.
    • Doctor of Medicine: physician among the travelers; treatment and healing are themes that may be reflected in the tales to come.
    • Parson and Summoner (or similar clerical figures): part of the ecclesiastical social circle; the Summoner joins the religious group, adding a critique of corruption in church authority.
    • Narrator (Chaucer himself): included as a participant in the Prologue; explicitly the narrator who frames the tales and interprets the pilgrims.

  • Reading strategy and classroom logistics (from the transcript)

    • The instructor assigns students to groups for in-class discussion and to read specific pilgrim descriptions and their tales.
    • Group placements are provided toward the end of the excerpt; directions include positions relative to classroom fixtures (e.g., behind the TV, under the clock).
    • The intent is to discuss the texts in groups and then present or discuss as a class, with the host judging the best tale and the rest paying for a communal supper upon return.

  • Key terms and people to watch for in close reading

    • Thomas Becky/Beckett: Arch­bishop martyred by Henry II’s knights; shrine at Canterbury believed to grant miracles.
    • Becket’s shrine: site of miracles; a touch or visitation is believed to yield miracles.
    • The “villainous tales” disclaimer: Chaucer’s meta-narrative claim that he is merely reporting others’ stories, not endorsing them.
    • The “three orders” framework: a structural lens for reading social hierarchies in the Prologue.

  • Numerical and reference notes (for exam focus)

    • Timeframe of composition: 1387 ext{ to } 1400
    • Journey distance: 60 ext{ miles} from London to Canterbury
    • Pilgrims: 30 travelers in the group
    • Tale plan: two tales per pilgrim on the way to Canterbury and two on the way back (total of 4 per pilgrim)
    • Chaucer’s intended total tales: 120 tales (incomplete due to his death)
    • First tale’s teller: the Knight (highest status, drew the shortest lot for the first tale)
    • Grouping and seating cues (as per classroom instructions): Group 1 at the back of the TV, Group 2 in a designated area, Group 3 under the clock, Group 4, Group 5, Group 6, etc.

  • Notes on interpretation and discussion prompts

    • Consider whether Chaucer mocks or critiques the church and the nobility through the pilgrims’ descriptions.
    • Think about how the Prologue frames the pilgrims’ forthcoming tales: which traits get emphasized, and how contradictions (e.g., monk’s worldly habits) are used for satire.
    • Reflect on the ethical and philosophical implications of religious hypocrisy and social pretension as depicted in the character sketches.
    • Relate the Becket miracle tradition to medieval attitudes toward saints, relics, and pilgrimage.

  • Quick references to the opening narrative and setup

    • The host’s role as judge and the communal reward/punishment mechanism (supper funded by those who lose or win) frames the storytelling competition.
    • The Prologue’s opening emphasizes that the travelers’ tales will reveal both virtue and vice; Chaucer’s narrator acknowledges limitations in ranking the travelers but still engages in evaluative commentary.
    • The order of presentation reflects a deliberate social hierarchy: nobility first, followed by clergy and then tradespeople, underscoring the social satire of the work.

  • Summary takeaway for exam prep

    • The Prologue sets up the Canterbury Tales as a multi-voiced social satire: a fixed social framework (three orders), a diverse set of characters (knight, squire, yeoman, prioress, monk, friar, merchant, clerk, lawman, Franklin, guildsmen, cook, shipman, doctor, parson, summoner, etc.), and a narrative frame (host’s contest) that invites interpretation of each pilgrim’s values and behavior.
    • The pilgrimage to Canterbury is both spiritual and social, merging holy purpose with the comedy of human variety, and it uses Becket’s shrine as a symbol of sacred authority tested by human frailty.