The Canterbury Tales

2286: 2274: 2190: 1123:, Chaucer describes not the tales to be told, but the people who will tell them, making it clear that structure will depend on the characters rather than a general theme or moral. This idea is reinforced when the Miller interrupts to tell his tale after the Knight has finished his. Having the Knight go first gives one the idea that all will tell their stories by class, with the Monk following the Knight. However, the Miller's interruption makes it clear that this structure will be abandoned in favour of a free and open exchange of stories among all classes present. General themes and points of view arise as the characters tell their tales, which are responded to by other characters in their own tales, sometimes after a long lapse in which the theme has not been addressed. 1543: 47: 1078: 2406: 2358: 1513:

earnest, solas and sentence, will be set and interrupted. Here the sacred and profane adventure begins, but does not end. Here, the condition of peril is as prominent as that of protection. The act of pilgrimaging itself consists of moving from one urban space, through liminal rural space, to the next urban space with an ever fluctuating series of events and narratives punctuating those spaces. The goal of pilgrimage may well be a religious or spiritual space at its conclusion, and reflect a psychological progression of the spirit, in yet another kind of emotional space.

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office for their own gain. Chaucer's Pardoner openly admits the corruption of his practice while hawking his wares. Summoners were Church officers who brought sinners to the Church court for possible excommunication and other penalties. Corrupt summoners would write false citations and frighten people into bribing them to protect their interests. Chaucer's Summoner is portrayed as guilty of the very kinds of sins for which he is threatening to bring others to court, and is hinted as having a corrupt relationship with the Pardoner. In

1167:, who focused more on audience response and less on subject matter (a Virgilian concern). Augustine divided literature into "majestic persuades", "temperate pleases", and "subdued teaches". Writers were encouraged to write in a way that kept in mind the speaker, subject, audience, purpose, manner, and occasion. Chaucer moves freely between all of these styles, showing favouritism to none. He not only considers the readers of his work as an audience, but the other pilgrims within the story as well, creating a multi-layered rhetoric. 2310: 2178: 2166: 2154: 1442:: the characters are all divided into three distinct classes, the classes being "those who pray" (the clergy), "those who fight" (the nobility), and "those who work" (the commoners and peasantry). Most of the tales are interlinked by common themes, and some "quit" (reply to or retaliate against) other tales. Convention is followed when the Knight begins the game with a tale, as he represents the highest social class in the group. But when he is followed by the Miller, who represents a lower class, it sets the stage for the 1358:

frequently controlled huge tracts of land on which they made significant sums of money, while peasants worked in their employ. The Second Nun is an example of what a Nun was expected to be: her tale is about a woman whose chaste example brings people into the church. The Monk and the Prioress, on the other hand, while not as corrupt as the Summoner or Pardoner, fall far short of the ideal for their orders. Both are expensively dressed, show signs of lives of luxury and flirtatiousness and show a lack of spiritual depth.

2322: 2370: 3898: 671: 3884: 2418: 1347: 927: 1499:. A liminal space, which can be both geographical as well as metaphorical or spiritual, is the transitional or transformational space between a "real" (secure, known, limited) world and an unknown or imaginary space of both risk and possibility. The notion of a pilgrimage is itself a liminal experience, because it centres on travel between destinations and because pilgrims undertake it hoping to become more holy in the process. Thus, the structure of 2121: 1687:, written by an anonymous author in the 15th century, is preceded by a lengthy prologue in which the pilgrims arrive at Canterbury and their activities there are described. While the rest of the pilgrims disperse throughout the town, the Pardoner seeks the affections of Kate the barmaid, but faces problems dealing with the man in her life and the innkeeper Harry Bailey. As the pilgrims turn back home, the Merchant restarts the storytelling with 1228: 1558: 3870: 2214: 3912: 2202: 1306:

complimentary in nature, but through clever language, the statements are ultimately critical of the pilgrim's actions. It is unclear whether Chaucer would intend for the reader to link his characters with actual persons. Instead, it appears that Chaucer creates fictional characters to be general representations of people in such fields of work. With an understanding of medieval society, one can detect subtle satire at work.

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specially visited the Italian, it does not appear." "...but the only reason that such a visit could not have occurred lies in the fact that Petrarch himself does not record it. Still, on the other hand, would he have mentioned the visit of a man who was the servant of a barbarous monarch, and whose only claim to notice, literary-wise, was his cultivation of an unknown and uncouth dialect that was half bastard French?"

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Knights were expected to form a strong social bond with the men who fought alongside them, but an even stronger bond with a woman whom they idealised to strengthen their fighting ability. Though the aim of chivalry was to noble action, its conflicting values often degenerated into violence. Church leaders frequently tried to place restrictions on jousts and tournaments, which at times ended in the death of the loser.

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rhetorical ability, although their subject matter is more lowbrow. Vocabulary also plays an important part, as those of the higher classes refer to a woman as a "lady", while the lower classes use the word "wenche", with no exceptions. At times the same word will mean entirely different things between classes. The word "pitee", for example, is a noble concept to the upper classes, while in the

376:. Since a poem, apparently by Chaucer, identifies his scribe as a man named "Adam", this has led to the hypothesis that the scribe who copied these two important manuscripts worked with Chaucer and knew him personally. This identification has been the subject of much controversy in the field of Middle English palaeography, though it is widely accepted as plausible. 286:, some 30 pilgrims are introduced. According to the Prologue, Chaucer's intention was to write four stories from the perspective of each pilgrim, two each on the way to and from their ultimate destination, St. Thomas Becket's shrine (making for a total of about 120 stories). It is revered as one of the most important works in English literature. 1712:, it is preceded by a prologue in which the pilgrims arrive in Canterbury. Lydgate places himself among the pilgrims as one of them and describes how he was a part of Chaucer's trip and heard the stories. He characterises himself as a monk and tells a long story about the history of Thebes before the events of the 1405:

The upper class or nobility, represented chiefly by the Knight and his Squire, was in Chaucer's time steeped in a culture of chivalry and courtliness. Nobles were expected to be powerful warriors who could be ruthless on the battlefield yet mannerly in the King's Court and Christian in their actions.

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led several medieval authors to write additions and supplements to the tales to make them more complete. Some of the oldest existing manuscripts of the tales include new or modified tales, showing that even early on, such additions were being created. These emendations included various expansions of

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shows how the brotherly love of two fellow knights turns into a deadly feud at the sight of a woman whom both idealise. To win her, both are willing to fight to the death. Chivalry was on the decline in Chaucer's day, and it is possible that The Knight's Tale was intended to show its flaws, although

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to get such a diverse collection of people together for literary purposes was also unprecedented, though "the association of pilgrims and storytelling was a familiar one". Introducing a competition among the tales encourages the reader to compare the tales in all their variety, and allows Chaucer to

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into ten "Fragments". The tales that make up a Fragment are closely related and contain internal indications of their order of presentation, usually with one character speaking to and then stepping aside for another character. However, between Fragments, the connection is less obvious. Consequently,

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is recognised as one of the Powell-Pressburger team's most poetic and artful films. It was produced as wartime propaganda, using Chaucer's poetry, referring to the famous pilgrimage, and offering photography of Kent to remind the public of what made Britain worth fighting for. In one scene, a local

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to the time of World War II. From that point on, the film follows a group of strangers, each with their own story and in need of some kind of redemption, who are making their way to Canterbury together. The film's main story takes place in an imaginary town in Kent and ends with the main characters

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and by his contemporary John Gower. It has been suggested that the poem was intended to be read aloud, which is probable as this was a common activity at the time. However, it also seems to have been intended for private reading, since Chaucer frequently refers to himself as the writer, rather than

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Skeat (1874), p. xxx. "And we know that Petrarch, on his own shewing, was so pleased with the story of Griselda that he learnt it by heart as well as he could, for the express purpose of repeating it to friends, before the idea of turning it into Latin occurred to him. Whence we may conclude that

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features several of the tales, some of which cohere to the original tale and others which are embellished. "The Cook's Tale", for instance, which is incomplete in the original version, is expanded into a full story, and "The Friar's Tale" extends the scene in which the Summoner is dragged down to

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No other work prior to Chaucer's is known to have set a collection of tales within the framework of pilgrims on a pilgrimage. It is obvious, however, that Chaucer borrowed portions, sometimes very large portions, of his stories from earlier stories, and that his work was influenced by the general

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Chaucer's works may have been distributed in some form during his lifetime in part or in whole. Scholars speculate that manuscripts were circulated among his friends, but likely remained unknown to most people until after his death. However, the speed with which copyists strove to write complete

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Churchmen of various kinds are represented by the Monk, the Prioress, the Nun's Priest, and the Second Nun. Monastic orders, which originated from a desire to follow an ascetic lifestyle separated from the world, had by Chaucer's time become increasingly entangled in worldly matters. Monasteries

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Two characters, the Pardoner and the Summoner, whose roles apply the Church's secular power, are both portrayed as deeply corrupt, greedy, and abusive. Pardoners in Chaucer's day were those people from whom one bought Church "indulgences" for forgiveness of sins, who were guilty of abusing their

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was included in an early manuscript version of the tales, Harley 7334, which is notorious for being one of the lower-quality early manuscripts in terms of editor error and alteration. It is now widely rejected by scholars as an authentic Chaucerian tale, although some scholars think he may have

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Both appropriately and ironically in this raucous and subversive liminal space, a ragtag assembly gather together and tell their equally unconventional tales. In this unruly place, the rules of tale telling are established, themselves to be both disordered and broken; here the tales of game and

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Rearden, p. 458. "There can be no moral doubt but that Chaucer knew Petrarch personally. They were both in France many times, where they might have met. They were both courtiers. They both had an enthusiasm for scholarship. Whether they met then, or whether Chaucer, when on his visit to Genoa,

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during a disagreement between Church and Crown. Miracle stories connected to his remains sprang up soon after his death, and the cathedral became a popular pilgrimage destination. The pilgrimage in the work ties all of the stories together and may be considered a representation of Christians'

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With this, Chaucer avoids targeting any specific audience or social class of readers, focusing instead on the characters of the story and writing their tales with a skill proportional to their social status and learning. However, even the lowest characters, such as the Miller, show surprising

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Pilgrimage was a very prominent feature of medieval society. The ultimate pilgrimage destination was Jerusalem, but within England Canterbury was a popular destination. Pilgrims would journey to cathedrals that preserved relics of saints, believing that such relics held miraculous powers.

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as historical figures, other readers choose to interpret its significance in less literal terms. After analysis of Chaucer's diction and historical context, his work appears to develop a critique of society during his lifetime. Within a number of his descriptions, his comments can appear

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had all the benefit of the "preservation of a dogmatic religious subject-matter". Fifty-five of these manuscripts are thought to have been originally complete, while 28 are so fragmentary that it is difficult to ascertain whether they were copied individually or as part of a set. The

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Brewer, p. 227. "Although Chaucer undoubtedly studied the works of these celebrated writers, and particularly of Dante before this fortunate interview; yet it seems likely, that these excursions gave him a new relish for their compositions, and enlarged his knowledge of the Italian

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versions of his tale in manuscript form shows that Chaucer was a famous and respected poet in his own day. The Hengwrt and Ellesmere manuscripts are examples of the care taken to distribute the work. More manuscript copies of the poem exist than for any other poem of its day except

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Lastly, Chaucer does not pay much attention to the progress of the trip, to the time passing as the pilgrims travel, or to specific locations along the way to Canterbury. His writing of the story seems focused primarily on the stories being told, and not on the pilgrimage itself.

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Chaucer and Petrarch met at Padua early in 1373; that Petrarch told Chaucer the story by word of mouth, either in Italian or French; and that Chaucer shortly after obtained a copy of Petrarch's Latin version, which he kept constantly before him whilst making his own translation."

2145:, Washington, D.C. This mural is located on the west wall of the North Reading Room, and features the Miller, Host, Knight, Squire, Yeoman, Doctor, Chaucer, Man of Law, Clerk, Manciple, Sailor, Prioress, Nun, and three Priests; the other pilgrims appear on the east wall mural. 321:

vary in both minor and major ways from manuscript to manuscript; many of the minor variations are due to copyists' errors, while it is suggested that in other cases Chaucer both added to his work and revised it as it was being copied and possibly as it was being distributed.

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scarcely notices the operations of God, the saint's life focuses on those at the expense of physical reality, tracts and sermons insist on prudential or orthodox morality, romances privilege human emotion." The sheer number of varying persons and stories renders the

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hell. The film includes these two tales as well as "The Miller's Tale", "The Summoner's Tale", "The Wife of Bath's Tale", and "The Merchant's Tale". "The Tale of Sir Topas" was also filmed and dubbed; however, it was later removed by Pasolini, and is now considered

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the speaker, of the work. Determining the intended audience directly from the text is even more difficult, since the audience is part of the story. This makes it difficult to tell when Chaucer is writing to the fictional pilgrim audience or the actual reader.

1322:, many Europeans began to question the authority of the established Church. Some turned to Lollardy, while others chose less extreme paths, starting new monastic orders or smaller movements exposing church corruption in the behaviour of the clergy, false 1158:

The variety of Chaucer's tales shows the breadth of his skill and his familiarity with many literary forms, linguistic styles, and rhetorical devices. Medieval schools of rhetoric at the time encouraged such diversity, dividing literature (as

1634:, praising the poet as the greatest English poet of all time and the first to show what the language was truly capable of poetically. This sentiment was universally agreed upon by later critics into the mid-15th century. Glosses included in 406:

there are several possible orders; the one most frequently seen in modern editions follows the numbering of the Fragments (ultimately based on the Ellesmere order). Victorians frequently used the nine "Groups", which was the order used by

1611:, causing some scholars to give it the medieval equivalent of bestseller status. Even the most elegant of the illustrated manuscripts, however, is not nearly as highly decorated as the work of authors of more respectable works such as 1638:

manuscripts of the time praised him highly for his skill with "sentence" and rhetoric, the two pillars by which medieval critics judged poetry. The most respected of the tales was at this time the Knight's, as it was full of both.

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Brewer, p. 277."...where he became thoroughly inbued with the spirit and excellence of the great Italian poets and prose-writers: Dante, Petrarch, Boccaccio; and is said to have had a personal contact interview with one of these,

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itself is liminal; it not only covers the distance between London and Canterbury, but the majority of the tales refer to places entirely outside the geography of the pilgrimage. Jean Jost summarises the function of liminality in

959:. New research suggests that the General Prologue, in which the innkeeper and host Harry Bailey introduces each pilgrim, is a pastiche of the historical Harry Bailey's surviving 1381 poll-tax account of Southwark's inhabitants. 1691:. In this tale, a young man named Beryn travels from Rome to Egypt to seek his fortune only to be cheated by other businessmen there. He is then aided by a local man in getting his revenge. The tale comes from the French tale 659:) places Fragment VIII before VI. Fragments I and II almost always follow each other, just as VI and VII, IX and X do in the oldest manuscripts. Fragments IV and V, by contrast, vary in location from manuscript to manuscript. 1431:, are told by Chaucer himself, who is travelling with the pilgrims in his own story. Both tales seem to focus on the ill-effects of chivalry—the first making fun of chivalric rules and the second warning against violence. 1334:

are religious figures, and the very setting of the pilgrimage to Canterbury is religious (although the prologue comments ironically on its merely seasonal attractions), making religion a significant theme of the work.

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can be identified around the middle of a line. This metre was probably inspired by French and Italian forms. Chaucer's meter would later develop into the heroic meter of the 15th and 16th centuries sometimes known as

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Bishop, Norma J. "Liminal Space in Travellers' Tales: Historical and Fictional Passages (Folklore, Ritual, History)". Order No. 8615152 The Pennsylvania State University, 1986. Ann Arbor: ProQuest. Web. 30 September

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state of the literary world in which he lived. Storytelling was the main entertainment in England at the time, and storytelling contests had been around for hundreds of years. In 14th-century England, the English

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sound was lost soon after Chaucer's time, scribes did not accurately copy it, and this gave scholars the impression that Chaucer himself was inconsistent in using it. It has now been established, however, that

1965:, is loosely based on the narrative frame of Chaucer's tales. The movie opens with a group of medieval pilgrims journeying through the Kentish countryside as a narrator speaks the opening lines of the 1007:, although most of them have closer parallels in other stories. Some scholars thus find it unlikely that Chaucer had a copy of the work on hand, surmising instead that he may have merely read the 2285: 1521:

in which the yeoman devil is a liminal figure because of his transitory nature and function; it is his purpose to issue souls from their current existence to hell, an entirely different one. The

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is among the first English literary works to mention paper, a relatively new invention that allowed dissemination of the written word never before seen in England. Political clashes, such as the

1747:, describes the miracle of the Virgin and the Sleeveless Garment. Another tale features a pelican and a griffin debating church corruption, with the pelican taking a position of protest akin to 3507:"In truth they were at sea: Lives of the Great Songs – A Whiter Shade of Pale: Vestal Virgins, light fandangoes: Procol Harum's classic can be baffling. Mike Butler asked its authors to help" 2021:

radio show with a reading of the original Middle English text of the General Prologue. He commented, "Although those words were written more than 600 years ago, they still describe spring."

1883:. The collaborative efforts of the writers and displaced people create stories modeled after Chaucer's tale of journey in The Canterbury Tales. This project is rooted in the efforts of the 687: 1529:

tale, which takes the tale into a liminal space by invoking not only the interaction of the supernatural and the mortal, but also the relation between the present and the imagined past.

716:, which has clear differences from Modern English. From philological research, some facts are known about the pronunciation of English during the time of Chaucer. Chaucer pronounced 1868:

to a cross section of people, all snow-sports enthusiasts but from different social backgrounds, converging on a remote back-country ski cabin in British Columbia in the 2011 novel

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to reflect both a respect for and a disregard for upper class rules. Helen Cooper, as well as Mikhail Bakhtin and Derek Brewer, call this opposition "the ordered and the grotesque,

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differs from most other story "collections" in this genre chiefly in its intense variation. Most story collections focused on a theme, usually a religious one. Even in the

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In 1386, Chaucer became Controller of Customs and Justice of the Peace and, in 1389, Clerk of the King's Works. It was during these years that Chaucer began working on

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surviving in Chaucer's own hand. The two earliest known manuscripts, which both appear to have been copied by the same scribe, are MS Peniarth 392 D (called "

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in 1372. Chaucer used a wide variety of sources, but some, in particular, were used frequently over several tales, among them the Bible, Classical poetry by

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Hendrickson, pp. 183–92. Professor G. L. Hendrickson of the University of Chicago gives a detailed analysis as to Chaucer coming in contact with Petrarch.

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and his prose tales. This is a line characterised by five stressed syllables, usually alternating with unstressed syllables to produce lines usually of

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suggests) into high, middle, and low styles as measured by the density of rhetorical forms and vocabulary. Another popular method of division came from

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Textual and manuscript clues have been adduced to support the two most popular modern methods of ordering the tales. Some scholarly editions divide the

337:, a deluxe, illustrated manuscript. Until the 1940s, scholars tended to prefer the Ellesmere manuscript as closer to Chaucer's intentions; following 5024: 1780:, and consists of twelve stories, related by travellers thrown together by untoward accident. In turn, Lee's version had a profound influence on 4580: 4031: 1879:

is one of fourteen authors who worked together to tell the stories and experiences of refugees, detainees, and asylum seekers in a book titled

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that became a part of English literary tradition. The story did not originate in the works of Chaucer and was well known in the 14th century.

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was an important part of Chaucer's grammar, and helped to distinguish singular adjectives from plural and subjunctive verbs from indicative.

949:, a free dinner. It was common for pilgrims on a pilgrimage to have a chosen "master of ceremonies" to guide them and organise the journey. 1902:, by William Shakespeare and John Fletcher, a retelling of "The Knight's Tale", was first performed in 1613 or 1614 and published in 1634. 1693: 4894: 3816:

Dogan, Sandeur (June 2013). "The Three Estates Model: Represented and Satirised in Chaucer's General Prologue to The Canterbury Tales".

276:—also wrote major literary works in English. It is unclear to what extent Chaucer was seminal in this evolution of literary preference. 4088: 2128: 2036: 1938:

as told at a contemporary bar crawl, with the tale set in 17th century Jamaica. The work was originally performed in London and at the

1454:, officially approved culture and its riotous, and high-spirited underside." Several works of the time contained the same opposition. 1045:, a friend of Chaucer's. Chaucer also seems to have borrowed from numerous religious encyclopaedias and liturgical writings, such as 945:

was a group with an appointed leader who would judge the songs of the group. The winner received a crown and, as with the winner of

302:(printed before 1500) editions of the work, which is more than for any other vernacular English literary text with the exception of 4515: 260:. English had, however, been used as a literary language centuries before Chaucer's time, and several of Chaucer's contemporaries— 3472:

HBO Receives 23 Emmy Awards(r) in 51st Annual Primetime Emmy Awards(r) Competition, The Most of Any Network, and a Record For HBO

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Nowlin, Steele. "Between Precedent and Possibility: Liminality, Historicity, and Narrative in Chaucer's 'The Franklin's Tale

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Chaucer's characters each express different—sometimes vastly different—views of reality, creating an atmosphere of testing,

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historian lectures an audience of British soldiers about the pilgrims of Chaucer's time and the vibrant history of England.

353:'s 1476 edition. It was one of the first books to be printed by Caxton, the first person in England to print books using a 2333: 2457:

The name "Tales of Caunterbury" appears within the surviving texts of Chaucer's work. Its modern name first appeared as

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and exists in a single early manuscript of the tales, although it was printed along with the tales in a 1721 edition by

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The end of the fourteenth century was a turbulent time in English history. The Catholic Church was in the midst of the

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popularity in the century after Chaucer's death, because, according to Derek Pearsall, it is unfair considering that

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The Canterbury tales: fifteen tales and the general prologue: authoritative text, sources and backgrounds, criticism

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and, although it was still the only Christian authority in Western Europe, it was the subject of heavy controversy.

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was used by Oxford University Press for most of the twentieth century, but this order is currently seldom followed.

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includes an episode where the children protagonists re-enact the pilgrimage, taking on some of the character roles.

779:. In some cases, vowel letters in Middle English were pronounced very differently from Modern English, because the 4908: 4726: 4377: 4236: 812: 615: 27: 3352: 3199:

Jost, Jean. "Urban and Liminal Space in Chaucer's Knight's Tale: Perilous or Protective?" Albrecht Classen, ed.

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suggests that the structure is mostly original, but inspired by the "pilgrim" figures of Dante and Virgil in

595: 385: 2345: 1716:. John Lydgate's tale was popular early on and exists in old manuscripts both on its own and as part of the 46: 4960: 4848: 2068: 138: 3978: 3201:

Fundamentals of Medieval and Early Modern Culture: Urban Space in the Middle Ages and the Early Modern Age

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Chaucer, Boccaccio, and the debate of love: a comparative study of the Decameron and the Canterbury tales

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intended to rewrite the story as a tale for the Yeoman. Dates for its authorship vary from 1340 to 1370.

1698: 2393: 2381: 2261: 2249: 2225: 1857:. His animal pilgrims are on their way to find the common ancestor, each telling a tale about evolution. 1270:, which were believed to relieve the temporal punishment due for sins that were already forgiven in the 4821: 4769: 4646: 4400: 4156: 3684: 2660: 2496:"A Digital Catalogue of the Pre-1500 Manuscripts and Incunables of the Canterbury Tales Second Edition" 1939: 1935: 1920: 1564: 490: 362: 2943:, ed. by Larry D. Benson, 3rd edn (Oxford: Oxford University Press, 1987), pp. xxv-xli (pp. xxxix-xl). 2237: 1913:. The opera is in three acts: The Wyf of Bath's Tale, The Pardoner's Tale and The Nun's Priest's Tale. 909:

No manuscript exists in Chaucer's own hand; all extant copies were made by scribes. Because the final

5059: 4074: 1670: 1037: 3471: 2704: 2309: 2213: 2165: 2153: 1343:, one of the characters is a summoner who is shown to be working on the side of the devil, not God. 5049: 4721: 4641: 4370: 4317: 4231: 4151: 4042: 2566:"Adam Pinkhurst and the Baffled Jury: Assessing Scribal Identifications within the Margin of Error" 2017: 1832: 1471: 1363: 1077: 1016: 611: 474: 2369: 5034: 4954: 4681: 4275: 4268: 4251: 4191: 4037: 2630: 2106: 2067:

In 2003, the BBC again featured modern re-tellings of selected tales in their six-episode series

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who wrote exclusively for the nobility. He is referred to as a noble translator and poet by

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is largely linear, with one story following another, it is also much more than that. In the

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features a frame tale in which several different narrators tell a series of stories. In the

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Edwards, A.S.G. "The Ellesmere manuscript: controversy, culture and the Canterbury Tales."

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as in Modern English. Other nowadays silent letters were also pronounced, so that the word

647: 534: 449: 445: 407: 230: 1107:, storytellers are encouraged to stick to the theme decided on for the day. The idea of a 8: 5029: 5009: 4757: 4706: 4661: 4651: 4631: 4395: 4296: 4216: 4171: 4161: 4141: 3570: 3566:"On These Walls: Inscriptions and Quotations in the Buildings of the Library of Congress" 2535: 2142: 2139: 1982: 1664: 1576: 1518: 1427: 1379: 1340: 1283: 1232: 587: 514: 494: 453: 304: 3853:

Pugh, Tison. "Gender, Vulgarity, and the Phantom Debates of Chaucer's Merchant's Tale",

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Species, phantasms, and images: vision and medieval psychology in The Canterbury tales

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arriving at Canterbury Cathedral, bells pealing and Chaucer's words again resounding.

1970: 1186:

Chaucer uses the same meter throughout almost all of his tales, with the exception of

4966: 4494: 4469: 4282: 4011: 3997: 3786: 3773: 3731: 3712: 3664: 3658: 3644: 3621: 3602: 3596: 3538: 3444: 3423: 3394: 3360: 3334: 3313: 3274: 2962: 2761: 2585: 2531: 1953: 1215:, and four of the tales (the Man of Law's, Clerk's, Prioress', and Second Nun's) use 1204: 1135: 780: 334: 273: 298:

is a finished work has not been answered to date. There are 84 manuscripts and four

4616: 4589: 4538: 4349: 4126: 4097: 3833: 3825: 3761: 3704: 2749: 2577: 2101: 2082: 2024: 2012: 1792: 1517:

Liminality is also evident in the individual tales. An obvious instance of this is

800: 762: 733: 441: 283: 265: 196: 191:) is a collection of twenty-four stories that runs to over 17,000 lines written in 149: 71: 4424: 2015:

opened "The News from Lake Wobegon" portion of the first live TV broadcast of his

282:

is generally thought to have been incomplete at the end of Chaucer's life. In the

4978: 4972: 4474: 4464: 4303: 3983: 1876: 1840: 1383:

striving for heaven, despite weaknesses, disagreement, and diversity of opinion.

1179:

show surprising skill with words among the lower classes of the group, while the

988: 656: 398:

exists, and also no consensus regarding Chaucer's intended order of the stories.

358: 330: 3747:"A Southwark Tale: Gower, the 1381 Poll Tax, and Chaucer's The Canterbury Tales" 3565: 1808:

contains a part reputedly lost from what modern readers know as Chaucer's tales.

4532: 4479: 4446: 3917: 3483: 2885:"Puppetry and the "Popet:" Fiction, Reality, and Empathy in Geoffrey Chaucer's 2044: 2032: 1958: 1916: 1744: 1739:, a work written during Chaucer's lifetime. Chaucer describes a Plowman in the 1627: 1251: 1144: 713: 373: 357:. Only 10 copies of this edition are known to exist, including one held by the 354: 350: 269: 206: 192: 93: 56: 3460: 1438:

constantly reflect the conflict between classes. For example, the division of

368:

The copyist of the Hengwrt and Ellesmere manuscripts has been identified as a

4998: 4840: 4520: 3875: 3398: 3387:"The Wife of Willesden review – Zadie Smith's boozy lock-in is a bawdy treat" 3364: 2589: 2004: 1906: 1799: 1748: 1735: 1676: 1581: 1371: 1362:

is an account of Jews murdering a deeply pious and innocent Christian boy, a

1351: 1259: 1164: 1046: 955: 942: 342: 338: 226: 3829: 2642:

Based on the information in Norman Davies, "Language and Versification", in

1290:, further reveal the complex turmoil surrounding Chaucer in the time of the 1085: 3897: 3889: 3660:

Scattered among the nations: documents affecting Jewish history, 49 to 1975

2680:, 19 (1972), 445–48, and D. Burnley, "Inflection in Chaucer's Adjectives", 2464: 2086: 2057: 1812: 1623: 1612: 1200: 1191: 950: 3935: 3620:. Oxford guides to Chaucer (2 ed.). Oxford: Oxford University Press. 1112:

showcase the breadth of his skill in different genres and literary forms.

4441: 4384: 3353:"Zadie Smith's First Play Brings Chaucer to Her Beloved Northwest London" 2131: 2097:

has denied this, saying he had never read Chaucer when he wrote the line.

1999: 1927: 1861: 1823: 1327: 1319: 1294:

writing. Many of his close friends were executed and he himself moved to

1267: 1266:, which also mention a specific incident involving pardoners (sellers of 1216: 201: 1099:, a common and already long established genre in this period. Chaucer's 4983: 4701: 4211: 4005: 3883: 3838: 3708: 2961:. London: Thames & Hudson. pp. 4. An Age of Plague 1300–1400. 2094: 1827: 1781: 1593: 1584:

on the occasion of his wife's death in 1368), the intended audience of

1526: 1492: 1467: 1416: 1399: 1346: 1108: 1096: 1042: 926: 704: 582: 299: 261: 253: 234: 222: 170: 1574:

While Chaucer clearly states the addressees of many of his poems (the

1993: 1880: 1848: 1787: 1743:

of his tales, but never gives him his own tale. One tale, written by

1721: 1421: 967: 369: 238: 3992: 1318:

reflect diverse views of the Church in Chaucer's England. After the

1227: 4484: 4066: 3965: 3846:

Nicholls, Jonathan. "Review: Chaucer's Narrators by David Lawton",

3765: 2753: 2581: 2495: 1589: 1451: 1255: 1175:

it refers to sexual intercourse. Again, however, tales such as the

1032: 1024: 793: 726: 655:

An alternative ordering (seen in the early 15th-century manuscript

4057: 3534:

Sting and Religion: The Catholic-Shaped Imagination of a Rock Icon

2031:

in three parts from 1998 to 2000. The series was nominated for an

1557: 1474:

says, "Different genres give different readings of the world: the

1391: 1031:. Chaucer was the first author to use the work of these last two. 3730:. A Norton critical edition (2 ed.). New York: W.W. Norton. 1475: 1463: 1208: 1195: 214: 213:) are presented as part of a story-telling contest by a group of 52: 4588: 4007:

The Canterbury Tales: A Complete Translation into Modern English

3869: 3663:. Alexis P. Rubin (ed.). Toronto, ON: Wall & Emerson. 1993. 2657:

Chaucer's Prosody: A Study of the Middle English Verse Tradition

2458: 1398:' Dilemma – he chooses to save a maiden rather than his brother 851: 844: 837: 830: 81: 3422:, Minneapolis: University of Minnesota Press, 2000, pp. 64–65. 1419:, who heavily emphasised chivalry during his reign. Two tales, 1160: 1056: 345:, scholars increasingly favoured Hengwrt. The first version of 218: 3212:

Bloomfield, Morton W. "The 'Friar's Tale' as a Liminal Tale".

1819:, making use of both the story frame and Chaucer's characters. 1211:, but he avoided allowing couplets to become too prominent in 803: 739: 394:

There is no consensus as to whether a complete version of the

26:"The Canterbury Pilgrims" redirects here. For other uses, see 2841:"Sources and Analogues of the Canterbury Tales", 2002, p. 22. 2448:, Vol. 38, No. 3 (2004), pp. 246–54. Accessed 6 January 2014. 2040: 1323: 1028: 257: 210: 4875:

A Commentary on the General Prologue to The Canterbury Tales

4511:

Chaucer's influence on fifteenth-century Scottish literature

3271:

Congenial Souls: Reading Chaucer from Medieval to Postmodern

1483:

as a set unable to arrive at any definite truth or reality.

3273:, Minneapolis: University of Minnesota Press, 2002, p. 86. 2731:"A Southwark Tale: Gower, the 1381 Poll Tax, and Chaucer's 1447: 1395: 1295: 1020: 768: 256:

in mainstream literature, as opposed to French, Italian or

2002:

retold the stories in a series of plays for BBC2 in 1975:

1884: 1854:

The Ancestor's Tale: A Pilgrimage to the Dawn of Evolution

1724:, and several editions for centuries after followed suit. 199:

between 1387 and 1400. It is widely regarded as Chaucer's

150: 1194:, but often eleven and occasionally nine; occasionally a 1088:

1890–1900 (retouched from a black & white photograph)

308:. This comparison should not be taken as evidence of the 3643:. Unwin critical library. London: G. Allen & Unwin. 3312:, Cambridge: Cambridge University Press, 1996, pp. 8–9. 1919:'s modern English version formed the basis of a musical 987:, the characters have fled to the countryside to escape 244:

It has been suggested that the greatest contribution of

1301:

While some readers look to interpret the characters of

695:

Recording in reconstructed Middle English pronunciation

4060:: scans of William Caxton's two editions of Chaucer's 1642: 765: 736: 3865: 1887:, a non-partisan advocacy group for detained people. 1772:

The most well-known work of the 18th century writer

1411:

this is disputed. Chaucer himself had fought in the

771: 2957:

Medieval People: Vivid Lives in a Distant Landscape

1847:as a structure for his 2004 non-fiction book about 1207:. Chaucer's verse is usually also characterised by 233:. The prize for this contest is a free meal at the 3636: 3443:, Jefferson: McFarland & Co, 2002, pp. 178–9. 2954: 2878: 2876: 2874: 2806: 991:. It ends with an apology by Boccaccio, much like 889:I know enough, in the evening and in the morning,' 2043:Award for Best Animated Film in addition to four 1374:, Archbishop of Canterbury, had been murdered in 712:Chaucer mainly wrote in a London dialect of late 4996: 3310:Editing Piers Plowman: The Evolution of the Text 2939:Norman Davies, 'Language and Versification', in 1761: 1222: 1065:. Many scholars say there is a good possibility 1023:, and the works of contemporary Italian writers 4004:Ecker, Ronald L.; Crook, Eugene Joseph (1993). 2871: 1957:, a 1944 film, jointly written and directed by 1592:, leading some to believe that he was mainly a 1274:) who nefariously claimed to be collecting for 3818:Journal of History, Culture & Art Research 3203:. Berlin, DEU: Walter de Gruyter, 2009. Print. 2442:The Chronology of Lydgate's Chaucer References 1836:based on an extra-planetary group of pilgrims. 1588:is more difficult to determine. Chaucer was a 1386: 4574: 4082: 2011:On 26 April 1986, American radio personality 1258:, an early English religious movement led by 1041:appears in several tales, as do the works of 783:had not yet happened. For instance, the long 3931:Texts and translations at Harvard University 3504: 2696: 2563: 2546:Linne R. Mooney (2006), "Chaucer's Scribe", 1733:, both of which are influenced by the story 1457: 724:(except when followed by a vowel sound) was 4895:The Wedding of Sir Gawain and Dame Ragnelle 3703:. Ann Arbor: University of Michigan Press. 2629:, ed. by Larry D. Benson, 3rd edn (Oxford: 2114:" and to Sting's birth name, Gordon Sumner. 1720:. It was first printed as early as 1561 by 1286:and clashes ending in the deposing of King 886:'Weeping and wailing, care and other sorrow 4581: 4567: 4089: 4075: 4003: 3725: 3530: 2502: 1630:were among the first critics of Chaucer's 1095:is a collection of stories built around a 863:ˈweːpiŋɡandˈwailiŋɡ‖ˈkaːr‿andˈoːðərˈsɔrwə‖ 832:'Wepyng and waylyng, care and oother sorwe 45: 3837: 2952: 2882: 2796: 2786: 1143:in the hand of "Scribe B", identified as 1011:at some point. Chaucer may have read the 892:said the Merchant, 'and so do many others 846:Quod the Marchant, 'and so doon oother mo 797:, as in modern German or Italian, not as 4516:Influence of Italian humanism on Chaucer 3780: 3698: 3634: 2672:See M. L. Samuels, "Chaucerian Final '-e 2603: 2601: 2599: 1615:'s religious and historical literature. 1390: 1345: 1226: 1134: 1076: 925: 873:ˈkwɔdðəˈmartʃant‖andˈsɔːˈdoːnˈoːðərˈmɔː‖ 3744: 2728: 1015:during his first diplomatic mission to 390:List of The Canterbury Tales characters 5025:Arthurian literature in Middle English 4997: 3615: 3594: 3461:"The Canterbury Tales" (1998) – Awards 3350: 3167: 3165: 2883:Podgorski, Daniel (29 December 2015). 2064:" and features Chaucer as a character. 1946: 1072: 815:transcription of the opening lines of 792: 725: 252:was the popularisation of the English 4562: 4070: 4010:. Palatka, FL: Hodge & Braddock. 3815: 3726:Kolve, V.A.; Olson, Glending (2005). 3384: 2702: 2596: 2564:Kerby-Fulton, Kathryn (1 July 2024). 1580:is believed to have been written for 21:The Canterbury Tales (disambiguation) 4096: 3993:The Canterbury Tales and Other Poems 3351:Ibekwe, Desiree (11 November 2021). 1942:in Cambridge, Massachusetts in 2023. 1891: 839:I knowe ynogh, on even and a-morwe,' 824: 16:Story collection by Geoffrey Chaucer 4038:MS 1084/2 Canterbury tales at OPenn 3811:. New York: Spark Publishing. 2009. 3803:. New York: Spark Publishing. 2014. 3598:Chaucer and the late medieval world 3162: 2530:, vol. 2010, annual 2010, pp. 59+. 1727:There are actually two versions of 1298:to get away from events in London. 13: 4814:The Canterbury Pilgrims (De Koven) 3692: 3505:Butler, Mike (17 September 1994). 3333:, Parlor Press, 2005, pp. 264–65. 2703:Bloom, Harold (11 November 2009). 2060:, takes its title from Chaucer's " 1815:wrote a series of novels based on 1643:Literary additions and supplements 720:at the end of many words, so that 669: 32:The Canterbury Pilgrims (De Koven) 14: 5071: 4357:The Complaint of the Black Knight 3861: 3857:, Vol. 114 Issue 3, 473–96, 2017. 3801:Spark Notes: The Canterbury Tales 2520: 1139:Title page of Geoffrey Chaucer's 1067:Chaucer met Petrarch or Boccaccio 868:iːˈknɔuiˈnoːx‖ɔnˈɛːvənandaˈmɔrwə‖ 4423: 3954: 3910: 3896: 3882: 3868: 3601:. New York: St. Martin's Press. 3385:Wyver, Kate (18 November 2021). 2416: 2404: 2392: 2380: 2368: 2356: 2344: 2332: 2320: 2308: 2296: 2284: 2272: 2260: 2248: 2236: 2224: 2212: 2200: 2188: 2176: 2164: 2152: 2120: 2027:directed an animated version of 1936:Wife of Bath's Prologue and Tale 1656:, which Chaucer never finished, 1556: 1541: 975:, than any other work. Like the 799: 761: 732: 703:Problems playing this file? See 685: 325:There are no manuscripts of the 4053:British Library, Harley MS 1758 4048:British Library, Harley MS 7334 3635:Pearsall, Derek Albert (1985). 3588: 3558: 3524: 3498: 3476: 3465: 3454: 3433: 3412: 3378: 3344: 3323: 3302: 3293: 3284: 3263: 3254: 3245: 3236: 3219: 3206: 3193: 3183: 3174: 3153: 3144: 3135: 3126: 3117: 3108: 3099: 3090: 3081: 3069: 3060: 3051: 3042: 3033: 3024: 3015: 3006: 2997: 2984: 2975: 2946: 2933: 2924: 2915: 2906: 2862: 2853: 2844: 2835: 2825: 2815: 2777: 2768: 2722: 2687: 2666: 2649: 2636: 2619: 2610: 1885:Gatwick Detainees Welfare Group 1618: 965:contains more parallels to the 205:. The tales (mostly written in 122:(unfinished at Chaucer's death) 28:The Canterbury Pilgrims (Dyson) 4350:The Cuckoo and the Nightingale 3537:. Eugene, Or.: Cascade Books. 2992:Chaucer and the Medieval World 2557: 2540: 2511: 2488: 2474: 2451: 2434: 1923:that was first staged in 1964. 1548:Chaucer as a pilgrim from the 1183:is at times extremely simple. 1: 4364:The equatorie of the planetis 3809:No Fair: The Canterbury Tales 3699:Collette, Carolyn P. (2001). 2682:Neuphilologische Mitteilungen 2467:'s 1421–1422 prologue to the 2428: 2339:Madame Eglantine The Prioress 1762:Later adaptations and homages 1567:from the Ellesmere Manuscript 1486: 1223:Historical context and themes 1148: 1055:, a preacher's handbook, and 386:Order of The Canterbury Tales 349:to be published in print was 225:to visit the shrine of Saint 217:as they travel together from 116: 5020:Short stories about adultery 4378:Pierce the Ploughman's Crede 4034:: the oldest manuscript copy 3950:at the Bibliotheca Augustana 3531:Marienberg, Evyatar (2021). 1811:Historical-mystery novelist 1532: 1330:. Several characters in the 1235:of 1381 is mentioned in the 999:. A quarter of the tales in 791:"weeping" was pronounced as 7: 4325:A Treatise on the Astrolabe 3964:public domain audiobook at 3848:The Modern Language Review, 3785:. Oxford: Clarendon Press. 3745:Sobecki, Sebastian (2017). 3595:Bisson, Lillian M. (1998). 3233:103.1 (2006): 47–67. Print. 3216:17.4 (1983): 286–91. Print. 2994:(London, 1987), pp. 410–17. 2953:Prestwich, Michael (2014). 2729:Sobecki, Sebastian (2017). 1875:British poet and performer 1495:figures prominently within 1387:Social class and convention 1309: 1115:While the structure of the 662: 10: 5076: 4770:Prologue and Tale of Beryn 4401:Prologue and Tale of Beryn 2661:Cambridge University Press 1940:American Repertory Theater 1647:The incompleteness of the 921: 383: 363:Folger Shakespeare Library 25: 18: 4947: 4884: 4859: 4832: 4797: 4778: 4745: 4727:The Canon's Yeoman's Tale 4602: 4503: 4432: 4421: 4341: 4260: 4237:The Canon's Yeoman's Tale 4111: 4104: 3441:The Films of Derek Jarman 3003:Bisson, pp. 49–51, 56–62. 2482:"Encyclopedia Britannica" 1969:. The scene then makes a 1458:Relativism versus realism 1038:Consolation of Philosophy 931:A Tale from the Decameron 616:The Canon's Yeoman's Tale 160: 148: 136: 126: 110: 99: 89: 77: 67: 44: 4371:The Floure and the Leafe 4318:The Legend of Good Women 2075: 2018:A Prairie Home Companion 1930:debuted her first play, 1766: 1708:in about 1420. Like the 1364:blood libel against Jews 1203:, and is an ancestor of 1130: 379: 294:The question of whether 59:'s 1491/1492 edition of 4909:The Book of the Dun Cow 4902:Chanticleer and the Fox 4717:The Nun's Priest's Tale 4647:The Wife of Bath's Tale 4297:The Parliament of Fowls 4276:The Book of the Duchess 4269:The Romaunt of the Rose 4227:The Nun's Priest's Tale 4157:The Wife of Bath's Tale 3830:10.7596/taksad.v2i2.229 3781:Thompson, N.S. (1996). 2631:Oxford University Press 2459: 2219:Alison The Wife of Bath 1839:Evolutionary biologist 1822:Science-fiction writer 1608:The Prick of Conscience 1565:The Wife of Bath's Tale 1272:Sacrament of Confession 1003:parallel a tale in the 935:John William Waterhouse 895:who have been married.' 852: 845: 838: 831: 817:The Merchant's Prologue 681:The Merchant's Prologue 596:The Nun's Priest's Tale 491:The Wife of Bath's Tale 412:Chaucer: Complete Works 289: 209:, although some are in 188: 82: 4868:The Canterbury Puzzles 4032:The Hengwrt Manuscript 3683:: CS1 maint: others ( 3616:Cooper, Helen (1996). 3078:, by Prof. Jane Zatta. 3048:Bisson, pp. 73–75, 81. 2091:A Whiter Shade of Pale 2039:) in 1999 and won the 1932:The Wife of Willesden, 1805:The Canterbury Puzzles 1515: 1402: 1354: 1262:, is mentioned in the 1240: 1155: 1089: 937: 674: 4961:Descriptive Catalogue 4806:The Two Noble Kinsmen 4722:The Second Nun's Tale 4642:The Man of Law's Tale 4332:The Complaint of Mars 4232:The Second Nun's Tale 4152:The Man of Law's Tale 3290:Trigg, pp. 86–88, 97. 3076:"The Prioress's Tale" 2941:The Riverside Chaucer 2644:The Riverside Chaucer 2627:The Riverside Chaucer 1971:now-famous transition 1909:completed his opera, 1899:The Two Noble Kinsmen 1510: 1394: 1349: 1284:1381 Peasants' Revolt 1278:hospital in England. 1230: 1138: 1080: 929: 673: 612:The Second Nun's Tale 475:The Man of Law's Tale 40:The Canterbury Tales 5045:Middle English poems 5005:The Canterbury Tales 4955:Chaucer's Retraction 4931:God Spede the Plough 4787:The Canterbury Tales 4682:The Physician's Tale 4459:The Canterbury Tales 4453:Manuscript tradition 4311:Troilus and Criseyde 4252:Chaucer's Retraction 4192:The Physician's Tale 3979:The Canterbury Tales 3961:The Canterbury Tales 3855:Studies in Philology 3639:The Canterbury tales 3618:The Canterbury tales 3231:Studies in Philology 2733:The Canterbury Tales 2684:, 83 (1982), 169–77. 2107:Ten Summoner's Tales 2029:The Canterbury Tales 1988:The Canterbury Tales 1911:The Canterbury Tales 1870:The Canterbury Trail 1866:The Canterbury Tales 1845:The Canterbury Tales 1817:The Canterbury Tales 1778:The Canterbury Tales 1636:The Canterbury Tales 1586:The Canterbury Tales 1550:Ellesmere manuscript 1506:The Canterbury Tales 1501:The Canterbury Tales 1497:The Canterbury Tales 1376:Canterbury Cathedral 1303:The Canterbury Tales 1280:The Canterbury Tales 1245:The Canterbury Tales 1213:The Canterbury Tales 1093:The Canterbury Tales 1084:from the north west 1082:Canterbury Cathedral 1001:The Canterbury Tales 993:Chaucer's Retraction 963:The Canterbury Tales 947:The Canterbury Tales 751:was , with both the 555:The Physician's Tale 408:Walter William Skeat 361:and one held by the 347:The Canterbury Tales 335:Ellesmere Manuscript 296:The Canterbury Tales 280:The Canterbury Tales 246:The Canterbury Tales 231:Canterbury Cathedral 189:Tales of Caunterbury 180:The Canterbury Tales 166:The Canterbury Tales 83:Tales of Caunterbury 61:The Canterbury Tales 19:For other uses, see 4758:The Tale of Gamelyn 4732:The Manciple's Tale 4707:The Tale of Melibee 4697:The Prioress's Tale 4687:The Pardoner's Tale 4677:The Franklin's Tale 4667:The Merchant's Tale 4657:The Summoner's Tale 4396:The Tale of Gamelyn 4242:The Manciple's Tale 4217:The Tale of Melibee 4207:The Prioress's Tale 4197:The Pardoner's Tale 4187:The Franklin's Tale 4177:The Merchant's Tale 4167:The Summoner's Tale 3571:Library of Congress 3308:Brewer, Charlotte, 3150:Bisson, pp. 141–42. 3132:Bisson, pp. 139–42. 3123:Bisson, pp. 132–34. 3114:Bisson, pp. 123–31. 3105:Bisson, pp. 117–19. 3096:Bisson, pp. 110–13. 2655:e.g. Ian Robinson, 2291:The Sergeant of Law 2279:The Clerk of Oxford 2143:John Adams Building 2140:Library of Congress 2112:The Summoner's Tale 2037:animated short film 1983:Pier Paolo Pasolini 1947:Film and television 1830:winning 1989 novel 1755:The Tale of Gamelyn 1706:The Siege of Thebes 1704:John Lydgate wrote 1665:The Tale of Gamelyn 1577:Book of the Duchess 1428:The Tale of Melibee 1372:Saint Thomas Becket 1360:The Prioress's Tale 1276:St. Mary Rouncesval 1177:Nun's Priest's Tale 1073:Genre and structure 1062:Adversus Jovinianum 1052:Summa praedicantium 632:The Manciple's Tale 588:The Tale of Melibee 579:The Prioress's Tale 559:The Pardoner's Tale 539:The Franklin's Tale 519:The Merchant's Tale 499:The Summoner's Tale 314:Prick of Conscience 305:Prick of Conscience 78:Original title 41: 5055:Novels set in Kent 5015:14th-century poems 4938:The Pilgrim's Tale 4924:Palamon and Arcite 4916:Palamon and Arcite 4753:The Plowman's Tale 4692:The Shipman's Tale 4527:Katherine Swynford 4411:The Pilgrim's Tale 4406:The Plowman's Tale 4290:Anelida and Arcite 4202:The Shipman's Tale 3904:Middle Ages portal 3709:10.3998/mpub.16499 3484:"Canterbury Tales" 3357:The New York Times 3269:Trigg, Stephanie, 3260:Pearsall, 298–302. 3214:The Chaucer Review 3087:Bisson, pp. 99–02. 3057:Bisson, pp. 91–95. 3039:Bisson, pp. 67–68. 3030:Bisson, pp. 66–67. 3021:Bisson, pp. 61–64. 2990:Donald R. Howard, 2783:Cooper, pp. 12–16. 2774:Cooper, pp. 10–11. 2709:The New York Times 2528:Essays and Studies 2446:The Chaucer Review 1963:Emeric Pressburger 1730:The Plowman's Tale 1659:The Plowman's Tale 1598:Eustache Deschamps 1413:Hundred Years' War 1403: 1355: 1241: 1156: 1090: 973:Giovanni Boccaccio 938: 853:That wedded been.' 675: 575:The Shipman's Tale 250:English literature 104:Kingdom of England 39: 4992: 4991: 4967:Ellesmere Chaucer 4737:The Parson's Tale 4672:The Squire's Tale 4627:The Miller's Tale 4622:The Knight's Tale 4556: 4555: 4495:Geoffrey Spirleng 4470:Ellesmere Chaucer 4419: 4418: 4283:The House of Fame 4247:The Parson's Tale 4182:The Squire's Tale 4137:The Miller's Tale 4132:The Knight's Tale 4043:Ellesmere Chaucer 4017:978-0-9636512-3-5 3998:Project Gutenberg 3792:978-0-19-812378-1 3737:978-0-393-92587-6 3718:978-0-472-11161-9 3670:978-1-895131-10-9 3650:978-0-04-800021-7 3627:978-0-19-871155-1 3608:978-0-312-10667-6 3439:Pencak, William, 3329:Ohlgren, Thomas, 3299:Trigg, pp. 88–97. 3251:Pearsall, 295–97. 3242:Pearsall, 294–95. 2678:Notes and Queries 2440:Carlson, David. " 2062:The Knight's Tale 1976:A Canterbury Tale 1954:A Canterbury Tale 1892:Stage adaptations 1440:the three estates 1408:The Knight's Tale 1205:iambic pentameter 956:The Divine Comedy 904: 903: 781:Great Vowel Shift 690: 653: 652: 648:The Parson's Tale 535:The Squire's Tale 450:The Miller's Tale 446:The Knight's Tale 274:Julian of Norwich 241:on their return. 176: 175: 127:Publication place 5067: 5060:Unfinished poems 4849:Canterbury Tales 4822:Canterbury Tales 4662:The Clerk's Tale 4652:The Friar's Tale 4632:The Reeve's Tale 4617:General Prologue 4608:Canterbury Tales 4595:Canterbury Tales 4590:Geoffrey Chaucer 4583: 4576: 4569: 4560: 4559: 4539:Alice de la Pole 4427: 4172:The Clerk's Tale 4162:The Friar's Tale 4142:The Reeve's Tale 4127:General Prologue 4109: 4108: 4098:Geoffrey Chaucer 4091: 4084: 4077: 4068: 4067: 4062:Canterbury Tales 4058:Caxton's Chaucer 4021: 4000: 3958: 3957: 3948:Canterbury Tales 3938:Canterbury Tales 3920: 3915: 3914: 3913: 3906: 3901: 3900: 3892: 3887: 3886: 3878: 3873: 3872: 3843: 3841: 3812: 3804: 3796: 3777: 3751: 3741: 3722: 3688: 3682: 3674: 3654: 3642: 3631: 3612: 3583: 3582: 3580: 3578: 3562: 3556: 3555: 3553: 3551: 3528: 3522: 3521: 3519: 3517: 3502: 3496: 3495: 3493: 3491: 3480: 3474: 3469: 3463: 3458: 3452: 3437: 3431: 3420:Chaucer at Large 3416: 3410: 3409: 3407: 3405: 3382: 3376: 3375: 3373: 3371: 3348: 3342: 3331:Medieval Outlaws 3327: 3321: 3306: 3300: 3297: 3291: 3288: 3282: 3267: 3261: 3258: 3252: 3249: 3243: 3240: 3234: 3228: 3223: 3217: 3210: 3204: 3197: 3191: 3187: 3181: 3178: 3172: 3169: 3160: 3157: 3151: 3148: 3142: 3139: 3133: 3130: 3124: 3121: 3115: 3112: 3106: 3103: 3097: 3094: 3088: 3085: 3079: 3073: 3067: 3064: 3058: 3055: 3049: 3046: 3040: 3037: 3031: 3028: 3022: 3019: 3013: 3010: 3004: 3001: 2995: 2988: 2982: 2979: 2973: 2972: 2960: 2950: 2944: 2937: 2931: 2928: 2922: 2919: 2913: 2910: 2904: 2903: 2901: 2899: 2887:Canterbury Tales 2880: 2869: 2866: 2860: 2857: 2851: 2848: 2842: 2839: 2833: 2829: 2823: 2819: 2813: 2810: 2804: 2800: 2794: 2790: 2784: 2781: 2775: 2772: 2766: 2765: 2739: 2726: 2720: 2719: 2717: 2715: 2700: 2694: 2691: 2685: 2675: 2670: 2664: 2653: 2647: 2640: 2634: 2633:, 1987), p. 153. 2623: 2617: 2616:Pearsall, 14–15. 2614: 2608: 2605: 2594: 2593: 2561: 2555: 2544: 2538: 2524: 2518: 2515: 2509: 2506: 2500: 2499: 2492: 2486: 2485: 2478: 2472: 2462: 2460:Canterbury talys 2455: 2449: 2438: 2423:Geoffrey Chaucer 2420: 2411:The Canon Yeoman 2408: 2396: 2384: 2375:Hubert The Friar 2372: 2363:The Nun's Priest 2360: 2348: 2336: 2324: 2312: 2300: 2288: 2276: 2264: 2252: 2240: 2228: 2216: 2204: 2195:Robin The Miller 2192: 2183:Oswald The Reeve 2180: 2168: 2156: 2136:Canterbury Tales 2124: 2083:Psychedelic rock 2069:Canterbury Tales 2025:Jonathan Myerson 2013:Garrison Keillor 1967:General Prologue 1860:Canadian author 1793:The Wouldbegoods 1741:General Prologue 1560: 1545: 1519:The Friar's Tale 1341:The Friar's Tale 1233:Peasants' Revolt 1153: 1150: 1141:Canterbury Tales 1121:General Prologue 879: 878:ðatˈwɛddədˈbeːn‖ 874: 869: 864: 855: 848: 841: 834: 825: 810: 809: 806: 805: 796: 778: 777: 774: 773: 770: 767: 759:pronounced, not 746: 745: 742: 741: 738: 729: 727:[ˈkaːrə] 692: 691: 672: 640: 624: 604: 567: 547: 527: 515:The Clerk's Tale 507: 495:The Friar's Tale 483: 467: 454:The Reeve's Tale 442:General Prologue 433: 417: 416: 327:Canterbury Tales 284:General Prologue 266:William Langland 197:Geoffrey Chaucer 152: 121: 118: 112:Publication date 85: 72:Geoffrey Chaucer 49: 42: 38: 5075: 5074: 5070: 5069: 5068: 5066: 5065: 5064: 5050:Narrative poems 4995: 4994: 4993: 4988: 4979:Hengwrt Chaucer 4973:Have a nice day 4943: 4886: 4880: 4855: 4828: 4798:Stage and music 4793: 4774: 4764:Siege of Thebes 4741: 4712:The Monk's Tale 4637:The Cook's Tale 4607: 4598: 4587: 4557: 4552: 4546:A Knight's Tale 4541:(granddaughter) 4529:(wife's sister) 4499: 4475:Harley MS. 7334 4465:Hengwrt Chaucer 4434: 4428: 4415: 4337: 4256: 4222:The Monk's Tale 4147:The Cook's Tale 4117: 4115: 4100: 4095: 4018: 3990: 3984:Standard Ebooks 3955: 3916: 3911: 3909: 3902: 3895: 3888: 3881: 3874: 3867: 3864: 3807: 3799: 3793: 3749: 3738: 3719: 3695: 3693:Further reading 3676: 3675: 3671: 3657: 3651: 3628: 3609: 3591: 3586: 3576: 3574: 3564: 3563: 3559: 3549: 3547: 3545: 3529: 3525: 3515: 3513: 3511:The Independent 3503: 3499: 3489: 3487: 3482: 3481: 3477: 3470: 3466: 3459: 3455: 3438: 3434: 3417: 3413: 3403: 3401: 3383: 3379: 3369: 3367: 3349: 3345: 3328: 3324: 3307: 3303: 3298: 3294: 3289: 3285: 3268: 3264: 3259: 3255: 3250: 3246: 3241: 3237: 3226: 3224: 3220: 3211: 3207: 3198: 3194: 3188: 3184: 3179: 3175: 3170: 3163: 3159:Bisson, p. 143. 3158: 3154: 3149: 3145: 3141:Bisson, p. 138. 3140: 3136: 3131: 3127: 3122: 3118: 3113: 3109: 3104: 3100: 3095: 3091: 3086: 3082: 3074: 3070: 3065: 3061: 3056: 3052: 3047: 3043: 3038: 3034: 3029: 3025: 3020: 3016: 3011: 3007: 3002: 2998: 2989: 2985: 2980: 2976: 2969: 2951: 2947: 2938: 2934: 2929: 2925: 2920: 2916: 2911: 2907: 2897: 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Below is an 714:Middle English 700: 694: 684: 679: 678: 677: 668: 667: 666: 664: 661: 651: 650: 645: 642: 635: 634: 629: 626: 619: 618: 609: 606: 599: 598: 572: 569: 562: 561: 552: 549: 542: 541: 532: 529: 522: 521: 512: 509: 502: 501: 488: 485: 478: 477: 472: 469: 462: 461: 438: 435: 428: 427: 424: 421: 410:whose edition 381: 378: 374:Adam Pinkhurst 355:printing press 351:William Caxton 291: 288: 270:the Pearl Poet 193:Middle English 185:Middle English 174: 173: 162: 158: 157: 154: 146: 145: 142: 137: 134: 133: 128: 124: 123: 114: 111: 108: 107: 106:, 14th century 101: 97: 96: 94:Middle English 91: 87: 86: 79: 75: 74: 69: 65: 64: 57:Richard Pynson 50: 15: 9: 6: 4: 3: 2: 5072: 5061: 5058: 5056: 5053: 5051: 5048: 5046: 5043: 5041: 5040:Frame stories 5038: 5036: 5033: 5031: 5028: 5026: 5023: 5021: 5018: 5016: 5013: 5011: 5008: 5006: 5003: 5002: 5000: 4985: 4982: 4980: 4977: 4974: 4970: 4968: 4965: 4963: 4962: 4958: 4956: 4953: 4952: 4950: 4946: 4939: 4935: 4933: 4932: 4928: 4925: 4921: 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The Canterbury Tales

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