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Chaucer: Art of Characterization
In the universe of English poetry, Chaucer flourishes the fantastic colours of his words and paints different characters of his age with minute observation. Indeed, he is a great painter
who paints not with colours but with words. Undoubtedly, he has:
“The Seeing Eye, the retentive memory, the judgment to select and the ability to expound.”
His keen analysis of the minutest detail of his characters, their dresses, looks and manners enable him to present his characters lifelike and not mere bloodless abstractions.
His poetical piece, “The Prologue to the Canterbury Tales” is a real picture gallery in which thirty portraits are hanging on the wall with all of their details and peculiarities. Rather it is a
grand procession with all the life and movement, the colour and sound. Indeed,
“His characters represent English society, morally and socially, in the real and recognizable types”.
And still more representative of humanity in general. So, the characters in Chaucer's “The Prologue” are for all ages and for all lands.
Chaucer is the first great painter of character in English literature. In fact, next to Shakespeare he is the greatest in this field. In “The Prologue to the Canterbury Tales” the thirty
portraits traced by Chaucer give us an excellent idea of the society at that time. Except for royalty and aristocracy, on one hand and the robbers or out casts on the other, he has
painted in brief practically the whole English nation.
The thirty pilgrims, including the host, belong to the most varied professions. The Knight and the Squire presents the warlike element of the society. The learned and liberal vocations
are signified by the Man of Law, the Doctor, the Oxford Clerk and the Poet himself. The Merchant and the Shipman stand for the higher commercial community while the Wife of Bath,
an expert Cloth maker represents the traders and manufacturers. Agriculture is represented by the Ploughman, the Miller and the Franklin. The upper servants like Manciple and the Reeve
and the lower servant like Yeoman and the Cook represent the town and Country between them. The Monk from his monastery, the Prioress from her convent, her attendant priests, the
village Parson, the roaming Friar, the Pardoner and the Summoner sufficiently cover the casual categories of the religious order in those days.
To preserve the distinctions among these typical characters, Chaucer has indicated the differences in their clothes, manner of speech, habits and tendencies representing the common
traits and the average characteristics of each profession. These personages, therefore, are not mere phantasms of the brain but real human beings.
These characters represent various types of contemporary society. They are no longer mere dummies or types but owing to their various peculiarities, their arguments and agreement and
their likes and dislikes we recognize them as real living beings, true to the mould in which all human nature is cast.
His world is almost freak-free and his characters are perfectly lifelike. Some of them are so modern that they seem to be living today. The old Knight is an example of the chivalrous
character which is found in every generation. The Squire is just the typical man of any day.
“He was as fresshe as is the monthe of May”
The Merchant has all the vanity which comes from the growing of wealth, while the Man of Law like lawyers of all times, is pilling up fees and buying land. We recognize in him the
typical lawyer of our own day:
“Nowhere so bisy a man as he ther was”
And yet he seemed bisier than he was.
There are characters like the Prioress, the Monk, the Franklin, the Reeve, the Summoner, the Pardoner, and the Wife of Bath whom we do not identify at first. But none of them is
really extinct. They have changed their name and profession but their chief part is an element of humanity. That is why when we accompany the Pilgrims on their way we feel quite at
home and have no feeling of being among aliens.
Chaucer’s art of characterization is superb. He looks at his characters objectively and delineates each of the men and women sharply and caressingly. His impression of casualness,
economy, significance and variety of every detail are examples of that supreme art which conceals art.
In fact, there is a different method of almost every pilgrim. He varies his presentation from the full length portrait to the thumb-nail sketch, but even in the brief sketches, Chaucer
conveys a strong sense of individuality and depth of portraiture.
Chaucer’s method of portraying characters is a scientific manner by differentiating them by means of their obvious distinctions. It was for the first time in European literature that a
writer proved himself clearly conscious of the relation between individuals and ideas. Moreover, Chaucer’s characters are consistent and instead of being static, they grow and develop
in the course of the tale, like living human beings. They give their opinions on the stories that have been told and these comments reveal their dominant thoughts, their feelings and the
objects of their interests.
Thus Chaucer is the master in the art of characterization.
Character List
The Pilgrims
The Narrator - The narrator makes it quite clear that he is also a character in his book. Although he is called Chaucer, we should be wary of accepting his words and opinions as Chaucer’s
own. In the General Prologue, the narrator presents himself as a gregarious and naïve character. Later on, the Host accuses him of being silent and sullen. Because the narrator writes
down his impressions of the pilgrims from memory, whom he does and does not like, and what he chooses and chooses not to remember about the characters, tells us as much about the
narrator’s own prejudices as it does about the characters themselves.
The Knight - The first pilgrim Chaucer describes in the General Prologue, and the teller of the first tale. The Knight represents the ideal of a medieval Christian man-at-arms. He has
participated in no less than fifteen of the great crusades of his era. Brave, experienced, and prudent, the narrator greatly admires him.
The Wife of Bath - Bath is an English town on the Avon River, not the name of this woman’s husband. Though she is a seamstress by occupation, she seems to be a professional wife. She
has been married five times and had many other affairs in her youth, making her well practiced in the art of love. She presents herself as someone who loves marriage and sex, but,
from what we see of her, she also takes pleasure in rich attire, talking, and arguing. She is deaf in one ear and has a gap between her front teeth, which was considered attractive in
Chaucer’s time. She has traveled on pilgrimages to Jerusalem three times and elsewhere in Europe as well.
The Pardoner - Pardoners granted papal indulgences—reprieves from penance in exchange for charitable donations to the Church. Many pardoners, including this one, collected profits for
themselves. In fact, Chaucer’s Pardoner excels in fraud, carrying a bag full of fake relics—for example, he claims to have the veil of the Virgin Mary. The Pardoner has long, greasy,
yellow hair and is beardless. These characteristics were associated with shiftiness and gender ambiguity in Chaucer’s time. The Pardoner also has a gift for singing and preaching
whenever he finds himself inside a church.
The Miller - Stout and brawny, the Miller has a wart on his nose and a big mouth, both literally and figuratively. He threatens the Host’s notion of propriety when he drunkenly insists on
telling the second tale. Indeed, the Miller seems to enjoy overturning all conventions: he ruins the Host’s carefully planned storytelling order; he rips doors off hinges; and he tells a tale
that is somewhat blasphemous, ridiculing religious clerks, scholarly clerks, carpenters, and women.
The Prioress -Described as modest and quiet, this Prioress (a nun who is head of her convent) aspires to have exquisite taste. Her table manners are dainty, she knows French (though not
the French of the court), she dresses well, and she is charitable and compassionate.
The Monk - Most monks of the Middle Ages lived in monasteries according to the Rule of Saint Benedict, which demanded that they devote their lives to “work and prayer.” This Monk
cares little for the Rule; his devotion is to hunting and eating. He is large, loud, and well clad in hunting boots and furs.
The Friar - Roaming priests with no ties to a monastery, friars were a great object of criticism in Chaucer’s time. Always ready to befriend young women or rich men who might need his
services, the friar actively administers the sacraments in his town, especially those of marriage and confession. However, Chaucer’s worldly Friar has taken to accepting bribes.
The Summoner - The Summoner brings persons accused of violating Church law to ecclesiastical court. This Summoner is a lecherous man whose face is scarred by leprosy. He gets drunk
frequently, is irritable, and is not particularly qualified for his position. He spouts the few words of Latin he knows in an attempt to sound educated.
The Host - The leader of the group, the Host is large, loud, and merry, although he possesses a quick temper. He mediates among the pilgrims and facilitates the flow of the tales. His
title of “host” may be a pun, suggesting both an innkeeper and the Eucharist, or Holy Host.
The Parson - The only devout churchman in the company, the Parson lives in poverty, but is rich in holy thoughts and deeds. The pastor of a sizable town, he preaches the Gospel and
makes sure to practice what he preaches. He is everything that the Monk, the Friar, and the Pardoner are not.
The Squire - The Knight’s son and apprentice. The Squire is curly-haired, youthfully handsome, and loves dancing and courting.
The Clerk - The Clerk is a poor student of philosophy. Having spent his money on books and learning rather than on fine clothes, he is threadbare and wan. He speaks little, but when he
does, his words are wise and full of moral virtue.
The Man of Law - A successful lawyer commissioned by the king. He upholds justice in matters large and small and knows every statute of England’s law by heart.
The Manciple - A manciple was in charge of getting provisions for a college or court. Despite his lack of education, this Manciple is smarter than the thirty lawyers he feeds.
The Merchant - The Merchant trades in furs and other cloths, mostly from Flanders. He is part of a powerful and wealthy class in Chaucer’s society.
The Shipman - Brown-skinned from years of sailing, the Shipman has seen every bay and river in England, and exotic ports in Spain and Carthage as well. He is a bit of a rascal, known for
stealing wine while the ship’s captain sleeps.
The Physician - The Physician is one of the best in his profession, for he knows the cause of every malady and can cure most of them. Though the Physician keeps himself in perfect
physical health, the narrator calls into question the Physician’s spiritual health: he rarely consults the Bible and has an unhealthy love of financial gain.
The Franklin - The word “franklin” means “free man.” In Chaucer’s society, a franklin was neither a vassal serving a lord nor a member of the nobility. This particular franklin is a
connoisseur of food and wine, so much so that his table remains laid and ready for food all day.
The Reeve - A reeve was similar to a steward of a manor, and this reeve performs his job shrewdly—his lord never loses so much as a ram to the other employees, and the vassals under
his command are kept in line. However, he steals from his master.
The Plowman - The Plowman is the Parson’s brother and is equally good-hearted. A member of the peasant class, he pays his tithes to the Church and leads a good Christian life.
The Guildsmen - Listed together, the five Guildsmen appear as a unit. English guilds were a combination of labor unions and social fraternities: craftsmen of similar occupations joined
together to increase their bargaining power and live communally. All five Guildsmen are clad in the livery of their brotherhood.
The Cook - The Cook works for the Guildsmen. Chaucer gives little detail about him, although he mentions a crusty sore on the Cook’s leg.
The Yeoman- The servant who accompanies the Knight and the Squire. The narrator mentions that his dress and weapons suggest he may be a forester.
The Second Nun - The Second Nun is not described in the General Prologue, but she tells a saint’s life for her tale.
The Nun’s Priest - Like the Second Nun, the Nun’s Priest is not described in the General Prologue. His story of Chanticleer, however, is well crafted and suggests that he is a witty, self-
effacing preacher.
Characters from the Five Tales Analyzed
The Knight’s Tale
The Knight's tale is about two young knights that strive for Emily, who is the sister of queen Hippolyta who is married to duke Theseus, lord and governour of Athens. The story contains
many aspects of knighthood, including discussions on love, courtly manners, brotherhood and loyalty. Several fights and battles are fought and even foreign kings are brought in to
emphasize the epical meaning and shape of the last battle. Finally, death is the end of every worldly sore.
Theseus - A great conqueror and the duke of Athens in the Knight’s Tale. The most powerful ruler in the story, he is often called upon to make the final judgment, but he listens to others’
pleas for help.
Palamon - Palamon is one of the two imprisoned Theban soldier heroes in the Knight’s Tale. Brave, strong, and sworn to everlasting friendship with his cousin Arcite, Palamon falls in
love with the fair maiden Emelye, which brings him into conflict with Arcite. Though he loses the tournament against Arcite, he gets Emelye in the end.
Arcite - The sworn brother to Palamon, Arcite, imprisoned with Palamon in the tower in the Knight’s Tale, falls equally head over heels in love with Emelye. He gets released from the
tower early and wins Emelye’s hand in a tournament, but then dies when a divinely fated earthquake causes his horse to throw him.
Emelye - Emelye is the sister to Hippolyta, Theseus’s domesticated Amazon queen in the Knight’s Tale. Fair-haired and glowing, we first see Emelye as Palamon does, through a window.
Although she is the object of both Palamon’s and Arcite’s desire, she would rather spend her life unmarried and childless. Nevertheless, when Arcite wins the tournament, she readily
pledges herself to him.
Egeus - Theseus’s father. Egeus gives Theseus the advice that helps him convince Palamon and Emelye to end their mourning of Arcite and get married.
The Miller’s Tale
Nicholas - In the Miller’s Tale, Nicholas is a poor astronomy student who boards with an elderly carpenter, John, and the carpenter’s too-young wife, Alisoun. Nicholas dupes John and
sleeps with Alisoun right under John’s nose, but Absolon, the foppish parish clerk, gets Nicholas in the end.
Alisoun - Alisoun is the sexy young woman married to the carpenter in the Miller’s Tale. She is bright and sweet like a small bird, and dresses in a tantalizing style—her clothes are
embroidered inside and outside, and she laces her boots high. She willingly goes to bed with Nicholas, but she has only harsh words and obscenities for Absolon.
Absolon - The local parish clerk in the Miller’s Tale, Absolon is a little bit foolish and more than a little bit vain. He wears red stockings underneath his floor-length church gown, and his
leather shoes are decorated like the fanciful stained-glass windows in a cathedral. He curls his hair, uses breath fresheners, and fancies Alisoun.
John - The dim-witted carpenter to whom Alisoun is married and with whom Nicholas boards. John is jealous and possessive of his wife. He constantly berates Nicholas for looking into
God’s “pryvetee,” but when Nicholas offers John the chance to share his knowledge, John quickly accepts. He gullibly believes Nicholas’s pronouncement that a second flood is coming,
which allows Nicholas to sleep with John’s wife.
The Wife of Bath’s Prologue and Tale
The First Three Husbands - The Wife of Bath says that her first three husbands were “good” because they were rich and old. She could order them around, use sex to get what she
wanted, and trick them into believing lies.
The Fourth Husband - The Wife of Bath says comparatively little about her fourth husband. She loved him, but he was a reveler who had a mistress. She had fun singing and dancing with
him, but tried her best to make him jealous. She fell in love with her fifth husband, Jankyn, while she was still married to her fourth.
Jankyn - The Wife of Bath’s fifth husband, Jankyn, was a twenty-year-old former student, with whom the Wife was madly in love. His stories of wicked wives frustrated her so much
that one night she ripped a page out of his book, only to receive a deafening smack on her ear in return.
The Knight - Arthur’s young knight rapes a maiden, and, to avoid the punishment of death, he is sent by the queen on a quest to learn about submission to women. Once he does so, and
shows that he has learned his lesson by letting his old ugly wife make a decision, she rewards him by becoming beautiful and submissive.
The Old Woman - The old woman supplies the young knight with the answer to his question, in exchange for his promise to do whatever she wants. When she tells him he must marry
her, the knight begrudgingly agrees, and when he allows her to choose whether she would like to be beautiful and unfaithful or ugly and faithful, she rewards him by becoming both
beautiful and faithful.
Arthur’s Queen - Arthur’s queen, presumably Guinevere, is interesting because she wields most of the power. When Arthur’s knight rapes a maiden, he turns the knight over to his queen
allows her to decide what to do with him.
The Pardoner’s Tale
The Three Rioters - These are the three protagonists of the Pardoner’s Tale. All three indulge in and represent the vices against which the Pardoner has railed in his Prologue: Gluttony,
Drunkeness, Gambling, and Swearing. These traits define the three and eventually lead to their downfall. The Rioters at first appear like personified vices, but it is their belief that a
personified concept—in this case, Death—is a real person that becomes the root cause of their undoing.
The Old Man - In the Pardoner’s Tale, the three Rioters encounter a very old man whose body is completely covered except for his face. Before the old man tells the Rioters where they
can find “Death,” one of the Rioters rashly demands why the old man is still alive. The old man answers that he is doomed to walk the earth for eternity. He has been interpreted as
Death itself, or as Cain, punished for fratricide by walking the earth forever; or as the Wandering Jew, a man who refused to let Christ rest at his house when Christ proceeded to his
crucifixion, and who was therefore doomed to roam the world, through the ages, never finding rest.
The Nun’s Priest’s Tale
Chanticleer - The heroic rooster of the Nun’s Priest’s Tale, Chanticleer has seven hen-wives and is the most handsome cock in the barnyard. One day, he has a prophetic dream of a fox
that will carry him away. Chanticleer is also a bit vain about his clear and accurate crowing voice, and he unwittingly allows a fox to flatter him out of his liberty.
Pertelote - Chanticleer’s favorite wife in the Nun’s Priest’s Tale. She is his equal in looks, manners, and talent. When Chanticleer dreams of the fox, he awakens her in the middle of the
night, begging for an interpretation, but Pertelote will have none of it, calling him foolish. When the fox takes him away, she mourns him in classical Greek fashion, burning herself and
wailing.
The Fox - The orange fox, interpreted by some as an allegorical figure for the devil, catches Chanticleer the rooster through flattery. Eventually, Chanticleer outwits the fox by
encouraging him to boast of his deceit to his pursuers. When the fox opens his mouth, Chanticleer escapes.
In the universe of English poetry, Chaucer flourishes the fantastic colours of his words and paints different characters of his age with minute observation. Indeed, he is a great painter
who paints not with colours but with words. Undoubtedly, he has:
“The Seeing Eye, the retentive memory, the judgment to select and the ability to expound.”
His keen analysis of the minutest detail of his characters, their dresses, looks and manners enable him to present his characters lifelike and not mere bloodless abstractions.
His poetical piece, “The Prologue to the Canterbury Tales” is a real picture gallery in which thirty portraits are hanging on the wall with all of their details and peculiarities. Rather it is a
grand procession with all the life and movement, the colour and sound. Indeed,
“His characters represent English society, morally and socially, in the real and recognizable types”.
And still more representative of humanity in general. So, the characters in Chaucer's “The Prologue” are for all ages and for all lands.
Chaucer is the first great painter of character in English literature. In fact, next to Shakespeare he is the greatest in this field. In “The Prologue to the Canterbury Tales” the thirty
portraits traced by Chaucer give us an excellent idea of the society at that time. Except for royalty and aristocracy, on one hand and the robbers or out casts on the other, he has
painted in brief practically the whole English nation.
The thirty pilgrims, including the host, belong to the most varied professions. The Knight and the Squire presents the warlike element of the society. The learned and liberal vocations
are signified by the Man of Law, the Doctor, the Oxford Clerk and the Poet himself. The Merchant and the Shipman stand for the higher commercial community while the Wife of Bath,
an expert Cloth maker represents the traders and manufacturers. Agriculture is represented by the Ploughman, the Miller and the Franklin. The upper servants like Manciple and the Reeve
and the lower servant like Yeoman and the Cook represent the town and Country between them. The Monk from his monastery, the Prioress from her convent, her attendant priests, the
village Parson, the roaming Friar, the Pardoner and the Summoner sufficiently cover the casual categories of the religious order in those days.
To preserve the distinctions among these typical characters, Chaucer has indicated the differences in their clothes, manner of speech, habits and tendencies representing the common
traits and the average characteristics of each profession. These personages, therefore, are not mere phantasms of the brain but real human beings.
These characters represent various types of contemporary society. They are no longer mere dummies or types but owing to their various peculiarities, their arguments and agreement and
their likes and dislikes we recognize them as real living beings, true to the mould in which all human nature is cast.
His world is almost freak-free and his characters are perfectly lifelike. Some of them are so modern that they seem to be living today. The old Knight is an example of the chivalrous
character which is found in every generation. The Squire is just the typical man of any day.
“He was as fresshe as is the monthe of May”
The Merchant has all the vanity which comes from the growing of wealth, while the Man of Law like lawyers of all times, is pilling up fees and buying land. We recognize in him the
typical lawyer of our own day:
“Nowhere so bisy a man as he ther was”
And yet he seemed bisier than he was.
There are characters like the Prioress, the Monk, the Franklin, the Reeve, the Summoner, the Pardoner, and the Wife of Bath whom we do not identify at first. But none of them is
really extinct. They have changed their name and profession but their chief part is an element of humanity. That is why when we accompany the Pilgrims on their way we feel quite at
home and have no feeling of being among aliens.
Chaucer’s art of characterization is superb. He looks at his characters objectively and delineates each of the men and women sharply and caressingly. His impression of casualness,
economy, significance and variety of every detail are examples of that supreme art which conceals art.
In fact, there is a different method of almost every pilgrim. He varies his presentation from the full length portrait to the thumb-nail sketch, but even in the brief sketches, Chaucer
conveys a strong sense of individuality and depth of portraiture.
Chaucer’s method of portraying characters is a scientific manner by differentiating them by means of their obvious distinctions. It was for the first time in European literature that a
writer proved himself clearly conscious of the relation between individuals and ideas. Moreover, Chaucer’s characters are consistent and instead of being static, they grow and develop
in the course of the tale, like living human beings. They give their opinions on the stories that have been told and these comments reveal their dominant thoughts, their feelings and the
objects of their interests.
Thus Chaucer is the master in the art of characterization.
Character List
The Pilgrims
The Narrator - The narrator makes it quite clear that he is also a character in his book. Although he is called Chaucer, we should be wary of accepting his words and opinions as Chaucer’s
own. In the General Prologue, the narrator presents himself as a gregarious and naïve character. Later on, the Host accuses him of being silent and sullen. Because the narrator writes
down his impressions of the pilgrims from memory, whom he does and does not like, and what he chooses and chooses not to remember about the characters, tells us as much about the
narrator’s own prejudices as it does about the characters themselves.
The Knight - The first pilgrim Chaucer describes in the General Prologue, and the teller of the first tale. The Knight represents the ideal of a medieval Christian man-at-arms. He has
participated in no less than fifteen of the great crusades of his era. Brave, experienced, and prudent, the narrator greatly admires him.
The Wife of Bath - Bath is an English town on the Avon River, not the name of this woman’s husband. Though she is a seamstress by occupation, she seems to be a professional wife. She
has been married five times and had many other affairs in her youth, making her well practiced in the art of love. She presents herself as someone who loves marriage and sex, but,
from what we see of her, she also takes pleasure in rich attire, talking, and arguing. She is deaf in one ear and has a gap between her front teeth, which was considered attractive in
Chaucer’s time. She has traveled on pilgrimages to Jerusalem three times and elsewhere in Europe as well.
The Pardoner - Pardoners granted papal indulgences—reprieves from penance in exchange for charitable donations to the Church. Many pardoners, including this one, collected profits for
themselves. In fact, Chaucer’s Pardoner excels in fraud, carrying a bag full of fake relics—for example, he claims to have the veil of the Virgin Mary. The Pardoner has long, greasy,
yellow hair and is beardless. These characteristics were associated with shiftiness and gender ambiguity in Chaucer’s time. The Pardoner also has a gift for singing and preaching
whenever he finds himself inside a church.
The Miller - Stout and brawny, the Miller has a wart on his nose and a big mouth, both literally and figuratively. He threatens the Host’s notion of propriety when he drunkenly insists on
telling the second tale. Indeed, the Miller seems to enjoy overturning all conventions: he ruins the Host’s carefully planned storytelling order; he rips doors off hinges; and he tells a tale
that is somewhat blasphemous, ridiculing religious clerks, scholarly clerks, carpenters, and women.
The Prioress -Described as modest and quiet, this Prioress (a nun who is head of her convent) aspires to have exquisite taste. Her table manners are dainty, she knows French (though not
the French of the court), she dresses well, and she is charitable and compassionate.
The Monk - Most monks of the Middle Ages lived in monasteries according to the Rule of Saint Benedict, which demanded that they devote their lives to “work and prayer.” This Monk
cares little for the Rule; his devotion is to hunting and eating. He is large, loud, and well clad in hunting boots and furs.
The Friar - Roaming priests with no ties to a monastery, friars were a great object of criticism in Chaucer’s time. Always ready to befriend young women or rich men who might need his
services, the friar actively administers the sacraments in his town, especially those of marriage and confession. However, Chaucer’s worldly Friar has taken to accepting bribes.
The Summoner - The Summoner brings persons accused of violating Church law to ecclesiastical court. This Summoner is a lecherous man whose face is scarred by leprosy. He gets drunk
frequently, is irritable, and is not particularly qualified for his position. He spouts the few words of Latin he knows in an attempt to sound educated.
The Host - The leader of the group, the Host is large, loud, and merry, although he possesses a quick temper. He mediates among the pilgrims and facilitates the flow of the tales. His
title of “host” may be a pun, suggesting both an innkeeper and the Eucharist, or Holy Host.
The Parson - The only devout churchman in the company, the Parson lives in poverty, but is rich in holy thoughts and deeds. The pastor of a sizable town, he preaches the Gospel and
makes sure to practice what he preaches. He is everything that the Monk, the Friar, and the Pardoner are not.
The Squire - The Knight’s son and apprentice. The Squire is curly-haired, youthfully handsome, and loves dancing and courting.
The Clerk - The Clerk is a poor student of philosophy. Having spent his money on books and learning rather than on fine clothes, he is threadbare and wan. He speaks little, but when he
does, his words are wise and full of moral virtue.
The Man of Law - A successful lawyer commissioned by the king. He upholds justice in matters large and small and knows every statute of England’s law by heart.
The Manciple - A manciple was in charge of getting provisions for a college or court. Despite his lack of education, this Manciple is smarter than the thirty lawyers he feeds.
The Merchant - The Merchant trades in furs and other cloths, mostly from Flanders. He is part of a powerful and wealthy class in Chaucer’s society.
The Shipman - Brown-skinned from years of sailing, the Shipman has seen every bay and river in England, and exotic ports in Spain and Carthage as well. He is a bit of a rascal, known for
stealing wine while the ship’s captain sleeps.
The Physician - The Physician is one of the best in his profession, for he knows the cause of every malady and can cure most of them. Though the Physician keeps himself in perfect
physical health, the narrator calls into question the Physician’s spiritual health: he rarely consults the Bible and has an unhealthy love of financial gain.
The Franklin - The word “franklin” means “free man.” In Chaucer’s society, a franklin was neither a vassal serving a lord nor a member of the nobility. This particular franklin is a
connoisseur of food and wine, so much so that his table remains laid and ready for food all day.
The Reeve - A reeve was similar to a steward of a manor, and this reeve performs his job shrewdly—his lord never loses so much as a ram to the other employees, and the vassals under
his command are kept in line. However, he steals from his master.
The Plowman - The Plowman is the Parson’s brother and is equally good-hearted. A member of the peasant class, he pays his tithes to the Church and leads a good Christian life.
The Guildsmen - Listed together, the five Guildsmen appear as a unit. English guilds were a combination of labor unions and social fraternities: craftsmen of similar occupations joined
together to increase their bargaining power and live communally. All five Guildsmen are clad in the livery of their brotherhood.
The Cook - The Cook works for the Guildsmen. Chaucer gives little detail about him, although he mentions a crusty sore on the Cook’s leg.
The Yeoman- The servant who accompanies the Knight and the Squire. The narrator mentions that his dress and weapons suggest he may be a forester.
The Second Nun - The Second Nun is not described in the General Prologue, but she tells a saint’s life for her tale.
The Nun’s Priest - Like the Second Nun, the Nun’s Priest is not described in the General Prologue. His story of Chanticleer, however, is well crafted and suggests that he is a witty, self-
effacing preacher.
Characters from the Five Tales Analyzed
The Knight’s Tale
The Knight's tale is about two young knights that strive for Emily, who is the sister of queen Hippolyta who is married to duke Theseus, lord and governour of Athens. The story contains
many aspects of knighthood, including discussions on love, courtly manners, brotherhood and loyalty. Several fights and battles are fought and even foreign kings are brought in to
emphasize the epical meaning and shape of the last battle. Finally, death is the end of every worldly sore.
Theseus - A great conqueror and the duke of Athens in the Knight’s Tale. The most powerful ruler in the story, he is often called upon to make the final judgment, but he listens to others’
pleas for help.
Palamon - Palamon is one of the two imprisoned Theban soldier heroes in the Knight’s Tale. Brave, strong, and sworn to everlasting friendship with his cousin Arcite, Palamon falls in
love with the fair maiden Emelye, which brings him into conflict with Arcite. Though he loses the tournament against Arcite, he gets Emelye in the end.
Arcite - The sworn brother to Palamon, Arcite, imprisoned with Palamon in the tower in the Knight’s Tale, falls equally head over heels in love with Emelye. He gets released from the
tower early and wins Emelye’s hand in a tournament, but then dies when a divinely fated earthquake causes his horse to throw him.
Emelye - Emelye is the sister to Hippolyta, Theseus’s domesticated Amazon queen in the Knight’s Tale. Fair-haired and glowing, we first see Emelye as Palamon does, through a window.
Although she is the object of both Palamon’s and Arcite’s desire, she would rather spend her life unmarried and childless. Nevertheless, when Arcite wins the tournament, she readily
pledges herself to him.
Egeus - Theseus’s father. Egeus gives Theseus the advice that helps him convince Palamon and Emelye to end their mourning of Arcite and get married.
The Miller’s Tale
Nicholas - In the Miller’s Tale, Nicholas is a poor astronomy student who boards with an elderly carpenter, John, and the carpenter’s too-young wife, Alisoun. Nicholas dupes John and
sleeps with Alisoun right under John’s nose, but Absolon, the foppish parish clerk, gets Nicholas in the end.
Alisoun - Alisoun is the sexy young woman married to the carpenter in the Miller’s Tale. She is bright and sweet like a small bird, and dresses in a tantalizing style—her clothes are
embroidered inside and outside, and she laces her boots high. She willingly goes to bed with Nicholas, but she has only harsh words and obscenities for Absolon.
Absolon - The local parish clerk in the Miller’s Tale, Absolon is a little bit foolish and more than a little bit vain. He wears red stockings underneath his floor-length church gown, and his
leather shoes are decorated like the fanciful stained-glass windows in a cathedral. He curls his hair, uses breath fresheners, and fancies Alisoun.
John - The dim-witted carpenter to whom Alisoun is married and with whom Nicholas boards. John is jealous and possessive of his wife. He constantly berates Nicholas for looking into
God’s “pryvetee,” but when Nicholas offers John the chance to share his knowledge, John quickly accepts. He gullibly believes Nicholas’s pronouncement that a second flood is coming,
which allows Nicholas to sleep with John’s wife.
The Wife of Bath’s Prologue and Tale
The First Three Husbands - The Wife of Bath says that her first three husbands were “good” because they were rich and old. She could order them around, use sex to get what she
wanted, and trick them into believing lies.
The Fourth Husband - The Wife of Bath says comparatively little about her fourth husband. She loved him, but he was a reveler who had a mistress. She had fun singing and dancing with
him, but tried her best to make him jealous. She fell in love with her fifth husband, Jankyn, while she was still married to her fourth.
Jankyn - The Wife of Bath’s fifth husband, Jankyn, was a twenty-year-old former student, with whom the Wife was madly in love. His stories of wicked wives frustrated her so much
that one night she ripped a page out of his book, only to receive a deafening smack on her ear in return.
The Knight - Arthur’s young knight rapes a maiden, and, to avoid the punishment of death, he is sent by the queen on a quest to learn about submission to women. Once he does so, and
shows that he has learned his lesson by letting his old ugly wife make a decision, she rewards him by becoming beautiful and submissive.
The Old Woman - The old woman supplies the young knight with the answer to his question, in exchange for his promise to do whatever she wants. When she tells him he must marry
her, the knight begrudgingly agrees, and when he allows her to choose whether she would like to be beautiful and unfaithful or ugly and faithful, she rewards him by becoming both
beautiful and faithful.
Arthur’s Queen - Arthur’s queen, presumably Guinevere, is interesting because she wields most of the power. When Arthur’s knight rapes a maiden, he turns the knight over to his queen
allows her to decide what to do with him.
The Pardoner’s Tale
The Three Rioters - These are the three protagonists of the Pardoner’s Tale. All three indulge in and represent the vices against which the Pardoner has railed in his Prologue: Gluttony,
Drunkeness, Gambling, and Swearing. These traits define the three and eventually lead to their downfall. The Rioters at first appear like personified vices, but it is their belief that a
personified concept—in this case, Death—is a real person that becomes the root cause of their undoing.
The Old Man - In the Pardoner’s Tale, the three Rioters encounter a very old man whose body is completely covered except for his face. Before the old man tells the Rioters where they
can find “Death,” one of the Rioters rashly demands why the old man is still alive. The old man answers that he is doomed to walk the earth for eternity. He has been interpreted as
Death itself, or as Cain, punished for fratricide by walking the earth forever; or as the Wandering Jew, a man who refused to let Christ rest at his house when Christ proceeded to his
crucifixion, and who was therefore doomed to roam the world, through the ages, never finding rest.
The Nun’s Priest’s Tale
Chanticleer - The heroic rooster of the Nun’s Priest’s Tale, Chanticleer has seven hen-wives and is the most handsome cock in the barnyard. One day, he has a prophetic dream of a fox
that will carry him away. Chanticleer is also a bit vain about his clear and accurate crowing voice, and he unwittingly allows a fox to flatter him out of his liberty.
Pertelote - Chanticleer’s favorite wife in the Nun’s Priest’s Tale. She is his equal in looks, manners, and talent. When Chanticleer dreams of the fox, he awakens her in the middle of the
night, begging for an interpretation, but Pertelote will have none of it, calling him foolish. When the fox takes him away, she mourns him in classical Greek fashion, burning herself and
wailing.
The Fox - The orange fox, interpreted by some as an allegorical figure for the devil, catches Chanticleer the rooster through flattery. Eventually, Chanticleer outwits the fox by
encouraging him to boast of his deceit to his pursuers. When the fox opens his mouth, Chanticleer escapes.