1.      As you are told in your introductory note, Chaucer was the clerk of the king’s works from 1389-91.  As part of his job, he supervised the construction of stands and lists for a celebrated tournament staged by Richard II.  Chaucer was well acquainted with the knightly class.  Look at his description of the Knight (lines 43-78).  What is his history?   He has on a “fustian” (thick coarse cloth) “bismotered with his haubergeoun” [stained with the rust of his hauberk or coat of mail).  Compare this dress, and the fact that his horse is not “gay,” with the description of the dress and equipment of other pilgrims.  Note the contrast, in particular, with the Squire who is described immediately afterwards. AND WITH THE MONK, ESPECIALLY IN REGARD TO HORSES.

 2.      Who is narrating the Prologue?  This character says about the Summoner (the official who brings people to court who are suspected of violating canon law—fornicators, for instance):  “A bettre felawe should men nought finde” (line 648).  Do you agree with this assessment of the Summoner’s character?

 3.      The Knight is really the only true aristocrat in this bunch of pilgrims.  Most of them belong to a wealthy official or middle-class that was emerging as a major political force in the 14th century.  Chaucer himself rose from this class.    Look at the description of the Merchant (lines 270-284).  He wants “the see were kept for any thing / Bitwixen Middelburg and Orewelle” ( lines 270-278).  This is the sea route between Middelburgh in the Netherlands and Orwell in Suffolk.  Look at the note at the bottom of the page.  What is now dictating the actions of monarchs and citizens? ALSO LOOK AT THE EMERGING MIDDLE CLASS (lines 361-378).

 6.      What about the clerical class?  Look at the description of the Prioress (lines 118-162), the Monk (lines 165-207), and the Friar ( lines 208-269).  Do they fulfill their vows and the commands of their religious orders?  Note that the Monk “leet olde thinges pace” ( line 175).  

The Monk’s attitude bears comparison to the Pardoner, who “rood al of the newe jet” [rode in the new fashion] ( line 682).  What is happening to the old traditions and rituals? What is the word we might use for THE NEWE JET?

7.      Speaking of the new, we cannot ignore the Wife of Bath, who is without question the most vital character in all medieval literature.  She is what we in the South would call “a real char-act-ter.”  What is she skilled in?  What is her financial status?  How is she dressed?  Note that she has spurs on her feet (line 475).  Is she a threat to anything?

 8.      CHAUCER is quite concerned about the role of the poet.  Look at what the narrator says at lines 725-746 in his defense.  He begs the reader’s courtesy and asks him/her not to mark his plain style up to his “vilainye,” or lower-class coarseness.  He speaks of falsifying and devising new things—making up fictions.  Is Chaucer falsifying?  How does he defend his activity?  Can you catch on to the game he is playing with you?  At line 853, the storytelling is called a “game.”  On page 192, the narrator asks you not to blame him for the Miller’s crassness and not to judge him “of yvel entente” (line 3173).  He then says “men shal nought maken ernest of game” (line 3186).  At line 192 (in fragment III; henceforth III.192) and following in her Prologue, the Wife of Bath says she speaks according to her “fantasye” and she requests that no man take what she says amiss, “For myn entente nis but for to playe.”  What is Chaucer’s “entente”?  Is he just playing with us?  DOUBLENESS!