The characters introduced in the general prologue of The Canterbury Tales each represent a stereotype of a type of person Chaucer would have known in 14th century England. Each character is unique, but embodies many physical and behavioral traits that would have been common to someone in their profession. In preparing the reader for the tales, Chaucer first sets the mood by giving an overall sense of the type of character telling the story, then allows that character to introduce himself through a personal prologue, and finally, the pilgrim tells his story. history. By providing the reader with insight into the physical and personal traits of the pilgrim, and then allowing that person to come to life and tell an animated story, the reader is better prepared for the story and able to connect the physical description to the narrative. of history. The physical and personal descriptions of the Miller, Bath's Wife, and the Merchant all help tell their stories. Chaucer knew how to create tales perfectly suited to the characters who present them. By having each story told by someone who has a personal reason or motivation for telling that specific story, Chaucer creates more of a reaction from the reader and gives structure to the entire work. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”? Get an original essayThe Miller is a tall, imposing person who personifies a crooked but friendly businessman. In "The General Prologue", Chaucer describes the Miller as having a "golden thombe, (563)", which the footnote on page 32 of The Riverside Chaucer notes, "is an ironic reference to a proverb, with the implication that there are no honest millers. Miller's description and actions support the idea of ​​this proverb. Although the Miller is rude, speaks out of turn, acts inappropriately, and tells a story centered on deception and betrayal, he is also jovial and entertaining. Despite this unflattering introduction, however, the Miller cannot be considered a loathsome person as his purpose is to provide comic relief. The appearance of the Miller after the more solemn knight creates a contrast in mood and gives the reader a more relaxed feeling in the rest of the tales. The Miller is described as an unattractive man. His portrait is made in the following manner: He was short-shouldered, brooding, a thikke knarre, - His berd, like any sow or fox, was a reed, and brooded thus, as if it were a shovel. On the cop to the right of his nose he had a werte, and on that stood a heresReed toft like the hairs of a sowes eres; His nosethirles were blake and wyde. ("The General Prologue", 551-559) These physical descriptions "were considered by physiognomists to variously denote a shameless, talkative, lecherous and quarrelsome character (Riverside Chaucer, 820: PMLA 35, 1920, 189-209)." Much like his appearance, his personality is also described as being very loud and disturbing. He is depicted as a young boy would be, but with the strength of a large adult. The Miller acts up and bangs his head on doors, which is a common trait in a two year old. However, it is so big that it is said that: rennyng with its attention. ("The General Prologue", 552-553) Moreover, comparing him to a teenager, he tells dirty jokes: He was a janglere and a goliardeys, and he was the most synne and prostitutes. ("The General Prologue," 562-563)All of these characteristics are annoying, but comical. Additionally, the red color of his face and hair can be interpreted in two different ways. One interpretationgiven is that “the redhead is a widespread figure of deception and betrayal. (Riverside Chaucer, 820).” The other interpretation of using the color red would imply that his personality is optimistic and fun-loving. His description supports both of these ideas, however, the importance of red seems to be in creating a comical atmosphere around the Miller which is carried by the reader in his story. Overall, the Miller's introduction in "The General Prologue" leaves the reader with the image of a loud and unattractive red man, which seems appropriate given the Miller's next appearance. Once the knight has finished his story, the Miller rudely interrupts him. the host, who asks the monk to take his turn. The Miller then insists that he be the next to tell a story and “a true knight’s story”. (“The Miller’s Prologue,” 319).” He is visibly drunk and even admits that his speech might be a little off due to his state. The Miller tells the reader that he must keep this in mind before he begins to tell his story: But first I protest that I am drunk; I know it by my sound. And so if I speak or see, that it is Southwerk beer, I prey on you. ("The Miller's Prologue", 3138-3141) The narrator then, before allowing the Miller to begin the telling of his tale, urges the reader to find another tale to read before he becomes offended and wastes his time listening the Miller: And therefore whoever enumerates it no, turn over the sheet and see another tale, for it will let you know, grete and smale, of historical thing which touches kindness, and morality and holiness eek. Blame me if you chese amys. Advising the reader to turn away from the telling of this story, Chaucer only draws them in and piques their curiosity about the story that Miller is so eager to share. Although the Miller is vulgar and offensive, he is attractive. The likeability of the Miller and his story is similar to his physical traits in that, while they are unattractive on the surface and even distasteful, they are overall quite amusing. "The Miller's Tale", is an obvious parody of "The Knight's Tale;" only he is in the form of a lower class Fubliau. Both stories contain a central love triangle, however, the progression of the stories and the mood of the stories differ greatly. Unlike "The Knight's Tale", "Miller's Tale" is full of sharp wit and at the end of the tale, all the characters get what they deserve and seem somewhat satisfied with the outcome. Like Miller's character, his story is light and very entertaining. While "The Knight's Tale" offers a lesson in courtly love and traditional marriages, the relationship between Alisoun, John, Nicholas and Absolon mocks the values ​​expressed by the knight. In the essay "Personality and Affect Styles", Irma Taavititsainen explains the role of courtly love in "The Miller's Tale" in the following way: The reversal of courtly romance is explicit in the portraits of Alison and d 'Absolute. the emotional charge of the contemplative monologue of The Knight's Tale is present; the pace is fast, enhancing the contrast - (229) Additionally, the incorporation of a flood into the story hints at a religious theme, however, the humorous role the flood plays in the action of the story can be considered “blasphemous” (Taavitsainen 230). )." Given the personality of the Miller the reader has been exposed to, these themes seem appropriate and, like his manner of acting, the story is crude, but sympathetic. Taavitsainen notes that as a narrator, the character by Miller plays a key role in creating the mood and evoking the reader's reactions to the story: TheReaders are guided throughout the story and are invited to pay attention to certain points, appreciate the apprehensions and sudden turns of the plot, and laugh at the characters. The Miller is in charge and controls the reader's reactions, and he is extremely skilled at doing so. ("Personality and Affect Styles", 231) The Miller represents himself very faithfully in his narrative and there is a certain consistency between the odious nature of the Miller's appearances in the dialogue of "The Canterbury Tales" and the type of story he tells. The description given to the Wife of Bath is very different from that given to the Miller. She has been married five times and admits that she will “welcome the sixth, when he does,” (“The Wife of Bath's Prologue,” 45). In these marriages, she is undoubtedly in control and, as her story demonstrates, she believes that the woman should be in charge. Although The Wife of Bath seems to be the perfect example of a woman who would fit the modern definition of independence, Chaucer fails to portray her in a way that fits a woman who is in complete control of her own life. She is presented as an aggressive, spirited and wealthy woman, whose entire life revolved around that of her husbands. In her article "Feminism or Anti-Feminism: Images of Women in The Wife of Bath", Annie White explains how Chaucer's name for The Wife of Bath is representative of his dependence on men in the following way: Despite [her] talent and position as a business owner, Alison still relies on her husband for wealth and status. Although Alison is an accomplished crafter herself, she is rarely seen as her own person. Others traveling to Canterbury are referred to by name and occupation, for example the clerk and the merchant, but Alison is referred to as the Wife of Bath. This shows that his importance lies in his sexuality or marital status. She is not a person or even an artisan; she is just a wife. (No page numbers given) Additionally, her dress, personal prologue, and narrative demonstrate the importance she places on men in her life. These descriptions only make her seem less like a strong, independent woman, and more like a “good wife (“The General Prologue,” 447). Her physical characteristics and history express that not only are marriage and the woman's role within marriage important, but until it is understood that the woman is responsible for marriage, a man and a woman cannot live in peace. Wife of Bath is dressed in a fashionable, somewhat ostentatious wardrobe, intended both to display her wealth and to attract men. She wears a big hat and red stockings:Hir coverchiefs ful fyne aren of ground;I dorste swere they weyeden ten poundsThat a Monday were on hir attention.Hirhosen aren of fyn scarlet reed,Ful streite yteyd, and shoes ful moyste and newe. ("The General Prologue", 452-457) The color of his stockings, in particular, is significant, since, like the Miller, his face is also described as a "hewe reed ("The General Prologue: 460). "In this case, the color red strongly implies a sanguine personality, which is more than demonstrated by her flirtatious and playful tone as well as her sexuality, which defines her as the main woman and sexual object of the pilgrimage. In his article "Chaucer's Wife of Bath's 'Foot-Mantel' and her 'Hipes Large'", Peter G. Beidler focuses on a possible misinterpretation of lines 471-474 of "The General Prologue": on an amblere she sat easily, Ywympled wel, and on hir Consider a hat, as well as a bokeler or a targe about her wide hips, Beidler asserts that the whole image of La;Wife of Bath can be reevaluated if the word broad can be interpreted as an adverb rather than an adjective: Most of us imagined her as a tall, strong woman, fully capable of holding her own in the difficult arenas of business medieval times, pilgrimage and marriage. If these imaginings are not necessarily supported by Chaucer's text, we should reconsider her possible physical vulnerability towards her husbands. This interpretation suggests that the whole world describes their leggings or clothing hanging largely around their hips. This is possible, but it seems more likely that the mention of the hips, in and of itself, is meant to symbolize a woman's fertility and that by enlarging his hips, Chaucer is only enhancing his role as a good wife whose main goal is to have children. Nevertheless, the physical description given to the Wife of Bath presents her as a very feminine and outgoing woman, who, through her own prologue and narrative, partly embodies what a man would consider a threat as a wife and ideal companion. Wife of Bath describes the story of her 5 marriages. The reader discovers that she is a manipulative and conniving woman who uses her many marriages in order to gain a sense of empowerment. In the context of these marriages, she admits to accusing her husbands of cheating on her in order to gain the upper hand in a situation. The Wife of Bath treats marriage as a game and has taken great advantage of most of her husbands. She even suggests that a wife uses strategies and manipulations to gain the upper hand over her husband in the following ways: You wise women can understand. So you speak and you are wrong about the woman; For half you can also boldly ManSwere and Lyen, as a woman I can see this by women who have been wyse, but if it is when they hem mysavyse. ("The Wife of Bath's Prologue", 225-230) The Wife of Bath insists on having control and when she loses it, as she does with her fifth husband, Jankyn, it causes problems within the marriage. Jankyn had a favorite book that recalled the many vilified women in history and literature. This book, which the Wife of Bath called "the book of wikiked wyves" ("Prologue to the Wife of Bath", 685)" was used by Jankyn to preach to him about how horrible women are. After becoming fed up with Jankyn's obsession with this book, the Wife of Bath decides to use it as a way to manipulate him into returning his property to her. She initiates a violent act, which prompts him to hit her in the ear, during which she takes advantage of her femininity by acting as if she had been seriously injured: "So I plyght three times out of his book, just at the time he radde, and ekeI with my festival therefore took the anthem on the cheke, that in our fyr he ril bakward adoun.("Prologue of the Wife of Bath", 790-796)This altercation, although making her deaf in one ear, ends the difficulty the Wife of Bath had getting along with her husband The Wife of Bath becomes very emotional after Jankyn hits her and claims that she has. been terribly injured and that Jankyn killed her for her money Realizing that he could have harmed her, he offers to return her money and property This act restores order to the marriage. These events in "The Wife of Bath's Prologue", she seems almost proud of the way she affected Jankyn: laste, with great care and wo,We bestowed the girl on both of us.He gave me the bridel to myn hond,For han the governance of the house and the lond,(795-814)The Wife of Bath has been married since the age of twelve and has adapted to the role of wife. Throughout her many marriages, she learned to take control of her situation and useher position as a woman to gain the upper hand in a marriage. Her story, like her life, involves a woman who takes control of a man and uses her feminine powers in order to gain an advantage over him. The story that the Wife of Bath tells seems to parallel the story she tells in her prologue of her marriage to Jankyn. Similar to Jankyn, the knight in his tale shows little respect for women at the beginning of the story. When he is alone in the forest, he meets a young girl and "By force he hires a young girl. ("The Tale of the Wife of Bath", 888)" In order to avoid being put to death , he must discover "What women most desire," ("The Tale of the Wife of Bath", 905).In order to save his life, the knight puts his trust in a strange woman who gives him the response, which he conveys to the queen as follows: Women desire to have sovereignty over their husbands as well as over their love, and to be in the maestrie hymn above. ("The Wife of Bath's Tale" , 1037-1039)The fact that the knight is informed of a woman's desire to be "sovereign" ("The Wife of Bath's Tale", 1037)" is the general theme not only of the tale, but of the appearance of the Wife of Bath in her prologue. The knight begins the story in a position of sexual domination by committing rape and ends the story completely submitting to his wife ("The Wife of Bath's Tale", 1230-1232). This demonstrates that the purpose of the tale was to reveal that a man who submitted to his wife could obtain a wife who was both “just and good (“The Wife of Bath's Tale,” 1241). Merchant uses his tale and prologue to give his opinion on love and marriage. His views, however, are firmly against marriage. The Merchant, also similar to The Wife of Bath, tells a story closely tied to personal experience. He explains in his prologue that he has been married for two months ("The Merchant's Prologue", 1234) and that during these two months he has become very opinionated on the subject. In the essay "Car craft is al, whoso that do it kan": The Genre of the Merchant's Tale", Leigh A. Arrathoon explains that: While the pretentious merchant recounts with bitterness and somewhat disgust what he perceives as a story depicting the wickedness of wives, Chaucer's statement implies the responsibility of lustful husbands for their own marital misery (241). Furthermore, the character of the merchant seems to be in every way opposed to that of the Wife of Bath. His description, personality and story embody them all. the masculine traits that the Wife of Bath might attempt to oppress within a marriage. Nevertheless, the merchant seems just as consumed by his distaste for marriage as the Wife of Bath seems to be dependent on it. In "The General Prologue", the merchant. is described as an evil man with a “forked beard (“The General Prologue,” 270). » Like his opinions which appear before and after his story, the Merchant sits “on horseback (“The General Prologue”, 271). "He is obsessed with profit and is, as was typical of a 14th century merchant, described in a manner that embodies merchant traits such as "greed, deceit and usury (Riverside Chaucer , 809)." The merchant, like Miller, is presented in a positive light. It is repeatedly stated that he is a "worthy man." ("The General Prologue", 283). Given the length from his total description, this seems to be quite an important point that Chaucer was trying to make His profession seems honorable and his character seems quite typical of a merchant Nevertheless, the Merchant stands out for his views on marriage, which seem to complement. his business sense He seems to think that women are a waste of time and create problems, and he would probably rather study profits than worry about them.>