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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.
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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.
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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
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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.
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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
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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
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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
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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.
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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
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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
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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
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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.
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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
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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"
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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
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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
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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
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1780:, and consists of twelve stories, related by travellers thrown together by untoward accident. In turn, Lee's version had a profound influence on
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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.
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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.
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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
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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
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260:. English had, however, been used as a literary language centuries before Chaucer's time, and several of Chaucer's contemporaries—
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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
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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
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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
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1716:. John Lydgate's tale was popular early on and exists in old manuscripts both on its own and as part of the
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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.
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1857:. His animal pilgrims are on their way to find the common ancestor, each telling a tale about evolution.
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1913:. The opera is in three acts: The Wyf of Bath's Tale, The Pardoner's Tale and The Nun's Priest's Tale.
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No manuscript exists in Chaucer's own hand; all extant copies were made by scribes. Because the final
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In 2003, the BBC again featured modern re-tellings of selected tales in their six-episode series
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4201:
2417:
1898:
1729:
1658:
1412:
1287:
574:
1596:
who wrote exclusively for the nobility. He is referred to as a noble translator and poet by
1119:
is largely linear, with one story following another, it is also much more than that. In the
983:
features a frame tale in which several different narrators tell a series of stories. In the
4930:
4736:
4671:
4626:
4621:
4310:
4246:
4181:
4136:
4131:
2526:
Edwards, A.S.G. "The Ellesmere manuscript: controversy, culture and the Canterbury Tales."
2061:
1773:
1549:
1439:
1407:
1375:
1081:
747:
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",
2481:
4923:
4711:
4636:
4545:
4526:
4289:
4221:
4146:
3903:
3769:
3678:
3075:
2757:
2646:, ed. by Larry D. Benson, 3rd edn (Oxford: Oxford University Press, 1987), pp. xxv–xli.
2565:
2052:
1962:
1597:
1061:
972:
591:
457:
249:
130:
103:
3701:
Species, phantasms, and images: vision and medieval psychology in The Canterbury tales
3637:
2201:
1974:
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:
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3878:
3873:
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3495:
3493:
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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:
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2899:
2887:Canterbury Tales
2880:
2869:
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2691:
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2653:
2647:
2640:
2634:
2633:, 1987), p. 153.
2623:
2617:
2616:Pearsall, 14–15.
2614:
2608:
2605:
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2593:
2561:
2555:
2544:
2538:
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2518:
2515:
2509:
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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:
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805:
796:
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777:
774:
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759:pronounced, not
746:
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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:
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3799:
3793:
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3693:Further reading
3676:
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3628:
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3564:
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3511:The Independent
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3159:Bisson, p. 143.
3158:
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3141:Bisson, p. 138.
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2053:A Knight's Tale
2045:Primetime Emmys
1949:
1894:
1877:Patience Agbabi
1841:Richard Dawkins
1769:
1764:
1671:Siege of Thebes
1645:
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1523:Franklin's Tale
1491:The concept of
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1173:Merchant's Tale
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989:the Black Death
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657:Harley MS. 7334
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384:Main articles:
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359:British Library
292:
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35:
24:
17:
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3014:
3012:Bisson, p. 50.
3005:
2996:
2983:
2974:
2968:978-0500252031
2967:
2945:
2932:
2930:Cooper, 25–26.
2923:
2921:Cooper, 24–25.
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2912:Cooper, 22–24.
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2576:(3): 664–687.
2556:
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2519:
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2487:
2484:. 5 July 2023.
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2351:The Second Nun
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2245:
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2235:
2233:
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2223:
2221:
2218:
2211:
2209:
2207:Roger The Cook
2206:
2199:
2197:
2194:
2187:
2185:
2182:
2175:
2173:
2170:
2163:
2161:
2158:
2151:
2138:mural (1939),
2127:
2126:
2119:
2118:
2117:
2116:
2115:
2104:'s 1993 album
2098:
2087:Procol Harum's
2077:
2074:
2073:
2072:
2065:
2050:The 2001 film
2048:
2022:
2009:
1997:
1980:
1959:Michael Powell
1948:
1945:
1944:
1943:
1924:
1917:Nevill Coghill
1914:
1903:
1893:
1890:
1889:
1888:
1873:
1858:
1837:
1820:
1809:
1797:
1785:
1768:
1765:
1763:
1760:
1745:Thomas Occleve
1644:
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1628:Thomas Occleve
1620:
1617:
1562:
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1554:
1547:
1540:
1539:
1538:
1537:
1536:
1534:
1531:
1488:
1485:
1459:
1456:
1388:
1385:
1378:by knights of
1350:The murder of
1311:
1308:
1252:Western Schism
1224:
1221:
1145:Adam Pinkhurst
1132:
1129:
1074:
1071:
923:
920:
902:
901:
897:
896:
893:
890:
887:
882:
881:
880:
875:
870:
865:
858:
857:
856:
849:
842:
835:
823:
822:
821:
811:. Below is an
714:Middle English
700:
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488:
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478:
477:
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469:
462:
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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:
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128:
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106:, 14th century
101:
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57:Richard Pynson
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2:
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5040:Frame stories
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4841:Trinity Tales
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4528:
4525:
4522:
4521:Philippa Roet
4519:
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4514:
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4509:
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4334:
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4329:
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4308:
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3876:Poetry portal
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3763:
3760:(3): 630–60.
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3279:0-8166-3823-3
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2748:(3): 630–60.
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2306:
2303:The Physician
2299:
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2144:
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2137:
2133:
2129:
2123:
2113:
2109:
2108:
2103:
2100:The title of
2099:
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2092:
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2084:
2080:
2079:
2070:
2066:
2063:
2059:
2055:
2054:
2049:
2046:
2042:
2038:
2034:
2030:
2026:
2023:
2020:
2019:
2014:
2010:
2007:
2006:
2005:Trinity Tales
2001:
1998:
1995:
1990:
1989:
1985:'s 1972 film
1984:
1981:
1977:
1972:
1968:
1964:
1960:
1956:
1955:
1951:
1950:
1941:
1937:
1934:adapting the
1933:
1929:
1925:
1922:
1918:
1915:
1912:
1908:
1907:Erik Chisholm
1904:
1901:
1900:
1896:
1895:
1886:
1882:
1881:Refugee Tales
1878:
1874:
1871:
1867:
1863:
1859:
1856:
1855:
1850:
1846:
1842:
1838:
1835:
1834:
1829:
1825:
1821:
1818:
1814:
1810:
1807:
1806:
1802:'s 1907 book
1801:
1800:Henry Dudeney
1798:
1795:
1794:
1790:'s 1901 book
1789:
1786:
1783:
1779:
1775:
1771:
1770:
1759:
1756:
1752:
1750:
1749:John Wycliffe
1746:
1742:
1738:
1737:
1736:Piers Plowman
1732:
1731:
1725:
1723:
1719:
1715:
1714:Knight's Tale
1711:
1710:Tale of Beryn
1707:
1702:
1700:
1696:
1695:
1690:
1689:Tale of Beryn
1686:
1685:Tale of Beryn
1681:
1679:
1678:
1677:Tale of Beryn
1673:
1672:
1667:
1666:
1661:
1660:
1655:
1650:
1640:
1637:
1633:
1629:
1625:
1616:
1614:
1610:
1609:
1602:
1599:
1595:
1591:
1587:
1583:
1582:John of Gaunt
1579:
1578:
1566:
1559:
1551:
1544:
1530:
1528:
1524:
1520:
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1509:
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1409:
1401:
1397:
1393:
1384:
1381:
1377:
1373:
1367:
1365:
1361:
1353:
1352:Thomas Becket
1348:
1344:
1342:
1336:
1333:
1329:
1325:
1324:church relics
1321:
1317:
1307:
1304:
1299:
1297:
1293:
1289:
1285:
1281:
1277:
1273:
1269:
1265:
1261:
1260:John Wycliffe
1257:
1253:
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1246:
1238:
1234:
1229:
1220:
1218:
1214:
1210:
1209:couplet rhyme
1206:
1202:
1197:
1193:
1192:ten syllables
1189:
1184:
1182:
1181:Knight's Tale
1178:
1174:
1168:
1166:
1165:St. Augustine
1162:
1146:
1142:
1137:
1128:
1124:
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1068:
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1063:
1058:
1054:
1053:
1048:
1047:John Bromyard
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843:
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682:
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627:
621:
620:
617:
613:
610:
607:
605:Fragment VIII
601:
600:
597:
593:
589:
584:
580:
576:
573:
570:
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563:
560:
556:
553:
550:
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530:
524:
523:
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463:
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459:
455:
451:
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430:
429:
425:
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419:
418:
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413:
409:
404:
399:
397:
391:
387:
377:
375:
371:
366:
364:
360:
356:
352:
348:
344:
343:Edith Rickert
340:
339:John M. Manly
336:
332:
328:
323:
320:
315:
311:
307:
306:
301:
297:
287:
285:
281:
277:
275:
271:
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263:
259:
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251:
247:
242:
240:
236:
232:
228:
227:Thomas Becket
224:
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212:
208:
204:
203:
198:
194:
190:
186:
182:
181:
172:
168:
167:
163:
159:
155:
153:
151:LC Class
147:
143:
140:
139:Dewey Decimal
135:
132:
129:
125:
115:
109:
105:
102:
98:
95:
92:
88:
84:
80:
76:
73:
70:
66:
62:
58:
54:
48:
43:
37:
33:
29:
22:
4959:
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4907:
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4873:
4866:
4847:
4839:
4820:
4817:(1917 opera)
4812:
4804:
4785:
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4605:
4594:
4593:
4544:
4490:John Shirley
4458:
4383:
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4369:
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3991:
3977:
3972:Online texts
3971:
3970:
3960:
3947:
3937:
3924:
3923:
3890:Books portal
3854:
3847:
3824:(2): 49–56.
3821:
3817:
3808:
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3757:
3753:
3727:
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3659:
3638:
3617:
3597:
3589:Bibliography
3575:. Retrieved
3569:
3560:
3548:. Retrieved
3533:
3526:
3514:. Retrieved
3510:
3500:
3488:. Retrieved
3478:
3467:
3456:
3440:
3435:
3419:
3414:
3402:. Retrieved
3391:The Guardian
3390:
3380:
3368:. Retrieved
3356:
3346:
3330:
3325:
3309:
3304:
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2981:Cooper, 5–6.
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2896:. Retrieved
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2850:Cooper, 8–9.
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2508:Pearsall, 8.
2504:
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2465:John Lydgate
2453:
2445:
2436:
2399:The Pardoner
2387:The Summoner
2267:The Merchant
2255:The Manciple
2231:The Franklin
2135:
2110:alludes to "
2105:
2058:Heath Ledger
2051:
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2003:
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1624:John Lydgate
1622:
1619:15th century
1613:John Lydgate
1606:
1603:
1585:
1575:
1573:
1563:Prologue of
1516:
1511:
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1496:
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1472:Helen Cooper
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1201:riding rhyme
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484:Fragment III
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4887:derivations
4885:Single tale
4809:(1634 play)
4549:(2001 film)
4442:Rhyme royal
4385:Jack Upland
4261:Other works
3839:11511/51091
3577:31 December
3486:. BBC Drama
3180:Cooper, 21.
2893:The Gemsbok
2868:Cooper, 18.
2714:9 September
2705:"Road Trip"
2536:CA254401568
2517:Cooper, 6–7
2243:The Shipman
2132:Ezra Winter
2056:, starring
2000:Alan Plater
1928:Zadie Smith
1864:translates
1862:Angie Abdou
1824:Dan Simmons
1776:was called
1774:Harriet Lee
1654:Cook's Tale
1328:indulgences
1320:Black Death
1268:indulgences
1217:rhyme royal
1152: 1400
625:Fragment IX
548:Fragment VI
508:Fragment IV
468:Fragment II
202:magnum opus
120: 1400
100:Set in
5030:Canterbury
5010:1400 books
4999:Categories
4984:The Tabard
4926:" (Dryden)
4919:(Edwardes)
4860:Literature
4833:Television
4702:Sir Thopas
4212:Sir Thopas
4116:Canterbury
4026:Facsimiles
3171:Cooper, 19
2803:Petrarch."
2625:Text from
2429:References
2315:The Parson
2171:The Squire
2159:The Knight
2095:Keith Reid
2089:1967 hit "
1828:Hugo Award
1826:wrote his
1782:Lord Byron
1751:'s ideas.
1674:, and the
1594:court poet
1527:Breton Lai
1493:liminality
1487:Liminality
1468:relativism
1417:Edward III
1288:Richard II
1188:Sir Thopas
1109:pilgrimage
1097:frame tale
1043:John Gower
705:media help
641:Fragment X
583:Sir Thopas
528:Fragment V
434:Fragment I
300:incunabula
262:John Gower
254:vernacular
235:Tabard Inn
223:Canterbury
171:Wikisource
156:PR1870 .A1
4604:Order of
4457:Order of
4435:and Texts
3774:159994357
3679:cite book
3399:0261-3077
3365:0362-4331
2762:159994357
2659:(London:
2607:Cooper, 7
2590:0038-7134
1926:In 2021,
1905:In 1961,
1849:evolution
1788:E. Nesbit
1722:John Stow
1699:John Urry
1533:Reception
1422:Sir Topas
1105:Decameron
1013:Decameron
1009:Decameron
1005:Decameron
985:Decameron
981:Decameron
968:Decameron
420:Fragment
370:scrivener
239:Southwark
4485:Scribe D
4433:Language
4342:Spurious
3966:LibriVox
3754:Speculum
3404:14 March
3370:14 March
2898:17 March
2793:fables."
2742:Speculum
2663:, 1971).
2570:Speculum
2548:Speculum
2327:The Monk
2081:British
1833:Hyperion
1590:courtier
1452:Carnival
1380:Henry II
1310:Religion
1256:Lollardy
1033:Boethius
1025:Petrarch
755:and the
663:Language
215:pilgrims
90:Language
4948:Related
4746:Addenda
4504:Related
3940:Project
3925:General
3550:10 July
1921:version
1851:titled
1694:Bérinus
1476:fabliau
1464:empathy
1196:caesura
995:to the
922:Sources
331:Hengwrt
131:England
53:woodcut
4852:(2003)
4844:(1975)
4790:(1972)
4523:(wife)
4014:
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1668:, the
1466:, and
1415:under
1400:Lionel
1292:Tales'
1161:Virgil
1057:Jerome
979:, the
899:
789:wepyng
749:knight
730:, not
426:Tales
423:Group
372:named
310:Tales'
272:, and
219:London
68:Author
4779:Films
4535:(son)
4392:Tales
4304:Boece
4118:Tales
4105:Works
3850:2017.
3770:S2CID
3750:(PDF)
3490:6 May
3190:2015.
2758:S2CID
2738:(PDF)
2102:Sting
2085:band
2076:Music
2041:BAFTA
2033:Oscar
1843:used
1767:Books
1718:Tales
1649:Tales
1632:Tales
1525:is a
1481:Tales
1470:. As
1444:Tales
1436:Tales
1332:Tales
1316:Tales
1264:Tales
1237:Tales
1131:Style
1117:Tales
1101:Tales
1029:Dante
1017:Italy
997:Tales
977:Tales
971:, by
403:Tales
396:Tales
380:Order
319:Tales
258:Latin
211:prose
207:verse
144:821.1
55:from
4012:ISBN
3946:The
3936:The
3787:ISBN
3732:ISBN
3713:ISBN
3685:link
3665:ISBN
3645:ISBN
3622:ISBN
3603:ISBN
3579:2012
3552:2021
3539:ISBN
3518:2021
3492:2007
3445:ISBN
3424:ISBN
3406:2023
3395:ISSN
3372:2023
3361:ISSN
3335:ISBN
3314:ISBN
3275:ISBN
2963:ISBN
2900:2016
2716:2013
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2532:Gale
2035:(as
1994:lost
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1434:The
1425:and
1396:Bors
1314:The
1296:Kent
1231:The
1027:and
1021:Ovid
722:care
585:Tale
388:and
341:and
290:Text
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