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Geoffrey<br />

Chaucer<br />

35<br />

‘Tee hee!’ she cried and clapped the window to<br />

(The Miller’s Tale)<br />

All Chaucer’s earlier writing can be seen to lead to his masterpiece, The<br />

Canterbury Tales. He probably began writing it around 1387 and the work<br />

was uncompleted at his death in 1400. The idea of using a series of linked<br />

stories appears in The Legend of Good Women, but the greatest innovation<br />

is to use the ‘here and now’: the London area and English society of the<br />

time. Originally, 120 tales were planned, with each of thirty pilgrims from<br />

Southwark to Canterbury telling two tales on the way there and two on the<br />

way back. Rather less than a quarter of the project was realised, but the<br />

whole range of genres, styles, and subjects which history and tradition,<br />

England and Europe offered Chaucer were exploited in these tales.<br />

Why Canterbury? Why Southwark? Why, indeed, April, in the famous<br />

opening lines of the prologue?<br />

When that April with his showers sote [sote: sweet]<br />

The drought of March hath pierced to the root . . .<br />

Canterbury and Southwark bring together the religious and the secular.<br />

Canterbury Cathedral was the site of the martyrdom of Saint Thomas à<br />

Becket in 1170, during the reign of Henry II. As such, it became a shrine,<br />

the object of pilgrimage in a British sense, reflecting the duty of pilgrimage<br />

to Jerusalem which was the inspiration for the Crusades in the twelfth<br />

and thirteenth centuries. Some critics see a literal ‘falling off ’, or decadence,<br />

in this jolly jaunt. Compared to the high but conventional ideals of the<br />

Crusades and the noble intentions of the heroes of earlier literature, there<br />

is certainly a ‘decline’ to more day-to-day concerns. This is all part of an<br />

underlying reflection on religion and the individual in the modern world,<br />

reflected in many texts, from Winner and Waster to Patience and beyond.<br />

The starting point of the journey, the Tabard Inn at Southwark,<br />

represents the city, the new focal institution in society. The inn’s role<br />

as meeting place and hostelry affirms the importance of drinking and<br />

conviviality in this society. It is not new: the scops sang of the deeds<br />

of Beowulf at feasts in castle halls, and convivial celebration is important<br />

in that society too. But there is a new social order here, with people

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