General Prologue: Introduction
General Prologue: The Knight through the Man of Law
General Prologue: The Franklin through the Pardoner
General Prologue: Conclusion
The Knight's Tale, Parts 1–2
The Miller's Prologue and Tale
The Wife of Bath's Prologue
The Wife of Bath's Prologue (continued)
The Wife of Bath's Tale
The Pardoner's Introduction, Prologue, and Tale
The Nun's Priest's Prologue, Tale, and Epilogue
The Pardoner
The Wife of Bath
Wife of Bath
The Reeve
The Knight's Tale, Parts 1-2
The Miller's Prologue and Tale
The Wife of Bath's Prologue
The Wife of Bath's Prologue (continued)
The Wife of Bath's Tale
The Pardoner's Introduction, Prologue, and Tale
The Nun's Priest's Prologue, Tale, and Epilogue
How To Cite No Fear The Canterbury Tales
Main ideas Motifs
Motifs are recurring structures, contrasts, and literary devices that can help to develop and inform the text's major themes.
The romance, a tale about knights and ladies incorporating courtly love themes, was a popular literary genre in fourteenth-century literature. The genre included tales of knights rescuing maidens, embarking on quests, and forming bonds with other knights and rulers (kings and queens). In particular, the romances about King Arthur, his queen, Guinevere, and his society of "knights of the round table" were very popular in England. In The Canterbury Tales, the Knight's Tale incorporates romantic elements in an ancient classical setting, which is a somewhat unusual time and place to set a romance. The Wife of Bath's Tale is framed by Arthurian romance, with an unnamed knight of the round table as its unlikely hero, but the tale itself becomes a proto-feminist's moral instruction for domestic behavior. The Miller's Tale ridicules the traditional elements of romance by transforming the love between a young wooer and a willing maiden into a boisterous and violent romp.
Fabliaux
Fabliaux were comical and often grotesque stories in which the characters most often succeed by means of their sharp wits. Such stories were popular in France and Italy in the fourteenth century. Frequently, the plot turns or climaxes around the most grotesque feature in the story, usually a bodily noise or function. The Miller's Tale is a prime experiment with this motif: Nicholas cleverly tricks the carpenter into spending the night in his barn so that Nicholas can sleep with the carpenter's wife; the finale occurs when Nicholas farts in Absolon's face, only to be burned with a hot poker on his rear end. In the Summoner's Tale, a wealthy man bequeaths a corrupt friar an enormous fart, which the friar divides twelve ways among his brethren. This demonstrates another invention around this motif—that of wittily expanding a grotesque image in an unconventional way. In the case of the Summoner's Tale, the image is of flatulence, but the tale excels in discussing the division of the fart in a highly intellectual (and quite hilarious) manner.
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NO FEAR No Fear The Canterbury Tales
CHARACTERS The Knight: Character Analysis