II INTERNATIONAL SCIENTIFIC CONFERENCE OF YOUNG RESEARCHERS
353
Qafqaz University
18-19 April 2014, Baku, Azerbaijan
Geoffrey Chaucer is remembered as the author of many works such as “The House of Fame”, “The Legend of Good
Women”, “Troilus and Criseyde”, “Book of the Duchess”, and “The Canterbury Tales” which is regarded as the
masterpiece of Chaucer’s literary creation. This is the collection of stories recited by pilgrims who are on their way to St.
Thomas Becket’s tomb in Canterbury. The tales reflect characters from every stage of feudal society and expose the
contradictions of characters’ social roles. G. Chaucer gives an ironic and critical portrait of English society in the Middle
Ages with the help of tales narrated by pilgrims.
The work consists of twenty four tales and starts with General Prologue with a description of spring which creates the
frame for the tales and introduces the characters – pilgrims who are the representatives of Medieval English society. Among
thirty pilgrims there are only a few female characters with whom the reader can get a vivid description of Medieval English
women and their responsibilities in society. The tales told by female narrators in “Canterbury Tales” are the demonstration
of individual dreams and hopes of women who are not satisfied with the tradition which defines their position in society and
the strong desire of changing this position is also reflected in these tales.
There are only three female pilgrims among Chaucer’s characters who are named as the Wife of Bath, the Prioress and
the Second Nun. The Wife of Bath has a lot of experience in life. She has travelled all over the world on pilgrimages and
has been married five times. She is rich and tasteful. Her clothes, scarlet stockings, soft, fresh, brand new leather on her
shoes, all indicate how wealthy she has become. In her image the reader can see the woman who is seeking freedom, trying
to gain power and struggle for autonomy. In her prologue, she discusses two themes. The first is about her five marriages
and her tactics for gaining power and financial independence through the use of her body. The second theme is her
dissatisfaction with current religious thought. Alison is a Christian and is undergoing a pilgrimage, but she doesn’t blindly
trust and accept the religious authorities’ interpretation of the Bible. She goes against it and defends her rights as a woman.
She also protests against patriarchal society. Her main reason to criticize it is her experience in life; as a wife, as a
professional cloth maker, her dealings with the bourgeoisie associated with trading, her traveling, and her experiences with
different social classes.
Another female pilgrim is the Prioress. Madam Eglantine is an ambiguous character from the very beginning. She has
two sights. In the General Prologue she is described as a courtly, genteel, aristocratic nun, but there is a contradiction
between her appearance, manners and the story she told. Her story of the martyred child resembles popular saints' stories of
the day. Her harsh judgment of the Jews is the reflection of common medieval Catholic beliefs. The violent nature of the
events in the story seem to be in contradiction to a personality as sensitive as the Prioress's is supposed to be, suggesting
that she may be much tougher than she wishes to reveal. In her image, Chaucer criticizes the church and its requirements of
that period.
The last female character is the Second Nun. The Second Nun is not described in General Prologue. She seems an
anonymous character with no voice of her own. She doesn’t speak to other pilgrims, only tells her story when asked. In her
tale, she only presents a saint’s life, a standard story, not different from what is expected of her as a nun. She is considered
to be the image of nun who fulfills the requirements of her religion, and the theme of her story shows similarities with her
character and thoughts. She chooses her heroine out of admiration, the heroine who believes that only God has authority
over her, suggesting that Nun also believes the same.
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