The Prologue to Geoffrey Chaucer’s The Canterbury Tales is a masterpiece of characterization and social commentary. This line-by-line explanation delves into the rich tapestry of Middle English verse, revealing the nuances of language and the vivid portraits of the pilgrims embarking on their journey to Canterbury.
From April Showers to Pilgrimage
The Prologue opens with a vibrant depiction of springtime:
1 Whan that Aprill with his shoures soote When April with its sweet-smelling showers
2 The droghte of March hath perced to the roote, Has pierced the drought of March to the root,
3 And bathed every veyne in swich licour And bathed every vein (of the plants) in such liquid
4 Of which vertu engendred is the flour; By which power the flower is created;
These lines establish a tone of renewal and rebirth, setting the stage for the pilgrimage. Chaucer’s language is evocative, appealing to the senses of smell and sight. The “sweet showers” contrast with the dry “drought of March,” emphasizing the life-giving force of April.
5 Whan Zephirus eek with his sweete breeth When the West Wind also with its sweet breath,
6 Inspired hath in every holt and heeth In every wood and field has breathed life into
7 The tendre croppes, and the yonge sonne The tender new leaves, and the young sun
8 Hath in the Ram his half cours yronne, Has run half its course in Aries,
The arrival of Zephyrus, the west wind, further reinforces the theme of spring’s arrival. The “tender crops” and “young sun” symbolize new beginnings. The astronomical reference to the sun in Aries places the pilgrimage in mid-April.
9 And smale foweles maken melodye, And small fowls make melody,
10 That slepen al the nyght with open ye Those that sleep all the night with open eyes
11 (So priketh hem Nature in hir corages), (So Nature incites them in their hearts),
The songs of birds, driven by their natural instincts (“corages”), add to the vibrant atmosphere. Even their sleeplessness suggests an eager anticipation of the season.
12 Thanne longen folk to goon on pilgrimages, Then folk long to go on pilgrimages,
Finally, Chaucer connects the natural world with human activity. The burgeoning of spring inspires people to undertake pilgrimages, a common practice in medieval times.
13 And palmeres for to seken straunge strondes, And professional pilgrims to seek foreign shores,
14 To ferne halwes, kowthe in sondry londes; To distant shrines, known in various lands;
15 And specially from every shires ende And specially from every shire’s end
16 Of Engelond to Caunterbury they wende, Of England to Canterbury they travel,
17 The hooly blisful martir for to seke, To seek the holy blessed martyr,
18 That hem hath holpen whan that they were seeke. Who helped them when they were sick.
These lines introduce the specific pilgrimage to Canterbury, focusing on the shrine of Thomas Becket, the “holy blissful martyr.” The pilgrims seek his aid, hoping for healing and spiritual solace.
The Gathering at the Tabard Inn
Chaucer then places himself within the narrative:
19 Bifil that in that seson on a day, It happened that in that season on one day,
20 In Southwerk at the Tabard as I lay In Southwark at the Tabard Inn as I lay
21 Redy to wenden on my pilgrymage Ready to go on my pilgrimage
22 To Caunterbury with ful devout corage, To Canterbury with a very devout spirit,
He describes his own intention to join the pilgrimage, staying at the Tabard Inn in Southwark, a common starting point for journeys to Canterbury.
23 At nyght was come into that hostelrye At night had come into that hostelry
24 Wel nyne and twenty in a compaignye Well nine and twenty in a company
25 Of sondry folk, by aventure yfalle Of various sorts of people, by chance fallen
26 In felaweshipe, and pilgrimes were they alle, In fellowship, and they were all pilgrims,
27 That toward Caunterbury wolden ryde. Who intended to ride toward Canterbury.
He encounters a diverse group of twenty-nine pilgrims, brought together by chance (“aventure”) and a shared destination.
28 The chambres and the stables weren wyde, The bedrooms and the stables were spacious,
29 And wel we weren esed atte beste. And we were well accommodated in the best way.
The Tabard Inn is depicted as comfortable and accommodating.
30 And shortly, whan the sonne was to reste, And in brief, when the sun was (gone) to rest,
31 So hadde I spoken with hem everichon I had so spoken with everyone of them
32 That I was of hir felaweshipe anon, That I was of their fellowship straightway,
33 And made forward erly for to ryse, And made agreement to rise early,
34 To take oure wey ther as I yow devyse. To take our way where I (will) tell you.
Chaucer quickly becomes part of the group, agreeing to travel with them.
A Promise of Tales
Before beginning the journey, Chaucer sets the framework for the Tales themselves:
35 But nathelees, whil I have tyme and space, But nonetheless, while I have time and opportunity,
36 Er that I ferther in this tale pace, Before I proceed further in this tale,
37 Me thynketh it acordaunt to resoun It seems to me in accord with reason
38 To telle yow al the condicioun To tell you all the circumstances
39 Of ech of hem, so as it semed me, Of each of them, as it seemed to me,
40 And whiche they weren, and of what degree, And who they were, and of what social rank,
41 And eek in what array that they were inne; And also what clothing that they were in;
42 And at a knyght than wol I first bigynne. And at a knight then will I first begin.
He promises to describe each pilgrim in detail, beginning with the Knight. This sets the stage for the individual portraits that form the heart of the Prologue. From here, Chaucer launches into his vivid descriptions of each pilgrim, offering a window into medieval society and the human condition. This line-by-line analysis provides a starting point for understanding the richness and complexity of Chaucer’s language and the enduring appeal of The Canterbury Tales.