In the prologue to his Canterbury Tales, Chaucer describes a cross section of 14th-century life in England. Because of the pilgrims he describes, we have a very vivid description of what life was like in his time. For this assignment, you are to do the same thing for 21st century America. You are Geoffrey Chaucer – except you don't have to use heroic couplets (unless you really want to!) First, you need to come up with your "frame story," a place or event that would bring all walks of life together. In Chaucer's time, this was a pilgrimage. In our lifetime, what would bring different kinds of people together – different ages, backgrounds, ethnicities, religions, income? In a paragraph, describe this place or event.
Next, you need to describe “pilgrims” who are at this place or event. Remember, you are trying to get a wide variety in order to encompass 21st century America. Describe six people. Be like Chaucer: "It seems a reasonable thing to say What their condition was, the full array Of each of them, as it appeared to me, According to profession and degree, And what apparel they were riding in ...
Write at least a paragraph describing each of your pilgrims. Be sure to include their profession, economic status, physical description, etc. Other things to consider are education, religion, ethnicity, age, where they live

What the General Prologue offers is a brief, often very visual description of each pilgrim, focusing on details of their background, as well as key details of their clothing, their food likes and dislikes, and their physical features. These descriptions fall within a common medieval tradition of portraits in words (which can be considered under the technical term ekphrasis), Chaucer's influence in this case most likely coming from The Romaunt de la Rose.

Immediately, our narrator insists that his pilgrims are to be described by 'degree'. By the fact that the Knight, the highest-ranking of the pilgrims, is selected as the first teller, we see the obvious social considerations of the tale. Still, all human life is here: characters of both sexes, and from walks of life from lordly knight, or godly parson down to oft-divorced wife or grimy cook.

Each pilgrim portrait within the prologue might be considered as an archetypal description. Many of the 'types' of characters featured would have been familiar stock characters to a medieval audience: the hypocritical friar, the rotund, food-loving monk, the rapacious miller are all familiar types from medieval estates satire (see Jill Mann's excellent book for more information). Larry D. Benson has pointed out the way in which the characters are paragons of their respective crafts or types - noting the number of times the words 'wel koude' and 'verray parfit' occur in describing characters.

Yet what is key about the information provided in the General Prologue about these characters, many of whom do appear to be archetypes, is that it is among the few pieces of objective information - that is, information spoken by our narrator that we are given throughout the Tales. The tales themselves (except for large passages of the prologues and epilogues) are largely told in the words of the tellers: as our narrator himself insists in the passage. The words stand for themselves: and we interpret them as if they come from the pilgrims' mouths. What this does - and this is a key thought for interpreting the tales as a whole - is to apparently strip them of writerly license, blurring the line between Chaucer and his characters.

Thus all of the information might be seen to operate on various levels. When, for example, we find out that the Prioress has excellent table manners, never allowing a morsel to fall on her breast, how are we to read it?

Is this Geoffrey Chaucer 'the author of The Canterbury Tales' making a conscious literary comparison to The Romaunt de la Rose, which features a similar character description (as it happens, of a courtesan)?

Is this 'Chaucer' our narrator, a character within the Tales providing observation entirely without subtext or writerly intention? Or are these observations - supposedly innocent within the Prologue - to be noted down so as to be compared later to the Prioress' Tale?

Chaucer's voice, in re-telling the tales as accurately as he can, entirely disappears into that of his characters, and thus the Tales operates almost like a drama.

Where do Chaucer's writerly and narratorial voices end, and his characters' voices begin? This self-vanishing quality is key to the Tales, and perhaps explains why there is one pilgrim who is not described at all so far, but who is certainly on the pilgrimage - and he is the most fascinating, and the most important by far: a poet and statesman by the name of Geoffrey Chaucer.

answer:   a good wench, give it me.

iago

good girl, give it to me.

emilia

what will you do with ’t, that you have been so earnest

325to have me filch it?

emilia

and what are you going to do with it? why did you want it so much that you begged me to steal it?

iago

  why, what is that to you?

iago

what’s it to you?

emilia

if it be not for some purpose of import,

give ’t me again. poor lady, she’ll run mad

when she shall lack it.

emilia

if you don’t need it for some important reason, then give it back to me. poor lady, she’ll go crazy when she sees it’s missing.

iago

be not acknown on ’t,

330i have use for it. go, leave me.

iago

don’t admit to knowing anything about it. i need it. now go, leave me.

exit emilia

emilia exits.

i will in cassio’s lodging lose this napkin

and let him find it. trifles light as air

are to the jealous confirmations strong

as proofs of holy writ. this may do something.

335the moor already changes with my poison.

dangerous conceits are in their natures poisons

which at the first are scarce found to distaste,

but with a little act upon the blood

burn like the mines of sulfur.

i’ll leave this handkerchief at cassio’s house and let him find it.to a jealous man, a meaningless little thing like this looks like absolute proof. this handkerchief may be useful to me. the moor’s mind has already become infected with my poisonous suggestions. ideas can be like poisons. at first they hardly even taste bad, but once they get into your blood they start burning like hot lava.

enter othello

othello enters.

    i did say so.

340look, where he comes. not poppy nor mandragora

nor all the drowsy syrups of the world,

shall ever medicine thee to that sweet sleep

which thou owedst yesterday.

here he comes. no drugs or sleeping pills will ever give you the restful sleep that you had last night.

othello

    ha! ha! false to me?

othello

argh! she’s cheating on me?

iago

why, how now, general? no more of that.

iago

oh, general, , no more of that!

explanation: