Editing The Canterbury Tales (section)

==Style==
[[File:Hengwrt Chaucer (f.2.r) title page.jpg|thumb|Title page of Geoffrey Chaucer's ''Canterbury Tales'' in the hand of "Scribe B", identified as [[Adam Pinkhurst]], {{circa|1400}}.]]
The variety of Chaucer's tales shows the breadth of his skill and his familiarity with many literary forms, linguistic styles, and rhetorical devices. Medieval schools of rhetoric at the time encouraged such diversity, dividing literature (as [[Virgil]] suggests) into high, middle, and low styles as measured by the density of rhetorical forms and vocabulary. Another popular method of division came from [[St. Augustine]], who focused more on audience response and less on subject matter (a Virgilian concern). Augustine divided literature into "majestic persuades", "temperate pleases", and "subdued teaches". Writers were encouraged to write in a way that kept in mind the speaker, subject, audience, purpose, manner, and occasion. Chaucer moves freely between all of these styles, showing favouritism to none.<ref name="empathy article">{{Cite web|url=http://thegemsbok.com/art-reviews-and-articles/tuesday-tome-canterbury-tales-geoffrey-chaucer/|title=Puppetry and the "Popet:" Fiction, Reality, and Empathy in Geoffrey Chaucer's ''Canterbury Tales''|last=Podgorski|first=Daniel|date=29 December 2015|website=The Gemsbok|access-date=17 March 2016}}</ref> He not only considers the readers of his work as an audience, but the other pilgrims within the story as well, creating a multi-layered rhetoric.<ref>Cooper, 22–24.</ref>

With this, Chaucer avoids targeting any specific audience or social class of readers, focusing instead on the characters of the story and writing their tales with a skill proportional to their social status and learning. However, even the lowest characters, such as the Miller, show surprising rhetorical ability, although their subject matter is more lowbrow. Vocabulary also plays an important part, as those of the higher classes refer to a woman as a "lady", while the lower classes use the word "wenche", with no exceptions. At times the same word will mean entirely different things between classes. The word "pitee", for example, is a noble concept to the upper classes, while in the ''Merchant's Tale'' it refers to sexual intercourse. Again, however, tales such as the ''Nun's Priest's Tale'' show surprising skill with words among the lower classes of the group, while the ''Knight's Tale'' is at times extremely simple.<ref>Cooper, 24–25.</ref>

Chaucer uses the same meter throughout almost all of his tales, with the exception of ''Sir Thopas'' and his prose tales. This is a line characterised by five stressed syllables, usually alternating with unstressed syllables to produce lines usually of [[Decasyllable|ten syllables]], but often eleven and occasionally nine; occasionally a [[caesura]] can be identified around the middle of a line. This metre was probably inspired by French and Italian forms. Chaucer's meter would later develop into the heroic meter of the 15th and 16th centuries sometimes known as [[riding rhyme]], and is an ancestor of [[iambic pentameter]]. Chaucer's verse is usually also characterised by [[Couplet|couplet rhyme]], but he avoided allowing couplets to become too prominent in ''The Canterbury Tales'', and four of the tales (the Man of Law's, Clerk's, Prioress', and Second Nun's) use [[rhyme royal]].<ref>Cooper, 25–26.</ref><ref>Norman Davies, 'Language and Versification', in ''The Riverside Chaucer'', ed. by Larry D. Benson, 3rd edn (Oxford: Oxford University Press, 1987), pp. xxv-xli (pp. xxxix-xl).</ref>