Editing The Canterbury Tales (section)

===Social class and convention===
[[File:Bors and Lionel.jpg|thumb|left|[[Bors]]' Dilemma – he chooses to save a maiden rather than his brother [[Sir Lionel|Lionel]]]]
The upper class or nobility, represented chiefly by the Knight and his Squire, was in Chaucer's time steeped in a culture of chivalry and courtliness. Nobles were expected to be powerful warriors who could be ruthless on the battlefield yet mannerly in the King's Court and Christian in their actions.<ref>Bisson, pp. 123–31.</ref> Knights were expected to form a strong social bond with the men who fought alongside them, but an even stronger bond with a woman whom they idealised to strengthen their fighting ability.<ref>Bisson, pp. 132–34.</ref> Though the aim of chivalry was to noble action, its conflicting values often degenerated into violence. Church leaders frequently tried to place restrictions on jousts and tournaments, which at times ended in the death of the loser. [[The Knight's Tale]] shows how the brotherly love of two fellow knights turns into a deadly feud at the sight of a woman whom both idealise. To win her, both are willing to fight to the death. Chivalry was on the decline in Chaucer's day, and it is possible that The Knight's Tale was intended to show its flaws, although this is disputed.<ref>Bisson, pp. 139–42.</ref> Chaucer himself had fought in the [[Hundred Years' War]] under [[Edward III]], who heavily emphasised chivalry during his reign.<ref>Bisson, p. 138.</ref> Two tales, ''[[Sir Topas]]'' and ''[[The Tale of Melibee]]'', are told by Chaucer himself, who is travelling with the pilgrims in his own story. Both tales seem to focus on the ill-effects of chivalry—the first making fun of chivalric rules and the second warning against violence.<ref>Bisson, pp. 141–42.</ref>

The ''Tales'' constantly reflect the conflict between classes. For example, the division of [[Estates of the realm|the three estates]]: the characters are all divided into three distinct classes, the classes being "those who pray" (the clergy), "those who fight" (the nobility), and "those who work" (the commoners and peasantry).<ref>Bisson, p. 143.</ref> Most of the tales are interlinked by common themes, and some "quit" (reply to or retaliate against) other tales. Convention is followed when the Knight begins the game with a tale, as he represents the highest social class in the group. But when he is followed by the Miller, who represents a lower class, it sets the stage for the ''Tales'' to reflect both a respect for and a disregard for upper class rules. Helen Cooper, as well as Mikhail Bakhtin and Derek Brewer, call this opposition "the ordered and the grotesque, [[Lent]] and [[Carnival]], officially approved culture and its riotous, and high-spirited underside."<ref name=opp>Cooper, 19</ref> Several works of the time contained the same opposition.<ref name=opp/>