The “General Prologue” to Geoffrey Chaucer’s Canterbury Tales serves as an extraordinary tapestry, weaving together a vibrant cross-section of medieval English society through its vivid portrayal of a diverse group of pilgrims. Each character sketch, though brief, is meticulously crafted, offering glimpses into their appearance, profession, social standing, and moral complexities. Among this memorable assembly, one figure stands out with remarkable clarity and boldness: the Wife of Bath. Her description is among the most extensive and striking in the entire prologue, immediately establishing her as a character of formidable presence, unconventional wisdom, and a truly unique persona within the literary landscape of 14th century English literature.
Chaucer’s narrator, often assumed to be a slightly naive but keen observer, introduces the Wife of Bath with a blend of admiration, bemusement, and a hint of the awe she inspires. From her distinctive attire to her revealing physical characteristics and her much-discussed marital history, every detail contributes to a multifaceted portrait of a woman who defies easy categorization. She is presented not merely as a pilgrim on a religious journey, but as a robust, worldly, and experienced individual whose life story and personality are deeply etched into her very being, setting the stage for one of the most engaging and controversial narratives within the entire collection.
The Wife of Bath in "The General Prologue"
The Wife of Bath, named Alisoun (though her name is revealed later in her own prologue, the General Prologue only refers to her as the Wife of Bath from near Bath City), is introduced as a character of considerable means and strong will. Her financial independence is immediately evident through her profession: she is a highly skilled weaver of cloth, so adept that “She passed hem of Ypres and of Gaunt.” This comparison to the renowned textile centers of Flanders underscores her exceptional craftsmanship and commercial success, suggesting a woman who is not reliant on a husband for her livelihood. This economic autonomy is crucial to understanding her assertiveness and freedom, particularly in a period where women’s roles were largely circumscribed by their marital status and male guardianship. Her wealth also manifests in her elaborate and expensive attire, which serves as a visual testament to her status and perhaps, her vanity.
Her dress is particularly noteworthy. She wears “coverchiefs” (head coverings) described as “ful fyne of ground” and weighing “ten pound.” These are not modest coverings; their sheerness and weight suggest luxurious fabric and a considerable quantity, perhaps layered, indicating both opulence and a desire to be noticed. Even more striking are her “hosen” (stockings), which are “of fyn scarlet reed.” Red was an expensive dye and a bold, attention-grabbing color, often associated with passion, wealth, and a lack of conventional modesty in medieval iconography. This choice of vibrant red stockings immediately signals her vivacious personality and perhaps her less-than-pious demeanor. Her “newe shoes ful streite ylaced” further emphasize her attention to fashionable detail and her willingness to spend on personal adornment, reinforcing her image as a woman of means and perhaps a certain flamboyance.
Beyond her attire, her physical appearance is described with specific, telling details. Her face is “bold and fair, and reed of hewe,” suggesting a healthy, robust complexion, perhaps flushed from outdoor living or a lively temperament. One of the most famous and intriguing details is that “Gat-tothed was she, soothly for to seye.” Being gap-toothed was, in medieval physiognomy, sometimes seen as a sign of boldness, lustfulness, luck, or a tendency to travel extensively. For the Wife of Bath, it seems to encapsulate all these traits, pointing to her adventurous spirit and her extensive experience in matters of love and life. Her “large hips” are also mentioned, a detail that could signify fertility and a sensual nature, aligning with her later revelations about her marital history. Finally, a small but significant detail is that she was “somdeel deef” (somewhat deaf), a physical impairment that is subtly introduced here but gains greater resonance in her own prologue, hinting at a possible past injury or simply adding another layer to her character’s realism.
Her social behavior and standing within her community are also highlighted. The narrator notes her pride and insistence on social precedence, particularly in religious ceremonies. At the parish church, “In al the parisshe, wyf ne was ther noon / That to the offrynge bifore hire sholde goon.” If anyone dared to precede her, she would become so angry “that she was out of alle charitee.” This detail reveals a woman who demands respect and recognition, whose piety is perhaps intertwined with a strong sense of personal importance and social decorum. Her desire to be first, even in acts of charity, subtly hints at a competitive spirit and a focus on outward appearances rather than pure spiritual devotion, making her an intriguing blend of the devout and the worldly.
Analysis of her Portrayal
The most significant and memorable aspect of the Wife of Bath’s description in the General Prologue is her marital history. The narrator states, without embellishment, that “Housbondes at chirche dore she hadde fyve, / Withouten oother compaignye in youthe.” This is a profoundly shocking detail for the medieval period. While remarriage was permissible, having five husbands was highly unusual, often suggesting a woman of loose morals or one who was remarkably fortunate (or perhaps unfortunate) in outliving her spouses. The phrase “at chirche dore” is crucial, indicating legitimate, church-sanctioned marriages, not illicit affairs. This fact immediately positions her as a woman of immense experience in matrimony, someone who has navigated the complexities of five separate unions. The additional phrase “withouten oother compaignye in youthe” is ambiguous; it could mean without other formal relationships before her first marriage, or it could be a subtle ironic jab implying other, less formal “company” that the narrator chooses to omit or is unaware of. Regardless, her five legitimate marriages set her apart dramatically from nearly all other women of her time and serve as the cornerstone of her identity and authority in the narrative.
Building on her marital experience, the narrator explicitly attributes to her a deep knowledge of relationships: “She koude of that art the olde daunce.” This idiomatic phrase means she knew all the tricks, strategies, and intricate maneuvers of love and courtship. It signifies her practical wisdom and expertise in matters of the heart, particularly from a woman’s perspective. This statement is a powerful foreshadowing of her own Prologue and Tale, where she will indeed demonstrate an unparalleled understanding of marital dynamics, gender power struggles, and the intricacies of sexual politics. She is not merely a woman who has been married five times; she is a woman who has mastered the art of marriage and relationships, emerging from them with a wealth of hard-won knowledge and perhaps a cynical wisdom.
Her extensive travels further contribute to her portrayal as a worldly and experienced figure. The narrator lists an impressive itinerary of pilgrimages: “She hadde passed many a straunge strem; / At Rome she hadde been, and at Boloigne, / In Galice at Seint-Jame, and at Coloigne.” Most notably, “Thries hadde she been at Jerusalem.” These are not light excursions; medieval pilgrimages, especially to the Holy Land, were arduous, expensive, and often dangerous undertakings. Her multiple journeys, particularly to Jerusalem, underscore her adventurous spirit, her financial capability, and perhaps a deeper, if unconventional, spiritual quest. These travels suggest a woman who seeks out new experiences, is unafraid of challenges, and has seen much of the world beyond her local parish. While pilgrimages were ostensibly for religious devotion, for the Wife of Bath, they might also serve as opportunities for social engagement, personal exploration, or even, as some critics suggest, a search for new husbands or adventures. Her worldly travels complement her marital history, reinforcing her image as a woman of profound life experience.
Chaucer’s narrator presents the Wife of Bath with a complex and nuanced tone. There is no overt condemnation, but rather a keen, observational eye that notes her distinctive qualities without explicit judgment. The narrator seems somewhat fascinated by her boldness and unconventionality. The description is rich with details that allow the reader to form their own opinions, but the overall impression is one of a formidable, engaging, and unforgettable character. She is a woman of contradictions: ostensibly on a religious pilgrimage, yet deeply concerned with worldly matters like fashion, social status, and marital dynamics. Her piety, if present, is certainly intertwined with a robust sensuality and a practical, unsentimental view of life and love.
The accumulation of these details in the General Prologue creates a powerful archetype: the strong, independent woman who challenges medieval gender norms. She is a woman who has not only survived five marriages but seemingly thrived through them, gathering knowledge and asserting her will. Her physical attributes (gap-toothed, large hips, red complexion), her luxurious clothing (scarlet stockings, fine kerchiefs), her profession (skilled weaver), her social demeanor (prideful precedence at offerings), her extensive travels, and above all, her five marriages and expertise in love, all combine to paint a portrait of a woman who is larger than life. She is a figure of considerable vitality, worldliness, and a forthrightness that would have been shocking yet intriguing to Chaucer’s contemporary audience. This initial sketch masterfully sets the stage for her full emergence as a character of profound literary and social significance within The Canterbury Tales.
In essence, the Wife of Bath as introduced in “The General Prologue” is a masterful creation, immediately capturing the reader’s attention with her distinctive physical appearance, her vibrant clothing, and her highly unconventional life story. She stands out not only through her detailed outward description—her expensive wimples, her bold scarlet stockings, her gap-toothed grin, and her large hips—but also through the fascinating hints about her inner world and past experiences. The narrator’s depiction emphasizes her impressive financial independence as a weaver, her demanding nature regarding social precedence, and her extraordinary record of five legitimate marriages, all presented with an intriguing blend of fascination and objective observation.
Furthermore, her extensive pilgrimages to distant lands highlight her adventurous spirit and worldly experience, contrasting subtly with the conventional religious piety expected of pilgrims. Above all, her declared expertise in the “olde daunce” of love and marriage establishes her as an authoritative voice on the most intimate aspects of human relationships. This comprehensive initial sketch in the “General Prologue” does more than just introduce a character; it fully prepares the reader for one of the most memorable and complex voices in English literature, a woman whose life, opinions, and experiences offer a profoundly rich and provocative exploration of gender, power, and societal expectations in the medieval world. She is not merely a pilgrim but a living testament to a life lived fully, boldly, and on her own terms.