The Canterbury Tales - ‘prologue’ - Chaucer
Rhyme and rhythm
This activity will work best if given out to students first, (independently of the grid on pages 3&4). This
is due to the fact that observant students will notice that the grid sheets contain the answers to this
exercise!
Poetic structure and the couplet
Below are some comments about Chaucer’s use of the rhyming couplet and other poetic devices
but key words have been removed. Try to work out which word from the box below would fit
into each space.

Often the rhymes aren’t ....................................................... unless for a particular purpose, e.g.
the emphatic first four lines of ‘The Knight’s Tale’.

Chaucer uses ....................................................... rhyming couplets, with some variation.

The couplets tend to form part of an ongoing sequence of forward movement. They tend to
be incomplete, not end-stopped. The effect is therefore ........................................................
This contributes to the narrative energy of ‘The Prologue’ (e.g. lines 6-8).

For effect some emphatic ....................................................... lines are used. (e.g. l. 693).

The verb ‘to be’ is used often and has a direct, emphatic effect (e.g. ll. 330-340).

Some lines follow a loosely parallel structure (e.g. ll. 67/8) in terms of their grammar/syntax.
Rhyming words may be the same part of speech (ll. 491/2, 499/500 – and there’s an interesting
....................................................... rhyme here, also).

Remember that the poem is part of an oral tradition of poetry. Look for the use of
....................................................... effects (ll. 575-7).

There is a combination of homely, familiar phrases/similes and more learned, even
....................................................... references (e.g. ll. 89-92, 255/6, 334-8, 641-8).

Between the lines within certain couplets (e.g. ll. 125/6, 149/150) there may be an
....................................................... tension.

Chaucer sometimes uses ....................................................... and heavy pauses. They convey
the weight and solidity of the Miller’s physique, for example. (e.g. 547/8, 551/2).

Fillers and other techniques are used to create flexible rhyme. Optional use of the final ‘e’,
wide vocabulary, variety of exclamations, ....................................................... (use of extra
words) etc.

Key words or images may occur at the beginning or end of the line (e.g. ll. 686 and 708).

Note the catalogue effect (e.g. ll. 597-601). Repetition (e.g. ‘conscience’ in ll.142-150).
....................................................... (e.g. ll. 509-516).

Use of ironical ....................................................... of the two lines within a couplet (e.g. ll.
323/4).
stresses
rhetorical
courtly
antithesis
cumulative
juxtaposition
internal
end-stopped
decasyllabic
ironic
emphasised
pleonasms
© 2008 www.teachit.co.uk
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Page 1 of 4
The Canterbury Tales - ‘prologue’ - Chaucer
Rhyme and rhythm
Poetic structure and the couplet - answers
Below are some comments about Chaucer’s use of the rhyming couplet and other poetic devices
but key words have been removed. Try to work out which word from the box below would fit
into each space.

Often the rhymes aren’t emphasised unless for a particular purpose, e.g. the emphatic first
four lines of ‘The Knight’s Tale’.

Chaucer uses decasyllabic rhyming couplets, with some variation.

The couplets tend to form part of an ongoing sequence of forward movement. They tend to
be incomplete, not end-stopped. The effect is therefore cumulative. This contributes to
the narrative energy of ‘The Prologue’ (e.g. lines 6-8).

For effect some emphatic end-stopped lines are used. (e.g. l. 693).

The verb ‘to be’ is used often and has a direct, emphatic effect (e.g. ll. 330-340).

Some lines follow a loosely parallel structure (e.g. ll. 67/8) in terms of their grammar/syntax.
Rhyming words may be the same part of speech (ll. 491/2, 499/500 – and there’s an interesting
internal rhyme here, also).

Remember that the poem is part of an oral tradition of poetry. Look for the use of
rhetorical effects (ll. 575-7).

There is a combination of homely, familiar phrases/similes and more learned, even courtly
references (e.g. ll. 89-92, 255/6, 334-8, 641-8).

Between the lines within certain couplets (e.g. ll. 125/6, 149/150) there may be an ironic
tension.

Chaucer sometimes uses stresses and heavy pauses. These convey the weight and solidity
of the Miller’s physique, for example. (e.g. 547/8,551/2).

Fillers and other techniques are used to create flexible rhyme. Optional use of the final ‘e’,
wide vocabulary, variety of exclamations, pleonasms (use of extra words) etc.

Key words or images may occur at the beginning or end of the line (e.g. ll. 686 and 708).

Note the catalogue effect (e.g. ll. 597-601). Repetition (e.g. ‘conscience’ in ll.142-150).
Antithesis (e.g. ll. 509-516).

Use of ironical juxtaposition of the two lines within a couplet (e.g. ll. 323/4).
© 2008 www.teachit.co.uk
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Page 2 of 4
The Canterbury Tales - ‘prologue’ - Chaucer
Rhyme and rhythm
Complete the table below with examples from the text. Some examples have been given a page
reference to help you; others you should search out yourselves.
Feature
The rhymes are often
only emphasised for a
particular purpose.
Where?
Quotation
The emphatic first four lines of the
Knight’s portrait.
Chaucer uses
decasyllabic rhyming
couplets (with some
variation).
The couplets tend to
form an ongoing
forward sequence
(not end-stopped).
Line 693. What effect is created?
There are some
emphatic end-stopped
lines.
Note the frequent use
of the direct and
emphatic verb ‘to be’.
a) Some lines follow a
loosely parallel
structure. b) Rhyming
words may be the
same part of speech.
The poem is part of
an oral tradition.
Note the use of
rhetorical effects.
© 2008 www.teachit.co.uk
a) 67/8
Lines 575-7
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Page 3 of 4
The Canterbury Tales - ‘prologue’ - Chaucer
Feature
Rhyme and rhythm
Where?
Quotation
Note the combination
of homely, familiar
phrases and more
learned, courtly
terms.
There may be an
ironic tension
between lines within
certain couplets.
Chaucer sometimes
uses stresses and
heavy pauses within
the lines.
The Prioress: 125/6, 149/50.
The brutal weight of the Miller’s
physique is thus conveyed: 547/8,
551/2
Note the use of fillers
and other techniques
to create flexible
rhyme.
Key words or images
may occur at the
beginning or end of
the line.
686 and 708 (The Pardoner)
Note the catalogue
effect created by
repetition and
antithesis.
Note the emphatic,
energetic effect of
words like ‘ful’ and
‘verray’.
© 2008 www.teachit.co.uk
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