There is a visible purpose of keeping up the RESPECTABILITY of the company. If the MILLER, the COKE, the REVE, and the SOMPNOUR, stand on a somewhat low step of the social stair--the HABERDASHER, the CARPENTER, the WEBBE (Weaver)--the DYER and the TAPISER--who are lumped in the poet's description-- "Were al yclothed in ye liveree, _Of a solempne and gret fraternitee_. * * * * _Wel semed ech of hem a fayr burgeis_, _To sitten in a gild halle_, ON THE DEIS." They are of wisdom qualifying them to stand for Aldermen of their wards. Their wives are 'ycleped Madame'--take precedency in going to vigils--and have ----"A mantel reallich (_i.e._ royally) yborne." Even our honest friend the Southwark innkeeper, Henry Bailey, has an air of dignity thrown over him. He was "A semely man-- For to have ben _a marshal in an halle_. _A large man_ he was, with eyen stepe,[30] _A fairer burgeis is ther non in Chepe_. Bold of his speche, and wise and _wel ytaught_, And of manhood him lacked righte nought." Moreover, even that chief of poetical Taverns, the TABARD, is designated as "This _gentil_ hostelrie." No wonder! since "The _chambres and the stables weren wide_, And _wel we weren esed_ ATTE BESTE." The Tales are, in some respect, like an extension of the Prologue. They carry out the characters, or the spirit of the characters, there drawn. Thus, if the chivalry of the time is impersonated, in respect of its valour, honour, and courteous demeanour, in the Knight, in his Tale it mounts into poetical aspiration, and shines out in regal splendour. The contrast, due to the different years of the father and the son, is in part disappointed by the cross destiny which has ----"left half-told The story of Cambuscan bold."