The Wife of Bath, identified as Alice, stands out as one of the most vibrant and memorable characters in The Canterbury Tales. Renowned for her colorful attire with bright red clothing and a face to match, she embodies a larger-than-life presence. Her strong opinions and candid nature make her an outspoken figure; she never shies away from voicing her thoughts. Having married and outlived five husbands, she has emerged as a prosperous and independent businesswoman. Despite her assertiveness and independence, Alice professes a preference for being married and zealously defends the institution of marriage against any detractors, armed with personal experiences as proof. She dismisses the notion of virginity, instead ensuring her husbands labor to satisfy her desires. Her tale concludes with the theme that a woman's deepest wish is to have sovereignty over her own life. Through her character, Alice illustrates her belief that for marriage to thrive, a woman must hold dominion. This is vividly depicted in her narrative about a loathsome lady who transforms into a fair woman when her husband yields to her will.

The Pardoner is a quintessential charlatan and takes pride in his deceptive craft. As a pardoner, he is supposed to offer the sacrament of confession across various locations, yet he does so only for monetary gain. His hypocrisy is glaring as he ardently preaches against greed while his own life revolves around accumulating wealth through fraudulent relics and spiritual services, which ought to be freely given. The relics he peddles are mere animal bones and nondescript pieces of cloth, devoid of any authenticity. Despite this, he remains unrepentant, steadfastly living by his own rules and showing utter disregard for societal judgments. The Pardoner's tale, a sermon against the sin of avarice, ultimately serves as a hypocritical reflection of his own character, as he attempts to sell the same fake relics to his fellow pilgrims.

The Knight embodies the ideals of nobility, chivalry, and valor. A distinguished figure who has fought valiantly in numerous battles, he carries himself with humility, devoid of any pretentious pride. His attire and armor are notably worn, indicating his prioritization of the pilgrimage over personal appearance and suggestive of a possible act of penance. Accompanied by his son, the Squire, and his attendant, the Yeoman, the Knight narrates the first tale in the series, a metrical romance filled with themes of courtly love. It recounts the story of two young Theban noblemen, Palamon and Arcite, and their rivalry for the affection of Emily, the sister-in-law of Duke Theseus of Athens. The tale's dignified and reflective nature mirrors the Knight's own upright character.

The Prioress, Madame Eglentyn, travels with a small retinue, including another nun and three priests. She presents herself as a dainty and devout individual, sharing a narrative about a young martyr and his miraculous song to the Virgin Mary. However, Chaucer hints at her susceptibility to worldly distractions, particularly her affection for courtly manners and etiquette, even extending her airs to the care of her little dogs. Her emotional sensitivity often appears exaggerated, as demonstrated by her tears over a trapped mouse, and her elegance, suggested by her attire and rosary beads, hints at her pretentiousness towards nobility. Her tale, fittingly aligned with her persona, tells of a schoolboy killed for his faith, with his death unveiled by a miracle attributed to the Virgin Mary.

Chaucer’s Monk is a figure who blatantly defies the expectations of monastic life. He shuns the traditional vows of poverty, chastity, and obedience, opting instead for hunting, fine clothing, and indulgences in food and entertainment. This hedonistic lifestyle aligns more with that of a noble layman than a devout religious. His tale, filled with tragic examples of individuals who fall from grace, serves as a cautionary narrative, although he seems oblivious to its potential applicability to his own life. The Monk’s preferences starkly contrast with the ideal of a prayerful, ascetic existence.

The Friar, known as Huberd, is a jovial character with a penchant for money and female company. Enjoying the revelry of taverns and the luxury of fine clothing, he diverges from the traditional image of a devout friar who embraces poverty. Huberd is reputed to be the most skilled beggar in his order and exhibits a worldly demeanor. He shares a fabliau about a summoner who loses his soul to the devil, a story that intentionally provokes the ire of the Summoner in their group. His rivalry with the Summoner is marked by spite, as each uses their tales to insult the other.

The Parson stands out among the pilgrims for his genuine piety and dedication. His commitment to his parishioners is unwavering, as he leads by example and chooses mercy over judgment. Forsaking idle tales, he shares a "merry" narrative on the Seven Deadly Sins, reflecting his focus on spiritual enrichment. Despite his verbosity, as seen in his treatise on penitence, the Parson's sincerity and devotion to his flock are never in doubt, embodying the virtues he preaches. His brother, the Plowman, mirrors his honesty and decency, though he does not share a tale himself.

The Clerk, a serious young scholar at Oxford, is absorbed in his studies, placing them above all else. He avoids secular employment, relying instead on the kindness of friends. His demeanor is humble, his attire modest, and his focus seemingly more on Aristotle than the tales of his companions. In response to the Wife of Bath's advocacy for female dominance in marriage, he narrates the story of Griselda, an endlessly patient wife who endures immense trials from her husband. His tale highlights the virtues of patience and submission, contrasting sharply with the Wife of Bath’s perspective.

The Host, Harry Bailey, is an innkeeper and the one who suggests the story contest. He is also the self-proclaimed judge of tales and mediator of disputes. The Host never hesitates to express his opinion, even stopping Chaucer himself in the midst of his story to complain about his horrible rhymes and telling the Monk that he is so bored by his tale that he might just fall off his horse. The Host is also quick to express approval and emotion, and he declares that he needs a stiff drink after the sadness of the girl’s fate in the Physician’s story.

The Summoner is a lusty rascal who quickly enters into rivalry with the Friar and tells his tale specifically as an insult. He is a profane man in spite of his high position as court official for the church. A summoner is designated to call people to court to answer for their crimes, but this particular Summoner is more interested in earning a bribe. He puts on a show of knowing Latin and the law, but he is far more concerned with food and drink. His corrupt appearance with his blotchy face mirrors his corrupt nature.

The Canon, a clergyman in charge of a cathedral, briefly joins the pilgrims on their journey to Canterbury. His departure is prompted by insinuations of his dubious practices as an alchemist. In contrast, the Canon’s Yeoman remains with the group, sharing an anecdote about a canon who deceives a priest, mirroring his master’s deceitful tendencies. Their inclusion adds an extra layer of intrigue and commentary on the deceit prevalent in certain religious circles.

Geoffrey Chaucer, the author, cleverly inserts himself into The Canterbury Tales as a character, playing the role of a humble and mild-mannered narrator. His attempt to recite the Tale of Sir Thopas is humorously interrupted due to its dullness, leading him to offer the story of Melibeus and Prudence instead. Through his character, Chaucer provides an observant and insightful portrayal of his fellow pilgrims, capturing their personalities with a keen eye.

The Reeve is a lean and irritable man named Oswald, formerly a carpenter and now a steward for a young lord. Enraged by the Miller's tale, he retaliates with a story of a miller who is outwitted by two clever students, who seduce both the miller’s wife and daughter. His tale serves as a pointed insult to the Miller, reflecting their ongoing feud. The Reeve carries a rusty sword, perhaps symbolizing his own moral corrosion and tendency towards deceit.

The Miller is a bawdy and boisterous character, known for his crude humor and love of drink. He provokes the Reeve with his tale of a carpenter cuckolded by his young wife and her lover, a narrative filled with ribaldry and wit. His rivalry with the Reeve is a constant source of tension, as each tries to outdo the other in their storytelling. The Miller’s tale, marked by its coarseness, reveals much about his unrefined and rebellious nature.

The Squire, a young man of twenty and the Knight's son, has proven himself in battle yet retains a lively and courteous demeanor. His tale is one of adventure and enchantment, featuring magical gifts given to Canace, the daughter of King Cambiuskan, which include a ring allowing the wearer to communicate with birds, a brass horse for swift travel, and a mirror that reveals truths and futures. Although left unfinished, the Squire's narrative reflects his youthful spirit and eagerness for exploration.

The Franklin is a prosperous landowner who relishes in the pleasures of life, aspiring to live as an Epicurean. His wealth allows him to indulge in fine dining and entertainments, and he gains recognition from holding various public offices. His tale, an old Breton lai, blends chivalry with the supernatural, and he humbly apologizes for his lack of education in its telling. His character suggests that his pursuit of pleasure may also encompass a desire for honor and social standing.

The Merchant, a wealthy and somewhat taciturn businessman, is unhappily married and expresses his grievances through a tale about the pitfalls of unions between older men and younger women. His story involves a husband, January, who is deceived by his youthful wife, May, highlighting the risks and treacheries inherent in such marriages. The Merchant’s narrative underscores his personal cynicism and disillusionment with matrimony.