ds it bad or because he realizes that Chaucer 2 is making a mockery of the story, under the demure guise of an innocent, well-meaning, unskilled Chaucer 3. (Evidence of this theory is that Melibee seems to sass Bailley enough to rile him up afterwards). Either way, we get a glimpse into the storytelling process, as Chaucer incorporates recent real-life elements into his story, (a microcosm of his tales in general), combining archetypes with actual, literal observations to produce a compelling and intriguing Tale.
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             Heskell notes that Chaucer, the pilgrim, is called a "popet", a word for "doll" that also subtly indicates that Chaucer, the character, is a puppet of Chaucer, the writer. The word "popet" can function doubly as doll and puppet, and the double-meaning makes the word choice rife with significance. Chaucer and Thopas' descriptions, then, presenting them as dainty, fragile dolls intended to amuse and never threaten, belying the potency they have in the hands of a master puppeteer. (Chaucer's idealized chasteness here also contrasts with what is commonly found in "fabliau," the exploration of real, complex people). Heskell mentions that the colours of Topas are compared to dyes rather than to items in nature. Like the pseudo-romance of Topas, Chaucer's characters in general are intended to get at a greater truth of the Real by accessing it through the
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