Peter Ackroyd - The Canterbury Tales – A Retelling

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Ackroyd's retelling of Chaucer's classic isn't exactly like the Ethan Hawke'd film version of Hamlet, but it's not altogether different, either. Noting in his introduction that the source material is as close to a contemporary novel as Wells Cathedral is to an apartment block, Ackroyd translates the original verse into clean and enjoyable prose that clears up the roadblocks readers could face in tackling the classic. The Knight's Tale, the first of 24 stories, sets the pace by removing distracting tics but keeping those that are characteristic, if occasionally cringe-inducing, like the narrator's insistence on lines like, Well. Enough of this rambling. The rest of the stories continue in kind, with shorter stories benefiting most from Ackroyd's treatment, though the longer entries tend to… ramble. The tales are a serious undertaking in any translation, and here, through no fault of Ackroyd's work, what is mostly apparent is the absence of the original text, making finishing this an accomplishment that seems diminished, even if the stories themselves prove more readable.
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A fresh, modern prose retelling captures the vigorous and bawdy spirit of Chaucer's classic
Renowned critic, historian, and biographer Peter Ackroyd takes on what is arguably the greatest poem in the English language and presents the work in a prose vernacular that makes it accessible to modern readers while preserving the spirit of the original.
A mirror for medieval society, Chaucer's Canterbury Tales concerns a motley group of pilgrims who meet in a London inn on their way to Canterbury and agree to take part in a storytelling competition. Ranging from comedy to tragedy, pious sermon to ribald farce, heroic adventure to passionate romance, the tales serve not only as a summation of the sensibility of the Middle Ages but as a representation of the drama of the human condition.
Ackroyd's contemporary prose emphasizes the humanity of these characters-as well as explicitly rendering the naughty good humor of the writer whose comedy influenced Fielding and Dickens-yet still masterfully evokes the euphonies and harmonies of Chaucer's verse. This retelling is sure to delight modern readers and bring a new appreciation to those already familiar with the classic tales.

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The little child lay upon a bier before the high altar, where a mass was said for the sake of his soul. After the service was over the abbot and the monks made haste to bury the child in consecrated ground. And, as they sprinkled holy water over the bier, the child once more rose up and sang ‘Alma Redemptoris’.

The abbot was a saintly man. The monks were holy, too, or ought to have been. So the reverend father began to question the boy. ‘Dear child,’ he said to him, ‘I beseech you. I call upon you in the name of the blessed Trinity. Why are you singing? How can you sing, when your throat is cut from side to side?’

‘My throat is cut as deep as my neck bone,’ the child replied. ‘In the course of nature, I would be long dead. But Jesus Christ has deemed it fit that His power should be known to the world. He has performed this deed in honour of His sacred Mother, the blessed Virgin. That is why I am able to sing “Alma Redemptoris”.

‘I have always loved the Virgin above all others. She is, in the light of my faulty understanding, the source of grace and mercy. She appeared before me at the moment of my death, and asked me to sing this hymn in her honour. You heard it. When I had finished singing, it seemed that she placed a small grain of seed upon my tongue.

‘Wherefore I sing again, more clearly than before, in praise of Mary. Until this seed is taken from my tongue, I will sing ceaselessly. She has told me everything. “My little child,” she said, “I will come for you. When the seed is taken from your tongue, do not be alarmed. I will not forsake you.”’

The holy abbot then reached over to the boy, and took the seed from his tongue. Whereupon the child died peacefully. The abbot was so moved by this miracle that the salt tears ran down his cheek. He fell to the ground, upon his face, and did not stir. All of the monks then went down upon their knees, weeping and calling upon the blessed Virgin. Then they rose and with reverent hands took the child from his bier; they placed him in a tomb of marble, in the chapel of Our Lady. He lies there still, thanks be to God.

Oh little Saint Hugh of Lincoln, you were also slain by the Jews. Your death, so short a time ago, is still fresh in our memory. Pray for us sinners now, and at the time of our death. May God have mercy on our souls. Pray for us, Mother of God, so that your grace may descend upon us. Amen.

Heere is ended the Prioresses Tale

Prologue to Sir Thopas

Bihoold the murye wordes of the Hoost to Chaucer

All of the company seemed grave, and reflective, at the end of the Prioress’s tale. But then the Host changed the mood by making a joke at my expense. He looked at me, and winked at the others. ‘What sort of man are you?’ he asked. ‘You look as if you are trying to catch a rabbit. All you ever do is stare down at the ground. Come closer to me. That’s better. Look up. Smile. Fellow pilgrims, this is a good man. You see the extent of his waist? It’s just like mine. He is a big boy. I am sure that some nice young woman would love to embrace him, plump though he is. Yet he is always abstracted. He is always miles away. Come on, man, tell us a funny story. The others have. Now it is your turn.’

‘Host,’ I said, ‘don’t take this personally. But I don’t know any stories. I can’t tell any stories. All I can recall is an old rhyme that I learned in my childhood.’

‘That will do,’ Harry Bailey replied. ‘From the expression on your face, I think it will be an interesting one.’

Sir Thopas

Heere bigynneth Chaucers Tale of Thopas

THE FIRST FIT

Listen carefully, please, to me
And I will tell the company
A funny little story.
At some time in history
There was a knight and gent
Good at battle and at tournament.
What was his name?
Sir Thopas.

He lived in a far, no, distant country
Not very near the sea.
He dwelled in a city called Hamelin
Famous for its porcelain.
His father was a rich man, and grand.
In fact he ruled the entire land.
What was his name?
I don’t know.

Now Sir Thopas was a brave knight.
His hair was black, his face was bright.
His lips were red as a carnation.
But then so was his complexion.
I could have said, red as a rose,
But I will confine that to his nose.
How big was his nose?
Enormous.

His hair was as yellow as mustard paste,
And he wore it right down to his waist.
His shoes were from the Vendôme
And his clothes were made in Rome.
They were so expensive
That his father looked pensive.
How much did they cost?
Thousands.

He could hunt for wild rabbit
And had acquired the habit
Of hawking for game.
He could wrestle and tame
The most ferocious ox.
He could whip the bollocks
Off any contestant.
He was no maiden aunt.

There were many young virgins
Happy to slake his urgings
When they should have been asleep.
But he did not so much as peep
At them. He was chaste as a lily
And stayed so willy-nilly.

So it befell that on one morning
Just as the light was dawning
Sir Thopas rode out on his steed
In hope of doing daring deeds.
He held his lancet like a lord,
And by his side there hung a sword.
He made his way through forests dark
Where wolves howl and wild dogs bark.
He himself was after game,
Which once more I rhyme with tame.
But listen while I tell you more
Of how Sir Thopas almost swore
With vexation.

Around him sprang weeds of every sort,
The flea-bane and the meadow-wort.
Here were the rose and primrose pale,
And nutmeg seeds to put in ale
Whether it be fresh or stale
Or only good as slops in pail.

The birds were singing sweetly enough,
Among the nightingales a chough.
Was that a chaffinch on the wing,
Or was it a dove just chattering?
He heard a swallow sing on high,
And then a parrot perched near by.
What a lot of noise!

And when he heard the birdies sing
He was filled with love longing.
He spurred on his horse
Over briar and gorse
Until the beast was sweating.
It looked like it had been rutting
With a mare.

Thopas himself was exhausted.
He got down from his quadruped
And lay stretched on the ground.
The horse was free at one bound.
It wriggled its arse
And chewed on the grass.
Fodder was solace.

‘Woe is me,’ Thopas lamented,
‘Why am I so demented
For love? I dreamed last night
That I had caught a bright
Elf-queen under the sheets.
What sexual feats
I accomplished!

‘If my dreams could come true
What deeds would I do.
I really need a fairy queen,
No mortal girl is worth a bean.
All other women I forsake,
A fairy girl is all I’ll take
In country or in town.’

Then up on to his steed
He jumped, in need
Of action with a fairy queen.
He rode along each hill and dale
Looking for that certain female.
Then quite by chance he found
A secret spot of magic ground,
The kingdom of the fairies.
In truth it was a little scary
And wild. And desolate.

He was not surprised to see a giant
Whose name was Oliphiant.
He had a mace
Which he aimed at the face
Of Thopas, saying, ‘Get out
Or I will give your horse a clout.
The queen of fairy
Lives in this aery
Abode. It is not for you.
Your horse is unwelcome, too.’

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