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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Her way of life was affluent beyond measure. She was rich in treasures. She was dressed in the finest robes of gold and pearl. She still loved the hunt, but she also strove to learn as many languages as she could. She studied books, earnestly trying to discover the most virtuous form of life.

To cut a long story short, she and her noble husband were so expert in arms that they conquered many kingdoms in the East and occupied many famous cities in lands as far away as Turkey and Egypt. No enemy could escape them, at least while Odenathus lived.

You may read all about their battles against Shapur, king of Persia, and against other monarchs. You can learn about their victories – and of their defeats. Petrarch, my great master, has told the story of Cenobia’s downfall in abundant detail. He has described how she was captured and taken.

It had all been going so well. After the death of her husband her strength and courage seemed to be redoubled. She fought so fiercely against her enemies that there was not a king or prince in that region who could withstand her. So they made treaties with her, and exchanged gifts with her. They promised anything if she would only leave them in peace.

The Roman emperor, Claudius, dared not enter the field against her. Neither did his predecessor, Gallienus. The kings of Armenia and of Egypt, of Syria and Arabia, all quailed before her. They were terrified of being slain by her, their armies in flight.

The two sons of Cenobia were always dressed in regal garments, as the legal heirs of their father. Their names were Hermanno and Thymalao. But in fact Cenobia ruled. Yet there came a time when sweet Fortune turned sourly against her. The queen was not mistress of her destiny. She was doomed to fall from sovereign power and to experience sorrow and disgrace.

This is how it happened. When the emperor Aurelianus donned the imperial purple at Rome, he decided to take vengeance upon the queen of Palmyra for all the insults the empire had suffered at her hands. So he marched with his legions into her lands. She fled from him, but eventually he caught up with her and captured her. He put her in chains, together with her two sons, and rode back with them to Rome in triumph.

He carried with him her chariot of gold, richly jewelled, and ordered that it should be driven in his victory procession so that every Roman might see it. Then Cenobia herself was led before the people, wearing her crown but pinioned with chains of gold.

This is the wheel of Fortune. The noble queen, once the terror and the wonder of the world, was now on display to the mob. She who had led her troops in mighty battles, and who had conquered castles and cities, was brought low. She had once borne a sceptre, but now she carried a distaff with which to wind wool.

Peter, king of Spain

Oh worthy Peter, noble king, the glory of Spain! Fortune raised you so high. But now you are remembered only for your miserable death. Your own brother chased you from your realm. And then you were betrayed by your enemies and led into his tent, where he killed you with his own hands. He took over your kingdom and your possessions. He was as black as an eagle in a snow-white field.

Peter, king of Cyprus

Oh noble Peter, worthy king, who won by your mastery the great city of Alexandria. You vanquished many heathens in the course of your career! You were so triumphant that some of your own subjects envied you. They killed you in your bed for no other reason than your nobility. Thus does Dame Fortune turn the wheel, and bring men from glory to distress.

Bernabo of Lombardy

I sing of you, Bernabo Visconti, lord of Milan, scourge of Lombardy, lover of ease and delight. Why should I not recount your misfortunes? You were raised high, only to be brought down by your brother’s son. Your nephew cast you into prison, and there you died. I do not know the reason. I do not know the killer.

Ugolino, count of Pisa

Who can relate the suffering of Ugolino, count of Pisa? There was a dark tower, a little way out of the city, to which he was consigned. He was imprisoned there with his three children, the oldest of whom was only five years old. What cruel Fortune shut these little birds within a cage?

He was destined to die in that prison. The bishop of Pisa, Roger Ubaldini, had borne false witness and had stirred up the people against him; so Ugolino was confined, with so little meat and drink that he despaired of his life.

There was a certain time each day when the gaoler brought his food into the cell. Ugolino was waiting for him at that time when, suddenly, he heard the great door of the tower closing. He heard the sound clearly, but he said not a word to his children. But he knew in his heart that they would all now starve to death. ‘I wish that I had never been born,’ he said to himself. And he wept.

His youngest son, three years old, crept upon his lap. ‘Father,’ he said, ‘why are you crying? When will the gaoler bring us our food? Do you not have any bread for us? I am so hungry that I cannot sleep. I wish that I could sleep for ever. Then I would never be hungry! Please give me bread!’

So the poor child grew weaker and weaker each day. Eventually he climbed into his father’s lap and whispered to him, ‘Farewell, Father. I must go now.’ The little boy kissed him on the cheek, laid down his head, and died. When Ugolino saw that his son was dead he gnawed his arms with grief, lamenting the faithlessness of Fortune. ‘I am bound upon the wheel,’ he said.

His two surviving children were convinced that he was gnawing on his flesh out of hunger rather than grief. The eldest of them implored him. ‘Father,’ he said, ‘do not eat your own flesh. Eat us, instead. You gave us life. You have the right to take it from us. Our flesh is yours.’ Within a day or two, both of the little boys were dead.

In his despair Ugolino also laid down and died. So ended the life of the mighty count of Pisa, drawn down into grief from high estate. If you wish to read more about this tragedy, you will find it in the pages of the great poet of Italy known as Dante. He has written a detailed account of the last days of Ugolino. His words will live for ever.

Nero

The emperor Nero was as great a fiend as any that dwells in hell. Yet, as Suetonius tells us in his Lives of the Caesars , he was the master of the world, from east to west and from north to south. His robes were of the purest white silk, and were covered with fine jewels. He delighted in diamonds and in sapphires.

He was prouder, and more pompous, than any emperor before; he was more fastidious than a maid, and would never wear the same robes twice. He used to fish in the Tiber with nets of gold. His caprices were turned into laws. His lusts were always satisfied. Dame Fortune smiled upon him.

He burned Rome to ashes for his entertainment. He killed all of the senators of that city just to hear how they groaned in their death throes. He killed his brother, and slept with his own sister. He made sad work of his mother, too. He cut open her womb so that he could view the place where he was conceived. That is how little he thought of her.

He did not cry at the sight of her ravaged body. He merely observed that she had once been a fine-looking woman. How could he judge of her beauty, when she lay dead before him? Then he called for wine, and drank off a draught. He showed no sign of remorse. When strength is united with cruelty, there breed monstrous offspring.

In his youth Nero had a teacher who tutored him in literature and morals. This man was the very flower of learning, as the old books tell us, and he managed to impart to his pupil all the lessons of civility. Nero then was compliant and obedient. He hid his vices very well.

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