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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Caesar went in procession to the Capitol one morning, as he was wont to do, where he was surrounded by his enemies and struck many times by their blades. He lay there, dying in his own blood, but he did not groan at any of the blows against him – except, perhaps, for one or two from those once closest to him.

Caesar was so proud, and so manly, that he maintained his honour even in death. He placed his toga over his waist so that no one might see his private parts. As he lay dying, and knew that his fate was drawing near, he would not be shamed.

I recommend that you read this story in Lucan’s Pharsalia , or else in Suetonius. They will tell you how Dame Fortune first favoured, and then failed, the two great conquerors Caesar and Alexander. You cannot trust her smile. Keep an eye on her. Look what happened to all these heroes.

Croesus

Croesus, once king of Lydia and enemy of Cyrus the Great, was taken up in his pride and carried to the stake where he was to be burned to death; but then there descended a great rain from the heavens that quenched the flames. Croesus escaped, but he did not pay proper respect to Dame Fortune until he was suspended on the gallows.

When he had escaped from the consuming fire he could not wait to return to war. He believed that Fortune, having rescued him with a rainstorm, had also made him invincible against all of his foes. He had a dream one night that increased his confidence and his vainglory.

This was the dream. He was in a tree, and Jupiter there washed his entire body. Then Phoebus brought him a towel with which to dry himself. This was a good omen indeed. He asked his daughter to interpret the dream to him; she was skilled in all manner of prognostication.

‘The tree you saw,’ she told him, ‘signifies the gallows. The washing of Jupiter signifies the rain and the snow. The towel that Phoebus brought you is an image of the sun’s warm rays. You are going to be hanged, Father. There is no doubt about it. The rain will wash you, and the sun will dry you.’ So did his daughter, whose name was Phania, warn him of his coming fate.

And indeed he was hanged. The proud king ended on the gallows, where his royal estate could not save him. The tragedies of the proud and the fortunate have the same burden. They are threnodies of grief against the guile of Dame Fortune, who kills where she might cure. When men put their faith in her, she fails them and covers her bright face with a cloud.

Heere stynteth the Knyght the Monk of his tale

The Nun’s Priest’s Prologue

The prologe of the Nonnes Preestes Tale

‘Hey!’ the Knight called out. ‘That is enough, sir Monk. You have spoken justly, I am sure. It was all very true. But a little sorrow goes a long way. People cannot bear too much tragedy. As for me, I hate hearing about the sudden fall from fortune into sorrow. I prefer to look on the bright side. I like to hear of those poor folk who have attained great riches or happiness, climbing up the ladder from low estate to wealth. That cheers me up. That is the story I wish to hear.’

‘I agree with you,’ Harry Bailey said. ‘One hundred per cent. This Monk has spoken at length about the tragedies of various people. How did he put it? Fortune is covered with a cloud? Something like that. But there is no point in wailing and lamenting. What is done is done. As you said, sir Knight, it is not an exciting subject.’

Our Host then turned to the Monk. ‘So, sir, no more, if you please. You are annoying the entire company. Your little homilies are not exactly entertaining. There is no fun in them. Wherefore good Monk – Peter is your name, isn’t it? – wherefore, Peter, I beg you to tell us something different. Something amusing. If it were not for the clinking of the bells on your bridle, I would have fallen asleep listening to you. I would have slipped from my horse and sunk in the mud. Who cares about Holofernes? Or Croesus? There is an old saying used by preachers and teachers. “If a man has no audience, he had better stop talking.” Of course I am always ready to listen to a well-told tale. Why not a story about hunters and hunting?’

‘I’m afraid not,’ the Monk replied. ‘My heart would not be in it. Let somebody else tell the next story.’

So the Host spoke out boldly and rudely. ‘Come towards me, you, the Nun’s Priest over there! Tell us something that will lift our spirits. Be merry. Be daring. I see that you are riding on a poor nag of a horse, but that should not stop you. As long as it can carry you, it has my blessing. So. Make us laugh.’

‘Willingly, good sir,’ the Nun’s Priest said. ‘I will be as cheerful as you could wish.’ So then this sweet Priest began his story to the company of pilgrims.

The Nun’s Priest’s Tale

Heere bigynneth the Nonnes Preestes Tale of the Cok and Hen, Chauntecleer and Pertelote

Once upon a time a poor widow, somewhat stooped by age, was living in a tiny cottage; it was situated in a valley, and stood within the shadow of a grove of trees. This widow had led a simple existence ever since the death of her husband; she had few cattle, and fewer possessions. She had two daughters and, between them, they owned three large sows, three cows and a sheep called Molly. The walls of her little house were thick with soot, but this is where she ate her simple meals. She had no use for spices or dainty food. Since her modest repast came from the produce of her farm, she was never flatulent from overeating. A temperate diet, physical exercise and a modest life were her only medicines. She was never hopping with the gout, or swimming in the head from apoplexy. She never touched wine, white or red. In fact her board was made up of black and white – black bread and white milk, with the occasional rasher of bacon or new-laid egg. She was a dairywoman, after all.

Her small farmyard was protected by a palisade of sticks, with a ditch dug all around it. Here strutted a cock called Chanticleer. There was no cock in the country that crowed louder than this bird. His voice was more impassioned than the organ that is played on mass days in church. His crow was better timed, and more accurate, than the clock on the abbey tower. By natural instinct he knew the movements of the sun; whenever it covered fifteen degrees across the sky, he began to crow as mightily as he was able. His comb was redder than the coral of the sea, and it had more notches than a castle battle- ment; his legs and toes were a beautiful shade of azure, just like lapis lazuli, and his nails were as white as the lily flower. His feathers were the colour of burnished gold.

Chanticleer had seven hens in his household. They were his companions and his concubines, devoted to his pleasure; they were as brightly coloured as he was, and the brightest of them was a hen called Pertelote. What a gentle, kind and attentive bird she was! She carried herself so nobly, and was so affectionate, that Chanticleer had loved her ever since she was seven days old. He could not get enough of her. You should have heard them crowing together at dawn, harmonizing on the words ‘my love has left me’. In those days, of course, the birds and the animals could all speak and sing.

So it happened that, one morning at dawn, Chanticleer sat on his perch among his seven wives; beside him was sitting Pertelote. Suddenly he began to groan and moan, just like someone who is having a bad dream. When she heard him, she became alarmed. ‘Dear heart,’ she asked him, ‘what is troubling you? Why are you crying out in this way? You are asleep, I suppose. Please wake up.’

Chanticleer opened one eye. ‘Ma dame,’ he replied, ‘don’t be alarmed. God knows I have just had a frightful dream. My heart is still fluttering beneath my feathers. I hope everything turns out for the best. I hope that my dream does not prove prophetic.’

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