Most Helpful Customer Reviews
|
|
79 of 81 people found the following review helpful:
5.0 out of 5 stars
Canterbury Tales - Which Version is Best For You?, July 15, 2000
Over some period I have read several translations of Chaucer's Canterbury Tales. My first experience, selections in a high school text, was not promising. (Perhaps, I was not yet ready for Chaucer.) Translating poetry from one language to another is difficult and often unsuccessful. Translating Chaucer from Middle English is not much easier. English has changed dramatically in the last 600 years, to the point that Middle English is nearly indecipherable. For example, we read Chaucer's description of the Knight's appearance:
Of fustian he wered a gipoun (Of coarse cloth he wore a doublet)
Al bismotered with his habergeoun (All rust-spotted by his coat-of-mail)
A glossary, diligence, and time are required for reading the original Chaucer. If you choose to do so, the Riverside Chaucer edition (edited by L. Benson) and the Norton Critical Edition (edited by Olson and Kolve) are highly recommended. The Signet Classic paperback edited by D. R. Howard modernizes the spelling a bit, but largely adheres to the original Chaucer and is an easier introduction to Middle English.
Although in most cases the instructor assigns a particular version of Canterbury Tales, it can be exceedingly helpful to pick-up an additional version or two. A slightly different translation may entirely surprise you, even resonate with you, making Chaucer much more enjoyable. I suggest that you look for these versions:
Selected Canterbury Tales, Dover Thrift edition - provides a poetic, rather than literal interpretation, and is quite readable. The collection of tales is fairly small, however.
Canterbury Tales, Penguin edition, translated by Nevill Coghill, is an excellent poetic translation. It is a complete collection, arranged by Group A thru H, and also includes The Parson's Prologue, The Parson's Tale in synopsis, and Chaucer's Retractions. Coghill's translation remains my favorite.
The Canterbury Tales, Bantam Classic paperback edited by Hieatt, uses the "facing page" format with the original Chaucer on the left and a modern literal translation on the right page. I found the literal translation a little wooden, but this edition can be quite helpful if you need some help with Middle English. (A guide to phonetics, grammar, spellings, and a glossary is provided.)
Chaucer's Canterbury Tales (Barrons Educational Series) uses an "Interlinear Translation" format in which each line of Middle English is followed by a modern translation (literal to make the comparison easier). I rather like this approach.
Canterbury Tales, John Murray Publishers, London is hard to find, but provides a partial translation to modern English, maintaining as much as possible of the Middle English. This rather clever approach is somewhat risky, but the translator H. L. Hitchins pulls it off. With some effort I could follow the text without continually referring to a glossary and in a limited way I was "reading Middle English".
Canterbury Tales, Pocket Books, prose translation by R. M. Lumiansky, is easy to read, but while this prose format adheres to the storyline, it is only a shadow of the poetic Chaucer. It might prove useful if you are not comfortable with poetry.
Good luck. Reading Chaucer is really worth the extra effort.
|
|
|
131 of 145 people found the following review helpful:
5.0 out of 5 stars
One of the major influences of modern literature., June 22, 1999
The version of this classic I read was a translation into modern English by Nevill Coghill. As you can see above, I awarded Chaucer (and the translation) five stars; but I do have a criticism. This translation (and many other publications of Chaucer) do not contain the two prose tales ("The Tale of Melibee" and "The Parson's Tale"). These are rarely read and I understand the publisher's and the translator's desire to keep the book to a managable size. Still, that should be the readers decision and no one else's. I had to go to the University library and get a complete copy in order to read those sections. As I mentioned, this copy is a translation into modern English. However, I do recommend that readers take a look at the Middle English version, at least of the Prologue. Many years ago, when I was in high school, my teacher had the entire class memorize the first part of the Prologue in the original Middle English. Almost forty years later, I still know it. I am always stunned at how beautiful, fluid, and melodic the poetry is, even if you don't understand the words. Twenty-nine pilgrims meet in the Tabard Inn in Southwark on their way to Canterbury. The host suggests that the pilgrims tell four stories each in order to shorten the trip (the work is incomplete in that only twenty-four stories are told). The tales are linked by narrative exchanges and each tale is presented in the manner and style of the character providing the story. This book was a major influence on literature. In fact, the development of the "short story" format owes much to these tales. All of the elements needed in a successful short story are present: flow of diction and freedom from artifice, faultless technical details and lightness of touch, and a graphic style which propels the story. In poetry, Chaucer introduced into English what will become known as rime royal (seven-line stanza riming ababbcc), the eight-line stanza (riming ababbcbc), and the heroic couplet. His poetry is noted for being melodious and fluid and has influenced a great many later poets. He has a remarkable talent for imagery and description. With respect to humor, which often receives the most negative responses from a certain group of readers (as witnessed by some of the comments below), there are at least three types: good humor which produces a laugh and is unexpected and unpredictable (for example, the description of the Prioress in the Prologue), satire (for example, the Wife of Bath's confession in the Prologue to her tale), and course humor, which is always meant to keep with the salty character of the teller of the tale or with the gross character of the tale itself. I am really stunned at the comments of the reviewer from London (of June 21, 1999). He/she clearly has no idea of the influence of the work nor on the reasons why Chaucer chose to present the humor the way he has. T. Keene of May 17 gave the work only three stars, presumably because it was once banned in Lake City, Florida. (Does that mean it would get fewer stars if it hadn't been banned?) Perhaps our London reviewer will be more comfortable moving to Lake City! Another reviewer suggested that "The Canterbury Tales" was only a classic because it had been around a long time. No! Chaucer's own contemporaries (for example, Gower, Lydgate, and Hoccleve) acknowledged his genius. My goodness, even science fiction books acknowledge the Tales (for example, Dan Simmons' "Hyperion," which won the 1990 Hugo Award for best science fiction novel of the year, is based on the Tales). These brief entries are too short to review all of the tales. Let me just descibe the first two. Other readers might consider reviewing the other tales in later responses. In "The Knight's Tale," the Theban cousins Palamon and Arcite, while prisoners of the King of Athens (Theseus), fall in love with Emelyn, sister of Hippolyta and sister-in-law to Theseus. Their rivalry for Emelyn destroys their friendship. They compete for her in a tournament with different Greek gods supporting the two combatants. Arcite, supported by Mars, wins but soon dies from a fall from his horse (due to the intervention of Venus and Saturn). Both Palamon and Emelyn mourn Arcite, after which they are united. It is the basis of "The Two Noble Kinsmen" by Fletcher and Shakespeare. "The Miller's Tale" is a ribald tale about a husband, the carpenter John, who is deceived by the scholar Nicholas and the carpenter's wife Alison that a second flood is due. In this tale, a prospective lover is deceived into kissing a lady in an unusual location. And, recalling the response from our reviewer from London, apparently this Tale should not be read by people from London (or Lake City)!
|
|
|
62 of 72 people found the following review helpful:
5.0 out of 5 stars
700 years old and still going strong, May 2, 2001
I remember slogging through The Canterbury Tales in Middle English when I was in high school and although the language is beautiful, having to take time to decipher it all did diminish somewhat the enjoyment of a terrific collection of stories. Since most of us are more comfortable with modern English, a good translation makes all the difference, and Nevill Coghill's excellent translation does full version to Chaucer's book. Reading this version takes the work out of it and makes "The Canterbury Tales" a pure pleasure. Chaucer writes about everyman and his stories represent one of the motliest crews in English literature: the Wife of Bath who has put away five husbands and is looking for a sixth; the pardoner, the reeve, the clerk, the knight, and a host of others from all walks of life. There is something in here for everyone; my three favorite stories are the Pardoner's Tale; the Miller's Tale (reading this in Coghill's translation, I could see why it has been excised from the bowdlerized versions used in high school English classes; it's rude, crude and downright lewd, but it's so hysterical they had to sew my sides up again when I finally stopped laughing), and the Franklin's tale of the knight, the squire and the magician who outdo each other in chivalry. Antisemitism was commonplace in medieval Europe and Chaucer is no more free of it than anyone else of his time; but to say that The Canterbury Tales is not worth reading because Chaucer was true to his time is overstatement. One must accept that Chaucer was as human and imperfect as most of his peers; without compromising the fact that Chaucer was a literary genius who had a profound effect on English language and English literature.
|
|
|
Most Recent Customer Reviews
|
Show more editions and formats
Show fewer editions and formats
by Donna Trembinski
by Andy Thomson
by Sarah Chappell Trulove
See all Editorial Reviews
