Product Description

It would be impossible to overstate the influence of Geoffrey Chaucer’s The Canterbury Tales. A work with one metaphorical foot planted in the Florentine Renaissance literary tradition of Boccaccio’s Decameron and the other in works ranging from John Bunyan, Voltaire, and Mark Twain to the popular entertainments of our own time, The Canterbury Tales stands astride the cultures of Great Britain and America, and much of Europe, like a benign colossus.

Beyond its importance as a cultural touchstone and literary work of unvarnished genius, Chaucer’s unfinished epic poem is also one of the most beloved works in the English language–and for good reason: It is lively, absorbing, perceptive, and outrageously funny–an undisputed classic that has held a special appeal for generations of readers. Chaucer has gathered twenty-nine of literature’s most indelible archetypes–from the exalted Knight to the bawdy Wife to the besotted Miller to the humble Plowman–in a vivid group portrait that captures the full spectrum of late-medieval English society and both informs and expands our discourse on the human condition.

Presented in these pages in a new unabridged translation by the esteemed poet, translator, and scholar Burton Raffel–whose translation of Beowulf has sold more than a million copies–this Modern Library edition also features an Introduction by the well-known and widely influential medievalist and author John Miles Foley that discusses Chaucer’s work as well as to his life and times.

Despite the brilliance of Geoffrey Chaucer’s work, the continual evolution of our language has rendered his words unfamiliar to many of us. Burton Raffel’s magnificent new translation brings Chaucer’s poetry back to life, ensuring that none of the original’s wit, wisdom, or humanity is lost to the modern reader.

Product Details

• Amazon Sales Rank: #68193 in Books
• Published on: 2008-11-18
• Released on: 2008-11-18
• Original language: English
• Number of items: 1
• Dimensions: 1.50" h x 6.62" w x 9.70" l, 2.31 pounds
• Binding: Hardcover
• 672 pages

About the Author
Geoffrey Chaucer (1343-1400), often referred to as “the grandfather of English literature,” is invariably ranked with Shakespeare and Milton as one of the three greatest poets of the English language. His masterpiece, The Canterbury Tales, has been a touchstone for English-language poetry for more than half a millennium and is one of the most widely read works in the Western canon.

Burton Raffel is a translator, poet, and scholar whose major translations include Beowulf, Don Quijote, The Red and the Black, and Gargantua and Pantagruel. He has also annotated several Shakespeare plays for Yale University Press. He was the Distinguished Professor Emeritus of Arts and Humanities and emeritus professor of English at the University of Louisiana at Lafayette until 2003. He lives in Louisiana.

John Miles Foley is a leading Chaucer scholar specializing in medieval studies, epics, and the oral tradition. A professor at the University of Missouri, he is the director of the Center for Studies in Oral Tradition and has written or edited eighteen books. He lives in Columbus, Missouri.

Excerpt. © Reprinted by permission. All rights reserved.
The Knight’s Tale

1

Introduction

1 The Knight’s Tale, which mostly takes place in ancient Athens, is the conflicted love story of two royal Theban cousins who love the same woman. Because “The Knight’s Tale” is by far the longest and most complex of the Canterbury Tales presented in this volume, a quick summary of the action of the four parts of the tale may help readers encountering it for the first time:

Part I. On his way back to Athens with his bride, Hypolita, and his sister-in-law, Emily, Duke Theseus responds to the pleas of some grieving widows by defeating Creon, the tyrant of Thebes. Among the bodies of the defeated army, he finds near death the royal cousins Palamon and Arcite. Rather than kill them, Theseus takes them back to Athens and places them in prison. From their barred prison window, the two young men see the lovely Emily and both fall in love with her. Arcite after a time is released but banished from Athens on pain of death, while Palamon remains in prison. The two are envious of each other’s condition.

Part II. Arcite disguises himself as a common laborer and comes back to Athens, where he gets a job working in Emily’s household. Meanwhile, Palamon escapes from prison, and the rival cousins chance to meet in a grove near Athens. While Palamon and Arcite are fighting a bloody duel, Theseus, Hypolita, and Emily, out hunting, by chance come upon them in a grove. At first angry, Theseus soon relents, sets both of his enemies free, and invites them to return in a year, each with a hundred knights, to take part in a glorious tournament, with Emily’s hand going to the winner.

Part III. Theseus builds a splendid amphitheater in preparation for the tournament and places on its west, east, and north borders elaborately decorated temples to Mars, Venus, and Diana. When the two troops of warriors come back for the tournament, the three principals each pray to one of the planetary deities. Palamon prays to Venus, not for victory but for the hand of Emily. Emily prays to Diana to be spared marriage to either Palamon or Arcite, praying instead to remain a maiden always. Arcite prays to Mars for victory in the tournament.

Part IV. Just before the tournament begins Theseus declares that he wants no lives to be lost and restricts the kinds of weapons that may be used. He sets out the rules of the game, the primary one being that the winning side will be the one that takes the loser to a stake at the end of the field. After vigorous fighting, Arcite’s men drag the wounded Palamon to the stake. No sooner is Arcite declared the winner than Saturn commands Pluto, god of the underworld, to send a diabolical fury to frighten Arcite’s horse. Arcite is thrown and crushed by his own saddle bow. After an elaborate funeral and the passage of some years, Theseus tells Palamon and Emily to marry, and they happily do so.





Arching over the story of the warriors and lovers down on the earth below is a heavenly conflict among the gods or, more precisely, among the planetary or astrological influences that were thought to control the affairs of men. Indeed, a key feature of “The Knight’s Tale” is the prayers of the three principal characters to these influences. Closely tied up with the question of whether Palamon or Arcite will get the young woman they both love is the question of how the powerful Saturn will settle the conflicting demands on him of Mars, Venus, and Diana.

Chaucer’s main source for “The Knight’s Tale” is Giovanni Boccaccio’s several-hundred-page-long Teseida. Readers who are upset at having to read Chaucer’s long and leisurely story of Palamon, Arcite, and Emily should thank Chaucer for streamlining a story that is less than a quarter the length of Boccaccio’s Italian story of Palemone, Arcita, and Emilia. Chaucer reduced the story in lots of ways, particularly by staying focused on the love story. He cut out, for example, Boccaccio’s long opening description of Theseus’s journey to the land of the Amazons, his defeat of them, and his acquiring as his bride the Amazonian queen Hypolita. But Chaucer did more than reduce the Teseida, which focuses on Arcite as the main character, who in Boccaccio is almost a tragic figure who makes the mistake of praying to the wrong deity. For Chaucer, Palamon is raised to equal importance, if not more importance, than his rival. And Chaucer transforms the vain and coquettish Emilia of his source into a more innocent object of the love of rival cousins.

One of Chaucer’s most important changes was to give the story a philosophical overlay by introducing into it the ideas of the ancient philosopher Boethius. One of Boethius’s key ideas was that there is a great God who designs a far better plan for human beings than they could possibly design for themselves. That design sometimes involves what looks like adversity, but the adversity is always (for Boethius) part of a design that leads to happiness. We should then, according to Boethius, not resist or fight against the troubles that come our way, but cheerfully accept them, trusting that in the end things will work out for the best. The ending of “The Knight’s Tale,” then, reflects this reassuring philosophy by showing that although the three principal characters all seem at first not to get what they want most, in the end all of them do get what they want, or perhaps something even better.

For this and the other tales in this volume, readers should reread the portrait of the teller given by Chaucer in the General Prologue. The portrait of the Knight (lines 43–78) shows him to be the idealized Christian soldier who fought with valor and honor at most of the important late-fourteenth-century battles against heathens. We know less of his marital than of his martial life, but he does have a son who is with him on this pilgrimage. The Knight seems, all in all, an ideal teller for the long tale of war, romance, honor, and philosophy that Chaucer assigns to him.

Notes

Part I

Femenye (line 8). A race of warlike women, led by Hypolita, who decided that they could live and protect themselves without the help of men. They are sometimes called Amazons, their land Scithia.

Saturne, Juno (470–71). Two forces that Palamon blames for the setbacks that Thebes has suffered. Saturn is the powerful planet. Juno is the jealous wife of Jupiter, who had made love to two Theban women.

Part II

Hereos (516). Eros, a sickness associated with the intense emotion of falling in love.

manye (516). A kind of melancholy madness or mania brought on by the frustration of his love for an inaccessible woman.

Argus (532). In classical mythology, the jealous Juno had set the hundred-eyed Argus as guard to Io, who was a lover of her husband, Jupiter. Argus was killed by Mercury (see line 527), who first sang all of Argus’s hundred eyes to sleep.

Cadme and Amphioun (688). Cadmus and Amphion are the legendary founders of the city of Thebes, home to Palamon and Arcite.

regne of Trace (780). The reference in this and the next lines is to the Thracian kingdom in which a hunter prepares himself at a mountain pass to meet a charging lion or bear.

Part III

Citheroun (1078). Venus’s supposed mountainous island of Cytherea, though Chaucer may have confused the name with the name of a different location.

Ydelnesse, Salamon, Hercules, Medea, Circes, Turnus, Cresus (1082–88). Various literary, historical, and classical allusions, most of them demonstrating the follies and miseries associated with the snares of love.

qualm (1156). Probably a reference to the “pestilence” or bubonic plague that killed millions in Europe during Chaucer’s lifetime. See also line 1611 below, where Saturn claims to have the power to send the plague. The reference to the bubonic plague here is anachronistic, since “The Knight’s Tale” is set in the classical pre-Christian era.

Julius, Nero, Antonius (1173–74). Three famous rulers slaughtered in time of war—exemplary of the mayhem and death caused by mighty Mars. The last is Marcus Aurelius Antoninus Caracalla, a Roman emperor murdered in AD 217.

Puella, Rubeus (1187). Two astrological references to Mars as cast by a complicated process called geomancy, a pseudoscience involving dots and lines.

Calistopee, Dane, Attheon, Atthalante, Meleagre (1198– 1213). Various classical and legendary allusions to hunters or the hunted whose unfortunate tales are depicted on the walls of the temple of Diana, goddess of the hunt.

griffon (1275). A griffin was in Greek mythology a fearsome beast with the head and wings of an eagle on the body of a lion.

in hir houre (1359). Palamon picks his hour of prayer carefully. The various planets were supposed to have special powers on certain hours of the day, hours in which it was particularly propitious to make prayers for their astrological influence. Venus would have had special strength on the twenty-third hour of Sunday night (see line 1351), when it was not yet two hours before dawn on Monday morning (line 1352).

the thridde houre inequal (1413). The medieval astrological day was divided into twenty-four “inequal” or planetary hours. In this system the time between dawn and dusk was divided equally into twelve hours, the time between dusk and the following dawn into twelve more. Except at the two equinoxes, when the daylight hours would have been exactly equal in length to the nighttime hours (that is, sixty minutes), the daylight hours would have been longer or shorter than the hours of darkness, depending on the time of the year...

From AudioFile
A knight, a miller, a cook, and a nun are just a few of the more than two dozen lively characters traveling together on an annual pilgrimage from London to Canterbury to visit the shrine of Saint Thomas Becket. They each tell a tale drawn from religion, folklore, classic myth, or even gossip to make the time pass. Geoffrey Chaucer's simple literary device provides an unprecedented and unsurpassed view of his fourteenth-century England. Five of the BBC's most versatile and creative narrators do a marvelous job voicing the personalities of the storytellers. Burton Raffel's very complete and contemporary translation retains the poetic half rhymes of the original Middle English and includes the often severely abridged monk and parson's tales. It never ceases to amaze how immediate and modern Chaucer's world continues to sound. B.P. © AudioFile 2009, Portland, Maine

Customer Reviews

Love it!
This is one of the most "fun" books I've seen. The poetic style has not been lost in the modernization of the language. It is easy to read and understand. The cover is pretty and the whole thing just says "Read Me". I love it - very enjoyable.

For more reviews, go to www.alexctelander.com, and the BookBanter podcast: http://bookbanter.podbean.com
THE CANTERBURY TALES BY GEOFFREY CHAUCER, TRANSLATED BY BURTON RAFFEL: The Canterbury Tales is a collection of stories written by one of the greatest writers in history, up there with William Shakespeare himself. Originally published in the late fifteenth century, it has appeared on high school reading lists, and serves as one of the most important medieval texts - if not the most important - ever written and published.

Chaucer tells the story of 29 pilgrims who set out on pilgrimage from London to Canterbury. Pilgrimage was a common event in many people's lives in the medieval world, especially if they were looking to be pious and guarantee their ascent into heaven; it was also a good way for those who had committed sins to be absolved of their actions. The Host of this pilgrimage sets the stage in the "General Prologue" by asking each of the pilgrims to tell four stories; two on the way to Canterbury, and two on the way back to London. The storytelling will help pass the time, but will also serve to enlighten the group about the lives and actions of the pilgrims.

While Chaucer never fully completed his 124 stories, ending at 22,, there is nevertheless a wide selection of stories from most of its main characters. "The Knight's Tale" is the story about two royal Theban cousins who love the same woman. There's "The Wife of Bath's Tale," as she discusses her life of five husbands and the importance and sacrifice she has made in marriage and being a wife. "The Miller's Tale" mocks the life of a carpenter who is fooled into believing a flood is coming, while the clerk sleeps with his wife. In the final story, "The Parson's Tale," the Parson talks for a long time about the importance of being just and pious and faithful to God.

The Canterbury Tales is not just a collection of entertaining stories from the fifteenth century, but is a most fascinating insight into the way of life of these people, what they considered funny or sad, what they wore and ate, and what sort of a role the church truly played in their lives. Chaucer even inserts himself into his book, arguing back and forth with the Host, as he is challenged to tell a superior story.

In this new translation from Burton Raffel, much of the original text is preserved, even though Raffel admits that in any translation, it is ultimately going to be different as it is that, a translation. Nevertheless, where possible, Raffel keeps and maintains the rhyming scheme, giving life to the stories and making the old oral tradition of storytelling come alive off the page. This new translation of The Canterbury Tales is perfect for anyone who enjoys these old texts, or for a student having trouble reading the early Middle English; it is even ideal for families to learn through reciting the stories aloud and hearing these classics come to life through voice, as they were originally meant to.

Absolutely Delightful.
The Tales offer such a diverse slice of Medieval life and are narrated from so many different perspectives. Yes they are a bit ribald but such was life before the constraints of Puritanism became the norm. I found myself laughing out loud at the hijinks described in the likes of The Miller's Tale and then (countered by) The Reeves Tale.
As is well known by now, Chaucer did not himself write these stories but instead took tales that were universally familiar and embellished them to such a degree as to make them highly enjoyable some six centuries later. I like that most are short and can be reread at leisure. I would highly recommend them to anyone who enjoys that particular period in time. It is history with scrumptious flavoring.