ANNOTATION

An ilustrated retelling of Geoffrey Chaucer's famous work in which a group of pilgrims in fourteenth-century England tell each other stories as they travel on a pilgrimage to the cathedral at Canterbury.

FROM THE PUBLISHER

A group of pilgrims bound for Canterbury Cathedral agrees to pass the weary miles by taking turns at storytelling. The result is English literature's greatest collection of chivalric romances, bawdy tales, fables, legends, and other stories. The pilgrims -- noble, coarse, jolly, and pious -- offer a vibrant portrait of fourteenth-century English life. The Canterbury Tales reflects a society in transition, as a middle class began to emerge from England's feudal system. Craftsmen and laborers ride side by side with the gentry on the road to the shrine of St. Thomas a Becket, and their discussions and arguments about ethical issues mirror their changing world. The pilgrims' conversation and narratives also reveal their individual characters, and Chaucer's vivid, accurate portraits of human nature assured the Tales their enduring success. Each tale appears as a separate work that can be read and appreciated in its own right. Rich in metaphors drawn from the Bible and mythology and influenced by the great medieval masters Dante and Boccaccio, this immortal work appears here in a lucid translation into modern English verse.

FROM THE CRITICS

Publishers Weekly

Like Charles Lamb's edition of Shakespeare, Hastings's loose prose translation of seven of Chaucer's tales is more faithful to the work's plot than to the poet's language. This is not a prudish retelling (even the bawdy Miller's tale is included here) but the vigor of Chaucer's text is considerably tamed. In the original, the pilgrims possess unique voices, but here the tone is uniformly bookish. The colloquial speech of the storyteller is replaced by formal prose; for example, while Cohen (see review above) directly translates Chaucer's ``domb as a stoon'' as ``silent as stones,'' Hastings writes ``in solemn silence.'' Cartwright's startling paintings skillfully suggest the stylized flatness of a medieval canvas, but often without the accompanying richness of detail. Like Punch and Judy puppets, the faces and voices of these pilgrims are generally representative but lack the life and charm of the original text. Ages 10-up. (Oct.)

Library Journal

The old standby here gets its first facelift in more than 50 years. Librarian/author Ecker and scholar Crook translated Chaucer's Middle English into a more modern, more accesssible form. Large English literature collections should consider.

School Library Journal

Gr 5-9 These 13 rollicking interpretations take their inspiration from Chaucer but are freely adapted for young readers. Students will have to get the feel of original text elsewhere: the excellent A Taste of Chaucer (HBJ, 1964; o.p.) by Malcolmson, Farjeon's Tales from Chaucer (Branford, 1948; o.p.) and even the Hieatts' adapted selections from Canterbury Tales (Golden, 1961; o.p.), are long out of print. The emphasis here is on the pilgrims and their stories, and these, despite some shifts to avoid bawdiness, come off as rousingly good. In colorful style and language, McCaughrean creatively reconstructs and adds conversation, event and detail, in keeping with the medieval times, to stitch the tales together. ``Death's Murderers,'' McCaughrean's version of ``How the Three Found Death,'' is exceptionally stark and good. The collection is rounded off by having the pilgrims reach Canterbury, with a look to the return trip. A brief historical note is given on the endpapers. Ambrus' handsome portrait of Chaucer gives a nod to that of the Ellesmere manuscript, but his colorful paintings showing the other pilgrims and their tales are his exuberant own. This attractive volume is a good introduction to medieval stories for reluctant but able junior high readers. Ruth M. McConnell, San Antonio Pub . Lib .

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