ENG404 -- Chaucer: The Canterbury Tales

Prof. Eileen Joy (Fall 2003)

Translation Exercise

For this assignment, I would like for you to select a short passage from The Canterbury Tales and render it into what might be termed a modern verse translation. In order for this to work, you need to choose a passage that you think is particularly poetic and would therefore give you the most ample opportunities for creativity. Prose passages, therefore, such as those found in, say, The Tale of Melibee or The Parson's Tale, are not appropriate. And even within the tales that are written in a poetic style, some poetic forms are more conducive than others to verse translation-- I would argue, for example, that the often rough and "low" vernacular style of The Miller's Tale is not as conducive to a modern verse translation as the elevated lines of, say, Arcite's and Palamon's speeches in the first part of The Knight's Tale (which is not to say it can't be done--only that it is a more challenging task). The key here is to choose a passage (of at least 30 lines) that meets the following criteria (in your opinion):

• the passage could stand alone as a complete poemthe images and/or emotions of the passage are striking
• the language of the passage is richly poetic (is full of interesting and unique metaphors and similes, and also possesses what you see as interesting sound, tone, and metrical qualities)

In order to have some understanding of the differences between a literal and a poetic translation, consider the following examples:The Knight's Tale (part III, lines 2453-69--Saturn's speech to Venus)Larry Benson's interlinear (literal) translation:

2453        "My deere doghter Venus," quod Saturne,
                   "My dear daughter Venus," said Saturn,
2454        "My cours, that hath so wyde for to turne,
                   "My orbit, that has so wide (a course) to turn,
2455        Hath moore power than woot any man.
                   Has more power than any man knows.
2456        Myn is the drenchyng in the see so wan;
                   Mine is the drowning in the sea so dark;
2457        Myn is the prison in the derke cote;
                   Mine is the imprisonment in the dark cell;
2458        Myn is the stranglyng and hangyng by the throte,
                   Mine is the killing and hanging by the throat,
2459        The murmure and the cherles rebellyng,
                   The murmur (of discontent) and the churls' rebelling,
2460        The groynynge, and the pryvee empoysonyng;
                   The grumbling, and the secret poisoning;
2461        I do vengeance and pleyn correccioun,
                   I exact vengeance and do full punishment,
2462        Whil I dwelle in the signe of the leoun.
                   While I dwell in the (zodiacal) sign of the lion.
2463        Myn is the ruyne of the hye halles,
                   Mine is the ruin of the high halls,
2464        The fallynge of the toures and of the walles
                   The falling of the towers and of the walls
2465        Upon the mynour or the carpenter.
                   Upon the miner or the carpenter.
2466        I slow Sampsoun, shakynge the piler;
                   I slew Sampson, shaking the pillar;
2467        And myne be the maladyes colde,
                   And mine are the cold maladies,
2468        The derke tresons, and the castes olde;
                   The dark treasons, and the old plots;
2469        My lookyng is the fader of pestilence.
                   My (astrological) aspect is the father of pestilence.

Modern verse translation (Neville Coghill, 1952):

"My dearest daughter Venus," said old Saturn,
"My heavenly orbit marks so wide a pattern,
It has power more than anyone can know;
In the wan sea I drown and overthrow,
Mine is the prisoner in the darkling pit,
Mine are both neck and noose that strangles it,
Mine the rebellion of the serfs astir,
The murmurings, the privy poisoner;
And I do vengeance, I send punishment,
And when I am in Leo it is sent.
Mine is the ruin of the lofty hall,
The falling down of tower and of wall
On carpenter and mason, I their killer.
Twas I slew Samson when he shook the pillar;
Mine are the maladies that kill with cold,
The dark deceits, the stratagems of old;
A look from me will father pestilence."

When rendering Middle English poetry into modern verse, obviously something--of both sound and sense--will be lost, but it is your challenge to try to retain as much of the original "sound and sense" as possible, while also creating something "new" that is poetic in its own right (it can stand on its own without dependence upon the original for sense or meaning). You will note that the translator above chose to retain the rhyming couplets and, where possible, the iambic pentameter of Chaucer's original, but you may choose to alter the versification somewhat (you don't absolutely have to retain a rhyme scheme, for example, although it can be fun, and challenging, to try and make that work). Note also some of the places where Coghill inserted something entirely new: "I their killer" at line 2465, for example. What's ultimately important is that your version should qualify as modern verse, but ultimately, the form is up to you. And because the translation is to be "modern," avoid antiquated language (however great the temptation may be to include it). A "modern verse" translation, by the way, is one in which the poet-translator is aiming for a style and sound that would strike our ears as "contemporary," even though the original poetry might be pre-modern.The only aids allowed for your translation are the glossary and explanatory notes in Benson's edition, the interlinear translations available on Benson's Chaucer website, and Norman Davis's A Chaucer Glossary (available on Reserve at the Circulation Desk in Lovejoy Library). While you may consult modern verse translations available in the library, I do not want you to be overly dependent upon those as they may hamper your ability to craft something uniquely your own.

Translation Exercise Due: Thursday, Nov. 20