This new Blackstone recording of "Canterbury Tales" is wonderful and at times enthralling -- and also at times laugh-out-loud funny. Like the Charlton Griffin recording (also available here), it's the whole ball of wax: every tale, including the often-omitted Tale of Melibee and the Parson's Tale (which is really a three-hour sermon rather than a tale. Listen to it. It's good for the digestion, and quite a bit more interesting than it sounds). This translation, by J.U. Nicholson, uses a more old-fashioned vocabulary in places than the Coghill translation used by Griffin; but at the same time, it's also saltier. There are few crude names for parts or functions of the human body that Chaucer fails to use at one point or another, and most of them find their way into this recording. (For me, that's a GOOD thing!) One notable feature is that this is a multi-voice recording. Martin Jarvis is Chaucer, Ralph Cosham the Lawyer, Simon Vance the Squire; and that's only a few examples. Both this version and Griffin's version are five-star recordings in my book. Griffin's has occasional music, which this one lacks; on the other hand, this one has greater variety of tone and voice.
I've always loved W.H.D. Rouse's prose translations of Homer. They've been available on Audible for years in an older recording by Nadia May. Blackstone has just reissued them in new readings by Anthony Heald, and they're wonderful. Heald is fast becoming one of my favorite readers. His fast-paced, emotionally-charged style is perfectly suited to the breezy rhythms of Rouse's prose. There are other more poetic translations and readings of The Iliad and The Odyssey, but to my mind these are by far the best prose versions -- especially appropriate if your goal is to be immersed in the story rather than the language.
There are some things about Rouse's style you should be aware of, though. Mostly these are reflections of Homer's style, but some translators smooth it over; Rouse does not. Zeus is sometimes referred to Cronides, Cronion, or just plain God. Other characters are referred to sometimes by their names, sometimes by their patronymics (Agamemnon is Atreides, the son of Atreus; Achilles is Peleides, the son of Peleus). Sometimes, as in Cronides/Cronion, those patronymics have more than one form. In addition, Rouse often uses the word "good" to indicate an in-law relationship: a "good-sister" is actually a sister-in-law; a "good-father" is a father-in-law. To me this is part of the charm of the translation, but if you're not prepared for it, it can be confusing.
I try very hard not to write a review till I've listened to the whole thing. But I have to make an exception for this one. So far I've listened to The Inferno; but since I've already read the translation itself in its entirety, I'm going to stick my neck out.
This is brilliant. I'm in Heaven, so to speak. Clive James has created an unusual but consistently effective translation: rather than trying to reproduce Dante's terza rima, he plays to his own strengths by translating into quatrains, a verse form at which he is particularly adept. The result is a subtle but ever-present drumbeat of rhyme. There are better versions of individual passages in other translations, but I've never read one where the whole thing hangs together and flows together so smoothly.
James also adds clarifying phrases here and there throughout the translation to reduce the need for footnotes. (A good thing: the printed book doesn't have any.)
These clarifying phrases are not as extensive as those in the Audiobook Contractors version, read by Grover Gardner; but they serve the purpose, and they make it possible to listen without constantly feeling the need to look things up.
The result is a translation that demands to be read aloud. Edoardo Ballerini does a terrific job with the narration, capturing the Pilgrim's sense of wonder and letting the poetry unfold in its own effortless way. Ballerini is one of those narrators who conveys dialogue by suggestion rather than outright imitation of different voices. But the voices are there anyway, partly because of Dante's skill and partly because Clive James does such a good job conveying them. When passion is called for, Ballerini gives voice to passion; likewise when the speaker is giving voice to shame, anger, or pride.
Get it. Listen to it. Enjoy it. Learn from it. Treasure it.
Caveat: I've read the Comedy several times, in several different translations, with several different sets of footnotes. I couldn't claim to be a master of the allusions in the poem, but I'm comfortable with them. (When the wind is southerly I can tell a Guelf from a Ghibelline.) As such, it's hard for me to imagine the viewpoint of someone coming to this material for the first time. I THINK this would be anyone's ideal introduction to Dante, and I hope first time listeners will tackle this version and leave their reactions.
For myself, all I can say is that it will be a cold day in Hell (so to speak) before I re-read, or re-listen, to this masterpiece in any other format. There is no question in my mind that this is hands down the best audiobook version of Dante's masterpiece available.
Audiobooks have literally changed my life. I now actually ENJOY doing mindless chores because they give me plenty of listening time!
Walter Hartright, a young art teacher, is startled when he is overtaken by a young woman dressed entirely in white while walking on the road from Hampstead to London. Visibly distressed, the young woman begs him to show her the way to London, and he offers to accompany her there. The young woman accepts his offer on the condition that he allow her to come and go as she pleases. Once he's dropped her off in London, two men in hot pursuit claim that the girl has escaped a mental asylum and must be returned there at once, but Walter does nothing to help them in their search. The next day he arrives at Limmeridge House, where he has gained a position as a drawing master. There he meets his young pupils, half sisters Marian and Laura. In no time at all, her befriends Marian—no great beauty is she, but quick, smart and amusing—and falls desperately in love with the heavenly loveliness that is Laura. But the encounter with the woman in white will carry many consequences.
I took absolute delight in discovering all the plot twists of this great classic mystery, so will disclose no more of the story nor of how it is told, but will say that it offers a wonderfully evil conspiracy and several highly memorable characters, not least of which the strange and compelling villain Count Fosco, who stole every scene in which he appeared, in my view. Also, the sublimely selfish Frederick Fairlie is one of the most memorable invalids I have ever encountered in a work of fiction. I must say that this version, narrated by Simon Prebble and Josephine Bailey, greatly increased my enjoyment of the tale, with wonderfully rendered characters. Now that I've listened to it and that there are no more secrets for me to discover, I still look forward to listening to it again for a fun romp with highly colourful characters and plenty of Gothic frissons.