I grew up on Golden Age Radio, and while I love to read, I typically consume more books via audio thanks to a job that lets me listen while I work. As an aspiring writer, I try to read a great deal of non-fiction in addition to a variety of fictional genres. I especially love history, historical fiction, science fiction, fantasy, and old-style gothic horror.
The Canterbury Tales has withstood the test of time because within them, Chaucer paints character portraits of the kinds of people he met in his time. I have read both modern translations and translations that are closer to Chaucer's original, keeping in mind that English was a foreign language back then compared to anything we understand now. It's the kind of thing that makes Shakespeare far easier to understand. In fact, I had the same problem with Shakespeare and Chaucer both back in school in that I felt like I was missing a vital ingredient in truly being able to understand and appreciate them.
While it took some time to get through this because I was constantly comparing the audio with the printed versions I have, I found that the extra time was well spent. I have a love for the printed word, but I tend to learn and retain information better through audio. As much as I hate to admit it, reading something like this is more akin to literary scholarship than it is reading an anthology of short stories as it might have been in Chaucer's day. I found this audio version to be of immense value in that I could hear the stories perhaps as Chaucer himself might have told them to other people that he met along the way. The character studies become people, even if they are perhaps exaggerated here and there, and that sort of thing helps to bring both this work - and the history of the time in which it was written - to vibrant life. And now that my appreciation has grown enough to catch up to my curiosity, I can truly say that I understand now that it's not simply the age of the work that makes The Canterbury Tales the classics they are. It's the character studies and the stories that make them the classics they are.
As with any translation, there is the risk of potentially losing something. Advanced scholars might be more inclined to try the original versions after hearing this. As it is, maybe it's the style, but it seemed to me pretty close. Most of what I didn't translate well for me was more a case of not understanding some of the vocabulary of the age, which is why I kept comparing the printed texts; I had to keep looking things up as some things that were common in Chaucer's time simply do not exist in ours. Again, well worth it, I think, though I understand most won't take that kind of time or effort. Audio will probably help considerably. There's something about hearing things in context that help a reader to fill in the gaps. If you love old literature, or if you have a fascination with the Middle Ages as I do, this is positively a must-read, for through the arts we better understand our histories.
One of the separation points I have when reading classical poetry is that it's just not the same when reading to yourself. Poetry of this caliber demands a performance. From Homer to Shakespeare and beyond, epic poetry requires the performance from a master with a strong voice to get the drama across on a higher level. Charlton Griffin delivers that punch, catapulting the listener through some of the best epic poetry ever offered in this planet's history.
For those who only think they know the story, and especially for those who seem to think of Paradise Lost as merely "Biblical fanfic," I would invite those people to spend some time in the mind of the literary genius of Milton through this work. And as a bonus, you get the sequel for free, as well as a 2-hour bio of Milton so as to place these works in the historical and spiritual contexts in which they were written - a time of ecclesiastical upheaval. Getting the proper perspective makes all the difference when understanding and appreciating a work like this.
The translator's introduction is invaluable for getting across the exact point of what this version is all about. The medieval version of this poem is alliterated, and rather than directly translate the words to modern English for the sake of the story, liberties have been taken to recreate the poetry of the alliteration and verse meter while. The story is therefore a more liberal translation, but serves quite well on that point for those seeking poetry over linguistics.
There are a number of versions of this tale told throughout the ages, and much like with any legend from the Arthurian lineup, I find myself seeking out multiple versions to compare and contrast how they've evolved. As I am not well-versed in medieval English, I find this translation to be welcome for it's preservation of the poetic form. I've read a number of prose translations over the years, and much like with The Iliad and The Odyssey, I feel like I've come closer to appreciating the poet's original intent when presented with a version such as this where the poetry itself takes center stage. It's made that much more so when the translator, via the narrator, connects this story backwards from Arthur's Briton to the fall of Troy.
The narrator reminds of me of a historian you might see on PBS. He sounds scholarly enough to get the point across that he's the surrogate for the translator, but at the same time he offers a quiet dignity to the tale itself, calling the listener back to the original poet, perhaps reciting his work around a campfire to a cadre of soldiers. All in all, a superb rendition, one that any medievalist or Arthurian enthusiast should seek out.