David Wright (1) (1920–1994)
Autor(a) de The Canterbury Tales
Para outros autores com o nome David Wright, ver a página de desambiguação.
About the Author
Image credit: Photo from 1966 from the cover of Leeds University Student Magazine sixty-one
Obras por David Wright
The Penguin book of everyday verse : social and documentary poetry 1250-1916 (1976) — Editor — 12 exemplares
Moral Stories 2 exemplares
Poems 1 exemplar
The Mid Century: English Poetry 1940-60 1 exemplar
Associated Works
Etiquetado
Conhecimento Comum
- Nome legal
- Wright, David John Murray
- Data de nascimento
- 1920-02-23
- Data de falecimento
- 1994-08-28
- Sexo
- male
- Nacionalidade
- South Africa (birth)
UK - País (no mapa)
- UK
- Local de nascimento
- Johannesburg, South Africa
- Local de falecimento
- Waldron, East Sussex, England, UK
- Causa da morte
- cancer
- Locais de residência
- London, England, UK
Cornwall, England, UK
Braithwaite, Cumbria, UK - Educação
- Northampton School for the Deaf
Oxford University (Oriel College) (1942) - Ocupações
- poet
editor
biographer - Organizações
- Leeds University
Fatal error: Call to undefined function isLitsy() in /var/www/html/inc_magicDB.php on line 425- South African poet.
He edited Longer Contemporary Poems, the Penguin Book of English Romantic Verse. the Penguin Book Of Everyday Verse .
He wrote Deafness, Roy Campbell, David Wright: Poems and Versions, Moral Stories, Monologue of a Deaf Man, Adam at Evening, To the gods the Shades: New and Collected Poems, Metrical Observations, Selected Poems, Elegies.
He also co-wrote some books on Portugal.
Membros
Discussions
Folio Archives 323: The Canterbury Tales by Geoffrey Chaucer 1990 em Folio Society Devotees (Julho 2023)
LE Canterbury Tales em Folio Society Devotees (Junho 2023)
Críticas
Joseph Glaser's translation of Geoffrey Chaucer's The Canterbury Tales is wonderfully readable and entertaining. His translation makes the work easily accessible to modern readers providing a poetic rhythm and rhyme that hints of Chaucer's own poetry.
The Tales themselves range from the devout to the vulgarly humorous. Most delightful are the characters brought to life within the Tales.
The Tales themselves range from the devout to the vulgarly humorous. Most delightful are the characters brought to life within the Tales.
I'd say it's more like 3.5 stars, but we round up in my family.
Some great stuff and some duds, and that's perfectly fine. When I was really in the mood for this book, even a dud story didn't bother me because the feeling of the rhymes carried me along; it was almost like listening to music in a foreign language, pleasant for the sounds if not the content. The great stuff was a treat no matter my mood, and at times I actually gasped aloud in shock and delight at the raunchiness.
Some great stuff and some duds, and that's perfectly fine. When I was really in the mood for this book, even a dud story didn't bother me because the feeling of the rhymes carried me along; it was almost like listening to music in a foreign language, pleasant for the sounds if not the content. The great stuff was a treat no matter my mood, and at times I actually gasped aloud in shock and delight at the raunchiness.
1 
blueskygreentrees | 168 outras críticas | Jul 30, 2023 |
blueskygreentrees | 168 outras críticas | Jul 30, 2023 | Listas
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Prémios
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Associated Authors
Estatísticas
- Obras
- 21
- Also by
- 5
- Membros
- 22,682
- Popularidade
- #936
- Avaliação
- 3.8
- Críticas
- 173
- ISBN
- 677
- Línguas
- 23
edition: Broadview Editions, Second Edition, edited by Robert Boenig & Andrew Taylor (2012)
OPD: 1400
format: 503-page large paperback
acquired: April read: Dec 30, 2023 – Apr 27, 2024, time reading: 62:07, 7.4 mpp
rating: 5
genre/style: Middle English Poetry theme: Chaucer
locations: on the road from London to Canterbury
about the author: Chaucer (~1342 – October 25, 1400) was an English poet and civil servant.
Chaucer is tricky because he’s hard to read and his tales vary so much, they are hard to summarize or classify. There is a Boccaccio element to them, but it’s a very different experience. Like Boccaccio, one thing that stands out is Chaucer’s naughty stories – sex and farts and trickery, money and wealth often playing a central role. The plague also has a role. One of Chaucer's tales is about three youths who hunt for Death because he has killed so many, and tragically find what they’re looking for. But what makes Chaucer most stand out from Boccaccio are the tellers of the tales. In Boccaccio, the ten youths are all of a class and many of them blend together, hard to differentiate. Chaucer’s tale is a social mixture – good and bad, wealthy and common. They are each distinct, wonderfully distinct, so much so that they, the tellers, stand out way more in memory than the tales themselves. These characters come out in the story prologues and there is simply more creativity, more social commentary, more insight into this medieval world than anything the stories themselves can accomplish, no matter how good the stories are. The Merchant’s Tale, my favorite, includes many references and wonderful debate between Hades and Persephone, a battle of the sexes. But it doesn’t touch on the Wife of Bath’s 1000-line prologue on being a wife to five men and all the experiences and judgments and justifications within, it’s not even close. She’s the best, but the Miller comes in early, drunkenly inserting this tale of sex and fart jokes, and bringing the whole level of content down. The Miller says, "I wol now quite the Knightes tale!" The knight has just told a more proper Boccaccio-inspired tale. By "quiting", the Miller means he his giving him some payback, getting back at him. (His tale has thematic consistency, but with common characters, farts and sex.) And the Cook’s tale is so awfully improper that it hasn’t been preserved, or maybe Chaucer only wrote 50 lines. Later, the Cook will throw up and fall off his horse. The Canon’s Yeoman exposes his own canon’s alchemy and trickery, getting fired on the spot before he tells his tale. This is all quite terrific stuff in and of itself, a rowdy uncontrolled mixture of societal levels, and mostly humorous confrontations (notably in a post-plague era of social mobility).
The other thing Chaucer does that Boccaccio doesn’t do in the Decameron, is write in verse. This is special all by itself. If you have read excerpts of Chaucer, there's a fair chance that like me you have been bewildered by it. It’s a weird language, oddly drawn out, then oddly compressed, obscuring the meaning, jamming in a weird accent. It doesn't make for great quotes or easy visits. But if you get deep into it, focus hard on it, something happens. It becomes magical, inimical, and lush in sound and freedom, the random inconsistent spelling as beautiful as the random inconsistent and sometimes heavily obscured phrasing. It also becomes recognizable. The more you read it, the more sense it makes. Although I was never able to scan it. Show me a page of Chaucer, and I’m immediately lost in indecipherable letters. I have to begin to read it and find the flow before it comes to life.
I find it interesting, but not inappropriate, that when Chaucer is discussed, it’s almost always his opening lines that are quoted - Whan that Aprill with hise shoures soote/The droghte of March had perced to the roote/And bathed every veyne in swich liquor/Of which vertu engendered is the flour What’s interesting is that Chaucer really doesn’t write that beautifully anywhere else. His language is generally much tamer and less trying, the rhythm more casual.
Last year I read [Troilus and Criseyde] and was enraptured in the language. There is no question the language there is better than here. And is drawn out, as he stays with long monologues that go pages and pages, the reader lost in the rhythms. This here is just not quite like that. Yes, he gets carried away a lot. But it’s always a little jerky and bumpy. There are monologues, but these are story telling monologues, with quick-ish plots. While I liked staying in the Merchant’s Tale, the writing clearly elevated and interesting, it was not the same. But T&C is both made and limited by its singular story. The Canterbury Tales expands on its cacophony of voices. The stories for me actually fade. But the prologues leave such lush impressions, they are somehow so real, and charming and Discworld-ish, and uncontained. It’s a much more powerful thing in my head.
As many know, I read this every morning beginning with April’s shoures soote on January 1. And, with the exception of the prose tales, the Tale of Melibee and The Pardoner’s Tale, it was always the best part of my day. The same could be said for T&C last year. I’ll miss being lost in this. A really special experience, and special gift to English speakers and the language's history.
2024
https://www.librarything.com/topic/360386#8521275… (mais)