December 9, 2020 • 46 mins
In this BodCast from the Friends of the Bodleian, Professor Dame Marina Warner interviews Anne Louise Avery, writer and art historian, on the subject of Avery's recent book, Reynard the Fox https://bodleianshop.co.uk/products/reynard-the-fox Based on William Caxton's bestselling 1481 English translation of the Middle Dutch, but expanded with new interpretations, innovative language and characterisation, this edition is an imaginative retelling of the Reynard story. With its themes of protest, resistance and duplicity fronted by a personable, anti-heroic Fox making his way in a dangerous and cruel world, this gripping tale is as relevant and controversial today as it was in the fifteenth century.
Reynard the Fox is available to purchase at [http://www.bodleianshop.co.uk
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(00:01):
Welcome this bud.
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You can join the friends today online visit. Bob Lindop at the U.K., Spanish Princess Wardian or Ivan.
(00:27):
Renowned fox is a mediaeval charmer. An anti-hero, a rascal, a scallywag.
Like Odysseus police. A justice of the many wilds, Rainard is a trickster.
He also embodies storytelling itself, its exuberance and fertility and danger.
(00:47):
As I Zabbaleen rate, the Fox knows many things and watching this year is not extricate himself from the consequence of his own misdeeds.
Again and again, the very last minute, rather like Sheherazade in this puzzle.
And one night Rennard has his wits and his silver tongue as his weapon against the abuses and threats of Supreme.
(01:11):
His adventures are also interwoven in this chain of story. Several of them from an even older narrative tradition of animal fables.
St1 tales and classical parable.
So Rennard has found it Ann-Louise, every most lively match, a retelling sparkles on every page it takes as its starting point.
(01:34):
William Claxton's prose translation of the 14 81, which was a hugely popular stories like when it was based on a satire 200 years earlier,
Gold ran all the books imposed by the London Boogaloo again.
But Vilhelm was himself drawing on more ancient material about the cunning escapades of the Fox News arch enemy.
(01:56):
It's a grim war. The cast of characters is large and highly coloured and very lively in the back.
It's Ingram, the will lady Emmeline. So Reynolds, why are they all contribute to Louise's vivid portrait of a mediaeval war, which in turn,
perhaps especially now speaks to political plotting and disgraceful deals anywhere at any time?
(02:23):
In the tradition of animal fables, this comic was a parody of mediaeval chivalry.
And at the same time, an original series of wonderfully funny episodes, which Ann-Louise relates with ingenuity and horrific spirit.
Louise, how did you come across this mediaeval work and what attracted you to this great work?
(02:45):
The great task of rendering it in a new contemporary version?
Well, I'd known the health of rainout since I was quite little little girl.
My my father, who with. Left and the right.
The his name was Rono. And he used to tell me when I was little, but he was bright these things he said his name with with the populace and.
(03:08):
And he was very much like rain on that land. And some of the rain out in my lip.
So I knew about rain, not from being little. And I, I knew a few stories about, you know, isn't there anything else in the eye and the bucket.
And then they're going up and down in the well that I had this bit of background knowledge.
(03:28):
But it was when I started looking and working with a couple of Anglo-Dutch academic.
I had a staff from the University of Bristol and who would leap out and we put working on an put
that Fulda both in and put that about Anglo's that little big change in the mediaeval period.
(03:55):
And it was out the back that we hoped it wouldn't be nice.
The Ricoh with health, the brain. And initially it was going to be a children's.
But when I started looking at and then I began by myself.
But. A great big a fan and a great big investigator and intensive.
(04:20):
We selling it. It was more than that, a alibi about having a triple income.
Oh, well, though I found that I wrote and write and write.
And initially I was right about the 5000. What Nick grew and grew to embrace the aura of everyone, both and I think still a delight.
(04:45):
Instead, it was about one hundred and forty thousand. What I mean, we cut it down a bit, but.
Yeah. Runout. As so many facts that the story and the character that it is, you know it.
And so are more than one manuscript, I think more than one billion.
(05:06):
Right. Yeah. Yes. Thank you. There's the an early one.
And without any illustration, which I look at.
But there's one and there are a couple more. But the one I really absolutely adored was one from I think 16, 20.
That was then the No. Robert Burton, who wrote The Anatomy of Melancholy both.
(05:31):
And he thought his binz of ghostlike and it on the.
Hey. Oh, Bebe. And you can see that, Mama. Some of the funny bit.
In the in the volumes,
I like to think I'm reading it and I'm thinking someone who's having a bad day when he was overwhelmed by the lack of breathing.
(05:51):
Is your brain out there and staring? It is marvellous.
You've actually this this idea that it's so many pages is because you've expanded it.
Yeah. I would say it was cornu bizarre that you feathered and pushed the original.
That's right. And um. And what. So tell us a little bit about the process then.
(06:16):
Well for the reader on the way. Yes. So I, I, I had a copy of then and as I was once I translated I said when I went through it very slowly,
I looked at all the language in the story and I.
Am I right? Translate that. But then I embroider it.
So for example, the bird in the back is painful and with free rein on it and bring him back.
(06:44):
And then. Then it's the bath the paragraph is in. Had done it it in the paragraph.
Ruin the ball. It goes up hill. It's a bit of a slow the rain.
And I expand it back into. Danny where Bruin is is eating in USA.
And that means terrible trouble. And this brother done it.
(07:09):
It didn't get in trouble. And he was absolutely terrified right now on heathy.
Or is where there really aren't any. And so it banned very much that.
So that's kind of basic expansion, writing and writing more about something that's already there.
And then I also put in it. But I haven't been there before.
(07:31):
Including the parrot. So there's that.
There's one parrot with them. We're in great uncle. And I put them in and he sort of up a bit like think about set all over the place.
You know, people are suddenly talking about doing in some being but an in orbital, you know, one in the loop.
(07:54):
And I think that that was quite a neat thing that they. Would you like to read a passage that gives a sense, a sense of what this that this path is?
This is a grim bought the bad. He's run out back. Friends just manage to get wait.
And finally I run up. You really can't hang around anymore and face the music.
(08:19):
And they've spent a long night walking across lawns from a group amongst that again.
And this is when they're entering the city again together right now.
A bit nervous because the United States is in terrible danger.
That really. Ray, not in green, but across the river led by the Booton.
(08:40):
It was the day of the Berrima and the. Everyone's so bad at the book is and reputation spread far and wide.
Some of his old old back in hard, the acid returned. By this point, Poeppel with the visceral thrill of entering the evening thinking noise,
the glory of his tape whirling around in like Robin Hood, the outlaw badlands.
(09:03):
Look, he's right it and boom through the sweet back flapping Brett waving hi.
Winking at the ladies, exchanging Pocklington seat with the soap.
But again. By the time the pair had reached the mike right now, Tom had thoroughly but with the crowd.
It began with those noby groundlings up at the house. They got it all wrong.
(09:24):
How could such a witty and unpretentious book be a murder?
By contrast, when it was best known in the quote, that rainout finally been brought to justice by his old friend Grimm.
But there was none. So all night, no so lacking in pain or friends.
They didn't ready themselves to make an accusation and what they used,
but growing even longer than those that were making out of the main hall and into the courtyard.
(09:49):
I know that you actually travelled. Thank you. That was one. I know that you travelled quite a bit.
I mean, you won the local colour in that passage. You just read your book is full of marvellous invocations of landscape.
Yes. I found it was very important. It goes to flounder.
In fact, they see all the old fights that were associated with Ray not or with with his authors is early Flemish authors.
(10:15):
So I stayed in. Then I based myself again and have a friend in polls who who work on tourism in the area and ran out to eat at the motel.
But no significant person.
He pointed me in a few different things that I made quite a comprehensive map of all the different sites and visited them the more.
(10:38):
And that I got a sense of how long it would take.
War again, the Rupel on, you know, about that mouth, say, and how you know how it felt in in a moment where I base ran.
Oh, well, you know what it felt like to be by the River Delta and and how far you go and put the B or B and all these things
(11:01):
that you cannot get unless you at the visit somewhere and you're actually there walking around in the landscape.
And I also found I that myself, the task of finding the right not claims he buried the incredible pressure and
the secret ignoble with and actually describe and quite a lot of detail in ink.
(11:24):
And, you know, you can actually actually watch that where it was with my friend Paul.
I visited this, brought the lonely wood on the bulletin board and and it was like back the.
It was dry and in in the earlier let me I I am right.
And I was quite upset. At one point.
(11:49):
Yeah. I mean, look at the landscape as you have. It is quite eerie.
I mean at times it reminded me a little bit of us of Tolkien's Lord of the Rings where you get the first world wars,
landscapes sort of put it through. Yeah.
To the landscape, the imaginary landscape of his book.
(12:13):
Did you feel. I mean, how how does it map onto the post-World War II?
Yes. This quake, though, it it's slightly further. Well, the Second World War is there are obviously very huge battles on the river.
But there is that. But it's the first photos by the south.
And actually, there's one story and not where I ran out.
(12:36):
And it's been brimming and a man and a bold and ran up and this thing happening, you know, in the face by the man.
And this takes place in a wood, which just just to eat of eat in in a valiant salian and right in the centre of where first world battles, battles.
(13:02):
And that began. You can pinpoint almost the exact wood where the ran out or think take it back.
But I think that was the front line and maybe a paper 1970 ran directly where the story takes place.
And then what? That now you know that memorial to the First World War.
(13:22):
But there's also a set of rain on the EU and bullet link and interlocked and that
sort of there's a kind of ghostly conversation almost going on between the two.
So both. You know, the historical event and the story is so, you know, rooted in the same landscape that they do,
(13:45):
they do brothy other Nevine thing and moving way, I think is that statue 19th century to a 20th century thing.
And do you think that in a way embodies something of the current spirit, of the art of the world?
It's a total amount of money. I'm not lately, though, Renyard is is from eastern Bompas, a place called the War Land,
(14:13):
which means that it's difficult to translate, but it's not expensive of of of MA in the book,
a bit like hope in sort of month that MA is almost but slightly the feel of the spirit even amidst and and the WASP land it even that they are very,
(14:33):
very proud of brain. They feel that he's is here.
The people who fight the fight for the mall and overlook the disempowered understands that the authority understands that, you know,
the kind of big guys, the brothels or old men, and that you know those that have been nationalistic and then say, you know, with Reynaud.
(14:59):
But basically he he is. He's. One of the most beloved figures in that area.
And there you see him everywhere, every little village as the as the we ran out will ruin.
It's been grim. And then in St. Nicholas, which is the main town of the war plan, they have the mock debate as the next eight.
(15:24):
And they ran out by eight. You know, I.
But a lot of wonderful. In your book is Delicious Recipes.
Yes. Well, do you think? Important, really?
(15:44):
Well, is there on several levels. I mean, food is important in reaching and mediæval in the mediæval.
And in the Flemyng on. But also, there's this dude running through about animals.
Basically, their main motive in life is food. And this is really rainout.
(16:05):
Every murder it is really because the eating, you know, eating his chickens or his Ethan.
And there's the whole parable of the man, the young man, and the third, which is about,
you know, whether or not the serpent has the right to bite the young man because he's hungry.
And how important is food is the driving factor is the mitigating factor in in people under an animal?
(16:30):
No, that was that was an important bit. But I also feel that food was was the shows, the richness, the mediaeval coat.
Yeah. And also bread. I mean, there's a lot of sort of oriental spices.
Oh yes. Yes. That's right. Yes. And ran. And I, I wanted to describe I wanted to expand on on a moped.
(16:54):
It is because his path is open. It is, you know, a couple of root or or a hold in the ground.
But I wanted to build it into something more and for this rather wonderful place that was rather happy and make and bits falling down.
But it was that it was the home his own and. Yes.
(17:14):
That's the right room in his own right.
And I wanted it. Yeah. All the way through. In fact, I want to sort of link.
Let me put the whole wide world renowned.
Why Emmeline, for example, who I've been alone at this place, is enormously translating Arabic at.
(17:41):
And and right now, when he's spoken by his father, who he says was that was that a trained physician who trained in Montpellier, a runoff.
He was an expert in Arabic med, you know. So there's this, you know, the.
As this constant reminder that, you know, the Arabic while white well, and it's been an hour and much bigger than we.
(18:09):
Think that you mentioned that Marine who is Reynolds to introduce or expanded some wonderful female character?
I felt good remedy it a tendency in such materials was misogyny to you somehow.
Would you redress this balance with some wonderful. But tell us a little bit about that.
(18:32):
Well, there was the queen. The the queen. Again, we were talking about Nancy.
I mean, I'm not entirely, I think in in a way, B zone.
But she she has more about. Borate is up and she's not even named.
I think then I found a name and some other.
(18:56):
And I give her a great interest in fishing, though she's always going off and wants to spend the day fishing in the in the River Leel Hotel.
And he also has the back story coming from Ballou's, coming from south.
From having a brother. And it's just expanding these these female lives so that they can return more.
(19:22):
Profound. Britney, Emmeline, as we thought.
B beep b, b. Business as the sort of pragmatic figure in then is worrying about.
Thought I might be put the ball in buying rain, not rain, not in nice, but I wanted to make her into her own, her own folks in her own right.
(19:44):
Who's also invested in language and as much as Bryner.
But in a different way, the rainout, like the Bilandic, used this language, Bambrick allow things, but Emmeline is fascinated by emplacing language.
So I sort of Planned Parenthood, the symbol of what I was doing in many way,
(20:04):
trying to translate from an old one from what we've been told was a translation of an earlier Lemmie prose, but with translation of a limit.
Oh. And it goes back and back and back it up with all these different places.
So aniline think a lot about how to translate the ethics a little bit.
(20:25):
And it's about the translation process, about, you know, the dump language, the language dumping over the past them and how deep it at them.
And you need that. You need to move that over.
So there's no you can't be a cop or is take a dump from one language or another and change aspects of meaning or a band a story as I've done.
(20:49):
The language is extraordinarily rich, and you've decided to, I think, follow that.
Here is a translation. We believe in keeping the strangeness to some extent.
Yeah. Yeah. Absolutely. And I wanted to keep a lot of the Anglet that word.
I thought that was that was important. Then it wasn't laziness or anything.
(21:13):
He he had lived so long in the low end that he was and he wasn't.
I think it was more. You know, Klemet really in a sense that he was English and he was content, but he he often said that, you know,
people some people you Lincoln was some I couldn't understand what people setting because they were so.
Yeah. The language is so different. Anyway, the accent in a locked word in a very interesting way later on.
(21:42):
William, when William Morris up there is Burton of. Right. Not being at the at the end, but something like this is a very strange word.
And so I want to Geissman I wanted to use my own made up.
What. And I used one, you know, we use them mediæval was that maybe fallen out of favour, you know, re and write them.
(22:08):
You do. You've got a very fascinating glossary. Yes.
And the wonderful mixture mean to all of the speaking is the name of someone was born.
Just looking at the beginning of it. Yeah. Then you have Bob Creel and an old Belgian breed, bearded bantam chicken, first bred in the village.
(22:34):
So it's a very wide span with this sort of glossary that ranges from old and antique and a newfangled and.
Yes, thundering I had a lot of fun and I put Lady Hamlyn BlackBerry, so that's again.
And I think her thing, my and my character in the book, if you like.
(22:56):
And I like the idea of being almost like a happiness, curiosity, really a linguistic happiness.
Here you go. And also as representing something that meant that anyone could read the book.
So if you're looking for and you know what I mean, you look in the back and there is.
You know, it's easy to read in that and every possible problem in an understanding in the background to open up something like that.
(23:29):
And there is this bit of an accessibility segment as well.
So I think it's wonderful.
And, you know, there's have been a lot of discussion about how children don't know the word primrose anymore or the word willow.
Yeah, I did contact with was in the situation there in.
(23:52):
Yeah. Probably exacerbated now very seriously. So this is a way I think it's a wonderful way of expanding the pleasures of noticing the world.
Yeah. Well, in fact I noticed that by putting in what made up.
There's sometimes, you know, if there was something happening in the in the narrative.
(24:13):
I don't know, maybe it was feeling fear I might put in my own made up or word or onomatopoeia.
What convey that fear. And that also meant that it was almost like the animals had their own language in a very powerful way.
(24:34):
And the sense of them being separate from the human world, if inhabiting their own faith conveyed.
I hope through that language. And I was that night in that you just read, not bothered about what it means, but you get the sense of it.
I think I put something like, you know, when you're sitting in a front and you, you know,
quite a lot of the language, you're sitting in a cafe and you can pretty much almost bang you in a conversation.
(25:01):
But you know why? But with a feeling like it was a pen.
It's a pertschuk. Did you say you mentioned illustration.
You use repetition and you use quotes. Mm hmm. I mean, I think it's poetic prose.
Yeah. I wrote to comic narrative for 30.
(25:24):
Yeah. I love the repetition. Right.
Not like you. Well, the the the drag is the audience and it's been the recorded that that would lead one of to your second reading.
Do do read that. Yeah. So right now this is the middle of the night where the man writes the weapon.
(25:50):
Right. Not that they've actually read. It's a pair of Gallow right now.
And he's really done. This is his last chance. Rick, last but keeping on.
And it's about the moment when he suddenly sees how he can get out of it without.
King Nobile, the Lions back down heavily on the hanging back from adopting his crown,
(26:13):
was slipping on his wet mane, uncommanded eat them still and let the rain not tell his story without fear.
Still trembling slightly, right, not, but bent on end and freefall,
Weightman the thrill that came not during his many long eight friends, winning a story, weaving through an open.
(26:35):
But in the fragmentary moment before in the ed time that it paid and the sudden
infernal vision of the right path to follow perfectly revealed in the map,
untangling and weaving of his various possibilities.
And so they formed the perfectly woven, bright, graphic landscape of suit and relate before him.
(26:58):
Then that rain on backing from the defence story, one more painting, his luck changing the old wrote the post unit ranking around.
One more. B, you now or Bill. This is the King's.
Well, an article openly tell you that beaten and I will find no one who might know that my heart be ripped out in the telling.
(27:20):
Well, I think, yeah, in that passage, the animals are being used, dramatised.
Yeah. And this whole tradition to represent very present reality.
And I wondered what what how do you feel this?
I mean, a sense it's Spike. It's fallen out of fashion or favour in the last hundred years, I say.
(27:43):
But do you think it's coming back? This is populism, this idea of writing with these symbolic tropes and very entertaining allegory method.
I think so. I think I think rainout in particular has always been you.
It's always been you represent the people rising up against the oppressors or that that this empowered against that in ours.
(28:15):
He's always been popular during periods of war or death of the war when people are exhausted with an hour.
So I'm an important one. But of the the wars of the roses, every in King's shifting and changing and old, that is the bloodline.
(28:35):
And then that, you know, it's all the way through the at the end of the intent and the and the thinking and that he's the fella.
And then I'm in the seventy nine. He's got a youth in the middle of the French Revolutionary War and in a really awful battle that is going nowhere.
(28:59):
He he's in the end. And then firing everywhere.
And he picks up a book right now, stop reading it and start roaring with laughter and thinking to himself, my god, this book is absolutely modern.
He read everything going on. That story, you know, ran out some.
Is that is the fault for, you know, the Enlightenment? There he goes in sounds like and south.
(29:27):
And then again, you know, now coming out of the narrative, the.
Is the relevant people? I mean, people have read this and and they they cannot.
I mean, I thought so. And it reminds me from Paul back that, you know, are you thinking about Brexit there?
(29:50):
And I mean, I'm not actually. But but, you know,
it's so insightful and the problems than the idea of lying and and which narrative is the true narrative and fake news then and all those.
Hireable only that nationalism. Everything is in the.
(30:14):
Yes, he's he's he speaks, doesn't he? So what we've got is ourselves.
I mean, we don't identify so much with King Bull. No. Oh.
Or isn't grim. But then at the same time, he is a rascal, isn't he?
I mean, you thought he's absolutely honest and unscripted and mendacious.
So what can you. I mean, can you think a little bit or as about the appeal of this and the disjunction, the kind of way it doesn't quite fit?
(30:44):
I mean, I can see King Nogo and Bruin as the villains of some despotic regime.
Very, very, very releasing to the to be able to laugh.
But at the same time, why do I like Reynaud so much when I did like devious, unscrupulous politicians?
(31:07):
Well, I think I think one of the aspects of rainout Victorian academic.
I like it, but I quite in my, um. And it does.
And it is not that we know about about him. He is absolutely.
He is as he is. You know, all the other animals have these terrible sins and problems, you know?
(31:32):
That's right. But the fact is incredibly arrogant as this intellectual arrogance brewing, the bear is by greedy and vain.
And King Noble isn't terrible. Now, the reason really uninterested in governing his people.
He's much more interested in them, you know, glorifying him and.
(31:54):
But right now, it is a. And he according to his own book, The Night.
Eat and Eat Deep. Love is why he loved his club.
He's very proud of his planning. They were taken and that sort of thing.
I think. I think that basic. Yes. No, no humbug aspect, right, not make up like him.
(32:20):
And then his his lies. Yes. So over the top as well that they are very funny because it really becomes it becomes the other.
Is that a complete idiot idiot of believing him? I think.
And you thought he thought that the that law rather than ran up.
(32:42):
Good, going to have an exhibition, in fact, do just that, this began this whole project become all right with the possibility of an exhibition.
I think it's happening. Is that right? That's right. It was going to be this.
Yeah. But obviously, with with poverty now, neck in neck December and this exhibition suddenly secret things.
(33:04):
And it will look the Anglo-Dutch literary gain during mediaeval period.
And I think a right nod. Looking at rain on the right, not a move,
but England and then with with became so popular and also looking at all the other movements, the people thought ideas.
(33:31):
And so there'll be a huge fan of Reynaud manuscript dating from the 12th century onwards.
And also, in the end, we have the fire in the east of Britain of.
It's very famous. Manuscript flyleaf in a manuscript.
(33:56):
But from the written by Monk and wrote in the 11th century with a famous scene in Holland.
But not really by well-known here. So there'll be real prejudice people haven't seen before.
And are you bringing it up today because Reynard has a long budget, many Cubs and much progeny?
(34:16):
Yeah. In terms of the well, in terms of the film, I don't know if I speak about this before,
but we've been working with Ortman Animation as well in the quartette.
And we've been doing working on things. I've seen them make animation based on the book with tools and undergrads in Bristol.
(34:43):
So this will be some more Molton. They made a film.
I think what happened to the actual scene at the end of the book where it ran out and it's grim blows.
And also I think we're in the back. The things with beer in the bar.
And those would be filmed in quite a few seconds, art and learning about animation.
(35:08):
And then how could that. Right. Not that would be fine. I think that those films will be in there as well.
And what about the figures like Mr. Todd Burchett?
Oh, yes. Yes. So right now he comes.
He he's sort of. Get let's put Hala in sort of little altogether.
(35:32):
Way becomes popular in the.
But in the end, the Victorian period and then he becomes Hitler is the 20th century and becomes this sort of name that people know,
but they don't really know the story very well. And he gets submerged in this.
OK. They're pulling them back a bit of the elements of a brain out.
(35:52):
And then you have the growth now and and also the DNA in Robin Hood that was based on Mignot boys and Disney originally did.
And they said that he absolutely wants to have a Reynaud and a Mason. And this was in the 40s, in the 50s.
(36:13):
And they were working on it, but they couldn't quite get it right.
And in the end, Disney said, we can't do it because we'll never get it right now.
Oh, hey. Hey. Who are not?
They couldn't make him good enough. You know, the man who, while I guess it does, is the best of and they send him in.
(36:37):
So they send the reused the illustrator and as the Robin Hood.
So that's why the Disney Robin Hood as a lion. You know, the at the end at that Robin Robin Hood.
But the staff of not being. Would that be secretly rainout?
All right. Anthony is fascinating. But it's a very vicious animation.
(37:02):
Robin Hood of Disney. I mean, no, I was surprised by the quality of it compared to some saccharine stuff.
Disney was picking up on that. Yes. Think back and you can see the Rennard in quality.
The charm and the wit coming through in Robin Hood.
I think. No, you you have a very interesting background, very unusual background,
(37:27):
which you have entered into Anglo-Dutch and animal fables on this wonderful work revisioning rainout.
So you could tell us because you originally started opening. Right.
And I worked in that field. Quite a long time.
And I I was thank you the other day about, um, yeah, translating Japanese when I was younger at looked at the same problems.
(37:55):
And I'm an and boys the same thing right now. So I dawdy both of quite a lot about ideas.
Satan. And out, you would not be doing it word by word, sentence by sentence.
That would be a lot a lot more than that to make a story from a lie and convey the meaning.
(38:18):
Renee. Do you miss it, too? You have to pick something which later herson.
Oh, yes. Yes. I remember at university, I had to translate them to short story about later everything.
And it was then that I realised how much work and good translators actually I do in order to the bring bring it.
(38:41):
I'll tell you one language or another.
It's a huge undertaking and it requires the creativity.
And I know of very much that then I think.
And I think both with Ray, not because they're translating English into English, so again, but quite challenging.
(39:02):
They were translating, you know, middle English and the modern English.
And it's the same line language. So you're sort of bringing something from the root of a tree upwards, if you like.
But the main thing. I think they.
Were you able to look at the original look Caxton had had updated and see how close he'd been?
(39:25):
Because I just about translation keep it shifting.
It's changing. And I mean, in some ways, I remember being very struck.
For example, the scene in his prefaces, his plays, talks about how he's looked to Europe.
Euripides is managed. He was the first person to do so to try and and read them and them properly.
(39:48):
And, um, and he sees the zone tonight as a sort of version of of of Europe.
And that's extraordinary as we would never see it like that. Now, totally original work in our view.
Yeah. Well, how much did that depart from the Helms version that he was working from?
(40:09):
I think it's quite close, really. There's a kind of there's a different atmosphere and there's the kind of or rather you kind of the the I was mad.
And then I think and I know everyone we know, he wrote it quite quickly, translated it quite quickly,
and I imagine him backing it off and then reading it aloud when he's in it.
(40:32):
And then there's there's very much a sense that he's getting it down in order for people to read out loud.
I mean, that he that the original it quite close.
And I had to copy I had to copy it at the middle, but underneath the translate then side by side.
But that only went a certain certain level of fighting.
(40:56):
And then an elaborate though. Yeah.
That there's one one aspect I really want back in which is slightly more present in the earlier plan.
I think bravery in plant as well.
I, I, I put some between Met-Pro based on that on the middle, but it didn't happen as well though.
(41:22):
It's a Malonis of a number. Oh isn't that a little bit.
A friend of a friend Ron as well, because it went about all over Europe that even an Italian.
And both fed in things like Grand Rapids as well. Mm hmm.
I mean, I used to shoot the characters in books with Misericordia.
(41:48):
It's an engine Alea in manuscript. I don't know if that's going to be the kind of material might be in the version.
Yeah. Yes. We've have a lot of that. We have a lot of marginalia in the brain.
I think that's a very funny one we're having in there with by not pretending to be dead and being carried on it by elaborate funeral.
(42:12):
Yeah. You know, and that is. But out of it.
May be alive before. Am I. Yes.
Lot of that. And of course. Right. Not if people have written about.
No. What. But I'll rainout was thinking this book.
I mean he up a little bit in it but there's so many.
(42:35):
But he's been into it and think blah then is there for all life like that.
You break it off. Right. Not being old as the story a long time before.
Well in one. You think there's a lot of this, isn't it?
This goes to great. Yes. But it's looking up at the top of the stairs.
(42:58):
I love this bar anyway. Yeah, but there's the engine and ingenious explanation.
Yeah. And of course, there's lots of ran up.
Is based way back in and. But I lost the very funny aether.
I'll there's the fibrinogen. I think this has prompted you to become a storyteller yourself.
(43:21):
That's right. Yes. But when I was them, when I was writing Reynaud, I had quite a nose.
There was part of their methodology I used.
I wrote I get bored in every morning. I write for hours.
I ended up reading Priest at lunch because Priest is the perfect foil for some reason during the flight.
(43:43):
And it was you know, he also made me feel that I could just ramble on a bit as well.
I want to talk about the river. He paid it, but that was fine by, like, breathing trees.
But then I also started writing these modern orie on Twitter.
I see these little tiny tale about the molten living right near Boerma with a lectern about
(44:07):
the animal and going through the same things that we've all been going through the end of it.
The fears and worries of everyday life. And so I created the theory that we're almost like an AI with brain up and it may man evil.
(44:31):
And actually, at one point when I'm out, I made that the main arc, a notebook, a book about receiving a pile both in and out.
I once was freed by his bounce back. Third, there was a lot of policy in my life.
Richard Fables. Yeah. Wonderful. Does your books have a name?
(44:52):
Oh. Oh oh. All the all the animals that I just pulled by their name, but I found quite helpful.
So there's the pine moth.
And some people find Marfin and that he has the grandmother who I made the pine moth and then they thought, oh, I want salmon.
I did that, then a phobia. And um, in our living in England, the only.
(45:16):
But early. Find Martin and his grandmother are upset.
They put in a party. The grandmother. They don't have any more of their names.
So they occupy rather than. You know, the inbound, Eric.
(45:36):
Wonderful. Well, I think I should say that. We do.
The book is available in the Butlin shop, which you can probably go to or not in many number to moment, but it is online Botley and Shop Dot Dot UK.
And members of friends was in and sent off and um and these during the friends the Bohlin by the book on the website or in the shop and I.
Welcome this bud.
Cost is being brought to you by the friends of the Godling, the friends who supported the work of the Portland libraries for almost a century,
and members enjoy a range of exclusive events and digital content.
You can join the friends today online visit. Bob Lindop at the U.K., Spanish Princess Wardian or Ivan.
(00:27):
Renowned fox is a mediaeval charmer. An anti-hero, a rascal, a scallywag.
Like Odysseus police. A justice of the many wilds, Rainard is a trickster.
He also embodies storytelling itself, its exuberance and fertility and danger.
(00:47):
As I Zabbaleen rate, the Fox knows many things and watching this year is not extricate himself from the consequence of his own misdeeds.
Again and again, the very last minute, rather like Sheherazade in this puzzle.
And one night Rennard has his wits and his silver tongue as his weapon against the abuses and threats of Supreme.
(01:11):
His adventures are also interwoven in this chain of story. Several of them from an even older narrative tradition of animal fables.
St1 tales and classical parable.
So Rennard has found it Ann-Louise, every most lively match, a retelling sparkles on every page it takes as its starting point.
(01:34):
William Claxton's prose translation of the 14 81, which was a hugely popular stories like when it was based on a satire 200 years earlier,
Gold ran all the books imposed by the London Boogaloo again.
But Vilhelm was himself drawing on more ancient material about the cunning escapades of the Fox News arch enemy.
(01:56):
It's a grim war. The cast of characters is large and highly coloured and very lively in the back.
It's Ingram, the will lady Emmeline. So Reynolds, why are they all contribute to Louise's vivid portrait of a mediaeval war, which in turn,
perhaps especially now speaks to political plotting and disgraceful deals anywhere at any time?
(02:23):
In the tradition of animal fables, this comic was a parody of mediaeval chivalry.
And at the same time, an original series of wonderfully funny episodes, which Ann-Louise relates with ingenuity and horrific spirit.
Louise, how did you come across this mediaeval work and what attracted you to this great work?
(02:45):
The great task of rendering it in a new contemporary version?
Well, I'd known the health of rainout since I was quite little little girl.
My my father, who with. Left and the right.
The his name was Rono. And he used to tell me when I was little, but he was bright these things he said his name with with the populace and.
(03:08):
And he was very much like rain on that land. And some of the rain out in my lip.
So I knew about rain, not from being little. And I, I knew a few stories about, you know, isn't there anything else in the eye and the bucket.
And then they're going up and down in the well that I had this bit of background knowledge.
(03:28):
But it was when I started looking and working with a couple of Anglo-Dutch academic.
I had a staff from the University of Bristol and who would leap out and we put working on an put
that Fulda both in and put that about Anglo's that little big change in the mediaeval period.
(03:55):
And it was out the back that we hoped it wouldn't be nice.
The Ricoh with health, the brain. And initially it was going to be a children's.
But when I started looking at and then I began by myself.
But. A great big a fan and a great big investigator and intensive.
(04:20):
We selling it. It was more than that, a alibi about having a triple income.
Oh, well, though I found that I wrote and write and write.
And initially I was right about the 5000. What Nick grew and grew to embrace the aura of everyone, both and I think still a delight.
(04:45):
Instead, it was about one hundred and forty thousand. What I mean, we cut it down a bit, but.
Yeah. Runout. As so many facts that the story and the character that it is, you know it.
And so are more than one manuscript, I think more than one billion.
(05:06):
Right. Yeah. Yes. Thank you. There's the an early one.
And without any illustration, which I look at.
But there's one and there are a couple more. But the one I really absolutely adored was one from I think 16, 20.
That was then the No. Robert Burton, who wrote The Anatomy of Melancholy both.
(05:31):
And he thought his binz of ghostlike and it on the.
Hey. Oh, Bebe. And you can see that, Mama. Some of the funny bit.
In the in the volumes,
I like to think I'm reading it and I'm thinking someone who's having a bad day when he was overwhelmed by the lack of breathing.
(05:51):
Is your brain out there and staring? It is marvellous.
You've actually this this idea that it's so many pages is because you've expanded it.
Yeah. I would say it was cornu bizarre that you feathered and pushed the original.
That's right. And um. And what. So tell us a little bit about the process then.
(06:16):
Well for the reader on the way. Yes. So I, I, I had a copy of then and as I was once I translated I said when I went through it very slowly,
I looked at all the language in the story and I.
Am I right? Translate that. But then I embroider it.
So for example, the bird in the back is painful and with free rein on it and bring him back.
(06:44):
And then. Then it's the bath the paragraph is in. Had done it it in the paragraph.
Ruin the ball. It goes up hill. It's a bit of a slow the rain.
And I expand it back into. Danny where Bruin is is eating in USA.
And that means terrible trouble. And this brother done it.
(07:09):
It didn't get in trouble. And he was absolutely terrified right now on heathy.
Or is where there really aren't any. And so it banned very much that.
So that's kind of basic expansion, writing and writing more about something that's already there.
And then I also put in it. But I haven't been there before.
(07:31):
Including the parrot. So there's that.
There's one parrot with them. We're in great uncle. And I put them in and he sort of up a bit like think about set all over the place.
You know, people are suddenly talking about doing in some being but an in orbital, you know, one in the loop.
(07:54):
And I think that that was quite a neat thing that they. Would you like to read a passage that gives a sense, a sense of what this that this path is?
This is a grim bought the bad. He's run out back. Friends just manage to get wait.
And finally I run up. You really can't hang around anymore and face the music.
(08:19):
And they've spent a long night walking across lawns from a group amongst that again.
And this is when they're entering the city again together right now.
A bit nervous because the United States is in terrible danger.
That really. Ray, not in green, but across the river led by the Booton.
(08:40):
It was the day of the Berrima and the. Everyone's so bad at the book is and reputation spread far and wide.
Some of his old old back in hard, the acid returned. By this point, Poeppel with the visceral thrill of entering the evening thinking noise,
the glory of his tape whirling around in like Robin Hood, the outlaw badlands.
(09:03):
Look, he's right it and boom through the sweet back flapping Brett waving hi.
Winking at the ladies, exchanging Pocklington seat with the soap.
But again. By the time the pair had reached the mike right now, Tom had thoroughly but with the crowd.
It began with those noby groundlings up at the house. They got it all wrong.
(09:24):
How could such a witty and unpretentious book be a murder?
By contrast, when it was best known in the quote, that rainout finally been brought to justice by his old friend Grimm.
But there was none. So all night, no so lacking in pain or friends.
They didn't ready themselves to make an accusation and what they used,
but growing even longer than those that were making out of the main hall and into the courtyard.
(09:49):
I know that you actually travelled. Thank you. That was one. I know that you travelled quite a bit.
I mean, you won the local colour in that passage. You just read your book is full of marvellous invocations of landscape.
Yes. I found it was very important. It goes to flounder.
In fact, they see all the old fights that were associated with Ray not or with with his authors is early Flemish authors.
(10:15):
So I stayed in. Then I based myself again and have a friend in polls who who work on tourism in the area and ran out to eat at the motel.
But no significant person.
He pointed me in a few different things that I made quite a comprehensive map of all the different sites and visited them the more.
(10:38):
And that I got a sense of how long it would take.
War again, the Rupel on, you know, about that mouth, say, and how you know how it felt in in a moment where I base ran.
Oh, well, you know what it felt like to be by the River Delta and and how far you go and put the B or B and all these things
(11:01):
that you cannot get unless you at the visit somewhere and you're actually there walking around in the landscape.
And I also found I that myself, the task of finding the right not claims he buried the incredible pressure and
the secret ignoble with and actually describe and quite a lot of detail in ink.
(11:24):
And, you know, you can actually actually watch that where it was with my friend Paul.
I visited this, brought the lonely wood on the bulletin board and and it was like back the.
It was dry and in in the earlier let me I I am right.
And I was quite upset. At one point.
(11:49):
Yeah. I mean, look at the landscape as you have. It is quite eerie.
I mean at times it reminded me a little bit of us of Tolkien's Lord of the Rings where you get the first world wars,
landscapes sort of put it through. Yeah.
To the landscape, the imaginary landscape of his book.
(12:13):
Did you feel. I mean, how how does it map onto the post-World War II?
Yes. This quake, though, it it's slightly further. Well, the Second World War is there are obviously very huge battles on the river.
But there is that. But it's the first photos by the south.
And actually, there's one story and not where I ran out.
(12:36):
And it's been brimming and a man and a bold and ran up and this thing happening, you know, in the face by the man.
And this takes place in a wood, which just just to eat of eat in in a valiant salian and right in the centre of where first world battles, battles.
(13:02):
And that began. You can pinpoint almost the exact wood where the ran out or think take it back.
But I think that was the front line and maybe a paper 1970 ran directly where the story takes place.
And then what? That now you know that memorial to the First World War.
(13:22):
But there's also a set of rain on the EU and bullet link and interlocked and that
sort of there's a kind of ghostly conversation almost going on between the two.
So both. You know, the historical event and the story is so, you know, rooted in the same landscape that they do,
(13:45):
they do brothy other Nevine thing and moving way, I think is that statue 19th century to a 20th century thing.
And do you think that in a way embodies something of the current spirit, of the art of the world?
It's a total amount of money. I'm not lately, though, Renyard is is from eastern Bompas, a place called the War Land,
(14:13):
which means that it's difficult to translate, but it's not expensive of of of MA in the book,
a bit like hope in sort of month that MA is almost but slightly the feel of the spirit even amidst and and the WASP land it even that they are very,
(14:33):
very proud of brain. They feel that he's is here.
The people who fight the fight for the mall and overlook the disempowered understands that the authority understands that, you know,
the kind of big guys, the brothels or old men, and that you know those that have been nationalistic and then say, you know, with Reynaud.
(14:59):
But basically he he is. He's. One of the most beloved figures in that area.
And there you see him everywhere, every little village as the as the we ran out will ruin.
It's been grim. And then in St. Nicholas, which is the main town of the war plan, they have the mock debate as the next eight.
(15:24):
And they ran out by eight. You know, I.
But a lot of wonderful. In your book is Delicious Recipes.
Yes. Well, do you think? Important, really?
(15:44):
Well, is there on several levels. I mean, food is important in reaching and mediæval in the mediæval.
And in the Flemyng on. But also, there's this dude running through about animals.
Basically, their main motive in life is food. And this is really rainout.
(16:05):
Every murder it is really because the eating, you know, eating his chickens or his Ethan.
And there's the whole parable of the man, the young man, and the third, which is about,
you know, whether or not the serpent has the right to bite the young man because he's hungry.
And how important is food is the driving factor is the mitigating factor in in people under an animal?
(16:30):
No, that was that was an important bit. But I also feel that food was was the shows, the richness, the mediaeval coat.
Yeah. And also bread. I mean, there's a lot of sort of oriental spices.
Oh yes. Yes. That's right. Yes. And ran. And I, I wanted to describe I wanted to expand on on a moped.
(16:54):
It is because his path is open. It is, you know, a couple of root or or a hold in the ground.
But I wanted to build it into something more and for this rather wonderful place that was rather happy and make and bits falling down.
But it was that it was the home his own and. Yes.
(17:14):
That's the right room in his own right.
And I wanted it. Yeah. All the way through. In fact, I want to sort of link.
Let me put the whole wide world renowned.
Why Emmeline, for example, who I've been alone at this place, is enormously translating Arabic at.
(17:41):
And and right now, when he's spoken by his father, who he says was that was that a trained physician who trained in Montpellier, a runoff.
He was an expert in Arabic med, you know. So there's this, you know, the.
As this constant reminder that, you know, the Arabic while white well, and it's been an hour and much bigger than we.
(18:09):
Think that you mentioned that Marine who is Reynolds to introduce or expanded some wonderful female character?
I felt good remedy it a tendency in such materials was misogyny to you somehow.
Would you redress this balance with some wonderful. But tell us a little bit about that.
(18:32):
Well, there was the queen. The the queen. Again, we were talking about Nancy.
I mean, I'm not entirely, I think in in a way, B zone.
But she she has more about. Borate is up and she's not even named.
I think then I found a name and some other.
(18:56):
And I give her a great interest in fishing, though she's always going off and wants to spend the day fishing in the in the River Leel Hotel.
And he also has the back story coming from Ballou's, coming from south.
From having a brother. And it's just expanding these these female lives so that they can return more.
(19:22):
Profound. Britney, Emmeline, as we thought.
B beep b, b. Business as the sort of pragmatic figure in then is worrying about.
Thought I might be put the ball in buying rain, not rain, not in nice, but I wanted to make her into her own, her own folks in her own right.
(19:44):
Who's also invested in language and as much as Bryner.
But in a different way, the rainout, like the Bilandic, used this language, Bambrick allow things, but Emmeline is fascinated by emplacing language.
So I sort of Planned Parenthood, the symbol of what I was doing in many way,
(20:04):
trying to translate from an old one from what we've been told was a translation of an earlier Lemmie prose, but with translation of a limit.
Oh. And it goes back and back and back it up with all these different places.
So aniline think a lot about how to translate the ethics a little bit.
(20:25):
And it's about the translation process, about, you know, the dump language, the language dumping over the past them and how deep it at them.
And you need that. You need to move that over.
So there's no you can't be a cop or is take a dump from one language or another and change aspects of meaning or a band a story as I've done.
(20:49):
The language is extraordinarily rich, and you've decided to, I think, follow that.
Here is a translation. We believe in keeping the strangeness to some extent.
Yeah. Yeah. Absolutely. And I wanted to keep a lot of the Anglet that word.
I thought that was that was important. Then it wasn't laziness or anything.
(21:13):
He he had lived so long in the low end that he was and he wasn't.
I think it was more. You know, Klemet really in a sense that he was English and he was content, but he he often said that, you know,
people some people you Lincoln was some I couldn't understand what people setting because they were so.
Yeah. The language is so different. Anyway, the accent in a locked word in a very interesting way later on.
(21:42):
William, when William Morris up there is Burton of. Right. Not being at the at the end, but something like this is a very strange word.
And so I want to Geissman I wanted to use my own made up.
What. And I used one, you know, we use them mediæval was that maybe fallen out of favour, you know, re and write them.
(22:08):
You do. You've got a very fascinating glossary. Yes.
And the wonderful mixture mean to all of the speaking is the name of someone was born.
Just looking at the beginning of it. Yeah. Then you have Bob Creel and an old Belgian breed, bearded bantam chicken, first bred in the village.
(22:34):
So it's a very wide span with this sort of glossary that ranges from old and antique and a newfangled and.
Yes, thundering I had a lot of fun and I put Lady Hamlyn BlackBerry, so that's again.
And I think her thing, my and my character in the book, if you like.
(22:56):
And I like the idea of being almost like a happiness, curiosity, really a linguistic happiness.
Here you go. And also as representing something that meant that anyone could read the book.
So if you're looking for and you know what I mean, you look in the back and there is.
You know, it's easy to read in that and every possible problem in an understanding in the background to open up something like that.
(23:29):
And there is this bit of an accessibility segment as well.
So I think it's wonderful.
And, you know, there's have been a lot of discussion about how children don't know the word primrose anymore or the word willow.
Yeah, I did contact with was in the situation there in.
(23:52):
Yeah. Probably exacerbated now very seriously. So this is a way I think it's a wonderful way of expanding the pleasures of noticing the world.
Yeah. Well, in fact I noticed that by putting in what made up.
There's sometimes, you know, if there was something happening in the in the narrative.
(24:13):
I don't know, maybe it was feeling fear I might put in my own made up or word or onomatopoeia.
What convey that fear. And that also meant that it was almost like the animals had their own language in a very powerful way.
(24:34):
And the sense of them being separate from the human world, if inhabiting their own faith conveyed.
I hope through that language. And I was that night in that you just read, not bothered about what it means, but you get the sense of it.
I think I put something like, you know, when you're sitting in a front and you, you know,
quite a lot of the language, you're sitting in a cafe and you can pretty much almost bang you in a conversation.
(25:01):
But you know why? But with a feeling like it was a pen.
It's a pertschuk. Did you say you mentioned illustration.
You use repetition and you use quotes. Mm hmm. I mean, I think it's poetic prose.
Yeah. I wrote to comic narrative for 30.
(25:24):
Yeah. I love the repetition. Right.
Not like you. Well, the the the drag is the audience and it's been the recorded that that would lead one of to your second reading.
Do do read that. Yeah. So right now this is the middle of the night where the man writes the weapon.
(25:50):
Right. Not that they've actually read. It's a pair of Gallow right now.
And he's really done. This is his last chance. Rick, last but keeping on.
And it's about the moment when he suddenly sees how he can get out of it without.
King Nobile, the Lions back down heavily on the hanging back from adopting his crown,
(26:13):
was slipping on his wet mane, uncommanded eat them still and let the rain not tell his story without fear.
Still trembling slightly, right, not, but bent on end and freefall,
Weightman the thrill that came not during his many long eight friends, winning a story, weaving through an open.
(26:35):
But in the fragmentary moment before in the ed time that it paid and the sudden
infernal vision of the right path to follow perfectly revealed in the map,
untangling and weaving of his various possibilities.
And so they formed the perfectly woven, bright, graphic landscape of suit and relate before him.
(26:58):
Then that rain on backing from the defence story, one more painting, his luck changing the old wrote the post unit ranking around.
One more. B, you now or Bill. This is the King's.
Well, an article openly tell you that beaten and I will find no one who might know that my heart be ripped out in the telling.
(27:20):
Well, I think, yeah, in that passage, the animals are being used, dramatised.
Yeah. And this whole tradition to represent very present reality.
And I wondered what what how do you feel this?
I mean, a sense it's Spike. It's fallen out of fashion or favour in the last hundred years, I say.
(27:43):
But do you think it's coming back? This is populism, this idea of writing with these symbolic tropes and very entertaining allegory method.
I think so. I think I think rainout in particular has always been you.
It's always been you represent the people rising up against the oppressors or that that this empowered against that in ours.
(28:15):
He's always been popular during periods of war or death of the war when people are exhausted with an hour.
So I'm an important one. But of the the wars of the roses, every in King's shifting and changing and old, that is the bloodline.
(28:35):
And then that, you know, it's all the way through the at the end of the intent and the and the thinking and that he's the fella.
And then I'm in the seventy nine. He's got a youth in the middle of the French Revolutionary War and in a really awful battle that is going nowhere.
(28:59):
He he's in the end. And then firing everywhere.
And he picks up a book right now, stop reading it and start roaring with laughter and thinking to himself, my god, this book is absolutely modern.
He read everything going on. That story, you know, ran out some.
Is that is the fault for, you know, the Enlightenment? There he goes in sounds like and south.
(29:27):
And then again, you know, now coming out of the narrative, the.
Is the relevant people? I mean, people have read this and and they they cannot.
I mean, I thought so. And it reminds me from Paul back that, you know, are you thinking about Brexit there?
(29:50):
And I mean, I'm not actually. But but, you know,
it's so insightful and the problems than the idea of lying and and which narrative is the true narrative and fake news then and all those.
Hireable only that nationalism. Everything is in the.
(30:14):
Yes, he's he's he speaks, doesn't he? So what we've got is ourselves.
I mean, we don't identify so much with King Bull. No. Oh.
Or isn't grim. But then at the same time, he is a rascal, isn't he?
I mean, you thought he's absolutely honest and unscripted and mendacious.
So what can you. I mean, can you think a little bit or as about the appeal of this and the disjunction, the kind of way it doesn't quite fit?
(30:44):
I mean, I can see King Nogo and Bruin as the villains of some despotic regime.
Very, very, very releasing to the to be able to laugh.
But at the same time, why do I like Reynaud so much when I did like devious, unscrupulous politicians?
(31:07):
Well, I think I think one of the aspects of rainout Victorian academic.
I like it, but I quite in my, um. And it does.
And it is not that we know about about him. He is absolutely.
He is as he is. You know, all the other animals have these terrible sins and problems, you know?
(31:32):
That's right. But the fact is incredibly arrogant as this intellectual arrogance brewing, the bear is by greedy and vain.
And King Noble isn't terrible. Now, the reason really uninterested in governing his people.
He's much more interested in them, you know, glorifying him and.
(31:54):
But right now, it is a. And he according to his own book, The Night.
Eat and Eat Deep. Love is why he loved his club.
He's very proud of his planning. They were taken and that sort of thing.
I think. I think that basic. Yes. No, no humbug aspect, right, not make up like him.
(32:20):
And then his his lies. Yes. So over the top as well that they are very funny because it really becomes it becomes the other.
Is that a complete idiot idiot of believing him? I think.
And you thought he thought that the that law rather than ran up.
(32:42):
Good, going to have an exhibition, in fact, do just that, this began this whole project become all right with the possibility of an exhibition.
I think it's happening. Is that right? That's right. It was going to be this.
Yeah. But obviously, with with poverty now, neck in neck December and this exhibition suddenly secret things.
(33:04):
And it will look the Anglo-Dutch literary gain during mediaeval period.
And I think a right nod. Looking at rain on the right, not a move,
but England and then with with became so popular and also looking at all the other movements, the people thought ideas.
(33:31):
And so there'll be a huge fan of Reynaud manuscript dating from the 12th century onwards.
And also, in the end, we have the fire in the east of Britain of.
It's very famous. Manuscript flyleaf in a manuscript.
(33:56):
But from the written by Monk and wrote in the 11th century with a famous scene in Holland.
But not really by well-known here. So there'll be real prejudice people haven't seen before.
And are you bringing it up today because Reynard has a long budget, many Cubs and much progeny?
(34:16):
Yeah. In terms of the well, in terms of the film, I don't know if I speak about this before,
but we've been working with Ortman Animation as well in the quartette.
And we've been doing working on things. I've seen them make animation based on the book with tools and undergrads in Bristol.
(34:43):
So this will be some more Molton. They made a film.
I think what happened to the actual scene at the end of the book where it ran out and it's grim blows.
And also I think we're in the back. The things with beer in the bar.
And those would be filmed in quite a few seconds, art and learning about animation.
(35:08):
And then how could that. Right. Not that would be fine. I think that those films will be in there as well.
And what about the figures like Mr. Todd Burchett?
Oh, yes. Yes. So right now he comes.
He he's sort of. Get let's put Hala in sort of little altogether.
(35:32):
Way becomes popular in the.
But in the end, the Victorian period and then he becomes Hitler is the 20th century and becomes this sort of name that people know,
but they don't really know the story very well. And he gets submerged in this.
OK. They're pulling them back a bit of the elements of a brain out.
(35:52):
And then you have the growth now and and also the DNA in Robin Hood that was based on Mignot boys and Disney originally did.
And they said that he absolutely wants to have a Reynaud and a Mason. And this was in the 40s, in the 50s.
(36:13):
And they were working on it, but they couldn't quite get it right.
And in the end, Disney said, we can't do it because we'll never get it right now.
Oh, hey. Hey. Who are not?
They couldn't make him good enough. You know, the man who, while I guess it does, is the best of and they send him in.
(36:37):
So they send the reused the illustrator and as the Robin Hood.
So that's why the Disney Robin Hood as a lion. You know, the at the end at that Robin Robin Hood.
But the staff of not being. Would that be secretly rainout?
All right. Anthony is fascinating. But it's a very vicious animation.
(37:02):
Robin Hood of Disney. I mean, no, I was surprised by the quality of it compared to some saccharine stuff.
Disney was picking up on that. Yes. Think back and you can see the Rennard in quality.
The charm and the wit coming through in Robin Hood.
I think. No, you you have a very interesting background, very unusual background,
(37:27):
which you have entered into Anglo-Dutch and animal fables on this wonderful work revisioning rainout.
So you could tell us because you originally started opening. Right.
And I worked in that field. Quite a long time.
And I I was thank you the other day about, um, yeah, translating Japanese when I was younger at looked at the same problems.
(37:55):
And I'm an and boys the same thing right now. So I dawdy both of quite a lot about ideas.
Satan. And out, you would not be doing it word by word, sentence by sentence.
That would be a lot a lot more than that to make a story from a lie and convey the meaning.
(38:18):
Renee. Do you miss it, too? You have to pick something which later herson.
Oh, yes. Yes. I remember at university, I had to translate them to short story about later everything.
And it was then that I realised how much work and good translators actually I do in order to the bring bring it.
(38:41):
I'll tell you one language or another.
It's a huge undertaking and it requires the creativity.
And I know of very much that then I think.
And I think both with Ray, not because they're translating English into English, so again, but quite challenging.
(39:02):
They were translating, you know, middle English and the modern English.
And it's the same line language. So you're sort of bringing something from the root of a tree upwards, if you like.
But the main thing. I think they.
Were you able to look at the original look Caxton had had updated and see how close he'd been?
(39:25):
Because I just about translation keep it shifting.
It's changing. And I mean, in some ways, I remember being very struck.
For example, the scene in his prefaces, his plays, talks about how he's looked to Europe.
Euripides is managed. He was the first person to do so to try and and read them and them properly.
(39:48):
And, um, and he sees the zone tonight as a sort of version of of of Europe.
And that's extraordinary as we would never see it like that. Now, totally original work in our view.
Yeah. Well, how much did that depart from the Helms version that he was working from?
(40:09):
I think it's quite close, really. There's a kind of there's a different atmosphere and there's the kind of or rather you kind of the the I was mad.
And then I think and I know everyone we know, he wrote it quite quickly, translated it quite quickly,
and I imagine him backing it off and then reading it aloud when he's in it.
(40:32):
And then there's there's very much a sense that he's getting it down in order for people to read out loud.
I mean, that he that the original it quite close.
And I had to copy I had to copy it at the middle, but underneath the translate then side by side.
But that only went a certain certain level of fighting.
(40:56):
And then an elaborate though. Yeah.
That there's one one aspect I really want back in which is slightly more present in the earlier plan.
I think bravery in plant as well.
I, I, I put some between Met-Pro based on that on the middle, but it didn't happen as well though.
(41:22):
It's a Malonis of a number. Oh isn't that a little bit.
A friend of a friend Ron as well, because it went about all over Europe that even an Italian.
And both fed in things like Grand Rapids as well. Mm hmm.
I mean, I used to shoot the characters in books with Misericordia.
(41:48):
It's an engine Alea in manuscript. I don't know if that's going to be the kind of material might be in the version.
Yeah. Yes. We've have a lot of that. We have a lot of marginalia in the brain.
I think that's a very funny one we're having in there with by not pretending to be dead and being carried on it by elaborate funeral.
(42:12):
Yeah. You know, and that is. But out of it.
May be alive before. Am I. Yes.
Lot of that. And of course. Right. Not if people have written about.
No. What. But I'll rainout was thinking this book.
I mean he up a little bit in it but there's so many.
(42:35):
But he's been into it and think blah then is there for all life like that.
You break it off. Right. Not being old as the story a long time before.
Well in one. You think there's a lot of this, isn't it?
This goes to great. Yes. But it's looking up at the top of the stairs.
(42:58):
I love this bar anyway. Yeah, but there's the engine and ingenious explanation.
Yeah. And of course, there's lots of ran up.
Is based way back in and. But I lost the very funny aether.
I'll there's the fibrinogen. I think this has prompted you to become a storyteller yourself.
(43:21):
That's right. Yes. But when I was them, when I was writing Reynaud, I had quite a nose.
There was part of their methodology I used.
I wrote I get bored in every morning. I write for hours.
I ended up reading Priest at lunch because Priest is the perfect foil for some reason during the flight.
(43:43):
And it was you know, he also made me feel that I could just ramble on a bit as well.
I want to talk about the river. He paid it, but that was fine by, like, breathing trees.
But then I also started writing these modern orie on Twitter.
I see these little tiny tale about the molten living right near Boerma with a lectern about
(44:07):
the animal and going through the same things that we've all been going through the end of it.
The fears and worries of everyday life. And so I created the theory that we're almost like an AI with brain up and it may man evil.
(44:31):
And actually, at one point when I'm out, I made that the main arc, a notebook, a book about receiving a pile both in and out.
I once was freed by his bounce back. Third, there was a lot of policy in my life.
Richard Fables. Yeah. Wonderful. Does your books have a name?
(44:52):
Oh. Oh oh. All the all the animals that I just pulled by their name, but I found quite helpful.
So there's the pine moth.
And some people find Marfin and that he has the grandmother who I made the pine moth and then they thought, oh, I want salmon.
I did that, then a phobia. And um, in our living in England, the only.
(45:16):
But early. Find Martin and his grandmother are upset.
They put in a party. The grandmother. They don't have any more of their names.
So they occupy rather than. You know, the inbound, Eric.
(45:36):
Wonderful. Well, I think I should say that. We do.
The book is available in the Butlin shop, which you can probably go to or not in many number to moment, but it is online Botley and Shop Dot Dot UK.
And members of friends was in and sent off and um and these during the friends the Bohlin by the book on the website or in the shop and I.
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