Reviewed by: William Langland: Piers Plowman, The A Version by Michael Calabrese Arvind Thomas michael calabrese, trans. William Langland: Piers Plowman, The A Version. Washington, D.C.: Catholic University of America Press, 2020. Pp. xlvii, 160. isbn: 978-0-8132-3343-7. $34.95. Michael Calabrese's new translation of, and introduction to, the A-version of Piers Plowman reimagines medieval England's great vernacular poem for our own time. As a translator, Calabrese animates the poem in its much-neglected A-version in ways that will undoubtedly hold the attention of contemporary readers and scholars, and especially those with little or no background in medieval studies. As someone who values reading texts in their original languages and tends to view translators as traditores, I was not only pleasantly surprised but also deeply moved by Calabrese's translation. Far from betraying Langland's poem, Calabrese delivers it in all its complexity and poetic beauty in an idiom that in many ways stylistically approximates and, in places, even enacts that of the original Middle English. To be sure, Calabrese's translation may call to mind several notable translations of the poem. The translations of Covella, Donaldson, and Schmidt are all, as Calabrese generously notes, works that he has studied, taught, or otherwise enjoyed; however, his translation stands apart from previous ones in at least two significant respects: 1) it is crafted to enable student readers to enjoy and understand Langland's poem and 2) it foregrounds a version of the poem that has thus far been largely neglected by students and scholars of Piers Plowman. So, what makes Calabrese's translation of Piers Plowman appeal more directly or even viscerally to modern students and scholars than any other translation of the poem? First, Calabrese takes care to render into modern English the rich variety of Langland's rhetorical registers in Middle English ranging from the demotic to the formal. Second, as Calabrese explains in his stimulating introduction to the poem and to the principles of his translation, he regards the A version of the poem as informed by conflict. Consider, for instance, the lines describing Waster's anger and pugnacity. Line 139 of Passus 7 reads thus: 'Then Waster got himself all angry, aching for a fight.' At first sight, we may not see much by way of poetic form apart from the alliteration. But when we listen to the line or hear it read out with a New York accent, the words 'all angry' come vibrantly, almost viciously alive, and sound like what one might hear on a subway platform. Likewise, the very next line 'Then some loud braggart burst forth as well' would call to mind or, more precisely, echo the opening line of the song 'Be True to Your School' by the Beach Boys. What we hear in such lines is Langland transposed or translated into North American cultural and linguistic settings ranging from New York to Southern California. Or, consider a few lines about Glutton's confession in Passus 5 (alliteratively entitled 'I'm sorry, so sorry'). Glutton finds himself in a bar amidst company that Calabrese translates in a way that renders them as much medieval as modern: Little Davie the ditchdigger and a dozen others—a fiddle player, a rat-catcher, a street-cleaner from Cheapside;a rope seller, a personal assistant, and Rosie who sells dishes,Godfrey from Garlic-heath, Griffin the Welsh guy, [End Page 150] and a big table of salesmen, doing some early morning drinkin'. (Passus 5.165–69) The diction and alliteration apart, the tone of voice, especially in the last half-line 'doing some early morning drinkin'' resonates with that of a New Jersey rhetoric in a bar, especially when one reads it aloud without enunciating the 'g' in 'drinkin'.' Such examples may suggest that Calabrese merely renders Langland into a demotic key. Far from it. Calabrese's translation exemplifies the wide range of linguistic registers that we find in Langland. For instance, in Passus 6, the register in which the tower of truth is introduced and described is stately and dignified: All the dwellings within, halls and chambers, are tiled notwith lead but with love and lowness...
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