128:, that was written about 1390. This consists of 626 lines of 10-syllable couplets and introduces significant variations. The scene takes place in a poor woman's garden-close where Chauntecleer the cock presides over a harem of seven hens, among whom Pertolete is his favourite. When Chauntecleer has a premonitory dream of his capture, it is Pertolete who argues that it has no significance and initiates a long and learned debate on the question. The rest of the story is much as in the other versions except that at the end the fox tries to charm down the escaped cock a second time before the two creatures condemn their own credulous foolishness. The tale remained popular so long as Chaucer's
238:, a 13-minute pop cantata for narrator and unison voices that was commissioned and first performed in May 1975 at the Cookham Festival. The main chorus is of six hens, and there are the solo characters of Chanticleer, Pertelote and Mr Fox for stage versions. The choice of title was influenced by the popular "Chanticleer Rag" of 1910. However, the original cover illustration for that (based on a costume design by Coquelin) and the words make it clear that its inspiration was
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lurking in the cabbage patch. Eventually the two creatures meet and Renart overcomes the cock's initial fear by describing the great admiration he had for the singing of
Chanticleer's father. If the son is to equal his father, he explains, he must shut his eyes as he stretches his neck to crow. But when Chanticleer obliges, the fox seizes him and makes a run for the woods with the farm workers and a
113:. After another episode (in which Renart injures his paw), the fable of the Fox and the Crow is adapted to become the tale of Renart and Tiécelin. Here the fox flatters the crow into singing and so dropping the round cheese it has stolen. Even this early, such a grouping indicates that contemporaries were aware of the kinship of these stories.
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for chorus and orchestra, which had its premiere in 1951 and is still performed. The largest and most important of his choral works, it is in ten movements. While the narrative is sung by all, Chanticleer's part is rendered by the tenor and bass voices, Pertolete's by soprano and alto. The words used
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Because the tale of
Chanticleer and the Fox enters into several mediaeval narrative masterworks, there has been considerable investigation into the question of its origin. It has also been asserted that the tale has developed out of the basic situation in Aesop's fable of The Fox and the Crow. Early
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verse. Similar short tales had followed the long telling in the
Reynard Cycle. They include the story of Renart and the Tomtit, in which the frustrated fox tries to persuade his 'cousin' to greet him with a kiss and eventually has to flee at the approach of dogs. This is obviously a variant version
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The basic situation concerns the cock
Chanticleer, who lives with his three wives in an enclosure on a rich man's farm. He is forewarned in a dream of his capture by a predator but is inclined to disregard it, against the persuasion of his favourite, Pinte, who has already caught sight of Renart
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stanzas and is more or less dependent on
Chaucer's telling but for one important particular. In place of the extended debate on dreams, this poem's rhetorical episode is reserved until after the capture of Chanticleir by the fox and so adds to the suspense. In this, his three wives voice their
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tea service which has the former illustrated on the saucer and the latter on the cup. A little later the Cock and the Fox appears on a tile from a
Liverpool pottery. These seem to be inspired by the 18th century collections of Aesop's fables. A 1520
201:, the original score of which included the Nun's Priest's Tale among its five episodes. Set to music by John Hawkins and Richard Hill, the work was first presented at the Oxford Playhouse in 1964 and went on to be performed around the world.
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in pursuit. Chanticleer now advises the fox to turn around and defy them, but when he opens his mouth to do so
Chanticleer flies up to safety in a tree. Both then blame themselves for the gullibility their pride has led them into.
100:' 11th century fable in Latin prose of a fox who flatters a partridge into shutting her eyes and then seizes her; the partridge persuades the fox to pronounce her name before eating her and so escapes. In the following century
179:, on the other hand, draws from the Chaucerian version of the story. A fox has stolen a goose and the cries of the other geese attract the attention of an old woman, who rushes out of the house (SH20).
230:, a musical play based on the Nun's Priest's Tale, in which the collaborators were the composer of light music Edward Hughes and the poet Peter Westmore (Oxford 1966). It was followed by
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wrote an updated version titled "The Cock and the Fox" (1700). Although this follows
Chaucer's text more or less closely, he adds a few comments of his own and expands it to 820 lines in
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in 1959. Its robust confrontation of the problem of good and evil was considered as challenging for younger readers. Among other works that were created specially for children there was
33:, it is of more recent origin. The story became well known in Europe because of its connection with several popular literary works and was eventually recorded in collections of
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Both before and contemporary with this long, circumstantial narrative, shorter versions were recorded in a number of sources. One of the earliest is
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Continued appreciation of the kinship between the tales of the Fox and the Crow and The Cock and the Fox is indicated by the mid-18th century
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based on it, have little connection with the original Renart Cycle version beyond using the name
Chanticleer, or variants of it.
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examples of the story are pithily fabular but towards the middle of the 12th century it appears as an extended episode of the
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Several other works claim to be inspired by
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Two other longer adaptations of the fable were eventually written in Britain. The first of these was
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is a fable that dates from the Middle Ages. Though it can be compared to Aesop's fable of
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in both the original and a modern French translation; there is an English synopsis here
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There have been several musical settings of Chaucer's story, of which the first was
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about a cock that believed the sun would not rise unless it crowed first.
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various responses to what they believe will be his inevitable death.
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One example is Donald N. Yates,"Chanticleer's Latin Ancestors",
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under the title "How Renart captured Chanticleer the cock" (
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tells a fable very similar to the Renart version in
147:had produced his freer version of Chaucer's tale,
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320:Lines 1209–1656 of the second 'branch' are here
470:Chaucer Heritage Trust website, history section
309:Middle English Animal Fable – a study in genre
426:Manners collection catalogue, illustration 22
153:, written in the 1480s. This consists of 31
150:The Taill of Schir Chanticleir and the Foxe
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562:Literature featuring anthropomorphic foxes
61:A coloured illustration of the fable from
413:A translation into modern English on the
349:, 23 July 1887 (p. 56), and is available
175:carved by John Wake on a choir stall of
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483:Caldecott Medal Winners, 1938 – Present
82:Si comme Renart prist Chanticler le Coq
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19:For the Caldecott Medal winner, see
517:The 1910 recording can be heard on
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45:onwards. It is numbered 562 in the
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111:The Cock, the Dog and the Fox
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485:. URL accessed 27 May 2009.
341:W.W.Skeat's translation of
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298:, 18.2, 1983, pp. 118–126
265:Foxes in popular culture
53:The mediaeval background
415:Glasgow University site
345:appeared originally in
228:Chanticleer and the Fox
216:The Nun's Priest's Tale
207:Chanticleer and the Fox
188:The Nun's Priest's Tale
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126:The Canterbury Tales
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455:18 January
271:References
244:Chantecler
173:misericord
106:Old French
63:Steinhöwel
242:'s drama
429:Archived
354:Archived
327:Archived
284:Aesopica
259:See also
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69:, c.1501
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168:Chelsea
90:mastiff
537:Fables
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392:online
380:Flickr
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