Skip to main content Accessibility help
×
Hostname: page-component-8448b6f56d-m8qmq Total loading time: 0 Render date: 2024-04-24T13:42:29.246Z Has data issue: false hasContentIssue false

4 - ‘Kek Kek’: Translating Birds in The Parliament of Fowls

Published online by Cambridge University Press:  15 October 2019

Get access

Summary

The biosemiotic view that there exist signs, per se, in animal communication, or in any other communication among living systems, poses the question about the translatability of these signs, both by humans and by other organisms.

Kalevi Kull and Peeter Torop

THERE IS NO EVIDENCE that Chaucer ever came across The Owl and the Nightingale, but given the remarkable similarities between this squabbling pair and the dissenting avian gang in his own bird-debate, you might think he had. Once again birds find themselves fruitful subjects for anthropomorphic conversion and so, too, do their habits resist these procedures, so that birds view themselves in both natural and cultural terms. Chaucer, however, adds a further dimension to the vociferous voices in The Parliament of Fowls: there is a moment when three of his talking birds suddenly drop human speech and revert to ‘birdspeak’, forcefully reversing anthropomorphic tactics and foregrounding the issue of birds’ voices. As we have seen in previous chapters, avian vocality presents a particularly compelling and troublesome example of birds’ strange familiarity. At once alike and unlike the human voice, it suggests and defies categories equally. In The Parliament, the din of birds from ‘every kynde that men thynke may’ (310) is transformed into human voices by the turn of allegory, but these birds are capable of re-translating themselves.

Lévi-Strauss's remarks on birdsong reminded us in my introduction that birds’ apparent ‘articulated language’ (langue articulé) is central to parallels that humans across cultures often seem to have drawn between themselves and birds. His choice of words, though, echoes a particularly medieval debate on the nature of the articulate, rational voice, in which birds were prominent precisely because their human-sounding vocalisations foregrounded and reified a central worry for medieval theologians: the distinction between rational man (animal rationale) and irrational beast (animal irrationale). Paradoxically, birds’ voices were ubiquitously compared to or depicted as human speech in various discourses because they display vocal abilities, even whilst being rigorously denied this likeness. Avian vocality, that is, could plausibly be considered discrete and articulate, sophisticated and adaptable, but such possibilities were hard to reconcile with mainstream doctrines that sought to secure the identity of the rational, vocalising human.

Type
Chapter
Information
Birds in Medieval English Poetry
Metaphors, Realities, Transformations
, pp. 147 - 178
Publisher: Boydell & Brewer
Print publication year: 2018

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Save book to Kindle

To save this book to your Kindle, first ensure coreplatform@cambridge.org is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×