Chaucer's telling but for one important particular. In place of the tedious 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 various responses to what they believe will be his inevitable death. Adaptations 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 Chelsea 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 misericord carved by John Wake on a choir stall of Beverley Minster, 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). There have been several musical settings of Chaucer's story, of which the first was Gordon Jacob's The Nun's Priest's Tale 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 are from the translation by Nevill Coghill, who was also responsible for the lyrics in the rock-pop musical Canterbury Tales, the original score of which included the Nun's Priest's Tale among its five episodes. The work was conceived and directed by Martin Starkie, with music by John Hawkins and Richard Hill. This was first presented at the Oxford Playhouse in 1964 and went on to be performed round the world. In the children's storybook Chanticleer and the Fox, Barbara Cooney retells The Nun's Priest's Tale, using her own illustrations. Published in 1958, it was the recipient of the Caldecott Medal for illustration 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 Chanticleer and the Fox, a musical play based on the Nun's Priest's Tale, in which