Customer Reviews

Iliad of Homer, The

5 star:		(13)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(2)

 

 

[From Boating on the Catawba...in the
"Musketaquid"]

If you pass on reading this work in the
original Greek [*Homeri Opera: Tomus I,
Iliadis Libros I-XII and Tomus II, Iliadis
Libros XIII-XXIV*; Oxford Classical Texts,
Oxford University Press], then I would
suggest these two excellent translations
as your possible choice for enlightenment,
inspiration, and enrichment through the
English language...and through the wondrous
powers and arts in the minds of these two
translators: Robert Fagles or Martin Hammond.
I first fell under the spell of Fagles'
art and poetry and power in his translation
of Aeschylus' *Oresteia.* [Penguin Classics]
And his co-creation of Homer's wonder, through
English, is also compelling.
But I also am very much drawn to Martin Hammond's
prose translation of the *Iliad.*
Here are the two tranlators presenting the
same Homeric passages -- judge for yourself:

[...the coming of Apollo into battle; the
smiting of Patroklos...*Iliad*; Book 16]

Fagles:

...and Patroclus charged the enemy, fired for the kill.
Three times he charged with the headlong speed of Ares,
screaming his savage cry, three times he killed nine men.
Then at the fourth assault Patroclus like something
superhuman--
then, Patroclus, the end of life came blazing up
before you,
yes, the lord Apollo met you there in the heart of
battle,
the god, the terror! Patroclus never saw him coming,
moving across the deadly rout, shrouded in thick mist
and on he came against him and looming up behind him
now--
slammed his broad shoulders and back with the god's
flat hand
and his eyes spun as Apollo knocked the helmet off
his head
and under his horses' hoofs it tumbled, clattering on
with its four forged horns and its hollow blank eyes
and its plumes were all smeared in the bloody dust.
Forbidden before this to defile its crest in dust,
it guarded the head and handsome brow of a god,
a man like a god, Achilles.

Hammond:

And Patroklos charged at the Trojans with murder in
his heart. Three times then he charged like the
swift war-god himself, shouting fearfully, and
three times he killed nine men. But when for the
fourth time he flung himself on like a god, then,
Patroklos, the ending of your life was revealed.
Phoibos met you in the battle's fury, terrible god.
Patroklos did not see him moving through the rout.
Apollo came against him hidden in thick mist, and
stood behind him, and struck his back and broad
shoulders with the flat of his hand, so that his
eyes spun round. Then Phoibos Apollo knocked the
helmet from his head, and the great masking helmet
rolled clattering under the horses' feet, and the
hair of its crest was sullied with blood and dust.
Before now it was not permitted for this horse-
crested helmet to be sullied in the dust, but it
guarded the head and fine brow of a godlike man,
Achilleus.
* * * * * * * * *
Both editions also contain excellent Introductions,
with the Hammond edition having a Book by Book
critical summary as part of the Introduction.
However, the Fagles edition Introduction [written
by Bernard Knox] contains much excellent historical
background, poetic explanation, and wonderful
passages such as this:

"The texture of Homeric epic was for the classic
age of Greece like that of the Elgin Marbles for
us--weathered by time but speaking to us directly:
august, authoritative, inimitable -- a vision of
life fixed forever in forms that seem to have
been molded by gods rather than men."
* * * * * * * * *

This is specifically a review of Martin Hammond's translation of the Iliad (I've noticed that reviews for different editions often appear lumped together). This is by far the best translation of the Iliad I have ever encountered and it led me to finally read the Iliad from beginning to end without skipping bits or skimming. It is a modern prose translation but is also faithful to the meaning of the original Greek (since the translator is not forced to try to turn his translation into verse). I simply cannot recommend it enough. A nice touch is that Hammond has given the different characters names that are far closer to the original Greek then the ones often used in other translations (e.g. Achilleus, Aias, Patroklos, Hektor).

I long ago determined that the world of those interested in the Classical Literature of the Ancient Greeks that when it comes to Homer's epic poems there are those who prefer the "Iliad" and those who prefer the "Odyssey." My choice is for the story of the rage of Achilles. From Achilles's fateful confrontation with Agamemnon over Briseis of the lovely arms to the magnificently emotional ending where King Priam comes to beg for the body of his slain son, Hector, from the man who killed him, I find this story has greater resonance than the tale of Odysseus. The epic story also seems to me to be more classically Greek, with the great hero who acts out of anger, comes to regret his folly, and seeks to make amends with a great deed. Achilles is similar to Hercules in this regard, and although they are both strictly considered demi-gods, the Achaean hero ultimately seems more human. Plus, Achilles stature is enhanced by his opposition to the noble Hector; acknowledging the better warrior does not take away from recognizing the greater hero. Add to this the fact that all the gods and goddesses of Olympus are actively involved in the proceedings and I am convinced the "Iliad" is the more worthy book for inclusion into most classes dealing with Classical Mythology or the Ancient Greeks.

The main question with using the "Iliad" is class is picking a worthy version in English. The Lattimore translation is certainly above average, but I think the Fagles translation is far and away the best available (hence the one star deduction for this translation, which I have been compelled to use in the past) and I would not really consider using anything else in my Classical Greek and Roman Mythology course. I also like to use the "Iliad" as part of a larger epic involving the plays of Euripides, specifically "Iphigenia at Aulis" and "Trojan Women," as well as relevant sections from the "Aeneid" and other sources on the Fall of Troy. But the "Iliad" remains the centerpiece of any such larger tale, mainly because of the final dramatic confrontation when King Priam goes to weep over the bloody hands of Achilles. Not until Steinbeck writes "The Grapes of Wrath" is there anything in Western Literature offering as stunning an end piece.

I dunno about other people reading this but it was a struggle. The book itself is a deserved world classic which relates the story of the siege of Troy. However, most people associate that battle with the wooden horse incident so be aware that the book does not cover that period! It ends before it. The incident is referred to in Homer's Odyssey and fully told in Virgil's Aenid.

The story itself is one of powerful archtypes in the characters of Achilles, Agamemnon, Hector, Priam etc. The war itself is supplemented by the gods taking part and the premises of this epic poem are psychological, philosophical as well as the kick-butt action scenes.

However, I found this translation quite bad. The text is very dense. I know the original is dense as well - but at least the Greek has poetry. When a classic is translated, much of the poetic beauty is lost so as a result, it should at least be made readable. But this one isn't. The text is set out as prose but with very long paragraphs. The language is archaic - one can't follow an already complex piece of text with "spake" occuring every second. Also, at least in my copy, there were heaps of mistakes. I mean books have typos but in the bad parts a page might have 6 or 7 which is bound to get annoying.

So definitely read the Iliad but look for a better translation.

A question ritually asked in literary circles is, "Which do you like better, The ILLIAD or The ODYSSEY?" Without hesitation, my response is The Illiad. Brimming with war, revenge, hatred, love, and beautifully translated prose, the Wordsworth Classics' version offers a first time reader or a scholarly sage a definitive copy for their collection. Homer's work has been spoken of for more than two milleniums and the Trojan/Greek war is recounted with such power and engagement, it still remains a heavily cited and easily reurnable story. Hours of enjoyment and antiquated adventure await.

This translation was as good as any. I like that the book came across as a story, which is very important when reading. Some translations have the numbers in the margin telling you what line you are on. Though those numbers are used when reading a poem, and though the Iliad is a poem, I think the numbers would soon overwhelm or distract me and reveal what a long poem the Iliad really is. This translation, however, reveals the Iliad as an exciting and historical story. I usually don't get into these types of epics, but this translation made it easy for me to understand and become involved with the story. And if I did get stuck, the introduction provided a very nice explanation of what was happening. This translation worked well for me and I would definitely recommend it to others.

I went into the Illiad, reading it because I thought that I was expected to. The Illiad is the sort of reading that is expected of a well rounded and enlightened individual. However, instead of a dusty tome, I found a vibrant, lively book, full of rage and sorrow, brimming historical accounts laced with godly intervention. The most amazing aspect, apart from the grim battle scenes (and they are unflinchingly gory), is the depth to which Homer explores each of the major characters. There are no bad guys or good guys, each man portrayed is multi-faceted with dark and light qualities. Achilles' the supposed hero is vain, vengeful and spiteful, the villian Hector is seen a reluctant defender who mourns his wife and child even before his death. And Paris the center of it all, a pathetic selfish man, who possesses an unearthly charisma. This novel is amazing and astounding in that it not only tells a great story, but that it asks the eternal questions of mankind, about fate, bravery and a life well lived. The Illiad is the starting point of the Odyssey and the Aeneid both classics of epic poetry and the Illiad is also ripe with Greek Mythology. I cannot more highly recommend a book than this one.

Many mark "The Iliad" as the first major work of western literature. Others will give works such as "The Epic of Gilgamesh" that honour, nonetheless "The Iliad" is truly a great poem. In fact, both "The Iliad", and "The Odyssey" were tremendously influential (some even liken their prominence to that of the Bible) to the ancient Greek society that would provide much of the framework for the modern western world. Few other works can make such claims. "The Iliad" is essential reading for anyone who wants to understand the origins of western thought.

One word of advice, however, is that if you are unfamiliar with the epic style, you may wish to begin with "The Odyssey", despite the fact that, at least in plot, it is the successor to "The Iliad". "The Odyssey" is a far easier read, and found by many to be more exciting than "The Iliad" (which can, at times, be somewhat tedious). If you are left thirsting for more, tackle "The Iliad".

Any rating of "The Iliad" has to be primarily a rating of the translation, not of the work as such. Obviously "The Iliad" does not measure up to 21st-century expectations of riveting fiction, but then again, it was not written in the 21st century and it would be silly to expect anything of the sort.

It was instead written in about 800 BCE and is *the* cornerstone of Western literature. Homer was for the Greeks what the Bible was for the Hebrews: the poems gave the loose Greek tribes a common identity in a semi-mythical history. Homer, in a way, gave *birth* to Greece, and Greece contributed significantly to the birth of Western culture.

For this reason alone, anyone who lives in or identifies with the West should read "The Iliad." We wouldn't be here without it.

Now as far as modern taste and entertainment value goes, "The Iliad" might conceivably be disappointing. It tells the war at Troy with its principle heroes Achilles and Hector, but the story ends anti-climactically with the burial of Hector. The Trojan Horse is not mentioned in it, nor is the city conquered.

For the retrospective account of the Trojan Horse and the fall of Troy, one has to turn to Virgils "Aeneid" or to Homer's "Odyssey" - which is a more engrossing tale than "The Iliad" in terms of human interest, fantasy, and a satisfying ending.

Now to this particular translation, made around 1600 CE by English poet George Chapman. It is important to realize that this is *not* a simple prose translation of Homer, but in fact one of the most poetic renderings of Homer in the English tongue. As such, it is also one of the most difficult to read and is probably not recommended as an introduction to "The Iliad." It can be better appreciated if you already know the story well and want to relish the beauty of Chapman's English version of the Greek poetry.

For a more straight-forward and easier-to-understand prose translation, the reader may turn to the version by English novelist Samuel Butler, published in 1898. Butler's version lags far behind in terms of beauty, however. Furthermore, Butler uses the Roman names for the gods and other characters (e.g., Jove instead of Zeus), which I found unfortunate (although Chapman does so too).

For another prose translation that uses the Greek names, I recommend the one by W.H.D. Rouse (Signet Classics). The advantage of the Butler translation, however, is that it is in the public domain, which means that you can get it as an e-text on the internet and also as a free audio book at librivox.org.

To summarize: Buy this Wordsworth edition if you want to relish the *poetry* of "The Iliad"; buy a newer prose translation if you want to be introduced to the *story* of "The Iliad."

This translation captures the noble grandeur of Homer's Iliad better than any of the others (Lattimore, Fagles, etc.--Lattimore's Odyssey is nearly perfect, but in the Iliad he uses words like "sir", which make his Iliad translation seem anachronistic and "cheeky" at times.)

Though it is referred to as a "prose" translation, it nevertheless achieves at least the same degree of poetry as the other "verse" translations (none of which actually reproduce the metrical rhythms of Homer, but merely try to match the same thoughts per line, with occasional distracting flights of fancy.)

The characters' speeches are rendered beautifully by Hammond, with striking directness, force, passion and noble pathos. In the Hammond translation, we have all the ritual, formulaic, noble and heroic grandeur of Homer's Iliad, with characters that come alive through their speeches, with clearly recognizable self-consciousness and sophistication of thought that easily elicits even the modern reader's empathy.