- Series: Penguin Classics
- Paperback: 560 pages
- Publisher: Penguin Classics; Reissue edition (October 31, 2006)
- Language: English
- ISBN-10: 0143039954
- ISBN-13: 978-0143039952
- Product Dimensions: 5.1 x 0.9 x 7.7 inches
- Shipping Weight: 5.6 ounces (View shipping rates and policies)
- Average Customer Review: 3,046 customer reviews
- Amazon Best Sellers Rank: #215,435 in Books (See Top 100 in Books)
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The Odyssey (Penguin Classics) Reissue Edition
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Robert Fagles's translation is a jaw-droppingly beautiful rendering of Homer's Odyssey, the most accessible and enthralling epic of classical Greece. Fagles captures the rapid and direct language of the original Greek, while telling the story of Odysseus in lyrics that ring with a clear, energetic voice. The story itself has never seemed more dynamic, the action more compelling, nor the descriptions so brilliant in detail. It is often said that every age demands its own translation of the classics. Fagles's work is a triumph because he has not merely provided a contemporary version of Homer's classic poem, but has located the right language for the timeless character of this great tale. Fagles brings the Odyssey so near, one wonders if the Hollywood adaption can be far behind. This is a terrific book. --This text refers to an out of print or unavailable edition of this title.
From Publishers Weekly
Robert Fagles's 1990 translation of The Iliad was highly praised; here, he moves to The Odyssey. As in the previous work, he adroitly mixes contemporary language with the driving rhythms of the original. The first line reads: "Sing to me of the man, Muse, the man of twists and turns/ driven time and again off course once he had plundered/ the hallowed heights of Troy." Hellenic scholar Bernard Knox contributes extensive introductory commentary, providing both historical and literary perspective. Notes, a pronouncing glossary, genealogies, a bibliography and maps of Homer's world are included.
Copyright 1996 Reed Business Information, Inc. --This text refers to an out of print or unavailable edition of this title.
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Peter Green states in the introduction that he is following in the footsteps of Lattimore, to preserve as much of the poem in Greek--wording, sentence structure, meter, and so on--in English, but to also make it declaimable. It is a translation to be read aloud. Thus, it is also a challenge to Fagles's translation, among whose virtues is how well it works as an audiobook.
To review, there are several major verse modern translations of the Iliad. Lattimore's is closest to the original Greek, and for undergraduate work can substitute for the original well enough. There is the Fagles translation, in modern free verse, is wonderful to read aloud. The Fagles Odyssey was on Selected Shorts once, and for a long time after I insisted that there was no other worthwhile contemporary translation of Homer. I swore by it. Lombardo's translation is pretty common in colleges because of the price and the slangy presentation. Then there is Fitzgerald, which some swear by, but Fitzgerald's translation is loose with the Greek and mannered and fey in its English. It even translates Odysseus as "Ulysses," a sure sign that fidelity to the Greek is not worth the translator's trouble. I am missing some others, I'm sure.
So let us begin at the beginning. In the Greek, the Iliad has "μῆνιν ἄειδε θεὰ Πηληϊάδεω Ἀχιλῆος" Quite literally, "Rage! sing goddess of the son of Peleus Achilles." μῆνιν means, more or less, the anger that engenders revenge, rage, wrath, anger are all ok to some degree. (It's complicated, an entire scholarly treatise is written on the meaning of the word.) Green gives, "Wrath, goddess, sing of Achilles Peleus's son's [/ wrath]." Fagles gives "Rage--Goddess sing the rage of Peleus's son Achilles." Lattimore gives "Sing, goddess, the anger of Peleus' son Achilleus." Green and Fagles are right to put the first word first. This is poetry, after all, the order of the words matter, the first especially. The first word is the theme of the poem, the way it is directed first against Agamemnon, then toward the Trojans, and then tempered for a common moment of humanity, is the internal trajectory of the whole epic. Wrath might be best of all, since it conveys that it is anger in a sense that is unfamiliar to modern readers.
Once, in my second year of taking Greek, I was told that there was no use of literal translations. Take it far enough, and you wind up with a textbook on how to read the book in the original Greek. Make it into readable English, and you wind up with a host of compromises where thousands of close translations might do. Go far enough you wind up with Girardoux's "The Trojan War Will Not Take Place," worthwhile on its own, but not really a "translation." That professor preferred Fitzgerald, but easy for her to do, she could read anything in Greek without any help. For us mortals with mostly forgotten Greek, or no Greek at all, closeness to the original in a translation should be treasured.
In the end, translating Homer is a game of compromises, How much of the strangeness of 2500 year old lines and 3200 year old motivations do you keep? Dactylic hexameter calls for lines much longer than any form of English verse, so shorter lines or not? And so on. For me, Fagles is as far to compromise with how English verse should go as I am willing to accept. For what it's worth, Lattimore's English verse is better than his critics complain of.
Starting from no knowledge of Greek, I'd choose Green. Over Lattimore because it's friendlier for the beginner and not worse as far as I can tell for a serious third reading. Over Fagles because the true-to-the-Greek line lengths convey the way the poem drives itself forward better in Green's line by line than in Fagles's free verse.
Also. The introduction includes a plot summary of the whole Trojan War, of which the Iliad only covers a small portion. I have never seen such a succinct and complete synopsis before. There is also a synopsis of the poem keyed to the poem in the back matter to help find your place, an enlightening glossary of names and concepts to help you through your first read, and footnotes to inform the reader of context that has since been lost.
Word to the wise re: Kindles. These are long verse lines. To get complete lines on a Kindle screen, you need a Kindle that allows text to display in landscape mode.Even then, complete lines only work in a very small font size. Get this in hardback for now. The hardback is stitched and bound to keep, so it is worth your money.
At the brink of war, two great nations fought for the sake of glory and honor. One for the rescuing of Helen, the wife of Agamemnon, who was stolen by Paris, and the other for the protection of the fate of Ilium. On the defensive you have the Trojans of Ilium (commonly referred to as Troy), and on the offensive you have the Achaians (commonly referred to as the Greeks). The defenders have Hector as their champion of war, as well as Paris, who is the slimy man who stole Helen from the Greeks. The offenders have Achilles, Patroklus, Agamemnon, Odysseus, and the fuel of indistinguishable rage.
On the one hand this is a battle of mortals, fighting to the death for the honor of an afterlife they aren't even sure is pleasant. On the other hand this is just a microcosm for the chaotic power struggle between the gods of which Zeus is king. Hera, Athena, and Poseidon fight for the Achaians, while Aphrodite, Apollo, and Artemis fight for the Trojans.
Life Is A Battle
One can only wonder what Homer was trying to convey by portraying the entire religious and human constitution as a battle. To be human, according to Homer is to be a warrior, battling through life and death for the ultimate prizes that surpass wealth: honor and glory.
Honor is that human quality that has to do with moral dignity. Best exemplified in Odysseus, it is standing your ground in the face of death in order to fulfill the duty of a soldier to his fellow warriors, to fight for them as well as yourself. To be an honorable warrior is not the same thing as being a glorious warrior.
Glory is that god-like quality of seeking victory and domination for the sake of one's own name. Best exemplified in Achilles, he sought glory in the slaying of Hector, and vengeance in his disgrace. While Achilles was glorious in his victory he was dishonorable in his conduct towards Hector. One can achieve glory without honor just as much as one can achieve honor without glory.
Written in Homeric Greek, this long narrative is actually a poem. Its rhythm exemplifies tension and conflict, rage and warfare. The gore and detail of the battles show that this is a poem about death and mortality more than it is about life and victory. This point cannot be overstressed: the lives of the Achaians and the Trojans were lives of conflict, battle, war, and rage.
A World of Chaos
In the end, the chaotic struggle between men and men, gods and gods, exemplifies the arduous chaos of human life. To be human, according to the Iliad, is to be a fighter. To not fight is to lose, and to not struggle is to be defeated. Whether it be the gods, man, or beast, the good life is the life of constant battle and war.