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The Iliad, by Homer
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Jacket tear on back, else VG, blue cloth with price clipped dj
- Sales Rank: #2194112 in Books
- Published on: 1974
- Format: Illustrated
- Number of items: 1
- Binding: Hardcover
- 594 pages
- CLEAN NEW BOOK
Language Notes
Text: English, Greek (translation)
Most helpful customer reviews
130 of 141 people found the following review helpful.
Not the biggest fan of this translation...
By T. Bachman
Fortunately, Homer is so wonderful that even fairly imaginative renderings of the text, like Fagles', can't obscure his genius.
I guess I have a bit of a problem with Fagles' translation. When I read Homer, I want to read Homer, not Robert Fagles re-writing Homer. This version reminds me of the comment made to Alexander Pope after he published his version of "The Iliad" - "a pretty poem, Mr. Pope, but you must not call it Homer".
This translation is kind of a modern play on the Fitzgerald - something of an "artistic" version rendered into a kind of de rigeur semi-elliptical poetry-speak, relying on a reconfiguration of lines and sentences, replacement of Homer's own phrases, etc. If that's your bag, by all means get this.
But for me, the best translation out there is that which translates Homer as faithfully as possible consistent with comprehensible English. Fagles' cavalier handling of the source text eliminates this as the "best" translation for me.
Both the Loeb and Lattimore versions are very faithful, but I think some readers may find them fairly difficult, and then stop reading the book altogether, which would be a great shame since The Iliad is well worth reading even in the worst translation.
My two cents is that the translation out there which does the best job of combining fidelity to the original with readability is the Jones/Rieu put out by Penguin. It doesn't have the packaging of the Fagles nor the great essay by Bernard Knox in the front, but I think it does the best job at maintaining transparency, really letting Homer shine through. (But if you have the stomach for the Loeb, you could go hardcore and try that, too. But don't try this unless you're familiar with the entire story first...).
Whatever translation you get, I also recommend buying a CliffNotes to get the necessary background information. Another great resource is Malcolm Willcock's commentary, which I used while I was reading this. If you're going to take the time to read a classic, you might as well try to get everything out of it you can.
Good luck. I hope this review helped someone.
102 of 111 people found the following review helpful.
Abridged, but Excellent - and great fun, too
By CranstonShenir
The Iliad was meant to be heard rather than read. It's a cliche, but it's true. So an audio version of the Iliad can be a great thing; rather than just a secondary version of a published book, it can be in some ways a purer representation of the original work. This recording is an (abridged) reading by Derek Jacobi of Robert Fagles's best-selling 1990 translation. I'll deal with three different aspects of this product separately: the translation, the performance, and the abridgement.
THE TRANSLATION (5 stars):
Judging a translation is a hard thing to do, and a lot of it comes down to personal aesthetic preference. Remember, all translations are paraphrase, and each can capture different facets of an original but none can capture all of it. This is particularly true of poetry, where much of the artistic content of the original is not only in the meaning of the words, but the sound, shape, and rhythm of the words themselves in the original language. What many translations of the Iliad lose, regardless of their literal accuracy, is the feel of Homer's verse - its directness, the concreteness of its language, and above all the headlong momentum of the whole thing. Homer's hexameter verse is propulsive, pulling the hearer (note: not the reader) forward with an unstoppable 15,000-line drumbeat that leaves you breathless. (Well, it leaves me breathless, anyway -- your mileage may vary.) Fagles captures this feeling magnificently in direct, confident, robust English. True, Fagles is not always literally accurate in the translation of specific words or epithets, but he expertly recreates the vigor of the piece. Richmond Lattimore's excellent translation (The Iliad of Homer) is closer to Homer in capturing some of the subtleties of wording, and is rigorous in its fidelity to the text, but the Fagles translation is my favorite for sheer heart-pounding excitement. The warrior spirit of the Iliad comes crashing through this translation undiluted and without apology.
THE PERFORMANCE (4 and a half stars):
Jacobi gives a spirited performance, with a forceful, fiery delivery well-suited to the heroic bombast of the battle scenes and the emotionally-charged clash of strong personalities. Achilles's offended pride, Hector's valiant but headstrong dedication to duty, Agamemnon's arrogance, and Paris's weasly self-serving faux contrition all come through vividly. My only criticisms of Jacobi's performance are these: while well-suited to the larger-than-life elements of the story, Jacobi can occasionally be too bombastic in a few of the more intimate moments. In addition (and this is admittedly a bit of a nitpick), I feel that he disregards the meter a little too much. As I mentioned above, the drumbeat of Homer's verse is a key aspect of its artistic appeal. Fagles chooses a loosely iambic meter which is not intrusive, but imparts a definite rhythm; at times, Jacobi all but ignores this and might as well be reading prose. There's no need for a bouncy Dr. Seuss-style delivery, but a bit more recognition of the rhythmic flow of the English version would suit me better. (This is, of course, a matter of taste.) Ian McKellen's (unabridged!) reading of Fagles's Odyssey translation (The Odyssey by Homer) is a contrast here: McKellen unobtrusively finds the rhythm of each line in a powerful (and a bit more textured) performance. These criticisms are by no means severe -- Jacobi's performance is excellent.
THE ABRIDGEMENT (3 stars):
Yes, as others note, this reading is abridged (approximately half of the text is left out), and a lot is unfortunately lost. When originally released on cassette in the early 1990s, the producers were probably skeptical of the sales potential of a 13-hour recording of an ancient Greek poem, and so hedged their bets with an abridgement. But both the print and recorded versions of Fagles's Iliad were surprising bestsellers. Happily, the publishers did not make the same mistake with Fagles's Odyssey, released in 1996: Ian McKellen's reading of that poem is unabridged (and glorious).
In this recording of the Iliad, most of the key episodes are preserved - for example the initial disagreement between Achilles and Agamemnon, Hector's return to Troy, Patroclus's death, Hector's death, and the final meeting between Achilles and Priam. Others are sadly missing. Some of the excised bits are obvious choices (the catalogue of ships in Book II is mercifully skipped over), but others are harder to bear. The biggest losses for me are Diomedes's gift of special sight on the battlefield in Book V and the funeral games for Patroclus, but most lovers of the Iliad will find some favorite moment or another gone.
But while the cuts are deep, they are fairly clean. Entire, unbroken blocks of text (ranging from dozens of lines to whole books) are removed en masse, rather than a line here and a line there; there is (thankfully) no resorting to paraphrase or condensing lines. Further, the excisions are well-marked: all words coming from Jacobi's mouth are directly from Fagles's translation; missing sections are bridged with summarizing narration read by a different narrator.
While the cuts are unfortunate, they do not generally detract from the high quality of the listening experience. For those who know the Iliad well, think of this as a terrific "greatest hits" version of the poem. Enjoy the parts that are here, and don't pine too much for the missing bits. You can always go back to the text for those.
J. Van Hoose
124 of 136 people found the following review helpful.
Solid translation, but not my first choice
By Scott Chamberlain
Some general thoughts....
First, there are several reasons for translating the Iliad. Obviously, it is one of the greatest pieces of literature that has as much to offer modern readers as it did those of antiquity. On the surface, it offers raw emotions, visceral action sequences and colorful characters you admire and hate, often at the same time. But it is much, much deeper than that. The scene where Hector bids his young wife good-bye and holds up his infant son to the gods, praying that the boy will one day be a better man than ever he himself was, has never been equaled as a statement of what it means to be a man, husband or father. The debates about honor and duty are still the same we face every day. The humanity, insight and profound philosophy are remarkable-especially for a work now 3,000 years old.
There are other considerations beyond aesthetics. Recent scholarship has revealed that Homer has much to tell us about real places, people, ideas, actions and politics. Gone is the great Classical scholar Finley's view that the Homeric poems are mostly fictitious and cannot tell much about the heroic Bronze Age. Therefore, there is a need for an accurate, line-to-line translation that can convey the feel of the original meter and still use the full range of words, places and objects that can often be "streamlined" in an adaptation.
This is where Lattimore's translation comes in. This still is probably the most "accurate" translation, preserving the structure of the poem, the full meaning of the Greek words and the original "tone" of the Greek. If you're wading thru the original Greek and want to have something to check against, this translation wins hands down. Also, if your interest in Troy is historical/archaeological, Lattimore is a must. And to be perfectly honest, many, many people have loved the language itself, hailing this as THE classic translation that all others must be judged against.
That said, to just sit down and read the Iliad for sheer enjoyment's sake, Lattimore isn't even my third choice. For all its accuracy, I've always felt I was reading a textbook, written by a classics scholar rather than an honest-to-goodness writer. I suspect casual readers might be put off by the (entirely appropriate) academic feel of the work, and miss the probing intelligence of the translation, the brilliant attempt to convey the peculiarities of the original language and meter into modern form.
This is a notable achievement, but for those who might be looking for a less "formal" translation might be steered toward Fagles' translation, or for a heart-pounding, visceral read, to Stanley Lombardo's vivid translation.
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