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Examines the history of scholarly debate about the origins of "The Iliad". Was Homer the sole author, did he describe historical events and was his poetry transcribed in his lifetime? - these are some of the questions examined.
- Sales Rank: #14532281 in Books
- Published on: 2008-06-26
- Original language: English
- Dimensions: 8.75" h x 5.50" w x 2.00" l,
- Binding: Library Binding
- 683 pages
From the Back Cover
'In Robert Fagles' beautifully rendered text, the Iliad overwhelms us afresh. The huge themes--godlike, yet utterly human--of savagery and calculation, of destiny defied, of triumph and grief compel our own humanity. Time after time, one pauses and re-reads before continuing. Fagles' voice is always that of a poet and scholar of our own age as he conveys the power of Homer. Robert Fagles and Bernard Knox are to be congratulated and praised on this admirable work.
About the Author
Homer was probably born around 725BC on the Coast of Asia Minor, now the coast of Turkey, but then really a part of Greece. Homer was the first Greek writer whose work survives.
He was one of a long line of bards, or poets, who worked in the oral tradition. Homer and other bards of the time could recite, or chant, long epic poems. Both works attributed to Homer – the Iliad and the Odyssey – are over ten thousand lines long in the original. Homer must have had an amazing memory but was helped by the formulaic poetry style of the time.
In the Iliad Homer sang of death and glory, of a few days in the struggle between the Greeks and the Trojans. Mortal men played out their fate under the gaze of the gods. The Odyssey is the original collection of tall traveller’s tales. Odysseus, on his way home from the Trojan War, encounters all kinds of marvels from one-eyed giants to witches and beautiful temptresses. His adventures are many and memorable before he gets back to Ithaca and his faithful wife Penelope.
We can never be certain that both these stories belonged to Homer. In fact ‘Homer’ may not be a real name but a kind of nickname meaning perhaps ‘the hostage’ or ‘the blind one’. Whatever the truth of their origin, the two stories, developed around three thousand years ago, may well still be read in three thousand years’ time.
W.H.D. Rouse was one of the great 20th century experts on Ancient Greece, and headmaster of the Perse School, Cambridge, England, for 26 years. Under his leadership the school became widely known for the successful teaching of Greek and Latin as spoken languages. He derived his knowledge of the Greeks not only from his wide studies of classical literature, but also by travelling extensively in Greece. He died in 1950.
Most helpful customer reviews
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
102 of 111 people found the following review helpful.
Narration before Translation
By Todd F.
Upon reading reviews of various audiobooks, I find that most reviewers comment too much upon the translation and too little upon the narration. Translation choice is certainly important but I think you have to find a narrator who makes the story exciting. After having listened to both the narration by George Guidall of the Fitzgerald translation and Derek Jacobi's narration of Robert Fagles' translation, I would say I prefer the Jacobi recording. Although both men give good performances, I think that Derek Jacobi's reading is the better of the two because his tempo and inflection more closely mirror the pitch and pause of the narrative drama. Regardless of which translator you prefer, the narration should take precedence over the choice of translation. I actually prefer Fitzgerald to Fagles as a translator and I'm not crazy about an abridged version of The Iliad in the Derek Jacobi (Fagles) audiobook. But if you're going to listen to a few hours of Homer, you'd better like the voice in the ether. I don't think you could go wrong with either of these two narrations but I would advise you to find some audio samples to compare performances before you make your purchase.
0 of 0 people found the following review helpful.
Compelling characters, bloody battles, this is classic lit definitely worth reading!
By Ami | luvtoread
Set during the Trojan War, tension brews between Achilles and Agamemnon on the Greek side. Agamemnon steals Achilles’ war prize, Briseis, and Achilles then refuses to fight. The Trojans start to move in closer, under the leadership of Hector. Will Achilles fight or doom his comrades? The Iliad is a very bloody piece of literature. Warfare dominates almost every scene, and the book isn’t for the faint of heart. Besides the compelling human characters, gods play a part in The Iliad, and the gods just didn’t interest me at all. I had trouble following who was who, and which god was on which side, and I just didn’t care. But the human characters, especially Hector and Patroclus, I really loved. Definitely worth reading this piece of classic literature!
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