Harvard Side A: Geryon. And the all-too-familiar scenario of the berserker in the workplace or school. Do you think Homer shows us human life as it irreparably is, both the beauty and —. Lombardo: And horror. Yes, I do. But also the fidelity that soldiers have to each other in the Iliad. You see that in the Iliad. Leddy: How does fidelity differ from attachment? Lombardo: Fidelity is for the other person; attachment is for oneself.
Such words seem to imply not a practical arrangement but a remarkable intimacy.
If oblique, coded communication is taking place between Odysseus and Penelope there, it would seem that Homer is making a narrative with the subtlety of Jane Austen or Henry James. What does that do to the well-known Erich Auerbach thesis about the transparency of Homeric narrative? Lombardo: Homer does have a certain clarity of expression. I think of Helen in the Iliad for instance, her relationship to Hector. Or Achilles and Patroclus, and the homoerotic relationship that is assumed in the later Greek world to be there. I think Homer consciously creates that kind of ambiguity.
In Book 19 I think he creates the ambiguity and pushes it to limits that must have amused him. I can imagine Homer performing Book 19 and having complete mastery over the audience. As often, I go back to etymology, to try to express the deeper layer and at the same time suggest the current meaning that a word might have for Homer.
You can be around in the sense of taking care of it, or you can simply be present and available, around. It might clearly mean that if there were, say, a shepherd tending flocks. It does establish some autonomy as well, which Penelope always insists on. Leddy: Do you see Homer as something of a feminist? Is he making poetry against patriarchy? How did you come to work with her poetry? I translated just one poem as an undergraduate, maybe two, very short.
The midnight poem is the only translation in the book that I did as an undergraduate:. It goes,.
One reason I like it is for how acoustically one word leads into the next. Another is that I thought it reimagined Aphrodite, her presence, in a Sapphic way. The translation captures the phenomenality, in a phenomenological way [ laughs ]. Once I had that, I did it all. For instance, in the poem about Helen ,. Of course the poem becomes fragmentary, but you can see how it goes, it moves on to Anactoria, obviously describing a relationship with Anactoria.
Another is in a poem  in which she has an epic simile — in lyric. It takes up a fair amount of the poem. The simile has a texture and unity and poetic quality that Homer never quite gets to. Leddy: Your Sappho translations look and sound remarkably contemporary. For instance, 17,. Did anyone in contemporary poetry influence your handling of the line in Sappho? Larry Eigner, perhaps? Lombardo: That sort of convention in contemporary poetry, definitely, though not any particular poet.
Certainly Olson, in the use of the page. And as it worked out, every poem fit onto one page, even the longest ones. That was very nice, and I was so grateful. I write in the preface to the translation about my interest in the rhythmic phrase and making it work on the page. The sapphic stanza, which Sappho uses and may have invented, has a strong caesura, as do her other lines. Some people think the hexameter line comes from the lyric, from rhythmic phrases put together, usually three phrases in a line.
But I thought for lyric it was right. To represent it, you break it up. Too long I know you have mixed feelings about Vergil. What about Ovid? Too much [ laughs ]. Vergil is very tempting, but I am ambivalent still. Vergil is a kind of contemplative who finds himself writing epic, at the average pace of about three lines a day.
Leddy: One last question.
Is there a muse of translation, and if so, what is her name? Lombardo: Mind. Odysseus has to attain the minds of many people in his wanderings. Translation is mind to mind, not dictionary to dictionary. Homer is a mind that I try to attain. He has poems in recent issues of Bird Dog and Range. San Francisco: Grey Fox Press, Callimachus, Hymns, Epigrams, Select Fragments. With Diane Rayor. Baltimore: Johns Hopkins University Press, Horace, Selections from the Odes. Diane Rayor and William Batstone.
New York: Garland, Plato, Lysis. Plato: Complete Works. John M.
Homer Box Set: Iliad & Odyssey (Audiobook) by Homer, W. H. D. Rouse - translator | fonudikigexi.tk
Cooper and D. Indianapolis: Hackett, Seung Sahn, Bone of Space. Compiled by Stanley Lombardo. San Francisco, Four Seasons Foundation, Introduction by Stanley Lombardo. San Francisco: Four Seasons, Stephen Addiss and Stanley Lombardo. Lawrence: Penthe, In The Epic Voice. Alan D. Hodder and Robert E. Westport, CT: Praeger, It is made available here without charge for personal use only.
It may not be stored, displayed, published, reproduced, or used for any other purpose. Michael Leddy interviews Stanley Lombardo This piece is 7, words or about sixteen printed pages long You can read translations from Homer and Sappho by Stanley Lombardo in this issue of Jacket. Leddy: What were you reading? Lombardo: Yes. Lombardo: Really!
Lombardo: Very definitely from Pound. May you all turn to mud. So at the very beginning of the Iliad :. Lake, a lake in SW New York state, 18 miles 29 km long. Lombardo: [ Reads. You wrote that out — so that hit you? I want to gut someone with my hand, to tear a head off and rip out the heart and lungs from the neck, to stab someone in the gut, shove it up to their heart, and yank the fucking blade out of their rib cage!
Andrew Lang — was a Scots poet, novelist, literary critic, and contributor to the field of anthropology. While best known for his translations of classical literature and as a collector of folk and fairy tales, Lang also wrote poetry, biographies, histories, novels, literary criticisms and even children's books. Illiad Illustrated and Annotated. Yuval Noah Harari. Saving Rachel. John Locke. Memoirs Of Sherlock Holmes. Sir Arthur Conan Doyle. George R. Suzanne Collins. The Girl in the Spider's Web.
David Lagercrantz. Ian Fleming. The Illiad by Homer. Homer's Odyssey. Translated by: Butler. Bulfinch's Greek and Roman Mythology. Thomas Bulfinch. The Aeneid Illustrated Edition. Mobi Classics. Bulfinch's Mythology.
The Aeneid. Childe Harold's Pilgrimage. Lord Byron. Orlando Furioso. Lodovico Ariosto. The Complete Ovid Anthology. Publius Ovidius Naso Ovid. The Tale of Troy. Roger Green.
The Iliad Of Homer. The Aeneid Mobi Classics. Alexander Pope. The Metamorphoses of Ovid, literally translated.
The Trojan Women. The Portable Roman Reader. The Aeneid Prose. Alfred J. The Adventures of Odysseus and the Tales of Troy. Padraic Colum. The Works Of Horace. The Tragedies of Seneca.
Apollonius of Rhodes. Ovid: Everyman Poetry. The Siege and Fall of Troy. Robert Graves. Jerusalem Delivered. Torquato Tasso. Boudica: Historical Commentaries, Poetry, and Plays. Aleks Matza. Tales of Troy. Thanks for starting this topic! The Iliad is on my list, and I've wondered what translation would be best to read. Message 2- it looks like they've changed the location of that translation. Is this it? I went looking and this looked like the right thing. Lombardo's version is what one might call "cutting-edge:" less concerned than conventional ones with straightforward translation of the Greek text in a way that closely represents its archaic milieu.
I think it's fair to say that he's more interested in a kind of style that the current generation can read and relate to. His translations he has produced many are highly regarded, but not because they most faithfully represent the Greek: he wants to modernize the timeless qualities of Homer so that current readers can appreciate them within the culture with which they are familiar.
My preference is strongly in favor of a more straightforward, traditional translation that represents the Greek text: its language, the legendary world in which it is grounded, and its elevated, heroic style. Elevated style, of course, is one of the defining features of epic in general, and it is Homer in the Iliad who established the epic form for the Western world.
I recommend Lattimore's version in the strongest terms. It is more challenging than most or probably all of the widely used translations; but rising to the challenge--keeping in mind the fact that you will not understand everything the first time nobody even comes close to doing so --will take you as close as possible, unless you learn Greek an enterprise from which I would not discourage you , to the founding work and still one of the greatest works of Western literature.
There is a commentary for beginning readers of the poem--I think by M. Willcock, but I'm not sure--that is designed to complement the Lattimore version. I've never used it, but I have glanced through it; I surmise that it would be helpful. In any case, the work becomes more manageable to read when somebody who understands it explains a few points here and there. Logue does not even know Greek, or at least didn't at the time War Music was completed. Stanley Lombardo said that when I took a graduate seminar with him in I have not read any of Logue myself.
Criels, thanks. I didn't realise that. Maybe that's what makes it poetry, unlike a lot of translations. I second the recommendation for the Lattimore translation, which is as close to the original Greek as any translation into modern English is ever likely to get, including the hexameter these translators are crazy Lattimore keeps all those features of the Greek which make the Homeric texts so endlessly fascinating: the archeology of the text, the evidence of oral formulae, the ring structures, the real nature of the similes. The introduction is especially interesting, in pointing out some of these things.
This is why universities always choose the Lattimore. There is also an excellent commentary to Lattimore's translation of the Odyssey, by the way, by Peter Jones: Companion to Homer's Odyssey. On the other hand, if Homeric studies do not interest you, and you simply want to read good modernist? Incidentally, Ezra Pound included a 'reworking' of book 11 of the Odyssey in his first Canto: "And then went down to the ship, Set keel to breakers, forth on the godly sea, and We set up mast and sail on tha swart ship, Bore sheep aboard her, and our bodies also Heavy with weeping, so winds from sternward Bore us out onward with bellying canvas, Circe's this craft, the trim-coifed goddess.
I'd say, these days, for me, it's tie between Lattimore and Fagles. If I was forced to choose, I'd probably go with Lattimore for sentimental reasons: I've been reading it for 20 years off and on, and it also helped me with some tough passages in the original Greek when I was in college. Lattimore's fidelity to the original Greek is quite good, though not perfect. With Fagles, I can't say, since I have tried to use his translation to try to cheat my way through the original.
I referred earlier to Malcolm Willcock's Companion to the Iliad as an aid to understanding that work in Lattimore's translation. I have since looked through a copy of that book and found that I can now recommend it even more highly than before. Also, I found that there is the same kind of work by the same author for the other Homeric poem, A Companion to the Odyssey by Malcolm M.
Willcock not to be confused with the commentary by Jones in To my consternation, I now can't find the Willcock guide to the Odyssey that I was sure I had seen somewhere. Maybe I actually saw the Jones book instead and falsely attributed it to Willcock. But I think I so clearly remembered such a book by Willcock that I'm seriously disturbed about my memory if I didn't.