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The Iliad is a riddle, wrapped in a mystery, inside an enigma, for which Barry Powell, one of the twenty-first century's leading Homeric scholars, has given us a magnificent new translation. Graceful, lucid, and energetic, Powell's translation renders the Homeric Greek with a simplicity and dignity reminiscent of the original. The text immediately engrosses students with its tight and balanced rhythms, while the incantatory repetitions evoke a continuous "stream of sound" that offers as good an impression of Homer's Greek as one could hope to attain without learning the language.
Accessible, poetic, and accurate, Powell's translation is an excellent fit for today's students. With swift, transparent language that rings both ancient and modern, it exposes them to all of the rage, pleasure, pathos, and humor that are Homer's Iliad. Both the translation and the introduction are informed by the best recent scholarship.
FEATURES
* Uses well-modulated verse and accurate English that is contemporary but never without dignity
* Powell's introduction sets the poem in its philological, mythological, and historical contexts
* Features unique on-page notes, facilitating students' engagement with the poem
* Embedded illustrations accompanied by extensive captions provide Greek and Roman visual sources for key passages in each of the poem's twenty-four books
* Eight maps (the most of any available translation) provide geographic context for the poem's many place names
* Audio recordings (read by Powell) of fifteen important passages are available at www.oup.com/us/powell and indicated in the text margin by an icon
- Sales Rank: #745016 in eBooks
- Published on: 2013-09-17
- Released on: 2013-09-17
- Format: Kindle eBook
Amazon.com Review
A Look Inside: The Iliad [Click Images to Enlarge] First Seven Lines of the Iliad: This reconstruction is based on what we know about the earliest Greek orthography.
The Walls of Troy: The translator standing before the walls of the sixth city at Troy.
The Judgment of Paris: On the right a youthful Paris sits on a stone in a rural location. The sheep near his feet indicates that he is a shepherd. Athenian red-figure water jar, c. 450 BC.
The Rage of Achilles: The seated Agamemnon holds the scepter of authority and sits on a throne, his lower body wrapped in a robe. Athena seizes Achilles from behind by the hair. Roman mosaic from Pompeii, c. First Century AD. The Wedding of Zeus and Hera: A half-naked Zeus, sitting on a rock, clasps the wrist of Hera. One of her breasts is exposed as Hera removes her head covering in a traditional gesture of submission. c. 540 BC Hephaistos Prepares Arms for Achilles: The smithy-god, bearded and wearing a felt cap, sits in an elaborately draped hall on a platform holding a cloth with which he is polishing the finished shield. Between him and Thetis are the breastplate and the shinguards (the surface of the fresco is damaged here). From Pompeii, c. AD 60.
From Booklist
*Starred Review* Following Stephen Mitchell’s superbly cadenced translation by a mere two years, Powell’s Iliad may not get the popular attention it deserves. That would be a great shame, for while Mitchell’s line is more singing, Powell’s very similar five-beat line is scarcely inferior. It, too, maintains the great forward momentum of Homer’s narration—it’s magnetically readable. But Powell puts explanatory notes at the pages’ feet rather than in an appendix like Mitchell, who probably doesn’t want to distract the reader from the narrative flow. Nevertheless, the footnotes’ greater accessibility is welcome. Whereas Mitchell’s introduction is primarily concerned with the qualities of the text, Powell’s longer one is much more historical, concerned with the evolution of writing; the nature of oral literature; Homer’s influence on Greek and Western history; the historical probabilities behind The Iliad; and what Homer’s portrayal of motivation and character—divine as well as human—reveals about a society creating literature out of oral traditions. Adding attractiveness as well as cultural supplementation, Powell also disperses more than 50 illustrations depicting moments in the poem, all drawn from Hellenic pottery and Roman frescoes. It’s tempting to think of Powell’s as a student’s and of Mitchell’s as a reader’s Iliad, but any library that can accommodate both really ought to. They’re both invaluable versions for the twenty-first century. --Ray Olson
Review
"Powell, a distinguished Homer scholar and published poet with multiple books on the study of ancient Greek text and classical mythology, faces two challenges common to all translators of Homeric verse: how to capture the essential vigor and concision of oral poetry while remaining readable and how to represent a highly stylized and archaic idiom without sounding stilted. Powell is successful on both counts, offering a clear and energetic translation... Staying true to Homer's poetic rhythms, Powell avoids the modified iambic lines found in Lattimore's, Fagles's, and Mitchell's works. He also avoids Lombardo's tendency to cast Homer in contemporary language and Fitzgerald's anachronisms. This fine version of The Iliad has a feel for the Greek but is more accessible than Verity's translation. Highly recommended." --Library Journal
"Barry Powell, the master of classical mythology, has done it again--a powerful translation of the poem that started European literature, His muscular verses are faithful to the original Greek but bring the characters to life. This is a page-turner, bound to become the new standard." --Ian Morris, author of Why the West Rules-For Now
"With swift, transparent language that rings both ancient and modern, Barry Powell gives readers anew all of the rage, pleasure, pathos, and humor that are Homer's Iliad -- a reading experience richly illumined by the insightful commentary and plentiful images accompanying the text." --Jane Alison, author of The Love-Artist
"Barry Powell's clever translation is simple and energetic: sometimes coarse, sometimes flowing, it is always poetically engaged. He lays bare the semantic background of Homer through felicitous phrasing and delivers us a Dark-Age epic, one more suggestive of Norse sagas than the cultural milieu of archaic Ionia. Fresh and eminently readable, Powell's Iliad is likely to stay." --Margalit Finkelberg, editor of The Homer Encyclopedia
"This fine translation of the Iliad uses well-modulated verse and accurate English that is contemporary but never without dignity. It gives the modern reader as good an impression of Homer's sonorous Greek as one could hope to attain without learning the language; its execution is faithful in spirit to the poet, who composed his great epic orally without the use of writing. Both the translation and the introduction are consistently informed by the best recent scholarship. This translation deserves a very warm welcome." --Richard Janko, University of Michigan
"Powell's translation renders the Homeric Greek with a simplicity and dignity reminiscent of the original. Lucid and fast, the text immediately engrosses the reader, with a tight and balanced rhythm that sings and with a closeness to the original that allows the reader to hear the incantatory repetitions in the Greek. More accessible than Lattimore, more poetic than Lombardo, and more accurate than Fagles or Fitzgerald, this translation is an excellent fit for today's students and general readers." --William Johnson, Duke University
"Magnetically readable." --Booklist (starred review)
Most helpful customer reviews
42 of 45 people found the following review helpful.
A Stirring Translation
By Thomas A. Holmes
Essentially, when reviewing translations, one has to acknowledge the credentials of the translator, trust that the translator works to express the best possible reading of the material, going beyond literal translation to consider the nuance, sound, and accessibility for the reader. At times, translators must recognize that a literal translation of idiom does not work, but respectable translations offer notes of explanation for these seeming variances from the original text. For most of us who are not studying the texts but reading them for pleasure, relying on the good faith of the translator helps us to center on the tale itself. Powell's translation of Homer's THE ILIAD, in that context, is a solid read. This text will be useful in the classroom, with its maps, its notes, its explanations--all the additional apparatus one would expect of a scholarly translation of an ancient text.
How does it work as a text for reading for pleasure? I can best illustrate the character of Powell's translation by placing it side-by-side with other notable translations. In the passages below, Hector offers his dying words to Achilles, who has just killed him.
Here is the Robert Fitzgerald translation (1974):
Then at the point of death Lord Hektor said:
"I see you now for what you are. No chance
to win you over. Iron in your breast
your heart is. Think a bit, though: this may be
a thing the gods in anger hold against you
on that day when Paris and Apollo
destroy you at the Gates, great as you are."
The Robert Fagles translation (1990) offers this version of the event:
At the point of death, Hector, his helmet flashing,
said, "I know you well--I see my fate before me.
Never a chance that I could win you over . . .
Iron inside your chest, that heart of yours.
But now beware, or my curse will draw god's wrath
upon your head, that day when Paris and lord Apollo--
for all your fighting heart--destroy you at the Scaean Gates!"
One can see right away some differences in these two translations. Fitzgerald presents a different form of delivery. Note, for example, the sentence structure that sounds convoluted in comparison with contemporary English; Fitzgerald's attempt to preserve iambic pentameter to elevate the language of the passage has uneven success. Fagles offers a translation that sounds less stilted, but he also elaborates the scene, preserving detail ("his helmet flashing") and illuminating character insight (Hector knows that he is dying, so of course he sees his fate--Fagles has him say so). Fagles also has Hector offer a more detailed prediction, naming the specific site of Achilles' future downfall. One can see that if the goal is a line-for-line translation, Fitzgerald's text may seem closer, but Fagles offers spirit and zest to his translation without violating the spirit of the story. I find Fagles' translation more successful as a result.
So, how does Powell's translation fit in? Note how his work resembles Fagles':
Then, dying, Hector whose helmet flashed answered:
"I know you too well. I knew this would be--that I could not persuade
you. The heart in your breast is of iron. Only think of this--
that I will become the anger of the gods on that day when Paris
and Phoibos Apollo kill you at the Scaean Gates, though you
are great!"
In his translation, Powell presents Hector as a more self-conscious instrument of the gods, changing his relationship to the gods. In Fagles' translation, Hector believes he "will draw god's wrath," but in Powell's, Hector transforms into anger. Powell has a slightly different take on the character, emphasizing how little choice is afforded any of the actors in this conflict. Powell's Hector, as a result, seems even more doomed.
Practically any translation will offer some degree of variation in character presentation, as the translators work within their own personal understanding and experiences. That means that as readers, we will have preferences. In my case, I prefer the Fagels translation. I find in it a good balance of poetic, illustrative language, and solid drama. I like the idea that Hector has a bit of a poet in him, and "Iron inside your chest, that heart of yours" has a more musical and expressive quality than "The heart in your breast is of iron"--at least to my ear, and to see "Only think of this" when the translator means "Think only of this" throws me off.
Nevertheless, Powell has made a remarkable, respectable accomplishment with his translation of THE ILIAD, and I am confident that it will find its way into numerous classrooms. Those who have an appreciation of classic stories will find a great deal to admire in this work. It has been a pleasure to hear this story again from a different, invested voice.
13 of 13 people found the following review helpful.
Workmanlike, but no poetry
By Geoff Arnold
I first encountered The Iliad 50 years ago, in my Greek class at a very traditional English Grammar School. (Do they even teach Greek in school these days?) We learned to translate various (carefully-selected) passages in the original Greek, and to give these fragments some context we were also encouraged to read a parallel English-Greek edition. I don't remember whose translation it was, but I have a clear memory of the flowing poetry and excitement in the English version. I'm sure that it deviated quite significantly from the original, but it was thrilling.
This new edition is very careful, scrupulously documented, and uncompromisingly accurate. I enjoyed the academic discussion; what I missed was any real poetry. Maybe it was never there in the first place: maybe earlier translations imposed their own ideas of poetry, in the same way that Disney imposed its sensibility on so many classic children's stories. But I missed it.
15 of 17 people found the following review helpful.
A bit informal
By Anonymouse
Critiquing a new translation of a noted book is done on three levels. The first two are scholarly: the comparison of the translation with the original and the comparison of the new translation with those that have come before. The third is the aesthetic evaluation of the work itself. My knowledge of The Iliad is non-professional. I have been fascinated by myths and mythology since I was a child reading Bullfinch at my grandmother's house, so the chance to read a new translation of The Iliad is appealing. My reading, though, is from a lay perspective.
Powell's Introduction is wonderfully informative and worth reading if you ever come across the book. In it he discusses the oral tradition of the Greeks and how poetry worked, which is similar to the blues and folk music traditions of our era. Poets (and musicians) draw on mental libraries of set pieces to tailor the performance to the tastes of the audience. But while music historians can trace the evolution and repetition of forms, phrases, and motifs for hundreds of years, not much Greek poetry exists for scholarly analysis. Adhering to modern academic standards, Powell is clear about his knowledge gaps and the liberties he has taken when fashioning this translation. All very good.
I am a bit unhappy, though, about the text, although I'll say again, I am speaking as a reader, not a scholar. Powell, in choosing an updated idiom, has, in some cases, chosen awkward sentences, weak locutions and jarring words that made my reading experience less pleasant than I wanted it to be. Rather in the way that new editions of the Christian Bible or Book of Common Prayer sound rough compared to their well-known predecessors, Powell's translation sometimes seems too modern. It isn't that I require a classic to sound "classical" but sometimes an older form is more comfortable. Two examples in the text:
1. The Argives gathered. The place of assembly was in turmoil. The earth groaned beneath the people as they took their seats. The din was terrific. Seven heralds, hollering, held them back - "if you stop the hullabaloo, you can hear the god-nourished chieftains."
Here Powell makes three word choices with strong aesthetic value: hollering, hullabaloo, and god-nourished. "God-nourished" is likely to be directly from the Greek, there is no modern equivalent and, as explained in the Introduction, these kinds of descriptions flattered the audience who were themselves chieftains who would probably like to consider themselves "god-nourished." A very modern translation would possibly be "god blessed," but "god-nourished" is an excellent image.
"Holler" and "hullabaloo," though, I find odd and too informal. There was a 1965 TV show called Hullabaloo, but it was not until I looked it up that I realized that I had confused Hullabaloo with 1969's idiotic country comedy HeeHaw. (Hullabaloo was also a 1940 musical comedy film.) In my mind "hullabaloo" is a low class word, as is "holler," especially as a homonym of the Appalachian dialect word "holler." I find it curious that Powell, an American of similar age with a somewhat similar set of mental links, chose these dicey words over "shouted" and "clamor."
2. Another word choice I do not care for is "shivery," which Powell uses many times as "shivery", "shivers", "shivered." One online dictionary defines "shivery" as "shaking or trembling as a result of cold, illness, fear, or excitement." Well, which is it? Context does not help because fear and excitement are antonyms. Thus we can put some form of "frightening" or "exhilarating" in every instance of "shiver" and come up with a coherent sentence, but choosing the same face for each occurrence does not work out well. I am unhappy with this ambiguity.
One other point: Ian Morris does Powell no favor by using the "riddle, mystery, enigma" cliché in his introduction.
Although I have reservations about the text, these are personal and aesthetic. Overall, I think this book is a required addition to the scholar's shelf. The Introduction provides very welcome information for the lay reader and the use of a more modern idiom will perhaps make this edition more accessible to a contemporary reader or student.
I received this review copy of The Iliad, a new translation by Bary P. Powell (Oxford University Press) through NetGalley.com.
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