Iliad - translated by Robert Fagles

Product Information

read, Lord's generalization about the incompatibility of the two techniques has been questioned by students-of oral poetry; in other parts of the world (particularly in Africa), they find no such dichotomy. "The basic point.', , is the continuity of oral and written literature. There is no deep gulf between the two: they shade into each other both in the present and over many centuries of historical development. and there are innumerable cases of poetry which has both 'oral' and 'written' elements" (Finnegan, p. 24), Furthermore, the extant specimens of alphabetic writing of the eighth and early seventh centuries H.C. make it hard to believe in a scribe of the period who could take dictation at or, for that matter, anywhere near performance speed: the letters are freestanding capitals, crudely and laboriously formed, written from right to left or from right to left and left to right on alternate lines. One critic, in fact, irreverently conjured up a picture of Homer dictating the first line (or rather the first half-line) of the Iliad: "Menin aeide thea , .. You got that?" A different scenario for the transition from oral performance to written text was developed by Geoffrey Kirk. The epics were the work of an oral "monumental composer," whose version imposed itself on bards and audiences as the definitive version. They "then passed through at least a couple of generations of transmission by decadent and quasiliterate singers and rhapsodes" (Kirk, Commentary, I, 1985, p. xxv)that is, performers who were not themselves poets. Lord's objection to this, that memorization plays no part in the living oral tradition. was based on Yugoslav experience, but elsewhere-in Somalia, for example-very long poems are recited from memory by professional reciters who are themselves, in many cases, poets. What neither of these theories explains, however, is the immense length of the poem. Why should an oral, illiterate poet, whose poetry exists only in its performance before an audience, create a poem so long that it would take several days to perform? For that matter, if his poetry existed only in performance, how could he c~ate a poem of such length? If, on the other hand, he delivered different sections of it at different times and places, how could he have elaborated the variations on theme and formula and the inner structural correspondences that distinguish the Homeric epics so sharply from the Yugoslav texts collected by Parry and Lord? It is not surprising that many recent scholars in the field have come to the conclusion that writing did indeed play a role in the creation of these extraordinary poems, that the phenomena characteristic of oral epic demonstrated by Parry and Lord are balanced by qualities peculiar to Iliad was a confusing, brutal and unnecessary. It all started over Helen, who is abducted against her will and brought to Troy. Then hell broke, the armies of best men of the time are gathered while Gods gathered their strength and choose their sides. The battle was too weird to even to mention; when you think it’s about to end, a God or Goddess interferes and yet another day ends with a ceasefire, another chapter wasted on nothing. Peter Benchley’s Jaws is the ultimate pulp thriller, and this is the ultimate illustrated edition. Folio commissioned Hokyoung Kim for the artwork, while the late author’s wife, Wendy Benchley, provides a fascinating new introduction. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. Homeric Geography: Mainland Greece 2. Homeric Geography: The Peloponnese 3. Homeric Geography: The Aegean and Asia Minor Inset: Troy and Vicinity

The - Squarespace

Robert Fagles (1933–2008) was Arthur W. Marks ’19 Professor of Comparative Literature, Emeritus, at Princeton University. He was the recipient of the 1997 PEN/Ralph Manheim Medal for Translation and a 1996 Award in Literature from the American Academy of Arts and Letters. His translations include Sophocles’s Three Theban Plays, Aeschylus’s Oresteia (nominated for a National Book Award), Homer’s Iliad (winner of the 1991 Harold Morton Landon Translation Award by The Academy of American Poets), Homer’s Odyssey, and Virgil's Aeneid. But I did like this book. Especially all those gruesome descriptions of death. It was sort of fascinating. The Iliad takes us through the battle of Troy and the Greek invasion. We are able to Marvel at great warriors like Hector and Achilles. We are able to hear of their struggles and their woes and eventually their deaths.

Access-restricted-item true Addeddate 2020-03-12 13:03:24 Associated-names Fagles, Robert; Knox, Bernard, 1914-2010 Boxid IA1794814 Camera Sony Alpha-A6300 (Control) Col_number COL-609 Collection_set printdisabled External-identifier image: /photos/590953e01c7a8e33fb38af0e]KU-mahtah PAH-PHLAH-DZON-tah poh-LEE-PHLOYZ-BOY-oh thah-LASS-ays Now I hear you say, "but Tom, that's not what the Iliad was about! It was about Achilles, his argument with Agamemnon, and his rage at the death of Patroclus. Everyone knows all of that is going to happen anyhow, you don't need to show it." The most disappointing part of this book was the ending and that there’s no mention of the wooden horse (The famous Trojan horse!). The best part is that now I can relate to most works of mythological fiction and many attributions to this ancient classic literature.

The Iliad Summary and Study Guide | SuperSummary The Iliad Summary and Study Guide | SuperSummary

Fagles was born in Philadelphia, Pennsylvania, the son of Charles Fagles, a lawyer, and Vera Voynow Fagles, an architect. He attended Amherst College, graduating in 1955 with a Bachelor of Arts degree. The following year, he received his master's degree from Yale University. On June 17, 1956, he married Marilyn (Lynne) Duchovnay, a teacher, and they adopted two children. In 1959, Fagles received his Ph.D in English from Yale and for the next year taught English there. Robert Fagles ( / ˈ f eɪ ɡ əl z/; [1] September 11, 1933 – March 26, 2008) [2] [3] was an American professor, poet, and academic. He was best known for his many translations of ancient Greek and Roman classics, especially his acclaimed translations of the epic poems of Homer. He taught English and comparative literature for many years at Princeton University. The centuries old epic about the wrath of Achilles is rendered into modern English verse by a renowned translator and accompanied by an introduction that reassesses the identity of Homer. 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 The great war epic of Western literature, translated by acclaimed classicist Robert Fagles, and featured in the Netflix series The OAtime reading the Odyssey (3rd for the Iliad), and 2nd time reading Fagles translation of both. Reads beautifully, and with the vigor of translation few can match. Fagles was nominated for the National Book Award in Translation and won the Harold Morton Landon Translation Award of the Academy of American Poets in 1991 for his translation of the Iliad. In 1996, he received an Academy Award in Literature from the American Academy of Arts and Letters for his translation of the Odyssey. In 1997 he received the PEN/Ralph Manheim Medal for lifetime achievement in translation. Fagles later undertook a new English translation of the Aeneid, which was published in November 2006. to literary composition. They envisage a highly creative oral poet master of the repertoire of inherited material and technique, who used the new instrument of writing to build, probably over the course of a lifetime, an epic poem on a scale beyond the imagination of his predecessors. The last half of the eighth century was the time in which writing was coming into use all over the Greek world. Homer must have known of its existence, but the traditional nature of his material naturally forbade its appearance in the relentlessly archaic world of his heroes, who belonged to the time when men were stronger, braver and greater than men are now, a world in which men and gods spoke face-to-race. Even so, Homer does show, in one particular instance, that he was conscious ofthe new technique. In Book 6 Glaucus tells the story of his grandfather Bellerophon. Proetus. king of Argos. sent him off with a message to the king of Lycia. Proetus' father-in-law; it instructed the king to kill the bearer. "[He] gave him tokens, I murderous signs, scratched in a folded tablet ... " (6.198-99). There has been much discussion about the nature of these signs but the word Homer uses-grapsas, literally "scratchtng' "'10° O/!'o~\,~""...,~~ +'S'" ~"""'~ v;;,,,,w,.p'l",,%yh'!.{1-/''' i:t~%~*""jjl&iiPi@

The Iliad (penguin Classics Deluxe Edition) [PDF] The Iliad (penguin Classics Deluxe Edition) [PDF]

One of the greatest epics in Western literature, THE ILIAD recounts the story of the Trojan wars. This timeless poem still vividly conveys the horror and heroism of men and gods battling amidst devastation and destruction, as it moves to its tragic conclusion. In his introduction, Bernard Knox observes that although the violence of the Iliad is grim and relentless, it co-exists with both images of civilized life and a poignant yearning for peace. Read more Details Dating to the ninth century B.C., Homer’s timeless poem still vividly conveys the horror and heroism of men and gods wrestling with towering emotions and battling amidst devastation and destruction, as it moves inexorably to the wrenching, tragic conclusion of the Trojan War. Renowned classicist Bernard Knox observes in his superb introduction that although the violence of the Iliad is grim and relentless, it coexists with both images of civilized life and a poignant yearning for peace. In 1978, Fagles published I, Vincent: Poems from the Pictures of Van Gogh. He was the co-editor of Homer: A Collection of Critical Essays (1962) and Pope's Iliad and Odyssey (1967). These are too many questions to sift through and I'm no where near qualified enough to answer any of them so I'm not getting involved in that whole nebulous "oral tradition" malarky, it's irrelevant as I can only judge what I have read in this here collection of words that made up two long (but brilliant) poems. All the points I have about these epics, positive and negative, stem from the literary collection that I imbibed.From 1960 to 1962, Fagles was an English instructor at Princeton University. In 1962 he was promoted to assistant professor, and in 1965 became an associate professor of English and comparative literature. Later that year he became director of the comparative literature program. In 1970, he became a full professor, and from 1975 was the department chair. He retired from teaching as the Arthur W. Marks '19 Professor of Comparative Literature in 2002, and remained a professor emeritus at Princeton.