“Exit Hector, Again and Again: How Different Translators Reveal the ‘Iliad’ Anew” by Emily Wilson, The New York Times, June 28, 2023.
In English alone there are about 100 translations of Homer’s Iliad; to which we may add Emily Wilson’s new translation (to be published in September presumably). Her excellent comparative essay in The New York Times shows the range of interpretive possibilities of Homer’s epic poem through the ages – from the original to George Chapman in 1611 through to the contemporary culminating with that of her own (a sneak preview if you will!), in various metrical forms and not, rhyming and not – and exemplified in the memorable scene when Hector bids farewell to Andromache and his baby son (book 6. 482-497).
Wilson shares her translation of this passage. Again, as she did with Ulysses, she uses the iambic pentameter of Shakespeare and Milton, and her vocabulary choices and turn of phrase in this small sample already recall to me very much that work. And reminds me how very much I have been looking forward to her Iliad.
With the regularity in which people, ideas, situations intersect in my readings and observations, I have often been taken aback. That, perhaps, the blessing – or the curse – of being widely informed! Regrettably; not deeply, rather tending to the shallow.
A case in point:
In David Edmonds’ book about the Vienna Circle that I have written on in the previous post, there is an examination of the difficulties many of its members had as they sought refuge from the Nazi terror that was taking over much of the Continent. Therein quoted were some fragments of correspondence between Karl Popper and Austin Duncan-Jones, Professor of Philosophy at Birmingham [pp 240-242 in the German edition read by me], in which the former was invited there as a guest lecturer.
The Shakespearean scholar, Professor Katherine Duncan-Jones, died in October. This I noted with sadness, not because I know her work – for which I am sorry because her ‘hatchet job’ on William S. – his character that is – sounds terrific and original – but because I know her to be the mother of Emily Wilson – and that means an awful lot.
The point is: I wondered about the name. And, lo and behold, the first mentioned Prof. Duncan-Jones is the father of the second said.
And all this means? Professors of Philosophy beget those of Literature beget those of Classics? Perhaps. Or that an academic career in the UK has, or once had, an awful lot to do with family and class? I don’t know. Mostly, just a very interesting generational chain of circumstance and one from which, in this familial instance, very many have benefited – and continue to.
The death of Prof. Duncan-Jones was reported upon by some of the more culturally attentive British media and noted by me in a Twitterthread (begun by Bee Wilson and retweeted by Emily), and The New York Times has now run an obituary.
August 13 2023: Here embedded was a tweet (from 2022) announcing Emily Wilson’s translation of Homer’s The Iliad for 2023; now defunct. No matter; the translation is on its way – on our bookshelves in the next weeks as I write. Nor, by the way, can I any longer get to the May 30 thread which inspired me to the musings below. Rather than deleting my post, I offer Wilson’s thread from about the same time on the nuances required – and the compromises that sometimes have to be made – in Homeric translation.
A classic translator's dilemma, which presumably applies for any language pair: what to do about the fact that languages individuate the world differently. One language makes a distinction where another makes none.
Should one dare to flitter into the Twitter-sphere (which I do these days but sparingly!), Wilson’s May 30 2022 thread cleverly teases out how very much Homer’s epic tale evidences the absurd constancy of the human condition – for better or worse, in good times and bad – through the span of our existence. Fear not – Dr. Wilson is not on the brink! Of myself I am not so sure…
Don’t tell me about dead heroes, dead languages, dead civilizations, enlightenments and awakenings, beginnings and ends of history … ! On whim and with change of garb and scenery we play what we deem our original role; every night an opening night, an acting out of our own perceived exceptionalism.
The truth written in memory is another: Like the river from its source, we flow onward, snugly fitted in the bed made for us; accumulating and losing sediment along the way, wasting nothing more than we want, but remaining essentially the same. We are our ancestors’ heirs; a mere appropriation over time of ourselves, intent on satisfying ourselves for life’s moments; at once brief and eternal.
Every time I get to work on a new book of the Iliad I find myself thinking, 'Wow, this is my favorite book of the whole poem". I may have never felt quite that way before about Book 10 — the night raid — but I'm feeling it now.
An update on Emily Wilson’s translation of the Iliad is always welcome news, and especially given that I have been reading through it again (well sort of!) in recent weeks and it still remains a mystery – which is okay only up to a point.
The above tweet relates to Book 10, and I do hope she is not working absolutely chronologically; should she be, there is an awful long way to go! Ever the optimist, this YouTube video clip is of a segment from Book 18 (recited by Wilson in Greek and her work in progress English translation) where Thetis and the nereids are singing their lament, suggests otherwise. Actually, I would be really interested in knowing a little about her work practice and methods.
Melvyn Bragg and his guests discuss Euripides’ “The Bacchae” in the March 18th 2021 episode of “In Our Time”.
Listened to this week, and with (Dionysian!) pleasure: Melvyn Bragg’s BBC Radio 4 program “In Our Time”, and his conversation about Euripides’ tragedy The Bacchae with Emily Wilson, Edith Hall and Rosie Wyles.
Mention of Donna Tartt’s novel The Secret History from 1992, led to some moments of reflection. A few years ago after reading The Gold Finch, and remembering the hype surrounding the publication of Tartt’s first book (I guess it became a bestseller), I read The Secret History, and whilst I would have recommended it as a good enough read, I recall my expectations for literary fiction were not really fulfilled. (By the way, similarly so, my opinion of The Gold Finch.) A likeable enough but vacillating narrator and his capricious bunch of classics cohorts at an elite college, certainly sucked one into their vortex of deceits, large and small, but I had the feeling at the end of having been chewed up and spat out – unsatisfied, left cold. That the story’s murder and mayhem was created in the pursuit of Dionysian pleasure and dabbling in bacchanalian ritual, I had all but forgotten; rather, what stayed with me was the disturbing ease in which the accoutrements of privilege could be weaponised by an amoral didactic, catapulting young lives into the abyss (in the novel: both in a real sense and an allegorical).
But back to Bragg’s program…On the website there is further information – both concerning the subject matter and the guests. The text can be found here at Perseus; not as easy reading as the above discussion is to listen to, but the theatre of life rarely is – the truth being in the performance, and the borders of pleasure and tragedy fluid.
To set the stage, so to say, and to understand the context of Ancient Greek performance, I recommend Edith Hall’s Gresham Lectures of 2018, of which the following video is part.
…all the books listed and fiction and lovers of the same one could say, but (with the exception of last year!) there can only be one winner of The 2020 Booker Prize, and that is Shuggie Bain, written by Douglas Stuart.
Shuggie Bain by Douglas Stuart
On the BBC Radio 4 “Front Row” page there is (for the moment at least) a video of last night’s event hosted by John Wilson, in that hybrid digital mix – in person, far away, on tape – that we have become more use to than we would like this year – nominees keeping their distance, and others likewise, and Wilson, Margaret Busby and Bernadine Evaristo at the “Round House” in Camden. But I must say all were stoical, and found a very fine tone.
Margaret Busby, reminds me that her work as a publisher over decades has been instrumental in the diversification of talent, especially Black talent, in the UK – it may be only now that she sees, we see, the fruits of her labour. Evaristo, as representative of this. And Ishiguro and Atwood, that a Booker is nice but a body of work is better. President Obama – he, presumably responsible for the rescheduling – prompts me to remember at least of one of the reasons I forgive him his shortcomings: his love of books, and belief in the power of fiction. The Duchess of Cornwall; that royal patronage is not without its virtues, and you can love horses and Charles and also words.
Forget the gripe about the transatlantic bias, what a “great looking” group it was zooming in from afar, what choice readings we heard; more than enough reasons to read their work. Given the difficulties of this year, the Booker has done a very good job, and their jury to be congratulated.
In the LRB Conversations podcast series, Emily Wilson discusses her recent piece in the London Review of Books (8 October 2020) (restricted access) on three (relatively) new translations of Aeschylus’ The Oresteia. One would have to say, mixed reviews; Wilson of the opinion that all fail to adequately reflect newer scholarship in respect to the state of democracy and justice in fifth-century Athens, and how that is reflected in the language of tragedy and specifically that of Aeschylus. She concludes the Oliver Taplin translation to be much the better of the three (though his introduction disappoints), and she recommends also that of Sarah Ruden (in The Greek Plays: Sixteen Plays by Aeschylus, Sophocles, and Euripides, 2017 Modern Library Classics).
Emphasised is the misunderstanding of the breadth of the feted Athenian model of state – a “democracy” that applied in fact only to a very limited constituency and only a handful removed from an oligarchy, and where a majority of the populous had absolutely nothing to say. In this regard, there are through the ages analogies aplenty – countries who adopt “Democratic” to their name and are quite obviously not is one example – but I specifically thought about the language of the Declaration of Independence and the Constitution of the United States in which that insinuated by “men” and “people” abounded with obvious exceptions – gender, race – until the last half of the 20th century, and less obviously – through disenfranchisement – still.
My thoughts flying to the young America, are echoed in the turn of conversation to the performative aspects of Greek tragedy, whereupon it is suggested that “Hamilton”, with its use of music and dance (and I would say the “state” folklore it serves) is perhaps the best modern analogue to classical Greek drama. In retrospect, I often wonder whether Athenian statecraft and European puritanism may have always been an imperfect mix upon which to build the foundations of a new nation.
More than once, the difficulty factor of Aeschylus is stipulated to be at the higher end – though in the course of the trilogy it moderates. Should one be deterred or accept the gauntlet handed down?
An interesting afterword: Emily Wilson, referring to her translation of The Odyssey, reveals a little of her criteria for (re-) translation (one of the reasons behind her criticisms of the above): first comes the request (in her case from an editor at Norton, with whom she had previously worked), but then a careful deliberation as to whether it is warranted, and what new stuff, if any, there is to brought to the fore, and her decision being further informed by her experience as a teacher of college students in the US. And, particularly she was convinced of the need for a new translation that returned to the metrical and syntactical rhythm of the ancient text, after years of versions rendered in prose form. Further, she recognised the opportunity to present a work that moved away from a purely Odysseus centred telling and gave the story in many voices, as multi-faceted, if you like, as the hero himself.
And, an after, afterword: Emily Wilson mentions at the very end of the podcast, that her Iliad translation will include Book 10 which, unbeknownst to me (well, who would have thunk it!), has been a matter of controversy over the years; the essence of the argument being that this book was a later addition and to be, therefore, discarded by the purist. The Stephen Mitchell translation, that does just that and to which Wilson refers, was reviewed at The New Yorker in 2011 by Daniel Mendelsohn.
In a blog entry for the LRB in 2018, Emily Wilson gave a lesson in reportage gone awry – lost in translation or just plain misunderstood. Whichever, the claims circulating in the media at the time that a clay tablet discovered near Olympia, with lines from Book 14 of the Odyssey, was perhaps the oldest extract from the epic, were way off-base – for all the reasons she explains in her entry.
For my purposes, I mention this in passing only because of where I am at the moment in my epic reading, and Emily Wilson’s comments in respect to the nature of the inscription. Following is some of the passage on the tablet, and in her own translation:
His yard was high and visible for miles,
of fieldstones topped with twigs of thorny pear.
He built it in the absence of his master,
with no help from Laertes or the mistress.
Around the yard, he set a ring of stakes,
of wood with bark stripped off. Inside the yard,
he made twelve sties all next to one another,
...
Book 14 [lines 8-14] The Odyssey, trans. Emily Wilson
Of course, we have here the beginning of Book 14, and Odysseus, in the beggar’s guise created for him by Athena, is approaching the humble yard of the swineherd, Eumaeus. It is this descriptive passage that leads Wilson to wonder at the purpose of the artefact – the subject matter is hardly the most profound; perhaps its origins were of a more mundane or utilitarian nature than cultural.
Not exactly a pig in a poke, but close. Just as it is wise to check your purchases, so it is to double check sources of information. Emily Wilson ends on a positive note anyway:
The bright side to this inaccurately reported story is that it reveals a hunger among the general public for news about the ancient world. […] Maybe this fake news story will inspire more people to investigate the ancient world for themselves, and also to realise that the stories told about the Odyssey are – like the poem’s wily, scheming, deceitful protagonist himself – not always to be taken at face value.
LRB Blog, 14 JULY 2018, “Making a Pigsty” by Emily Wilson
