Professor Emily Wilson tells Lucia Marchini how she dealt with the intricacies of translating Homers great epic poem the Odyssey.
Why did you choose to translate the Odyssey?
I wanted to do the translation because I felt I could do something that was different from what was already available in English and something that would authentically engage with the original text in a different way. For instance, I was frustrated by the fact that there seems to be a tradition in contemporary translations of Classical verse in general and of Homer, that even when the original text is very regularly metrical, the translation usually isn’t. That seems to be a choice, and I wanted to make another choice, to make an English version that was regular metrically like the original.
Similarly, the pacing of Homer’s text is actually quite rapid. I wanted to maintain that rapidity and not make the text any longer. I also wanted to keep the clarity and simplicity of Homer. On the one hand, the Odyssey is quite a simple story, with simple sentences and syntax, but at the same time it is ethically and philosophically challenging. I wanted to keep that combination of simplicity and complexity. Other translators have made the sentences more difficult, but simplified the challenging aspects and ambiguities of the plot. I wanted to flip that around.
Where do you place your Odyssey in the history of translations of Homer by Alexander Pope, George Chapman and the like?
This story is from the November/December 2018 Volume 29 Number 6 edition of Minerva.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber ? Sign In
This story is from the November/December 2018 Volume 29 Number 6 edition of Minerva.
Start your 7-day Magzter GOLD free trial to access thousands of curated premium stories, and 9,000+ magazines and newspapers.
Already a subscriber? Sign In
ROMAN DISCOVERIES AT ANCIENT AUGUSTODUNUM
More than 230 graves have been uncovered at a necropolis in the French city of Autun, revealing a diverse mix in burial practices over a period of nearly 200 years, as well as luxury grave goods from the 3rd and 4th centuries AD that highlight the wealth of some of its ancient inhabitants.
SHAPING THE WORLD: SCULPTURE FROM PREHISTORY TO NOW
The sculptor Antony Gormley and the art historian and critic Martin Gayford have been talking about sculpture with each other for 20 years.
Amelia Edwards (1831-1892)
“I am essentially a worker, and a hard worker, and this I have been since my early girlhood.”
THE GREAT BEYOND
The ancient Greeks thought much about the dead – how their remains should be disposed of, how their spirits might be summoned, how malignant they could be if unavenged. Classicist David Stuttard brings us face to face with the Greek dead.
INTO THE VALLEY OF THE QUEENS
The Great Royal Wife of Ramesses II, Nefertari, was buried in one of the most spectacular tombs of Egypt’s Valley of the Queens. Well-educated and well-travelled, Nefertari played a crucial part in the political life of the pharaoh, and her importance was reflected through her magnificently decorated tomb. Lucia Marchini speaks to Jennifer Casler Price to find out more.
DEIR EL-BAHRI, 1894
Tensions were already high among the archaeologists, surveyors, and artists of the Archaeological Survey of Egypt in 1891 when an eventful dispute arose on Christmas Eve.
PUSHING BOUNDARIES
When the Etruscans expanded to the south and the vast plains of Campania, they found a land of cultural connections and confrontations, as luxurious grave goods found across the region reveal. An exhibition at the National Archaeological Museum in Naples sheds light on these ancient Italians at the frontier. Paolo Giulierini, director of the museum, is our guide.
CUZCO 'CENTRE AND HEAD OF ALL THE LAND'
Cuzco was the heart of the vast Inca empire, but all changed in the 16th century when the capital was conquered by Spanish invaders. Michael J Schreffler investigates the Inca city, and how it went from the centre of one empire to the periphery of another.
A STUDY IN PURPLE
A tiny speck of purple paint from the 2nd century AD may yield clues to how ancient artists created the extraordinary portrait panels that accompanied mummified bodies into the afterlife.
Rome In The 8th Century: A History In Art
John Osborne CAMBRIDGE UNIVERSITY PRESS, £75 HARDBACK - ISBN 978-1108834582
