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Odyssey de Homer

Odyssey

Autor Homer Traducere de Stanley Lombardo Introducere de Sheila Murnaghan
Notă:  5.00 · o notă 
en Limba Engleză Paperback – mar 2000
Lombardo's Odyssey offers the distinctive speed, clarity, and boldness that so distinguished his 1997 Iliad.

"[Lombardo] has brought his laconic wit and love of the ribald . . . to his version of the Odyssey. His carefully honed syntax gives the narrative energy and a whirlwind pace. The lines, rhythmic and clipped, have the tautness and force of Odysseus' bow."
—Chris Hedges, The New York Times Book Review
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Specificații

ISBN-13: 9780872204843
ISBN-10: 0872204847
Pagini: 478
Dimensiuni: 137 x 216 x 21 mm
Greutate: 0.38 kg
Editura: Hackett Publishing Company,Inc
Colecția Hackett Publishing Company, Inc.
Locul publicării:United States

Recenzii

"The definitive English version of Homer for our time."
—The Common Review: The Magazine of the Great Books Foundation
"Lombardo weaves his cherished idioms into important patterns of repetition and transformation so familiar to the telling of the Odyssey. . . . Above all, such familiar phrases serve to remind us of the oral character of the original Odyssey, providing the reader with an uncanny immediacy and relevance."
—Christina Zwarg, The Bryn Mawr Classical Review
"Lombardo has the simple gift of summoning up a Homeric flavor wherever he turns. He may even blend contemporary colloquialisms with an antique epic grandeur, and the effect remains unimpaired. As Lombardo tells us, he recites and performs, he impersonates the poem as if he were the bard. We follow, we explore, plunging into 'medias res'. Homer arises before him as an encompassing reality. Lombardo moves at ease through this Homeric world, without artifice or rhetoric, attuning his verse to Homer's composition. Homer is here a vindication of poetry."
—Paolo Vivante, McGill University
"Lombardo has created a Homeric voice for his contemporaries: fresh, quick, and verbally engaging to the modern ear, as the original was to the ancient. His characters come alive as real people expressing real feelings with urgency and verve. I very much like the language and the pace of this version, and would welcome it for classroom use."
—Joseph Russo, Haverford College
"What could be finer / Than listening to a singer of tales / . . . with a voice like a god's?' So Odysseus on the bard Demodocus. And the singer, the oral poet, the 'aoidos', is what Lombardo embodies in his Homer. With a line and a language hammered out in public performance, he has made a verse that can move his audience to tears and even to laughter. At first glance, the simplicity startles—spare syntax, the highest proportion of short words in modern English poetry, colloquialism in the saddle, sudden and direct contact with the matter. But then the wonders of how he works become evident. So much was already to be seen/heard in Lombardo's version of the Iliad. But his Odyssey moves beyond, its verse widening its range to everything in between tears and laughter, able to present a storm, a battle, a chiding, a fable, a tale, and a whine with equal deftness. No version of the Odyssey is more immediate. No version shows better one of Homer's essentials: the oral poet at work. The persona is there, and it's real."
—Douglass Parker, University of Texas at Austin
"Ever since the publication of Stanley Lombardo's extraordinary translation of the Iliad, we have been waiting eagerly for his Odyssey, and it has been well worth the wait. Lombardo has done it again: he has rendered the Odyssey into English just as accurate, as perspicuous, and as gripping as that in his Iliad. Students will probably be unable to resist reading it in great long chunks. Lombardo's translation is enhanced by Sheila Murnaghan's characteristically lucid and accurate introduction, which will be a boon to teachers of undergraduates (or even high school students)."
—John Kirby, Purdue University
"It sheds new light, guiding us through a psychology of language we understand in order to show us the shadows of something quite alien to contemporary, secular experience. The language is honed, so that event, object and emotion are revealed by a tone of voice, or a compressed stanza that draws out an essential element without the accompanying poetic distortions of romance. This translation delivers the goods without dallying in over-amplified academic considerations. Instead, the words retain a kind of artful weight, with the emotional stress intact."
—First Intensity Magazine

Notă biografică

Homer is the name ascribed by the Ancient Greeks to the semi-legendary author of the two epic poems, the Iliad and the Odyssey, the central works of Greek literature. Many accounts of Homer's life circulated in classical antiquity, the most widespread being that he was a blind bard from Ionia, a region of central coastal Anatolia in present-day Turkey. The modern scholarly consensus is that these traditions do not have any historical value.The importance of Homer to the ancient Greeks is described in Plato's Republic, where he is referred to as the protos didaskalos, "first teacher", of tragedy, the hegemon paideias, "leader of learning" and the one who ten Hellada pepaideuken, "has taught Greece". Homer's works, which are about fifty percent speeches, provided models in persuasive speaking and writing that were emulated throughout the ancient and medieval Greek worlds. Fragments of Homer account for nearly half of all identifiable Greek literary papyrus finds in Egypt.

Cuprins

Introduction
  • The Gods
  • Odysseus
  • A Note on Poetic Form and on the Translation
The Odyssey: Selections
  • Map
  • Book One: Athena Visits Ithaca
  • Book Two: Telemachus Prepares for His Voyage
  • Book Three: Telemachus Visits Nestor in Pylos
  • Book Four: The Suitors Plan to Kill Telemachus
  • Book Five: Odysseus Leaves Calypso’s Island
  • Book Six: Odysseus and Nausicaa
  • Book Seven: Odysseus at the Court of Alcinous in Phaeacia
  • Book Eight: Odysseus Is Entertained in Phaeacia
  • Book Nine: Ismarus, the Lotus Eaters, and the Cyclops
  • Book Ten: Aeolus, the Laestrygonians, and Circe
  • Book Eleven: Odysseus Meets the Shades of the Dead
  • Book Twelve: The Sirens, Scylla and Charybdis, the Cattle of the Sun
  • Book Thirteen: Odysseus Leaves Phaeacia and Reaches Ithaca
  • Book Fourteen: Odysseus Meets Eumaeus
  • Book Fifteen: Telemachus Returns to Ithaca
  • Book Sixteen: Odysseus Reveals Himself to Telemachus
  • Book Seventeen: Odysseus Goes to the Palace as a Beggar
  • Book Eighteen: Odysseus and Irus the Beggar
  • Book Nineteen: Eurycleia Recognizes Odysseus
  • Book Twenty: Odysseus Prepares for His Revenge
  • Book Twenty-One: The Contest with Odysseus’s Bow
  • Book Twenty-Two: The Killing of the Suitors
  • Book Twenty-Three: Odysseus and Penelope
  • Book Twenty-Four: Zeus and Athena End the Fighting
In Context
  • Literary Contexts
    • from Xenophanes, Fragments (c. fifth century bce)
    • from Pindar, Nemean 7 (c. fifth century bce)
    • from Plato, The Republic (c. 380 bce)
    • from Aristotle, Poetics (c. 335 bce)
    • from Longinus?, On the Sublime (c. 1st century ce)
    • from Demetrius?, On Style (c. 1st century ce)
  • The Odyssey in Ancient Art
  • Early Written and Printed Versions
Maps
Glossary
Acknowledgment