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The Iliad - Complete and Unabridged…
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The Iliad - Complete and Unabridged (Collector's Library) (edition 2011)

by Homer, Andrew Lang (Translator), Walter Leaf (Translator), Ernest Myers (Translator)

Series: Homer's Epic Cycle (1)

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32,80333356 (4.03)10 / 1438
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.… (more)
Member:kaa1
Title:The Iliad - Complete and Unabridged (Collector's Library)
Authors:Homer
Other authors:Andrew Lang (Translator), Walter Leaf (Translator), Ernest Myers (Translator)
Info:Barnes & Noble Collector's Library (2011), Edition: New, Hardcover, 542 pages
Collections:Your library
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The Iliad by Homerus (Author)

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  1. 312
    The Odyssey by Homer (Voracious_Reader, caflores)
  2. 241
    The Aeneid by Virgil (HollyMS)
  3. 91
    Beowulf by Beowulf Poet (benmartin79)
  4. 41
    The Táin by Táin author (inge87)
  5. 31
    Tiger at the Gates by Jean Giraudoux (aulsmith)
    aulsmith: Giraudoux imagines the events in Troy when Paris shows up with Helen
  6. 42
    Ransom by David Malouf (GCPLreader)
  7. 22
    The Song of Achilles by Madeline Miller (alalba)
  8. 22
    The Dismissal of the Grecian Envoys by Jan Kochanowski (sirparsifal)
  9. 22
    Troy [2004 film] by Wolfgang Petersen (Waldstein)
    Waldstein: Very free interpretation (not adaptation) that in many ways improves on the original. No childish gods, no rambling digressions. Visually spectacular. The dialogue is a bit cringeworthy now and then, but it does have flashes of brilliance. Only for the most broad-minded admirers of Homer - or those who find the Greek bard unsatisfactory. PS Caveat: the Director's Cut is gratuitously gory!… (more)
  10. 14
    The Death of King Arthur by Unknown (chrisharpe)
  11. 18
    The Battle of the Labyrinth by Rick Riordan (Jitsusama)
    Jitsusama: An ancient classic revolving around Greek Myth. A great help to better understand the mythology of the Percy Jackson and the Olympians series.
Europe (143)
Asia (421)
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Showing 1-5 of 281 (next | show all)
hb
  5083mitzi | Jul 1, 2021 |
The first translation of Homer I ever read
  ritaer | Jun 22, 2021 |
The Iliad is the beginning of the Western Canon of imaginative literature, and we know virtually nothing about its author (we know perhaps a scintilla more than we know about whoever authored, say, The Cloud of Unknowing). But perhaps this is a good thing; as William Gaddis's elusive Wyatt Gwyon puts it in The Recognitions, "'What is the artist but the shambles that follows his work around?'" The imagination abounds much more in the lack of information. All we really know is what has come down to us from Herodotus in his Histories, and that the archaic Greek for Homer means "the blind one."

See full review here: http://www.chrisviabookreviews.com/2017/09/07/iliad-c-800-bce/ ( )
  chrisvia | Apr 29, 2021 |
YT video: http://www.youtube.com/watch?v=Zvv2W1mLT6w



This is my third pass at the beginning text of Western literature. From Fitzgerald to Fagles, and now to Lattimore, aided with the Greek text from Loeb Library, I've both savored the richness of the Homeric Greek and recoiled at the graphic, violent intensity of its content. In one sense, this is the blueprint for all country music: a man loses his girlfriend, stops working, sulks, and then his best friend dies. In another sense it is a narrative onslaught that foregrounds a panorama of mythological history (for the genesis of which we must turn to Hesiod).

It must be noted that the work represents a much greater complexity than mainstream academia would have us believe. It is not simply what its opening lines tell us; it isn't merely the Muses' account, via Homer, of Achilles' wrath (μῆνῐς) and its destruction. In fact there is very much within the novel that supersedes the wrath, which counterbalances the power of his wrath to transcend even destinies decreed by the immortals (an interesting suspension of the determinism that underpins the whole framework). Like the Torah (or even Milton's retelling of the Pentateuch), it is too simplifying to say that it is a "song" of man's disobedience. After all, there was a great deal of destruction already inherent in the fruit.

Homer has (anachronistically) confirmed Hippocrates's aphorism that life is short but art is long. Over two millennia later, the great lover of books and wine, Clifton Fadiman, placed the Iliad at the start of his [b:The New Lifetime Reading Plan: The Classic Guide to World Literature, Revised and Expanded|249186|The New Lifetime Reading Plan The Classic Guide to World Literature, Revised and Expanded|Clifton Fadiman|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388614382l/249186._SY75_.jpg|241449]. Of it and the Odyssey, he says, "They are the first as well as the greatest epics of our civilization"; "Achilles is the first hero in Western literature; and ever since, when we talk of heroic qualities, Achilles is somewhere in the back of our minds..."; "The essential quality of the Iliad is nobility"; and, finally, "All imaginative artists, but only if they are great enough, seem contemporaries [of Homer]." Others have noted some points of intrigue: Richard Jenkyn's, in [b:Classical Literature|24923028|Classical Literature (Pelican Introduction)|Richard Jenkyns|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1433360946l/24923028._SY75_.jpg|44576605], states, "The Iliad is a story without villains..." and "Homer...has shaped a distinctive picture of the divine." Robert B. Downs, in [b:Books That Changed the World|11630775|Books That Changed the World|Robert Downs|https://s.gr-assets.com/assets/nophoto/book/50x75-a91bf249278a81aabab721ef782c4a74.png|16574333], declared, "...Homer's epic creations...established for all time the greatness of Greek literature." Harold Bloom affirms the greatness in his introduction to his eponymous compendium of critical essays: "The Iliad, except for the Yahwist, Dante, and Shakespeare, is the most extraordinary writing yet to come out of the West...." Simone Weil, a lover of the Iliad, declares force as the true center of the epic, in her monumental essay "The Iliad, or the Poem of Force." And finally: The renowned scholar Alberto Manguel, in his "biography" of Homer's epics, quotes Raymond Queneau: "Every great work of literature is either the Iliad or the Odyssey."

In his remarkable "visual essay," [b:The Infinity of Lists|6695029|The Infinity of Lists|Umberto Eco|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1327877513l/6695029._SX50_.jpg|6890637], the late Umberto Eco uses the shield of Achilles (from Book XVIII) to describe a closed form. This is because Homer is fully engaged in the whole of his cultural milieu: its social norms and mores, its philosophy, its history (myth), its values. He effortlessly spins his yarn with a nearly complete catalogue of characters both mortal and immortal (and, in Achilles's case, in between). In the event that he needs a little help, the Muses are his Google (but not really, as we know). Homer is in touch with every emotion and in every context, as if he himself has been a warrior, a lover, a peasant, a king, even an enslaved woman toiling at the distaff. The encyclopedic sweep of his efforts died out in the form of epic poetry (Milton is perhaps the swan song of the form, and Poe drove in the nail in his essay "The Poetic Principle"), but it has resurfaced in the last half century or so with books like Pynchon's [b:Gravity's Rainbow|415|Gravity's Rainbow|Thomas Pynchon|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1414969925l/415._SY75_.jpg|866393] and David Foster Wallace's [b:Infinite Jest|6759|Infinite Jest|David Foster Wallace|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1446876799l/6759._SY75_.jpg|3271542]. The impulse to distill the whole of life, to trap within amber the collective consciousness of an era, has had conflagrations in Europe and the Americas ([a:Bolaño Roberto|14135660|Bolano, Roberto|https://s.gr-assets.com/assets/nophoto/user/u_50x66-632230dc9882b4352d753eedf9396530.png] being a chief example from South America), as expertly traced out in [b:The Maximalist Novel: From Thomas Pynchon's Gravity's Rainbow to Roberto Bolano's 2666|18402956|The Maximalist Novel From Thomas Pynchon's Gravity's Rainbow to Roberto Bolano's 2666|Stefano Ercolino|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1408916375l/18402956._SY75_.jpg|26036104]. In a real sense, Homer's epics, supplemented with Hesiod on one side of history and the Greek tragedians on the other, was the bible (biblion) for the Greek peoples. So much so, that, even in the days of the early Christian church, we see the people reacting to Paul and Barnabas like characters out of Homer:

And when the crowds saw what Paul had done, they lifted up their voices, saying in Lycaonian, “The gods have come down to us in the likeness of men!” Barnabas they called Zeus, and Paul, Hermes, because he was the chief speaker. And the priest of Zeus, whose temple was at the entrance to the city, brought oxen and garlands to the gates and wanted to offer sacrifice with the crowds. (Acts 14:11-13, ESV)

One of the major focuses of the text is that of honor and nobility, what makes a man's life glorious. In the Iliad the answer appears to be found through the fire of warfare. In other words, the greatest warrior is the most noble person. Achilles on the Achaian side and Hektor on the Torjan side represent the ideals of ancient Greek eugenics. They are great and respected because they are powerful in battle. The intellect is represented in Odysseus and Nestor, but, in the heat of a skirmish, intellect is suspended in favor of blood lust. It is ironic, then, that Helen should be the epicenter of the ten-year ware. Like Achilles, her stage time is minimal. Homer does not litter the narratives of the battles with reminders of Helen as the object of the opposition. Though this started the war, it recedes to the background and the two-layer chess match--a dramatic, soap opera-like interweaving of mortals and immortals and their respective power politics--takes precedence.

A feminist reading must be mentioned. Yes, to a large degree, Homer's epics cast women in a light that is far less than savory. Brisies, for example, and Helen herself, can definitely be chalked up to nothing more than war booty (forgive the pun). Yet, we also cannot bury our heads in the sand and deny (or rewrite) history. To take Weil's perspective, this is a culture of force: force, aggression, violence wins. Unfortunately for women of the time, this is apparently the recipe for happiness in a Greek man: "when a man has been well filled with wine and with eating / and then does battle all day long against the enemy, / why, then the heart inside him is full of cheer...." No mention of sex! Notice, too, how Aphrodite acts to bring Helen and Paris to bed together in Book III; and how Hera colludes with Aphrodite (among others) to bed/distract Zeus in Book XIV (I also cannot help but note here how Zeus prefaces their intimate encounter with a list of all his philandering--how foreign to our sentiments!). I'm afraid that the sexual politics here, and especially in terms of gender, are a bit more complex than an immature reading of the narrative yields. I will avoid the concept of willingness, because I don't think we can debate that with the mindset of a Homer or contemporary; we can only approach this with damaging revisionist presentism. I will, instead, end this shaky discussion of gender with a thought I had: With such vivid, visceral details of violence, why is there such reticence when it comes to sex? When it comes to warfare, we get this level of detail:

This man Peneleos caught underneath the brow, at the bases
of the eye, and pushed the eyeball out, and the spear went clean through
the eye-socket and tendon of the neck, so that he went down
backward, reaching out both hands, but Peneleos drawing
his sharp sword hewed at the neck in the middle, and so dashed downward
the head, with helm upon it, while still on the point of the big spear
the eyeball stuck.
(Book XIV, 493-499)

Oh, my Zeus! But when it comes to sex, the most detail we get is they "lay in love" or Paris's invitation to Helen to "go to bed and turn to lovemaking." One is tempted to reason that, given a culture devoid of Judeo-Christian morals, for example, such blatant omission of sexual conquest seems unexpected. When we think of ancient Greek and Trojan warriors, we think of primitive brutes plundering cities and ravaging women. Yet we only see one side of this in the authoritative reporter of the culture. In an aesthetic sense, it is historically very difficult to describe sex in writing without the narrative collapsing (not everyone is an Ovid). This has led to such treasures as Literary Review's annual Bad Sex in Fiction award. But I hesitate to think that Homer had this in mind. I am left to take a clue from Helen's expression of embarrassment when Zeus wants to have sex with her on high where all the others can see (to be sure, he doesn't choose this deliberately; he is just urgent under her spell), and Zeus's acquiescence and gesture to wrap them in a golden cloud. Like most preconceptions we have of Homer, I think a closer reading will lead to a deeper view of what is really being said (or not said). This is not to excuse WASPy values; only to rescue a great work from sophomoric thin-slicing.

In the end, I am more of a Longinian reader. That is, I hunt for the Sublime in literature above the fracturing avenues of literary theory (O, how I wish I could pursue my master's degree over again!). For me, the most sublime moment comes in Book IX. This book is a close formal relative of the [b:The Book of Job|82241|The Book of Job|Anonymous|https://i.gr-assets.com/images/S/compressed.photo.goodreads.com/books/1388468757l/82241._SY75_.jpg|79413], in that three friends of Achilles take turns trying to counsel and sway him in the midst of his lowest season in life (though Job's is admittedly worse). In this midst of these speeches and Achilles's rejoinders, we get this:

I carry two sorts of destiny toward the day of my death. Either
if I stay here and fight beside the city of the Trojans,
my return home is gone, but my glory shall be everlasting;
but if I return home to the beloved land of my fathers,
the excellence of my glory is gone, but there will be a long life
left for me, and my end in death will not come to me quickly.
(Book IX, 411-416)

The threat of death looms over Achilles because he is doomed to a short life. Here we get a peak into the genius of Greek mythology: the man who has the ability of great speed therefore rushes through life and meets death quickly. And now he is in a dilemma that forces him to choose long life or greatness. Going back to Hippocrates's aphorism, I think we all want to achieve and leave behind some form of glory in life, but we also want a long satisfying life in which to achieve it. The Iliad, then, is a long consideration of this sublime would-you-rather question. That is but one challenge we, as readers, must bring to the text. ( )
  chrisvia | Apr 29, 2021 |
Well, I am happy to say that I have finally read the Iliad. This was my first Greek poem and I have to say, I thoroughly enjoyed it. The story flows well and it kept me on edge all the whole way through.

I wasn't familiar with the Trojan War and how it came to be. Imagine my surprise when I read it was all due to a squabble over a woman named Helen. The war rages on in the span of 10 years! A LOT of dudes die over this. Helen must've been one hell of a lady.

The scenes where the soldiers engage in combat were graphic. The Greeks certainly loved their violence! Homer doesn't hold back his descriptions of the battles; head getting lopped off, men trying to hold in their innards from spilling and spears being inserted violently into necks.

I found the monologues that two soldiers would have in the midst of battle before they killed one another hilarious. Imagine two guys with swords in hand engaging in conversation in the midst of bloody chaos. The Greeks were very much about honor and were proud to boast about where they came from and who their father was. This they would shout to the other man before fighting to the death. Removing the armor of the loser was also a popular tradition. I found this fascinating.

Oh, and the Gods? Zeus? Apollo? Poseidon? All of them squabble like children. They cry and beg and want to only interfere in the war, choosing sides and helping a soldier from Troy or helping one out from the Greeks. They would sit back from the comfort of Olympus and watch the battle wage on. It was as if they were playing a game of chess only with human lives hanging in the balance.

I was told to read The Iliad before jumping into The Odyssey and I'm glad I did.

Overall I enjoyed the story and I'm happy I leapt into the world of Greek poetry! ( )
1 vote ProfessorEX | Apr 15, 2021 |
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» Add other authors (996 possible)

Author nameRoleType of authorWork?Status
HomerusAuthorprimary authorall editionsconfirmed
Alberich i Mariné, JoanTranslatorsecondary authorsome editionsconfirmed
Alexander, CarolineTranslatorsecondary authorsome editionsconfirmed
Alsina Clota, JoséIntroductionsecondary authorsome editionsconfirmed
Ģiezens, AugustsTranslatorsecondary authorsome editionsconfirmed
Østergaard, Carl V.Editorsecondary authorsome editionsconfirmed
Baskin, LeonardIllustratorsecondary authorsome editionsconfirmed
Bendz, GerhardTranslatorsecondary authorsome editionsconfirmed
Björkeson, IngvarTranslatorsecondary authorsome editionsconfirmed
Bond, William HenryEditorsecondary authorsome editionsconfirmed
Boysen, RolfNarratorsecondary authorsome editionsconfirmed
Broome, WilliamContributorsecondary authorsome editionsconfirmed
Brower, Reuben ArthurEditorsecondary authorsome editionsconfirmed
Bruijn, J.C.Editorsecondary authorsome editionsconfirmed
Buckley, Theodore AloisTranslatorsecondary authorsome editionsconfirmed
Buckley, Theodore AloisEditorsecondary authorsome editionsconfirmed
Butler, SamuelTranslatorsecondary authorsome editionsconfirmed
Cerri, GiovanniTranslatorsecondary authorsome editionsconfirmed
Chapman, GeorgeTranslatorsecondary authorsome editionsconfirmed
Chase, Alston HurdTranslatorsecondary authorsome editionsconfirmed
Ciani, Maria GraziaTranslatorsecondary authorsome editionsconfirmed
Clark, ThomasTranslatorsecondary authorsome editionsconfirmed
Crespo Güemes, EmilioEd. lit.secondary authorsome editionsconfirmed
Cullen, PatrickNarratorsecondary authorsome editionsconfirmed
Devecseri, GáborTranslatorsecondary authorsome editionsconfirmed
Due, Otto SteenTranslatorsecondary authorsome editionsconfirmed
Earl of Derby, Edward George Geoffrey Smith Stanley,Translatorsecondary authorsome editionsconfirmed
Erni, HansIllustratorsecondary authorsome editionsconfirmed
Fagles, RobertTranslatorsecondary authorsome editionsconfirmed
Fitzgerald, RobertTranslatorsecondary authorsome editionsconfirmed
Flaxman, JohnIllustratorsecondary authorsome editionsconfirmed
Fridrihsons, KurtsIllustratorsecondary authorsome editionsconfirmed
Gertz, Martin ClarentiusEditorsecondary authorsome editionsconfirmed
Gostoli, AntoniettaContributorsecondary authorsome editionsconfirmed
Graves, RobertTranslatorsecondary authorsome editionsconfirmed
Gutiérrez, FernandoTranslatorsecondary authorsome editionsconfirmed
Hammond, MartinIntroductionsecondary authorsome editionsconfirmed
Holland, TomAfterwordsecondary authorsome editionsconfirmed
Jacobi, DerekNarratorsecondary authorsome editionsconfirmed
Johnston, Ian C.Translatorsecondary authorsome editionsconfirmed
Kelfkens, C.J.Cover designersecondary authorsome editionsconfirmed
Kirk, G. S.Introductionsecondary authorsome editionsconfirmed
Knox, BernardIntroductionsecondary authorsome editionsconfirmed
Koolschijn, GerardTranslatorsecondary authorsome editionsconfirmed
Lagerlöf, ErlandTranslatorsecondary authorsome editionsconfirmed
Lateur, PatrickTranslatorsecondary authorsome editionsconfirmed
Lattimore, RichmondTranslatorsecondary authorsome editionsconfirmed
Leaf, WalterTranslatorsecondary authorsome editionsconfirmed
Lesser, AntonNarratorsecondary authorsome editionsconfirmed
Linkomies, EdwinForewordsecondary authorsome editionsconfirmed
Lombardo, StanleyTranslatorsecondary authorsome editionsconfirmed
Manninen, OttoTranslatorsecondary authorsome editionsconfirmed
Mitchell, StephenTranslatorsecondary authorsome editionsconfirmed
Molina, AlfredNarratorsecondary authorsome editionsconfirmed
Monti, VincenzoTranslatorsecondary authorsome editionsconfirmed
Muller, Herbert J.Contributorsecondary authorsome editionsconfirmed
Myers, ErnestTranslatorsecondary authorsome editionsconfirmed
Newman, Francis W.Translatorsecondary authorsome editionsconfirmed
Orléans de La Motte, Louis François Gabriel d'Translatorsecondary authorsome editionsconfirmed
Parnell, ThomasContributorsecondary authorsome editionsconfirmed
Perry, William G. Jr.Translatorsecondary authorsome editionsconfirmed
Pollestad, Kjell ArildTranslatorsecondary authorsome editionsconfirmed
Pope, AlexanderTranslatorsecondary authorsome editionsconfirmed
Rees, EnnisTranslatorsecondary authorsome editionsconfirmed
Rhodes, Charles ElbertEditorsecondary authorsome editionsconfirmed
Rieu, Emile VictorTranslatorsecondary authorsome editionsconfirmed
Rouse, William H. D.Translatorsecondary authorsome editionsconfirmed
Savage, SteeleIllustratorsecondary authorsome editionsconfirmed
Schadewaldt, WolfgangTranslatorsecondary authorsome editionsconfirmed
Schadewaldt, WolfgangIntroductionsecondary authorsome editionsconfirmed
Schrott, RaoulTranslatorsecondary authorsome editionsconfirmed
Segalà i Estalella, LluísTranslatorsecondary authorsome editionsconfirmed
Shankman, StevenEditorsecondary authorsome editionsconfirmed
Shorey, PaulEditorsecondary authorsome editionsconfirmed
Stawell, F. MelianIntroductionsecondary authorsome editionsconfirmed
Stevens, DanNarratorsecondary authorsome editionsconfirmed
Stolpe, JanEditorsecondary authorsome editionsconfirmed
Svenbro, JesperForewordsecondary authorsome editionsconfirmed
Timmerman, Aegidius W.Translatorsecondary authorsome editionsconfirmed
Vosmaer, C.Translatorsecondary authorsome editionsconfirmed
Voss, Johann HeinrichTranslatorsecondary authorsome editionsconfirmed
Wakefield, GilbertEditorsecondary authorsome editionsconfirmed
Wills, GarryPrefacesecondary authorsome editionsconfirmed

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Achilles' banefull wrath resound, O Goddesse, that imposd
Infinite sorrowes on the Greekes, and many brave soules losd (Chapman)
The Wrath of Peleus Son, O Muse, resound;
Whose dire Effects the Grecian Army found: (Dryden)
Achilles' wrath, to Greece the direful spring
Of woes unnumber'd, heavenly goddess, sing! (Pope)
Sing, o goddess, the anger of Achilles son of Peleus, that brought countless ills upon the Achæans. (Butler)
The Wrath of Achilles is my theme, that fatal wrath which, in fulfillment of the will of Zeus, brought the Achaeans so much suffering and sent the gallant souls of many noblemen to Hades (Rieu)
Quotations
And Zeus said: “Hera, you can choose some other time for paying your visit to Oceanus — for the present let us devote ourselves to love and to the enjoyment of one another. Never yet have I been so overpowered by passion neither for goddess nor mortal woman as I am at this moment for yourself — not even when I was in love with the wife of Ixion who bore me Pirithoüs, peer of gods in counsel, nor yet with Danaë, the daintly ankled daughter of Acrisius, who bore me the famed hero Perseus. Then there was the daughter of Phonenix, who bore me Minos and Rhadamanthus. There was Semele, and Alcmena in Thebes by whom I begot my lion-hearted son Heracles, while Samele became mother to Bacchus, the comforter of mankind. There was queen Demeter again, and lovely Leto, and yourself — but with none of these was I ever so much enamored as I now am with you.”
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(Click to show. Warning: May contain spoilers.)
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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.

No library descriptions found.

Book description
Haiku summary
Too many heroes
Too much blood, sex, fighting, war
Gods and goddesses
(pickupsticks)
Mannered, ironic,
Pope is scarcely Homeric.
How is it this works?
(bertilak)
Helen of Sparta
Elopes with Paris. Name change
To Helen of Troy
(pickupsticks)
All work and no gifts,
I refuse to fight for you
until my friend dies.
(LeBoeuf)

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Editions: 0140275363, 0140445927, 0140447946, 0140444440, 0451530691

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