I’ve owned a gorgeous box set of The Iliad and The Odyssey since 1996 or so. I only read The Iliad in maybe 2002 or 2003, and only just finished The Odyssey on the 7th of this month. I can’t tell you how much of a joy it is to put a book on the to-read shelf that has been taunting me for more than a decade.
(I should apologize up front to Chris Rugen. I promised that I’d read The Odyssey along with him, and I totally didn’t pace myself to do so.)
It’s a good, fun story; in fact it’s just about the original good, fun story. I doubt I could really add anything to the plot beyond what everyone already knows. There’s the famous story of the Sirens, and Odysseus lashing himself to the mast to stop himself from falling prey to their wiles. There’s the Cyclops, whose one eye Ulysses gouges out. There are the monsters at the Scylla and Charybdis. And so forth. He’s been away at war against Troy for ten years. After Troy falls at the end of the Iliad, Ulysses and others sack the city and take to the seas to return home. It takes them ten years.
Meanwhile, after so long away from home with no word back to his wife, the locals back on Ithaca (known as “the suitors”) believe Ulysses is dead, take up residence in his house, drink his wine, slaughter his animals, bed his maids, and try to woo his wife. She — Penelope — is crafty, and tells them that she’ll pick a suitor once she’s done sewing a burial shroud for Odysseus’s father (who’s not dead, but who’s been devastated by the loss of his son and expects to die soon). Every day she weaves it, and every night she undoes what she made during the day. Eventually one of the maids lets the suitors in on the secret, so they force her to finish her sewing. She’s just on the verge of choosing a suitor when Odysseus returns home, disguised as a beggar by the goddess Athena. He wanders around his property, begging for a crust of bread and judging the character of all those who are living in his house. His son, Telemachus, is brave and handsome and everything else you’d expect out of the son of a Greek hero. Penelope has remained true to her husband for twenty years. Various swineherds weep for their departed master, still, after twenty years. All the rest of them are bastards.
After setting up appropriate dramatic tension really effectively, and leaving Odysseus within just a few feet of his family — though disguised — Homer finally lets loose in a cataclysm of blood. All the bastards die.
I love the story because it’s so elemental. Throughout The Iliad and The Odyssey, “staid servantwomen” serve hundreds of meals wherein goats and sheep are cut into four pieces and roasted over spits. After eating the meat and drinking the hearty wine, various heroes either fall into peaceful slumber on soft beds, or take baths and get lacquered with oil by nubile servant-girls. Life could be worse for the Greeks.
I enjoyed The Odyssey more than The Iliad. More happens in the former. The latter is death upon death. Some of the deaths are very creative (a lance tears through a man’s face and yanks him off a chariot like a fish on a hook), but it’s basically a primal action movie. The Odyssey has a couple more interesting characters, and at least the scenes change.
I didn’t realize before reading The Odyssey that nothing much actually happens to Ulysses during the era when the story takes place. Instead, most of The Odyssey is spent in flashback: Ulysses stops off at some island or other on the way home, and while there reminisces about all that’s happened to him. Finally he gets so homesick that he simply must return to Ithaca. And he does. Why Homer chose this method, I’m not sure. Borges uses the same method. For that matter, so does The Arabian Nights.
Fagles’s translation is workmanlike. It’s highly readable, but it’s not very inspiring. People do what they’re supposed to do, and that’s the end of it. I didn’t feel the poetry. I’ve read Fagles’s description of the challenges he faced, and I appreciate them. He could have chosen to stick to the literal meaning of the original words, thereby making the book irrelevant to modern readers. He could hack the words to pieces to make them fit with the meter. He could completely adapt The Odyssey to a modern idiom, thereby deleting a lot of the book’s original force. Me, I would have liked more music.
The Fitzgerald translation is supposed to have more music. Pope’s translation is supposedly the most beautiful Homeric translation ever written. One of these years I’ll have to take an Ancient Greek class, just so I can read Homer in the original. I remember seeing someone on Jeopardy! when I was growing up who’d learned Ancient Greek for just that reason. Back then I thought that was ridiculous. Now it seems perfectly sensible.