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Fitzgerald - The Odyssey

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Fitzgerald The Odyssey

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The Metamorphoses of Ovid stands with the works of Homer, Virgil, Dante, and Milton as a classic of world poetry. Ted Hughes, one of the most admired and widely read of living poets, has now translated twenty-four stories from the Metamorphoses. The result is the most vigorous and supple twentieth-century version of this classic, at once a delight for the Latinist and an appealing introduction to Ovid for the general reader.From his early book Crow to his recent book Wolf-Watching (FSG, 1991), Hughess poetry has depicted raw, primordial conflicts in which the elements (earth, air, fire, water) are vital forces. These aspects of Hughess poetic manner are ideally suited to the Metamorphoses, whose stories tell of the transformations -- through love, death, or radical physical change -- undergone by great figures of mythology: Hercules, Narcissus, Proserpina, Pygmalion, Midas, Bacchus, Arachne, Venus and Adonis, Pyramus and Thisbe. Transformation or metamorphosis, for Ovid, is a skeleton key to the workings of life itself and to the workings of art as well. Writing in clear, emphatic unrhymed verse, Hughes has transformed Ovids Latin verses into English, giving us not only a new Ovid but a substantial new work of poetry in English.
This beautifully designed and produced edition of the Metamorphoses includes Hughess brief Introduction.

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Table of Contents TRANSLATIONS The Iliad The Aeneid Oedipus at - photo 1
Table of Contents

TRANSLATIONS
The Iliad
The Aeneid
Oedipus at Colonus
Chronique (St.-John Perse)
Birds (St.-John Perse)

(with Dudley Fitts)
Oedipus Rex
Antigone
Alcestis

POEMS
Poems (1935)
A Wreath for the Sea
In the Rose of Time
Spring Shade
A NOTE ON THE TEXT



POSTSCRIPT
BY ROBERT FITZGERALD



CRITICAL WRITING
ON THE ODYSSEY
AND HOMERIC POETRY



NOTES AND GLOSSARY
There are two sets of line numbers throughout this book. Those in the margins refer to the English text; those at the top of the page refer to the Greek text. A few lines thought spurious or out of place in antiquity, and later, have been omitted from the translation. These are:

Book I, lines 275 through 278 and 356 through 359.
Book IX, line 483.
Book XI, line 245.
Book XIII, lines 320 and 321.
Book XIV, line 154, lines 161 and 162, lines 504 through 506.
Book XVI, line 101.
Book XVII, line 402.
Book XXIII, line 320.

The translator wishes to record his gratitude for aid of various kinds. A Guggenheim Fellowship helped him to begin; a Ford grant helped him to finish. Dudley Fitts and Sally Fitzgerald read and commented invaluably on the entire work in the course of writing. About half of the poem benefited from close readings by Andrew Chiappe, Jason Epstein, and John F. Nims. Valuable corrections and suggestions were given on shorter sections by John Berryman, Colin G. Hardie, Michael Jameson, Randall Jarrell, Priscilla Jenkins, and John Crowe Ransom. One salutary blast came from Ezra Pound. For the patient publisher, Anne Freedgood gave the manuscript a discerning reading.
BY ROBERT FITZGERALD



SOME DETAILS OF SCENE AND ACTION
I
The ship on which I sailed from Piraeus one summer night approached Odysseus kingdom from the south in the early morning. Emerging on deck for the occasion, I saw a mile or so to the west the bright flank of a high island, broadside to the rising sun. This was Kephallenia, identified by tradition with Same of The Odyssey ; in fact the port where we presently put in is called Same. Beyond it to the north and dead ahead rose another island mass, lying from northwest to southeast and therefore visible only on its western side, all shadow, a dark silhouette. This was Thiaki or Ithaka.
Now, one of the innumerable questions never quite settled by students of Homer is the intended meaning of these two lines, concerning Ithaka and neighboring islands, in Book IX of The Odyssey (lines 25 and 26):
Uncertainties ramify handsomely in the first line but let me confine myself - photo 2
Uncertainties ramify handsomely in the first line, but let me confine myself here to the second, which literally means, or appears to mean, that Ithaka lies toward the gloom, while the other islands lie apart toward the Dawn and the Sun. Long before my Ithakan landfall I knew that this line has been thought simply inaccurate. But when I saw the islands with my own eyes in the morning light I felt at once that I haddiscovered the image behind Homers words. He, too, I felt sure, had looked ahead over a ships bow at that hour and had seen those land masses, one sunny and one in gloom, just as I saw them. An overnight sail from Pylos would have brought him there at the right time.
This notion was, of course, highly exhilarating. I am sorry that further consideration has more or less deflated it. One trouble with it was that Homer (or Odysseus, the speaker in this passage) did not describe Ithaka as being itself shadowy or gloomy but as lying in a certain direction, toward the gloom. If the contrast between Ithaka and Same at sunrise had been in his mind, he could have put it more distinctly. Not that Homer is always lucid grammatically, but toward the gloom for in gloom is not his kind of vagueness. Then, too, the word o in Homer does not mean simply gloom; it means the gloom of one end of the world, one quarter of the compass, generally held by the ancients to be the west. Picture 3Picture 4Picture 5 o o Picture 6Picture 7 o says Athena in Book III, 335, The sun has gone down already under the gloom [of the west], and Odysseus asks Elpnor in Book XI, 57, Picture 8Picture 9 o , How did you come down under the cloudy gloom [of the worlds end]?
It would be excellent if these clear instances were also conclusive, and o were to be translated toward the west or toward the western gloom. But here precisely is the difficulty. Ithaka does not in fact lie west of the other islands in the group. Neither does Leukas, the more northerly island that some students have believed to be Homers Ithaka. So far as Ithaka itself is concerned, the fact is that the northern horn of Kephallenia, across a channel a mile or so wide, reaches up along the length of the island to the west. How now?
Well, it must be recalled that Homer knew no other west than the direction of sunset, and in midsummer, in that latitude, the sun goes down at a spot on the horizon far north of true west. Whether the poet was an Ionian or an Athenian, he is unlikely to have visited the islands except in the sailing season. Homers sunset quarter could have been roughly northwest by west. This very nearly solves the difficulty, but perhaps not quite. If we are still a few points off, so to speak, Iam glad to say that recourse may be had to the later Greek geographer, Strabo.
According to Lord Rennell of Rodd, in the Annual of the British School in Athens, No. xxxiii, Session 193233, Strabo entertained no doubt that in the line I have quoted, o indicated the north, as the Sun does the south. That is to say, Strabo and Lord Rennell pass lightly over the antithesis between o and Dawn in that line of Homer in order to embrace the antithesis between o and the Sun, whose usual path in north latitudes passes south of the zenith. Most of Kephallenia does indeed lie to the south of Ithaka, and so does the island now called Zante, very likely the Zaknthos of The Odyssey . As for Doulikhion, Rennell and others rather desperately identify it with one of the small Ekhinades to the east.
Pondering this argument, I asked myself why each of the antitheses noted in the phrase should not be given equal value, or half of full value. Granted that Ithaka is west with respect to Doulikhion and north with respect to Zakothos and Sam-Kephallenia, then o could be briefly rendered to the northwest, and the other islands Picture 10Picture 11
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