Almost 19 years earlier, he had set out from his home to fight at Troy. The journey from Troy would normally take three weeks in good sailing weather, across the Aegean Sea, around Cape Malea and up the Ionian coastline to Ithaka. But Odysseus has angered Poseidon and the sea-god has killed off his men, banished him to his fate as an eternal wanderer, a refugee, an exile, never quite home.
This she does with the full literary arsenal of our age. Her tweeting then becomes a topic in itself for The New Yorker and Bustle.
She makes the rounds on two continents for readings and chats. We classical scholars can only rejoice to see a colleague hit the big time. Of course, tweeting is an offensive weapon, and she has ruffled feathers by taking her predecessors to task for misogyny — while also tweeting footage of dreamy Mark Ruffalo reading her verse for some celebrity cachet.
So let me anticipate the inevitable criticism with an observation: From the outset, our English translators have all been on the make.
Take our founding father, George Chapman. John Ogilby made use of a clever subscription drive, getting wealthy aristocrats to pay for the illustrations which he adorned with their crests to help float his huge folio Homers and Virgil. Alexander Pope was the ultimate artist of the deal; his Homer made him one of the first people in history able to live off the proceeds of a literary translation.
So before the critics dismiss Wilson for taking to Twitter and making the most of her moment, I say look to her predecessors and know that Chapman and Pope would definitely have had Twitter accounts. But Wilson would rather match the old bard verse for verse than allow herself the indulgences of past translators.
The result is a lean, wiry Homer, shorn of his more ornamental features. In this she is consistent, even to a fault. Take, for example, the moment we might imagine a female translator would relish: You keep on coming to this house every day, to eat and drink, wasting the wealth of someone who has been away too long.
Your motives are no secret. You want to marry me. I am the prize. So I will set a contest. This great bow belonged to godlike King Odysseus.
Suitors indeed, you commandeered this house to feast and drink in, day and night, my husband being long gone, long out of mind.
You found no justification for yourselves — none except your lust to marry me. But while her verse is traditional and flexible, her syntax is so clipped and terse at times she seems to be channeling Hemingway.
The result pitches between the ancient and modern as any translation must if it chooses to pursue the vitality of storytelling over the archeology of poetic form.
Translating epic is, after all, a marathon, not a sprint; you have to be careful what you grab onto. But that strong language of past translations was focalized through Telemachus and Odysseus, not the narrator.
Wilson responds with imagistic variations: This lyricization of epic may restore the poetry through the backdoor, but it reveals the tension between Homeric and modern notions of poetry.
Again, Wilson has the virtue of consistency in her choices here. As a classics professor, an Englishwoman at home in the United States, a deep reader of English and American verse, Emily Wilson has come by her Homer honestly. Her poem has the stamp of a clear and consistent vision, and brings Odysseus home to us again — cunning, eloquent, murderous; in sum, complicated.The Odyssey by Homer - The Portrayal of Women in Homer's Odyssey.
My Account. The Portrayal of Women in Homer's Odyssey Essay. The Portrayal of Women in Homer's Odyssey Essay arguments about misogyny fall in here but a host of other interpretive possibilities are possible too.
Three, the different treatment reflects simple ignorance. 2, words Donna Zuckerberg Not All Dead White Men: Classics and Misogyny in the Digital Age Cambridge: Harvard University Press, Homer The Odyssey Translated by Emily Wilson New York: W. W. Norton & Company, Classics is sometimes perceived as the last bulwark of sanity in the humanities, a refuge from militant anti-white Leftism.
It’s Palladas who was a misogynist; not Homer (whoever Homer was). This epigram seems funny, but it’s a distortion of Homer. One can say that women in Iliad and Odyssey are trophies, but a trophy is not dispised it is desired. The Portrayal of Women in Homer's Odyssey Essay - Does Homer exhibit gender bias in the Odyssey?
Is the nature of woman as depicted in the Odyssey in any way revealing. Upon examining the text of the Odyssey for differential treatment on men and women, it becomes necessary to distinguish between three possible conclusions.
The West’s first and most influential author is Homer (c. BC). Composer of the Iliad and Odyssey, he paints a quite different picture of women in many roles — as wives, mothers or slaves.
Homer s Odyssey is one such writing, which poetically describes the daily life of the Greeks in antiquity. Although in his work, women are treated differently than men, and are shown to be of lesser status, Homer does not advocate a misogynistic view. Misogyny is the hatred of women by men.
The Odyssey is not misogynistic.