"Alive English" and The Iliad
Ben Austin

            Translated literature is a unique type of literature, which takes the words and phrases used to express ideas and stories and reworks them into a language unintended by the original author. Clearly, a type of literature that combines the ideas of authors who are separated culturally and historically yields “new” works that exude details about both writers. The renowned twentieth century translator of Homer, Baudelaire, and Rilke, Robert Lowell expressed his goal of translation as finding words that created a version of “alive English” or finding the words the authors might use “if they were writing their poems now [… ]” (Stepanchev 33). The translations of The Iliad by Fagles, Lattimore, and Lombardo differ at many critical points, and each version implies characteristics of the contemporary audience to whom The Iliad is now being presented and the original audience. Idomeneus’ speech in book thirteen describing the Greek war hero shows to what degree the translator aimed for the goal set by Robert Lowell; additionally, it reveals the audience and purpose of each version of the Greek epic, The Iliad.

From the outset of Idomeneus’ speech to Meriones, the subtle choices of each translator make themselves apparent. Fagles and Lattimore make similar choices in the announcing of Idomeneus as speaker. Fagles chose “the Cretan captain Idomeneus answered warmly,” and in two ways stays true to Greek tradition (Fagles Bk. XIII 323). One, since the Greek epics were originally recited aloud and accompanied by a lyre, Fagles, as did Lattimore in this passage, took into account the Greek oral tradition. By including the name “Idomeneus”, which Lombardo omits in his choice, “the Cretan commander:” Fagles, as does Lattimore, looks to recreate the Greek oral tradition (Fagles bk. XIII 323; Lombardo bk. XIII 285). A Greek audience listening over several days to the enormous epic might needed cues like names to increase the work’s cohesiveness, even though they probably were familiar with the stories in The Iliad. Also, Fagles and Lattimore’s inclusion of the name Idomeneus is consistent with the Greek tradition of pride in one’s lineage (Fagles bk. XIII 323; Lattimore bk. XIII 274). Many times in the Greek epics, detailed accounts of a warrior’s family are given, and Lombardo’s reducing of Idomeneus to a title does not bring to life Lowell’s notion of writing as “if [Homer] were writing [his] poems now” (Stepanchev 33).

Secondly, each translator chooses differently in describing what Idomeneus knows of Meriones. “I know you’re good”, “I know your style, your courage[… ],” and “I know your valor and what you are” are chosen by Lombardo, Fagles, and Lattimore respectively, and each choice exhibits an increased level of formality and intimacy with the Greek tradition (Lombardo bk.XIII 286; Fagles bk. XIII 324; Lattimore bk. XIII 275). Lombaro’s choice of “good” is very general and he even turns this line into a casual remark with the use of a contraction, “you’re,” while Fagles and Lattimore delve deeper into the character of Meriones (Lombardo bk. XIII 286). Fagles’ choice of the italicized “know” shows an almost understanding of Meriones by Idomeneus; however, Lattimore takes this one step further by choosing “what you are” (Fagles bk. XIII 324; Lattimore bk. XIII 275). In this instance, Lattimore reveals to the twenty-first century reader the Greek notion that a man’s valor, bravery, and physical prowess go to great lengths in determining who or what a ancient Greek is. Lattimore in this line comes the closest attaining Lowell’s goal of translating Homer as “if [Homer] were writing [his] poems now” by revealing

As Idomeneus presents the negative example of a man afraid of an ambush, the reader of Lattimore’s translation again is given a more “alive English” and thus a clearer it takes and who doesn’t” are chosen by Fagles and Lombardo respectively, Lattimore goes the extra step and in two ways expresses Greek ideals through his word choice (Fagles bk. XIII 328; Lombardo bk. XIII 289) . When Lattimore writes, “who is a coward and the brave man show themselves clearly,” first, he shows again the Greek idea of a man’s being his characteristic in war (Lattimore bk. XIII 278-79). A man afraid of battle is not merely described as “craven” as he is in Fagles’ version; he is a coward in Lattimore's translation (Fagles bk. XIII 328). Secondly, Lattimore reveals the great importance the Greeks placed on individual glory. Lattimore uses the singular form, “brave man”, while Fagles chooses the collective “the brave” (Lattimore bk. XIII 278; Fagles bk. XIII 328). Throughout the Iliad men in battle are singled out, for example, Diomedes, Menelaus, and Achilles. Lattimore subtly introduces the reader to the Greek’s emphasis on individual glory in battle through simple singular noun choice.

A translator at the highest level aiming to give his reader a version in the “alive English” which Lowell describes cannot forget the oral origins of the Greek epic verse. An ancient Greek reciting The Iliad faced challenges, such as how to keep his listeners’ attention and how to create images in the mind’s eye of his listeners. Fagles makes this abundantly clear in phrases such as, “he prays to wade in carnage” and “winged by a shaft or gored by a blade close-up”(Fagles bk. XIII 337-39). Fagles’ word choice shows how Homer, as does Shakespeare, uses words to create poignant images, not simple descriptions. Both authors masterfully create images with their choice or words and phrases that are as real as any prop or complex set. Lombardo’s version of the same line reads, “His only prayer is to get on with the battle” (Lambardo bk. XIII 297). This is a translation not based on the oral creation of images. Clearly, Fagles creates a version close to what Homer might write if he were to use today’s English.

Audience may also play an important role in the choices of a translator. One must realize that a version of an epic may be targeting young readers or readers unfamiliar with Greek works; in short, not all translations are intended for scholars. A translation like Lombardo’s, which works well in introducing the essential figures and places in Greek literature, lacks the formal elements included by Fagles and Lattimore. Its contractions and simple language are comfortable for most readers; however, it could be considered insufficient for those who wish to look at Homer’s epic critically. Fagles’ audience and purpose are different from Lombardo’s. Fagles’ translation is intended for those who are already familiar with the major players and key places in Greek literature. Since he and Lattimore can assume a certain level of knowledge from their readers, they are both able to include additional information about Greek thought and culture through their word choice and phrasing and in doing so, they are able to present what Lowell described as an “alive English” version of The Iliad, while Lomardo’s audience and purpose limit him to a simpler version lacking certain subtle aspects of Greek culture and thought which are embedded in the original Greek text.

Works Cited

Fagles, Robert, trans. The Iliad. By Homer. New York: Viking, 1990.

Lattimore, Richmond, trans. The Iliad. By Homer. Chicago: Chicagp UP, 1962.

Lombardo, Stanley, trans. The Iliad. By Homer. Indianapolis: Hackett, 1997.

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