Emily Wilson: “stylistic pomposity is entirely un-Homeric.”

Emily Wilson and Book Cover for Circo del Herrero imagery ‘The notion that Homeric epic must be rendered in grand, ornate, rhetorically elevated English has been with us since the time of Alexander Pope. It is past time, I believe, to reject this assumption. Homer’s language is markedly rhythmical, but it is not difficult or ostentatious. The Odyssey relies on coordinated, not subordinated syntax (“and then this, and then this, and then this,” rather than “although this, because of that, when this, which was this, on account of that”). I have frequently aimed for a certain level of simplicity, often using fairly ordinary, straightforward, and readable English. In using language that is largely simple, my goal is not to make Homer sound “primitive,” but to mark the fact that stylistic pomposity is entirely un-Homeric. I also hope to invite readers to respond more actively with the text. Impressive displays of rhetoric and linguistic force are a good way to seem important an invite a particular kind of admiration, but they tend to silence dissent and discourage deeper modes of engagement. A consistently elevated style can make it harder for readers to keep track of what is at stake in the story. My translation is, I hope, recognizable as an epic poem, but it is one that avoids trumpeting its own status with bright, noisy linguistic fireworks, in order to invite a more thoughtful consideration of what the narrative means, and they ways it matters.

All modern translation of ancient texts exist in a time, a place, and a language that are entirely alien from those of the original. All modern translations are equally modern…I have tired to make my translation sound markedly poetic and sometimes linguistically distinctive, even odd. But I have also aimed for a fresh and contemporary register. The shock of encountering an ancient author speaking in largely recognizable language can make him seem more strange, and newly strange. I would like to invite readers to experience a sense of connection to this anent text, while also recognizing its vast distance from our own place and time. Homer is, and is not, our contemporary.’ -Emily Wilson, “Introduction,” The Odyssey. 

GABBLER RECOMMENDS: The First Woman to Translate the ‘Odyssey’ Into English The classicist Emily Wilson has given Homer’s epic a radically contemporary voice. By WYATT MASON

“If you’re going to admit that stories matter,” Wilson told me, “then it matters how we tell them, and that exists on the level of microscopic word choice, as well as on the level of which story are you going to pick to start off with, and then, what exactly is that story? The whole question of ‘What is that story?’ is going to depend on the language, the words that you use.”

Throughout her translation of the “Odyssey,” Wilson has made small but, it turns out, radical changes to the way many key scenes of the epic are presented — “radical” in that, in 400 years of versions of the poem, no translator has made the kinds of alterations Wilson has, changes that go to truing a text that, as she says, has through translation accumulated distortions that affect the way even scholars who read Greek discuss the original. These changes seem, at each turn, to ask us to appreciate the gravity of the events that are unfolding, the human cost of differences of mind.

The first of these changes is in the very first line. You might be inclined to suppose that, over the course of nearly half a millennium, we must have reached a consensus on the English equivalent for an old Greek word, polytropos. But to consult Wilson’s 60 some predecessors, living and dead, is to find that consensus has been hard to come by. Chapman starts things off, in his version, with “many a way/Wound with his wisdom”; John Ogilby counters with the terser “prudent”; Thomas Hobbes evades the word, just calling Odysseus “the man.” Quite a range, and we’ve barely started. There’s Alexander Pope’s “for wisdom’s various arts renown’d”; William Cowper’s “For shrewdness famed/And genius versatile”; H.F. Cary’s “crafty”; William Sotheby’s “by long experience tried”; Theodore Buckley’s “full of resources”; Henry Alford’s “much-versed”; Philip Worsley’s “that hero”; the Rev. John Giles’s “of many fortunes”; T.S. Norgate’s “of many a turn”; George Musgrave’s “tost to and fro by fate”; the Rev. Lovelace Bigge-Wither’s “many-sided-man”; George Edgington’s “deep”; William Cullen Bryant’s “sagacious”; Roscoe Mongan’s “skilled in expedients”; Samuel Henry Butcher and Andrew Lang’s “so ready at need”; Arthur Way’s “of craft-renown”; George Palmer’s “adventurous”; William Morris’s “shifty”; Samuel Butler’s “ingenious”; Henry Cotterill’s “so wary and wise”; Augustus Murray’s “of many devices”; Francis Caulfeild’s “restless”; Robert Hiller’s “clever”; Herbert Bates’s “of many changes”; T.E. Lawrence’s “various-minded”; William Henry Denham Rouse’s “never at a loss”; Richmond Lattimore’s “of many ways”; Robert Fitzgerald’s “skilled in all ways of contending”; Albert Cook’s “of many turns”; Walter Shewring’s “of wide-ranging spirit”; Allen Mandelbaum’s “of many wiles”; Robert Fagles’s “of twists and turns”; all the way to Stanley Lombardo’s “cunning.”

One way of talking about Wilson’s translation of the “Odyssey” is to say that it makes a sustained campaign against that species of scholarly shortsightedness: finding equivalents in English that allow the terms she is choosing to do the same work as the original words, even if the English words are not, according to a Greek lexicon, “correct.”

“What gets us to ‘complicated,’ ” Wilson said, returning to her translation of polytropos, “is both that I think it has some hint of the original ambivalence and ambiguity, such that it’s both ‘Why is he complicated?’ ‘What experiences have formed him?’ which is a very modern kind of question — and hints at ‘There might be a problem with him.’ I wanted to make it a markedly modern term in a way that ‘much turning’ obviously doesn’t feel modern or like English. I wanted it to feel like an idiomatic thing that you might say about somebody: that he is complicated.”

I asked: “What about the commentator who says, ‘It does something that more than modernizes — it subverts the fundamental strangeness of the way Odysseus is characterized.’ I’m sure some classicists are going to say it’s flat out wrong, ‘Interesting, but wrong.’ ”

“You’re quite right,” she replied. “Reviewers will say that.”

How, I asked, would she address such a complaint from someone in her field?

“I struggle with this all the time,” Wilson said. “I struggled with this because there are those classicists. I partly just want to shake them and make them see that all translations are interpretations.” Most of the criticism Wilson expects, she says, will come from “a digging in of the heels: ‘That’s not what it says in the dictionary, and therefore it can’t be right!’ And if you put down anything other than what’s said in the dictionary, then, of course, you have to add a footnote explaining why, which means that pretty much every line has to have a footnote. …” Wilson paused. “That goes to what this translation is aiming to do in terms of an immersive reading experience and conveying a whole narrative. I don’t know what to say to those people, honestly.” Wilson laughed her buoyant laugh. “I need to have a better answer to them, because they will certainly review it, and they will certainly have a loud voice. They just seem to be coming from such a simple and fundamental misunderstanding.”

“Of what?”

“Of what any translation is doing.”

What a translation is doing — and what it should do — has been a source of vigorous debate since there were texts to translate. “I’m not a believer,” Wilson told me, “but I find that there is a sort of religious practice that goes along with translation. I’m trying to serve something.”

[Via]

On poets and priests:

“The priest is rarely seen and is never of importance. In the Odyssey when a priest and a poet fall on their knees before Odysseus, praying him to spare their lives, the hero kills the priest without a thought, but saves the poet. Homer says that he felt awe to slay a man who had been taught his divine art by the gods. Not the priest, but the poet, had influence with heaven — and no one was ever afraid of a poet.”

-Edith Hamilton, Mythology. 

When her finger left, it was no longer just a plastic, black ashtray. It was a golden ashtray.

The midas touch.
The midas touch.

“Listen, Odys, if I say you don’t need something, you don’t. I can’t lie to you. Let me show you why you don’t need a job.”

She retracted her hand and raised an inveigling forefinger. Her eyes searched around the room, pinpointing his hallowed ashtray. “Observe, please.” She gestured to the somewhat-filthy thing. She placed her finger on the dimpled rim and traced it. When her finger left, it was no longer just a plastic, black ashtray. It was a golden ashtray.

“Solid as can be,” she added, handing it to him for corroboration. He took it, his hand falling from the unexpected weight. His jaw dropped. He didn’t even care about the butts falling to his lap.

She shrugged it off as if to say, Meh, it pays the bills. “Every atom—molecule—whatever-the-hell—equivalently changed. Don’t ask me how it works. Moreover, don’t expect me to always be able to do it. I have to use energy for this sort of thing—like forming clothes. Just look at me, panting. Also, when we pawn it they’ll ask where you got it. If they don’t the first time, they will the second. I can turn things into any metal you like, but selling the stuff can get tricky. But don’t worry, we’ll find ways. Welders love my work.” She watched Odys place the tray back on the coffee table, as if it was an explosive device. “Just be thankful I didn’t turn the couch solid gold, Odys. Would’ve fallen through the floor.”

From THE AUTOMATION

[“BLA and GB Gabbler” (really just a pen name) are the Editor and Narrator behind THE AUTOMATION, vol. 1 of the Circo del Herrero series. They are on facebook, twitter, tumblr, and goodreads.]

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