#emily wilson

[orpheuslament]

Introduction to The Iliad, Emily Wilson

[delusionalrobot]

from the introduction to emily wilsons translation of the iliad

[miroana]

Achilles: I-

Odysseus: I think I know more about having ideas than you do, genius

[dr4gme]

About wocwog HJ. I love him. He's so raw, and there's so much pain and rage.

[girlfictions]

Emily Wilson, in conversation on her translation of The Iliad with Madeline Miller (x)

[perhapsitisthegreatergrief]

emily wilson your MIND

[petaltexturedskies]

You already know the story. You will die. Everyone you love will also die. You will lose them forever. You will be sad and angry. You will weep. You will bargain. You will make demands. You will beg. You will pray. It will make no difference. Nothing you can do will bring them back. You know this. Your knowing changes nothing. This poem will make you understand this unfathomable truth again and again, as if for the very first time.

Emily Wilson, an excerpt of her introduction to The Iliad

[clown-cult]

Athena coming to the defence of Odysseus is very important to me.

[annebrontesrequiem]

The beautiful word minunthadios, 'short-lived,' is used of both Achilles and Hector, and applies to all of us. We die too soon, and there is no adequate recompense for the terrible, inevitable loss of life. Yet through poetry, the words, actions, and feelings of some long-ago brief lives may be remembered even three thousand years later.

The Iliad, trans. Emily Wilson

[dionysism]

mentally i remain here

[eelhound]

"[The Iliad] avoids all the obvious highlights of the traditional story, including the Wooden Horse. It does not start at the beginning — with the Judgment of Paris, the wedding of Peleus and Thetis, the abduction of Helen, or the muster of ships at Aulis — or end with the fall of the city. Instead, the action takes place over a few days in the last year of the war — neither the beginning nor the end. A brief and ostensibly trivial episode — a squabble between two Greek commanders — becomes the subject of a monumental twenty-four-book epic.

Moreover, The Iliad eschews the obvious way for Greeks to tell the Trojan War story: as a conflict between 'us' and 'them.' The Trojans are not dishonest foreigners, despite the fact that Paris abducted his host’s wife. Implausibly, they speak the same language and worship the same gods as the Greeks.

The poem is ancient from our perspective. But it came at the end, not the beginning, of a long poetic tradition. Whoever created The Iliad used the myths, tropes, and techniques developed by many generations of oral poets, and reinvented them to create an extraordinarily original and surprising written epic."

- Emily Wilson, from the introduction to her translation of The Iliad, 2023.

[geneticdriftwood]

of course you have blue hair and epithets 🙄

[sparrowsfallingfromthesky]

NEW JOHN SILVER/ODYSSEUS PARALLEL DROPPED!

[dapurinthos]

Even the smallest of words, like “even” (“per” in Greek), can create enormously consequential interpretive challenges for the translator. In Book 24 of the “Iliad,” the goddess Thetis visits her mortal son, Achilles, who is prostrate with grief for his dead friend, Patroclus. Achilles is still dragging the corpse of Patroclus’s killer, Hector, around the city walls every day, and still refusing to eat, drink or have sex — the normal activities of mortals. The goddess asks her son how long he will “devour” his heart with grief, rather than eating normal bread, and she reminds him that it is also good to have sex, or more literally (as I render it) to “join in love” — “even with a woman.” On the most linguistically straightforward reading, the phrase suggests that his mother thinks Achilles would prefer to join with someone other than a woman — such as Patroclus, his beloved dead friend. This may be a surprise, given that earlier in “The Iliad,” the two men were described as sharing their beds with enslaved women, and they are never described by Homer as having sex with each other — although by the 5th and 4th centuries B.C., readers such as Aeschylus and Plato certainly assumed that they were lovers. Is Thetis suddenly “outing” her son? Or is she simply acknowledging the depth of his desire to be with his dead companion? Translators sometimes leave the word out entirely (Fagles: “It’s a welcome thing to make love with a woman”) or apply the emphasis to the activity, not the partner (Lattimore: “even to lie with a woman”; Caroline Alexander, “Indeed, it is good to lie with a woman”) — although this is not a natural reading of the Greek word order. I do not think it is generally the translator’s job to correct or fight against the text; hence my decision to settle on the simple “even with a woman.” Readers can decide for themselves whether Achilles is yearning to “join” Patroclus in a sexual sense or to mingle with his dear ashes in the tomb.

- Emily Wilson on 5 crucial decisions she made in her ‘Iliad’ translation (link goes to the archive.ph version of the original washington post article due to its paywall)

[xx0yeet-everything0xx]

oddyseus. girlieboy. oogie boogie. what the fuck is wrong with your thought process.

[oidheadh-con-culainn]

"Grief is closely allied with anger. They are expressed with similar sounds: moans, groans, shouts, and screams. Like anger, grief responds to a terrible loss or terrible harm done — but without any sense of the possibility of reparation. Anger turns the pain outward, against others; grief turns it inward, to the self. People subsumed by rage try to replicate the wrongs they have suffered by hurting others. Those consumed by grief long to turn their own bodies into that of the dead loved one, by lying down in the ground, cutting the hair, scratching the face, and rolling in the dust. The enraged want to humiliate, hurt, or kill; the grief-stricken want to be dead and to inhabit the perspective of the dead.

But grief is different from anger, because it can be expressed and experienced collectively. Through the funeral rites and games for the dead Patroclus in Book 23, Achilles shares his loss with other Greek warriors, just as the Trojans in Book 24 are able to share their grief at the death of Hector. Even enemies, like Priam and Achilles, can share a moment of grief. Anger drives communities apart; grief brings them together, over a shared acknowledgment of irredeemable loss."

Emily Wilson's Introduction to The Iliad, p. xliii