The Odyssey - Homer

Having got through Homer's Iliad, I recently set about reading the poet's other celebrated work, The Odyssey.  This was E V Rieu's translation, which was done in a "prose" style.

The poem essentially documents the wanderings, adventures, fortunes and misfortunes of Odysseus (and others) in the aftermath of the Trojan War.  The main thrust of the plot is the quest of Odysseus to return to his home in Ithaca, and his later measures to address the ominous events which had taken place there in his absence.

During the story we are immersed in the world of the palaces  The settings are varied and the story derives much of its richness from the grandiosity or beauty of the locations, and the way in which these are introduced and described. Ironically, this world, as much as it bears some resemblance to historical reality, was shortly to decay and eventually disappear.

In part due to the exotic and evocative settings which form the backdrop for the various portions of the poem, the Odyssey, there is very much a fantasy and/or fairy-tale character to the work, with passages referring to bounteous orchards, streams, forests, springs, exotic fruits and other idyllic features. The mythological element is strong. The constant and elaborate presence of the gods and assorted mythical beings and creatures accentuate this impression.

In other ways I was reminded of some of the stories written by Hermann Hesse, although the precise motivations behind Odysseus' travels were not always the same as those nurtured by Hesse's characters. One can readily appreciate from reading this work how influential Homer has been, subconsciously or otherwise, on many generations of writers, novelists and poets.

For all the tranquil and picturesque landscapes, the Odyssey is not without its violent and disconcerting episodes. The encounter with the Cyclops, and especially his culinary inclinations, certainly raised my eyebrows.  One thing to note is that the story is slightly confusing from a chronological viewpoint, in that much of the plot is related "retrospectively" by Odysseus to the Phaeacians. Once the reader has untangled the order in which the various stages happened, then he or she will be fine, and it should make perfect sense.

The Odysseus is, on the face of it, not submerged by portentousness and gravitas, and some of the dialogue between characters has charm. Moral questions are tackled in a milder and less onerous manner, and this ensures that it is digestible and enjoyable, even if intense concentration is desirable in order to derive the most from it.

It is a gripping and absorbing story, and is well worth reading, and not just for people who have already experienced the Iliad.

The Iliad - Homer

Commonly regarded as the beginning of European literature, Homer's epic poem The Iliad is set in the latter stages of the Trojan War, and largely centres on the experiences and emotions of the character Achilles, and to a lesser extent his Trojan counterpart Hector.  I recently undertook the gruelling but truly rewarding task of reading the work in its entirety.

When reading The Iliad, it is tempting to become preoccupied with the "historicity" question, (i.e. to what degree the poem accurately reflects real events), and to let this hinder one's enjoyment of the story-telling and the language.  Perhaps the wisest course of action is to read it twice - once purely to relish its literary beauty and gravity, and then again to cross-reference minutiae with the archaeological and scholarly canon.

One thing which strikes the reader almost immediately about The Iliad is its sheer power and immersive vitality. As some people have observed down the decades, the experience can be almost overwhelming to the reader.  Although the central thrust of the story is the "rage" of Achilles, and his resentment towards Agamemnon, the length of the work permits a diverse array of characters to come under scrutiny, and their presence greatly enriches the depth of the picture.

Of course, much of the narrative is taken up with the deliberations of the gods.  These supernatural and mythical features of the story do endow it with much of its poetic vigour and mystique. I found myself adopting a dual strategy, of both taking those elements literally, and also of divining more rational and worldly interpretations.

It seems an odd thing to say, but it is surprising at how "sophisticated" the narrative is, as if guile, emotion and a grasp of the vagaries of the human condition had not yet been invented three thousand years ago!  Some newcomers may also be surprised at the graphic nature of the descriptions of the combat. There is little effort to cushion the horror, to sentimentalize it or to shroud the actual consequences in cryptic phrases.

In some ways the story can be distilled down to a study of, and comparison between the "heroic" figure of Achilles and Hector.  The latter perhaps embodies the qualities which would be seen as admirable in later, classical times.

A feature of The Iliad which struck me right away was how it brings the senses alive, making the reader feel as if he or she was there on the battlefield, or beside the Achaean ships.  I could almost reach out and touch the action, and taste it.

Parts of the story have something of a medieval fairy-tale quality about them, and I have heard one or two experts proffer this impression too.  Going back briefly to the gods, I could imagine that a modern audience would draw a parallel between their involvement and the "puppet masters" who, we are told, influence and orchestrate wars and upheavals in our own time. Is this me being over-analytical?

As mentioned earlier, the length of the poem allows time and space to dwell on some of the supporting characters, such as Diomedes for instance. Their "back stories", and details of their background and lineage, enhance the piece. The heterogeneous nature of that world is also highlighted, with portrayals of local natural features, and the traits and activities which distinguished the inhabitants of each region.  Colourful pictures are painted, and the reader is drawn even further in.

It probably helps to have a little knowledge of the story beforehand, as well as the historicity and archaeology, in order to render it a more seamless literary experience. A person approaching it "green" may find the breadth of characters and mythology excessive and bewildering.

I can readily appreciate that many 21st century readers will be ambivalent at best about the world which is depicted in The Iliad.  Even if they are awed and captivated by the beauty and intricacy of the poetry, they will be repelled by the values espoused by some of the characters.  I would contend that if we look beyond this, some simpler, timeless and more noble virtues can still be made out.

My perception was that the tension in the poetry escalated towards the end, and this would be more acutely felt if one had an inkling of what is to come, or if one had worked it out along the way. For all the bravado which emanates from the main players, their fear and anxiety are also easily discernible, which reflects well on the quality of the storytelling. I found that my own revulsion at the pitiless and unscrupulous methods of the fighters rose as I got deeper in; the animalistic lust for vengeance and blood, the deafness to pleas for mercy or clemency.  Still, I was transfixed.

It has been asserted that Iliad embodies the tragedy of war, but it also serves as a commentary and a window on the darker, less palatable and edifying aspects of human nature. It is still relevant, even though we like to convince ourselves that we have conquered, or at least tamed, some of our more unpleasant inclinations.

Troy's inevitable doom, and that of some of the central protagonists, hangs over the piece, and contributes heavily to the drama and the pathos. It is also worth remembering that some of the familiar points of the Troy legend are not in this poem, or else are only referred to obliquely.

The ending, which might have been regarded as a redemption for Achilles, would be uplifting in its way, if we did not sense what would follow, having been placed on notice in the text. This ambiguity, and the curious ending, are additional factors in The Iliad's appeal.

The Iliad is a sometimes uncomfortable, daunting but enthralling read, It will also place much other literature in perspective.

The Classical World - Robin Lane Fox - book review

For a few reasons, I find that the "classical" and ancient worlds are a more interesting and stimulating field of research and study than more modern historical topics. Because of the relative lack of sources and direct evidence, there is more scope for imagination, debate and ambiguity.

The Classical World, by Robin Lane Fox, is a vibrant, absorbing and at times passionate look at Greece and Rome. Faced with such a vast and complicated landscape, the author wisely operates within certain parameters, using 5th and 4th century Athens and the Roman Emperor Hadrian as benchmarks and reference points of a sort. The changes and upheavals through the centuries are examined through the concepts of freedom, justice and luxury, and how they were interpreted and regulated.

The most refreshing thing about this book is that the author is not afraid of making it clear where his cultural and political sympathies lie, especially where the zenith of classical Greece is concerned. In addition, he succeeds in knitting together the various strands and elements of the subject in a way which is seamless, coherent and plausible. The fragments, when assembled, become real, rather than distant, diffuse and unfathomable.

Lane Fox explores the origins of "classical" Greece, referring back to the time of Homer, and detailing how technological, military, economic and cultural factors brought about social and political changes, by altering the balance of power between the classes. The transition to Athenian democracy is also tackled, and how the democratic ethos benefited the city in its conflicts with its neighbours and antagonists. There is also a compelling look at the spread of Greek influence in both the East and the West.

Of course, no account of classical times, in their broadest sense, would be complete without a look at the Macedonians, Alexander the Great and the "successors". Again, this section of the book blends effectively into the big picture, analysing how the fallout from Alexander's exploits affected the wider world.

The secret to this book's allure to me was the blend of enthusiasm, knowledge and authority of the author. His humane, enlightened and principled approach shines through. The classical and ancient worlds are enchanting for the casual observer, but that is nothing compared to how they look and feel when studied and portrayed by a figure possessed of insight and understanding, not to mention a graceful and potent way with words.

The recurring passages about social structures I found pertinent on more than one level. They show how things were, and how flaws still remain in our time. Our generations have less "excuse".  One is also reminded about the pivotal nature and role of the ownership of land...

Often, the phases of history covered by this publication can seem abstract; unreal and threadbare. Lane Fox manages to make them appear as vivid and relevant as the Napoleonic Wars and the Reformation. It seems to me that this was achieved by a combination of admirable focus and plausible interpretation of matters which are subject to endless scholarly dispute.

There is some highly intriguing material about the periods when Macedon, Rome and Carthage overlapped. The odd myth or popular misconception is debunked or dispelled along the way, too. The author also entertainingly points out the differences between the cultural lives and political ethos which prevailed in the various city-states and regions.

The chapters on the Roman Republic, and what came in its wake, are excellent in their level of detail and their erudition. Roman times, in comparison with the earlier Greek world, arguably contained less to be idealistic or enthused about, but they are hugely instructive for students of history and human nature. Rome may have been more "exciting", in a visceral sense, but Athens commands more fondness and admiration.

Throughout The Classical World there is considerable focus on the artistic and cultural consequences and accompaniments of major events, and how the Greeks and Romans saw themselves, as reflected and depicted in art, ceremony, architecture and ritual. Of course, these forms constitute much of the tangible and retrievable evidence by which we appraise and interpret those years.

In summary, this work is hugely enjoyable, imaginative and heartfelt. A stimulating and illuminating read.

Alexander The Great - Robin Lane Fox - book review

Until comparatively recently, Alexander The Great was a bit of an enigma for me. Yes, from early childhood the name had been familiar to me, but this did not persuade me to conduct any great research into who he really was, and how he acquired his legendary status. Until recently, that is....

Robin Lane Fox's book is less a biography than a quest to strip away some of the layers of myth and distortion which have amassed over the centuries, as a consequence of the limited first-hand evidence, and the unreliability and questionable motives of some of the most prominent sources.

The period immediately before and after Alexander's accession to the throne is one of the more intriguing sections, with a cogent outlining of the political and social landscape which he grew up in, and the legacy bestowed by his father.

The author frankly points out the scarcity of  information concerning Alexander's childhood, and eschewing idle speculation, draws together strands from what is known about the region in that period, to offer theories about how he might have developed. The tutelage by Aristotle is naturally looked at, but Lane Fox is careful not to over-play the influence which the great thinker might have exerted.

The role of superstition, religion and myth cannot be ignored in a book about Alexander The Great, or about ancient/classical times, but this telling does not become weighed down by such considerations. The importance of Homeric legend is clear, although it is mentioned less as the story proceeds.

Because of the often dubious nature of the historical "records", much of this tome is taken up in weighing up the bewildering number of interpretations placed on pivotal episodes in Alexander's life. The author's knowledge and erudition come into play, as does an ability to see the "big picture" and to place contentious events into a wider context. These arguments are put forward clearly and plausibly, when one considers the complexity of the subject matter.

I think there is a tendency to portray Alexander as some kind of "superman", but Lane Fox rationalises things by offering earthly explanations for his qualities and prowess, citing factors such as his inheritance, his upbringing, his environment and his intellectual and military nurturing, as well as his innate strengths and foibles. It could be argued that he built on very solid foundations, and reaped the benefits of other trends which had little to do with him directly. Another strength of this book is that it does not attribute every change or upheaval to the foresight, will or "genius" of Alexander. It acknowledges that there was a rich and formidable cast of characters, many of whom were significant players in the drama which unfolded...

The passages which deal with Alexander's pursuit of diplomacy and geopolitical planning are excellent, and I found them more engaging than any descriptions of battlefield derring-do. Not everything was accomplished via "heroic" deeds. Much was relatively mundane, informed with a deal of pragmatism or common sense. To understand these parts of the story, it is necessary to see through the morass of propaganda issued by apologists and detractors. This is all part of the fun, though.

The book comes into its own for me when it deals with the period after Alexander had achieved his initial objectives, by way of "revenge" against the Persians. He had to adjust his tactics, vision and aims, and even he was occasionally afflicted by indecision. Significantly, Lane Fox does not neglect what was still happening in Macedonia, Greece and the Aegean generally, and its ramifications for the campaign much further east.

One is also struck by the varied and unpredictable nature of the threats which Alexander and his army faced as they ventured further into the unknown.  He had to juggle and marshal his resources adroitly, and also make tough decisions about priorities. He did not always arrive at the correct balance, and the localised failures are not concealed.

The whole picture knits and blends together well. Many accounts concentrate excessively on Alexander's charisma at the expense of a broad and accurate picture of the state of play in his newly conquered domains. This version illustrates the magnitude and intricacy of the achievement, and the effort required to sustain and consolidate it.

In the end, the thing which makes this story real, and Alexander seem "human", is the sense of fallibility which intruded towards the end, even though his ambitions remained momentous. The mutinies, and the Makran desert episode, are looked at in depth.

In taking all this in, it is easy to forget the fact that Alexander was approaching what was thought, in Western eyes at least, to be the "edge of the world". The author points out what had been going on foe centuries beyond these frontiers, and this helps in adding perspective. It also tells us what Alexander and his colleagues missed out on, and helps us to conjecture how history might have worked out differently if the army had not turned back.

Naturally, there is a fairly exhaustive probe into the conspiracy theories which surrounded Alexander's demise. As with so much else concerning the man, we will never know for sure....

The book concludes with a look at Alexander's legacy, largely in terms of his enduring impact, and that of Greek culture, on the lands which were subject to conquest. Their limitations are also accepted. If anything, these final chapters left me wanting more...

This is a fine book, and it left me with a much enriched understanding of Alexander the man, and of a dramatic period in history.