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 Trojan War - Barry Strauss

In my youth, the Trojan War was something of a staple in primary education, although the allure of Helen of Troy remained with me longer than the military or cultural niceties. The degree of historical truth seemed to matter little back then.

 

In more recent times, my increased interest in history of all periods has brought the story back into my orbit. I am currently working my way through Homer's Iliad, and was very pleased to come across Barry Strauss's book on the subject. My inclination, based on the available evidence, has generally been to be reasonably confident that some form of battle took place at the place cited, in the approximate time normally put forward, however much the tale might have been embellished and distorted later.

 

 

Importantly this book draws on more recent discoveries and evidence. The author's knowledge and enthusiasm for the whole ancient and Bronze Age world is palpable. I was impressed with the reasoned arguments which he employs, citing innumerable examples of events, traditions and tangible evidence found in the wider region, rather than just the narrow Aegean world.

Strauss rationalizes some of the more "fanciful" aspects of the "legend" in more believable and plausible terms, decoding some of the myths, superstition and symbolism for modern consumption. Things are thereby related in digestible and comprehensible form. Each stage of the battle is analysed in turn, helping to make it lean, compact and manageable.
 

This version includes the famous characters from the Iliad, whilst allowing that some of them might not have existed in the precise form cited in Homer, if at all. It doesn't adhere slavishly to the Homer line, pointing to instances where he may have exaggerated or demonstrated bias. Other sources, and the author's own conclusions and theories, are used to give the story shape and cohesion.

 

"The Trojan War" cuts through much of the dusty scholarship that can shroud topics such as this, to provide a breezy and concise telling. Strauss thankfully refrains from spending excessive time agonizing over the minutiae of "authenticity" and veracity, being decisive when he needs to be, imbuing the telling of the story with real clarity and energy. 

Interesting theories are ventured on the vexed question of the Trojan House. Whilst not totally ruling out the possibility that a wooden horse might have played some part, the author puts forward a plausible scenario whereby the "horse" of legend acts as a metaphor for some Greek trick,sleight of hand or deception, which provoked the opening of the gates of Troy.  Espionage perhaps?

Above all, I found this work informative, entertaining and quite absorbing.