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Chapman's Homer the Iliad the Odyssey [Anglais] [Broché]

Homer , Jan Parker , Tom Griffith , George Chapman
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Détails sur le produit

  • Broché: 976 pages
  • Editeur : Wordsworth Editions Ltd (5 juillet 2000)
  • Collection : Wordsworth Classics of World Literature
  • Langue : Anglais
  • ISBN-10: 1840221178
  • ISBN-13: 978-1840221176
  • Dimensions du produit: 19,6 x 12,4 x 5,6 cm
  • Moyenne des commentaires client : 4.0 étoiles sur 5  Voir tous les commentaires (1 commentaire client)
  • Classement des meilleures ventes d'Amazon: 26.435 en Livres anglais et étrangers (Voir les 100 premiers en Livres anglais et étrangers)
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2 internautes sur 2 ont trouvé ce commentaire utile 
4.0 étoiles sur 5 Excellent text but not so well presented 20 avril 2010
Par Zikmu
Format:Broché|Achat vérifié
This old translation of Homer into English verse by George Chapman is excellent, but this book makes it a little difficult to read: the pentameters or heptameters used by Chapman could be printed with a bigger font size, at the limit that would just avoid splitting most lines, reduced margins, a little more spacing between lines.

Also, the Iliad and the Odyssey together, 24 books each (not 12 like the Aeneid!), that makes a very thick volume even in small print. Two volumes would be preferable. Some (apocryphal) episode titles, within each book, would also help and make the lot more digestible. Illustrations are also possible, why not? There is so much Greek pottery on the subject.
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Commentaires client les plus utiles sur (beta) 4.0 étoiles sur 5  30 commentaires
57 internautes sur 61 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Great stories, not so good translation of the Odyssey, Bad Kindle edition 13 avril 2010
Par Surgery100 - Publié sur
Format:Format Kindle
This review is divided into two parts, first a review of the translation itself and then a review of the Kindle edition.

Homer's stories are great and in this translation extremely easy to read. They were originally written in dactyllic hexameter. This is a very difficult metric to translate into modern poetry and some translations (Chapman's and Pope's) that attempt a strict conversion suffer from being too difficult to follow (the convolutions necessary to make the story fit make them very difficult to follow).

The Butler translation does away with all attempts at poetry and is written in prose. This makes the story very easy to follow. One glaring problem is that while the Iliad follows the original Greek (and hence the Greek names), the Odyssey suddenly changes to the character's Roman names and Zeus becomes Jove, Poseidon becomes Neptune and so on. This makes the story extremely difficult to follow as every character changes name.

Kindle edition:
In terms of the Kindle conversion, this was not well done. While it does not suffer from broken lines as other Kindle editions do, there are two big problems: 1) a lack of a table of content, and 2) this edition has not been indexed. Not being indexed means that you cannot use the search feature to jump to a specific book or chapter.

As a reference, The Iliad starts in location 24 and the Odyssey at location 6202.
5 internautes sur 5 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 A Gem of Classical Verse: Chapman's Homer 24 juillet 2013
Par Thorrin Jonsson - Publié sur
It is unfortunate that the "top-rated" reviews for Chapmans Homer here on Amazon seem somewhat unfair and possibly written by people that make you ask why anyone takes their word for it since it doesn't seem to be their genre in the first place?.. But, this could also be due to the fact that some reviews for other translations have found their way onto the same page, somehow. To clarify if unnoticed in the title of this review, this review is for George Chapman's translation of Homer's Iliad and Odyssey, called 'Chapmans Homer'..

If you don't like Shakespeare, or Spenser, or the Romantics at least -- obviously this isn't your book.
But for those of us who ARE into said style of romantic/classical/renaissance verse (whatever niche you'd like to fit it into) and are also interested into understanding better such poets as mentioned above themselves -- Chapman's Homer was the first to be done into English verse, first to be done into English at all, and was an immense inspiration and indispensable book to very many of the poets we admire and love for hundreds of years.
Chapman has a great command of style, and his largest accusation has been that he lets the meaning of his translation slip up every once and a while -- which is an annoying accusation, honestly, because most translations into verse from a very different language should be fairly given some elbow room, especially if you're not looking for a dry and worthless translation that is hardly more than a summary-turned-naptime.
These are legends. Legends are inherently organic. They grow. They take a little pinch of innovation here and there. Big deal. Get over it and enjoy this marvelous piece of poetry.

Now.. for the verse quality itself..

As said, Chapman has great command of his style, and is very formal, that one gets the impression of Milton's epic voice. He also at times lets himself play with metrical variation, that lightens up the iambic diction. Also might be worth noting that alot of these variations are spondaic - which captures a like vibe of the classical-style of metrical variations. I would also say, if you liked Milton's high-style, but were not a huge fan of the Judaic runs he worked -- Chapman might all the more be agreeable to you.

The Iliad is in couplets of 'iambic heptametre', which is an ingenious way to rework the heroic-hexametre in my opinion. You really get a feel for the long-lined vigour of the Greek original as an English version; and was likely a boon to the translator also, where working dactylic hexametre into a pentametre line (as has been a popular fashion) can probably be more difficult in many places. Not to mention the iambic-heptametre carries the battle-scenes exceptionally well and sweeps the reader along at an intense pace.
The Odyssey is written in "heroic-couplets" -- which is, couplets in iambic-pentametre, iambic-pentametre being more-or-less the leading voice of English versecraft, and is perfect for a romantic adventure, which the Odyssey more or less is. On that same note, I also think it unfair for people to claim that the Iliad has been reckoned greater than the Odyssey, when the two stories are exceptionally different in many ways -- the former is a straight up warpoem, the latter is an adventure tale. Both have their highlights and literary genius, in my opinion.

If you are into all the poets and ideals I've covered, this book is at least an important experience to come closer to the old masters of verse, if not as an enjoyment of verse-poetry and famous tales. To many English poets Chapman's Homer was/has been nearly as important as the original itself.
I am not saying this is the best translation. Or that it is the most precise. But it is GOOD, and practically a historical monument of English verse and translation. I say once more before I wrap this up: if you get into Shakespeare/Spenser/Milton/Keats or even Chaucer - Chapman's Homer is worth a look, at least for his Iliad by the metre he used with it, if not for that and the Odyssey both.
2 internautes sur 2 ont trouvé ce commentaire utile 
3.0 étoiles sur 5 The invisible translator! 21 juillet 2013
Par C. H. Walters - Publié sur
John Keats had it right in 1816: he did not look into Homer, but into the translation / rewriting by George Chapman, published between 1611 and 1615 - contemporaneous with the King James version of the Bible and late Shakespeare.

Therefore it is irritating if a publisher is too lax or too lazy to indicate clearly who the translator of a particular version is. A quick squizz through the reviews also does not bring this information to light, despite a vy direct question about the identity of the translator. Therefore my addition here: I am lucky enough to recognise and compare the first sentences to different translations and found a match.

It is a translation from 1883 by Andrew Lang (who famously published a whole series of fairy tale books), Walter Leaf and Ernest Myers.
1 internautes sur 1 ont trouvé ce commentaire utile 
5.0 étoiles sur 5 Ian Myles Slater on: Homer and the Realms of Gold 10 mai 2013
Par Ian M. Slater - Publié sur
Format:Format Kindle|Achat vérifié
First off, "Chapman's Homer" is probably not a book for those who have not read Homer before. In fact, it is probably not a book for those unfamiliar with Shakespeare's plays; or, perhaps better, Spenser's Elizabethan Epic, "The Faerie Queene". These will introduce one to the high poetic language of the era; and Spenser to the finding of moral and political significations in events and characters.

It is likely to be fascinating to anyone who is interested in the "reception" of Homer over the centuries, and the different guises translators have given him. They will probably welcome this complete, neatly printed, digital edition.

At a rough guess, something like 95% of the people who recognize the term "Chapman's Homer" at all will do so in association with Keats' 1816 sonnet, "On first looking into Chapman's Homer." Some large proportion of them probably would, if asked, further associate the translation with the Romantic Movement. Others, who perhaps have a better memory for such things, will recall that belongs to the seventeenth century, specifically the early Jacobean period, not long after the death of Elizabeth I.

It was in fact the work of the sometime-playwright George Chapman (1560-1634), who was a fairly successful dramatist in a time when William Shakespeare and Ben Jonson were busy producing works of lasting interest. Chapman eventually left the theater, which was not as lucrative for him as for Shakespeare (who was also a partner in his own theater company, and one of its actors).

He became, among other things, a translator from Greek, publishing what are regarded as the first-ever English versions of "The Iliad" and "The Odyssey" in installments from 1611-1615.

It was almost exactly 200 years later that Keats, who certainly would have known the eighteenth-century Alexander Pope version in "heroic couplets," seems to have stumbled across copies of Chapman. As he wrote "Oft of one wide expanse, had I been told / That deep-brow'd Homer ruled as his demesne: / Yet did I never breathe its pure serene / Till I heard Chapman speak out loud and bold".

Anyone who expects from such praise that Chapman's translations are a long-lost treasure of English literature are probably going to be disappointed. They are extremely interesting, and lack the veneer of classicism and dignity applied by Pope (1715, 1725), and others. However, some of the vocabulary is simply obsolete (this edition includes a glossary, which helps, although it is not properly linked to the text). The meter, to the surprise of many (I would think) is not iambic pentameter, since Milton an accepted "epic meter" for English. This is perhaps just as well, since Chapman used rhymed couplets, and would have found himself in the same strait-jacket as so many English Augustans (leaving aside, for the moment, Dryden and Pope, who seemed to find it roomy enough).

No, Chapman used the well-established "fourteener," in rhyming couplets; an old narrative meter (it had been used in the sixteenth-century Scots English translation of the "Aeneid" by Gavin Douglas) which eventually fell out of favor for serious verse. The "fourteener" never completed faded away; the Victorian poet (and fantasy novelist, and interior designer, and fine printer, and business-man and socialist, etc.) William Morris, used it for, among other things, his epic poem "Sigurd the Volsung," and his own translation of the "Aeneid."

Still, being unfamiliar to many potential readers, it is a meter which almost demands initial reading aloud, to find the rhythm, and with it the syntax of many lines. The fourteen (sometimes fifteen) syllables tend to produce a caesura (pause) about half-way through the line (seven-seven, eight-six, six-eight).

This isn't a great substitute for the Homeric hexameter, but it does allow a more fluid style than some of the alternatives.

What Keats seemed to have missed in his enthusiasm is that Chapman had "bought" the general Renaissance belief that Homer was a subtle allegorist, not just a story-teller. However, Renaissance allegories sometimes seem to be about anything the text suggests; unlike the Augustan reading of the "Odyssey" as a series of moral exempla, with the wily Ulysses (their preferred form) somehow turning into a (more) priggish version of Aeneas.

On the whole, the translation can be read without wading into the "deeper meanings." For those looking for Chapman's "key" to the "real" Homer, it has been the subject of modern studies, including "Homeric Renaissance: The Odyssey of George Chapman," by George de Forest Lord (1956). Copies are sometimes available through Amazon, and elsewhere.

For those who are curious about where Chapman belongs (other than at the beginning) in the long history of Homer translations in English (and don't mind having just his "Iliad" in the package) can try starting with the Delphi Ancient Classics Kindle omnibus, "Complete Works of Homer" (Illustrated). This includes, with a great deal more, Greek texts, and the Alexander Pope translation mentioned above.
7 internautes sur 10 ont trouvé ce commentaire utile 
2.0 étoiles sur 5 Will Try Fagles' Translation 26 mars 2010
Par E. J. - Publié sur
Format:Format Kindle
While I am sure many will love this translation, I found myself several pages into it with no clue what Homer was trying to say to me. I will try Fagle's translation instead; it costs more but appears more readable (at least for me).
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