<p>Matthew Arnold praised the <i>Iliad</i> for its ''nobility'', as has everyone ever since -- but ancient critics praised it for its <i>enargeia</i>, its ''bright unbearable reality'' (the word used when gods come to earth not in disguise but as themselves). To retrieve the poem''s energy, Alice Oswald has stripped away its story, and her account focuses by turns on Homer''s extended similes and on the brief ''biographies'' of the minor war-dead, most of whom are little more than names, but each of whom lives and dies unforgettably - and unforgotten - in the copiousness of Homer''s glance. <br><br>''The <i>Iliad</i> is an oral poem. This translation presents it as an attempt - in the aftermath of the Trojan War - to remember people''s names and lives without the use of writing. I hope it will have its own coherence as a series of memories and similes laid side by side: an antiphonal account of man in his world... compatible with the spirit of oral poetry, which was never stable but al
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The voices are wonderfully varied and idiomatic - they include a poacher, a ferryman, a sewage worker and milk worker, a forester, swimmers and canoeists - and are interlinked with historic and mythic voices: drowned voices, dreaming voices and marginal...
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Det urgamle og det samtidige <br/> <br/>Ingen er ei havbok, der tid og lagnader og menneskeliv speglar seg i denne alltid omskiftelege materien som vi kallar vatn. Forteljingane kring Odyssevs og Agamemnon dannar eit ekko-rom for desse dikta,...
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Extending the concerns of Dart and written over a period of several years, these poems combine abrupt honesty with an exuberant rhetorical confidence, at times recalling the oral and anonymous tradition with which they share such affinity.
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