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The Iliad [NOOK Book]

Overview

A Classic of Western literature for three millennia, Homer's Iliad captivates modern readers-as it did ancient listeners-with its tale of gods and warriors at the siege of Troy. Now Herbert Jordan's line-for-line translation brilliantly renders the original Greek into English blank verse-the poetic form most closely resembling our spoken language.

Raising the bar set by Richmond Lattimore in 1951, Jordan employs a pleasing five-beat meter and avoids unnecessary filler. The ...

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The Iliad

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Overview

A Classic of Western literature for three millennia, Homer's Iliad captivates modern readers-as it did ancient listeners-with its tale of gods and warriors at the siege of Troy. Now Herbert Jordan's line-for-line translation brilliantly renders the original Greek into English blank verse-the poetic form most closely resembling our spoken language.

Raising the bar set by Richmond Lattimore in 1951, Jordan employs a pleasing five-beat meter and avoids unnecessary filler. The result, an economical translation, captures the force and vigor of the original poem.

E. Christian Kopff's introduction to this volume sets the stage and credits Jordan with conveying the action and movement of the Iliad in "contemporary language and a supple verse." This new Iliad offers twenty-first-century readers the thrill of a timeless epic and affords instructors a much-needed alternative for literature surveys.

Retells the events of the war between Greece and the city of Troy, focusing on Achilles' quarrel with Agamemnon.

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Editorial Reviews

From Barnes & Noble

"A thousand watchfires were burning upon the plain,/ and around each, fifty men sat in the glow of the firelight,/ and the horses stood alongside the chariots, munching/ white barley and oats, and waited for dawn to arise." Stephen Mitchell's translations of Gilgamesh, Genesis, Job, and the Tao de Ching have established him as a preeminent translator of ancient as well as modern texts. His new rendering of one of the pillars of Western literature reconfirms that reputation. As one writer previously noted, his translations sing with the clarity and vigor of their originals.

From the Publisher

"Magnetically readable." --Booklist, starred review

"Homer's raw and violent Iliad remains as timeless and beautiful as the myth itself...highly recommended." --Choice

"[A] clear and energetic translation.... Staying true to Homer's poetic rhythms, Powell avoids the modified iambic lines found in Lattimore's, Fagles's, and Mitchell's works. He also avoids Lombardo's tendency to cast Homer in contemporary language and Fitzgerald's anachronisms. This fine version of The Iliad has a feel for the Greek but is more accessible than Verity's translation." --Library Journal

"Barry Powell, the master of classical mythology, has done it again--a powerful translation of the poem that started European literature. His muscular verses are faithful to the original Greek but bring the characters to life. This is a page-turner, bound to become the new standard translation." --Ian Morris, author of Why the West Rules--for Now

"This fine translation of the Iliad uses well-modulated verse and accurate English that is contemporary but never without dignity. It gives the modern reader as good an impression of Homer's sonorous Greek as one could hope to attain without learning the language; its execution is faithful in spirit to the poet, who composed his great epic orally without the use of writing. Both the translation and the introduction are consistently informed by the best recent scholarship. This translation deserves a very warm welcome." --Richard Janko, Gerald F. Else Distinguished University Professor of Classical Studies, University of Michigan

"Barry Powell's clever translation is simple and energetic: sometimes coarse, sometimes flowing, it is always poetically engaged. This is a harsh, straightforward, and often brutal world of aristocratic warriors whose values are unambiguous, priorities fixed, and sensibilities basic. Fresh and eminently readable, Powell's Iliad is likely to stay." --Margalit Finkelberg, Professor of Classics, University of Tel Aviv, and editor of The Homer Encyclopedia

"Barry Powell, a published poet and novelist, has produced an Iliad translation for the 21st century. Powell's translation beautifully conveys Homer's direct, yet often archaic, style; the introduction and notes situate the poem in its historical and literary context, so that a reader--specialist or otherwise--can appreciate the poem both as a product of its time and as a timeless work exercising its fascination in shifting ways on generations of readers for nearly 3,000 years." --John Bennet, Professor of Aegean Archaeology, University of Sheffield

"Powell's translation renders the Homeric Greek with a simplicity and dignity reminiscent of the original: graceful, matter of fact, poetic in a pleasantly understated way. Lucid and fast, the text immediately engrosses the reader, with a tight and balanced rhythm that sings, and with a closeness to the original that allows the reader to hear the incantatory repetitions in the Greek. More accessible than Lattimore, more poetic than Lombardo, and more accurate than Fagles or Fitzgerald, this translation is an excellent fit for today's students." --William A. Johnson, Professor of Classical Studies, Duke University

"With swift, transparent language that rings both ancient and modern, Barry Powell gives readers anew all of the rage, pleasure, pathos, and humor that are Homer's Iliad--a reading experience richly illumined by the insightful commentary and plentiful images accompanying the text." --Jane Alison, author of The Love-Artist

"Comprehensive and authoritative . . . highly recommended." --Choice

New York Times
“Spirited and provocative . . . a nobly bold even rousing venture . . . it would be hard to find a faster, livelier, more compact introduction to such a great range of recent Iliadic explorations.”
Boston Globe
“Penetrating . . . reflecting her own skills [Alexander] provides her own translation of an entire chapter . . . a real bonus for the reader, comparing favorably with Lattimore and Fagles.”
New York Review of Books
“A tour de force, Alexander . . . We can see from what [Alexander] has done that a fine translation may well be the most elegant and revealing form of commentary.”
Library Journal
10/01/2013
There are many modern verse translations of The Iliad, including those by Robert Fitzgerald, Richmond Lattimore, Robert Fagles, Stanley Lombardo, and, more recently, Anthony Verity and Stephen Mitchell. Powell (emeritus, classics, Univ. of Wisconsin-Madison; Writing and the Origins of Greek Literature), a distinguished Homer scholar and published poet with multiple books on the study of ancient Greek text and classical mythology, faces two challenges common to all translators of Homeric verse: how to capture the essential vigor and concision of oral poetry while remaining readable and how to represent a highly stylized and archaic idiom without sounding stilted. Powell is successful on both counts, offering a clear and energetic translation. VERDICT Staying true to Homer's poetic rhythms, Powell avoids the modified iambic lines found in Lattimore's, Fagles's, and Mitchell's works. He also avoids Lombardo's tendency to cast Homer in contemporary language and Fitzgerald's anachronisms. This fine version of The Iliad has a feel for the Greek but is more accessible than Verity's translation. Highly recommended for all libraries.—Thomas L. Cooksey, Armstrong Atlantic State Univ., Savannah
Library Journal
This new verse translation is not by a poet but a classicist. Verity (former master, Dulwich Coll.), who has translated Pindar's odes, offers a new critical translation—e.g, he brackets passages that are weakly attested—working from the 1996 Greek edition of H. van Thiel. Verity hews as close as he can to Homer's diction in his translation of idiom, epithets, and imagery. Thus his implicit audience is the serious student of literature interested in the specifics of Homer's language. In addition, Verity seeks to make his metrical line correspond to the Greek line, to the extent that English permits. The results are very accurate but make for somewhat ponderous reading. VERDICT Recommended for the student seeking a solid scholarly translation. For a more satisfying read, however, one should turn to Stephen Mitchell, reviewed above, or the work of Robert Fagles.—T.L. Cooksey, Armstrong Atlantic State Univ., Savannah
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Product Details

  • BN ID: 2940021176217
  • Publisher: London Heinemann
  • Format: eBook
  • Edition description: Digitized from 1925 volume
  • File size: 903 KB

Meet the Author

Homer

Caroline Alexander is the author of three books—One Dry Season: In the Footsteps of Mary Kingsley; The Way to Xanadu; and Battle's End: A Seminal Football Team Revisited—all published by Knopf. She lives in New Hampshire.

Biography

We know very little about the author of The Odyssey and its companion tale, The Iliad. Most scholars agree that Homer was Greek; those who try to identify his origin on the basis of dialect forms in the poems tend to choose as his homeland either Smyrna, now the Turkish city known as Izmir, or Chios, an island in the eastern Aegean Sea.

According to legend, Homer was blind, though scholarly evidence can neither confirm nor contradict the point.

The ongoing debate about who Homer was, when he lived, and even if he wrote The Odyssey and The Iliad is known as the "Homeric question." Classicists do agree that these tales of the fall of the city of Troy (Ilium) in the Trojan War (The Iliad) and the aftermath of that ten-year battle (The Odyssey) coincide with the ending of the Mycenaean period around 1200 BCE (a date that corresponds with the end of the Bronze Age throughout the Eastern Mediterranean). The Mycenaeans were a society of warriors and traders; beginning around 1600 BCE, they became a major power in the Mediterranean. Brilliant potters and architects, they also developed a system of writing known as Linear B, based on a syllabary, writing in which each symbol stands for a syllable.

Scholars disagree on when Homer lived or when he might have written The Odyssey. Some have placed Homer in the late-Mycenaean period, which means he would have written about the Trojan War as recent history. Close study of the texts, however, reveals aspects of political, material, religious, and military life of the Bronze Age and of the so-called Dark Age, as the period of domination by the less-advanced Dorian invaders who usurped the Mycenaeans is known. But how, other scholars argue, could Homer have created works of such magnitude in the Dark Age, when there was no system of writing? Herodotus, the ancient Greek historian, placed Homer sometime around the ninth century BCE, at the beginning of the Archaic period, in which the Greeks adopted a system of writing from the Phoenicians and widely colonized the Mediterranean. And modern scholarship shows that the most recent details in the poems are datable to the period between 750 and 700 BCE.

No one, however, disputes the fact that The Odyssey (and The Iliad as well) arose from oral tradition. Stock phrases, types of episodes, and repeated phrases -- such as "early, rose-fingered dawn" -- bear the mark of epic storytelling. Scholars agree, too, that this tale of the Greek hero Odysseus's journey and adventures as he returned home from Troy to Ithaca is a work of the greatest historical significance and, indeed, one of the foundations of Western literature.

Author biography from the Barnes & Noble Classics edition of The Odyssey.

Good To Know

The meter (rhythmic pattern of syllables) of Homer's epic poems is dactylic hexameter.

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Read an Excerpt

Chapter One


ILIAD 1

Rage:

Sing, Goddess, Achilles' rage, Black and murderous, that cost the Greeks Incalculable pain, pitched countless souls Of heroes into Hades' dark, And left their bodies to rot as feasts For dogs and birds, as Zeus' will was done. Begin with the clash between Agamemnon— The Greek warlord—and godlike Achilles.

Which of the immortals set these two At each other's throats?

Apollo, Zeus' son and Leto's, offended By the warlord. Agamemnon had dishonored Chryses, Apollo's priest, so the god Struck the Greek camp with plague, And the soldiers were dying of it. Chryses Had come to the Greek beachhead camp Hauling a fortune for his daughter's ransom. Displaying Apollo's sacral ribbons On a golden staff, he made a formal plea To the entire Greek army, but especially The commanders, Atreus' two sons:

"Sons of Atreus and Greek heroes all: May the gods on Olympus grant you plunder Of Priam's city and a safe return home. But give me my daughter back and accept This ransom out of respect for Zeus' son, Lord Apollo, who deals death from afar."

A murmur rippled through the ranks: "Respect the priest and take the ransom." But Agamemnon was not pleased And dismissed Chryses with a rough speech:

"Don't let me ever catch you, old man, by these ships again, Skulking around now or sneaking back later. The god's staff and ribbons won't save you next time. The girl is mine, and she'll be an old woman in Argos Before I let her go, working the loom in my house And coming to my bed, far from her homeland. Now clear outof here before you make me angry!"

The old man was afraid and did as he was told. He walked in silence along the whispering surf line, And when he had gone some distance the priest Prayed to Lord Apollo, son of silken-haired Leto:

"Hear me, Silverbow, Protector of Chryse, Lord of Holy Cilla, Master of Tenedos, And Sminthian God of Plague! If ever I've built a temple that pleased you Or burnt fat thighbones of bulls and goats— Grant me this prayer: Let the Danaans pay for my tears with your arrows!"

Apollo heard his prayer and descended Olympus' crags Pulsing with fury, bow slung over one shoulder, The arrows rattling in their case on his back As the angry god moved like night down the mountain.

He settled near the ships and let loose an arrow. Reverberation from his silver bow hung in the air. He picked off the pack animals first, and the lean hounds, But then aimed his needle-tipped arrows at the men And shot until the death-fires crowded the beach.

Nine days the god's arrows rained death on the camp. On the tenth day Achilles called an assembly. Hera, the white-armed goddess, planted the thought in him Because she cared for the Greeks and it pained her To see them dying. When the troops had all mustered, Up stood the great runner Achilles, and said:

"Well, Agamemnon, it looks as if we'd better give up And sail home—assuming any of us are left alive— If we have to fight both the war and this plague. But why not consult some prophet or priest Or a dream interpreter, since dreams too come from Zeus, Who could tell us why Apollo is so angry, If it's for a vow or a sacrifice he holds us at fault. Maybe he'd be willing to lift this plague from us If he savored the smoke from lambs and prime goats."

Achilles had his say and sat down. Then up rose Calchas, son of Thestor, bird-reader supreme, Who knew what is, what will be, and what has been. He had guided the Greek ships to Troy Through the prophetic power Apollo Had given him, and he spoke out now:

"Achilles, beloved of Zeus, you want me to tell you About the rage of Lord Apollo, the Arch-Destroyer. And I will tell you. But you have to promise me and swear You will support me and protect me in word and deed. I have a feeling I might offend a person of some authority Among the Greeks, and you know how it is when a king Is angry with an underling. He might swallow his temper For a day, but he holds it in his heart until later And it all comes out. Will you guarantee my security?"

Achilles, the great runner, responded: "Don't worry. Prophesy to the best of your knowledge. I swear by Apollo, to whom you pray when you reveal The gods' secrets to the Greeks, Calchas, that while I live And look upon this earth, no one will lay a hand On you here beside these hollow ships, no, not even Agamemnon, who boasts he is the best of the Achaeans."

And Calchas, the, perfect prophet, taking courage:

"The god finds no fault with vow or sacrifice. It is for his priest, whom Agamemnon dishonored And would not allow to ransom his daughter, That Apollo deals and will deal death from afar. He will not lift this foul plague from the Greeks Until we return the dancing-eyed girl to her father Unransomed, unbought, and make formal sacrifice On Chryse. Only then might we appease the god."

He finished speaking and sat down. Then up rose Atreus' son, the warlord Agamemnon, Furious, anger like twin black thunderheads seething In his lungs, and his eyes flickered with fire As he looked Calchas up and down, and said:

"You damn soothsayer! You've never given me a good omen yet. You take some kind of perverse pleasure in prophesying Doom, don't you? Not a single favorable omen ever! Nothing good ever happens! And now you stand here Uttering oracles before the Greeks, telling us That your great ballistic god is giving us all this trouble Because I was unwilling to accept the ransom For Chryses' daughter but preferred instead to keep her In my tent! And why shouldn't I? I like her better than My wife Clytemnestra. She's no worse than her When it comes to looks, body, mind, or ability. Still, I'll give her back, if that's what's best. I don't want to see the army destroyed like this. But I want another prize ready for me right away. I'm not going to be the only Greek without a prize, It wouldn't be right. And you all see where mine is going."

And Achilles, strong, swift, and godlike:

"And where do you think, son of Atreus, You greedy glory-hound, the magnanimous Greeks Are going to get another prize for you? Do you think we have some kind of stockpile in reserve? Every town in the area has been sacked and the stuff all divided. You want the men to count it all back and redistribute it? All right, you give the girl back to the god. The army Will repay you three and four times over—when and if Zeus allows us to rip Troy down to its foundations."

The warlord Agamemnon responded:

"You may be a good man in a fight, Achilles, And look like a god, but don't try to put one over on me— It won't work. So while you have your prize, You want me to sit tight and do without? Give the girl back, just like that? Now maybe If the army, in a generous spirit, voted me Some suitable prize of their own choice, something fair— But if it doesn't, I'll just go take something myself, Your prize perhaps, or Ajax's, or Odysseus', And whoever she belongs to, it'll stick in his throat.

But we can think about that later. Right now we launch A black ship on the bright salt water, get a crew aboard, Load on a hundred bulls, and have Chryseis board her too, My girl with her lovely cheeks. And we'll want a good man For captain, Ajax or Idomeneus or godlike Odysseus— Or maybe you, son of Peleus, our most formidable hero— To offer sacrifice and appease the Arch-Destroyer for us."

Achilles looked him up and down and said:

"You shameless, profiteering excuse for a commander! How are you going to get any Greek warrior To follow you into battle again? You know, I don't have any quarrel with the Trojans, They didn't do anything to me to make me Come over here and fight, didn't run off my cattle or horses Or ruin my farmland back home in Phthia, not with all The shadowy mountains and moaning seas between. It's for you, dogface, for your precious pleasure— And Menelaus' honor—that we came here, A fact you don't have the decency even to mention! And now you're threatening to take away the prize That I sweated for and the Greeks gave me. I never get a prize equal to yours when the army Captures one of the Trojan strongholds. No, I do all the dirty work with my own hands, And when the battle's over and we divide the loot You get the lion's share and I go back to the ships With some pitiful little thing, so worn out from fighting I don't have the strength left even to complain. Well, I'm going back to Phthia now. Far better To head home with my curved ships than stay here, Unhonored myself and piling up a fortune for you."

The warlord Agamemnon responded:

"Go ahead and desert, if that's what you want! I'm not going to beg you to stay. There are plenty of others Who will honor me, not least of all Zeus the Counselor. To me, you're the most hateful king under heaven, A born troublemaker. You actually like fighting and war. If you're all that strong, it's just a gift from some god. So why don't you go home with your ships and lord it over Your precious Myrmidons. I couldn't care less about you Or your famous temper. But I'll tell you this: Since Phoebus Apollo is taking away my Chryseis, Whom I'm sending back aboard ship with my friends, I'm coming to your hut and taking Briseis, Your own beautiful prize, so that you will see just how much Stronger I am than you, and the next person will wince At the thought of opposing me as an equal."

Achilles' chest was a rough knot of pain Twisting around his heart: should he Draw the sharp sword that hung by his thigh, Scatter the ranks and gut Agamemnon, Or control his temper, repress his rage? He was mulling it over, inching the great sword From its sheath, when out of the blue Athena came, sent by the white-armed goddess Hera, who loved and watched over both men. She stood behind Achilles and grabbed his sandy hair, Visible only to him: not another soul saw her. Awestruck, Achilles turned around, recognizing Pallas Athena at once—it was her eyes— And words flew from his mouth like winging birds:

"Daughter of Zeus! Why have you come here? To see Agamemnon's arrogance, no doubt. I'll tell you where I place my bets, Goddess: Sudden death for this outrageous behavior."

Athena's eyes glared through the sea's salt haze.

"I came to see if I could check this temper of yours, Sent from heaven by the white-armed goddess Hera, who loves and watches over both of you men. Now come on, drop this quarrel, don't draw your sword. Tell him off instead. And I'll tell you, Achilles, how things will be: You're going to get Three times as many magnificent gifts Because of his arrogance. Just listen to us and be patient."

Achilles, the great runner, responded:

"When you two speak, Goddess, a man has to listen No matter how angry. It's better that way. Obey the gods and they hear you when you pray."

With that he ground his heavy hand Onto the silver hilt and pushed the great sword Back into its sheath. Athena's speech Had been well-timed. She was on her way To Olympus by now, to the halls of Zeus And the other immortals, while Achilles Tore into Agamemnon again:

"You bloated drunk, With a dog's eyes and a rabbit's heart! You've never had the guts to buckle on armor in battle Or come out with the best fighting Greeks On any campaign! Afraid to look Death in the eye, Agamemnon? It's far more profitable To hang back in the army's rear—isn't it?— Confiscating prizes from any Greek who talks back And bleeding your people dry. There's not a real man Under your command, or this latest atrocity Would be your last, son of Atreus. Now get this straight. I swear a formal oath: By this scepter, which will never sprout leaf Or branch again since it was cut from its stock In the mountains, which will bloom no more Now that bronze has pared off leaf and bark, And which now the sons of the Greeks hold in their hands At council, upholding Zeus' laws— By this scepter I swear: When every last Greek desperately misses Achilles, Your remorse won't do any good then, When Hector the man-killer swats you down like flies. And you will eat your heart out Because you failed to honor the best Greek of all."

Those were his words, and he slammed the scepter, Studded with gold, to the ground and sat down.

Opposite him, Agamemnon fumed. Then Nestor Stood up, sweet-worded Nestor, the orator from Pylos With a voice high-toned and liquid as honey. He had seen two generations of men pass away In sandy Pylos and was now king in the third. He was full of good will in the speech he made:

"It's a sad day for Greece, a sad day. Priam and Priam's sons would be happy indeed, And the rest of the Trojans too, glad in their hearts, If they learned all this about you two fighting, Our two best men in council and in battle. Now you listen to me, both of you. You are both Younger than I am, and I've associated with men Better than you, and they didn't treat me lightly. I've never seen men like those, and never will, The likes of Peirithous and Dryas, a shepherd to his people, Caineus and Exadius and godlike Polyphemus, And Aegeus' son, Theseus, who could have passed for a god, The strongest men who ever lived on earth, the strongest, And they fought with the strongest, with wild things From the mountains, and beat the daylights out of them. I was their companion, although I came from Pylos, From the ends of the earth—they sent for me themselves. And I held my own fighting with them. You couldn't find A mortal on earth who could fight with them now. And when I talked in council, they took my advice. So should you two now: taking advice is a good thing. Agamemnon, for all your nobility, don't take his girl. Leave her be: the army originally gave her to him as a prize. Nor should you, son of Peleus, want to lock horns with a king. A scepter-holding king has honor beyond the rest of men, Power and glory given by Zeus himself. You are stronger, and it is a goddess who bore you. But he is more powerful, since he rules over more. Son of Atreus, cease your anger. And I appeal Personally to Achilles to control his temper, since he is, For all Greeks, a mighty bulwark in this evil war."

And Agamemnon, the warlord:

"Yes, old man, everything you've said is absolutely right. But this man wants to be ahead of everyone else, He wants to rule everyone, give orders to everyone, Lord it over everyone, and he's not going to get away with it. If the gods eternal made him a spearman, does that mean They gave him permission to be insolent as well?"

And Achilles, breaking in on him:

"Ha, and think of the names people would call me If I bowed and scraped every time you opened your mouth. Try that on somebody else, but not on me. I'll tell you this, and you can stick it in your gut: I'm not going to put up a fight on account of the girl. You, all of you, gave her and you can all take her back. But anything else of mine in my black sailing ship You keep your goddamn hands off, you hear? Try it. Let everybody here see how fast Your black blood boils up around my spear."

So it was a stand-off, their battle of words, And the assembly beside the Greek ships dissolved. Achilles went back to the huts by his ships With Patroclus and his men. Agamemnon had a fast ship Hauled down to the sea, picked twenty oarsmen, Loaded on a hundred bulls due to the god, and had Chryses' daughter, His fair-cheeked girl, go aboard also. Odysseus captained, And when they were all on board, the ship headed out to sea.

Onshore, Agamemnon ordered a purification. The troops scrubbed down and poured the filth Into the sea. Then they sacrificed to Apollo Oxen and goats by the hundreds on the barren shore. The smoky savor swirled up to the sky.

That was the order of the day. But Agamemnon Did not forget his spiteful threat against Achilles. He summoned Talthybius and Eurybates, Faithful retainers who served as his heralds:

"Go to the hut of Achilles, son of Peleus; Bring back the girl, fair-cheeked Briseis. If he won't give her up, I'll come myself With my men and take her—and freeze his heart cold."

It was not the sort of mission a herald would relish. The pair trailed along the barren seashore Until they came to the Myrmidons' ships and encampment. They found Achilles sitting outside his hut Beside his black ship. He was not glad to see them. They stood respectfully silent, in awe of this king, And it was Achilles who was moved to address them first:

"Welcome, heralds, the gods' messengers and men's. Come closer. You're not to blame, Agamemnon is, Who sent you here for the girl, Briseis.

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Table of Contents

Map vi-vii
Translator's Preface ix
Introduction xvii
Iliad 1
Major Characters 493
Catalogue of Combat Deaths 502
Index of Speeches 506
Suggestions for Further Reading 514
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Customer Reviews

Average Rating 3.5
( 206 )
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See All Sort by: Showing 1 – 20 of 206 Customer Reviews
  • Posted February 20, 2011

    more from this reviewer

    Not bad for $1

    It is strange reading a classical Greek story invoking the Roman names of the Gods. Surely there are better translations.

    12 out of 20 people found this review helpful.

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  • Anonymous

    Posted April 14, 2008

    One of the best books I have ever read.

    One of the greatest stories that Homer has ever told is The Iliad. It is a historical fiction that was told by Homer, a blind story tell. He told it more than 2,000 years ago in Greece. Most of the characters in his story come from Greece. This story takes place in Troy. At the time, Sparta and itâ¿¿s allies were fighting Troy and its allies. Homer gives great details on what happens and where a scene is happening and that really helped me read this story. One of the main characters, Achilles, was my favorite because he was brave, strong, and everyone liked him accept King Agamemnon. He took his lover away, which makes Troy almost defeat Sparta because Achilles asked Zeus take make Troy win Intel The king gives back his lover. There is also a lot of Greek Mythology like the gods and many of the creatures of ancient Greece like some of the hell hounds and Medusa . The theme of this story is about how hatred can make you do unbelievable things that can be good and bad. I think think that is the theme because in the story many men become hateful and they do crazy things and eventually get punished. One of the things I didnâ¿¿t like in this story was that it would always tell you to much about the simplest things, and it is a complicated read. I would recommend this book for anyone who is a good reader and someone that likes Greek Mythology. Much more happens in this story but if you want to find out then youâ¿¿ll have to read it.

    3 out of 4 people found this review helpful.

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  • Anonymous

    Posted March 21, 2012

    Rad this review

    The beginning was a little confusing. But once you got into it it's not that confusing anymore. As long as you know Greek Mythology. I mean I'm in 6th grade and I inow quite a lot of Greek Mythology.

    2 out of 3 people found this review helpful.

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  • Posted August 10, 2011

    Didnt read well on reader

    Can not read on reader

    2 out of 6 people found this review helpful.

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  • Anonymous

    Posted November 29, 2012

    Great book- highly recomended

    I love this book and the odyssey too. Must read it.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted March 17, 2012

    Everyone shoukd read this poem

    This work is one of the most influential in the Western corpus, and that we even have a written record of it is a stroke of luck. PLEASE, this is NOT a 'book', it is a POEM that was written in verse, almost certainly by more than one person.

    1 out of 1 people found this review helpful.

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  • Posted September 23, 2011

    Unreadable

    No words, just garbage. Bad download somewhere

    1 out of 5 people found this review helpful.

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  • Posted December 25, 2010

    more from this reviewer

    Great book!

    I eead this book and just fell in love with it. I totally recommend it.

    1 out of 5 people found this review helpful.

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  • Anonymous

    Posted May 13, 2008

    This format is easier to read...

    The paragraph format makes the story much more readable. The verse format would do things arbitrarily cut a sentence in the middle for no apparent reason 'in English anyways' and start a new line with the remainder of the sentence. It makes no sense to preserve the verse form when the verse qualities are lost in translation.

    1 out of 1 people found this review helpful.

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  • Anonymous

    Posted November 24, 2014

    A cute she cat to Tom

    Please come im dieing for it! Shh result 1 please!!!!!

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  • Anonymous

    Posted November 24, 2014

    OK CLASSIC

    ILLIAD IS AWESOMMMMMMEEEEEEEEE

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  • Anonymous

    Posted November 24, 2014

    Ebony

    She struggled, then fainted.

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  • Anonymous

    Posted November 24, 2014

    Thistlefang

    Ignores the tom.

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  • Anonymous

    Posted November 24, 2014

    The tom

    Impreg<_>nated ebony, then wheeled toward Thistle. He jumped at the cat, tearing at its flesh.

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  • Anonymous

    Posted November 24, 2014

    The she-cat

    Dragged Ebony back to Bloodclan.

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  • Anonymous

    Posted November 24, 2014

    Fluttershy

    She lept at the tom, claws out.

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  • Anonymous

    Posted October 27, 2014

    Here is a New Godess and God

    Pepper Godess of Shadows <P> Jason God of the Ellements

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  • Anonymous

    Posted August 5, 2014

    AHHH! U FORGOT PELE

    GODESS OF FIRE!!!!!!!!!!

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  • Anonymous

    Posted July 30, 2014

    Unreadable

    Completly messes up, impossible to read.

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  • Anonymous

    Posted July 27, 2014

    Knny

    Sun?

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