Showing posts with label epics. Show all posts
Showing posts with label epics. Show all posts

The Once and Future King Review

The Once and Future King
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As this is my favorite book, I couldn't help but take a look at all the reviews. It seems to me people either love it (4 or 5 stars) or hate it (1 star to remarks of minus 50). This may be very confusing to prospective buyers. It's very simple, folks:
if you're looking for accurate, 'historic' information on King Arthur or the Middle Ages, if you're the type that likes to finish a book in an hour's reading, if you're only interested in fantasy/action packed novels of the 'Lord of the Rings' type (also an excellent book by the way), if you don't like vast, almost poetic descriptions of landscapes, seasons, moods, etc., or if you simply don't like complicated storylines, then steer clear of this book. There are many other novels which will give you far better value for money. For the others: it takes empathy and erudition to fully grasp the depth of this book. Empathy will make you love it when you're young and erudition when you are older and wiser. Added plus: each time you read it you'll discover something new. For the details, I refer to other reviews...

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The world's greatest fantasy classic is the magical epic of King Arthur and his shining Camelot, of Merlyn and Guinevere, of beasts who talk and men who fly, of wizardry and war. It is the book of all things lost and wonderful and sad. It is the fantasy masterpiece by which all others are judged.

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The Kalevala: Epic of the Finnish People Review

The Kalevala: Epic of the Finnish People
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Friberg does a good job of translating the Kalevala into a readable English form. The Kalevala is a collection of 'Runos' or poems that were sung by storytellers. Friberg's translation is of the spirit of the stories. Some translations have tried to translate both the verse and the story making both dry and uninteresting. Frieberg concentrates on making the story read well in current English.

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National Epic of Finland. Epic narrative poetry, originally published in Finnish in 1849.

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Joseph and His Brothers: The Stories of Jacob, Young Joseph, Joseph in Egypt, Joseph the Provider Review

Joseph and His Brothers: The Stories of Jacob, Young Joseph, Joseph in Egypt, Joseph the Provider
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Joseph and His Brothers was Thomas Mann's "Humane Comedy" of the 1930's and 1940's. As his European world was collapsing in ideological extremism and descending into chaos, Mann turned his imagination to the Semitic and Egyptian worlds of 1600 BCE and invested the prodigious gifts of his ironic imagination in the all-too-human desires and deities of that world. Though it is enormously long--over 1400 pages of smallish print--the Joseph Saga unfolds its treasures of humane perception to the patient reader who savors Mann's delicious comedy. Read it slowly for full effect.
Formerly available in Lowe-Porter's impossibly stilted Biblical prose, John Woods continues his Mann-cycle of translations here in what must have been a labor of love. No doubt the audience for this work is only a tiny fraction of that for his earlier Mann translations--especially Magic Mountain and Buddenbrooks. Let's hope Woods is still game for Felix Krull or, perhaps, a large selection of the shorter works. Woods' English is smooth and agreeable most of the time (consistent with Mann's German) and tart and biting when Mann's irony deserves it.

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War and Peace (Modern Library) Review

War and Peace (Modern Library)
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Ever since I was a teen (I'm 51) I tried reading War and Peace. The furthest I ever got was something like Page 80. Six summers ago, I thought, what the heck, give it another shot. After Page 100 or so, the book picked up steam, and I was absolutely awed as I've seldom been by all the great books I've read in my life. That's what I want to share with potential readers of this great book. Stick with it. It's like a trickling stream that grows and grows from many tributaries into a grand wide raging river. It's got everything in it, as if it were written by God. Tolstoy saw everything. There are so many, many unforgettable scenes in it. My favorite two are the costume party at the country estate (pure magic!) and the great wolf-hunting scene in which the wolf actually takes on a personality under the all-knowing skill of Tolstoy's great pen. In just a line or two, Tolstoy could actually get inside the "soul" of even an animal! I can only imagine how great this book is in the original Russian. After War and Peace, I devoured Anna Karenina, which is in many ways an even greater book. I'd recommend people read War and Peace with Cliff's Notes, as I did, because you get a sense of the historical background and it helps you from getting the hundreds of characters mixed up. War and Peace is more than a novel. It's an Everest of creation. Please stick with it!

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Divine Comedy Review

Divine Comedy
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I must confess that the large format makes reading the formal translations a bit easier on the eyes. The volume also includes a preface and section introductions/interpretations in contemporary english which make the text much more approachable. And the woodcut illustrations are simply gorgeous - it's worth getting the book just for these. They really bring to life the imaginations from when they were created in the 19th century all the way back several hundred years more to when Dante wrote the text. They also help to explain the perceptions that our predecessors had of religion, sin, and piety. This is a terrific volume - highly recommended.
One tangential note - if you like the illustrations in this you should also check out "Barlow's Inferno", published a few years ago. Wayne Douglas Barlow synthesizes interpretations of hell from many cultures and periods into illustrations of terror and frightful beauty. Barlow is the spiritual inheritor of Dore's vision.

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Long narrative poem originally titled Commedia (about 1555 printed as La divina commedia) written about 1310-14 by Dante. The work is divided into three major sections--Inferno, Purgatorio, and Paradiso--which trace the journey of a man from darkness and error to the revelation of the divine light, culminating in the beatific vision of God. It is usually held to be one of the world's greatest works of literature. The plot of The Divine Comedy is simple: a man is miraculously enabled to visit the souls in Hell, Purgatory, and Paradise. He has two guides: Virgil, who leads him through the Inferno and Purgatorio, and Beatrice, who introduces him to Paradiso. Through these fictional encounters taking place from Good Friday evening in 1300 through Easter Sunday and slightly beyond, Dante the character learns of the exile that is awaiting him (an actual exile that had already occurred at the time of writing). This device allowed Dante not only to create a story out of his exile but also to explain how he came to cope with personal calamity and to offer suggestions for the resolution of Italy's troubles as well.

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Purgatorio Review

Purgatorio
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The Hollanders translation is akin to the restoration of the Sistine Chapel ceiling and altar for english speaking lovers of Dante not yet able to read his works in italian. A work of tremendous beauty has been made available - this after generations of only being able to experience a forbidding, darker version of the original.
This scholar/poet team has given us a wonderful gift. Thank you Robert and Jean Hollander.

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Doctor Zhivago Review

Doctor Zhivago
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And see the revolution of the times
Make mountains level, and the continent,
Weary of solid firmness,--melt itself Into the sea! "
King Henry IV, Part 2, Act III. Scene I
Boris Pasternak's Dr. Zhivago takes us back to a time when fate took Russia through a perfect storm of revolution, war, revolution, and civil war. This was a time that did not just level mountains and melt a continent but also melted and cruelly leveled the lives and fates of untold numbers who were caught in these turbulent waters. Josef Stalin is reported to have said that "One death is a tragedy. A million deaths is just a statistic." What Pasternak has done so masterfully in telling this story is to paint a picture on a huge canvas that stretches from Moscow to Siberia while at the same time telling an intimate story that allows the reader to maintain that feeling of tragedy.

I've had a copy of Dr. Zhivago sitting on my shelf for decades, one of the books I inherited from my father's collection. I never bothered to pick it up. I'd seen David Lean's classic film and wrongfully decided that there was no need to invest any time in reading an epic novel about the tragic romance of Yuri Andreevich Zhivago and Larissa Fyodorovna Antipova. When I saw that Pevear and Volokhonsky had done a new translation I decided to give Zhivago a shot. What a revelation. As good as the movie was it didn't begin to plumb the depths of the book. The movie focused, understandably enough, on the relationship between Yuri and Lara and it seemed that the Russian Revolution and Civil War was merely the back-story to the relationship. But in Pasternak's hands I think it was close to being the other way around. The first two-thirds of the book takes two separate lives that contain just a few incidental touch-points where those lives intersected.
The emotional heart of the story for me was elsewhere. It was a story of the dissolution of Russian life in the years between the 1905 Revolution and WWI where the decadence and debauchery of a life lived in fancy clothes and salons played out against the turmoil bubbling beneath the surface. It was a story of the disruption and destitution set in motion by WWI and the October revolution. It was a story of the story of hunger and desperation brought on by a vicious Civil War in which the phrase "man is wolf to man" comes to the fore and the fragile web that keeps a society civilized is swept away in a sea of inhumanity. It is into a world that has already been rent asunder that the relationship of Yuri and Lara comes into bloom. The story of Yuri and Lara almost seemed to me to be the back story, the context that illuminated the age of unreason that Pasternak wrote about.
One passage set this out for me in stark terms: "This was the sickness of the age, the revolutionary madness of the epoch. In thought everyone was different from his words and outward show. No one had a clear conscience. Each with good reason could feel himself guilty, a secret criminal, an unexposed deceiver." The passage concludes that people denounced themselves, "drawn on by a destructively morbid inclination, of their own free will, in a state of metaphysical trance and passion for self-condemnation that, once set loose, could not be stopped." This struck me immediately as Pasternak's version of Yeats' "Second Coming" where the centre cannot hold and where "the best lack all conviction, while the worst are full of passionate intensity. It was one of the many touch-points in the book that were immensely moving to me.
The Russian poet Yevgeny Yevtushenko has said, perhaps tongue-in-cheek, that a "translation is like a woman. If it is beautiful, it is not faithful. If it is faithful, it is most certainly not beautiful." My high-school level Russian does not permit me to speak to this translation's faithfulness but I can certainly attest to its beauty. Pasternak's prose, as rendered by the team of Pevear and Volokhonsky, flows beautifully. As I read through the book I did not feel I was reading a translation. Any time I read a piece in translation and feel compelled to underline or highlight particularly noteworthy passage I think of the translation as one that does justice to the book. Time after time I found myself highlighting passages that I wanted to remember. This strikes me as being my own testimony not just to the beauty of the translation but what also must be its faithfulness.
Dr. Zhivago is not, as I imagined, a eulogy for a pair of tragic Russian lovers but an elegy for an age in a specific time and place. It is a beautiful, moving story that was a pleasure to read.
L. Fleisig


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Boris Pasternak's widely acclaimed novel comes gloriously to life in a magnificent new translation by Richard Pevear and Larissa Volokhonsky, the award-winning translators of War and Peace and Anna Karenina, and to whom, The New York Review of Books declared, "the English-speaking world is indebted." First published in Italy in 1957 amid international controversy—the novel was banned in the Soviet Union until 1988, and Pasternak declined the Nobel Prize a year later under intense pressure from Soviet authorities—Doctor Zhivago is the story of the life and loves of a poet-physician during the turmoil of the Russian Revolution. Taking his family from Moscow to what he hopes will be shelter in the Ural Mountains, Zhivago finds himself instead embroiled in the battle between the Whites and the Reds. Set against this backdrop of cruelty and strife is Zhivago's love for the tender and beautiful Lara: pursued, found, and lost again, Lara is the very embodiment of the pain and chaos of those cataclysmic times. Stunningly rendered in the spirit of Pasternak's original—resurrecting his style, rhythms, voicings, and tone—and including an introduction, textual annotations, and a translators' note, this edition of Doctor Zhivago is destined to become the definitive English translation of our time.


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A New English Translation of the Septuagint Review

A New English Translation of the Septuagint
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I had been eagerly awaiting my pre-ordered copy of "A New English Translation of the Septuagint" (NETS) because I knew that eminent LXX experts had been hard at work to give us a long overdue scholarly translation that would supersede the older, widely-familiar translation of Sir Lancelot C. L. Brenton. Now that I have read through parts of NETS, I have mixed reactions to it: NETS is not everything that I had hoped for, but it is nevertheless a satisfactory translation. In addition, there are brief-but-helpful introductions to each individual book of the LXX in which the history, background, Greek text used, and translation techniques/difficulties of the particular book are addressed. A bonus is that the translations of the Book of Daniel, as well as the apocryphal additions of "Susanna" and "Bel and the Dragon", contain both the Old Greek version and the later translation by Theodotion in parallel columns; other books which also have two distinctly different Greek texts, such as Judges and Esther, receive the same treatment.
Since I was under the impression that this would be a completely new translation, I was surprised to find out that the translators had used the New Revised Standard Version (NRSV) as the base text for NETS. Editors Albert Pietersma and Benjamin G. Wright use a considerable percentage of their foreword to the reader to explain the rationale for this decision, and they admit that it "perhaps needs some justification." They believe that using the NRSV as a base text was "the more practical and economical" approach and assert that NETS is "not intended to be the-NRSV-once-over-lightly but rather a genuine representation of the Greek." The purpose behind this decision was so that the user of NETS "should be able to utilize it to the greatest degree achievable (within set parameters) in a comparative study of the Hebrew and Greek texts, albeit in English translation." Given that this was the goal, I can grudgingly concede the translators' use of the NRSV as a base text rather than translating without any dependence on an existing English version.
While the goal of being able to study the Hebrew and Greek texts of the O.T., "albeit in English," is a good one, I am disappointed that the translation will not be quite as useful to me in my own reading of Alfred Rahlfs' edition of the Septuagint. The reason for this is that the translators used the Goettingen Septuagint editions for those books in the LXX for which a Goettingen editon is available (they did use Rahlfs' edition for the remaining books). It is my understanding that the books of the Goettingen Septuagint are the foremost critical editions available today; however, they are not widely available (and, therefore, not likely to be affordable for the average lay reader/scholar who could track down copies of the books). I have no idea how different the Goettingen LXX editions are from Rahlfs' edition, so I suppose I'll find out as I encounter the differences in NETS. Again, I grudgingly accept this decision on the part of the editors - and I say grudgingly only because it hinders my intended use for the translation - due to their rightful desire to use the best available texts.
As far as the intended audience, the foreword states that NETS is intended for "a biblically well-educated audience" which "has a more than passing interest in traditions of biblical literature other than their own." The translation approach makes this English version of the LXX "more a translation of formal correspondence than one of dynamic equivalence"; this means that NETS is intended neither for liturgical use in churches, nor as an easily-accessible version for everyday reading.
Given the approach of `formal correspondence', a reader should expect some rather inelegant translations in portions of text. However, I got no further than Genesis 1:2 before I encountered an example of a passage that made me question certain translation choices. Robert J. V. Hiebert, the translator of Genesis, renders 1:2 thusly: "Yet the earth was invisible and unformed, and darkness was over the abyss, and a divine wind was being carried along over the water." The "divine wind" conjured up the image of Japanese kamikaze (which means `divine wind') planes diving into American battleships. However, beyond the unfortunate word association of the expression, I also don't believe that "divine wind" is the best translation for the Greek "pneuma theou" or the Hebrew "ruah elohim" (and, yes, the editors do state that one must also consider the Hebrew text that underlies the LXX when translating certain words or expressions). While both "pneuma" and "ruah" can mean `wind', `spirit', or `breath', I can't recall ever seeing "theou" or "elohim" translated as the adjective "divine" (the NRSV, the base text for NETS, translates this as "a wind from God"). In addition to the fact that I'm not certain that "divine" is a viable translation, a "divine wind...being carried" doesn't make the best sense contextually either; thus, "being carried" is probably not the best translation choice for the Greek word "epiphero". Since a wind usually `carries' rather than "being carried", I would submit either "the spirit of God was rushing upon the water" or "the breath of God was rushing upon the water".
The abovementioned items are just a few things to take into consideration if you are trying to decide whether or not to purchase this translation. All in all, while NETS is not precisely what I had been expecting, its shortcomings - which some readers might not consider to be such - are not so serious as to make it a "pestiferous" translation (see Pietersma's translation of Psalm 1:1 for another example of an inelegantly translated passage in which, this time, the word "pestiferous" is used). I look forward to the possibilty of a parallel Greek-NETS edition or, better yet, a parallel Greek-NETS-NRSV edition; either such volume would make NETS far more useful.
Addendum: One day after writing this review, I received a catalogue that contained "A Comparative Psalter" edited by John R. Kohlenberger III. It was published in 2006 and is also available here on Amazon. This Psalter contains, in parallel columns, the Hebrew Masoretic Text and the English Revised Standard Version (not sure why he went with the old RSV rather than the NRSV - copyright royalties perhaps?) on one page and the Greek Septuagint Text alongside the NETS on the facing page. It gives me hope that such a comparative volume for the entire Old Testament will be printed at some point in the not-too-distant future (the fact that the Hebrew MT would be included in such an edition is fantastic - I had thought about that when I made my suggestions at the end of my review, but then I figured it might be asking for a bit too much. I'm glad to know that's not the case).


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Translated from the Hebrew between the third and first centuries B.C., the Septuagint became the Bible for Greek-speaking Jews and was widely cited by early Christians. Now, at long last, it has been made available in an accurate modern translation for English readers.--This text refers to the Kindle Edition edition.

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The Complete Poetry and Essential Prose of John Milton (Modern Library) Review

The Complete Poetry and Essential Prose of John Milton (Modern Library)
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For many of us, this is the volume of Milton for which we have been waiting. The Notes are useful without being overwhelming & the selection from his prose work is very generous. Overall, this is a significant offering to all lovers of poetry, 17th Century literature, and theology. Together with the newly published edition of Shakespeare's First Folio, this edition of Milton is the bedrock of English Literature and should not be read, but re-read for a lifetime.

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John Milton is, next to William Shakespeare, the most influential English poet, a writer whose work spans an incredible breadth of forms and subject matter. The Complete Poetry and Essential Prose of John Milton celebrates this author's genius in a thoughtfully assembled book that provides new modern-spelling versions of Milton's texts, expert commentary, and a wealth of other features that will please even the most dedicated students of Milton's canon. Edited by a trio of esteemed scholars, this volume is the definitive Milton for our time.In these pages you will find all of Milton's verse, from masterpieces such as Paradise Lost–widely viewed as the finest epic poem in the English language–to shorter works such as the Nativity Ode, Lycidas,, A Masque and Samson Agonistes. Milton's non-English language sonnets, verses, and elegies are accompanied by fresh translations by Gordon Braden. Among the newly edited and authoritatively annotated prose selections are letters, pamphlets, political tracts, essays such as Of Education and Areopagitica, and a generous portion of his heretical Christian Doctrine. These works reveal Milton's passionate advocacy of controversial positions during the English Civil War and the Commonwealth and Restoration periods. With his deep learning and the sensual immediacy of his language, Milton creates for us a unique bridge to the cultures of classical antiquity and medieval and Renaissance Christianity. With this in mind, the editors give careful attention to preserving the vibrant energy of Milton's verse and prose, while making the relatively unfamiliar aspects of his writing accessible to modern readers. Notes identify the old meanings and roots of English words, illuminate historical contexts–including classical and biblical allusions–and offer concise accounts of the author's philosophical and political assumptions. This edition is a consummate work of modern literary scholarship.Praise"Over the coming months, [John Milton's] 400th anniversary will be celebrated in many different ways, but it is highly unlikely that any of the tributes he receives will do as much for him as the appearance of the Modern Library edition of his collected poetry and selected prose. The edition is a model of its kind, well designed and attractively produced. There are scholarly but unintimidating footnotes and helpful introductions to the major works. Spelling and punctuation have been modernized -- a difficult decision but the right one….A great deal has been packed in, but Milton has still been left room to breathe. The whole enterprise is meant to be reader-friendly, and it succeeds." — The Wall Street Journal"This magnificent edition gives us everything we need to read Milton intelligently and with fresh perception. You could take it to a desert island, or just stay home and further your education in a great writer."–William H. Pritchard, Amherst College"For generations of readers Milton has been the measure of both eloquence and nobility of mind. For the next generation this new Modern Library volume will be the standard: it is meticulously edited, full of tactful annotations that set the stage for his work and his times, and it brings Milton, as a poet and a thinker, vividly alive before us."–Robert Hass"Years ago I began a series of poems about Milton and his daughters. Ever since, I have been combing through Milton's poems and prose for those moments when the poet would turn and speak to the poet in me. It is in the new Kerrigan-Rumrich-Fallon edition that I now find prompt rejoinders to questions, ready clarifications of problems, and a more intimate dimension of that formidable adjective Miltonic." –Richard Howard "A superb edition of the great poet, with modernized spelling, lucid introductions to each work, illuminating footnotes, and fresh prose translations of poems in Latin, Greek, and Italian. This will surely be the edition of choice for teachers, students, and general readers too."–Leo Damrosch, Harvard University"The introductions alone constitute a fine new book on Milton, beautifully written, challenging and balanced, with equal care and insight given to textual, biographical, historical, literary-historical and literary-critical concerns. It is a book to last a lifetime."–James Earl, University of Oregon"In this landmark edition, teachers will discover a powerful ally in bringing the excitement of Milton's poetry and prose to new generations of students. In the clarity of its overall conception, its thoroughness, and its never-faltering attention to literary and historical detail, the Modern Library Milton serves almost as another teacher–patient, thoughtful, endlessly concerned with genuine comprehension."–William C. Dowling, Rutgers University"The editors display a remarkable combination of scholarly rigor and sensitivity to literary values, expressed in prose of exemplary clarity and extraordinary grace; even the notes, concise as well as precise, approach a kind of epigrammatic brilliance. A superb edition."–Edward W. Tayler, Columbia University"The editors succeed gloriously, meeting the needs of the whole spectrum, from general readers to advanced students. A modernized text, one sensitive to Milton' s poetic rhythm, illuminates both the author's meaning and artistry. It's a beautiful edition–a home worthy of its subject." –Marina Favila, James Madison University

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