Which Translations Best Capture Book Ten Of The Odyssey?

2025-09-03 09:08:55 273

5 Answers

Micah
Micah
2025-09-04 17:14:58
Short take: pick a pair. Emily Wilson’s 'The Odyssey' is razor-clear and modern, which makes the horror and seduction in Book Ten feel immediate and less romanticized. Richmond Lattimore gives you the line-for-line toughness of Homeric diction, which matters for understanding how repeated epithets and formulae shape scenes like Circe’s spell or Aeolus’ gift. If you prefer a more lyrical ride, Robert Fagles smooths things into a sweeping, readable epic. I sometimes read a page in Wilson, then flip to Lattimore to see what changed; that little comparison sharpens my sense of what’s poetic choice and what’s textual meaning.
Stella
Stella
2025-09-05 11:28:49
If you want the textures—fear, charm, and the weird domestic violence of myth—of Book Ten to land on your skin, I gravitate toward translations that balance literal clarity with musical lines. Robert Fagles gives you a modern-epic sweep: the rhythm carries, the scenes with Aeolus, the Laestrygonians, and Circe feel cinematic, and his notes are friendly enough to help a reader unpack odd bits without bogging you down. Richmond Lattimore reads like a close echo of the Greek; it's tougher, leaner, and often reveals how Homer really moves line by line. Together they make a great pair.

If you want a fresh, critical lens, Emily Wilson brings bracing, plainspoken English and picks up gendered undertones in the Circe episode in ways that feel urgent today. Stanley Lombardo is another fun pick if you want colloquial energy and punch. My routine is to read Wilson or Fagles first for pleasure, then glance at Lattimore to see how literal the original phrasing is—especially around the moly herb and the crew’s transformation scene, which hinge on small word choices.
Leah
Leah
2025-09-05 13:52:40
Practical, short-guided recommendation from my late-night reading habit: start with Emily Wilson’s 'The Odyssey' if you want immediacy—the Circe scenes stop feeling like ancient postcards and start feeling like a fraught house party. Then pick up Lattimore to see what the Greek is doing under Wilson’s plainness; his literalism is a sobering counterpoint that helps when you want to parse divine interventions and verbal formulas.

If you’re into performance or dramatized readings, Robert Fagles or Robert Fitzgerald deliver gorgeous lineation and cadence. And don’t overlook Lombardo for vitality. I often listen to an audio edition while following the page: hearing the lines, then checking a second translation, deepens my appreciation for small choices—moly’s description, the moment the crew becomes swine, Aeolus’s hospitality turning sour. Try two translations back-to-back and you’ll discover subtleties that a single book will hide.
Delaney
Delaney
2025-09-08 17:57:57
I'll be blunt: for Book Ten I tend to flip between Emily Wilson and Richmond Lattimore depending on my mood. Wilson’s translation of 'The Odyssey' cuts through archaic euphemisms and gives the Circe scenes a tense, human immediacy—you feel Odysseus’ cunning and the crew’s vulnerability. Lattimore, by contrast, keeps you close to Homeric cadence; his lines can be stubborn but they’re often truer to the original’s syntax, which matters when you want to study the phrasing of turns and formulaic epithets.

If your priority is a reading that feels like theater, Robert Fagles is hard to beat—his book reads aloud beautifully and the Laestrygonian chaos hits like a stage direction. For speed and flavor, Lombardo’s brisk, idiomatic version makes the scenes pop. I like consulting at least two translations: one for clarity, one for fidelity. A facing-Greek Loeb edition is awesome if you dabble in Greek, but otherwise pair Wilson or Fagles with Lattimore and you’ll catch both the music and the meaning.
Jonah
Jonah
2025-09-09 01:23:25
Different angle: I come at Book Ten as someone who reads aloud—performance skews my preferences. Fagles and Fitzgerald have the theatrical cadence that rewards vocal delivery; when I voice Circe’s invitations or the crew’s panic I can feel why certain translators elongated or clipped a line. But that theatricality can obscure grit, and that’s where Wilson’s crispness wins: her choices force you to confront the manipulation and hospitality motifs without sentimental smoothing.

For study, Lattimore is indispensable because a literal rendering highlights syntactic tricks Homer uses to conceal or reveal agency—useful when tracking who holds power in the Circe episode. Lombardo can be a breath of fresh air if you want the tale to read like contemporary myth: fast, rude, and expressive. My practical tip: read Fagles for evening immersion, Wilson for a daytime close read, and check Lattimore when a line feels slippery; the mix keeps Book Ten surprising.
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