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| Who completely translated Homer's iliad into Russian. “Russian iliad. The literary fate of the Iliad |
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In anger, Achilles retires to the tent and asks his mother Thetis to plead with Zeus so that the Greeks suffer defeat from the Trojans until then, until Agamemnon gives him, Achilles, complete satisfaction. The nine-year siege is on the verge of collapse, but Odysseus corrects the situation. In second song Homer describes the forces of the opposing sides. Under the leadership of Agamemnon, 1186 ships sailed to the walls of Troy, and the army itself numbered over 130 thousand soldiers. Various regions of Hellas sent their troops:
Militias fought on the side of the Trojans led by Hector
Since the Trojan War began with the abduction of Elena, then in third song her legal husband Menelaus with the de facto - Paris enter the single combat. Menelaus wins the fight, but the goddess Aphrodite saves Paris from death and takes the wounded man away from the battlefield. Due to the fact that the fight did not end with the death of one of the rivals, it is considered invalid. Agamemnon insists on the fulfillment of the concluded agreement, but the Trojan Pandarus violates the truce by firing an arrow at Menelaus, after which the first open battle (the fourth canto) ensues, and Elephenor is killed by Agenor. The war continues. However, neither the Achaeans nor the Trojans can prevail. Mortals are assisted by immortal gods. The Achaeans are patronized by Pallas Athena, Hera and Poseidon, the Trojans - Apollo, Ares and Aphrodite. The fifth canto tells how, in a fierce battle, even the immortals Ares and Aphrodite are wounded at the hands of the Achaean Diomedes, led by Athena. Seeing the power of Pallas Athena, the leader of the Trojans, Hector, returns to Troy and demands that rich sacrifices be made to the goddess. At the same time, Hector shames Paris hiding in the rear and reassures his wife Andromache. Returning to the battlefield, Hector challenges the strongest of the Achaeans to a duel and challenges him to seventh song takes Ajax the Great. The heroes fight until late at night, but none of them can gain the upper hand. Then they fraternize, exchange gifts, and disperse. The desire to avenge his friend returns Achilles to the game, who, in turn, kills Hector by stabbing him in the neck with a spear. At the end of the Iliad, a lawsuit unfolds over the body of Hector, which Achilles initially refused to hand over to the father of the deceased for burial. For the burial of Hector and Patroclus, an eleven-day truce is established, and funeral games are arranged. Heroes of the IliadCanto 2 of the Iliad contains a list of the Greek ships, where the names of many Greeks who took part in the war are indicated, as well as the places where they came from. There is also a list of Trojans, but it is much inferior to the list of Greeks, it contains only a few heroes of the Iliad. Achaeans
Achilles and PatroclusTrojans
According to some interpretation, the struggle between the rational and impulsive principles is reflected in the images of Hector and Achilles. Gods of the IliadMount Olympus, on which Zeus, the son of Kronos, sits, has a sacred meaning in the Iliad. He is revered by both the Achaeans and the Trojans. It towers over the opposing sides. Many Olympic and other gods are involved in the story, some help the Achaeans, others the Trojans. Many of the events described in the Iliad are caused, directed by the gods, the gods also often influence the course of events, acting on the side of one of the opposing sides.
ResearchThe name Ἰλιάς "Iliad" literally means "Trojan Poem", in accordance with the second name of Troy - "Ilion". For a long time, researchers argued about whether the poem describes real events, or whether the Trojan War was just fiction. Schliemann's excavations at Troy uncovered a culture consistent with the descriptions in the Iliad and dating back to the end of the 2nd millennium BC. NS. Recently deciphered Hittite inscriptions also testify to the presence of a powerful Achaean state in the 13th century BC. NS. and even contain a number of names, hitherto known only from a Greek poem. The literary fate of the Iliad
The Iliad in Russia
In the 18th century, the first experiments in translating the Iliad appeared: P. Ye. Ekimov carried out a prosaic translation (1776, 1778), and E. I. Kostrov - in Alexandrian verse (p. I-VI, 1787; p. VII-IX, “ Bulletin of Europe ", 1811). In the 20s of the XIX century. a new prose translation of both of Homer's poems was made by II Martynov. Analysis of all the songs of the Iliad in 1826 was published by I. Ya. Kroneberg. NI Gnedich, who began to translate the Iliad in Alexandrian verse, then abandoned this plan and translated the entire poem in a hexameter (1829). The translation was warmly welcomed by the best writers, especially Pushkin. Subsequently, VG Belinsky wrote that "to comprehend the spirit, divine simplicity and plastic beauty of the ancient Greeks was destined in Russia so far only one Gnedich." The Iliad in Gnedich's translation, replete with archaisms, accurately conveys the feeling of the original in terms of the strength and vivid imagery of the language and is considered a classic Russian translation. In the 20th century, the translation of the Iliad was made by V.V. Veresaev and P. A. Shuisky (the latter's work has not yet been published, until it has only been digitized). In the 21st century, Alexander A. Salnikov translated the Iliad into Russian using the classical hexameter, in 2011. BibliographyEditions
TranslationsRussian translations:
The most detailed commentary available in Russian can be found in the publication:
Researchsee also bibliography in Homer's article
Antique scholias to the IliadThe scholias to the Iliad, published by Dindorf (), occupy 6 volumes:
Screen adaptation
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Excerpt from the Iliad- Je voudrais voir le grand homme, [I would like to see a great man,] - he said, referring to Napoleon, whom he has always, like everyone else, called Buonaparte.- Vous parlez de Buonaparte? [Are you talking about Buonaparte?] - the general said to him with a smile. Boris looked inquiringly at his general and immediately realized that this was a joke test. “Mon prince, je parle de l" empereur Napoleon, [Prince, I'm talking about Emperor Napoleon,] he replied, and the general patted him on the shoulder with a smile. “You’ll go far,” he told him and took with him. Boris was among the few on the Neman on the day of the meeting of the emperors; he saw rafts with monograms, Napoleon's passage along the other bank past the French guards, saw the pensive face of Emperor Alexander, while he sat silently in a tavern on the bank of the Niemen, awaiting Napoleon's arrival; I saw how both emperors got into the boats and how Napoleon, having first adhered to the raft, walked forward with quick steps and, meeting Alexander, gave him his hand, and how both disappeared into the pavilion. From the time of his entry into the higher worlds, Boris made himself the habit of carefully observing what was happening around him and writing it down. During a meeting in Tilsit, he inquired about the names of those persons who had arrived with Napoleon, about the uniforms they were wearing, and listened attentively to the words spoken by important persons. At the same time as the emperors entered the pavilion, he looked at his watch and did not forget to look again at the time when Alexander left the pavilion. The meeting lasted an hour and fifty-three minutes: he wrote it down that evening, among other facts that he believed were of historical significance. Since the emperor's retinue was very small, for a person who valued success in the service, being in Tilsit during the meeting of the emperors was a very important matter, and Boris, having got to Tilsit, felt that from that time his position was completely established. They not only knew him, but they got accustomed to him and got used to him. Twice he carried out assignments to the sovereign himself, so that the sovereign knew him by sight, and all those close to him not only did not shy away from him, as before, considering him a new face, but would be surprised if he was not there. Boris lived with another adjutant, the Polish count Zhilinsky. Zhilinsky, a Pole raised in Paris, was rich, passionately in love with the French, and almost every day during his stay in Tilsit, French officers from the Guard and the main French headquarters gathered for lunch and breakfast with Zhilinsky and Boris. On the evening of June 24, Count Zhilinsky, Boris's roommate, arranged a dinner for his French acquaintances. At this dinner there was a guest of honor, one Napoleon's adjutant, several officers of the French Guard, and a young boy of an old aristocratic French family, Napoleon's page. On this very day Rostov, taking advantage of the darkness so as not to be recognized, in civilian dress, arrived in Tilsit and entered the apartment of Zhilinsky and Boris. In Rostov, as well as in the entire army from which he came, the coup that took place in the headquarters and in Boris had not yet taken place against Napoleon and the French, from enemies who had become friends. Still in the army, they continued to experience the same mixed feelings of anger, contempt and fear towards Bonaparte and the French. Until recently, Rostov, talking with the Platov Cossack officer, argued that if Napoleon had been taken prisoner, he would have been treated not as a sovereign, but as a criminal. Until recently, on the road, having met a wounded French colonel, Rostov got excited, proving to him that there could be no peace between the legitimate sovereign and the criminal Bonaparte. Therefore, Rostov was strangely struck in Boris's apartment by the sight of French officers in the very uniforms he was used to looking at from a flanker chain. As soon as he saw a French officer leaning out of the door, this feeling of war, hostility, which he always felt at the sight of the enemy, suddenly seized him. He stopped on the threshold and asked in Russian if Drubetskoy lived here. Boris, hearing someone else's voice in the hallway, went out to meet him. The first minute he recognized Rostov, his face expressed annoyance. “Oh, it’s you, very glad, very glad to see you,” he said, however, smiling and moving towards him. But Rostov noticed his first movement. “I don't seem to be in time,” he said, “I wouldn’t come, but I have business,” he said coldly ... - No, I'm just wondering how you came from the regiment. - "Dans un moment je suis a vous," [This very minute I am at your service,] - he turned to the voice of the one who called him. “I see that I’m not on time,” repeated Rostov. The look of annoyance has already disappeared on Boris's face; apparently pondering and deciding what to do, he took him by both hands with special calmness and led him into the next room. Boris's eyes, calmly and firmly looking at Rostov, were as if covered with something, as if some kind of flap - blue glasses of the hostel - were put on them. So it seemed to Rostov. - Oh, full, please, can you be at the wrong time, - said Boris. - Boris led him into the room where dinner was served, introduced him to the guests, naming him and explaining that he was not a state officer, but a hussar officer, his old friend. - Count Zhilinsky, le comte N.N., le capitaine S.S., [Count N.N., captain S.S.] - he called the guests. Rostov frowned at the French, bowed reluctantly and said nothing. Zhilinsky, apparently, did not happily accept this new Russian face into his circle and did not say anything to Rostov. Boris, it seemed, did not notice the embarrassment that was taking place from the new face, and with the same pleasant calmness and airiness in his eyes, with which he met Rostov, he tried to revive the conversation. One of the Frenchmen turned with the usual French courtesy to the stubbornly silent Rostov and told him that, probably in order to see the emperor, he had come to Tilsit. “No, I have a case,” Rostov answered shortly. Rostov became out of sorts immediately after he noticed displeasure on Boris's face, and, as always happens with people who are out of sorts, it seemed to him that everyone was looking at him with hostility and that he was interfering with everyone. And indeed he interfered with everyone and alone remained outside the newly ensued general conversation. "And why is he sitting here?" the glances that the guests cast at him spoke. He got up and walked over to Boris. “However, I’m embarrassing you,” he told him quietly, “let's go and talk about the case, and I'll leave. - No, not at all, said Boris. And if you're tired, let's go to my room and lie down to rest. - And indeed ... They entered the small room where Boris was sleeping. Rostov, without sitting down, immediately with irritation - as if Boris was to blame for something in front of him - began to tell him about Denisov's case, asking if he wanted and could ask for Denisov through his general from the sovereign and through him to convey the letter. When they were alone, Rostov was convinced for the first time that he was embarrassed to look Boris in the eye. Boris, crossing his legs and stroking the thin fingers of his right hand with his left hand, listened to Rostov as the general listens to the report of a subordinate, now looking to the side, now with the same stare in his gaze, looking straight into Rostov's eyes. Every time Rostov felt uncomfortable and dropped his eyes. - I have heard about such cases and I know that the Emperor is very strict in these cases. I think we ought not to inform His Majesty. In my opinion, it would be better to directly ask the corps commander ... But in general, I think ... - So you do not want to do anything, say so! - almost shouted Rostov, not looking into Boris's eyes. Boris smiled: - On the contrary, I will do what I can, only I thought ... At this time, Zhilinsky's voice was heard at the door, calling for Boris. - Well, go, go, go ... - said Rostov and refusing supper, and left alone in a small room, he walked back and forth in it for a long time, and listened to a cheerful French voice from the next room. Rostov arrived in Tilsit on the day least convenient for making a petition for Denisov. He himself could not go to the general on duty, since he was in a tailcoat and arrived in Tilsit without the permission of his superiors, and Boris, if he even wanted to, could not do it the next day after Rostov's arrival. On this day, June 27, the first peace terms were signed. The emperors exchanged orders: Alexander received the Legion of Honor, and Napoleon Andrew 1st degree, and on that day a dinner was appointed for the Preobrazhensky battalion, which was given to him by the battalion of the French guard. The sovereigns were to be present at this banquet. On the square where the emperor went, stood face to face on the right, a battalion of the Transfigurations, on the left, a battalion of the French guard in bear hats. - "ILIAD" is an epic poem attributed to Homer (see), the oldest surviving monument of the Greek literature (see), is a processing and unification of numerous legends of feudal Greece about the exploits of ancient heroes. Action… … Literary encyclopedia ILIAD- Greek. ilias, from Elion, Ilion, Troy. The epic of Homer, which tells about the siege and destruction of Troy. An explanation of the 25,000 foreign words that have come into use in the Russian language, with the meaning of their roots. Mikhelson AD, 1865. ILIAD the most ancient ... ... Dictionary of foreign words of the Russian language "Iliad"- Iliad. Illustration by M.I. Pikov for edition 1949 (Moscow). ILIADA (the poem about Ilion, ie Three), an ancient Greek epic poem attributed to Homer, a monument of world significance. Apparently, it arose in the 9th-8th centuries. BC on the basis of legends about ... ... Illustrated Encyclopedic Dictionary ILIAD- (a poem about Ilion, i.e. Three), an ancient Greek epic poem attributed to Homer, a monument of world significance. Apparently, it arose in the 9th-8th centuries. BC NS. in Ionia based on legends about the Trojan War (13th century). Written in hexameter (c. 15 700 ... ... Big Encyclopedic Dictionary Iliad is an ancient Greek epic poem attributed to Homer. Apparently, it arose in the 9th-8th centuries. BC. based on legends about the Trojan War (hence its name is a poem about Ilion, i.e. Troy). The Iliad contains about 15,700 verses. The protagonist of the poem is Achilles. ... ... Historical Dictionary ILIAD- "ILIADA" (a poem about Ilion, that is, Three), an ancient Greek epic poem attributed to Homer, a monument of world significance. Apparently, it arose in the 9th-8th centuries. BC NS. in Ionia on the basis of legends about the Trojan War (see TROJAN WAR) (13th century). ... ... encyclopedic Dictionary iliad- noun, number of synonyms: 1 poem (9) ASIS synonym dictionary. V.N. Trishin. 2013 ... Synonym dictionary Iliad- ("Iliad") an ancient Greek epic poem about Ilion (Three), attributed to Homer (see the Homeric question). In modern antiquity it is considered that "I." arose in the 9th-8th centuries. BC NS. in the Greek Ionian cities of Asia Minor on ... ... Great Soviet Encyclopedia Iliad- (Greek Ilias) an epic poem of Homer, named after the capital of the Trojan kingdom, Ilion. It tells about the events of 51 days of the last, tenth, year of the war between the Achaeans and the Trojan army (its traditional date is 1194 1184 BC). "AND."… … The ancient world. Reference dictionary. "ILIADA"- (Ilias) other Greek. epic. a poem attributed to Homer (see Homer's question). The time of the creation of the poem, apparently, 8-7 centuries. BC NS. In I. depicts the tragic. events of the last year of the Trojan War (early 12th century BC). East. the reality described ... Soviet Historical Encyclopedia Books
Those wishing to study Homer should begin, of course, by studying the text itself. Those who do not speak Greek should start studying Russian translations, which, by the way, are of high quality, so that Russian literature can rightfully be proud of them. The Iliad was first fully translated by the famous Russian writer and representative of the Pushkin school NI Gnedich in 1829. The latest editions of this translation appeared already in Soviet times. These are: Homer, Iliad, translation by N.I. Gnedich. Edited and commentary by I.M.Trotsky with the participation of I.I.Tolstoy. Articles song of F. Preobrazhensky, I. M. Trotsky and I. I. Tolstoy, Academia. M.-L., 1935. In the same 1935 this edition appeared in the same publishing house in a large format and improved form. Recently, Gnedich's translation appeared entirely in the collection of this translator's own poems in a large series "poet's library": NI Gnedich, Poems. Introductory article, preparation of the text and notes by IN Medvedeva, L., 1956. Gnedich's translation caused a lot of literature, since at one time he was a wonderful example of translation art and has not lost its significance to the present day. With sufficient closeness to the original, Gnedich managed to reproduce the cheerful Homeric cheerfulness and heroism, which were combined here with high and magnificent, although at the same time light solemnity. The modern reader Gnedich may be repelled only by the abundance of Slavicisms, which, however, with a deeper historical approach, reveal a high artistic style that does not in the least interfere with the ease and mobility of the speech technique of translation. The reader can be convinced that Gnedich's translation is based on Winkelmann's assessment of antiquity and on the poetics of the Pushkin school, having got acquainted with the special work of A. Kukulevich "Iliad" translated by NI Gnedich in "Scientific Notes of Leningrad State University", No. 33, series of philological science, issue 2, L., 1939. The philological and stylistic characteristics of Gnedich's translation in comparison with the Greek original is given by II Tolstoy in the article "Gnedich as a translator of the Iliad", published in the above-mentioned edition of Gnedich's translation in 1935. , pages 101-106 (in the notes to the translation of Gnedich in this edition, discrepancies between Gnedich and the original are indicated). Unfortunately, the latest reissue of Gnedich does not contain those annotations by Gnedich for each song of the Iliad, without which the study of the poem is very difficult. These annotations were compiled by Gnedich very carefully, even with a note of the numbers of the verses for each separate topic. Therefore, we have to recommend and bear in mind also the old edition of Gnedich. This is Homer's Iliad, translated by NI Gnedich, edited by SI Ponomarev, edition 2, St. Petersburg, 1892. This edition also contains useful articles by Ponomarev and Gnedich himself. The same translation - M., St. Petersburg, 1904, St. Petersburg, 1912. Since the translation of Gnedich by the end of the 19th century. was already outdated, the need arose to give a translation of the Iliad in a simplified form, without any Slavicisms and on the basis of only the modern Russian literary language. Such a translation was undertaken by NI Minsky in 1896. The last reprint of this translation: Homer, Iliad, translation by NI Minsky. Edited and introductory article Song of F. Preobrazhensky, Moscow, 1935. Minsky's translation is notable for its prosaic character and often gives the impression of an interlinear translation. Nevertheless, for those who do not understand or do not like the Slavisms of Gnedich, this translation is of great importance and played a significant role in its time. A scientific analysis of this translation can be found in the review by SI Sobolevsky in the "Journal of the Ministry of National Education", 1911, no. 4 (section 2), pages 346–360. Finally, recently there has appeared a third complete Russian translation of the Iliad: Homer, Iliad, translation by V. Veresaev, M.-L., 1949. Veresaev's translation went even further than Minsky. Taking advantage of many successful expressions of Gnedich and Minsky, Veresaev nevertheless understands Homer too folklore and tries to use all sorts of folk and pseudo-folk expressions, partly not even entirely decent in nature. True, the too lofty and too solemn style of the Iliad is a great exaggeration at the present time. But numerous naturalistic and even abusive expressions, with which Veresaev's translation abounds, were criticized by SI Radtsig in his review in "Soviet Book", 1950, No. 7. Compare also the review of M. Ye. Grabar-Passek and F. A Petrovsky in the "Bulletin of Ancient History", 1950, no. 2, pages 151–158. As for the "Odyssey", its classical translation belongs to V. A. Zhukovsky and was made in 1849. The last reprints of it date back to Soviet times: Homer, Odyssey, translated by V. A. Zhukovsky. Article, edition and commentary by I.M.Trotsky with the participation of I.I.Tolstoy. Asdemia, M.-L., 1935. The same edition was repeated in large format. There is also another edition: Homer, Odyssey. Translation by V.A.Zhukovsky, editions and introductory article by P.F.Preobrazhensky, GIHL, Moscow, 1935. Most recently, a luxurious edition has appeared - Homer, Odyssey, translated by V.A.Zhukovsky, M., 1958 ( preparation of the text by V.P. Petushkov, afterword and notes by S.V. Polyakova). This edition was made according to the last lifetime edition of V.A.Zhukovsky and verified with the manuscript and proofreading of the translator. In addition, in the text of V.A.Zhukovsky, transliteration was made according to the modern pronunciation of Greek names, since in the translation of Zhukovsky himself many names were written in an archaic way. This edition must be considered the best of all the editions of the "Odyssey" after the death of V. A. Zhukovsky. It is also very important that in this edition, before each song of the poem, detailed annotations compiled by V.A.Zhukovsky are printed, which greatly facilitate the study of the poem. Of the new editions of this translation, annotations are preserved only in the edition - "Odyssey" by Homer, translated by V. A. Zhukovsky, edition "Education", St. Petersburg. (year not specified). Until very recently, this translation was the only one, since its high artistic merit was never questioned. Everyone knew that this translation reflected the style of sentimental romanticism. But everyone forgave Zhukovsky this feature of his translation, since everyone was captivated by his bright colorfulness and expressiveness, his easy and understandable Russian language, his constant poetry and accessibility. Nevertheless, Zhukovsky allowed too much inaccuracy in his translation, introducing epithets that did not belong to Homer, different expressions and even whole lines, and abbreviating others. A scientific understanding of the peculiarities of Zhukovsky's translation can be obtained from S. Shestakov's article "V. A. Zhukovsky as a translator of Homer", published in "Readings in the Society of Lovers of Russian Literature in Memory of A. Pushkin", XXII. Kazan, 1902. Compare also the article by I. I. Tolstoy "Odyssey" in Zhukovsky's translation ", published in the above edition, 1935. But in Zhukovsky's translation there was also something that began to be clearly understood only in Soviet times, namely the ideology and pictures of the old Moscow boyars and a weak understanding of genuine Homeric and purely pagan heroism. Considering all these features of Zhukovsky's translation, P. A. Shuisky for the first time, almost 100 years later, decided to compete with Zhukovsky, after which no one dared to translate the "Odyssey" again: Homer, Odyssey, translation (original size) by P. A. Shuisky, edited by A. I. Vinogradova. Sverdlovsk. 1948. Indeed, Shuisky avoided the aforementioned features of Zhukovsky's translation; however, striving for a literal transmission of the original, Shuisky constantly falls into excessive proseism, and from a poetic point of view, the technique of his verse also suffers greatly. Shuisky's translation found a negative assessment for itself in the review of FA Petrovsky and ME Grabar-Passek in the "Bulletin of Ancient History", 1950, no. 3, pages 151–158. Somewhat less harshly judges the translation of Shuisky by AA Taho-Godi in the article "On the new translation of the Odyssey in Uchen. Notes of the Moscow Regional Pedagogical Institute ", vol. XXVI, pages 211-225. M., 1953. This author points to Shuisky's merits in comparison with Zhukovsky. However, he also notes proseism, unsuccessful versification, and most importantly, the translator's orientation to an outdated text, which is now being corrected beyond recognition by the latest editors in connection with the progress of philological science. Finally, there is another translation of the Odyssey, which belongs to the above-mentioned V. Veresaev and has the same features as his translation of the Iliad: Homer, Odyssey, V. Veresaev's translation. Edited by I.I.Tolstoy, Moscow, 1953. The edition also matters: Homer. Poems, abridged edition. Preparation of the text of poems, retelling of the myths of the Trojan cycle, notes and dictionary by A.A.Takho-Godi, introductory article and scientific edition of A.I.Beletsky, Detgiz, M.-L., 1953. This edition, created for youth, has the advantage , which is just important for beginners. In addition to the excellent article by A.I.Beletsky, it provides a retelling of all the main myths about the Trojan War, without which it is impossible to understand the plot of the poems. And, in addition, the text of the Iliad and the Odyssey is arranged here not in the order of the poems themselves (this order, as mentioned above, is rather confusing), but in the order of the events themselves, which have found an image for themselves in these poems. Therefore, those who begin to study Homer receive here, as it were, a single and integral, completely consistent development of the plot. Thus, there are enough Russian translations of Homer, and each of these translations in its own way possesses all the features of a great translation culture. Those who do not speak Greek should refer to the above reviews of these translations. These reviews will undoubtedly help him to orient himself both in the style of these translations and in the degree to which they are close to the Greek original. FOREWORD BY THE TRANSLATOR We have two complete translations of the Iliad that are still being read. One old (tenth-twenties of the last century) - Gnedich, another more new (the end of the past - the beginning of our century) - Minsky. Gnedich's translation is one of the best translations in the world literature "Iliads". He vividly conveys the courageous and cheerful spirit of the original, full of that inner movement, pathos and energy that the poem breathes. But the translation has a number of shortcomings that make it difficult for modern reader. The main drawback is the archaic translation language. For example: He, like a lion a fighter, who found horned youths, Which graze in a wet meadow with extensive pull Thousands; a shepherd with them; but young, still does not know how Fight the beast in order to protect the steep-horned grass ... The translation is oversaturated with Church Slavonic words and expressions, replete with words such as "daughter", "rivers", "broadcast", "zane", "paki", "tuk", right up to such words that are completely incomprehensible to the modern reader, such as "skimen" (young lion), "sulitsa" (spear), "glezna" (shin), etc. syllables. Instead of "horse" he writes "horse", instead of "dog" - "dog", instead of "lips" - "mouth, instead of" forehead "-" brow ", etc. He absolutely does not consider it is possible to transmit in the inviolability quite rude sometimes expressions Homer. Achilles scolds Agamemnon: "a drunkard, an ugly dog!" Gnedich translates: "a wine drinker, a psiform man!" Elena calls herself penitentially before Hector "bitch", "shameless dog". Gnedich shyly translates, " "me unworthy." Minsky's translation was written in modern Russian, but extremely gray and does not convey the spirit of the original at all. Minsky is more or less successful still purely descriptive passages, but where Homer has fiery pathos or soft lyrics, there Minsky is listless and prosaic. When a new translator takes on the translation of a classic literary works, then his first concern and main concern - as if not to be in something similar to someone from the previous translators. Some expression, some verse or couplet, let's even say - the whole stanza was conveyed by his predecessor in the best possible way and more accurately. Everything equals! Property is sacred. And the translator gives his own translation, translators are crossed out, and everyone starts all over again. This attitude to business seems to me to be fundamentally wrong. the main all justifying and all covering the goal - the most accurate and maximum literary translation of the original. If we allow collective cooperation, so to speak, in space, then why do not we allow this the same collective cooperation and in time, between the whole chain of the following one by one translators? All good things, all successes, the new translator should take with a handful of from previous translations, of course, with one condition: not transferring them mechanically into your translation, but organically reworking into your own style, more precisely, in the style of the original, as perceived by the given translator. To ignore Gnedich's achievements when translating the Iliad means refuse in advance a translation that is more or less worthy of the original. I base my translation on Gnedich's translation wherever it is successful, wherever it can be saved. The Iliad, for example, ends with Gnedich with such a verse: So they buried the horse-borne Hector's body. It couldn't be better. Why, like Minsky, strain your efforts to say even worse, but differently, and give this ending: So Hector, the horse tamer, was buried by the Trojans. I reworked many of Gnedich's poems based on his translation. For example: Long, as long as the aegis Apollo kept motionless, Arrows equally flew between the armies, and a howl fell; But as soon as the Argives in the face, he looked up, the aegis Stormy shook and exclaimed and loudly and menacingly, embarrassed Souls in their Persians, the Argives have forgotten their boiling courage. New translation: Long, as long as Apollo held the aegis motionless, Spears and arrows flew in clouds, striking the people. But only, looking in the face of the Danaans, he shook the aegis, Menacingly and shouting himself at this time - in the chest of the Achaeans The spirit weakened, and they forgot about the seething courage. The overwhelming majority of the verses, however, were written anew, - in such a way, for example, genus. Priam at the headquarters of Achilles begs him to give him the body of the murdered Brave, almost you are the gods! Take pity on my ill-luck, Remembering Peleus' parent! I am even more pathetic! I will experience what a mortal has not experienced on earth: Husband, murderers of my children, I press hands to lips! New translation: Have pity, Pelid, over me, show respect for the immortals, Remember your father! I am more pitying! I do what no mortal would dare to do: I press the hands of the murderer of my sons to my lips! I considered it possible to include in the translation also some successful poems and turns of Minsky. And if the quality of the translation increases from borrowing, then this will justify everything. The question of the degree of accuracy with which one should translate is very difficult. a poem written three thousand years ago. In general, it seems to me that the former the translators were too afraid of what they believed to be too close to the original, deviating from our usual turns of speech. Homer, for example: "What kind of words have you flew through the fence of your teeth!" Translators prefer; "What words have flown out of your mouth!" Prefer "no anger in the chest holding back "instead of Homeric" did not contain "," only then would you saturate wickedness "instead of" healed her wickedness. " The word thymos (spirit) and psyche (soul) are indifferently translated as "spirit", then "soul". Meanwhile, Homer has two concepts, completely different. "Timos" (spirit) is the totality of all spiritual properties of a person, "psyche" (soul) is his shadow imprisoned in a person, a ghost that flies away after the death of a person into kingdom of Hades,. a sad likeness of a man, devoid of vitality, so deprived that, for example, the soul of Patroclus, which appeared in a dream to Achilles, is able to express her sadness from parting with a friend only by squeaking (XXIII, Greeting each other, the Greeks said: "chaire - rejoice, be joyful "where we say hello, be healthy." How to translate this word - "rejoice" or "hello"? When Hellenic messengers come to To Achilles, he greets them with the word "chairete - rejoice!" But the Achaeans defeated, Hector is at their ships, Achilles does not want to help, why rejoice? Nevertheless, in my opinion, you still need to translate "rejoice". The ignorant let him learn from the note that "rejoice" corresponds to our "Hello". But it is too characteristic of the Hellenic life-attitude that when meetings, they wished each other joy, and to erase this line in translation it is forbidden. The same is with Homer's favorite word "philos - sweet". "Lovely grieving in his heart "," his lovely legs are tired "and even:" my dear heart. "As a matter of fact, the word" philos "here simply means" own, own. "However, in the post-Homeric time, the word in this sense is no longer was used, and for Homeric time this particular shade is characteristic: my heart is a sweet heart, like cities are blessed, my body is beautiful, chariot - skillfully made, etc. And in general, it seems to me, you can stay closer to the original much more often, than the previous translators do, no matter how alien it seems to us and Homer's unusual epithets and phrases. For example, he often uses the expression "one-hoofed horses", as if there are two-hoofed horses; "had seen eyes "; the gods make the hero light" legs and arms above them. " uses a technique called "hysteron - proteron" (later - earlier). The hero, getting up from sleep, puts on a cloak and tunic, although, of course, he puts on a tunic (shirt) before, and then a raincoat. Nymph Calypso puts on Odyssey has a new dress and gives him a bath. Of course, she takes a bath before. When we read in some story: "Ivan Petrovich approached table. He was very cheerful "- we feel obliged to ask -" Who was cheerful - table? "Homer very often uses the words" he "," she "," they "when the meaning is clear who the speech is about, although anyone who wishes can ask a question like the question of the table. In this case, I considered it possible to follow Homer. However, I did not dare to follow the exact translation to the end. For Homer, for example, the seat of all mental and mental properties of a person is not the brain, and the heart, more precisely, the abdominal obstruction (phrenes). May be, this lack of the necessary audacity, but my hand did not rise to translate: "anger seized his abdominal barrier" or: "I rejoice in all my abdominal obstruction ". About transcription of proper names. In general, I tried to transfer them to in accordance with the original, but the names that have already received the right of citizenship from us and which became common for everyone, I left in the same transcription: Achilles (and not Achilles), Hecuba (not Hekaba), Ajax (not Ayant), Calchas (not Calhant). So the same in the prepared translation of the "Odyssey": Circe (not Kirk), Cyclops (not Cyclops), etc. The same with accents. It would be correct: Apollo, Dionysus, Priam, Menelaus, Paris, etc. I have kept the stress that has become common for us. TO UNDERSTANDING EVENTS ABOUT WHICH "ILIADA" AND "ODYSSEY" The gods had a wedding feast: they gave out the "silver-footed" goddess Thetis, daughter sea elder Nereus, for the mortal man Peleus, who reigned over the people Myrmidonians in Phthia, in the north of Greece. The case is completely unusual. The gods and goddesses were often fleeting love affairs with mortal women and men. But for a goddess to be married off to a mortal man - this is not happened. However, there were good reasons for this. Thetis was carried away by himself the king of the gods, the thunderer Zeus, and his brother Poseidon, the lord of the seas. There was a prediction that a son born of Thetis would have many stronger than his father. The Greek gods were far from omnipotent. Above them stood dark, impersonal fate, and the gods could not undo its decisions. To make the future son of Thetis safe for themselves, they betrayed her to marry a mortal. A creature only stronger than mortal man it was not dangerous for the gods. And a strong god they had very solid reasons to be afraid. Zeus himself reigned over the world, overthrowing with the help of his brothers and sisters of his father Cronus and imprisoning him in underground Tartarus. Cron in his turn reigned, overthrowing his father Uranus, the original ruler of the world. All the gods were invited to the wedding feast with the exception of Eris, the goddess enmity and discord. The reason is clear. Eris was offended. In the middle of a feast, suddenly the door opened, and Eris rolled from the doorway into the banquet hall apple with the inscription: "fairest". A fierce dispute arose over the apple between three goddesses: Queen Hero, wife of Zeus, Pallas-Athena, goddess wisdom, and Aphrodite, the goddess of love and beauty. Each one demanded an apple myself as the most beautiful. Couldn't get along and asked for a solution dispute to the handsome prince Paris, the son of the Trojan king Priam. He's into it while grazing herds on Gargar, one of the peaks of Mount Ida near Troy. Both sides immediately took charge of the case. Hera promised Paris power and wealth, Athena Wisdom and glory, Aphrodite is the love of the most beautiful woman in the world. Paris I found this way of resolving the dispute quite natural and began to weigh not which of the goddesses is the most beautiful, and which of the promises is the most tempting. And he awarded the apple to Aphrodite. In the south of Greece, in later famous Sparta, Menelaus reigned Atrid (that is, son of Atreus). He was married to Elena, daughter of Leda. Helen's father there was the king of gods Zeus himself, who appeared to Leda in the form of a beautiful swan. This something Elena, wife of Menelaus, was the most beautiful woman in the whole world. Paris came as a guest to Menelaus. Aphrodite sparked Elena with passion for Paris, and he took Elena in his ships, along with all her treasures to his Troy. Troy (or Ilion) was the capital of a wealthy Trojan country located at the northwestern tip of the Asia Minor Peninsula, at the confluence Hellespont (now Dardanelles) to the Aegean Sea. The abduction of Helen by Paris led, according to Greek legends, of which scooped Homer, to the long war of the Greek peoples with Troy, ending with the destruction of Troy. The Trojan War is not a fiction, it was indeed, but it was certainly not caused by the abduction of a beautiful woman. The reason for the war of the Greek peoples against Troy lay in the favorable trade the position of Troy on the routes from Europe to Asia, a position that greatly impeded trade in Greece. This is what prompted the numerous small states of Greece, constantly at war with each other, unite in a common army and go march to Troy. The attack of Greece, in turn, prompted the neighboring countries Troy states - Lycia, Thrace, Paphlogonia, Misea, etc. - join allies to Troy and together with her to fight the invading Greek army. By the way, it should be noted that at that time the Greeks were not yet called Greeks. Homer calls them Achaeans, Danians or Argives. Menelaus's brother was Atrid Agamemnon, king of the "multi-gold" Mycenae, the most the most powerful and wealthy of all the Achaean kings. He responded warmly to the offense Paris inflicted on his brother. Other kings also responded. After long gatherings, the Achaean army gathered at the port of Aulis in an amount of about a hundred thousands of people. The militia of each kingdom was commanded by its king, and Agamemnon was elected commander-in-chief. Of the other leaders, especially the following were issued: Diomedes Tidides (son of Tideus), king of Argos, the most attractive of all Achaean heroes, magnanimous, chivalrously noble, always rushing into the most dangerous places, not afraid to engage in battle even with gods; "Great Ajax", son of Telamon, king of Salamis, huge, monstrous strength. His brother Tevkr was the best archer in the army. There was also another Ajax, the son of Oileus, the leader of the lightly armed Locri, fought with bows and slings, quick to their feet. Often both Ajax fought side by side, shoulder to shoulder. The wisest and most experienced military adviser was the elder Nestor, king of the sandy Pylos. His son Antilochus shone among the youth with my prowess. He brought eighty ships with soldiers from the "hundred-city" Crete the mighty spear-fighter Idomeneo. In the Achaean army there was a glorious shooter from Luka Fyaloktet, friend of Hercules (Hercules); dying, Hercules gave Philoctete your bow with deadly poisoned arrows. One of the most outstanding among the leaders of the Achaean army was the "cunning" Odysseus, the son of Laertes, the king the small rocky island of Ithaca, west of the Greek mainland, "steadfast in adversity", a brave warrior and an intelligent, resourceful leader, capable of the most cunning inventions. Thus, the army was numerous, its leaders were brave and experienced. But the oracle predicted that the Achaeans would not take Troy if there was no participate Achilles, the son of Peleus and Thetis, - the very ones at whose wedding there was a quarrel of three goddesses for a golden apple. Thetis knew that fate Achilles is destined for a choice: either to live in a ripe old age complete well-being and tranquility in your native Phtia, or die in battle young, but receive great fame. To save his son from early death, Thetis hid Achilles on the island of Skchros among the daughters of the local king Likameda dressed in a woman's dress. The cunning Odysseus undertook to find Achilles. Disguised as a merchant, he arrived at Skyros, laid out in front of his daughters Likameda various female adornments, and among them - a shield and a spear. Suddenly under battle cries, the clang of weapons, groans were heard from the windows. This Odysseus entrusted his companions play under the windows as if attacking enemies. The girls jumped up and fled, and Achilles grabbed a shield, a spear and rushed into battle. So, he was recognized; Odysseus did not have much trouble persuading him to join There is some chronological discrepancy in the legend. Paris kidnapped Elena very, of course, soon after the verdict he pronounced, when Achilles even has not yet had time to be born. And Achilles went to war already fully developed a warrior who excelled in strength, courage, speed in running and other military by the valor of all Achaeans and Trojans. It turns out that the gathering of the Achaeans in the Trojan campaign lasted twenty, at least years. A little long. The Achaeans sailed away from Aulis to Troy in one thousand one hundred and eighty-six ships. Troy lay kilometers five from the sea coast, in the place of the present Turkish the town of Gissarlyk. The Achaeans pulled the ships ashore and camped at seas. There was no siege of the city. Trojans left the city and fought with the Achaeans on a wide plain stretching from Troy to the coast. The Achaeans did frequent raids on neighboring cities and nearby islands, plundered and devastated them. They fought with copper weapons. Spears, swords, shields, armor, helmets - everything was made of copper. Iron was already known, but they did not know how to melt and forge it, and processed in a cold way: drilled, polished. Homer calls iron "difficult to manufacture". Ordinary soldiers fought on foot. Leaders and in general noble people - on chariots. The chariots were two-wheeled, open at the back, with handrails along the front end. The driver ruled, but it was not a "minister", not "coachman", but a comrade and usually a close friend of a soldier. The fighter fought with chariots, but often for battle he jumped off the ground and fought on foot, and the driver with a chariot waited at a distance in case of pursuit of enemies or flight from them. Pikoyu fought hand-to-hand, but more often they threw it at the enemy from some distance. They also threw large stones picked up from the ground, shot from bows and slings. From the slain, the winner immediately, in the midst of the battle, hurried to remove the as a trophy, his weapons and often fell at this time himself under blows comrades of the slain. The king of Troy was Priam, the son of Laomedont. He was already very old. Commanded Trojan troops, his eldest son Hector, the most powerful and brave warrior among all Trojans. Next to him was Aeneas, son of Anchises and the goddess Aphrodite, king of Dardania, near Mount Ida. Among the Trojan allies were issued the Lycian kings Sarpedon, the son of the king of the gods Zeus from a mortal woman, and Glaucus, his cousin. The fine archer was Paris, the kidnapper Elena; he killed many Achaean heroes with arrows, including Achilles himself. His brother Pandarus was also an outstanding archer. The supreme gods also took an active and passionate part in the war. They inhabited the snowy Mount Olympus north of Greece and were therefore called "Olympic". Some gods stood for the Achaeans, others for the Trojans. Side the Achaeans were kept, of course, by Hera, the wife of the king of the gods Zeus, and the goddess of wisdom Pallas-Athena, both severely offended by the verdict of Paris. God was for the Achaeans the sea Poseidon, brother of Zeus, "the earth swayer"; "benefactor" Hermes, messenger of the gods, god of merchants and thieves; Hephaestus, son of Zeus and Hera, god of fire, a skilled master blacksmith, limping in both legs, with a mighty torso and weak kicking, the only one of the gods who always works hard; them, by the way, all the palaces of the gods were built on Olympus. On the side of the Trojans stood the mighty god Phoebus-Apollo, the son of Zeus and Lush-haired Leto, one of the most revered celestials, the god of harmony, order, light, Far-Rider, without a miss falling from his silver bow to the intended target; his sister Artemis, the goddess-huntress, too long-range; their mother Leto; Apec, son of Zeus and Hera, stormy and bloodthirsty god of War; Aphrodite, daughter of Zeus and Dione, goddess of love and beauty, patroness of Paris. A more or less neutral position was taken by Zeus himself, the king of the gods. The war between the Achaeans and the Trojans lasted more than nine years. On the tenth year, an episode played out that served as a plot for the Iliad. Agamemnon selected from Achilles, the beautiful captive Briseis, received by Achilles during the partition loot. Furious at Agamemnon's arbitrariness, Achilles refused to fight the Trojans and through his mother, the goddess Thetis, begged Zeus to give victory to the Trojans in battle until Agamemnon confesses his fault and will not return Briseis. Zeus heeded the pleas of Thetis. Mighty Hector at the head of the Trojans, he defeated the Achaeans, broke through to the Achaean ships and started them burn. Achilles's beloved friend Patroclus begged with difficulty Achilles to let him, Patroclus, put on the armor of Achilles and at the head of the fresh troops of Achilles reflect Hector. He drove the Trojans away from the ships, but, carried away by the battle, neglected Achilles' stern warning not to pursue enemies as far as Troy. Hector killed Patroclus under the walls of Troy. Achilles threw away his anger, smashed into the head of the Trojans and killed Hector in single combat. Old King Priam, Father Hector, with the permission of Zeus, arrived at the headquarters of Achilles at night and begged him for burial the corpse of his son. Description of Hector's funeral and ends The war continued. New allies came to the aid of the Trojans. Has come army of brave Amazons, led by the mighty queen Pentesilea, daughter god of war Ares. Achilles mortally wounded her in a duel, took off her helmet and, amazed by the beauty of the Amazon, fell in love with the dying woman. From Africa to the rescue the Trojans were led by the hero of the Ethiopians Memnon, the son of the goddess Dawn. His also killed Achilles, but soon he himself was killed by the arrow of Paris, directed Apollo. There was no end in sight to the war. One morning, the Trojans were amazed to see from the city walls that the Achaean ships are all launched and, full of warriors, spreading their sails, leave from Trojan coast at sea. The Trojans rushed to the shore. Among the abandoned camp they were perplexed to see a huge, mountain-like horse, skillfully made from wood. Captured in the swamp, a straggler Achaean reported that the Achaeans, in despair in victory, sailed home, and this horse was built in honor of Athena and on purpose built it in such a size that it could not be dragged into the city, since if he finds himself in Troy, then Asia will defeat Europe. The gods muddied the Trojans intelligence. Ignoring the warnings, the Trojans disassembled at the gate the city wall, they brought the horse into the city and put it in the acropolis. At night the secret door in the horse's belly opened, and a rope on the ground all the bravest heroes-Achaeans: Odysseus, Menelaus, son of Achilles Neoptolemus and others. They opened the gates to the army returning from the island of Tenedos. Troy was plundered and burned, men, including the old king Priam, killed, women, including the widow of Hector Andromache, captured in slavery. (Andromache, according to later legends, was taken as a concubine by a fierce son Achilles Neoptolemus, who killed her young son Astyanactus and the elderly Priam's father-in-law). Troy was wiped off the face of the earth. Very few of the Achaean heroes soon and safely returned home: Nestor, Diomedes, Idomeneo. Ajax "the Great" died shortly after the death of Achilles. As the most outstanding hero of the Trojan War, the Achaeans awarded arms Achilles to Odyssey. The offended Ajax committed suicide. Another Ajax, son Oileya, shipwrecked at sea. Climbing onto the rock, he boastfully declared that he had escaped against the will of the gods. Poseidon struck the rock with a trident, split it and dropped the Ajax shard into the raging sea. Agamemnon, immediately on his return home, he was killed at a feast by Aegistus, his wife's lover Clytemnestra. Menelaus returned home with Elena only after long wanderings. The greatest trials fell to the lot of Odysseus. He only got home ten years after leaving Troy and twenty years after leaving for war from the native island of Ithaca. At home he left his wife Penelope and the young son of Telemachus. His house was filled with noble young people with Ithaca and neighboring islands. Deciding that Odysseus had already died, they convinced Penelope to choose a new husband from among them, and in anticipation of an answer they feasted from morning to evening in the house of Odysseus, they ate his cattle and emptied wine cellars. The chaste and faithful Penelope used all sorts of tricks to delay the answer to the grooms. Odysseus's long wanderings, his return home and reprisals against insolent suitors are the subject of another poem by Homer - “Sing, goddess, about the wrath of Achilles, Peleev's son, Cursed wrath, who brought suffering without count to the Achaeans, Who sent many strong souls of heroes to Hades, Who gave them themselves to be eaten by the greedy Birds of the surrounding area and the dogs. This was done by the will of Zeus, Ever since the first time, having quarreled, the Son of Atreus, the lord of husbands, and Pelid the many-luminous parted hostilely. Which of the immortal gods incited this quarrel between them? .. " Translator's Foreword We have two complete translations of the Iliad that are still being read. One is old (the tenth-twenties of the last century) - Gnedich, the other is newer (late last - the beginning of our century) - Minsky. Gnedich's translation is one of the best translations of the Iliad in the world literature. It vividly conveys the courageous and cheerful spirit of the original, is full of that inner movement, pathos and energy that the poem breathes. But the translation has a number of shortcomings that make it difficult for the modern reader to accept. The main drawback is the archaic translation language. For example: He, like a lion a fighter, who found horned youths, Which graze in a wet meadow with extensive pull Thousands; a shepherd with them; but young, still does not know how Fight the beast in order to protect the steep-horned grass ... The translation is oversaturated with Church Slavonic words and expressions, replete with such words as "daughter", "rivers", "broadcast", "zane", "packs", "fat", up to such words completely incomprehensible to the modern reader, as "skimen" (young lion), "sulitsa" (spear), "glezna" (shin), etc. Gnedich, further, tries to adhere to “a high syllable in his translation. Instead of "horse" he writes "horse", instead of "dog" - "dog", instead of "lip" - "mouth", instead of "forehead" - "brow", etc. sometimes rude expressions of Homer. Achilles scolds Agamemnon: "a drunkard, an ugly dog!" Gnedich translates: "a wine drinker, a psiform man!" Elena penitently calls herself before Hector "bitch", "shameless dog." Gnedich bashfully translates: "I, unworthy." Minsky's translation was written in modern Russian, but it is extremely gray and does not convey the spirit of the original at all. Minsky more or less succeeds in purely descriptive passages, but where Homer has fiery pathos or soft lyrics, Minsky is listless and prosaic. When a new translator undertakes to translate a classic work of fiction, his first concern and main concern is how not to find himself in something similar to any of the previous translators. Some expression, some verse or couplet, let's say even - a whole stanza was conveyed by his predecessor in the best possible way and accurately. Does not matter! Property is sacred. And the translator gives his own translation, himself realizing that it is worse and farther from the original. All the achievements of the previous translators are crossed out, and everyone starts all over again. This attitude to business seems to me to be fundamentally wrong. The main all justifying and all covering goal is the most accurate and maximally literal translation of the original. If we allow collective cooperation, so to speak, in space, then why do we not allow the same collective cooperation in time, between the entire chain of translators following one after the other? The new translator should take a handful of everything good, everything that has succeeded from the previous translations, of course, with one condition: not mechanically transferring them into his translation, but organically reworking them into his own style, more precisely, into the style of the original, as the given translator perceives it. To ignore Gnedich's achievements when translating the Iliad means in advance to refuse a translation that is more or less worthy of the original. I base my translation on Gnedich's translation wherever it is successful, wherever it can be saved. The Iliad, for example, ends with Gnedich with the following verse: So they buried the horse-borne Hector's body. It couldn't be better. Why, like Minsky, strain your efforts in order to say at least worse, but in a different way, and give such an ending: So Hector, the horse tamer, was buried by the Trojans. I reworked many of Gnedich's poems based on his translation. For example: Long, as long as the aegis Apollo kept motionless, Arrows equally flew between the armies, and a howl fell; But as soon as the Argives in the face, he looked up, the aegis Stormy shook and exclaimed and loudly and menacingly, embarrassed Souls in their Persians, the Argives have forgotten their boiling courage. New translation: Long, as long as Apollo held the aegis motionless, Spears and arrows flew in clouds, striking the people. But only, looking in the face of the Danaans, he shook the aegis, Menacingly and shouting himself at this time - in the chest of the Achaeans The spirit weakened, and they forgot about the seething courage. (XV, 318)The overwhelming majority of the poems, however, were written anew, for example, in this manner. Priam at the headquarters of Achilles begs him to give him the body of the murdered Hector. Brave, almost you are the gods! Take pity on my ill-luck, Remembering Peleus' parent! I am even more pathetic! I will experience what a mortal has not experienced on earth: Husband, murderers of my children, I press hands to lips! New translation: Have pity, Pelid, over me, show respect for the immortals, Remember your father! I am more pitying! I do what no mortal would dare to do: I press the hands of the murderer of my sons to my lips! (XXIV, 503).I considered it possible to include in the translation also some successful poems and turns of Minsky. And if the quality of the translation increases from borrowing, then everything will be justified. The question of the degree of accuracy with which one should translate a poem written three thousand years ago is very difficult. In general, it seems to me that the former translators were too afraid of what they thought was excessive proximity to the original, deviating from our usual turns of speech. Homer, for example: "What a word have you flew through the fence of your teeth!" Translators prefer; "What words have flown out of your mouth!" They prefer “not holding back anger in their chest” instead of Homeric “not containing”, “only then would you saturate anger” instead of “healed your anger”. The word thymos (spirit) and psyche (soul) are indifferently translated as “spirit”, sometimes “soul”. Meanwhile, Homer has two concepts, completely different. “Timos” (spirit) is the totality of all the spiritual properties of a person, “psyche” (soul) is his shadow enclosed in a person, a ghost that flies off after a person's death to the kingdom of Hades, a sad likeness of a person, devoid of vitality, so deprived that, for example, the soul of Patroclus, which appeared in a dream to Achilles, is able to express its sadness from parting with a friend only by a squeak (XXIII, 101). Greeting each other, the Greeks said: "chaire - rejoice, be joyful", where we say "hello, be healthy." How to translate this word - "rejoice" or "hello"? When Hellenic messengers come to Achilles, he greets them with the word "chairete - rejoice!" But the Achaeans are defeated, Hector is at their ships, Achilles does not want to help, what is there to be happy about? Nevertheless, in my opinion, you still need to translate "rejoice." Unknowingly let him learn from the note that "rejoice" corresponds to our "hello." But it is too typical for the Hellenic life relationship that when they met, they wished each other joy, and this line cannot be erased in translation. The same is with Homer's favorite word "philos - sweet". “With a sweet sorrowful heart”, “his lovely legs are tired” and even: “my sweet heart is sad”. As a matter of fact, the word "philos" here simply means "one's own". However, in the post-Homeric time, the word was no longer used in this sense, and this particular shade is characteristic of Homeric time: your heart is a sweet heart, like cities are blessed, a body is beautiful, a chariot is skillfully made, etc. And in general, it seems to me, you can stay closer to the original much more often than previous translators do, no matter how alien and unusual Homer's epithets and phrases may seem to us. For example, he often uses the expression "one-hoofed horses", as if there are two-hoofed horses; “I saw with my eyes”; the gods make the hero light "legs and arms above them." Homer sometimes uses a technique called "hysteron - proteron" (later - earlier). The hero, getting up from sleep, puts on a cloak and tunic, although, of course, he puts on a tunic (shirt) first, and then a cloak. The nymph Calypso puts on a new dress for Odysseus and gives him a bath. Of course, she takes a bath before. When we read in some story: “Ivan Petrovich went up to the table. He was very cheerful "- we consider ourselves obliged to ask -" Who was cheerful - the table? " Homer very often uses the words "he", "she", "they", when the meaning is clear who the speech is about, although one who wishes can ask a question similar to that of a table. In this case, I considered it possible to follow Homer. However, I did not dare to follow the exact translation to the end. For Homer, for example, the seat of all the spiritual and mental properties of a person is not the brain, but the heart, even more precisely, the abdominal obstruction (phrenes). Maybe this is the lack of the necessary audacity, but my hand did not rise to translate: "anger seized his abdominal barrier" or: "I rejoice with all my abdominal barrier." About transcription of proper names. In general, I tried to convey them in accordance with the original, but the names that have already received the right of citizenship from us and have become common for everyone, I left in the same transcription: Achilles (not Achilles), Hecuba (not Hecaba), Ajax (a not Ayant), Kalchas (not Kalhant). Also in the prepared translation of the Odyssey: Circe (not Kirk), Cyclops (not Cyclops), etc. The same with accents. It would be correct: Apollo, Dionysus, Priam, Menelaus, Paris, etc. I kept the stress that has become common for us. |
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For the first time, translations of fragments from Homer's Iliad appeared, including from the pen of M. Lomonosov.
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- Be good, do not be angry, possess
- Mother's heart quotes
