A long review is pointless. This is a gripping translation of a great work. Fagles has accomplished the difficult task of rendering the formal language of the Odyssey into a form of modern English that apparently preserves the poetry of the original. Very easy to read and quite powerful. Though I have not looked at the popular Fitzgerald translation for many years, I would have to say that I prefer this one. This edition comes with an excellent introductory essay and notes by Bernard Knox. Readers who enjoy this book and translation should immediately pick up Fagles' translation of the Iliad. The latter is an even greater epic and probably harder to translate. The Fagles version of the Iliad is outstanding.

Merely reviewing the Odyssey would be superfluous: it is, quite simply, the greatest adventure story of all-time. Its age and long endurance have only served to increase its reputation. There have been countless translations - including Alexander Pope's famous one, as well as the standard Oxford text - and this is the most recent major translation. It is also an essential purchase for any fan of the Odyssey, and, I think, the best place to start for those who have never read the epic in any form before. Fagles has given us a startling new modern verse translation, for which he has been widely acclaimed and given numerous awards, and it helps to restore the epic poem to some of its original Hellenic splendor, while, at the same time, being extremely exciting, immensely readable, and highly commendable. Fagles's translation is a masterpiece in itself. Aside from the masterful translation, the book is a deluxe must-own: complete with library binding, it also includes a long (60+ page) introduction from Bernard Knox, which is scholarly and interesting, while also remaining immensely readable. Knox has also provided deluxe notes for the edition, and it is further rounded out by such bonuses as a series of maps depicting Homeric geography, a pronunciation dictionary, and several other sections giving you background information on the Odyssey, Homer, and the translation. Certainly the definitive version of The Odyssey available to the mass market today, I cannot fathom why it isn't more popular here at Amazon, as it is the version that you most consisentently see on bookshelves across the country. Let us help change that by making this the version of The Odyssey you purchase, if you are at all interested in it, Homer, or ancienct Greek epics.

Well...to read Bacchylides (in Robert Fagles'
translation) after having read Pindar (in C.M. Bowra's
translation--Penguin Classics) is to read (for me)
shorter, fresher, clearer poetry.
Yet, strangely, in his "Introduction" Fagles finds
it necessary to defend Bacchylides against the greater
fame and tradition of admiration for Pindar -- but
Fagles does a very good job of making his case for
Bacchylides (and, of course, the poetry speaks
in translation in favor of Bacchylides as well).
Interestingly, Bowra has written the "Foreword" for
Fagles' edition of Bacchylides. Bowra says that
Bacchylides is hard to translate -- but the advantage
for Fagles is that Bacchylides has had few translations,
since the remains of his poetry were not known to
modern times until 1896. Bowra says that since Fagles
is not hampered by so many previous earlier versions
of translations, he makes almost a fresh start, and
with unusual courage, judgment, and creative insight

has produced a work which is both a faithful translation
of Bacchylides as well as a work of art in its own right.
That is high praise indeed, from one classical translator
to another.
In his "Introduction," Fagles admits early on that
the usual perception of Bacchylides has been that he
was considered "a dull and slight, or, a sweet and
sometimes charming practitioner of the kind of poetry
which Pindar created with profundity and magnificence."
But Fagles won't let that unfair judgment go...so
Pindar is by far the greater poet, is he? --well,
Bacchylides handles the genre differently, with his
own distinct virtues, and he is interested in different
things from Pindar. Fagles says that Bacchylides does
not consider himself to be a prophet as Pindar did.
Bacchylides stands back from his work and "prefers to
consider himself a craftsman." The element of
narrative (as in Homer) is more important to Bacchylides
than in Pindar. Fagles says, "Bacchylides lacks the
inwardness of Pindar...He is cooler, brighter, more
objective." Fagles says that in narrative grace and
crisp elegance, Bacchylides is the superior to Pindar.
This volume is divided into sections of different
types of poems: Epinician Odes [14] (to honor victorious
athletes in the various games held in ancient Greece--
Isthmian Odes, Olympian Odes, Pythian Odes, Nemean Odes);
Dithyrambs [15-27] (concerning various mythic figures--
The Sons of Antenor, Heracles, Theseus [2 poems], Io,
Idas, Cassandra, Pasiphae, Chiron) -- Fragments, Fragments
of Uncertain Genre, and Doubtful Pieces.
There is also a section of "Notes" in the back to
explain some aspects of the poems.
Though Bacchyides' sentences tend to be a bit more
complete, to me personally, I get the same freshness
from reading Fagles' renderings of these poems in
their short, clear impact after reading the rather
turgid Pindar (in translation), as I get when
I read Emily Dickinson after having had enough
of a dose of bombastic, droning, tedious
Walt Whitman in his longer, "prophetic"
pieces. Walt can be glorious, mystic, intimate,
delicate -- but he can also be tiresome.
Try Bacchylides for a refreshing easement.
_______________
Men can maneuver no hold
Over wealth or stubborn war
Or the feuds that rock a state --
But raking her clouds from land to land,
Destiny -- that Pandora -- ranges.
-- Bacchylides.
* * * * * * * * *

This translation of Homer's classics 'The Iliad' and 'The Odyssey' is so clear and accurate that the brilliance of the classic really seems to shine through. The first tale, The Iliad, recounts Greece's capture of Troy and the death of Achilles and the tragic return home of Agamemnon. The second, The Odyssey describes the long journey home of Odysseus, who, for years, had been enslaved on an island. I especially recommend Fagles' version to student or readers either unfamiliar with, or intimidated by Homer's work. It's easy-to-read and demonstrates why Homer is one of the greats.

I highly recommend this boxed hardcover set, because after reading Robert Fagles translation, you'll want to keep it as a part of your personal book collection..to re-read again and again. I have read many fine and not-so-fine translations of these works (including the admirable Robert Fitzgerald and the classic Richard Lattimore translations), but Robert Fagles' translations are by far the best I've seen. Fagles manages to bring the stories to life while still maintaining a sense of the poetic beauty of the original. I especially liked the Illiad. These translations are far from being dusty and archaic, but instead are very much "alive", capturing the excitement and beauty of these classic tales. If your first exposure to these classics was a very negative one, try again with Fagles (you'll be very glad you did!)... and if you're a great fan of Homer, you'll definitely want to read these wonderful new translations by Robert Fagles.

Also, the "introductions" by the well-respected classicist, Bernard Knox, are a great source of additional,up-to-date information about these works and the Homeric period of Ancient Greece.

What distinguishes the Fagle's Translation of Iliad from dozens of other great translations, is he put the sense of "epic" into its English version. I read and reread it, I can not get over how it achieves to give you a sense of solidity and all encompassing grandeur, in a scale that evokes heroism ,fate, courage, beauty, adventure in every line. I do not read Greek, but I can only imagine if an ancient bard who sang these lines in an amphitheater would want to achieve, what Fagle's translations does in reading all by yourself, alone.

Robert Fagles's translation of Homer's Iliad is spiritually if not literally true to the original. Both versions repeat set speeches and descriptions in precisely the same words, and the translation exhibits a fairly regular rhythmic beat. But Homer's Greek was chanted, and the set passages were like refrains in which listeners could, if they chose, join in as a chorus. In English, the repetitions sometimes become tedious, especially when the same speech is given three times in two pages, as in the relay of Zeus's orders in Book II. Especially noteworthy is Bernard Knox's long and fascinating Introduction, a masterpiece of literary criticism which conveys Homer's grim attitude toward war, the interplay of divine and human will, and the ancient concepts of honor, courage, and virility in the face of the stark finality of death. Knox also includes a succinct explanation of the quantitative, rather than accentual, basis of Greek (and Latin) verse. For easy readability, Fagles's translation is without rival. For elegance and poetry, however, I recommend Richmond Lattimore's older but still gripping and fluent translation.

Robert Fagles's translation of Homer's Iliad is spiritually if not literally true to the original. Both versions repeat set speeches and descriptions in precisely the same words, and the translation exhibits a fairly regular rhythmic beat. But Homer's Greek was chanted, and the set passages were like refrains in which listeners could, if they chose, join in as a chorus. In English, the repetitions sometimes become tedious, especially when the same speech is given three times in two pages, as in the relay of Zeus's orders in Book II. Especially noteworthy is Bernard Knox's long and fascinating Introduction, a masterpiece of literary criticism and scholarship which conveys Homer's grim attitude toward war, the interplay of divine and human will, and the ancient concepts of honor, courage, and virility in the face of the stark finality of death. Knox also includes a succinct explanation of the quantitative, rather than accentual, basis of Greek (and Latin) verse. For easy readability, Fagles's translation is without rival. For elegance and poetry, however, I recommend Richmond Lattimore's older but still gripping and fluent translation.

Robert Fagles's translation of Homer's Iliad is spiritually if not literally true to the original. Both versions repeat set speeches and descriptions in precisely the same words, and the translation exhibits a fairly regular rhythmic beat. But Homer's Greek was chanted, and the set passages were like refrains in which listeners could, if they chose, join in as a chorus. In English, the repetitions sometimes become tedious, especially when the same speech is given three times in two pages, as in the relay of Zeus's orders in Book II. Especially noteworthy is Bernard Knox's long and fascinating Introduction, a masterpiece of literary criticism and scholarship which conveys Homer's grim attitude toward war, the interplay of divine and human will, and the ancient concepts of honor, courage, and virility in the face of the stark finality of death. Knox also includes a succinct explanation of the quantitative, rather than accentual, basis of Greek (and Latin) verse. For easy readability, Fagles's translation is without rival. For elegance and poetry, however, I recommend Richmond Lattimore's older but still gripping and fluent translation.

Robert Fagles is an excellent translator generally, and if you have never read the Greek classics before, I would recommend this one. He puts more emotion and excitement into the plays than most of his contemporaries do.

However, even though I love Fagles and was quite impressed by his Homer translations, his Aeschylus is probably not the best out there. If you are looking to truly study Aeschylus rather than just read it for pleasure, I would recommend, instead, the Lattimore translation. It is far harder to get into initially, but more rewarding, as the translation is more literal yet still superb. Do not be afraid!

With his recent translations of Aeschylus, Sophocles and especially Homer, Robert Fagles assumes the status of the finest Greek translator of the age. The grandeur, excitement and triumph of this beautiful translation cannot be overstated. The Oresteia is truly one the most monumental and enduring legacies from the Golden Age. Here is a translation which befits the greatness of the subject.

Some additional random musings:

1. This is one of the many books I was "forced" to read in graded courses at the University, but only really first discovered when I was long graduated and freed from all compulsory studies. In the meantime I have also had the time and passion to study -- very slowly and with great delight -- the originals.

2. As with other "great" works of literature, my advice is to ignore what the "experts" have to say about the work and go straight to the work itself. Thus, skip the intimidating intro and dive right into the text, doubling back later only if the muse strikes you.

3. After reading and then rereading Fagles' new translation of the Agamemnon, Libation Bearers and Eumenides I am struck by the similarities of the Oresteia in both tone, theme and mien to the greatest Shakespearean tragedies, especially Hamlet. My dogeared copy of this Aeschylus is now bristling with notes and crossreferences to the Bard.

The Oresteia (the only extant complete Greek trilogy) consists of three plays: Agamemnon, The Libation Bearers, and the Eumenides. It begins with Agamemnon returning home triumphant from the Trojan war only to be struck down (together with the tragic Cassandra) by his wife Clytaemnestra. Her motives while just (he sacrificed their daughter Iphigeneia to calm the winds) are impure because of her adultery with Aegisthus.

The second play is the vehicle for Clytaemnestra's punishment, as her son Orestes returns to kill both her and Aegisthus with the help of his sister Electra.

Finally, the Eumenides has the trial of Orestes by Athena, as she stops the furies from taking him in return for the blood-guilt he incurred for killing his mother. The Eumenides provides the way to end the cycle of revenge by banishing the furies from active participation in the world of men.

The cycle can be read in any number of ways. The introduction to the Penguin/Fagles translation contains a summary of the various readings. I kept wondering what Proteus, the missing fourth satyr-play would have provided. We read it so clearly as a trilogy and the Eumenides has such a harmonious ending that I can't help but wonder if the circle closed in the third play reopens in the fourth or if it was something else entirely.

My only complaint about the book is that in the Fagles translation the notes are at the back of the book rather than assigned per page, and I find that a cumbersome style to read.

I'm a great fan of Robert Fagles, and by no means does he let the reader down with this adaptation of Sophocle's triumvirate masterpiece.

There are a few versions of the Three Theban Plays out there for you to buy, but this is the one I most highly recommend. And it all comes down to a key word: translation.

I really like the work that Robert Fagles does on his translations. They are easy to read, fluid, and still manage to be poetic. There's a lot of work put into these pages, and it shows.

For work or for pleasure, The Three Theban Plays is an important part of dramatic history that everyone should read. If you're reading it, read it the best way that you can. Get this translation, and get it now.

I just saw the 1957 film of Oedipus Rex. Wo - ow. What a story.
And this translation by Robert Fagles is extremely good. Sophocles' drama is so simple, and so perfect, that it will probably never be forgotten! This is the ancestor to Hollywood - from 2500 years ago. THRILL to the dramatic exposition of Oedipus' unknowing sins! LAUGH at the gorgeous double-entendres in every second line! SHUDDER at the scene where Oedipus and Jocasta think they have the prophecy licked, and laugh at the gods!

This is fine drama, no mistake. I have not yet read the other two Theban plays in this volume, but I'm sure they're great too.

Oh by the way: Australian readers take note. The cover of the Aussie edition has no fewer than EIGHT typing and setting errors! "Robert Eagles??" "Thebian Plays??" I see from Amazon that the American edition is corrected. But Australian readers should take note. I don't know, maybe someone accidentally submitted a draft?
To make sure you have the right edition, read the spine. The stuffed-up version says "THEBIAN PLAYS"...ooer.

Ever since I started learning Koine Greek I keep having the thought that I must at some point pick up Classical Greek in order to read Homer in the original. Thoreau said that all men must read Homer in the original. Maybe he is right. I don't know.

If Homer is half the poet that Robert Fagles's translation makes him out to be--it will be well worth the effort. In his book "How to Read a Poem and Fall in Love with Poetry," Edward Hirsch says that poems are like messages in bottles that make their way unseen across oceans of time and culture to unforeseen readers. When I uncorked this bottle I was blown away by the song it sang.

Fagles has impeccable descriptive power, which he blends with stunning imagery and timing. I recommend this book highly...come, be swept along on the heroic tides of this wine-dark sea. Experience the Odyssey the way it was meant to be.

Fagle's translation of THE ODYSSEY in the Penguin edition is an almost perfect act of publishing. The translation itself manages to be enormously readable, highly poetic, and extremely accurate, all at the same time. The Introduction by Bernard Knox should serve as a model for all scholars who are called upon to write critical introductions for classic works of literature. And the book design is is extraordinary; this edition of Homer's classic is easily one of the most attractive paperback books in my library. I had read this once before in translation (in the old Rieu version), and then later translated much of it in a second year Greek class. But in neither instance did I enjoy it as much as reading the Fagles's translation.

Aristotle did not think that people should study philosophy too early in life, and perhaps that is also true of reading Homer. Part of me feels that we make a mistake in our education systems by making students read THE ODYSSEY before they are in a position to appreciate it. If one looks through the reviews here, a very large number of very negative reviews by a lot of high school students can be found. I find this unfortunate. In part I regret that we are forcing younger readers to read this book before they have fully matured as readers. Perhaps the book and the students themselves would be better served if we allowed them time to grow a bit more as readers before asking them to tackle Homer.

THE ODYSSEY is so enormously enjoyable (at least for this adult reader) that it is easy to forget just how very old it is. What impresses me is how readable it is, despite its age. There are very, very few widely read works older than THE ILIAD and THE ODYSSEY. And the gap between how entertaining these works are and those that come before them is gigantic. Try reading THE EPIC OF GILGAMESH or even THE HESIOD and then turning to THE ODYSSEY, and one can grasp my point. This is a very, very old work of literature, but it wears its age lightly. In the end, the greatest praise one can pay THE ODYSSEY is the fact that it can be read for fun, and not just because it is a classic.

Firstly, some of the reviews have given poor ratings to this epic poem because they did not like the story of the Odyssey and not because it was a bad translation. In fact it is the best I've ever read. Pope's translation of course is more poetic but it is not at all accessible. Fagles does a wonderful job in updating the language to modern English so that we can understand the story. Also at the back of the book are notes and a short glossary so that if you are not familiar with any of the references to Gods for example you can look it up and learn more about Greek mythology. Finally Fagles has a great introduction (with maps) that gives you background into the world of Homer.