Abstract

This paper considers key principles and strategies in producing a translation of Homer's Iliad that succeeds for a wide audience both as poetic text and in performance. The author's translation of the last c. 100 lines of Iliad 19 is analyzed in terms of tonal variation and authorial voice, foregrounding performance as the telos of Homeric translation.

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Additional Information

ISSN
1558-9234
Print ISSN
0009-8418
Pages
pp. 227-231
Launched on MUSE
2010-03-18
Open Access
No
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