by Rafaël Newman
Morgan Meis, The Drunken Silenus: On Gods, Goats, and the Cracks in Reality (Slant Books, 2020)
Reviewing a new translation of the Iliad, the military historian Edward Luttwak speculates about the enduring popularity of the ancient epic:
Why are our contemporaries so keen on buying and presumably reading the Iliad’s Iron Age reminiscence of Bronze Age combat? Publishers certainly view it as a paying proposition: at least twenty new English-language translations have been published since 1950, not counting ones from private presses. In Greece, as in Italy for students of the liceo classico, it is a compulsory school text (several modern Greek versions also serve as cribs), but why are the passengers at Terminal 2 in San Francisco buying the English versions? Uniformed and desert-booted soldiers are a common sight in US airports – the uniform secures lounge access and early boarding – and it is a fair surmise that warriors and would-be warriors, these days more often college-educated, are war-book buyers, of which the Iliad is the echt and ur. Some of course – nasty fellows – would widen the explanation by seeing Americans as a whole as war-lovers, hence war-book addicts, hence Iliad buyers. That’s lame to begin with, for there are countless ways of getting that fix much more easily than by reading 15,693 lines of hieratic verse bound to offend military history buffs, because of … the extreme, pervasive emotionalism – all the weeping wives of other war books are outdone by the floods of tears of Homer’s greatest warriors…
For the ancient heroes in Homer’s epic – Achilles, Agamemnon, Odysseus – are indeed often to be found weeping, whether in conventionally lachrymose settings, such as over the death of a comrade in battle or at a funeral, or when enraged and frustrated at the indignities visited on them, or, signally, when recalling their own brilliant past and lamenting their impending mortality, and subsequent obscurity. Read more »