After only three weeks in theaters, Christopher Nolan's The Odyssey has officially surpassed $1 billion at the global box office, his third film to hit this milestone following The Dark Knight and The Dark Knight Rises.
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Castle Howard Collection 1725年Alexander Pope翻譯的Odyssey
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Odyssey (Alexander Pope translation)
 Title page of first edition; engraving by Paul Fourdrinier after William Kent | |
| Translator | Alexander Pope |
|---|---|
| Language | English |
| Publication date | 1725–1726 |
| Text | The Odyssey of Homer at Project Gutenberg |
The Odyssey of Homer is an English translation of the Odyssey of Homer by English poet Alexander Pope. It was published in five volumes between 1725 and 1726. As with his translation of the Iliad, Pope changed the metre from the dactylic hexameter used by the Homeric Greek text into heroic couplets, rhyming pairs of lines in iambic pentameter.
Pope was influenced by the Homeric Greek Odyssey, earlier translations, and the poetry of John Milton. His translations were celebrated during the course of his life and beyond, and made him financially independent for the rest of his life. Pope's use of heroic couplets became a hallmark of future Odyssey translations.
Background
English poet Alexander Pope expressed familiarity with the poem in the Homeric Greek and previous translations in Latin, French and English.[1] He experimented with translation from a young age,[1] with the writer for The Cambridge Companion entry on Pope estimating "sixteen years of [the] young poet's life" spent on Homer and the poems.[2] He derived much about the epic and heroic forms from the work of Homer and John Milton.[1] He was influenced by a French prose translation by Anne Dacier;[3] Dacier's translation Christianised Homer whereas Pope saw him as "the supreme poet of manners".[4] Pope wrote that he faced the same challenges of any "poet-translator", identifying cultural parallels in two wildly divergent historical contexts.[5]
Pope grew tired of translating following his completion of the Iliad, writing to a confidante that it had made him weary and resentful of all prose and poetry.[6] He paid two collaborators to help him with the Odyssey, translating twelve books himself. The other twelve he divided between Elijah Fenton (translated eight books) and William Broome (who translated four and provided annotations).[5][7] Pope attempted to suppress this information, but it eventually leaked, harming his reputation but not impacting his profits.[8] He was defended by Daniel Defoe, who saw him as a "master-manufacturer", a label which hurt Pope.[4]
Publication
Frontispiece and title page
The book's frontispiece consists of an engraving by George Vertue of a bronze bust of Homer's head from the Hellenistic period. Brought to England by Thomas Howard, 14th Earl of Arundel,[9] the head's arrival in western Europe caused a sensation. As of 2021, it resides in the British Museum.[10] Engraved by Paul Fourdrinier after William Kent, the title page features an illustration of Achilles sitting on a grave while also beaming light towards Homer.[11]
Reception
The Odyssey was an immense financial success for Pope. Benefitting from the popularity of his Iliad translation, it earned him approximately £5,000 (equivalent to £890,700 in 2025).[12] Classicist Emily Wilson writes that it "dominated the market" and shaped how future translators interpreted the poem.[13]
Pope's translation quickly became a favourite of the period.[12] In 1726, historian Joseph Spence praised the translation as, in some ways, an improvement over the Homeric Greek, citing his use of epithets, allusion, and vivid imagery.[4] Pope's translations have been described as the "end of an old era of Homer", being the last translation released before Friedrich August Wolf's Prolegomena ad Homerum (1795). Pope had regarded Homer as a long-dead but individualised artist, while Wolf moved emphasis from Homer as a single author and emphasised oral transmission.[14]
Historian Louis Kelly called the translation "Homer in a powdered wig declaiming in a baroque theatre".[15] To Wilson, Pope's Odysseus is "the ultimate hero of politeness and tact", a king whose deep knowledge of suffering informs his approach to ruling.[13]
Many of the Iliad's detractors expressed similar concerns over the Odyssey, citing poor imagery and intellectual dishonesty regarding authorship.[12] Sir Leslie Stephen preferred Pope's Iliad, reasoning that he had put more time and care into the translation.[16]
References
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http://en.wikipedia.org/wiki/Nikos_Kazantzakis
Nikos Kazantzakis (Greek: Νίκος Καζαντζάκης; 18 February 1883 – 26 October 1957) was a Greek writer and philosopher, celebrated for his novel Zorba the Greek, considered his magnum opus. He became known globally after the 1964 release of the Michael Cacoyannis film Zorba the Greek, based on the novel. He gained renewed fame with the 1988 Martin Scorsese adaptation of his book The Last Temptation of Christ.
English
Zorba the Greek 希臘左巴
Nikos Kazantzakis(1883-1957)／王鴻仁／遠景／希臘
中文討論 Nikos Kazantzakis 比較詳細的資料是Will Durant 的現代文豪看人生
引言說哥德說要對後世有影響的作品要是"自白書"(懺悔錄 )
引超人Z 之一段
The Odyssey: A Modern Sequel, a full verse-translation by Kimon Friar, New York: Simon and Schuster, 1958; London: Secker and Warburg, 1958.
《奧德賽：現代續篇》（1938）是荷馬史詩《奧德賽》的續篇，十五年間改寫了9次才出版。史詩描寫英雄奧德修斯重返家園後又出外漫遊：到斯巴達帶走海倫，到克里特島發動政變，又到埃及參加了工人革命，去高山上修道，建立了一個烏托邦，在漫遊中他遇到各種象徵性人物，最後死在南極，靈魂升天。長詩既反映了作者的生活經歷，又包含了深刻的哲學思想。希臘小說家，他的傳記作者潘德里斯·普萊維拉基斯稱之為「這是一次記錄他深邃哲學思想的超人努力」。
《安東尼．昆 探戈獨舞》(One Man Tango (1995).台北：智庫文化，1997) ---這是他的第二本回憶錄： 第一本是《安東尼．昆 原罪: 自畫像》(The Original Sin: A Self Portrait (1972) )
Anthony Quinn (April 21, 1915 – June 3, 2001) was a Mexican-American actor, as well as a painter and writer. He starred in numerous critically acclaimed and commercially successful films, including Zorba the Greek,
Japan, China, translated by George C. Pappageotes, New York: Simon and Schuster, 1963; published in the United Kingdom as Travels in China & Japan, Oxford: Bruno Cassirer, 1964; London: Faber and Faber, 1964.
^ 尼科斯·卡贊扎基斯. 中國紀行. 譯林出版社. 2008
尼可斯·卡贊扎基斯. 自由或死亡. 譯林出版社. 2007年.
------瓦科特（Derek Walcott)的一首短詩，題曰：Map of the New World: Archipelagoes. 我在上世紀的1992年瓦科特得諾貝爾文學獎時曾將其譯成中文：
新世界地圖 瓦科特作
——島群
童元方 1992將過去翻譯過，出版的詩歌重新講：
荷馬的史詩Odyssey 是西洋文學的經典之一， 爲後來發展出的文學傳統種下了許多原初的因素。就說Odyssey 這個字，從海上航行/歷險到歸途/回家（voyage/adventure-returning/going home）對原文的詮釋與聚焦的主題各有所重之外，向原文致敬的傑作亦穿越古今與不同的語種在頂峰相見。比如，喬埃斯（James Joyce)的 《尤利西斯》（Ulysses是Odysseus的拉丁名字），用意識流寫出一個愛爾蘭人在都柏林一日瑣碎中的冒險與回歸，在不同的時空中呼應《奧德賽》中的奧德修斯。
而諾蘭用膠片拍出的《奧德賽》極其複雜，他一開篇就定義了奧德修斯是一個複雜的人（a complicated man). 故事的重點之一不在歷險，也不在歸家，而在禮物之爲欺騙的背叛。木馬之爲禮物竟是屠城的引信，終致破壞了宙斯之法。
在這樣的震撼中我又莫名其妙地想起瓦科特（Derek Walcott)的一首短詩，題曰：Map of the New World: Archipelagoes. 我在上世紀的1992年瓦科特得諾貝爾文學獎時曾將其譯成中文：
新世界地圖 瓦科特作
——島群
在這句詩的終點，
雨開始下
晴與雨的界限，是一張帆
漸行漸遠。從這帆上看去
島群的蹤影杳然不見；
全族駛入港灣的信念
已陷入茫然。
十年戰爭已打完，
海倫的頭髮，已化爲灰雲一片；
特洛的城堡，已成了灰土一灘，
在灰霧迷濛的海邊。
雨一陣緊似一陣，是豎琴
上的長絃。
雙眼朦朧的人拾起了雨，
撥出了第一行，那是
「奧德賽」的詩篇。
我非常、非常喜歡這首詩。
瓦科特的《新世界地圖》是三首組詩的第一首。他自始即以作詩與航行的比喻並列。因爲下雨，海上迷茫，他們的船看不清方向，也看不見可以停泊的港口。
而海上的雨化成了豎琴的絃，一如雙眼朦朧的盲詩人荷馬爲吟誦出《奧德賽》的長詩而撥起了絃，瓦科特也要寫他自己的《奧德賽》。
這海，是愛琴海，也是加勒比海；是特洛與希臘的十年城邦之戰，也是反抗英國殖民統治的西印度群島聖路西亞的十年戰爭。戰後奧德修斯要回到他在伊薩卡（Ithaca)的家— 《奧德賽》的起點與終點；瓦科特要回到他心有所屬的故鄉。然而，他所歸之家，是現在，也是古典的過去。現在，是他非洲的淵源，西印度群島的根本；而過去，是由彼而出的英詩的大傳統。
瓦科特回家的路是身分的認同，鄉關何處？往大處說，什麼是西印度群島人呢？他對此群島殖民的過去是悵惘的，面對的未來是困惑的；往小處說，他對自己留著非洲、荷蘭、英國血液的譜系和黑奴後裔的背景，感覺是既複雜，而又矛盾的。
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