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Scalar Milton

Evan Thomas, Milton Group8, Milton Group7, Milton Group6, Milton Group5, Milton Group4, Milton Group3, Milton Group2, Milton Group1, Milton Group9, Authors

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Teaching notes 29 August 2014

I started this class with a byzantine organization for class. I had two pieces of housekeeping to attend to: I had to address my students' upcoming journal project, then I checked in briefly on my students' experience reading War Music. This was the first point when I had to adapt, because I arrogantly assumed that my students would have loved War Music

My students told me that they found the events of the poem confusing, especially because they didn't know the background story. Fortunately, I had a section planned to address this. At the bottom of this entry, I'll copy and paste my lesson plan for today's activities. In brief, we started by identifying the characters of the Iliad and identifying their relations to each other. Then we discussed (impromptu) the distinction between content and form: we were using reference works to understand the content of the Iliad, but we also wanted to draw closer to the form. So in the second activity, we compared the formal elements of three translations of the Iliad. As part of that activity, the students started out discussing five separate formal elements in their letter groups. Then the students related their discoveries to their number groups and took notes.

In my initial plan, my students were going to write letters to Christopher Logue, but the first activity went longer than expected. So I collected my students' summaries and will give them back to the number groups next time, so that the number groups can compose their letters to Logue.

What follows is my assignment sheet for today's activities.

English 2260: Today’s Task for 29 August

        By the end of today’s class, each number group is going to write a letter to Christopher Logue. In that letter, your number group is going to explain how you would translate the Iliad differently. Of course, you’ll need to be well-informed to write such a letter. We’ll first break into number groups to make sure that we understand the story of the Iliad and its characters. Then, we’ll discuss five kinds of decisions that translators make when they translate Homeric Greek. Lastly, we’ll reconvene into our number groups to write our letters to Christopher Logue.

Part I: Iliad Plot & People

        Before you write your letter to Christopher Logue, make sure that you understand the  characters in the Iliad, their motivations, and the  plot.

  1. Look at the diagram below and make a note of every character who you don’t recognize.
  1. Use your classmates or the web to look up unfamiliar names.
  2. Write a 250-500 word paragraph about the arrangement of this diagram, explaining why the characters are placed next to each other.
  3. Discuss your paragraphs as a class.


Part II: Iliad Similarities and Differences

In order to write your letter to Christopher Logue, consider the options that translators face. What do different translations gain and lose? What are the parts of poetry that previous translators have tried to preserve?

Group A -- note (dis)similar terms, phrases, and names

Group B -- compare the size of phrases, verses, and sentences

Group C -- compare rhymes and sounds for similar ideas

Group D -- compare the order of ideas and events

Group E -- compare the line-to-line transitions

George Chapman’s translation

Alexander Pope’s translation

Richmond Lattimore’s translation

Achilles’ bane full wrath[a] resound, O Goddesse, that imposd

Achilles' wrath, to Greece the direful spring

Sing, goddess, the anger of Peleus’ son Achilleus[b]

Infinite sorrowes on the Greekes, and many brave soules losd

Of woes unnumber'd, heavenly goddess, sing!

and its devastation, which puts pains thousandfold upon the Achaians,

From breasts Heroique—sent them farre, to that invisible cave[c]

That wrath which hurl'd to Pluto's gloomy reign[d]

hurled in their multitudes to the house of Hades[e] strong souls

That no light comforts; and their lims to dogs and vultures gave.

The souls [f]of mighty chiefs untimely slain;

of[g] heroes, but gave their bodies to be the delicate feasting

To all which Jove’s will gave effect; from whom first strife begunne

Whose limbs unburied on the naked shore,

of dogs, of all birds, and the will of Zeus was accomplished

Betwixt Atrides, king of men, and Thetis’ godlike Sonne.[h]

Devouring dogs and hungry vultures tore

since that time when first there stood in division of conflict

What God gave Eris their command, and op’t that fighting veine?

Since great Achilles and Atride[i]s strove,

Atreus’ son the lord of men and brilliant Achilleus.

Jove’s and Latona’s Sonne, who, fir’d against the king of men

Such was the sovereign doom, and such the will of Jove!

What god was it then set them together in bitter collision?

For contumelie showne his Priest, infectious sickness sent

Declare, O Muse! in what ill-fated hour

Zeus’ son and Leto’s, Apollo, who in anger at the king drove

To plague the armie; and to death, by troopes, the souldiers went.

Sprung the fierce strife, from what offended power

the foul pestilence along the host, and the people perished

Occasiond thus: Chryses, the Priest, came to the fleete to buy,

Latona's son a dire contagion spread,

since Atreus’ son had dishonoured Chryses, priest of Apollo,

For presents of unvalued price, his daughter’s libertie—

And heap'd the camp with mountains of the dead;

when he came beside the fast ships of the Achaians to ransom

The golden scepter and the crowne of Phœbus in his hands[j]

The king of men his reverent priest defied,

back his daughter, carrying gifts beyond count and holding

Proposing—and made suite to all, but most to the Commands

And for the king's offence the people died.

in his hands wound on a staff of gold the ribbons of Apollo

Of both th’ Atrides, who most ruled.  ‘Grat Atreus’ sonnes,’ said he,

For Chryses sought with costly gifts to gain[k]

who strikes from afar, and supplicated all the Achaians,

’And all ye wel-griev’d Greekes, the Gods, whose habitations be

His captive daughter from the victor's chain.

but above all Atreus’ two sons, the marshals of the people:

In heavenly houses, grace your powers with Priam’s razed towne,

Suppliant the venerable father stands;

‘Sons of Atreus and you other strong-greaved Achians,

And grant ye happy conduct home!  To winne which wisht renowne

Apollo's awful ensigns grace his hands

to you may the gods grant who have their homes on Olympos

Of Jove, by honouring his sonne (farre-shooting Phœbus), daine

By these he begs; and lowly bending down,

Priam’s city to be plundered and a fair homecoming thereafter,

For these fit presents to dissolve the ransomeable chaine

Extends the sceptre and the laurel crown

but may you give me back my own daughter and take the ransom,

Of my lov’d daughter’s servitude.’  The Greekes entirely gave

He sued to all, but chief implored for grace

giving honour to Zeus’ son who strikes from afar, Apollo.’

Part III: Letter-Writing

        Write a letter to Christopher Logue that  first shows you understand the decisions that he made, and then suggests some different ways of translating the Iliad.

[a]Group D: Achilles -> goddess

[b]Group D: goddess -> Achilles

[c]Group A: "Hell"

[d]Group A: "Hell"

[e]Group A: "Hell"

[f]Group E: lines begin with noun phrases

[g]Group E: lines begin with transitions

[h]Group C: alliteration of "k" sound

[i]Group C: assonance of "a" sound

[j]Group B: Chryses to Phoebus in 3 lines

[k]Group B: Chryses to Apollo in 4 line


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