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Editorial Reviews. 'Adapting words of the ancient critic Longinus, [Lombardo] refers to. Aeneid (Hackett Classics) UK ed. EBook features. Stanley Lombardo's deft abridgment of his 2005 translation of the Aeneid preserves the arc and weight of Virgil's epic by presenting major books in their entirety and abridged books in extended passages seamlessly fitted together with narrative bridges.
Stanley Lombardo's Aeneid Translation Stanley Lombardo's Aeneid Translation. The Book Virgil, Aeneid, trans. Stanley Lombardo, intro.
Johnson (Indianapolis/Cambridge: Hackett Publishing Company, Inc., 2005) is the version of Lombardo's translation that I have, and I believe it is the only published version at this point. It comes in both paperback (ISBN: ) and cloth (ISBN: ). It includes a map, a brief translator's preface, a 57-page introduction, and a glossary of names.
It is readily available at online booksellers, including the. The Translator Stanley Lombardo is Professor of Classics, University of Kansas. His previous translations include Homer's Illiad (1997, Hackett) and Odyssey (2000, Hackett), Hesiod's Works & Days and Theogony (1993, Hackett), and Sappho, Poems and Fragments (2002, Hackett), a PEN 'center' USA 2003 Literary Award Finalist. The Translation Of the three recent translations of the Aeneid (see also and, only Lombardo's is in verse. He explains: The rhythmic line that I have developed.is based.on natural speech cadences. This is in keeping with the performative qualities of the Aeneid, which although it is literary rather than oral epic was nonetheless intended to be recited, practiacally sung.
He goes on to say I have continued the practices.of composing for performance as much as for the printed page and of using actual performances to shape the translation process. The result is what seems to me to be a slightly uneven, but very readable, mix of 'poetic' and 'prosaic' elements.
Lombardo supplies no notes with his translation, which perhaps is to be expected for a work shaped by the performative qualities of the Aeneid. Whether this is a plus or a minus depends on the reader.
I sometimes find too many notes distracting - yes, I could just ignore them but I have a hard time doing that - but there are times when a little explanation seems necessary. There is a glossary of names in the back of the book.
I have finally found a review of this book in the. I also found a with a few comments on the Aeneid in general, and Lombardo's translation in particular.
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I also see the Lombardo had an essay and some excerpts from his translation in, although I have not yet been able to read it. An Excerpt, Aeneid IV.693-705. Latin Lombardo's Translation Tum Iuno omnipotens, longum miserata dolorem difficilisque obitus, Irim demisit Olympo, quae luctantem animam nexosque resolveret artus. Nam quia nec fato, merita nec morte peribat, sed misera ante diem, subitoque accensa furore, nondum illi flavum Proserpina vertice crinem abstulerat, Stygioque caput damnaverat Orco. Ergo Iris croceis per caelum roscida pennis, mille trahens varios adverso sole colores, devolat, et supra caput adstitit: 'Hunc ego Diti sacrum iussa fero, teque isto corpore solvo.' Sic ait, et dextra crinem secat: omnis et una dilapsus calor, atque in ventos vita recessit.
Then Almighty Juno, pitying Dido's long agony And hard death, sent Iris down from Olympus To free her struggling soul from its mortal coils. Her death was neither fated nor deserved But before her day and in the heat of passion. Proserpina had not yet plucked from her head A golden lock, nor allotted her a place In the stygian gloom. And so Iris flew down Through the sky on sparkling, saffron wings, Trailing in the sunlight a thousand changing hues, And then stood above Dido's head. 'This offering I consecrate to Dis and release you from your body.'
As soon as she had cut the lock, all the body's warmth Ebbed away, and Dido's life withdrew into the winds. 1 Virgil, Aeneid, trans. Stanley Lombardo, intro. Johnson (New York/Cambridge: Hackett Publishing Company, Inc., 2005), back cover.
2 Virgil, xiii. 3 Virgil, xiii. 5 Virgil, 100. Created on December 12, 2005. Updated on December 6, 2007.
'One of the most entertaining short narratives of all time, the Achilleid is a stand-alone work of compelling contemporary interest that moves with great rapidity and clarity. Its compact narrative, which encompasses a brutish childhood, an overprotective mother, temporary gender bending, sexual violence, and a final coming to manhood with the promise of future military prowess, may be unparalleled in a single narrative of such brevity. Until now, however, it has been virtually impossible to get a sense of the work if one did not know Latin—recent translations notwithstanding.
Stanley Lombardo’s translation of the Achilleid is a dream: it’s sound, enthralling, and will fully engage readers with this enticing, perplexing, at times distressing, but ultimately rewarding work.' —Marjorie Curry Woods, The University of Texas at Austin. 'Crisp, idiomatic, and precise, this is a translation for our era. The list of further reading, grounded in the writings of W.R. Johnson (who also wrote the Introduction) and Michael C.
Putnam, suggests the context that informs the translation: here, as the translator says in the Preface, you will find an Aeneid that works more in the shadows than in the light. This translation would be excellent for classroom use: not only would it incite fascinating discussions about issues of war and empire, but it also reads well aloud. Together with Johnson's Introduction, this volume offers the Aeneid in terms that will resonate strongly with the general reader of today.' —Sarah Spence, New England Classical Journal 'Adapting words of the ancient critic Longinus, Lombardo refers to the intense light of noon of the Iliad, the magical glow of the setting sun in the Odyssey, and the chiaroscuro of the Aeneid, a darkness visible. This latter phrase is the title of a famous interpretation of the Aeneid by W. Johnson, who contributes a splendid essay to the translation.
Whether recited or read, the present volume stands as another fine performance on Lombardo's part. Summing up: Highly recommended.'
Fantazzi, CHOICE 'Lombardo.tends to let Virgil be Virgil, and so avoids imposing unwarranted interpretation on the unwary reader. Johnson's introduction is masterful and illuminating.' —Hayden Pelliccia, The New York Review of Books.
This new volume of three of Euripides' most celebrated plays offers graceful, economical, metrical translations that convey the wide range of effects of the playwright's verse, from the idiomatic speech of its dialogue to the high formality of its choral odes. 'Many scholars translate the works of Euripides as they should be, but Diane Arnson Svarlien translates them as they are. Arnson Svarlien shows admirable modesty and restraint in avoiding. pitfalls, and makes choices that reveal the meaning of the text she is translating with the least imposition of her own personality. The ambiguity of Euripides is transmitted to us but not imposed on us by her translation. The translations are both readable and playable.'
—Edmond Chibeau, New England Theatre Journal. This new edition of Anthology of Classical Myth offers selections from key Near Eastern texts—the Babylonian Epic of Gilgamesh, Epic of Creation ( Enuma Elish), and Atrahasis; the Hittite Song of Emergence; and the flood story from the book of Genesis—thereby enabling students to explore the many similarities between ancient Greek and Mesopotamian mythology and enhancing its reputation as the best and most complete collection of its kind. To see the full Table of Contents (PDF) for Anthology of Classical Myth (Second Edition).