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.
This is the published version, also available here: http://www.dx.doi.org/10.1353/clw.0.0177.
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