Penguins on Parade: Plutarch!

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penguin plutarchSome Penguin Classics ain’t what they used to be! Take for example Rex Warner’s sturdy, chatty 1958 translation of six very famous mini-biographies from Plutarch’s epic series of Parallel Lives. Penguin decided early on that bringing out a fat Classic of the whole of Plutarch probably wouldn’t be commercially viable – or aesthetically either, since in Plutarch’s long pairing of Greek and Roman lives, several of the Greek figures suffer a great deal from the murky obscurity into which their names have fallen in the two thousand years since the the author dropped off the twig. But that’s not a worry with Warner’s volume, since it collects the lives of six of the most famous Romans of them all: Crassus, Cicero, Marius, Sulla, Pompey, and Julius Caesar. Writing those lives, Plutarch the master dramatist is on the surest of all possible terrain.

Something of that discursive certainty carries through wonderfully in Warner’s translation, but times, it seems, change. Under the strong impression that Warner’s translation was showing its age, Penguin in 2005 got Classics scholar and Pompey biographer Robin Seager to revise his own earlier revision of Warner’s version, and he set to his task with a vengeance. This spiffy improved Penguin volume has greatly expanded end notes, and it for the first time includes translations of the special essays Plutarch wrote explicitly comparing the Greek life and Roman life he’d just chronicled.

The resulting volume is an intensely valuable mini-education in some of the best Plutarch has to offer his readers – but it  sure is hard on poor departed lucy reads plutarchRex Warner! This is an example of Seager trying to be nice:

I have completely revised Rex Warner’s translations of the six lives which make up the volume. More specifically I have corrected his very occasional errors and omissions, rephrased passages where it seemed to me possible to get closer to Plutarch’s exact meaning, and, for the benefit of students of Roman history, rendered more precisely certain Roman social, political, and military terms. I have not, however, made any attempt to alter the somewhat free and strikingly individual manner in which Warner handled Plutarch’s syntactical and grammatical structures, except in those rare cases where I judged it to have misrepresented or obscured Plutarch’s meaning.

Why Seager didn’t go the extra half-step and simply do a wholesale new translation of his own I do not know. But as good and useful as this new edition is, I can tell you one thing for sure: Rex Warner’s original translation wasn’t as bad as all that.

Penguins on Parade: Appointment in Samarra!

penguin-colophonSome Penguin Classics – the vast majority of them, in fact – make their appearance too late to console their authors. Our case-in-point today involves an author who needed more consoling than most: the novelist and short story writer John O’Hara, who flourished in the 1930s and ‘40s, in the heady first heyday of The New Yorker, for which he wrote such an endless stream of short stories. O’Hara’s literary reputation has languished in the basement for decades, consigned there in large part by the comic, utterly damning evisceration the author received at the well-manicured hands of Brendan Gill in his classic Here at the New Yorker. It hardly matters that Gill praises O’Hara’s writing ability; the portrait he paints forever fixes O’Hara in the public imagination as a crass, sour buffoon.

penguin appointment in samarraIt shouldn’t matter that he wasn’t, but the portrait stuck, and O’Hara’s stock declined to such a flea-market and church-sale low point that you’d never have guessed he was once famous and extremely well-paid. So extra kudos to Penguin for bringing out his best works, starting with Appointment in Samarra, the 1934 debut whose smash success shot its author, not yet 30, to the height of literary renown.

The novel tells the story of the inexplicable, seemingly unavoidable (hence the title) downward spiral of small-town Cadillac salesman Julian English who, in the course of only three days, manages to drink himself into a stupor several times and alienate virtually everybody he knows personally and professionally. O’Hara knew a great deal about the kind of career yearning that can lead a man to the comforts of nightly drinking, and he knew a great deal about how pointless those comforts feel, and he knew a great deal about their miserable aftermaths. And it’s all here in this easily-underestimated novel: Julian English has no genuine reason to first destroy and then end his own life – he’s goaded by persecutions that remain dark to the reader. But his uncomprehending, self-destructive, flailing anguish along the way feel as real as any drunk-scenes ever written.

Even the critics who hated O’Hara agreed that he had a knack for eavesdropping on the everyday speech of his characters, and a fresh re-reading of Appointment in Samarra confirms it: the dialog here, even between two comparatively minor characters, is as vivid and unassuming as anything in John Cheever:

“I’m going upstairs now and make the beds. I’ll see if the pants of your Tux need pressing.”lucy reads john o'hara

“Oh God. That’s right. Do I have to wear that?”

“Now, now, don’t try and bluff me. You look nice in it and you know it. You like to wear it and don’t pretend you don’t.”

“Oh, I don’t mind wearing it,” he said. “I was just thinking about you. You’ll be so jealous when all the other girls see me in my Tux and start trying to take me outside. I just didn’t want to spoil your evening, that’s all.”

“Applesauce,” said Irma.

“Why don’t you say what you mean? You don’t mean applesauce.”

“Never mind, now, Mister Dirty Mouth.” She left.

What a girl, he thought, and resumed reading his paper; Hoover was receiving the newsboys for Christmas …

O’Hara went on from his stunning debut to write an entire bookcase of novels and short story collections, plus a good deal of occasional prose and a vast heap of letters. We can’t expect Penguin to get to all of that verbiage, but we can fantasize that O’Hara’s restless ghost is grudgingly pleased with some of his fiction is now being honored as Penguin Classic reprints. And the fact that Brendan Gill’s own superb short story collection, 1974’s Ways of Loving, is currently nowhere to be found? Well, that’s just extra.

 

Penguins on Parade: Not Yet!

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We can pause roughly mid-way in our Penguin Alphabet to daydream about all those great books out there that for one reason or another (critical unpreparedness, zealously guarded copyright, etc.) have never quite made it into the Classics canon – but very much deserve to. The full list of such Not Yet Penguins would be quite long and would encompass all the literary disciplines, but in this quick little alphabet-within-an-alphabet, we can look at a handful of them and wish we could walk into our nearest evil chain bookstore and buy them:

 

1. Apollonius of Rhodes: The Argonautica – Since it’s such a fantastic story, The Voyage of the Argo has had many English-language translations over the centuries. Penguin has had the venerable E. V. Rieu edition for decades. But Penguin also has an institutional penchant I’ve mentioned before: they find great editions and bring them into the fold. The best edition of Apollonius by far is Peter Green’s Argonautica from 1997, with its playful translation and its brilliant notes. This is an Argo book fit to stand for a century – and so, fit for Penguin

penguin lowell2. Anthony Burgess: Earthly Powers – I’m far from the only person to suggest this particular elevation; in an incredibly productive career of fiction-writing, Burgess never wrote anything that even approaches the sheer cumulative power of this doorstop novel about sin and redemption and more sin. It just got a snazzy new hopeful reprint, but it’s destined to get a Penguin Classic, and it’s tempting to want it now.

3. Frank Conroy: Stop-TimeMillions of people have read and enjoyed Conroy’s ebullient memoir, widely regarded as his best book (the too-neat ending of the otherwise-magnificent Body & Soul mitigating against it). A Penguin Classic (preferably with the original mass market Penguin paperback cover-art) would help to put this wonderful book where it belongs: on every high school curriculum, right next to The Catcher in the Rye

4. Pete Dexter: Paris Trout  - I’ve praised Dexter’s seedy, malevolent masterpiece before – in a long career full of great, fearless novels, this is the greatest of them all, as stark and unforgettable as a punch to the face. It’s lodged firmly in the alternate-canon of the 20th century along with John Gardner’s The Sunlight Dialogues, John Barth’s The Sot-Weed Factor, William Wharton’s Birdy, and M. A. Harper’s For the Love of Robert E. Lee. All of those works deserve Penguin Classics, and so does this one.

5. John Evelyn: Diaries – Evelyn’s more famous contemporary Samuel Pepys is the better known for keeping a diary, but Evelyn’s is every bit as picaresque and very nearly as fascinating, and it’s long overdue for a Penguin Classic.

6. Henry Fowler: A Dictionary of Modern English Usage – This fussy, hilariously frumpy 1926 classic of mandarin hectoring is now a curiosity, of penguin westvikingcourse; in an age where someone in a bookstore conference call can say “I’d like to surface a concern and group-interface it” and not get laughed out of the room (or where young people who like something can write “This. I can’t.” and not prompt inquiries about their mental health), there is no such thing anymore as correct grammar or usage, and the children of 2013 will grow up into adults of 2050 who communicate directly cortex-to-cortex via node implants, so the whole concept of grammar and syntax – correct or incorrect – will be meaningless to them. Nevertheless, Fowler’s book sold by the metric ton and shaped the public and private communication of two generations of people – and an annotated version could be immense fun.

7. Charles Greville: Diaries – Charles Cavendish Fulke Greville, courtier extraordinaire during the first half of the 19th century, filled eight jam-packed volumes of memoirs before he simpered off this mortal coil, covering the reigns of King George IV, King William IV, and Queen Victoria. In 1963 the great Louis Kronenberger crafted out of that sprawling mess a gem of a volume, which he titled The Great World, and that’s the volume Penguin should dig up and reprint, with a pretty Thomas Lawrence portrait on the cover.

8. Frank Herbert: Dune – Naturally, some copyrights will be contested more fiercely than others! Brian Herbert and the Herbert estate will defend this one to their last crysknife and lasgun, but in this list we’re only dreaming – and that the greatest science fiction novel of all time should have a nice plump Penguin Classic (a line deplorably deficient in sci-fi in the first place) is a very sweet dream.

penguin housekeeping9. Washington Irving: The Life of George Washington – Irving is already warmly inducted into the Penguin Classic fold, but this gigantic 5-volume work of his – which he (no mean literary judge) considered his life’s masterpiece – has fallen to silence, and that’s a shame. It’s biography on a big, romantic, Walter Scott scale, and, incredibly, it’s great reading throughout. With nifty onion-skin paper, Penguin could cram the whole thing into one fat volume.

10. Tony Judt: Postwar - Penguin already publishes Judt’s masterful tome on Europe in the wake of World War Two, and moving it over to the Classics line would not only be a fitting tribute to its cool, passionate brilliance but also a much-needed acknowledgement that works of history can be classics in their own right, regardless of whether or not their styles or even their facts go out of fashion. Reprint lines just generally tend to resist the idea that history can also be literature – the field is too vexed, so they steer clear of it entirely. Penguin Classics of In Flanders Field or The Mask of Command or The Roman Revolution (or even Carlyle’s The French Revolution, which you’d think would long since have earned its spot) would be wonderful things – and Judt stands in that select number.

11. Lawrence of Arabia: The Seven Pillars of Wisdom - T. E. Lawrence’s astonishing, incantatory memoir of the Arab revolt against the Turks during the First World War is, for good or ill, one of the great works of the 20th century, as strange and unforgettable as its author. A handy Penguin Classic paperback – preferably with extensive maps and all of its traditional illustrations – feels a long time in the arriving, and if it brought more readers to Lawrence’s personal epic, so much the better.

12. Larry McMurtry: Lonesome Dove – McMurtry’s flinty, mordantly funny Western about two retired Texas Rangers making an enormous cattle-run from south Texas to Montana has been reprinted by the author’s publisher ad infinitum, and maybe someday it’ll get the Penguin Classic it so obviously deserves.

13. Eric Newby: A Short Walk in the Hindu Kush – All of Newby’s books deserve canonization, but if one slim volume (suitable, again, for school curricula penguin greenbadly in need of new blood) has to be chosen, it should be this one, as vivid and gripping as a tropical fever-dream.

14. Edwin O’Connor: The Last Hurrah – Of the handful of truly great American novels about politics, this one is by far the most humane, wry, and flat-out hilarious, and like all great American novels, it lovingly describes a world that’s entirely vanished. Extra justice, then, if the book itself doesn’t vanish – and what better way to insure that than a spiffy Penguin Classic?

15. Anthony Powell: A Dance to the Music of Time – Given the givens, it’s slightly baffling why Penguin hasn’t done this behemoth already; perhaps Powell’s literary heirs are as prickly and contentious as he himself was. But as mentioned, lawsuits and counter-suits can’t touch us here in the sanctuary of our dream-list, where we can imagine a sumptuous two-volume box-set with those enticing black spines.

16. Quintus of Smyrna: The Trojan Epic - The magisterial 2004 annotated translation by Alan James of Quintus’ great continuation of Homer’s Iliad is the obvious choice for elevation to the Penguin ranks – to fill a conspicuous gap, since they’ve never had an edition of this infectious ancient potboiler before. Everybody who’s ever wondered what happened in between the Iliad and the Odyssey (let alone anyone who’s ever been foolish enough to attempt telling those stories) owes a huge debt to humble Quintus … and perhaps an equally big debt to Alan James, for giving the poem the treatment it deserves.

17. Mary Renault: The Last of the Wine – Again, copyright tangles us up: Renault’s fantastic historical novels were once a part of Penguin’s UK-only lineup. But what we need is a smart, elegant Penguin Classic of this heartbreakingly beautiful book (which would also be a godsend to high schools, except it would be yanked from students’ hands as soon as the first Bible Belt teacher actually read it).

erasmus luther18. William Shakespeare: The Complete Works – This is another shocking omission, not mitigated in the least by Penguin’s line of individually-printed plays (even though that line is constantly being updated and is wonderful); there’s no shortage of great fat annotated one-volume Shakespeares out there – Penguin’s editors should pick the best one they can get on the cheap  (perhaps the nice fat volume put out by Running Press?) and do it up beautifully, preferably in one of their gorgeous “Deluxe” editions.

19. J. R. R. Tolkien: The Lord of the Rings – This and #23 are admitted moon-shots, but this list is about an imaginary bookshelf – and the jewel in the crown of such a bookshelf would be Tolkien’s seminal work of epic fantasy, as last in a thick square-bound Penguin volume, perhaps with a cheesy-wonderful cover illustration by the Brothers Hildebrandt.

20. John Updike: The Book Reviews – Some book critics (OK, I) confidently predicted that the entire Updike fiction-industry would begin to ossify and collapse in on itself the moment he was no longer alive to keep it going, and those critics were exactly right: with every passing season, Updike’s onanistic novels are more clearly revealed as the ephemera some of us always knew they were. But this has had the curious and unexpected side-effect of allowing his nonfiction some extra room to breathe. A collection of his ambling art reviews has already been published and done well; Penguin should amass 500 of his best book reviews (from volumes like Odd Jobs and Hugging the Shore) into one big collection and get somebody other than Martin Amis to write the introduction.

21. Gore Vidal: United States – And while we’re on the subject of massive essay-collections, Gore Vidal’s masterpiece has needed canonization since the first moment it appeared.

22. T. H. White: The Once and Future King – As with Tolkien, so too here: although this stunning, moving fantasy epic has had some very nice editions penguin megover the years, it’s unlikely White’s literary executors are going to be selling it to Penguin any time soon – but we can dream.

23. Xue Tao: The Brocade River Collection – Western readers (and, let’s be honest, Eastern readers as well, who are now thoroughly indoctrinated into the noxious practice of “teach to the test” and so are growing up every bit as culturally illiterate as their fatter Western counterparts) will have no knowledge of 9th century China’s Xue Tao, and that’s a shame: in her own day, she was renowned both for her lively, fun-poking manner (something of a staple of the Tang Dynasty, but she was reputed to be exceptional) and for her lovely verse. The Brocade River Collection was once a massive anthology of that verse, but even the fragments that survive, if properly annoated, would make a fantastic and eye-opening Penguin Classic.

24. Marguerite Yourcenar: The Memoirs of Hadrian – It’s difficult to classify Yourcenar’s masterpiece, although countless attempts have been made. But Penguin’s already published a paperback of this powerful, surreal historical novel, years ago (and not in the U.S., of course); in the intervening time, the work as stayed every bit as vital, so induction into the Penguin Classics pantheon ought to come to Hadrian at last.

25. Zhu Xiao Di: Leisure Thoughts on Idle Books – The relatively tiny handful of Westerners who know of Zhu Xiao Di at all would probably argue that his quietly affecting memoir Thirty Years in a Red House is the work of his that deserves its own Penguin Classic, but I disagree: the author’s merry, digressive, endlessly inquisitive mind is best captured in his collected book reviews, the reading of which is about as close as most readers will ever come to chatting with the author over the Brattle bargain carts on a beautiful summer afternoon, or chatting with the author on a blustery walk across the Mass. Ave. bridge in the autumn, or chatting with the author over a little table at a hole-in-the-wall restaurant in Boston’s Chinatown.

But then, we’re charting dream-titles here, so there’s no reason both books can’t make the list, and plenty of runners-up besides: Joy Adamson’s Born Free, for instance, or Robert Graves’ I, Claudius, or the Renaissance memoirs of Vespasiano, or the two novels of Jeremy Leven, or the nature books of Edwin Way Teale, or a dozen others. The Penguin line is ongoing, after all, and it’s full of surprises.

 

Penguins on Parade: Lady Mary Wortley Montagu!

 

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Some Penguin Classics – in fact many of them – leave you badly wanting more. The world, the writers they show us seem to breathe the living air, and the little wedges of exposure we get between Penguin covers tingle the mental skin, make a taste, create an itinerary to the nearest library to find out more.

penguin lady maryCertainly if you were to ask the great Canadian scholar Professor Isobel Grundy to name one such world, one such writer, she’d nominate Lady Mary Wortley Montagu, whose sparkling epistles fill Penguin’s 1997 volume of Selected Letters, a volume she so masterfully edited that it succeeds in the first and most essential Penguin task: it rounds off its subject so embracingly that a reader coming to it with no knowledge of Lady Mary will keep reading and feel little sense of exclusion. Grundy’s Introduction and footnotes are so thorough and spirited that the whole book reads like an act of pure joy.

Joy is a recurrent note in the letters of Lady Mary Wortley Montagu, who began life in 1689 as Lady Mary Pierrepont, the daughter of the Duke of Kingston, taught herself Latin at a young age, and secretly married Edward Wortley Montagu in 1712. The two of them went to Constantinople, where Edward was appointed ambassador, and they stayed there for seventeen months, from 1717-18. Upon her return to England, Lady Mary continued her literary endeavors and kept up a flow of letters, only some of which, of course, survive to the present day, and that flow of letters continued during her subsequent years abroad. Even in its partial form, it’s a wealth of amusement and interest, as Grundy points out:

But by the general reader, as well as by those interested in human nature, in women, or in the process of letter-writing, her virtue is her exquisite epistolarity: the way she enmeshes her letters in the events, the moods, and the ideas of the changing moment. Her vivid attention focuses on personal idiosyncrasies, on daily trivia, on the specks and bubbles on the surface of the stream of life.

“Specks and bubbles on the surface of the stream of life” would have pleased Lady Mary immensely, of course; she had an acute ear for quick, felicitous phrases, and as Grundy notices, she found such felicities everywhere:

As a letter-writer she resembles Samuel Johnson and Virginia Woolf in the urgency and the skill with which she extracts imaginative sustenance from matters at hand. The view from her window (whether it is a wintry English tree or the exotically early spring flowers of Turkey), her little daughter playing about the room, or the latest gossip, either marital or political, all are grist for her mill; but she selects and angles all these details to forward an exchange of minds and hearts with each particular correspondent.

You can get a very good idea of that exchange of minds and hearts even from Lady Mary’s letters alone, which are as alive with chat and insight as they were when they were written three hundred years ago. A dispatch from Venice to a friend back in England is half purse-minded and half broad-mindedlucy reads lady mary in a combination that feels entirely modern:

Here are foreign ministers from all parts of the world, who, as they have no court to employ their hours, are overjoyed to enter into commerce with any stranger of distinction. As I am the only lady here at present, I can assure you I am courted, as if I was the only one in the world. As to all the conveniences of life, they are to be had at very easy rates; and for those that love publick places, here are two playhouses and two operas constantly performed every night, at exceeding low prices. But you will have no reason to examine that article, no more than myself; all the ambassadors having boxes appointed them, and I have every one of their keys at my service, not only for my own person, but whoever I please to carry or send. I do not make much use of this privilege, to their great astonishment. It is the fashion for the greatest ladies to walk the streets, which are admirably paved; and a mask, price sixpence, with a little cloak, and the head of a domino, the genteel dress to carry you everywhere. The greatest equipage is a gondola, that holds eight persons, and is the price of an English chair. And it is so much the established fashion for every body to live their own way, that nothing is more ridiculous than censuring the actions of another. This would be terrible in London, where we have little other diversion; but for me, who never found any pleasure in malice, I bless my destiny that has conducted me to a part where people are better employed than in talking of the affairs of their acquaintance.

Isobel Grundy wrote an entire biography of Lady Mary (and also an absolutely brilliant book on the life and mind of Samuel Johnson), and it’s delightful. But for those readers not quite prepared to take on the life, these letters make a very enticing world.

Penguins on Parade: Livy!

penguin-colophonSome Penguin Classics, as we’ve seen, are overshadowed by their own brethren. Authors pour their hearts into the things they write, but no matter how their own estimations fall, the reading public has a much louder say – and it’s almost never how the author would like things to go.

Human nature being what it is, we can be sure beyond much doubt that the Roman historian Titus Livius had that very experience during the decades in which he was writing and serially publishing his life’s work, Ab Urbe Condita, which ran to 142 books, of which only 35 survive. In writing his sprawling history of the Roman Republic, Livy made extensive use not only of the Greek historian Polybius but also of two beetling industrious Roman annalists who provided a great deal of raw material that cried out for a professional historian and rhetorician to shape and polish.

penguin livy and the mediterraneanShape and polish it all he did, but the results could never be as even as he might have hoped. No matter how talented a writer you are, sometimes Monday is just a slow news day. The principal complaint lodged against Books XXXI-XLV has always been brutally simple: they’re not as exciting as Books XXI-XXX, which feature the story of the Second Punic War and Rome’s fateful confrontations with Hannibal on Italian soil. Hannibal makes a hell of a story; practically anything coming right after him is going to seem like an anticlimax.

Books XXI-XXX were translated for Penguin Classics by Aubrey de Selincourt in the irresistible volume The War with Hannibal, which I’ve praised enthusiastically here at Stevereads. But although such praise is entirely warranted, it can overshadow the other excellent Penguin volumes of Livy, including Henry Bettenson’s sturdy, learned 1976 translation of Books XXXI-XLV in a Penguin Classic volume called Rome and the Mediterranean. It’s true that Bettenson doesn’t have nearly as neatly dramatic a story to convey to his readers as de Selincourt had.

Even so, he’s got one heck of a story to convey. Rome and the Mediterranean covers the years of the second century BC during which Rome turned its attention from beating Hannibal to systematically mopping up the Eastern and Mediterranean states that had sided with Carthage or even sought merely to profit from Rome’s distraction. With Hannibal defeated, Rome is able to turn to stamping out, garrisoning, or coercing all the scattered kingdoms Alexander the Great had left in his wake centuries before. In a passage full of his unfeigned combination of humility and hubris, Livy is the first person to admit this can make for less gripping reading:

The peace with Carthage was followed by the war with Macedon. This latter conflict was in no way comparable with the Punic Wars for the gravity of the peril, either in respect of the qualities of the enemy commander, or by reason of the fighting strength of the troops engaged; and yet it had a claim to fame almost greater, beause of the ancient renown of the Macedonian nation, and the vast extent of their empire, which gave them possession, by conquest, of large tracts of Europe, and the greater part of Asia.

(The legal-deposition tone there, it should quickly be pointed out, comes almost entirely from the translator, not the author)

These wars, not only against Macedon (fought in many theaters and sometimes touch-and-go) but also against Antiochus III, the Great King of Syria, lasted for almost forty years on and off – and their many conclusions left Rome as virtually unrivaled mistress of the entire Mediterranean world. Livy gives all his main characters stirring, beautifully-organized speeches, and he balances his bigger plots with a steady stream of local monstrous births and prodigies, all the thousand monthly omens that were such catnip to his hayseed’s soul. And through it all there pulses his intense patriotism – a honeyed, uncritical patriotism that might strike some 21st century Americans as eerily familiar:

There really was, it seemed, a nation on this earth prepared to fight for the freedom of other men, and to fight at her own expense, and at the cost of lucy reads livyhardship and peril to herself; a nation prepared to do this service not just for her near neighbours, for those in her part of the world, for lands geographically connected with her own, but even prepared to cross the sea in order to prevent the establishment of an unjust dominion in any quarter of the globe, and to ensure that right and justice, and the rule of law, should everywhere be supreme.

The point of his Hannibal books was to create a sense of tension where no tension could really exist, and it worked: for centuries, schoolboys and passionate readers have turned the pages of those books at times breathless with excitement, eager to know who wins, even though every single one of those readers – in Livy’s day or our own – knows the answer ahead of time. Carthage is destroyed, pirates are rounded up and executed, petty dictators are overthrown, and whole countries are brought under the Roman yoke, for their good or ill.

It’s a big, complex subject, and Livy handles it (his factual mistakes notwithstanding) wonderfully. Penguin readers coming straight from The War with Hannibal will be understandably skeptical about moving to a lesser stage, but the feeling won’t stick around (as surely the Penguin editors must have gambled); on any stage, with any raw materials, Livy comes through. Give him a few facts and some room to moralize, and he’ll do the rest.

Penguins on Parade: Keats!

penguin-colophonSome Penguin Classics, as we’ve noted a couple of times, are at least as much about the edition as they are about the work itself – and sometimes this can be a bit problematic. Take the poetry of John Keats, for example. Obviously, he needs to be welcomed into the Penguin Classic line, but how? Penguin made one easy decision for its modern line: have two volumes. The slimmer one, the more undergraduate-friendly one, can be a “selected poems” thing and eschew the longer, more frightening pieces Keats wrote in his meteoric short career; this might deprive young readers of their first encounter with the sublime “Endymion,” but at least it doesn’t guarantee they’ll run screaming into the arms of Billy Collins and never look back. For those readers willing to take the plunge, Penguin can produce a full-dress “Complete Poems” that’ll include everything – but that brings us back to the question of editions.

penguin complete keatsWhen it comes to Keats, there are really only two candidates: Jack Stillinger’s 1978 edition brought out by the Belknap Press of Harvard University Press, and John Barnard’s 1973 edition, originally incorporated into the old “Penguin English Poets” series. Barnard’s book got the nod, and it’s his edition that serves as the Penguin Classic complete Keats. He and Stillinger are both remorselessly thorough when it comes to their mini-book of End Notes. When Barnard gets to the famous “Ode to a Nightingale,” he unlimbers his forensics kit and gets straight to work:

the true, the blushful Hippocrene – a periphrasis for wine. ‘Hippocrene’ is a fountain in Boeotia, near Mount Helicon, sacred to the muses” (Lempriere), and hence the fountain of inspiration. Keats may be playing on the difference between ‘blushful’ (red) wine and the colourlessness of water, but Baldwin, p. 49, says ‘… the waters of [Hippocrene] were violet-coloured, and are represented as endowed with voice and articulate sound.’

Readers are permitted to doubt the need for such elaborate clarification, especially when it comes to the shorter, more passionately intense poems Keats wrote … or at least the need for such blocks of clarification to be part of a Complete Poems (as opposed to separate, as in Helen Vendler’s fantastic The Odes of John Keats). True, Keats’ abundant classical references now need ample footnoting, since young 21st century readers are as unfamiliar with Lempriere as they are with jogging or eating meat. But I’d like to think (perhaps delusionally, but even so) that “Ode to a Nightingale” needs no help to weave its spell over any reader – especially over any reader who’ll take the time to read it out loud:

 

My heart aches, and a drowsy numbness pains

My sense, as though of hemlock I had drunk,

Or emptied some dull opiate to the drains

One minute last, and Lethe-wards had sunk:

‘Tis not through envy of thy happy lot,

But being too happy in thine happiness,

That thou, light-winged Dryad of the trees,

In some melodious plot

Of beechen green, and shadows numberless,

Singest of summer in full-throated ease.

 

O for a draught of vintage! That hath been

Cool’d a long age in the deep-delved earth,

Tasting of Floa and the country-green,

Dance, and Provencal song, and sunburnt mirth!

O for a beaker full of the warm South!

Full of the true, the blushful Hippocrene,

With beaded bubbles winking at the brim,

And purple-stained mouth,

That I might drink, and leave the world unseen,

And with thee fade away into the forest dim-

 

Fade far away, dissolve, and quite forget

What thou among the leaves hast never known,

The weariness the fever and the fret

Here, where men sit and hear each other groan;

Where palsy shakes a few, sad, last grey hairs,

Where youth grows pale, and spectre-thin, and dies;

Where but to think is to be full of sorrow

And leaden-eyed despairs;

Where Beauty cannot keep her lustrous eyes,

Or new Love pine at them beyond to-morrow.

 

Away! Away! For I will fly to thee,

Not charioted by Bacchus and his pards,

But on the viewless wings of Poesy,

Though the dull brain perplexes and retards.

Already with thee! Tender is the night,

Clustered around by all her starry Fays;

But here there is no light,

Save what from heaven is with the breezes blown

Through verdurous glooms and winding mossy ways.

 

I cannot see what flowers are at my feet,

Nor what soft incense hands upon the boughs,

But, in embalmed darkness, guess each sweet

Wherewith the thicket, and the fruit-tree wild –

White hawthorn, and the pastoral eglantine;

Fast fading violets covered up in leaves;

And mid-May’s eldest child,

The coming musk-rose, full of dewy wine,

The murmurous haunt of flies on summer eves.

 

Darkling I listen; and, for many a time

I have been half in love with easeful Death,

Called hi soft names in many a mused rhyme,

To take into the air my quiet breath;

Now more than ever seems it rich to die,

To cease upon the midnight with no pain,

While thou art pouring forth thy soul abroad

In such an ecstasy!

Still wouldst thou sing, and I have ears in vain –

To thy high requiem become a sod.

 

Thou wast born for death, immortal Bird!

No hungry generations tread thee down;

The voice I hear this passing night was heard

In ancient days by emperor and clown:

Perhaps the self-same song that found a path

Through the sad heart of Ruth, when sick for home,lucy reads various editions of keats

She stood in tears amid the alien corn;

The same that oft-times hath

Charmed magic casements, opening on the foam

Of perilous seas, in faery lands forlorn.

 

Forlorn! The very word is like a bell

To toll me back from thee to my sole self!

Adieu! The fancy cannot cheat so well

As she is famed to do, deceiving elf.

Adieu! Adieu! Thy plaintive anthem fades

Past the near-meadows, over the still stream,

Up the hill-side; and now ‘tis buried deep

In the next valley-glades:

Was it a vision, or a waking dream?

Fled is that music – Do I wake or sleep?

 

Of course, if those readers are feeling self-conscious, they can always opt for listening to Benedict Cumberbatch read it out loud. He probably does a slightly better job of it anyway:

 

Penguins on Parade: Juvenal!

penguin-colophonSome Penguin Classics are doubly significant – not only is the ‘source material’ something that’s often been venerated for centuries, but the particular edition chosen by Penguin has also achieved something of the status of a classic. Such is certainly the case with the renowned edition of Juvenal’s satires produced by the great classicist Peter Green (first in 1967, the updated in 1974, then again in 1998): not only do readers get a careful English-language translation of Juvenal’s sixteen satires, but they also get a 70 page Introduction by Green and a whopping 100 pages of micro-typed End Notes in which every possible scholarly detail is wonkishly chased to the ground, as in this brief snippet from the notes to Satire II:

 

J’s description of the spread of homosexuality parodies Virgil’s references to the spread of disease among sheep. At line 81, though with some misgivings, I accept the reading of the main manuscript, conspecta. Martyn opts for contacta, which he supports by the argument that J. was deliberately echoing, with satirical intent, the plague-imagery of Virgil’s Georgics. He could just be right, though the proverbial uva uvam videndo varia fit militates against him, and in favour of the traditional reading. Braund-Cloud argues that we have the core of the poem here: the narrator’s desire to flee from Rome is countered by Rome’s conquest of the world: there are no refuges left  – only an ever-spreading contagion.

As to the translation itself, Green offers the standard-issue translator’s deference:

No translator can hope to capture the condensed force of Juvenal’s enjambed hexameters, his skilful rhythmic variations, his dazzling displays of alliteration and assonance and onomatopeia: here I can claim no more than that I have recognized the problem, and done what I could to surmount it in a wholly different medium.

penguin juvenalThe more I read the classics of Rome and especially Greece in English translation, the more I fear that this is all true, that the precise mechanics of the original really can’t be faithfully reproduced in another language – in other words, the more I tend to agree with John Dryden oft-held contention that that best translators don’t reproduce their text but re-write it. Certainly some of the best English-language translations of classical texts I’ve ever read were firmly embedded in the mental vocabulary of their own eras (Dryden himself produced one stellar example of how to do this).

Green doesn’t seem to believe it, not entirely. He fills his Juvenal with all the necessary ribaldry, with results that certainly recall something of the scandalous original, as in this portion of Satire VI:

 

Off goes Saufeia’s wreath, she challenges the call-girls

To a contest of bumps and grinds, emerges victorious,

Herself admires the shimmy of Medullina’s buttocks:

So the ladies win all the prizes – skill rivalling pedigree.

No make-believe here, no faking, each act is performed

In earnest, the genuine article, fully guaranteed

To warm the age-chilled balls of a Nestor or a Priam.

…which is clear and functional in its own way but suggests almost nothing of the wowing pitch and yaw of the original, the sideways-slippery feel that anything could happen next, and maybe Green is right about the ultimate reason: maybe it just can’t be done in a language like English where, among other things, word-order is so casually imperative.

Other effects Green captures with ease, foremost the way Juvenal so mercilessly piles up detail after detail in his celebrated indictments, using them to build a cage from which his poor victim can’t escape, as in this bit of Satire VIII:

Youth rates a certain indulgence, but Lateranus was still going

The rounds of the bath-house bars, with their lettered awning,

When old enough for Eastern campaigns, for garrison duty

In Syria, maybe, or on the Rhine or Danube,

Old enough to protect the Emperor’s person. Send down

clearly, a terrifying book

clearly, a terrifying book

To the docks for your general, Caesar – to the best-known tavern:

You’ll find him lolling there beside some hired killer,

With a bunch of thieves and matelots and fugitive criminals,

Among hangmen and coffin-makers and a castrated

Priest who’s passed out on the job, still clutching his drums.

Of all the countless editions of Juvenal that have appeared in English, Green’s is by far the best for its combination of stellar scholarship and at least a stab at vigorously representational translation. Since you can’t have Juvenal anymore without notes (whole passages – maybe whole satires – would simply sail right by the reader otherwise), and since definitive translatability might in this case be a mirage, it’s best that Penguin gives us this masterful edition, the best of both worlds.

Penguins on Parade: The Sketch Book of Geoffrey Crayon, Gent.!

penguin-colophon

Some Penguin Classics just automatically prompt a smile – because some classics are just happy occurrences, free of somber overtones, free of the burden of interpretation, free of the obligation to be anything other than entertaining (which hasn’t stopped academics and English departments from beavering away at them, but even so). And one of those classics is surely The Sketch Book of Geoffrey Crayon, Gent by Washington Irving.

penguin washington irvingThe little book was a huge success, the first secular American bestseller of them all and a great explosion of revelation to Irving himself. He was that rarest of rare birds, a natural-born literary man, and he’d had some taste of the satisfaction such a life could bring him when, in 1809, while still a teenager, he came out with A History of New York by Diedrich Knickerbocker and promptly became the United States’ first hot young author.

There were very few literary critics in the country yet (O blessed day – they’ve multiplied like locusts since), so there was hardly any simpering or cool-following on Twitter. And there were no older, established literary lions to get up on a box in the pages of Ye Olde New York Revue of Books and say A History of New York “shows great promise” or “isn’t entirely without merit.” Instead, poor young Irving had to discover his celebrity the old-fashioned way: he found he couldn’t pay for a drink in the Bowery.

He did do one thing exactly the same as his much later hot young author counterparts, however: after his smash debut, he became creatively paralyzed, and he stayed that way for a good long time. Since there weren’t yet any “I once wrote a book” sinecures at City College, he took up a series of real jobs and slipped away from the dizzying heights.

It wasn’t until twenty years later, while he was living in England, that he wrote The Sketch Book, a collection of carefully nostalgic vignettes and tales of both old-time England and old-time America (including such immortal stories as “Rip Van Winkle” and “The Legend of Sleepy Hollow”). The resulting book was exquisitely calculated to appeal to two nations that had only recently, almost in a daze, realized that they were also two nationalities – and now always would be. Irving would later refine this technique to the absolute, almost insubstantial perfection of Bracebridge Hall, but The Sketch Book is a far more muscular example of the same thing – as narratively irresistible today as it was when it was written (just as A History of New York is still genuinely funny).

The editor of this Penguin volume, William Hedges, understands all this perfectly in his masterful Introduction. He’s eager for his readers not to underestimate how aware Irving himself is of the game he’s playing:

To reduce The Sketch Book to the testament of a crypto-aristocratic anglophile and political conservative, as is sometimes done, is to miss its finer points and misunderstand Crayon. His England is admittedly only touristic, the product of “idle humour” and “vagrant imagination,” something he half-laughs at himself in offering the reader.

And he keeps the reader aware of the delicate balancing-act behind Irving’s seemingly effortless prose:

Fighting for his literary life, and fearful of British critics, Irving had no incentive to go far in exhibiting the harsh realities of contemporary English life, the hardships, social dislocations, and class conflicts being generated by the industrial revolution.

It’s amazing how many of the two dozen or so sketches in this book are really quite perfect little gems. Whether you’re reading such delights as “The lucy reads washington irvingSpectre Bridegroom” or “Christmas Eve” or “Stratford-on-Avon” or especially “The Boar’s Head Tavern, East Cheap” for the first time or the fiftieth time, the sheer charm of them will be just as bright. The thing swept through both England and the United States like wildfire. For mirror-image reasons, it was just what huge numbers of people in both countries were yearning to read in their studies at night.

Irving had a long and very productive writing life for the next thirty years, and although his little book about the Alhambra was much talked about and his enormous life of George Washington was, given its subject, immensely captivating (now there’s a volume that deserves a fat, annotated Penguin Classic of its own), a certain element of that free happiness in the Sketch Book had gone out of his writing, replaced by the more ponderous furniture of the Grand Old Man. That happiness (cannily mixed with just the right amount of fireside sighing) is on full display in this earlier work. It’s the common literary heritage of all Americans, one of the first such gems in the country’s literary crown – and yet most Americans today haven’t even heard of it, much less read it. That’s a shame – and one this Penguin Classic tries valiantly to correct.

Penguins on Parade: The Odyssey!

penguin-colophon

Some Penguin Classics are just a bit more famous than others, and the top spot there will likely always go to E. V. Rieu’s 1946 translation of Homer’s Odyssey, because it got the whole show started.

penguin odysseyAnd it started in the way all the best intellectual endeavors do: on amateur footing, without a thought of profit. During the Second World War, to alleviate the nightly tension of the German assault on London, Rieu translated passages of Homer for his family and found he had both a taste for it and a knack for it. After the war, he and his friend Allen Lane convinced their editors to print his translation in a cheap pocket book. It was the first Penguin Classic, and it sold three million copies (at a time when all of Greater London held perhaps eight million people). It’s safe to say Rieu’s Odyssey has been read by more people than any other edition since Homer smote his bloomin’ lyre.

Purists immediately lamented that fact, because Rieu’s Odyssey is rendered in prose. Classicists from Bristol to Boston wailed that this made Rieu’s version no better than a muddy little trot – a wretched thing fit for students to crib from, but nothing more. Rieu expects this reaction in the first line of his Introduction: “This version of the Odyssey is, in its intention at any rate, a genuine translation, not a paraphrase or a retold tale.” The man was an Oxford-trained scholar himself, so he knew first-hand the near-impossibility of translating Homer’s dactylic hexameters into intelligible English, and hence the inevitable necessity of throwing the whole long-winded, perfectly-balanced mess onto the bed of Procrustes and proceeding to chop and stretch with abandon. How anybody can look at some of the verse Odysseys that have resulted and call them more “faithful” than Rieu’s is one of the enduring mysteries of classical scholarship.

And Rieu’s version is quite often beautiful. It may not be done in verse, but you’d have to be deaf not to notice the poetry that’s obvious in even brief passages, as when Ulysses is telling the story of how his wayward men butchered the cattle of Hyperion the sun-god, who complains vigorously to Jupiter and gets a ringing response:

“Sun,” the Cloud-gatherer answered him, “shine on for the immortals and for mortal men on the fruitful earth. As for the culprits, I will soon strike their ship with a blinding bolt out on the wind-dark sea and break it to bits.”

(“This part of the tale I had from the fair Calypso,” Ulysses assures his listeners, “who told me that she herself had heard it from Hermes the Messenger.”)

It’s true that Rieu made free with the idioms of his own wartime era – there are bits and pieces of this Odyssey in which characters sound like they just stepped out lucy absorbing homerof an Agatha Christie story – but in this too more sanctimonious translators share a measure of guilt, although they’re never willing to admit to it (unless their gimmick is to revel in it). And Rieu intended it to increase the transparency of his translation, however much passages like this one (in which Telemachus is lamenting – with an irony Homer’s audience would have picked up immediately – that he doesn’t have the same determination as Orestes) might make a 21st century grin:

Ah, if the gods would only give me strength like his, to cope with the insufferable insolence of my mother’s suitors and settle accounts with those ruffians for their blackguardly tricks! But Fate has no such happiness in store for me, nor for my father either. I have to grin and bear things as they are.

Over the decades, even some of the starchiest teachers have made the concession that a prose Odyssey arranged in chapters and paragraphs is more hospitable to students than columns of over-straining blank verse. It’s friendlier for plenty of non-students as well, and Lane and Rieu must have suspected that would be the case, although they can’t in their wildest dreams have anticipated the reception this, the quintessential Penguin Classic, would get. Try it and see if you don’t find yourself liking it.

 

 

 

 

Penguins on Parade: Wives and Daughters!

 

penguin-colophon

Some Penguin Classics make their courtroom cases with the blunt force of a bulldog trial lawyer, flatly asserting that their client deserves a better deal. Of course this is what all reprint editions should do, ideally: no book should assume a second life in print – books cost money to make and time to read, after all, and especially on the proving-ground of fiction, momentum should count for nothing. If there comes a time when “Beowulf” no longer speaks to readers, “Beowulf” should be taken off life support and allowed to lapse out of print (or at least as out of print as any classic can be at the dawn of the 21st century, when anybody with an Internet connection can download a free copy of any classic they want in about fifteen seconds). From its inception, Penguin Classics has had a knack for finding audiences where nobody predicted they’d be, so the risk of advocacy becomes a moral duty.

penguin wives & daughtersThe 1986 Penguin Classic reprint of the 1969 “Penguin English Library” edition of Mrs. Gaskell’s masterpiece Wives and Daughters, for instance, takes its advocacy very seriously: it considers the book to be one of the most underrated masterpieces in the fiction canon. “Jane Eyre, or Barchester Towers, or Pendennis are flabby in comparison to its wit, its pathos, its intelligence,” Laurence Lerner writes in his take-no-prisoners Introduction (since supplanted in more recent editions, sadly). “It raises Elizabeth Gaskell to the level when we can compare her with Jane Austen or George Eliot.”

Lerner makes his case for both book and author right away:

The great woman novelists all have two names: Jane Austen, Emily Bronte (or ‘Ellis Bell’), George Eliot, Virginia Woolf. The names may be false, or masculine, but at least they look like names. Behind them, dimly thronging the pages of the histories of literature, come the modestly feminine writers who shelter behind their marriage lines: Mrs Radcliffe, Mrs Humphrey Ward, Mrs Oliphant, Mrs Gaskell. Elizabeth Gasell was a modest woman, and would not have been surprised to find herself among the minor or even the unread. Those who have read only one of her books – it is invariably Cranford – may feel that she belongs there, assuming that her other novels are even more feminine, more limited, and perhaps not quite as charming. This book will give them the pleasure of discovering their mistake.

As charming (and deceptively subversive) as Cranford is, Lerner is certainly right that it’s a quick Homeric hymn compared to the Iliad that is Wives and Daughters, and although every plot-strand of the book is bracingly complex, the heart of that different elevation is the relationship between the book’s heroine, the virtuous Molly Gibson, and her stepsister Cynthia, who’s franker and more jadedly vivacious. The book has a great deal of action and plot in its 700 pages, but I’m sure I’m not the only reader who’d have been perfectly happy eavesdropping on Molly and Cynthia the whole time (or at least more time than we get) – imagine prolonged and slightly more even-footed dialogue between Jane and Elizabeth Bennet, and you’ll almost have it:

“What did he tell you?” asked Cynthia, almost fiercely.

“Nothing but that. Oh, yes! He praised your beauty, and wanted me to tell you what he had said.”

“I should have hated you if you had,” said Cynthia.

“Of course I should never have thought of doing such a thing,” replied Molly. “I didn’t like him; and Lady Harriet spoke of him the next day, as if he wasn’t a person to be liked.”

Cynthia was quite silent. At length she said:

“I wish I was good!”

“So do I,” said Molly simply.

“Nonsense, Molly! You are good. At least, if you’re not good, what am I? There’s rule-of-three sum for you to do! But it’s no use talking; I lucy reads wives and daughtersam not good, and I never shall be now. Perhaps I might be a heroine still, but I shall never be a good woman, I know.”

“Do you think it easier to be a heroine?”

“Yes, as far as one knows of heroines from history. I’m capable of a great jerk, an effort, and then a relaxation – but steady, every-day goodness is beyond me. I must be a moral kangaroo!”

That question – the difference, if any, between a good woman and a heroine – runs all through Wives and Daughters (you might even say it’s adumbrated in the title), as was perhaps predictable when considering that the author was, as Lerner puts it, “a busy, happy woman who wrote her novels in the interstices of family life.” The narrative is big and boisterous like a bright choral performance, and it was all but – but not quite (think of the last-second scorpion-sting at the end of Northanger Abbey) – over when Mrs. Gaskell died suddenly in November of 1865 (“What promised to be the crowning work of a life is a memorial of death,” as her Cornhill  editor put it). But that’s OK – plenty of classics come to us incomplete. Penguin honors them anyway, as is only right.

 

 

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