An epic week. Robert Mugabe’s 37-year rule in Zimbabwe ended, an event headlined in NewsDay Zimbabwe as ‘Epic Fall of a Dictator’. Less epically, I helped host Professor Emily Wilson when she came to my university to talk about her superb new translation of the Odyssey.
It's a literary landmark and an epic achievement which I predict will rival previous stellar Odysseys by Alexander Pope and E.V. Rieu. Rieu’s was only knocked off the top of the list for bestselling paperback in the UK by Lady Chatterley’s Lover. I discuss Wilson’s version in a Telegraph review which I was told would come out this weekend, but haven’t yet seen as it is, er, not my regular newspaper. I will provide a link here soon.
On Thursday I felt like the academic equivalent of an epic warrior since it was the most strenuous day of my entire working life. In Our Time with Melvyn Bragg and my mates Paul Cartledge and Sam Gartland was about Thebes, believed by the ancients to be the oldest Greek city of all. Epic poems about its serial sieges and ‘epic fail’ royals were composed from the Bronze Age to Statius’ Thebaid and beyond.
|First Gresham Lecture|
The best thing about the movie is the casting. Brian Cox’s Agamemnon is always in my head when I teach the Iliad: this Mycenaean monarch combines the raucousness of Cox’s working-class Dundee childhood with the nastiness of President Snow in The Hunger Games. Even our pets look terrified when he raises the war-cry on our TV (the epithet 'good at the war-cry' is not actually used of him in the Iliad, rather of Menelaus and Diomedes, but Cox is so good at it that I'll tolerate the inaccuracy).
|Brian Cox, the Definitive Agamemnon|
But the week ended with Mother Courage at the Southwark Theatre, directed by Hannah Chissick. It is the best production I’ve ever seen of my favourite piece of Brechtian Epic Theater. It was influenced by both Euripides’ Trojan Women and Aristophanes’ Lysistrata. Josie Lawrence is remarkable as the woman whose real name was Anna Fierling: Courage got her nickname after braving the non-stop bombardment of Riga to keep on selling bread.
Brecht invented the term episches Theater in 1926 because he wanted a new type of non-realist drama that would make audiences think about class oppression rather than sentimentally relate to characters’ plights. But I clearly don’t know how to appreciate Brecht. I ended up with wet eyes both when Courage is forced to disown the corpse of her son Swiss Cheese and when her daughter Kattrin is shot dead at the end.
|The word epos originally began with a 'w' (digamma)|
I also wrote a review, published in the Guardian Wednesday, of Stephen Fry’s charming new retelling of classical myths mostly drawn from epics: Hesiod’s Theogony and Ovid’s Metamorphoses. And I was delighted to read the excellent new book, developed out of a doctoral thesis I supervised, by Miryana Dimitrova. It discusses sources, including Lucan's epic Pharsalia, for Julius Caesar's own epic afterlife on the stages/screens of the world. This means I have engaged within 5 days on almost all the major classical epics besides the Argonautica. It certainly feels appropriate to describe my own exhaustion today as wepic.
|Finlay and Satan Watching Troy|