Word: fitzgeralded
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Translated by ROBERT FITZGERALD 594 pages. Anchor Press/Doubleday...
...been translated and retranslated, from Alexander Pope's resounding version in 1720 to Richmond Lattimore's literal yet poetic rendering of 1951. In Pope, for instance, dactylic hexameters were given their royally cadenced English equivalent to which Homeric heroes stepped rather like late-Renaissance princes. Robert Fitzgerald, Harvard's Boylston Professor of Rhetoric and Oratory and a poet (Spring Shade, 1971) in his own right, has cut back on the pomp without scaling down the epic. His battlefield seems bleaker-black and white rather than Pope technicolor. His protagonists are closer to Beowulf than to Sir Gawain...
OTHER NOTEWORTHY articles include a two-part series in the New Yorker (Dec. 2 and Dec. 9) on Multinational Corporations by Richard Barnet and Ronald Miller; an excellent review of Robert Fitzgerald's new translation of the Iliad by D.S. Carne-Ross in the New York Review of Books (Dec. 12); and a fascinating article by Roger Morris in the Columbia Journalism Review (November/December) on the unfair coverage of Allende's Chile in the mass media...
...preface to the book, the Fitzgeralds' daughter concludes that if the stories are read "less as literature than as reports from another, more romantic world, one will find bits in them that evoke the best of both Fitzgeralds." Certainly there are scattered passages where the prose is highly polished and sensitive. But these cannot offset the feeling that Scott didn't put much thought into his characterizations. The stories were probably written to make money, and, in the wave of a Twenties- Fitzgerald revival, this collection was printed to make some more. If they thought it would sell, Scribners might...
...dull. "Love in the Night" like several other stories in this collection, ends with a saccharine postscript amounting to "they married and lived happily ever after." "The Dance" which involves a jealous murder, is so blatant that it reads like a cruddy mystery. Where plot and dialogue run thinnest, Fitzgerald seems to dwell on elaborate descriptions of resorts, bars, and clothes, reducing stories like "The Hotel Child" to lists of Europe's lush spots. Even the rich can be handled adroitly; in these stories they...