This essay will compare two English translations of the poem “Homeric Hymn No. 2” from the classical Greek text the Homerica, composed by Homer in the 7th century BCE. The first translator is Hugh G. Evelyn-White, and the year of publication is 1914. The second translator is Helene P. Foley, and the year of publication is 1994. After reviewing the two translations, this paper will argue that the version by Foley ranks as superior to the version by Evelyn-White, and the argument will utilize the following passages to prove said claim: the abduction of Demeter’s daughter by Aidoneus, the description of Demeter’s grief at the loss of her daughter, and finally, the description of the scene in which Zeus offers a truce to Demeter and sends Rheia, her mother, as his envoy to negotiate for the return of spring.
First, the essay will compare the opening description of Demeter by each translator:
When you compare the words used in Evelyn-White’s version, “awful” versus the word “awesome” used in Foley’s version, is clear that Foley’s words provide a clearer characterization of Demeter herself (Evelyn-White 1-2; Foley 2). For instance, Foley’s descriptive language immediately and accurately portrays Demeter’s power as a member of the gods of Olympus, a force to be reckoned with, whereas Evelyn-White’s use of the word “lady” makes Demeter seem mortal, and therefore less of a threat (Evelyn-White 1-2). Also, Evelyn-White’s use of the words “rapt away” make no sense to the reader (Evelyn-White 1-2). Conversely, Foley’s use of the word “seized” immediately clarifies for the reader that we are witnessing a violent abduction (Foley 2).
For the second point, the paper looks at how each of the translators describe the grief that Demeter suffers at the loss of her daughter, and the depression that besets her immediately following Persephone’s abduction:
A comparison of these two passages indicates that Foley’s words have more poetic charge and power than Evelyn-White’s, which make for a more engaging read. For example, in Evelyn-White’s version, he uses the words “came into the heart of Demeter” to describe the grief of the goddess, while Foley translates it simply as “seized the heart” (Evelyn-White 2: Foley 6). Foley’s translation is more muscular, less passive, and more compelling in the poetic sense. Similarly, Evelyn-White uses the words “she was so angered” to describe Demeter’s feelings towards Zeus, while Foley simply writes “angry now” (Evelyn-White 2: Foley 6) Foley’s translation represents an active, more emotionally-charged read, with far less usage of passive verb forms.
Finally, let’s examine how each translator depicts the scene where Zeus sends Rheia, Demeter’s mother, to bargain for the return of spring:
A comparison of these two passages reveals numerous instances where the action is muted somewhat by Evelyn-White’s choice of words, whereas Foley’s word choice offers a much clearer delineation of the power struggle at play between Zeus and Demeter. For example, Evelyn-White uses the words “all-seeing” to describe Zeus (Evelyn-White 5). This language implies omnipotence, and a quiet calm, confidence. Conversely, Foley describes Zeus as “heavy-thundering” and “mighty-voiced,” which diminishes his power somewhat, suggesting that Zeus makes a lot of noise and shouts a great deal, but makes no allusion to his omnipotence (Foley 24). If anything, these descriptors characterize Zeus as bit of a bombastic blowhard who bullies his way to power.
Similarly, Evelyn-White describes Rheia as a “messenger,” while Foley uses the word “mediator” (Evelyn-White 5: Foley 24). This is extremely significant. Messenger connotes a powerless individual, simply being sent on an errand of little import. A mediator, meanwhile, suggests that Rheia herself has power, and that Zeus needs her help, because he has not been able to bend Demeter to his will.
In conclusion, Helene P. Foley’s 1994 version of the “Homeric Hymn No. 2” stands as a superior translation to that of Hugh G. Evelyn-White as it offers considerably more clarity in characterization, action, and power dynamics implicit in the story between Zeus and Demeter. Foley’s translation also contains more poetry, and thus reflects Homer more truthfully. Foley’s powerful and engaging language creates a more compelling read. Evelyn-White’s words offer less poetry, which equates to less interest overall for the reader.
Works Cited
Hesiod, Homeric Hymns, Epic Cycle, Homerica. Translated by Evelyn-White, H G. Loeb Classical Library Volume 57. Cambridge, MA, Harvard University Press; London, William Heinemann Ltd. 1914. Print.
Foley, Helene P. The Homeric Hymn to Demeter: Translation, Commentary, and Interpretative Essays. Princeton, NJ: Princeton University Press, 1994. Print.