January 21, 2022

A talk to teacher 1. Baldwin is speaking in America in 1963 and is addressing what is, in that moment, a national crisis. What

I need to write 3 discussion(like 3 piece of small writing,each need 200 words) in my writing class, each need around 220 words

it's a discussion part of my writing class. The professor will not grade about it but he would check if I finished this assignment or not. I just need to let him know I had finished this discussions part and not required a high quality.

I also can give you the many examples about this three topics which written by my classmate also in this class which easy for you to understand what you need to write.(You also can look a glance the prompt and the related reading and write based on others answers and write a new conclusion)

each discussion I have 10 answers that already written by others.

prompt(1):

A talk to teacher

1. Baldwin is speaking in America in 1963 and is addressing what is, in that moment, a national crisis. What parts of that situation are different from our current moment and need to be "listened to rhetorically" (p. 5-7 of the AGWR) and translated in order for us to understand his message now as it was understood then?

2. Thinking of ourselves as writers writing to a current audience, what parts of our own context (historical or cultural) do we need to pay special attention to and be careful with when writing about Baldwin in order to shape our own ethos and not be misunderstood by our own audience? Are there problematic issues or differences in language, etc. that we need to handle with sensitivity in order to keep a good ethos with our readers?

Prompt1 sample:Those parts that African Americans cannot sit in the front of the bus. And, they work so hard at that time. Also, the neighborhood they lived is different from the same place right now. At past, black and white people were separated. Black people were supposed to be "a source of cheap labor." These situations are different from our current moment, and in order for us to understand these, we should understand by ethos.

In order to write to a current audience, we need to pay attention to the language we use when we write our own cultural essays. For example, at that time, he wrote African American people "were treated as though they were animals." And he wrote that white men were "white republic." These sarcastic words may produce issues if we write our own context to current audience. Because of different situations between now and past, we should pay attention to these words to give our audience a comfortable time reading our context.

prompt(2):

Englishing the Iliad: Grading Four Rival Translations

In two paragraphs:

Please explain the overall structure of Mendelsohn's review. How does he introduce his topic to the reader? What part of his own arguments or background information does he want the reader to understand before he begins to compare the different translations?

Why do you think he chose this particular organization for his review?

prompt(3):

We have been considering the role that ethos plays in writing – the character of the writer and the "character(s)" of themselves that writers create by the way that they write — especially when they write about themselves.

How does Rowland's discussion of himself as a writer — his motivations and his self-doubt — affect our perception of his character? And what is his purpose in telling us so much about his own private life and about his need to learn that writing can be private in a piece that is, after all, quite public?

4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

Page 1 of 8https://www.newyorker.com/books/page-turner/englishing-the-iliad-grading-four-rival-translations

This week in the magazine, Daniel Mendelsohn a new version of Homer’s Iliad, translated by Stephen Mitchell. He also the translation and his piece in this week’s Out Loud podcast.

A good way of getting a sense of the values and priorities of the Iliad’s many translators is to compare how they translate a given passage. The best showcases for these comparisons aren’t necessarily the poem’s “big moments” but smaller, more ordinary passages, such as the one I’ve chosen below, lines 795-800 from Book 13. This is one of the dozens of extended similes that Homer uses to convey how a given event looks and feels—in this instance comparing the massed ranks of Trojan troops preparing for battle to waves breaking on a shore during a wild storm at sea. A reasonably straightforward translation might look like this:

And they went in like a maelstrom of quarrelsome winds

that goes earthward beneath Father Zeus’ thunderbolt

and with an inhuman din churns with the salt sea, the many

roiling waves of the greatly-roaring ocean

Page-Turner

Englishing the Iliad: Grading Four Rival Translations By Daniel Mendelsohn October 31, 2011

reviews

reviewsreviews discusses

discusses

discussesdiscusses

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http://www.newyorker.com/arts/critics/books/2011/11/07/111107crbo_books_mendelsohn

http://www.newyorker.com/online/2011/11/07/111107on_audio_mendelsohn

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4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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cresting, !ecked with white, some before, and others hard behind;

So too the Trojans were packed together, some before, others hard

behind.

But simply to convey what Homer’s words mean gives no sense of the real challenge that the translator faces, which is to think of ways to reproduce the wonderful sound effects Homer contrives here to evoke the sounds of the sea. Below is a line-by-line transliteration of the Greek text—with the stressed syllables in ALL CAPITALS—with translations of each word or phrase just beneath.

HOI d’isan AR-

ga-le-OAN a-neh-MOAN ah-tah-LAHN-toy ah-EL-lay,

They went (of quarrelsome) (winds) (resembling) (a maelstrom)

HAY rha th’oo-

POH BRON-TAYZ PAH-TROS Di-os AY-si peh-DON deh,

that beneath (the thunderbolt) (of Father) Zeus goes earthward

THEH-speh-see-

OY d’oh-mah-DOY ha-li MIZ-geh-tai, EN deh teh POLL-ah

(with an inhuman) (din) (the salt sea) (churns), and many

KU-mahtah PAH-

PHLAH-DZON-tah poh-LEE-PHLOYZ-BOY-oh thah-

LASS-ays

Waves roiling (of the loudly-roaring) sea

KUHR-ta phah-

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4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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LAY-ree-oh-OAN-tah, pro MEN T’AHLL’, OW-tahr ep’ ALL-

ah:

Curved white-capped (in front) some, (but) (hard behind) others

HOSS TROE-

EHS pro men ALL-oy ah-RAY-roh-tehz, OW-tahr ep’ ALL-oy

(just so) (the Trojans) (in front) some (were packed together) (but)

( hard behind) (others)

Note, #rst of all, how the last words of the #rst, third, #fth, and sixth lines of this passage all end with the same sound combination, loaded with liquid “l”s (aellêi, “maelstrom”; polla, “many”: ep’ alla, “others hard behind,” ep’alloi, “others hard behind”): these liquid “l” sounds (with some explosive “p”s thrown in in the third, #fth, and sixth lines) beautifully evoke the sounds of the roiling waters, even as the insistent repetition of the “p-ll” sound cluster from line to line gives a sense of whitecaps breaking on the beach, one after another. (In other words, the near- rhyming words do what the waves do.) And, as if to make the analogy concrete, the sixth line—which reconnects the imagined world of the sea to the narrated world of the Trojans at war—repeats the “some before … others hard behind” language of the #fth: the waves are all ’ … ep alla; the Trojans are alloi … ep’ alloi. So the sixth line is packed behind the #fth, imitating its sound cluster precisely the way in which the Trojan ranks, packed together in battle formation, are massed one behind the other.

Also of note is the way that the two adjectives in the fourth line—paphladzonta, the “roiling” waves, and polyphloisboio, the “greatly-roaring” sea—replicate each other’s consonants: the “p”s, the “ph”s, the “l”s, the soft “s”s and “z” sounds. If you repeat those languidly unspooling words, you’re making the noises of the surf.

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4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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With that in mind, let’s compare some notable translations of this vivid passage. Here is Richmond Lattimore’s 1951 rendering:

They went on, as out of the racking winds the stormblast

that underneath the thunderstroke of Zeus-Father drives

downward

and with gigantic clamour hits the sea, and the numerous

boiling waves along the length of the roaring water

bend and whiten to foam in ranks, one upon another;

so the Trojans closing in ranks, some leading and others

after them, in the glare of bronze armor followed their leaders.

Lattimore is alert to Homer’s effects, particularly his play with consonant sounds. His “drives downward” in line 2 nicely gets the “d” and “n” sounds in the Greek eisi pedo_n d_e, “goes earthward”; and I particularly like the way he reproduces all those liquid “l” sounds in his line “boiling waves a long the length of the roaring water.” He also strives to reproduce the “some … other” construction of the Greek in his “one upon another … some leading and others after them.” You’ll notice, too, that Lattimore favors a long, six-beat line that mimics the six-beat line that Homer uses—one of the ways he tries to conjure the grandeur and expansiveness of Homeric verse.

Four decades after Lattimore, Robert Fagles’s 1990 translation took the #eld, establishing itself as the preëminent English translation. Fagles uses a loose #ve- beat line. It can be a bit too loose—it sometimes feels like stacked prose—but has an admirable clarity:

Down the Trojans came like a squall of brawling gale-winds

blasting down with the Father’s thunder, loosed on earth

and a superhuman uproar bursts as they pound the heavy seas,

4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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the giant breakers seething, battle lines of them roaring, shoulders rearing, exploding foam, waves in the vanguard, waves rolling in from the rear. So on the Trojans came, waves in the vanguard, waves from the rear, closing.

Fagles’s sensitivity to the alliteration of “l” is clear, especially in his #rst two lines (“squall of brawling gale-winds” is really good), and it’s nice that he tries to suggest Homer’s line-ending alliterations with his end-rhyming “roaring” and “closing”. And at the end of this passage he uses a striking repetition of the word “waves” to suggest the important repetitions of both sounds and words in the original (particularly that “some … others” construction). Some readers will appreciate the way that Fagles (who wrote poetry of his own) ampli#es Homer’s “curved” and “white-!ecked” waves into waves with “shoulders rearing, exploding foam,” although a little of this poeticizing goes a long way. The big mistake, to my mind, is the way Fagles blurs the line between the two parts of the simile: the waves and the battle-lines of Trojans. By importing the diction of warfare into the #rst part of the simile (“battle-lines” of waves, a “vanguard” of waves), he actually weakens the impact of the simile overall. Nonetheless, it’s a strong, successful rendering, with an energy and verve appropriate to the lines themselves.

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A Time Line of the U.S. Strike in Syria after the Chemical Attack

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4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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To my mind, the sensitivity to sound effects shown by both of those translators isn’t strongly present in the new translation by Stephen Mitchell. What I like best about Mitchell’s version is its strong #ve-beat rhythm—arguably the best yet in English. But as his rendering of our passage shows, there’s virtually no attempt here to reproduce the sound effects in the Greek:

The Trojans attacked like a blast of a sudden squall

that swoops down to earth with lightning and thunder, churning

the dark sea into a fury, and countless waves

surge and toss on its surface, high-arched and white-capped,

and crash down onto the seashore in endless ranks:

just so did the Trojans charge in their ranks, each battalion

packed close together.

The only repetition here is “ranks” in the #fth and sixth lines, and we get virtually none of those alliterations and sea-sounds, which the earlier translators grappled with. I #nd, too, that there is a general heightening of diction

4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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—“attacked” for “went in,” “swoops” for “goes,” “countless” for “many,” “battalion” for “rank”—and a loss of some #ne points (“fury” misses the fact that Homer’s thespesioi homadoi, “with an inhuman din” is meant to evoke a sound). There’s a lot of energy here, but Homer knows better how to pace himself and mete out his effects.

I’ve done a translation myself ( ), and my guess is that you could spend an entire working day solving the problems presented in this six-line passage—nailing down the meaning in a #rst draft, perhaps, and then spending several hours working out how to get the sound effects, to say nothing of the rhythm. At this rate, it would take about seven years to translate the Iliad —assuming you worked on weekends. That’s just about how long it took Alexander Pope to produce his Iliad; it was announced in 1713 and the #nal volume was published in 1720. Many consider it the greatest English Iliad, and one of the greatest translations of any work into English. It manages to convey not only the stateliness and grandeur of Homer’s lines, but their speed and wit and vividness:

As when from gloomy clouds a whirlwind springs,

That bears Jove’s thunder on its dreadful wings,

Wide o’er the blasted #elds the tempest sweeps;

Then, gather’d, settles on the hoary deeps;

The afflicted deeps tumultuous mix and roar;

The waves behind impel the waves before,

Wide rolling, foaming high, and tumbling to the shore:

Thus rank on rank, the thick battalions throng,

Chief urged on chief, and man drove man along.

One small example of the many beauties of this translation is the precision and detail of the #fth line. In Homer, those two gurgling adjectives, paphladzonta and

of a modern Greek poet

of a modern Greek poetof a modern Greek poet

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4/20/18, 3*57 PMEnglishing the Iliad: Grading Four Rival Translations | The New Yorker

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polyphloisboio slow the line down mightily—you have to chew on them a bit, roll them around in your mouth, make the surf-noises. Pope manages this in English by dragging the line out with the many s sounds— “deeps,” “tumultuous,” “mix”; and by placing “deeps” before “tumultuous,” he forces your tongue to drag a bit as it searches for the helpful “t” in “tumultuous” to latch onto again before you can move on. It’s just one of many tiny effects that accumulate to make this at once the grandest and the most minutely detailed there is ever likely to be.

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Daniel Mendelsohn, an author and critic, teaches at Bard. His new memoir, “An Odyssey: A Father, a Son, and an Epic,” will be published in September. Read more »

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12/6/2017 The Walls We Build Around Us – Medium

https://medium.com/@pharaonick/the-walls-we-build-around-us-c2ae921b51f5 1/9

Nick Rowlands Follow just wondering around Jul 17, 2013 · 13 min read

The Walls We Build Around Us On writer’s block, obsession, and the Egyptian revolution

Some time back in 2011, amidst the chaos and confusion of the

Egyptian revolution, I forgot how to write — constructed a barrier in my

mind and hammered home the instruction, “WRITER’S BLOCK, DO

NOT PASS!” Two years later, and I’m only just learning to peek over to

the other side and see there is life beyond.

The hows and the whys form a story I’ve been needing to tell for a long

time.

. . .

From 2006 to 2010 I lived in Egypt, working as a tour leader and then a

travel writer. Mine was the Egypt of felucca captains and donkey boys,

boisterous games of backgammon and cafes thick with scented tobacco

and laughter, old magic locked in stones and the echoing solitude of the

desert.

Photo by Rennett stowe

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12/6/2017 The Walls We Build Around Us – Medium

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But by 2010 it was time to move on. The exotic had �nally become

mundane, and the delicious chaos of life in Cairo was taking its toll; my

writing felt lifeless and formulaic; I missed my family. I needed to quit

while ahead, before I morphed into that species of resentful and

twisted expat who forgets how privileged he is, who allows his fear of

leaving the familiarity of the foreign to poison his relationship with the

host country.

So in November 2010 I said a bitter-sweet goodbye to friends that had

become family, and who refused to believe I was really leaving. I

traveled to the US, and spent my �rst Christmas in years at home with

my actual family in England. Along the way, having received a job o�er

too good to refuse, I decided to prove my friends correct by returning to

Egypt “for one last year”. I was set to �y back some time in February

2011, after giving a talk at a travel writing workshop in London.

Which is why I was stuck in England at the end of January 2011,

watching the beginnings of the Egyptian revolution through the �at

glare of my computer screen. Like many people following along from

afar — especially all those with a deep and personal connection to

Egypt — I was overcome with con�icting emotions: exhilaration,

admiration, fear, impotence, guilt. Frustration, too, because I felt I was

meant to be there. I knew I had to go back.

. . .

I consider myself fortunate that I’ve always found it easy to express

myself, although I’m more comfortable doing so verbally than through

writing. It’s only recently that I have come to understand why.

There’s a �exibility and a �uidity to the spoken word — thoughts don’t

need to be complete, and the ebb and �ow of conversation means there

is a participatory shape to the expression of ideas. By contrast, writing

is a more deliberate, more linear, and more solitary act; there is a sense

of something solid, something permanent, in the act of committing our

thoughts to paper. To write necessitates standing beside our words,

owning them. But to speak — to speak requires conviction only at the

point of utterance, as our sounds dissipate into the ether to live on as

memory alone.

. . .

Egyptians are fond of saying that if you drink from the Nile, you are

fated to return to their country. But the Nile is as �ckle as it is timeless,

http://matadornetwork.com/life/notes-on-not-being-in-egypt-as-it-all-kicks-off/

12/6/2017 The Walls We Build Around Us – Medium

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and the Egypt to which I returned in March 2011 was not the country I

had left four months earlier.

This was around the time that the euphoria following Mubarak’s ouster

was decaying into the disillusionment, fragmentation, paranoia, and

confusion of an epic, country-wide comedown. While it is true that the

street was invigorated and there was an almost tangible excitement and

hope for the future, there were also palpable and thickening tendrils of

tension; the atmosphere in Cairo was both explosive and brittle. The

cycle of broken promises, demonstrations, violence, and politicking

that has subsequently come to de�ne Egypt’s ongoing revolution was

just beginning.

I had hoped being in Egypt would illuminate the realities on the

ground, o�er some much-needed clarity on an undeniably complex

situation. But I found that proximity to the unfurling revolution made

events seem even more opaque and confusing than they had been from

the comfortable tumult of Twitter, back in England. To appropriate a

common expression — it was impossible to see the desert for all the

swirling grains of sand.

And I could never get over my concerns with a di�erent sort of

appropriation — the sense that perhaps, having missed the initial

“Eighteen Days”, I had returned to Egypt to stake a claim over

something I did not really own. I became obsessed with the idea that

there was an invisible but unbreachable crevasse between me and all

my friends who had been present for, and participated in, Mubarak’s

downfall. A dark and insecure part of me felt like an uninvited guest at

someone else’s party. I realize now that I never spoke to anyone about

these fears — and I know that my friends would have laughed me out of

my hauntings — but I was unable to let these feelings go.

Where some people saw opportunity (and indeed, many careers were

launched o� the back of the “Arab Spring”), I saw opportunism, and

what I came to think of as revolutionary voyeurism. I felt that many

people, conditioned by a lifetime of news-as-entertainment, were

treating the revolution as their chance for interactive ring-side seats at

the hottest new drama in town. I knew these thoughts were beneath

me, and my sentiments were by no means set in stone; but by opening

myself to the shadows of my own motivations, I tain

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A talk to teacher 1. Baldwin is speaking in America in 1963 and is addressing what is, in that moment, a national crisis. What

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