Robert Fagles vs. Robert Fitzgerald: which Odyssey translation should you read?

Our verdictChoose Fagles for a larger dramatic voice and Fitzgerald for tighter lyric shaping and mid-century poetic elegance.
Written by TranslationOf editors Last checked See our method

Where the translations differ

TraitRobert FaglesRobert Fitzgerald
Translation year19961961
VoiceSweeping, muscular, and ceremonialLyrical, poised, and controlled
FormVerse · Expansive free verseVerse · Flexible blank verse
RegisterGrand, muscular, and ceremonialPoised, lyrical, and mid-century
TradeoffWe get sweep and scale, but less line-for-line closeness than in Wilson or LattimoreIts elevated mid-century diction can put a little distance between us and the poem

Fagles and Fitzgerald are easy to group together as two poetic standards from before Wilson. Side by side, they do not sound alike. Fagles builds an expansive public voice. Fitzgerald writes a more inward English poem, with shorter turns and a stronger sense that every scene has been shaped by one lyric intelligence.

David Slavitt’s review of Fagles was written with Fitzgerald open on the desk, which makes it unusually useful now. He hears Fagles finding a balance between pomp and folksiness. He still admires Fitzgerald’s opening, but finds words such as “townlands” and some Greek spellings visibly marked by their period. The difference is not old versus new anymore. It is dramatic naturalness versus a style whose artifice is easier to see.

The opening gives Fagles the quicker launch. His “twists and turns” becomes a moving description and his final command sends the story outward. Fitzgerald’s “Sing in me” makes the relation between Muse and poet the main event. In the Cyclops scene, Fagles trusts the familiar “Nobody,” while Fitzgerald’s “Nohbdy” insists that a reader see the mechanism of the joke.

The reunion reverses some of that contrast. Fagles adds “heart surrender” and lets the emotion swell. Fitzgerald’s knees grow weak and the heart fails in a more compressed break. Neither is a transparent report. Fagles directs the actors; Fitzgerald edits the poem.

Choose Fagles if you want a story told with breath, scale, and forward pressure. Choose Fitzgerald if you want to hear a poet solve each passage as an English poem, even when the solution carries the accent of the 1960s. If you are choosing for a class, compare the notes too: Fagles’s Bernard Knox introduction and apparatus are a major part of the edition.

Three passages, side by side

Show translations

Showing Fagles and Fitzgerald. Select more to add them to the comparison.

Book 1, opening invocation

The opening lines and polytropos

Robert Fagles 1996 · Verse
Sing to me of the man, Muse, the man of twists and turns driven time and again off course, once he had plundered the hallowed heights of Troy. Many cities of men he saw and learned their minds, many pains he suffered, heartsick on the open sea, fighting to save his life and bring his comrades home. But he could not save them from disaster, hard as he strove — the recklessness of their own ways destroyed them all, the blind fools, they devoured the cattle of the Sun and the Sungod wiped from sight the day of their return. Launch out on his story, Muse, daughter of Zeus, start from where you will —sing for our time too.
Penguin Books electronic edition (2002; translation first published 1996) · Book 1, opening invocation Text checked Jul 15, 2026
Robert Fitzgerald 1961 · Verse
Sing in me, Muse, and through me tell the story of that man skilled in all ways of contending, the wanderer, harried for years on end, after he plundered the stronghold on the proud height of Troy. He saw the townlands and learned the minds of many distant men, and weathered many bitter nights and days in his deep heart at sea, while he fought only to save his life, to bring his shipmates home. But not by will nor valor could he save them, for their own recklessness destroyed them all— children and fools, they killed and feasted on the cattle of Lord Hêlios, the Sun, and he who moves all day through heaven took from their eyes the dawn of their return. Of these adventures, Muse, daughter of Zeus, tell us in our time, lift the great song again.
Farrar, Straus and Giroux ebook (2011; 1998 edition of the 1961 translation) · Book 1, opening invocation Text checked Jul 15, 2026
What to notice

The poem begins by asking us what kind of man Odysseus is. Wilson calls him “complicated,” Fagles gives him “twists and turns,” Lattimore “many ways,” Mendelsohn “roundabout ways,” and Green and Rieu “resourceful.” Each choice makes a different promise about the hero. Fitzgerald brings the invocation inside the poet with “Sing in me.” Lombardo, Butler, the Pope collaboration, and Chapman lean instead toward cunning, ingenuity, or wisdom. We should listen to the line length too. Before the plot begins, we can already hear compression, swing, and ceremony.

Book 9, the name given to Polyphemus

The Cyclops and the “Nobody” wordplay

Robert Fagles 1996 · Verse
‘So, you ask me the name I’m known by, Cyclops? I will tell you. But you must give me a guest-gift as you’ve promised. Nobody —that’s my name. Nobody — so my mother and father call me, all my friends.’ But he boomed back at me from his ruthless heart, ‘Nobody? I’ll eat Nobody last of all his friends — I’ll eat the others first! That’s my gift to you!’ With that he toppled over, sprawled full-length, flat on his back and lay there, his massive neck slumping to one side, and sleep that conquers all overwhelmed him now as wine came spurting, flooding up from his gullet with chunks of human flesh —he vomited, blind drunk.
Penguin Books electronic edition (2002; translation first published 1996) · Book 9, false-name exchange and aftermath Text checked Jul 15, 2026
Robert Fitzgerald 1961 · Verse
‘Kyklops, you ask my honorable name? Remember the gift you promised me, and I shall tell you. My name is Nohbdy: mother, father, and friends, everyone calls me Nohbdy.’ And he said: ‘Nohbdy’s my meat, then, after I eat his friends. Others come first. There’s a noble gift, now.’ Even as he spoke, he reeled and tumbled backward, his great head lolling to one side: and sleep took him like any creature. Drunk, hiccuping, he dribbled streams of liquor and bits of men.
Farrar, Straus and Giroux ebook (2011; 1998 edition of the 1961 translation) · Book 9, false-name exchange and aftermath Text checked Jul 15, 2026
What to notice

The joke works only if a translator finds an English non-name that holds up in dialogue. Wilson, Lombardo, Butler, and the Pope text give us “Noman.” Fagles, Lattimore, Green, and the revised Rieu use “Nobody.” Fitzgerald makes the disguise visible as “Nohbdy,” Mendelsohn hyphenates “No-One,” and Chapman chooses “No-Man.” Before Polyphemus's neighbors even answer, that one choice tells us whether the trick will feel conversational, antique, conspicuous, or immediate.

Book 23, Penelope's recognition after the bed test

The olive-tree bed reunion

Robert Fagles 1996 · Verse
Penelope felt her knees go slack, her heart surrender, recognizing the strong clear signs Odysseus offered. She dissolved in tears, rushed to Odysseus, flung her arms around his neck and kissed his head and cried out, “Odysseus —don’t flare up at me now, not you, always the most understanding man alive! The gods, it was the gods who sent us sorrow — they grudged us both a life in each other’s arms from the heady zest of youth to the stoop of old age.
Penguin Books electronic edition (2002; translation first published 1996) · Book 23, recognition and reunion after the bed test Text checked Jul 15, 2026
Robert Fitzgerald 1961 · Verse
Their secret! as she heard it told, her knees grew tremulous and weak, her heart failed her. With eyes brimming tears she ran to him, throwing her arms around his neck, and kissed him, murmuring: “Do not rage at me, Odysseus! No one ever matched your caution! Think what difficulty the gods gave: they denied us life together in our prime and flowering years, kept us from crossing into age together.
Farrar, Straus and Giroux ebook (2011; 1998 edition of the 1961 translation) · Book 23, recognition and reunion after the bed test Text checked Jul 15, 2026
What to notice

In the Greek, Penelope's knees and heart give way together when she recognizes Odysseus. Each translator decides how literally to keep those two bodily signs and how much psychology to add. Lattimore, Mendelsohn, Green, and Chapman keep both signs close to the surface. Wilson gives us a sudden relaxation, Fagles adds surrender, Fitzgerald says her heart fails, Lombardo says she “finally let go,” and the prose versions describe a breakdown or melting. Pope takes us furthest into eighteenth-century melodrama, with trembling and fainting.

Which one should you read?

Choose Fagles

Readers who want speeches to gather force and the epic to work aloud.

Fagles expands, propels, and explains. His Odyssey is easier to imagine filling a theater, but harder to use as a map of each Greek line.

Choose Fitzgerald

Readers who want a finished English poem with a more controlled lyric line.

Fitzgerald shapes scenes with a poet's freedom and a finer inward music. His diction sometimes shows its age, but his best lines remain hard to replace.

Find the exact editions

Cover of The Odyssey translated by Robert Fagles

Exact edition

The Odyssey (Penguin Classics Deluxe Edition)

Publisher
Penguin Classics
Format
Paperback
ISBN-10
0140268863
ISBN-13
9780140268867
Cover of The Odyssey translated by Robert Fitzgerald

Exact edition

The Odyssey: The Fitzgerald Translation (Deluxe Edition)

Publisher
Picador
Format
Paperback
ISBN-10
1250375444
ISBN-13
9781250375445

Sources and further reading

These are the sources we used to test our own reading and understand each translator's method.

  1. David Slavitt. Review of Robert Fagles, The Odyssey. Bryn Mawr Classical Review, 1997.

    A direct comparison written when Fagles appeared and Fitzgerald was the established modern standard.
  2. James J. Clauss. Review of Robert Fitzgerald, The Third Kind of Knowledge. Bryn Mawr Classical Review, 1993.

  3. Emily Greenwood. Sounding Out Homer: Christopher Logue's Acoustic Homer. Oral Tradition 24.2, 2009.