Emily Wilson vs. Daniel Mendelsohn: which Odyssey translation should you read?

Our verdictChoose Wilson for speed in tight pentameter and Mendelsohn for a roomier six-beat line that keeps more sound and qualification in play.
Written by TranslationOf editors Last checked See our method

Where the translations differ

TraitEmily WilsonDaniel Mendelsohn
Translation year20172025
VoiceClear, quick, and contemporaryBroad, fluent, and deliberately ample
FormVerse · Iambic pentameter, line-for-lineVerse · Six-beat line, line-for-line
RegisterDirect, quick, and contemporaryExpansive, fluent, and attentive to the Greek
TradeoffWe lose some of the sweep and ceremony we get from FaglesIts long line makes the poem feel physically and rhythmically larger

Wilson and Mendelsohn offer the clearest modern argument about line length. Both keep one English line for one Greek line. Wilson uses five-beat iambic pentameter and prizes speed. Mendelsohn uses a broad six-beat line and tries to retain more of Homer’s sound, word order, and enjambment. The rule is shared. The reading experience is not.

At the opening, Wilson’s “complicated” is a compact judgment. Mendelsohn’s “roundabout ways / To wander” spreads the epithet across character and movement. Edith Hall praises that openness and the rolling, maritime motion of his measure. She also defends the value of Wilson’s “breezy modernity” against Mendelsohn’s own criticism of pentameter. We think that is the right balance.

Wilson’s compression can be more interpretive than it first appears. Corinne Pache praises the vivid result but argues that smoothness and varied phrasing can weaken Homer’s formulas. Mendelsohn gives formulas more room, though his longer sentences ask us to hold more before they close.

The Cyclops names show two solutions for print: “Noman” and “No-One.” At the reunion, the difference is sharper. Wilson generalizes the formula into heart and body relaxing. Mendelsohn keeps knees and heart separate. Wilson gives us the event at once. Mendelsohn lets us compare it with other moments when Homer uses the same bodily language.

Choose Wilson for a first read that feels fast without becoming prose. Choose Mendelsohn if meter, sound, and the grain of the Greek line are reasons you are reading a translation at all. If you plan to read both, start with Wilson for the shape of the story and use Mendelsohn to slow down the passages that matter.

Three passages, side by side

Show translations

Showing Wilson and Mendelsohn. Select more to add them to the comparison.

Book 1, opening invocation

The opening lines and polytropos

Emily Wilson 2017 · Verse
Tell me about a complicated man. Muse, tell me how he wandered and was lost when he had wrecked the holy town of Troy, and where he went, and who he met, the pain he suffered in the storms at sea, and how he worked to save his life and bring his men back home. He failed to keep them safe; poor fools, they ate the Sun God’s cattle, and the god kept them from home. Now goddess, child of Zeus, tell the old story for our modern times. Find the beginning.
W. W. Norton & Company first-edition ebook (2018) · Book 1, opening invocation Text checked Jul 15, 2026
Daniel Mendelsohn 2025 · Verse
Tell me the tale of a man, Muse, who had so many roundabout ways To wander, driven off course, after sacking Troy’s hallowed keep; Many the peoples whose cities he saw and whose ways of thinking he learned, Many the toils he suffered at sea, anguish in his heart As he struggled to safeguard his life and the homecoming of his companions. But he did not save his companions even so, though he longed to, For their heedlessness destroyed them, theirs and nobody else’s— Fools that they were, like children, who devoured the sun-god Hyperion’s Cattle, and so he took from them the day of their homecoming. Goddess, start where you will; daughter of Zeus, share the tale with us too.
University of Chicago Press ebook (2025) · 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

Emily Wilson 2017 · Verse
‘Cyclops, you asked my name. I will reveal it; then you must give the gift you promised me, of hospitality. My name is Noman. My family and friends all call me Noman.’ He answered with no pity in his heart, ‘I will eat Noman last; first I will eat the other men. That is my gift to you.’ Then he collapsed, fell on his back, and lay there, his massive neck askew. All-conquering sleep took him. In drunken heaviness, he spewed wine from his throat, and chunks of human flesh.
W. W. Norton & Company first-edition ebook (2018) · Book 9, false-name exchange and aftermath Text checked Jul 15, 2026
Daniel Mendelsohn 2025 · Verse
‘Cyclops, you’ve been asking me for my famous name and now I shall tell you—and then you’ll give me the guest-gift you’d promised me. No-One is my name. No-One is what people call me, My mother and my father and all of my comrades, too.’ My words. And there came right away this reply from his pitiless heart: ‘I’ll eat No-One last of all, after the rest of his comrades. First I’ll eat the others—that will be your guest-gift!’ He teetered and fell down, flat on his back, and then Lay there, his massive neck bent at an angle. Then sleep, Which subdues all, seized him. Wine ran out of his gullet— Morsels of human meat, too. Loaded with wine, he kept belching.
University of Chicago Press ebook (2025) · 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

Emily Wilson 2017 · Verse
At that, her heart and body suddenly relaxed. She recognized the tokens he had shown her. She burst out crying and ran straight towards him and threw her arms around him, kissed his face, and said, “Do not be angry at me now, Odysseus! In every other way you are a very understanding man. The gods have made us suffer: they refused to let us stay together and enjoy our youth until we reached the edge of age together.
W. W. Norton & Company first-edition ebook (2018) · Book 23, recognition and reunion after the bed test Text checked Jul 15, 2026
Daniel Mendelsohn 2025 · Verse
Right then and there, her knees and her heart gave way When she recognized the sure signs Odysseus had clearly described. Bursting into tears, she ran up to him, throwing her arms Around Odysseus’s neck and kissing his head as she said: “Don’t be vexed with me, Odysseus, since in all other things You were always so sensible. But the gods have given us sorrow— The gods who begrudged us the chance to remain at each other’s side While enjoying the days of our youth and then reaching the threshold of age.
University of Chicago Press ebook (2025) · 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 Wilson

Readers who want direct syntax, quick narrative movement, and a highly controlled first read.

Wilson makes compression feel natural. Her interpretations arrive cleanly and the story rarely stalls, though repetition and ambiguity can narrow under the pressure.

Choose Mendelsohn

Readers who want a recent scholarly translation with a longer line and a fuller account of Homer's formal texture.

Mendelsohn gives a Greek line more English room and pays close attention to meter, enjambment, and sound. That amplitude also makes the reading slower.

Find the exact editions

Cover of The Odyssey translated by Emily Wilson

Exact edition

The Odyssey

Publisher
W. W. Norton
Format
Paperback
ISBN-10
0393356256
ISBN-13
9780393356250
Cover of The Odyssey translated by Daniel Mendelsohn

Exact edition

The Odyssey

Publisher
University of Chicago Press
Format
Hardcover
ISBN-10
022660442X
ISBN-13
9780226604428

Sources and further reading

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

  1. Corinne Pache. Review of Emily Wilson, Homer: The Odyssey. Bryn Mawr Classical Review, 2018.

  2. Edith Hall. Review of Dan Mendelsohn's Translation of the Odyssey. The Edithorial, 2025.

  3. A. E. Stallings. A Mentor's Odyssey. The Times Literary Supplement, 2025.