The Anger of Achilles, Robert Graves' 1959 translation of Homer's Iliad, has been variously dismissed by classical scholars as an 'outrageous sortie into the field of translation' (Aldrich 1961) and a work of 'sheer egotism' (Rexine 1962), marred by its author's 'scattered yapping' (Dimmock 1960). And yet, it can be read with greater understanding if we approach it not merely as a literary anomaly, but as a refraction of Graves' experience of 'Shell Shock,' or PTSD, following his front line service during the First World War. This paper proposes that the act of translation can itself be cathartic, creating a formalized textual space in which the translation of traumatic memory into narrative memory becomes viable, and that Graves used Homer's epic as a tool to access his own occluded, traumatic past. By comparing The Anger of Achilles to R. Lattimore's relatively literal translation of the Iliad (1951), it will illuminate the ways in which the former is deeply rooted in Graves's experience of combat, his ensuing neurasthenia, and the personal Myth by which he made sense of both - the matriarchal mythopoetics of The White Goddess (1948).

中文翻译：

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“通过染黑的血池”：罗伯特·格雷夫斯的《阿喀琉斯之怒》中的创伤和翻译

《阿喀琉斯之怒》，罗伯特·格雷夫斯 1959 年对荷马的《伊利亚特》的翻译，被古典学者以“对翻译领域的无耻出击”（Aldrich 1961）和“纯粹的自我主义”（Rexine 1962）的作品而不同程度地驳斥。由其作者的“分散的唠叨”（Dimmock 1960）。然而，如果我们不仅将其视为文学上的反常现象，而且将其视为格雷夫斯在第一次世界大战期间在前线服役后的“壳牌冲击”或 PTSD 经历的折射，则可以更深入地理解它。这篇论文提出，翻译行为本身可以是宣泄性的，创造了一个正式的文本空间，在这个空间中，将创伤性记忆翻译成叙事性记忆变得可行，并且格雷夫斯使用荷马史诗作为工具来访问他自己封闭的、创伤性的过去。通过将《阿喀琉斯之怒》与 R. Lattimore 对伊利亚特 (1951) 的相对直译进行比较，它将阐明前者深深植根于格雷夫斯的战斗经历、随之而来的神经衰弱以及他创造的个人神话的方式两者的意义 - 白色女神（1948）的母系神话。