L’Odyssée d’Homere, traduite en François, avec des remarques
L’Odyssée d’Homere, traduite en François, avec des remarques
L’Odyssée d’Homere, traduite en François, avec des remarques

HOMER; Anne DACIER (translator). L’Odyssée d’Homere, traduite en François, avec des remarques.

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The first rendition of Homer by a woman

HOMER; Anne DACIER (translator). L’Odyssée d’Homere, traduite en François, avec des remarques. Paris: Aux dèpens de Rigaud, Directeur de l’Imprimerie Royale. 1716.

Three volumes, 8vo. Contemporary speckled calf, boards ruled in blind, spine gilt in compartments with 2 red morocco lettering pieces, edges sprayed red, marbled endpapers, blue silk place marker; pp. I: lxxxxii, [2], 579, [1]; II: [4], 639, [1]; III: [4], 630, [6]; engraved frontispiece in vol. I by Benoît Audran after Antoine Coypel, printer’s device of the Imprimerie Royale on title pages, woodcut initials, head-, and tailpieces; spine ends chipped, hinges cracked but holding firm, corners slightly worn, crack to upper joint of vol. I; tiny worm hole to ff. a1-F8 of vol. I touching a few words, small wormhole to *2-X7 of vol. II, decreasing to the end and affecting a few words, partly repaired with old paper; bookplates removed from front pastedowns of each vol.; eighteenth-century armorial bookplates of the Hévin family to the verso of each title page (see below).

First edition of Madame Dacier’s translation of the Odyssey, the first rendition of Homer’s poem by a woman in any language, and a landmark of neoclassical French prose.

Anne Le Fèvre (1645-1720), best known by her married name of Madame Dacier, was a celebrated classicist in the court of Louis XIV. She gained prominence through translations of works by Callimachus, Sappho, and Anacreon, achieving international recognition with her translations of Homer’s Iliad (1699) and Odyssey (1708). Her preface to the Iliad, ardently defending Homer and Hellenistic culture, played a pivotal role in reviving the querelle des anciens et des modernes. In her defence of Homer, Dacier articulated a philosophy of aesthetics that positioned taste as a key measure of a civilisation’s moral and artistic advancement. Her Odyssey translation, too, received acclaim from scholars and the public alike. Both works saw numerous reprints and became central texts in Francophone schools for literary study.

For Dacier, Homer represented the ethical essence of the Greek classics. “No philosopher – she wrote - has given greater precepts of morality than has Homer … Everyone [except modern critics] has recognised that the Iliad and the Odyssey are two quite perfect tableaux of human life. With admirable variety, they represent everything that is worthy of praise or blame, that is useful or pernicious – in a word, all the evils which madness can produce and all the goods which wisdom can cause” (Des causes de la corruption du goût, 1714, trans. Cited in Internet Encyclopaedia of Philosophy).

Provenance: From the library of the Hévin family of Rennes, Bretagne. Reputedly of Irish origin, the Hévin family belonged to the noblesse de robe.

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