Samuel Ogden Andrew

Samuel Ogden Andrew (1868–1952) (the 'S. O. Andrew' of academic publications) was an English classical and Anglo-Saxon scholar, translator and headmaster, known for his verse translations of The Iliad (1938, selections) and The Odyssey (1948, complete) and of Sir Gawain and the Green Knight. He was also known for his books on classics and mathematics for school use.

Life and career Eldest son of Samuel and Mary Andrew (née Ogden), S. O. Andrew was born in Oldham in 1868 and educated at Manchester Grammar School. He won a scholarship to read classics at Oriel College, Oxford, where he took a double first in Literae humaniores in 1890. After a year studying psychology in Germany he was appointed assistant classics master at Llandovery College, Carmarthenshire (1892 – 1895), then first headmaster of the modern era of Oldham Hulme Grammar School (1895 – 1902). From 1902 to 1928 he was headmaster of Whitgift School, Croydon, Surrey. Andrew married Lilian Pullinger; they had three children and lived at Sanderstead, Surrey. Quiller-Couch believed that Andrew had "hit on" the nearest English equivalent to Homer's spoudaiotes [σπουδαιότης], "the combined majesty and rush as of a wind", free from the distracting associations of blank verse and heroic couplets.

Publications Academic Greek Prose Composition (1902) Greek Versions of 'Greek Prose Composition' (1902) Geometry (1903) Practical Arithmetic: an Introduction to Elementary Mathematics; with A. Consterdine (1905) Praeceptor: A Master's Book (Oxford University Press, 1913) The Old English Alliterative Measure (1931) Syntax and Style in Old English (Cambridge University Press, 1940) Postscript on 'Beowulf' (Cambridge University Press, 1948)

Translations Sir Gawain and the Green Knight: A modern version of the 14th century alliterative poem in the original metre (Dent, 1929) The Wrath of Achilles: Translated from 'Iliad' I, XI, XVI to XXIV; with A Note on the Metre (Dent, 1938; Preface by Sir Arthur Quiller-Couch) Homer: The Odyssey (Dent, 1948; cover illustration by Eric Fraser); reissued in 1953 as Everyman Library no. 454, with Introduction by John Warrington Homer: The Iliad (translated by S.O. Andrew and M.J. Oakley; Everyman Library no 453 with Introduction by John Warrington; Preface by M.J. Oakley) (1953)

Metre Andrew believed his Homer-metre "new". "If we go to Homer," he wrote, "and count, not the number of long syllables but the number of stress-words in a line, we find that in at least three lines out of four this number is five." Accordingly, he chose an accentual, five-stress "hexameter", with, usually, hypermetric unstressed syllables at beginning or end or both. Purely dactylic lines are very rare in his version. "Experience has led me," he noted, "to adopt the rule that at least two feet, the fourth and one other, must be dactyls". Examples: Six feet: ( ⏑ ⏑ ) | – ⏑ | – ⏑ ⏑ | – ⏑ | – ⏑ ⏑| – ( ⏑ ) Five stresses ( / ): - - / - / - - / - / - - / - But the blessèd Gods beholding had pity on Hector - - / - / - / - - / - - / - That his wife and mother and child upon him might look - - / - / - - / - / - - / Oft he turn'd on his side and often he lay / - / - - / - / - - / "Important variants": (1) The penultimate foot may be a spondee or trochee, in which case the foot preceding must be a dactyl. (2) The first foot may be inverted. (3) An initial spondee may be followed by a rising (iambic-anapaestic) rhythm: " Nine days they lay in their blood... ". In addition he varied caesura position and used run-on lines and counterpoint. "A long unstressed ( \ ) or a weakly-stressed syllable ( \ ) is sometimes allowed to take the stress by transference", e.g. "omnipotent" ( \ / - - ). Ditto when a long stressed syllable is preceded by a long more weakly stressed one ( \ ), e.g. "libation" ( \ / - ), "unransom'd" ( \ / - ), "Idaeus" ( \ / - ).

Andrew rejected more regular dactylic hexameters (as used, for example, by Cotterill) because of their monotony and artificiality, and because the natural structure and rhythm of English, with its many monosyllabic stress-words and rising rhythm, meant that an English Homer must accommodate both rising and falling rhythms. He rejected blank verse and heroic couplets because of their non-Homeric literary associations.