These two new additions to Oxford's "Greek Tragedy in New Translations" series only add to the luster of the previous releases. Each is firmly packed with insightful introductions, comprehensive and numbered notes, glossaries, and up-to-date bibliographies (the plays' texts take up about half of each volume). The collaboration of poet and scholar in each volume produces a language that is easy to read and easy to speak (compare, for instance, the Watchman's first lines in Shapiro and Burian's Agamemnon with those in Lattimore's 1947 translation). Each volume's introduction presents the play's action and themes with some detail. The translators' notes describe the linguistic twists and turns involved in rendering the text into a modern poetic language. Both volumes are enthusiastically recommended for academic libraries, theater groups, and theater departments.-Larry Schwartz, Minnesota State Univ., Moorhead Copyright 2003 Reed Business Information.
Translators Grene and O'Flaherty present a modern translation of the three plays composing the Oresteia and, with the assistance of director Nicholas Rudall, an abridged stage adaptation which transforms the Oresteia into an effective modern stage play. Includes introductory material. Cloth edition ($32.50). Annotation c. Book News, Inc., Portland, OR (booknews.com)
Though it's tempting to imagine the late English poet laureate's long tortured relationship with the image of (his wife) feminist heroine Sylvia Plath as its subtext, this vivid free-verse translation of Aeschylus' dark and bloody tragic trilogy (comprising Agamemnon, Choephori, and Eumenides) more properly evinces Hughes's wide range of interests and mastery of classic literatures. His nearly conversational rhythms produce an arresting mixture of colloquialism and formality, enlivened by strong imagery (as in the matricidal Orestes' declaration that "This house has been the goblet / That the demon of homicide, unquenchable, / Has loved to drain"), and only infrequently weakened by astonishing woodenness—as in Clytemnestra's cool reply to the Chorus who lament her murder of her husband: "You think I'm an irresponsible woman? / You are making a mistake"). Perhaps not the ultimate "acting edition" it claims to be, but, still, an essential further installment in the always interesting oeuvre of a gifted poet who was also a diligent scholar.
In this terrifying masterpiece of his last years, Aeschylus passed through tragedy and out onto the other side: to a Divine Comedy of the stage.”
’s Encyclopedia of World Drama
The greatest achievement of the human mind.”
Algernon Charles Swinburne
The Oresteia is not merely a magnificent work, it is one of the supreme achievements of classical culture…the Oresteia is splendid, and as a depiction of the cumulative power of evil it is unsurpassed.”
Masterpieces of World Literature
The Oresteia is perhaps the most unusual tragedy in the theater of the West and certainly one of the very greatest.”
University of Chicago scholar and noted translator David Grene
Although these Greek plays are twenty-five centuries old, this production is, remarkably, the first audio release to include the complete trilogy…It features a fine performance by Robertson Dean.”
In their day, these poetic, highly stylized tragedies were chanted rather than acted…Thus they work particularly well in audio format. This production makes the most of modern technology to create haunting choral effects. The individual actors are all well-cast, and their performances are evenly balanced.”
Although these Greek plays are 25 centuries old, this production is, remarkably, the first audio release to include the complete trilogy. The strongest play is the final one, THE EUMENIDES, during which Orestes is tried before Athena for the murder of his mother, Clytemnestra. It features a fine performance by Robertson Dean as Apollo, Orestes's advocate. After listening to the trilogy, it's easy to appreciate the challenges of adapting Greek dramatic conventions to audio. For example, lengthy passages are delivered by a chorus, which may seem contrived to modern listeners. Unfortunately, this production magnifies that awkwardness—far too many lines are delivered with injudicious sound effects and multiple voices that are more cloying than dramatic. D.B. © AudioFile 2007, Portland, Maine
