Anne Carson’s Translation of An Oresteia

Absent Presence 2004, by Ken Currie

Traditionalists beware. An Oresteia is not a fusty, complex translation of Aiskhylos’s (Aeschylus to most of us, but I’ll run with Carson’s version for consistency) trilogy. On another plane, Robert Fagles and Richmond Lattimore can be heard thunderously grumbling.

Carson’s adaptation takes Aeschylus’s Agamemnon, and matches it with Sophocle’s Elektra and Euripedes’s Orestes.  In doing so, she offers a very different reading of the trilogy that begins with Agamemnon’s return from the Trojan war and ends, surprisingly happily, with Apollo’s intervention to prevent a continuation of the tragic cycle of events. In a brief notes section, Carson quotes the director that persuaded her of the merits of this perspective:

I always think of these three tragedians as being associated with different times of a metaphoric day. Aiskhylos is dawnlike, with iconic ideas, images, and action emerging into the light of consciousness. Euripides presents a twilight where everything is susceptible to tricks of a fading light, where tonalities are hard to grasp, where one moment is an azure sunset, the next a starless night. Between them, Sophokles, under the glare of a noon sun that leaves nothing exposed.

With a limited background of Greek tragedy, I am not certain whether presenting an Oresteia combining the work of three playwrights is a fresh perspective, but it is remarkably potent.

Dramatic events aside, it is not possible to ignore Carson’s translation. Her language mutations are almost Joycean (“blackmouthing bitch”). Just occasionally I thought the translation into modern idiom went too far: the slave talking of “real bad shit happening” (though Carson qualifies this as “another quaint barbarian idiom”). That aside, the language is exhilarating, showing the continued importance and brilliance of these tragedies.

Inevitably, translations of this exuberance send me not only to Carson’s other Greek translations ( Euripides in Grief Lessons), but also to other Greek plays, even if I will have to settle for Lattimore’s less newfangled translations.

I recommend Emily’s detailed review of this translation.

Folio Greek Tragedies

Though I have mixed feelings about Folio Society editions, these are tempting. All the Greek tragedies in five volumes:

In five volumes, the extant works of Aeschylus, Sophocles and Euripides are gathered, with newly commissioned prefaces for each volume: Ruth Padel on Aeschylus, Simon Goldhill on Sophocles, and Peter Stothard, Lawrence Norfolk and Germaine Greer each introducing one of the Euripides volumes. The translations used, from the University of Chicago editions, have become the standard texts. A total of 33 great works of art are included, such as Pallas Athene attributed to Rembrandt and The Bacchae by Luca Giordano, with each plate tipped in, facing the title page of the play in question.