Aeschylus II: The Oresteia (The Complete Greek Tragedies)

Poetic and graceful. A somewhat free translation, but well done, readable. I prefer it to the facing translation in the current Loeb edition of the Greek text. The Meineck translation is perhaps more current in its language, and follows the pace of the Greek closely, but is not quite as pleasing to the senses in my opinion. Neither has pride of place in fidelity to the Greek, which in itself is difficult & leaves room for rendition in translation.

Great edition of an ancient drama. Very well put together, in readable, compelling language. Perfect edition for students

You can decide for yourself whether you like the substance of this classic work. This review refers to the University of Chicago Press edition. The translations are excellent and very readable, as are the introductions to each work. The UC Press publication is very high quality. Smooth paper for margin notes and crisp printing.

I'm now retired (though not old enough to have met the playwright!) and have some more time for "remedial humanities." After taking a course in ancient Greek theater, I wanted to read these. It's a very good, readable translation that conveys the spirit of the original. If you're an Aeschylus fan (and I'm talking to both of you!), you'll enjoy it.

Good notes and glossary. Without a strong background in classics (which is the norm nowadays) the glossary especially is of great help for understanding the gods, characters, places, etc and what they represent. The notes that say "text uncertain" are honestly kinda pointless because it's not like we have any better way, considering the original texts are often damaged or missing.

Reading the original tragedians is a mind cleanse. Aeschylus has the knack for hard dark descriptions of destiny. Characters trapped in karmic trajectories that were initiated before they were even born. Abraham was stopped from killing Isaac, but Agamemnon's sacrifice of his favorite daughter to achieve the sack of Troy, brings down the famous house of Atreus. The description of her sacrifice curdles the blood & in the third play in the trilogy, the chorus of furies that chase Orestes, really gets off great lines in what is the world's 1st court room drama. Also Cltemnestra's dream of suckling a snake is a deep image for the ages.

Still the best combination for the average (undergrad) reader of accuracy and readability. Though I've never gotten over the fact that Lattimore inaccurately translates two DIFFERENT words as "daring," one of them being the Greek word "hubris." The result is that Helen is described as having hubris, directly contrary to the intent of the text (Paris, NOT Helen, is the epitome of hubris; Helen is something else, a kind of force of nature and a wild animal raised to deadly effect as a tame housepet, according to one metaphor).

This classic translation by Richmond Lattimore, the greatest exponent of ancient Greek literature in the middle third of the 20th century, has been "tactfully" corrected by two lesser lights, meaning that they have made any number of changes without bothering to identify any of them, though that would have been a nice opportunity to discuss the problematic cruxes that they felt the need to correct. There are a number of end-notes that only point out remaining difficult passages that could easily have been put on the page where they occur. An insult to a great master of the past.

Good read.

The Contents: This is a strong scholarly edition that respects the difficulty and grandeur of Aeschylus rather than trying to smooth everything into easy modern reading. Richmond Lattimore’s Oresteia reflects the style he is known for: rugged fidelity, close attention to Greek syntax, and a willingness to preserve the dense, layered quality of Aeschylean metaphor. The result can feel stony at times, but in a rewarding way. It asks the reader to slow down and work through the images rather than passively glide past them. The included translation of Proteus by Mark Griffith takes a different but fitting approach. Since the play survives only in fragments, the emphasis is on precision and clarity, carefully aligning the English with what remains of the Greek text. The plays are presented in poetic form and preserve the original line numbers, which is a major benefit for students and anyone consulting scholarship. This is not the most fluid or beginner-friendly version, but it is highly respectable and rewarding for readers willing to meet it halfway. Lattimore’s tone is monumental and elevated without becoming unreadable or tangled. It feels ancient, weighty, and serious. Griffith’s Proteus, by contrast, carries a more vibrant and bawdy energy that suits the spirit of satyr drama well. The introductory material is one of the strengths of this edition. Most and Griffith explain their editorial and translational approach, note where they revised the older translation, and give a helpful overview of the structure of Attic tragedy, including formal elements such as strophe and related parts. There is also a concise biography of Aeschylus, discussion of the surviving plays, how they were transmitted, and how tragedy was staged in classical Athens. It is accessible enough for general readers while still offering real substance. The Oresteia itself receives a focused introduction covering date, mythic background, transmission, and later reception. It is brief but genuinely useful. There are no footnotes. Endnotes run only a few pages and mostly concern manuscript issues, missing lines, and textual matters rather than interpretive commentary. A glossary of terms is included and is clearly aimed at helping general readers. The Physical Book: The font is clear, generously sized, and very easy to read. The layout is excellent, with strong spacing and formatting that distinguishes chorus from individual speakers, and character names clearly marked above each speech. There is no decorative artwork, but the page design itself is attractive and highly functional. The paper is thin but good quality, with minimal bleed-through. The book is compact and lightweight enough to handle comfortably. The matte cover has a clean, classy appearance, and it pairs perfectly with the rest of this series of the tragedians' complete translations for readers who appreciate a uniform shelf.

As hard as it is to put Greek meter into English it is safe to say that this among the best attempts. The choral odes are brought to life in an immaculate manner and the notes and introduction provide more than enough context.