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Mark Griffith - Greek Tragedies 1: Aeschylus: Agamemnon, Prometheus Bound; Sophocles: Oedipus the King, Antigone; Euripides: Hippolytus

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Mark Griffith Greek Tragedies 1: Aeschylus: Agamemnon, Prometheus Bound; Sophocles: Oedipus the King, Antigone; Euripides: Hippolytus

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Greek Tragedies, Volume I contains Aeschyluss Agamemnon, translated by Richmond Lattimore; Aeschyluss Prometheus Bound, translated by David Grene; Sophocless Oedipus the King, translated by David Grene; Sophocless Antigone, translated by Elizabeth Wyckoff; and Euripidess Hippolytus, translated by David Grene. Sixty years ago, the University of Chicago Press undertook a momentous project: a new translation of the Greek tragedies that would be the ultimate resource for teachers, students, and readers. They succeeded. Under the expert management of eminent classicists David Grene and Richmond Lattimore, those translations combined accuracy, poetic immediacy, and clarity of presentation to render the surviving masterpieces of Aeschylus, Sophocles, and Euripides in an English so lively and compelling that they remain the standard translations. Today, Chicago is taking pains to ensure that our Greek tragedies remain the leading English-language versions throughout the twenty-first century. In this highly anticipated third edition, Mark Griffith and Glenn W. Most have carefully updated the translations to bring them even closer to the ancient Greek while retaining the vibrancy for which our English versions are famous. This edition also includes brand-new translations of Euripides Medea, The Children of Heracles, Andromache, and Iphigenia among the Taurians, fragments of lost plays by Aeschylus, and the surviving portion of Sophocless satyr-drama The Trackers. New introductions for each play offer essential information about its first production, plot, and reception in antiquity and beyond. In addition, each volume includes an introduction to the life and work of its tragedian, as well as notes addressing textual uncertainties and a glossary of names and places mentioned in the plays. In addition to the new content, the volumes have been reorganized both within and between volumes to reflect the most up-to-date scholarship on the order in which the plays were originally written. The result is a set of handsome paperbacks destined to introduce new generations of readers to these foundational works of Western drama, art, and life.

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MARK GRIFFITH is professor of classics and of theater, dance, and performance studies at the University of California, Berkeley.

GLENN W. MOST is professor of ancient Greek at the Scuola Normale Superiore at Pisa and a visiting member of the Committee on Social Thought at the University of Chicago.

DAVID GRENE (19132002) taught classics for many years at the University of Chicago.

RICHMOND LATTIMORE (19061984), professor of Greek at Bryn Mawr College, was a poet and translator best known for his translations of the Greek classics, especially his versions of the Iliad and the Odyssey.

The University of Chicago Press, Chicago 60637

The University of Chicago Press, Ltd., London

2013 by The University of Chicago

Agamemnon 1947 by Richmond Lattimore, 1953, 2013 by the University of Chicago Prometheus Bound 1942, 1991, 2013 by the University of Chicago Oedipus the King 1942, 2013 by the University of Chicago

Antigone 1954, 2013 by the University of Chicago

Hippolytus 1942, 2013 by the University of Chicago

All rights reserved. Published 2013.

Printed in the United States of America

22 21 20 19 18 17 16 15 14 13 1 2 3 4 5

ISBN-13: 978-0-226-03514-7 (cloth)

ISBN-13: 978-0-226-03528-4 (paper)

ISBN-13: 978-0-226-03531-4 (e-book)

Library of Congress Cataloging-in-Publication Data

Greek tragedies / edited by David Grene and Richmond Lattimore. Third edition / edited by Mark Griffith and Glenn W. Most.

pages. cm.

ISBN 978-0-226-03514-7 (cloth : alk. paper) ISBN 978-0-226-03528-4 (pbk. : alk. paper) ISBN 978-0-226-03531-4 (e-book) ISBN 978-0-226-03545-1 (cloth : alk. paper) ISBN 978-0-226-03559-8 (pbk. : alk. paper) ISBN 978-0-226-03562-8 (e-book) ISBN 978-0-226-03576-5 (cloth : alk. paper) ISBN 978-0-226-03593-2 (pbk. : alk. paper) ISBN 978-0-226-03609-0 (e-book) 1. Greek drama (Tragedy) I. Grene, David. II. Lattimore, Richmond, 19061984. III. Wyckoff, Elizabeth, 1915IV. Most, Glenn W. V. Griffith, Mark (Classicist) VI. Sophocles. Antigone. English. 2013. VII. Sophocles. Oedipus Rex. English. 2013. VIII. Aeschylus. Agamemnon. English. 2013. IX. Aeschylus. Prometheus bound. English. 2013. X. Euripides. Hippolytus. English. 2013.

PA3626.A2G57 2013

882'.0108dc23

2012044399

Picture 1 This paper meets the requirements of ANSI/NISO Z39.481992 (Permanence of Paper).

CONTENTS

Translated by Richmond Lattimore

Translated by David Grene

Translated by David Grene

Translated by Elizabeth Wyckoff

Translated by David Grene

AESCHYLUS
Translated by Richmond Lattimore
INTRODUCTION TO AESCHYLUS AGAMEMNON

Agamemnon is the first part of the trilogy known as the Oresteia, the other two parts being The Libation Bearers and The Eumenides. The trilogy was presented in 458 BCE and won first prize.

According to the legend, in the version used by Aeschylus, Atreus tricked his brother, Thyestes, into devouring his own children, all but one. Thyestes cursed the entire house. In the next generation, Agamemnon and Menelaus, sons of Atreus, were kings in Argos. Helen, wife of Menelaus, eloped to Troy with Paris (Alexander). Agamemnon led the expedition to Troy to recover her, and, to procure favorable winds to get there, sacrificed his daughter, Iphigeneia, to Artemis. Meanwhile Agamemnons wife Clytaemestra took as her lover Aegisthus, the only surviving son of Thyestes. Agamemnon and Clytaemestra arranged a series of beacons between Argos and Troy, by which he would signal the capture of the city.

It is at this point that Agamemnon begins. The action consists of a short, simple series of events: the return of Agamemnon with his captured war prize, Cassandra; his formal reception and entrance into the palace; the murder of Agamemnon and Cassandra by Clytaemestra and Aegisthus; and, at the end, their defiance of Argos and its citizens. The power of the drama lies partly in the arrangement of these events, partly also in the choral lyrics and long speeches, in which the tragic scenes of the past, flashbacks in memory, as well as hints about the future, are made to enlarge and illuminate the action and persons before us.

AGAMEMNON

Characters

WATCHMAN

CHORUS of Argive Elders

CLYTAEMESTRA, wife of Agamemnon

HERALD

AGAMEMNON, son of Atreus and king of Argos

CASSANDRA, daughter of King Priam of Troy

AEGISTHUS, cousin of Agamemnon

Scene: Argos, in front of the palace of King Agamemnon. The Watchman is posted on the roof.

WATCHMAN

I ask the gods some respite from the weariness

of this watchtime measured by years I lie awake

elbowed upon the Atreidaes roof dogwise to mark

the grand processionals of all the stars of night

burdened with winter and again with heat for men,

dynasties in their shining blazoned on the air,

these stars, upon their wane and when the rest arise.

I wait; to read the meaning in that beacon light,

a blaze of fire to carry out of Troy the rumor

and outcry of its capture; to such end a ladys

male strength of heart in its high confidence ordains.

Now as this bed stricken with night and drenched with dew

I keep, nor ever with kind dreams for company

since fear in sleeps place stands forever at my head

against strong closure of my eyes, or any rest

I mince such medicine against sleep failed: I sing,

only to weep again the pity of this house

no longer, as once, administered in the grand way.

Now let there be again redemption from distress,

the flare burning from the blackness in good augury.

(A light shows in the distance.)

Oh hail, blaze of the darkness, harbinger of days

shining, and of processionals and dance and songs

of multitudes in Argos for this day of thanks.

Ho there, ho!

I cry the news aloud to Agamemnons queen,

that she may rise up from her bed of state with speed

to raise the rumor of gladness welcoming this beacon,

and singing rise, if truly the citadel of Ilium

has fallen, as the shining of this flare proclaims.

I also, I, will make my choral prelude, since

my lords dice cast aright are counted as my own,

and mine the tripled sixes of this torchlit throw.

May it only happen. May my king come home, and I

take up within this hand the hand I love. The rest

I leave to silence; for an ox stands huge upon

my tongue. The house itself, could it take voice, might speak

aloud and plain. I speak to those who understand,

but if they fail, I have forgotten everything.

(Exit. Enter the Chorus from the side.)

CHORUS [chanting]

Ten years since the great contestants

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