Medea

A bold new translation of this shockingly modern classic work by Forward Prize-winning poet, Robin Robertson

The purpose of translation is to set a play free. This is just what Robin Robertson does. In his lucid, free-running verse, Medea's power is released into the world, fresh and appalling, in words that seem spoken for the first time.

The greatest works demand constant re-translation to meet the changing culture of the age, and Robin Robertson has given us a Medea fit for our times; his elegant and lucid free translation of Euripides' masterpiece manages the trick of sounding wholly contemporary but never merely 'modern' - and will be an especially lucky discovery for those encountering the play for the first time.

Robertson is master of the dark and wounded, the torn complexities of human relations, and Medea offers a perfect match for his sensibilities. This is an urgent, contemporary and eloquent translation

This version of Medea is vivid, strong, readable, and brings triumphantly into modern focus the tragic sensibility of the ancient Greeks

His version of Medea feels newly minted thanks to the pitch perfection of his linguistic choices. Robertson's skill lies in bringing the words of a long dead Greek to life, not merely to live but to cavort in the mind's ear

Robin Robertson is a fine poet and one well-matched to the task of making an English version of Euripides's great play. The tough but musical vernacular line he has found brings home the brutality and ineffable sadness of Medea in a way that seems perfectly-pitched for a modern audience

Robertson's achievement is to make the dialogue flow without losing the unsettling poetry of the original

It's 2,400 years old, yet it is so compelling and absolutely modern

One of the main virtues of this fine translation is Robertson's ear for the verbal brutality committed by the estranged Medea and Jason on one another during their confrontations. Another is Robertson's sensitivity to the seascapes and imagery of Euripides that dominate the play... Closer examination reveals how much thought has gone into its making...These subtleties support Robertson's claim, in the introduction, that his main concern was "to provide an English version that is as true to the Greek as it is to the way that English is spoken now..." It certainly deserves to be staged. It would provide a more attractive basis for a performance text of the original play than anything else currently on offer

In Robertson's translation poetry abandons its usual mellifluousness for pithy simplicity...The combustion of language and sound is enough to release the beauty in the text

[Robertson's] version of Medea feels newly minted thanks to the pitch perfection of his linguistic choices. Robertson's skill lies in bringing the words of a long dead Greek to life, not merely to live but to cavort in the mind's ear

Euripides is thought to have lived between 485 and 406 BC. He is considered to be one of the three great dramatists of Ancient Greece, alongside Aeschylus and Sophocles. He is particularly admired by modern audiences and readers for his characterization and astute and balanced depiction of human behaviour. Medea is his most famous work. 
 
Robin Robertson is from the north-east coast of Scotland. He is the author of three collections of poetry: A Painted Field (1997), winner of the 1997 Forward Poetry Prize (Best First Collection), the Aldeburgh Poetry Festival Prize and the Saltire Society Scottish First Book of the Year Award; Slow Air (2002); and Swithering (2006). He is also the editor of Mortification: Writers' Stories of their Public Shame (2003). In 2004, he was named by the Poetry Book Society as one of the 'Next Generation' poets, and received the E. M. Forster Award from the American Academy of Arts and Letters. Robin Robertson's third poetry collection, Swithering (2006), was shortlisted for the 2005 T. S. Eliot Prize and won the 2006 Forward Poetry Prize (Best Poetry Collection of the Year). In 2013 Robin Robertson was awarded the Petrarca-Preis. He lives and works in London.

THE ACCLAIMED TRANSLATION BY ROBIN ROBERTSON (FORWARD PRIZE, MAN BOOKER PRIZE SHORTLIST 2018) 
 
Euripides' Medea, the brutally powerful ancient Greek tragedy that reverberates down the centuries, has been brought to fresh and urgent life by one of our best modern poets. 
 
Medea has been betrayed. Her husband Jason has left her for a younger woman. He has forgotten all the promises he made and is even prepared to abandon their two sons. But Medea is not a woman to accept such disrespect passively. Strong-willed and fiercely intelligent, she turns her formidable energies to working out the greatest, and most horrifying, revenge possible... 
 
Suitable for the general reader as well as for students and performers. 
 
'In Robertson's lucid, free-running verse, Medea's power is released into the world, fresh and appalling, in words that seem spoken for the first time' Anne Enright 
 
'This version of Medea is vivid, strong, readable and brings triumphantly into modern focus the tragic sensibility of the ancient Greeks' John Banville 
 
'Robertson's achievement is to make the dialogue flow without losing the unsettling poetry of the original' Financial Times

Orestes and Other Plays

pides (c.485-406 BC) is thought to have written 92 plays, only 18 of which survive.

Written during the long battles with Sparta that were to ultimately destroy ancient Athens, these six plays by Euripides brilliantly utilize traditional legends to illustrate the futility of war. The Children of Heracles holds a mirror up to contemporary Athens, while Andromache considers the position of women in Greek wartime society. In The Suppliant Women, the difference between just and unjust battle is explored, while Phoenician Women describes the brutal rivalry of the sons of King Oedipus, and the compelling Orestes depicts guilt caused by vengeful murder. Finally, Iphigenia in Aulis, Euripides' last play, contemplates religious sacrifice and the insanity of war. Together, the plays offer a moral and political statement that is at once unique to the ancient world, and prophetically relevant to our own.

The Bacchae and Other Plays

The volume that completes our new 4-book collection of Euripides plays.

EURIPIDES (C.484-406 B.C.) was one of the three great tragedians of classical Athens, along with Aeschylus and Sophocles; he is the youngest of the three. He is believed to have written 92 dramas, but only 19 of them are now known. 
 
 
John Davie is Head of Classics at St Paul's School in London. 
Richard Rutherford is Tutor in Greek and Latin Literature at Christ Church, Oxford.

Through their sheer range, daring innovation, flawed but eloquent characters and intriguing plots, the plays of Euripides have shocked and stimulated audiences since the fifth century BC. Phoenician Women portrays the rival sons of King Oedipus and their mother's doomed attempts at reconciliation, while Orestes shows a son ravaged with guilt after the vengeful murder of his mother. In the Bacchae, a king mistreats a newcomer to his land, little knowing that he is the god Dionysus disguised as a mortal, while in Iphigenia at Aulis, the Greek leaders take the horrific decision to sacrifice a princess to gain favour from the gods in their mission to Troy. Finally, the Rhesus depicts a world of espionage between the warring Greek and Trojan camps.

Three Plays

Philip Vellacott's verse translations convey the poetic eloquence of the original texts

One of the greatest playwrights of Ancient Greece, the works of Euripides (484-406 BC) were revolutionary in their depiction of tragic events caused by flawed humanity, and in their use of the gods as symbols of human nature.

One of the greatest playwrights of Ancient Greece, the works of Euripides (484-406 BC) were revolutionary in their depiction of tragic events caused by flawed humanity, and in their use of the gods as symbols of human nature. The three plays in this collection show his abilities as the sceptical questioner of his age. Alcestis, an early drama, tells the tale of a queen who offers her own life in exchange for that of her husband; cast as a tragedy, it contains passages of satire and comedy. The tragicomedy Iphigenia in Tauris melodramatically reunites the ill-fated children of Agamemnon, while the pure tragedy of Hippolytus shows the fatal impact of Phaedra's unreasoning passion for her chaste stepson. All three plays explore a deep gulf that separates man from woman, and all depict a world dominated by amoral forces beyond human control.

Electra and Other Plays

Five of Euripides' boldest and most moving tragedies,all focussing on strong female characters

Of all the ancient Greek tragedians, Euripides was the most sensitive to the lives of women and other outcasts in Athenian society, and Electra and Other Plays collects five plays demonstrating his talent for bringing to life their plight. This Penguin Classics edition is translated by John Davie with an introduction and notes by Richard Rutherford. 
 
Written during a period overshadowed by the fierce struggle for supremacy between Sparta and Euripides' native Athens, these five plays are haunted by the shadow of war - and in particular its impact on women. In Electra the children of Agamemnon take bloody revenge on their mother for murdering their father after his return from Troy, and Suppliant Women depicts the grieving mothers of those killed in battle. The other plays deal with the aftermath of the Trojan War for the defeated survivors, as Andromache shows Hector's widow as a trophy of war in the house of her Greek captor, and Hecabe portrays a defeated queen avenging the murder of her last-remaining son, while Trojan Women tells of the plight of the city's women in the hands of their victors. 
 
John Davie's compelling translations are accompanied by an introduction by Richard Rutherford describing the tragic genre and Euripides innovations, along with a chronology, prefaces to each play, notes, a bibliography and a glossary of names. 
 
Euripides (c.485-07 BC) was an Athenian born into a family of considerable rank. Disdaining the public duties expected of him, Euripides spent a life of quiet introspection, spending much of his life in a cave on Salamis. Late in life he voluntarily exiled himself to the court of Archelaus, King of Macedon, where he wrote The Bacchae, regarded by many as his greatest work. Euripides is thought to have written 92 plays, only 18 of which survive. 
 
If you enjoyed Electra and Other Plays, you might like Euripides' Medea and Other Plays, also available in Penguin Classics. 
 
'The most intensely tragic of all the poets' 
Aristotle

Euripides (c.485-406 BC) was already a controversial figure in his own lifetime, regarded as a 'clever' poet, associated with philosophers and intellectuals. He is thought to have written 92 plays, only 18 of which survive. 
 
 
John Davie was born in Glasgow in 1950, and educated at Glasgow University and Balliol College, Oxford. Dr Richard Rutherford was born in Edinburgh in 1956 and has been tutor in Greek & Latin Literature at Christ Church College, Oxford, since 1982.

Written during a period overshadowed by the fierce struggle for supremacy between Sparta and Euripides' native Athens, these five plays are haunted by the shadow of war - and in particular its impact on women. In Electra the children of Agamemnon take bloody revenge on their mother for murdering their father after his return from Troy, and Suppliant Women depicts the grieving mothers of those killed in battle. The other plays deal with the aftermath of the Trojan War for the defeated survivors, as Andromache shows Hector's widow as a trophy of war in the house of her Greek captor, and Hecabe portrays a defeated queen avenging the murder of her last-remaining son, while Trojan Women tells of the plight of the city's women in the hands of their victors.

Greek Tragedy

Bringing together the masterpieces of classical tragedy in one volume, this is the ideal single-volume introduction for theatre goers, actors, general readers, and students of Classics, English Literature, and Drama.

AESOP probably lived in the middle part of the sixth century BC. A statement in Herodotus gives grounds for thinking that he was a slave. 
 
 
Simon Goldhill (introducer) is Professor of Greek at Cambridge University and a Fellow of King's College where he is Director of Studies in Classics. He has published widely on many aspects of Greek literature, especially tragedy. He is in great demand as a lecturer all over the world, and is a frequent broadcaster on radio and television on classical matters. 
 
Shomit Dutta (editor) was educated at University College Oxford, and King's College London, and has taught classics at Radley College and Harrow School, and Oxford. He is also a freelance arts reviewer, and has published a translation of Sophocles' Ajax (Cambridge).

Agememnon is the first part of the Aeschylus's Orestian trilogy in which the leader of the Greek army returns from the Trojan war to be murdered by his treacherous wife Clytemnestra. In Sophocles' Oedipus Rex the king sets out to uncover the cause of the plague that has struck his city, only to disover the devastating truth about his relationship with his mother and his father. 
Medea is the terrible story of a woman's bloody revenge on her adulterous husband through the murder of her own children.

Euripides

Robin Robertson

This stunning translation, by the acclaimed poet Robin Robertson (Forward Prize, Man Booker shortlist 2018), has reinvigorated Euripides' devastating take of a god's revenge for contemporary readers, bringing the ancient verse to fervid, brutal life. 
 
Dionysus, god of wine and ecstasy, has come to Thebes, and the women are streaming out of the city to worship him on the mountain, drinking and dancing in wild frenzy. The king, Pentheus, denouces this so-called 'god' as a charlatan. But no mortal can deny a god and no man can ever stand against Dionysus. 
 
'The dialogue is taut, volcanic and often exquisitely beautiful... Euripides deserves to have his exquisite verse transformed into modern speech, and in Robertson I believe he has found a poet who can do that.' Edith Hall, Literary Review

Euripides

Bacchae

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