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Three Greek Plays: Prometheus Bound / Agamemnon / The Trojan Women

4.6 4.6 out of 5 stars 28 ratings

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Three classic Greek tragedies are translated and critically introduced by Edith Hamilton.

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Editorial Reviews

From the Back Cover

This book presents three of the greatest Greek tragedies translated by Edith Hamilton.

About the Author

Edith Hamilton (1867–1963) was made an honorary citizen of Athens because of her writings. She won the National Achievement Award and received honorary degrees from Yale University, the University of Rochester, and the University of Pennsylvania. The author of The Roman Way, Mythology, and other works, she was a member of the American Academy of Arts and Letters.

Product details

  • Publisher ‏ : ‎ W. W. Norton & Company (November 17, 1958)
  • Language ‏ : ‎ English
  • Paperback ‏ : ‎ 240 pages
  • ISBN-10 ‏ : ‎ 0393002039
  • ISBN-13 ‏ : ‎ 978-0393002034
  • Item Weight ‏ : ‎ 9.8 ounces
  • Dimensions ‏ : ‎ 5.1 x 0.7 x 7.7 inches
  • Customer Reviews:
    4.6 4.6 out of 5 stars 28 ratings

About the author

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Edith Hamilton
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Edith Hamilton, an educator, writer and a historian, was born August 12, 1867 in Dresden, Germany, of American parents and grew up in Fort Wayne, Indiana. Her father began teaching her Latin when she was seven years old and soon added Greek, French, and German to her curriculum. Hamilton's education continued at Miss Porter's School in Farmington, Connecticut, and at Bryn Mawr College near Philadelphia, Pennsylvania, from which she graduated in 1894 with an M.A. degree. The following year, she and her sister Alice went to Germany and were the first women students at the universities of Munich and Leipzich.

Hamilton returned to the United States in 1896 and accepted the position of headmistress of the Bryn Mawr Preparatory School in Baltimore, Maryland. For the next twenty-six years, she directed the education of about four hundred girls per year. After her retirement in 1922, she started writing and publishing scholarly articles on Greek drama. In 1930, when she was sixty-three years old, she published The Greek Way, in which she presented parallels between life in ancient Greece and in modern times. The book was a critical and popular success. In 1932, she published The Roman Way, which was also very successful. These were followed by The Prophets of Israel (1936), Witness to the Truth: Christ and His Interpreters (1949), Three Greek Plays, translations of Aeschylus and Euripides (1937), Mythology (1942), The Great Age of Greek Literature (1943), Spokesmen for God (1949) and Echo of Greece (1957). Hamilton traveled to Greece in 1957 to be made an honorary citizen of Athens and to see a performance in front of the Acropolis of one of her translations of Greek plays. She was ninety years old at the time. At home, Hamilton was a recipient of many honorary degrees and awards, including election to the American Academy of Arts and Letters. Edith Hamilton died on May 31, 1963 in Washington, D.C.

Customer reviews

4.6 out of 5 stars
4.6 out of 5
28 global ratings

Top reviews from the United States

Reviewed in the United States on December 27, 2012
The reason for this is because the best known translations of the most important anti-war play ever written have been undertaken by very qualified and scholarly men (University of Chicago editions are a must have for anyone interest in Greek Drama--Richard Lattimore version extremely clear and literal,) but there was nuance that I, as a male reader, simply missed in these versions. However, Hamilton was one of the great classical scholars of the 20th century, and as qualified as anyone to approach this or any Greek play. What she has given us with her Trojan Women is a lasting treasure--a woman's story myth translated by a woman! To state it again, there is nuance in this play that most male translators seem to miss. For instance, I didn't get the full force of Cassandra's vitriol until read the Hamilton, rather, I completely mis-interpreted her lines. Everyone should read this version, but especially women and girls. I plan to give it to my niece when she turns 12.
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Reviewed in the United States on April 12, 2014
i love the prometheus bound play and feel it has a lot of relevance for us today in the 21st century.
Reviewed in the United States on May 12, 2007
Edith Hamilton does such a fine piece of work. We gave it as a gift to an an admirer of Edith Hamilton. Joyfully received.
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Reviewed in the United States on June 2, 2017
On April 4, 1968, Robert F. Kennedy stopped in Indianapolis during his bid for the Democratic presidential nomination. That day, Martin Luther King, Jr. had been murdered, and Kennedy broke the news to the crowd. He quoted a passage by Aeschylus:

"Even in our sleep pain which cannot forget, falls drop by drop upon the heart,
until in our own despair, against our will, comes wisdom through the awful grace of God."

I heard this in a documentary about Kennedy. Evidently, Jackie had recommended Aeschylus as a way to make sense of the tragedy that had befallen their family in November, 1963. This piqued my own interest in Aeschylus. Via Google, I eventually discovered that the passage is from Agamemnon. But which translation to read?

Kennedy recited a slightly modified version of a prose translation by Edith Hamilton. Her rendering is nicely lyrical, but I wondered about the accuracy. Aeschylus presumably didn’t really speak of “the awful grace of God,” as he was obviously not a Christian. I decided to check some of the other translations, using that passage as my metric.

Hamilton herself translated the passage more than once. The version Kennedy used appears to come from her book 
The Greek Way , where she excerpts that passage by itself (as prose rather than verse). In contrast, here is the verse version from her complete translation of Agamemnon in  Three Greek Plays: Prometheus Bound / Agamemnon / The Trojan Women :

"Drop, drop—in our sleep, upon the heart
sorrow falls, memory’s pain,
and to us, though against our very will,
even in our own despite,
comes wisdom
by the awful grace of God."

I kind of prefer “pain which cannot forget, falls drop by drop upon the heart.” I’m not sure if the contrast is due to the different demands of prose instead of verse, but to my ear the prose version flows better, without the syntactical inversion. Both versions end with the powerful (if not literally accurate) “comes wisdom by [or through] the awful grace of God.” So, high marks for Hamilton in both versions.

Next, I looked at 
The Oresteia: Agamemnon; The Libation Bearers; The Eumenides  from Penguin—always a safe place to start. Here is how their man, Robert Fagles, translated the passage:

"We cannot sleep, and drop by drop at the heart
the pain of pain remembered comes again,
and we resist, but ripeness comes as well.
From the gods enthroned on the awesome rowing-bench
there comes a violent love."

I kind of like “the pain of pain remembered,” but otherwise this translation seems inferior to Hamilton’s. “We cannot sleep” connotes something quite different than “in our sleep”; I can’t read the Greek, but, as we will see, the other translations seem to suggest that Hamilton’s reading is closer to the mark. As for the “gods enthroned on the awesome rowing-bench,” that might be more literally accurate, but it certainly doesn’t have the emotional weight of Hamilton's version, although “violent love” is interesting in place of "grace."

Next, I tried Richmond Lattimore’s 
Aeschylus II: The Oresteia (The Complete Greek Tragedies)  from the U of Chicago Press:

"Still there drips in sleep against the heart
grief of memory; against
our pleasure we are temperate.
From the gods who sit in grandeur
grace comes somehow violent."

I’m with him for the first two lines, but “against our pleasure we are temperate” seems to obscure the meaning, which kills the whole passage; the ending doesn’t work if the middle is unclear. But the rhythm is pleasing.

Next up is Alan Shapiro’s 
The Complete Aeschylus: Volume I: The Oresteia: 1 (Greek Tragedy in New Translations)  from Oxford UP:

"Even in sleep pain drips
down from the heart as fear,
all night, as memory.
We learn unwillingly.
From the high bench of the gods
by violence, it seems, grace comes."

That one has a nice directness, especially the short “We learn unwillingly” after the more complex syntax of the previous three lines. “From the high bench of the gods” seems a good middle-ground between the very specific “awesome rowing bench” and the more abstract “grandeur.”

Next is 
The Oresteia: Agamemnon, Choephoroe, Eumenides  by George Thomson, from Everyman's Library:

"When deep slumber falls, remembered sins
Chafe the sore heart with fresh pain, and no
Welcome wisdom meets within.
Harsh the grace dispensed by powers immortal
On the awful grace enthroned."

That one takes far too many liberties for my taste, and its syntax is tortured and awkward. Although the translation is evidently from 1938, it sounds more like it was written in 1838. In contrast, Peter Meineck’s 
Oresteia (Hackett Classics)  is perhaps too contemporary and flat:

"Not even sleep can relieve the painful memories
that fall upon the heart, drop by drop,
discretion comes even to the unwilling.
This grace is forced upon us
by sacred spirits who reign above."

That one seems to capture the meaning without any of the music, and “sacred spirits” sounds a bit too New-Agey. This seems like it might be a good version for students who have trouble understanding the more poetic versions. On that note, my last two samples also go in the direction of contemporary “accessibility.” Here’s Anne Carson’s 
An Oresteia: Agamemnon by Aiskhylos; Elektra by Sophokles; Orestes by Euripides :

"Yet there drips in sleep before my heart
a griefremembering pain.
Good sense comes the hard way.
And the grace of the gods
(I’m pretty sure)
is a grace that comes by violence."

I kind of like “griefremembering pain,” but otherwise that passage seems more miss than hit. “Good sense” sounds too folksy, as well as simply a very different meaning than “wisdom.” And while some may find asides such as “I’m pretty sure” to be daringly contemporary, I just find that grating and tonally misleading. The last line strikes a good balance between clear meaning and rhythmic punch, though.

Finally, here is what Ted Hughes did with the passage in 
The Oresteia of Aeschylus: A New Translation by Ted Hughes :

"Nothing speaks the truth,
Nothing tells us how things really are,
Nothing forces us to know
What we do not want to know
Except pain.
And this is how the gods declare their love.
Truth comes with pain."

That can charitably be called a “loose” translation. Evidently killing Sylvia Plath wasn’t enough for him, so he had to kill Aeschylus, too. (Just kidding.) (Sort of.) Hughes was actually a very good poet, so I don’t know what happened here. If you’re in the mood for Hughesian versions of classical poetry, stick with his 
Tales from Ovid: 24 Passages from the Metamorphoses .

So, where does this leave us? To quote another poet (T.S. Eliot), “the end of all our exploring / Will be to arrive where we started / And know the place for the first time.” I must admit that I still like Hamilton’s prose version best, and her verse version second-best. Unfortunately, her full Agamemnon is not available in e-book format. I suppose my next choice, for reading on the Kindle, would be Shapiro’s.

Of course, one passage does not a translation make; this is not enough to make a truly fair comparison between translations of Agamemnon alone, much less the other plays. Still, I offer these comparisons in the hope that they will provide some small help to others who are trying to decide between translations.
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Reviewed in the United States on August 8, 2009
Edith Hamilton's choices for this fine small collection of Greek Plays includes two selections from Aeschylus and Euripide's Trojan Women. Her brief but insightful analysis introducing each play is alone worth the price of this book. It is clear she favors Euripide's and her exposition of the Trojan Women as the greatest of all Anti- War literature is thought provoking and a wonderful way to introduce the reader to the play that follows. I've had this book for many years and have returned to it numerous times. These are works that have as much meaning today as they did to their Greek audiences over 2,500 years ago. Quite an achievement.
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Reviewed in the United States on August 24, 2015
The binding is too tight for me to lay it flat thus using it as a script is very INEFFECTIVE which is why I purchased it. As a professional stage actress I have used scripts from books and this one is exceptionally challenging. Even copying it is proving to be more difficult than I am used to. Even as s a book it would only have received 3 stars at best. Using it as a reference that I must refer back to or as a script whether to read directly or copy scenes from it is not functional. The words seem to be aligned awkwardly on the page as well; too far to one side. :(

Top reviews from other countries

walterpump
4.0 out of 5 stars Excellent Translations
Reviewed in Canada on February 21, 2017
I am enjoying the 3 plays. Translation by Edith Hamilton is excellent. Only 4 stars because I would have appreciated a longer, more insightful intro to each play.