Perhaps the first critical test of the translation occurs at line 20 (p. Some examples will, I hope, make this clear.
Therefore I would choose Robertson’s text to stage the play, but Kovacs’ would be far more useful in a class devoted to the specifics of Euripidean style and expression. Bold new metaphors in Robertson’s English do not so much translate as mark the text in places where Euripides’ Greek makes a strong impression, but the metaphors are Robertson’s creations, so in a sense Robertson’s translation is “inspired” by the Greek but in no sense a rigorously literal rendering of the original. The dialogue moves swiftly and makes an impact on the (imagined) theatrical audience which Kovacs’ scholarly translation does not. And because of this I would judge Robertson’s translation to be a much superior acting text to Kovacs’. Mastronarde’s Cambridge edition, 2 which appeared in 2002.īut what are we to make of the merits of this new translation? Above all it is a more dramatic translation than Kovacs’ in every respect, couched in language which is more vivid and striking than that of Kovacs.
Places where ‘Robertson’s translation seems to reflect different textual choices suggest that he has also made use of Donald J. In general, but not in every detail, Robertson’s translation relies on the same Greek text Kovacs uses. In fact Robertson acknowledges Kovacs’ edition as “my primary source” (xxii).
We find an excellent example of a translation that supplies that desideratum in David Kovacs’ translation. So what does Robin Robertson contribute to this feast of translation? Certainly not a faithfully literal rendering of the Greek text. 1 We also have several other English translations which have appeared in the last several years, not to mention the Loeb of David Kovacs, Euripides: Cyclops, Alcestis, Medea, from as recently as 1994. Schaps, the reviewer of BMCR 2008.06.18, announced: “This is the Medea we have been waiting for,” in reviewing Diane Arnson Svarlien’s new translation of the play. When I noticed this title on the BMCR list of books received, I could not avoid asking myself, “Does the world really need another English translation of the Medea ?” As recently as last year David M.
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