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For Slavitt, translation "is the outcome of a literary encounter, an act of criticism and interpretation, and even, under ideal circumstances, an exploration not only of the text but of the translator's soul." If so, Slavitt possesses a merry soul indeed; one could hardly have dreamed that Aeschylus could be funny, but the witticisms exchanged during the finale of the great Oresteia prove that expectation wrong.... Throughout the plays Slavitt (like many of his fellow translators) chooses an accentual meter of varying length, with occasional rhyme or special effects in the chorus. The result is highly readable verse that challenges our notions of how Aeschylus should be translated--and interpreted.
Review
"What David Slavitt does, as the early Roman poets did, is to take a poem as his 'model' and make it his own by creating in late twentieth-century English an appropriate equivalent of the ancient poem. His Oresteia is the most lively and readable version known to me."--Gordon Williams
Praise for the series: "A boon for classicists and general readers alike. For the reader who comes to tragedy for the first time, these translations are eminently 'accessible.'. . . For the classicist, these versions constitute an ambitious reinterpretation of traditional masterpieces."--Boston Book Review
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