M. writes that his translation attempts ‘to recapture something of the rhythmic and musical character of the original Greek productions … [it is] meant to be read aloud’ (p. ix). He recommends high school students not read the 55-page introduction since ‘the play is accessible on its own’ (p. x), but adds that those with little exposure to Greek literature would benefit from the plot summary he provides. That leaves out most of the introduction in which he discusses (1) the question of Oedipus’ blame and responsibility – ultimately coming down against the ill-fated hero, (2) how much of the Colonus myth Sophocles invented – he argues that the ‘essential action’ reflects ‘controversial and contemporary political associations’ (p. x), and (3) how the Colonus and the Philoctetes reflect political and historical contexts through their emphasis on foreigners, exiles, or refugees in late-fifth century Greece (and the twenty-first century).
The introduction rationalises the myth, psychologises the characters and the playwright, pronounces on scholarly debates and historicises the action. At their best, these concerns furnish a background to the translation that makes the play readable to a general audience and performable for an ambitious theatre troupe. Most effective is M.'s treatment of Oedipus’ blame and responsibility: not only does he present his own judgement of Oedipus, but he provides enough background to allow the readers to form their own opinions. However, his discussions concerning whether Sophocles originated the Colonus setting (p. xlv), aided in the establishment of the 400 (pp. lii–liii), wrote the Philoctetes as an allegory for the return of Alcibiades (pp. liv–lv), although interesting and important, may distract the reader from the introduction's more immediately useful information.
Translations that students enjoy, like Lombardo's Iliad and Odyssey, have moved towards more contemporary speech rhythms and diction. That being said, M. effectively deploys iambic pentameter, rhyming lyrics and a convincing imitation of anapaests and trochees for his purpose. It is risky to include rhyming schemes in contemporary translations that seek to broaden the audience, but as with Spike Lee's Chi-Raq, which employs beautiful hip hop rhythms and rhymes to reinterpret Aristophanes, it can be done. With his word choices, M. can emphasise a pressing concern in contemporary culture, for example ‘immigrant’ (οἰκητῆρα 627); ‘refugee’ (ϕυγὰς 378), ‘stranger in a foreign land’ (ξεῖνος ἐπὶ ξένης 184); he can make our skin crawl as when, after her return from kidnapping, Oedipus says to Antigone, ‘Come to your father, daughter. Let me feel your body’ (1105); to which Antigone responds, ‘You'll have your wish. We long to pleasure you’ (1106); and Oedipus: ‘let our bodies intertwine’ (1113). Other arresting phrases such as ‘life's pivot point’ (ῥοπὴ βίoυ μοι 1508) are clever. M. is not afraid to Christianise (τοὺς δυσσεβεῖς = ‘godless sinners’ 280) or legalise the Greek (τό γ’ ἆκον πρᾶγμα = ‘involuntary acts’ 977).
This edition is a valiant attempt to reach and stimulate today's reader as it attempts to stay true to the original context of production. It may take a more radical use of pop culture to nudge the play securely into the twenty-first century.
