Elizabeth Brown Senior Thesis 2024

My Alcestis: Translating Euripides for a Modern Audience

Elizabeth Brown Senior Thesis | 2024

Elizabeth Brown Senior Thesis Dr. Jewell April 12th, 2024 My Alcestis: Translating Euripides for a Modern Audience My Senior Thesis is a literary translation of Euripides’ Alcestis from Ancient Greek into English. This is a continuation of work I did in the fall semester of Greek III with Dr. Alonge and my peers. Before I resumed my translation work in earnest, I researched how other translators had dealt with this play. I read translations of Euripides’ Alcestis, Medea, and Sophocles’ Antigone. I read the following translations: Charles Rowan Beye’s translation of Alcestis; Diane Arnson Svarlien’s translation of Alcestis and Medea; William Arrowsmith’s translation of Alcestis; Dudley Fitts and Robert Fitzgerald’s joint translation of Alcestis and Antigone; Frederic Prokokosch’s translation of Medea; Richmond Lattimore’s translation of Alcestis; Rex Warner’s

translation of Medea; A.S. Way’s translation of Medea; Richard Aldington’s translation of Alcestis; Shaemas O’Sheel’s translation of Antigone. I also read Kiki Gounaridou’s book, Euripides and Alcestis: Speculations, Simulations, and Stories of Love in the Athenian Culture, which includes a section about how the interpretations of Alcestis changed over time, particularly from the mid 1800’s to the 1990’s.

While all the translations of Alcestis were interesting to read, I definitely liked some more than others. I found that Svarlien put continuity of words throughout the text and the integrity of the Greek language at the forefront of her translation, but that I wasn’t as engaged with the story as I was with Arrowsmith’s translation.

His treatment of the Greek is what he describes as “liberal” (Arrowsmith, 29). His goals were to translate for sense rather than for accuracy. I personally liked his choices because he was also trying to make the play performable. I think my favorite version of Alcestis’ main speech, containing her charges to her husband

(Admetus), was Lattimore’s; its continuity and flow, combined with its balanced language, makes me able to imagine it being performed on a stage, even though performance wasn’t a goal of his. By balance of language I mean that Latimore’s language is elevated in terms of the play's content (Alcestis is talking about serious themes like her death, her final wishes, and her children's safety), but it is also not so over the top that the sentiments become distanced from the audience.

Through reading translations of Medea and Antigone, in addition to translations of Alcestis, I was trying to get an understanding of how Alcestis differed from other Greek tragedy.

In my experiences and from my conversations with others, both Medea and Antigone are more well known and more commonly read than Alcestis; they are texts students find in English classes, or even in theatrical productions. Through including them in my background readings, I wanted to figure out how the liberties a translator took with the plays familiar to their audiences differed

from the liberties taken with a more unknown work. Furthermore, I picked these two because, like Alcestis, they both deal with a central female character. Also, Medea allowed me to look at another play by Euripides, while Antigone allowed me to see translations of a different playwright, Sophocles, and look at any differences there.

For my own translation, I wanted to create a performable translation, which combined the beauty and structure of the Greek language with the audience accessibility that the vernacular affords. I tried to make the language lean enough that an audience member could fully follow the lines without a written version.

Specifically, I wanted to create different heights of language between characters of different moralities. Apollo and Death speak colloquially, including semi modern slang and shorthands. The mortal characters use a higher level of vocabulary and grammar, without being wordy. Hercules posed a challenge as he exists as both half god and half man; his speech therefore is a blend of

higher grammatical structure with a more relaxed vocabulary. I started with my own basic English translation from the Greek and then edited it from its excessive technicality and wordiness to something that a modern audience will enjoy.

The following will be the defense of the goals I have for my translation, as well as a discussion of the specific choices I made in my translation, and how my translation compares to others published.

In his opening speech of the play, lines 1-27, Apollo delivers a crucial explanation of the events preceding where the play begins. He tells the audience how he came to be there, which is fairly unimportant except that he tells us why he chooses to help Admetus. My translation of his speech is the following: O Admetian dwellings!... nah I’m just kidding. This is the place where I, me- I know it's surprising- was forced to play the servant. I blame Zeus. It was his fault. You see, he killed my son, Asclepius, which caused me to kinda have to kill the Cyclopes, who, you know, make Dad’s lightning bolts. So then he was mad, and made me come and work for these human people. He was definitely overreacting. Anyway, so

there I was, just in this place, and I met this chill guy, Admetus, you might have heard of his dad, Pheres. You see, Admetus was chill so I decided to help him out. I tricked the Fates, not an easy thing to do by the way, so that they wouldn’t kill Admetus, so long as someone else died in his place. He went around to everyone he knew, his friends, his parents, and, get this, nobody wanted to die!

Except…Alcestis. Man, you have no idea how perfect this guy’s wife is. Even now, as death’s grip is tightening, she lifts up her hands in reverent praise. But anyway, I gotta split, I don’t do so well around Death. Since I, you know, can’t die, Death doesn’t really like me. Here he comes now, to take her to Hades, because today is that day she will die.

(Appendix I, Page 13) Starting just from the third word of the whole play, “ Ἀδμήτει(α),” the translator hits an oddity (line 1).1 This is an adjectival form of the Admetus’ name, so most translators just make the word possessive to the house– Admetus’ houses– like how a genitive would act; Lind, Fitts and Fitzgerald, and Lattimore all make it possessive. I really wanted to capture the uniqueness of this form by leaving it an adjective, because as far as I could tell,

1

All Greek text is sourced from A. M. Dale’s 1954 edition of Alcestis’s text. See full citation in bibliography.

this ending doesn’t appear in other places. The closest English equivalent I could think of was something like “Elizabethan England” or “Draconian laws.” So while making the word simply possessive does convey a similar meaning, it completely neglects the uniqueness of this word.

Further down in the speech, when Apollo is explaining who Admetus is, he of course introduces him with connection to who his father is. This is very normal and expected in Greek literature, and because of that I wanted to preserve the connection while avoiding the commonplace formula of “He is X, son of Y.” By translating the line as “and I met this chill guy, Admetus, you might have heard of his dad, Pheres” (Appendix I, Page 13), as opposed to something more literal, such as, “I happened to meet with a child of Pheres, holy of men,”2 I was able to put the

2

This translation is my own and was in the first draft of my translation, but is not found in any published work. The section quoted has since been changed for my final draft for clarity, flow, and emphasis.

emphasis on Admetus rather than Pheres by actually naming Admetus.

Near the end of the speech, as Apollo is trying to make his exit, he explains that he has to leave because Death is approaching, and he describes Death as a “μίασμά” or ‘pollution’ (line 22). The Greek more strictly says, “for it has been fated / that this is the day in which she will die and hand over her life. / And I, as pollution must not find me in the house, / I leave this most dear roofed palace”.3 Moving Apollo’s statement about his having to leave to the beginning of this quoted section changes the statement from a cause and effect structure to an explanatory one. It also explicitly brings out the emotions between Death and Apollo, specifically disdain, in the situation, while the Greek and stricter English only imply it.

3

Again, this is my own first draft translation that doesn’t appear elsewhere.

Looking at the speech on the whole, the reader can see the relaxed nature of Apollo. His language emphasizes his character and behaviors: He uses slang and shorthand, he interrupts himself, he addresses the audience directly at times. All of these habits together build the dynamic character which is reckless, childlike, mischievous, but also deeply loyal and caring. He is not only defending Admetus, risking the wrath of the Fates, but the whole reason he is being forced to act like a mortal is the consequence of his avenging his son’s murder.

In her longest speech of the play, just before her death, Alcestis delivers a long charge to her husband. She both defends herself and her choices, and also compels Admetus to swear that he will not remarry. My version of the speech reads as follows: Admetus, before I die I want to tell you what I want.

Choosing to honor you, I will die, thus allowing you to remain alive. In my youth, I could have chosen any husband and lived in any palace that was filled with riches. But I chose you, and now I would rather die than see you taken away in death’s grip, leaving me widowed with orphaned children. And though I would still have things to love, our

youth together would haunt me, and bring me sadness. And indeed, your father and mother have forsaken you, since they have reached the point in their lives where they can die well.

It would have been more glorious for them to save their son.

For without you, as their only heir, what can they do? But as it turns out, one of the gods had ordered it thus, so this is how it will be. Remember now this favor I will ask of you, but do not think that it is a kindness you do me; this is what is owed as custom for the sacrifice I make: Love these children of ours not less than I love them now; keep them as masters in your house; and do not remarry. For this woman, acting as a second mother to our offspring, will hurt them with her envy, being much inferior to me. So I beg you, don’t take another woman as your spouse, for she will be hostile to our children, as fierce to them as a viper. Our son will still have you, his father, as his defense, but my daughter? How can she complete her youth fully without a gentle mother? What if some dishonoring reputation strikes against her and destroys her marriage in the prime of her youth. For this second mother will not help her. She will not give her away in marriage or help her through childbirth. I must die, and this comes not tomorrow, nor the end of the month, but immediately. I count myself as one no longer living. Yet, please, remain cheerful. And Admetus, now you can boast that you have subdued the best wife. And children, now you can boast that you have been born of the best mother.

(Appendix I, Page 20-21) Even on her deathbed, Alcestis’ words are calm and her arguments are ordered. At the beginning of her speech she says, “ Ἄδμηθ᾽, ὁρᾷς γὰρ τἀμὰ πράγμαθ᾽ ὡς ἔχει, / λέξαι θέλω σοι πρὶν

θανεῖν ἃ βούλομαι. / ἐγώ σε πρεσβεύουσα” (lines 280-2). The last phrase, “ἐγώ σε πρεσβεύουσα”, meaning ‘I honoring you,” is interesting. The participle really means putting another person before oneself, and doing so for the benefit of that person; Svarlien actually translates it that way, saying, “I put you [Admetus] before myself” (Svarlien, Page 16). In making herself the subject of the participle (ἐγώ), and Admetus the object, she is firmly establishing her control of the situation. It is important that Alcestis’ situation be established as her choice because the play opens after she has made her decision, leaving the audience with a gap. My interpretation of the Greek led me to the understanding that in this speech Alcestis justifies her choice to die as a form of security for her family. Her leaving her family will keep them in a safer, more stable position, in her estimation, than if she were to let Admetus die.

Near the middle of the speech, Alcestis says, “Remember now this favor I will ask of you, but do not think that it is a

kindness you do me; this is what is owed as custom for the sacrifice I make” (Appendix I, Page 21). This was a really weird section to translate; I spent about two days thinking about it and consulted with Dr. Jewell. The Greek reads, “εἶεν: σύ νῦν μοι τῶνδ᾽ ἀπόμνησαι χάριν: / αἰτήσομαι γάρ σ᾽– ἀξίαν μὲν οὔποτε / ψυχῆς γὰρ οὐδέν ἐστι τιμιώτερον– / δίκαια δ᾽, ὡς φήσεις σύ” (lines 299-302). First of all, the word “χάριν” can mean favor or grace.

This, combined with the following line, saying that what she will ask him is not merely “ἀξίαν” meaning worthy, but rather “δίκαια” meaning just, makes it seem like its more than a “favor” than she is talking to him about. It felt more like a reminder of a custom which he is bound by duty, and possibly love, to uphold. The third line of the Greek, “ψυχῆς γὰρ οὐδέν ἐστι τιμιώτερον,” which means something like “for nothing is worth more than my soul,”4 I moved to the end of the whole phrase: “this is what is owed as custom for

4

Again, this is my own first draft translation that doesn’t appear elsewhere.

the sacrifice I make” (Appendix I, Page 21). What I take the Greek to mean here is that she is reminding him of the extraordinary exchange which he is allowing to happen: her life for his. I was able to create a more tiered argument for Alcestis through putting what I found to be the most compelling part of what she was saying at the end of this section; she ends what she is saying with her strongest point.

In the last two lines of the speech, when Alcestis says, “And Admetus, now you can boast that you have subdued the best wife. And children, now you can boast that you have been born of the best mother,” I stretched the sense of one of the verbs in the first sentence to get “subdued” (Appendix I, Page 22). There are three verbs in the sentence. The first I did nothing exciting with; it was a form of “to be” and in this situation it means something closer to “it is possible.” The other two forms are infinitives. One, “κομπάσαι,” goes with that form of “to be,” to yield “it is possible to boast”. The other, “λαβεῖν,” goes with the accusative nouns,

“γυναῖκ᾽ ἀρίστην”, to make the indirect statement “that you have subdued” (lines 323-4). The word “κομπάσαι” means, generically, “to boast or brag”, while “λαβεῖν” means, “to hold, grasp, or seize”. The combination of senses of the two infinitives suggested to me that a sense of conquering or dominating was an allowed stretch of meaning for “λαβεῖν” from merely “take” to “subdue.”

Also, because the line is paired with a sincere signoff to her children, it twists the hurt of the sarcasm so much more to have the language surrounding Admetus be slightly more aggressive.

Alcestis’s language is clearly more structured than Apollo’s. She speaks slightly above the level of an average conversation, which I chose to do because she is a queen, so she would have a higher speech expectation. Her arguments are ordered and she chooses her words with purpose. Her speech patterns are also a sharp contrast to her husband. For example, Admetus is rather erratic and passionate before Alcestis’ speech.

He asks for the impossible, and he can’t grasp the consequences

that his choices have led to. Before his wife reassures him, he exclaims: Oh! You kill me to say it. By the gods, Alcestis! Don’t abandon me. Think of your children, whom you will leave as orphans. Stand up and dare to live. I can not live if you are not with me. Your sacrifice is what we admire. And if you die our life is cut short. (Appendix I, Page 21) Even though he is the reason she is dying, he asks her to change her mind and choose to live. He does seem to recognize that his life is connected to her but he doesn’t make the full connection. Later, he does calm down slightly. His main speech following Alcestis’ reads as follows: But I will bear this grief, not just for a year but as long as I live; my parents have been dear to me only in word but not in deed. Yet you, wife of mine, giving your life instead of my soul, you are rescuing me. Will you allow me to mourn having lost such a wife as you? I will stop the revels, the crowds of drinking friends, and the music which used to fill my house. I will not touch the lyre nor lift my heart in song to the sound of the flute; for you take with you the joy from my life. I will have a skilled craftsman make a sculpture of your body which I will lay in our bed. I will fall upon it, wrap my arms around you, and call it your name. I will believe that I have you in my arms again, even though I know that is not possible. It will be a hollow joy but still, it will lighten

the sorrow of my soul. In a dream you will visit me and make me happy; it is sweet to see dear people even just for the night. If I had Orpheus’s tongue and song, so that I could take you back from Hades, I would go down to you. And neither Hades’ dog nor Charon could hold me back. I would bring you back into the light. But since I can not, expect me there after I die. Prepare a place for me, so that we can live together. For I will instruct our children to bury me with you, so that once we are reunited in death we can never be separated. (Appendix I, Page 22) Here he is more collected, and his feelings towards his wife are clear. He describes the statue that he will have made of her, and the separation between him and his wife really comes out here.

Without his wife, the desire for this statue comes out but also serves as a constant reminder of what he lacks. If his wife were alive, he would have no need for this cold relocation of his departed love. Furthermore, it also serves as a reminder of the cowardice that he shows through allowing his own wife, a person he swore to protect, to die in his place. He is forever reminded of what he has lost, both his wife and his manhood.

Heracles posed an interesting challenge because he is both divine and mortal, what was I supposed to do with his style of speaking? I decided that while he was inebriated, he would be more casual, but later when he comes back to bring Alcestis to Admetus, he would speak more similarly to the other humans.

Here is an excerpt of the conversation he has with Admetus when he is trying to give him Alcestis back: Heracles Now receive this woman into your noble house.

Admetus By your father Zeus, I beg you, don’t ask me this.

Heracles You would err not doing as I say.

Admetus But doing that, I would be bitten by pain in my heart.

Heracles Obey me! For perhaps joy will befall you instead of pain.

Admetus Oh! If only you hadn’t brought her here.

Heracles

You will be rewarded through my actions.

Admetus You speak well, yet let the woman leave.

Heracles If necessary, she will go. But first, look at her.

Admetus You are beginning to anger me.

Heracles Knowing something you do not about this woman, I ask you to do this. Trust me.

Admetus I don’t want to.

Heracles Just obey. You will be grateful you listened to my voice.

Admetus Fine, bring her and she will be received into my house.

Heracles I will not hand her over to the servants; only into your hands will I give her.

(Appendix I, Page 29-30)

Heracles’ insistence that Admetus accept his wife back from death is a true show of friendship. Admetus, almost anyone can admit, is not a great person, so to see Heracles completely committed to helping his friends is significant. The chorus is also friends with Admetus but plays a much more secondary role, and doesn’t really take action to try to help him; they really only offer verbal advice. Heracles’ loyalty places him in a very similar position to Apollo, who starts this whole process.

The last choice I made that requires some attention is that I decided to break the role of the chorus into a set of distinct speakers. In Helen H. Bacon’s paper “The Chorus in Greek Life and Drama,” she discusses how even though to the modern reader the chorus’s function comes across as clunky and antiquated, it really just acts as an extension of the bounds of society on the story taking place. In Greek tragedy, the chorus is always composed of a group of similar individuals, who are all invested in the outcome of the play’s conflict. While they watch the story unfold with the

audience, they offer baseline judgements along the way. According to Bacon, the vocal unity of this group is important because it magnifies the impact of what the chorus is saying; since a group communicates this idea with literally one voice, it is important. I, however, think that to the modern audience it is more effective to have the chorus lines broken up into distinct persons. In my opinion, a person is more convinced when more than one person tells the same judgment. Also, breaking up the lines to multiple actors allows the chorus to discuss amongst itself when it is alone; they can go back and forth on an idea in order to figure out the position that the group will present. Then, when they communicate to the other characters, they form a united front which is convincing because of the magnitude of the members.

The only time that they should speak in unison is the very last line of the play. The five lines of Greek which inform my closing line are the exact same as the final lines of Euripides’ Bacchae, Helen, and Andromache; the last four lines are also the ending of his

Medea. Since this set of lines connects to four other plays in the Greek tragedy cannon, having the chorus revert to speaking in unison is a nice symbolic nod to how the chorus is “supposed to” behave, in addition to being a good place for the chorus’s volume to build.

The reason I started this project was to see if I really could do a fully scaled translation project successfully. My readers should take a cohesive plot line away from my translation, which aims for a dynamic balance of pointed language with relaxed wit. I hope the reader can see how the choices I made in construction of the language work together to support a unified reading of Alcestis.

Some of the choices discussed were: the different heights of the character’s language which separate the divine from the mortal; Alcestis’s reserve as compared to Admetus’ explosivity during her sorrowful farewells to her children, as well as the arguments surrounding her death. In my translation, Alcestis’s choice to die should be read as a protective move that she makes in order to save

her children. I have structured the language to present Alcestis not as a love-struck obedient wife who dies a victim but as a woman who has decided to make a calculated sacrifice. I hope you enjoy my translation.

Appendix I. My Translation Euripides’s Alcestis translated by Elizabeth Brown [As Apollo walks on to the stage, lights come up. We see the front entrance of a palace. It is as though Apollo has been out walking for quite some time.]

Apollo O Admetian dwellings!... nah I’m just kidding. This is the place where I, me- I know it's surprising- was forced to play the servant.

I blame Zeus. It was his fault. You see, he killed my son, Asclepius, which caused me to kinda have to kill the Cyclopes, who, you know, make Dad’s lightning bolts. So then he was mad, and made me come and work for these human people.

He was definitely overreacting. Anyway, so there I was, just in this place, and I met this chill guy, Admetus, you might have heard of his dad, Pheres. You see, Admetus was chill so I decided to help him out. I tricked the Fates, not an easy thing to do by the way, so that they wouldn’t kill Admetus, so long as someone else died in his place. He went around to everyone he knew, his friends, his parents, and, get this, nobody wanted to die! Except…Alcestis.

Man, you have no idea how perfect this guy’s wife is. Even now, as death’s grip is tightening, she lifts up her hands in reverent praise. But anyway, I gotta split, I don’t do so well around Death.

Since I, you know, can’t die, Death doesn’t really like me. Here he comes now, to take her to Hades, because today is that day she will die.

Death Hey! Hey! Who’s there? Aww, come on man! We already did this once, Apollo! What in the hell are you doing here? How dare you insult me by interfering in my business and destroying my reward.

You already distracted the Fates with your devious deceptions, and

now you show up here, armed, to see Alcestis sacrifice herself for her husband Admetus.

Apollo I have my reasons.

Death Why do you have your bow, then?

Apollo It's part of my look; you know that, man.

Death Just like it's part of your MO to help this random human person.

Apollo What’s it to you? Why do you care who I help and who I don’t?

Death Since you rob me of this corpse a second time, yeah– I care.

Apollo But dude, I never interfered with you like directly.

Death Oh! But if you never interfered then why does he still live apart from Hades?

Apollo You get his wife instead! Isn't that so much better!?

Death I guess. I mean, a corpse is better than no body… right?

Apollo Exactly, go get her, man! Cause, you know, if we keep talking, we might run into issues.

Death To kill a random replacement, is even that allowed? … I mean I guess I was told.

Apollo No, you’re right, better to put off their deaths.

Death Man, stop telling me what to do! I have just as much brains and just as much brawn as you.

Apollo But like, couldn’t you let Alcestis go into old age? Like, as a favor to me?

Death No, ‘cause when I bring her back to Hades, he’s gonna be so happy, and he’s gonna give me anything I want.

Apollo At least you're only taking one of them.

Death You know, when I bring him younger people, he gives me more honor, so I gotta be proactive in my arrival when these young folks die.

Apollo If she were to die as an old woman, she would be more richly honored by her peers.

Death Apollo, you are suggesting customs that will only help people who are already honored.

Apollo What did you say? How could I have known you for so long and never noticed your crafty arguments?

Death No, really, I'm serious. The ones who have riches can already buy a later death.

Apollo So, you won’t not kill her, then?

Death Why would I help you? You know me.

Apollo Man, that’s cold. No wonder both gods and people hate you.

Death You can’t have your cake and eat it too, Apollo.

Apollo Dude, you gotta stop. You’re being far too cruel. Watch out, cause a really fire guy is coming to this house; Eurysteus is sending him after a chariot of horses, which is in the stormy Thracian place.

And once he is here, Admetus will rescue Alcestis from you. The favor of the gods will not help you, and I will hate you.

Death You don’t scare me! Saying stuff like this won’t stop me! I will bring Alcestis down to Hades. I will go to her, bearing my sword, and once she is below, divinity will surround her.

[Death departs, heading on to the property. Apollo watches as he leaves, and then, recollecting himself, heads away back to Olympus] Chorus Person 1) Why is there silence before the palace?

Person 2) Why is the house of Admetus silent?

Person 3) None of their friends are here to say whether she is dying. Whether it is necessary to mourn for the queen, or if Alcestis, child of Pelias, still sees this light—. She seems to me, and to everyone, to be the best wife to her husband.

Person 1) Do you hear groaning, or the noise of hands within, or weeping as though she died?

Person 3) Not at all. And there isn’t any one of the servants placed near the gates. O Paian, if only you would appear amid these waves of ruin.

Person 2) If she were not dying, there would also be silence.

Person 1) She is already dead

Person 3) But, she has not been brought out of the palace.

Person 2) But from which building? I am not confident. How do you know she has not been moved?

Person 3) How could Admetus have buried his cherished wife, unobserved?5 Person 2) Also, in front of the gates I do not see the customary purifying water to put over the dead.

Person 3) And no one has cut hair within the gates, which comes with mourning the dead and no young hands of women thud.

Person 1) And indeed, this is the decisive day.6 Person 3) Who says this?

Person 1) Her husband and her family.

Person 2) You touch my heart and soul.

Person 3) When good people are worn away by the pains of life, it is necessary to mourn whoever has been good since their inception.

5

There is a lacuna in this line of the Greek text. Choices have been made by the translator to make the English coherent.

6 There is a lacuna in this line of the Greek text. Choices have been made by the translator to make the English coherent.

Person 2) For abrupt death approaches, even if a ship made a voyage to some healing island, either to Lycia or to the waterless Ammon Place, in hopes of releasing her unhappy soul. And I do not have on the altar of the gods some sheep shearer I can go to.

Person 1) Once there was one hope: the child of Apollo, for he raised the sick and dead, until he seized a Zeus-cast bolt of thunder’s fire. But he himself is now gone down to the gate of Hades, so now what hopes of life can I look for?

Person 3) For already everything has been done by Admetus; the altars of all the gods are full of blood-sprinkled sacrifices. There is nothing else to be done.

Person 2) But look, one of the servants is coming out of the house, crying. I wonder what happened? If some harm has happened to the masters, it is okay to mourn. But regardless if she is still alive or if she has been destroyed, we would wish to know.

Servant It is possible for you to call her both living and dead.

Chorus Person 1) How could she be both?

Servant Already she is leaning forward and breathing her last breath.

Chorus Person 2) O suffering Admetus, who is deprived of such a one as she.

Servant Not yet does he know what he’s losing, and he won’t until he begins to suffer the loss.

Chorus Person 3) Is there no longer any hope to save her life?

Servant No, The fated day presses hard.

Chorus Person 1) Are the appropriate things being done for her?

Servant Her adornments are ready for her husband to bury with her.

Chorus Person 2) Let Alcestis know that she dies gloriously and that she is the best of women under the sun.

Servant How is she not the best? Who would oppose her? What else could be necessary for someone to become a more surpassing woman?

How could anyone show more honor to their husband than being willing to die in his place? And indeed the whole city knows this; you will marvel hearing what she did in her house. For when she knew that the fated day had come, she washed her white skin with river water. Then she took out of her cedar chest clothing and accessories, and dressed finely, and standing before Hestia’s altar, she prayed; [As the servant has been speaking, the woman playing Alcestis appears in the background, shadowing the motions that the servant

is describing. Now she speaks, but is unnoticed. All others on stage freeze, and when she is done the servant begins speaking and it is if nothing has happened.]

Alcestis, unnoticed Lady, since I am now headed down to Hades, this is the last time I will pray to you. Take care of my orphan children. Help my son to marry a loving wife and help my daughter to marry a noble husband. Grant that, unlike me, my children die in their old age, and they complete a joyful life in our fatherland.

Servant Alcestis visited every altar in the palace, crowning them with foliage from the myrtle tree’s branches, and praying at them without tear or groan. Her imminent death hasn’t removed her skin’s lovely glow. Then she went back to her room and fell upon her bed; there she cried and said, Alcestis, unnoticed Oh bed, where I, as a young unmarried woman, lost my maidenhood to Admetus, whom I chose to die for: Farewell. I don’t hate you. Though I am reluctant to abandon you and my husband, I will die. But some other wife will win you, not any better than me, but perhaps more fortunate.

Servant And falling upon it, she kissed the bed, covering it with a flood of tears. After she had given all her tears, she walked away from the bed, stumbling forward toward the end of the bed. Within her bedroom, she turned around many times and she threw herself back again onto the bed. Then her children, clinging to their mother’s robes, wept. Receiving them into her arms, she bid them farewell separately. The whole household cried, pitying their

mistress. She reached out to each one her right hand, and no one was too inferior for her to speak to them. Such are the woes in Admetus’s house. And if Admetus himself were dying, he would be dead; but since he is not dying, he will endure such great pain which he will never forget.

[Alcestis leaves the stage.]

Chorus Person 1) I suppose these pains depress Admetus, yet it was necessary for him to be deprived of his noble wife.

Servant He weeps, holding his dear wife in his hands, and he begs her not to abandon him, asking the impossible. She withers and wastes away because of her sickness. An unhappy burden in his arms, she faints.7 Yet still breathing, although only a little, she wants to see the rays of the sun since she will never see them again. So now I will go and announce your presence. Not everyone thinks so well of their rulers as to stand by them in bad times; but you are an old friend to my masters.

[Servant departs into the property, using the same exit that Death took.]

Chorus Person 1) Oh Zeus, is there any way beyond these evils or a release from fortune?

7

There is a lacuna in this line of the Greek text. Choices have been made by the translator to make the English coherent.

Person 2) Alas, what is the way? Lest we must cut our hair and put on black clothing?

Person 1) Friends, let us pray to the gods. For power is greatest among the gods.

Person 3) Oh lord Paian, find some path out of pain for Admetus.

Person 2) Grant it, O lord, grant it; change her state, releasing her out of death and stopping murderous Hades.

All Three in some kind of pattern, not in unison) Oh! Oh! Oh!8 Person 2) Admetus, how will you cope without a wife?

Person 1) Oh, oh! How can you bear to live yourself, knowing that your wife is dying on your account?

Person 3) For you won’t just see a dear person but your dearest wife dying on this day.

Person 1) Look, look! Here comes Admetus!

Person 2) Cry out to him! Let him know we are here for his time of pain.

8

There is a lacuna in this line of the Greek text. Choices have been made by the translator to make the English coherent.

Person 3) I will never say that marriage brings more joy than pain, judging both by previous marriages and seeing the fortunes of the king, who, losing his wife, will live a meaningless life.

[Ancient equivalent of fanfare, grand entrance of Alcestis carried in, with her husband at her side. She is placed, at an angle, to the side of the entrance; ideally the same entrance death used to exit.]

Alcestis Sun and light within the day, and an eddy in the sky of swiftly running clouds.

Admetus Helios sees you and me, both faring illy despite having done nothing at the expense of the gods for which you should die.

Alcestis Both the land, and the roofs of the great hall, and the bridal chambers of my fatherland, Iolcos.

Admetus Raise yourself up, oh suffering one! Do not forsake me! Pray that the ruling gods grant us pity.

Alcestis I see a two oared boat in a lake, and Charon, the ferryman of corpses, with his hands on the rudder already calling me: “Why are you delaying? Hurry; you are delaying us.” So, crossly, he compels me in this way.

Admetus Oh! Oh! Oh! You speak of this bitter voyage, and I can not suffer such things.

Alcestis Something leads me; someone leads me– can you not see? Into the hall of corpses, under the dark brows of winged Hades. Let me go!

What will you do? Dismiss me– What a road I walk down, the wretched one.

Lines 264-274 Skipped Admetus Oh! You kill me to say it. By the gods, Alcestis! Don’t abandon me. Think of your children, whom you will leave as orphans. Stand up and dare to live. I can not live if you are not with me. Your sacrifice is what we admire. And if you die our life is cut short.

Alcestis Admetus, before I die I want to tell you what I want. Choosing to honor you, I will die, thus allowing you to remain alive. In my youth, I could have chosen any husband and lived in any palace that was filled with riches. But I chose you, and now I would rather die than see you taken away in death’s grip, leaving me widowed with orphaned children. And though I would still have things to love, our youth together would haunt me, and bring me sadness.

And indeed, your father and mother have forsaken you, since they have reached the point in their lives where they can die well. It would have been more glorious for them to save their son. For without you, as their only heir, what can they do? But as it turns out, one of the gods had ordered it thus, so this is how it will be.

Remember now this favor I will ask of you, but do not think that it is a kindness you do me; this is what is owed as custom for the sacrifice I make: Love these children of ours not less than I love them now; keep them as masters in your house; and do not remarry. For this woman, acting as a second mother to our

offspring, will hurt them with her envy, being much inferior to me.

So I beg you, don’t take another woman as your spouse, for she will be hostile to our children, as fierce to them as a viper. Our son will still have you, his father, as his defense, but my daughter?

How can she complete her youth fully without a gentle mother?

What if some dishonoring reputation strikes against her and destroys her marriage in the prime of her youth. For this second mother will not help her. She will not give her away in marriage or help her through childbirth. I must die, and this comes not tomorrow, nor the end of the month, but immediately. I count myself as one no longer living. Yet, please, remain cheerful. And Admetus, now you can boast that you have subdued the best wife.

And children, now you can boast that you have been born of the best mother.

Lines 326-336 Skipped Admetus But I will bear this grief, not just for a year but as long as I live; my parents have been dear to me only in word but not in deed. Yet you, wife of mine, giving your life instead of my soul, you are rescuing me. Will you allow me to mourn having lost such a wife as you? I will stop the revels, the crowds of drinking friends, and the music which used to fill my house. I will not touch the lyre nor lift my heart in song to the sound of the flute; for you take with you the joy from my life. I will have a skilled craftsman make a sculpture of your body which I will lay in our bed. I will fall upon it, wrap my arms around you, and call it your name. I will believe that I have you in my arms again, even though I know that is not possible. It will be a hollow joy but still, it will lighten the sorrow of my soul. In a dream you will visit me and make me happy; it is sweet to see dear people even just for the night. If I had Orpheus’s tongue and song, so that I could take you back from Hades, I

would go down to you. And neither Hades’ dog nor Charon could hold me back. I would bring you back into the light. But since I can not, expect me there after I die. Prepare a place for me, so that we can live together. For I will instruct our children to bury me with you, so that once we are reunited in death we can never be separated.

Chorus Person 1) And indeed we will bear the painful grief with you as a friend with a friend, for she is worthy.

Alcestis Oh children, you yourselves heard your father saying that now he will not harm you by remarrying; he is not bringing me dishonor.

Admetus I both say this now and will accomplish it.

Alcestis On these conditions you must receive our children out of my hand.

Admetus I accept this dear gift out of a dear hand.

Alcestis Now you are to our children, instead of me, a mother.

The translation of lines 378-610 is skipped. This is a summary, written by the author of this thesis, of the events in those lines.

Alcestis gives her final farewells to her children and Admetus, and then dies. The Chorus comforts Admetus. He makes an official proclamation instituting a period of mourning. Then he leaves the stage with Alcestis’s body. The Chorus remains and is lamenting

her death when Heracles enters for the first time and asks to see Admetus. Eventually Ademtus comes back and graciously receives his friend into his house, even though he had just announced that he would receive no guests during the mourning period.

Importantly, Admetus does not tell Heracles that Alcestis has just died. Admetus is talking to the Chorus about this choice when in the distance they see: Chorus Person 2) And surely I see your father coming and his attendants, bearing accessories in their hands for your wife, delights to those below.

[Enter Pheres from the side. He is accompanied by his entourage.

They are carrying all the gifts/adornments that he references. The entrance should be not quite as grand as Alcestis’s entrance, but still a big deal.]

Pheres Child, I come to you sympathizing with your ills. For the wife you have lost is noble - and no one will deny it - and virtuous. But that is necessary to bear despite it’s hard to endure. Accept this adornment from me and let her go below the earth. Child, it is necessary for you to honor her body since she died for your soul and caused me not to be childless. Nor did she allow me to perish, having been deprived of you, in grievous old age. She made all women’s lives more glorious by enduring this hard task. Oh one saving him, raising us, the fallen, goodbye, and in the house of Hades, may you be well. Child, I say to you that marriage is not worthwhile to mortals unless, like this one, one partner profits.

Admetus I did not call you to this grave, nor do I welcome your presence.

She will never put on your adornment; she will be buried without

your gift, but not lack it. You should have grieved with me while I was being destroyed, but you stood out of the way. Despite your age, you allowed another to die instead. And yet you claim that you mourn her death? Indeed you have not been a father to me, nor has the woman who claims to be my mother. For she did not give birth to me; I was born from a slave and was merely placed under your wife’s breast. Your response to my request has shown who you really are. I do not believe that I was born your child since you surpass all in cowardice; you have come to the end of your life but you did not want to die for your child because you did not have the courage to. So you let my foreign wife die, whom, for her actions, I could believe to be both my mother and father, despite the strength of your claim. You are so old that your remaining time in the light is short regardless. And if I lived my remaining time without her then I will forever mourn my loss. Furthermore, whatever is necessary for a blessed man to experience, you have gone through: You had royal power in the prime of your youth; I was your child and heir so that you were not going to leave your house orphaned for others to plunder or die childless. You dishonor your old age by saying that you will not die on my account; I who was most reverent to you. Both you and the one you call wife gave me such thanks in return instead of these respects. Therefore be quick about fathering more children, who will tend to you, an elderly and dying person. They will lay out your body and wrap it. For I will not bury you with my own hand.

For indeed, I have died, as far as you are concerned. And since I have found my savior, causing me to continue to look upon the rays of the Sun, I say that I am her child and beloved caretaker.

Pointlessly therefore, old men pray to die, blaming old age and the long time of their life for their pains. Yet whenever death comes near, no one wishes to die, and old age is no longer heavy to them.

Chorus Person 3) STOP! For the present misfortune is enough. O child, do not provoke the heart of your father.

Pheres O child, to whom do you boast? Perhaps you think you speak to a Lydian or Phrygian slave, and thus harass me with your insults?

Do you not know I am a Thessalian? And that from a free Thessalian father you were born? You insult me too far, and I will not allow you, a young man flinging your words at us, to leave hurling them thus. I fathered you to be a master of our house, and I raised you. I ought not to die in your place for I did not accept this ancestral right. It is not Greek for fathers to die for their children.

For it is your concern, not ours, whether you were born unfortunate or lucky. We gave you what was necessary. Now, you rule over many, and when I die, I will leave vast ploughlands to you. From my father I received them, and so they shall pass to you. What wrong have I done to you? What do I rob you of? I would never ask you to die on my behalf so why would I die for you. You rejoice in seeing this light, in being alive. Do you think that your father does not rejoice in the same? It seems to me that the time in death is long, and that living is short, yet sweet. Therefore, you are shameless in your fight against death and by living beyond your fated fortune you are killing your wife. You blame me for cowardice, oh worst man, despite being inferior to your own wife, who died for your sake, her “good” young man. You have wisely found a way so as to not ever die: you can persuade any woman present to die for you, and then reproach your dear ones for not wanting to do that. Are you not then yourself being cowardly? Be silent! But think, if you love your own soul, then everyone loves their own soul as well. If you say wicked things about us, your parents, then you will hear the nasty truth in return.

Chorus Person 1) More evil has been said both now and before. Stop badmouthing your child, old man.

Admetus Keep talking, since I am also not done yet. If you didn’t want to be upset, then you should have done what I wanted.

Pheres Dying for you, I would have done more wrong.

Admetus Is it the same for a man to die in the prime of his youth compared to an old man?

Pheres We ought to live with one soul, no two.

Admetus And indeed may you live for more time than Zeus.

Pheres Do you curse your parents, when you suffer nothing unjust?

Admetus For I sensed that you love long-life.

Pheres But do you not carry out this corpse instead of yours?

Admetus These are the signs of your cowardice, O most cowardly man.

Pheres She was not destroyed by us. You will not say that.

Admetus Oh! If only you would tend to my needs.

Pheres Court many women, so that more die for you.

Admetus This is the disgrace for you: you did not want to die.

Pheres This light of god is dear, it is dear.

Admetus Your temper is wicked and is not found among true men.

Pheres You don’t laugh at carrying the old man’s corpse.

Admetus Whenever you die, you will die infamously.

Pheres Once I’ve died, being spoken about badly is not my concern.

Admetus Oh! Oh! How full of shamelessness old age is.

Pheres She is not shameless. You found this senseless woman.

Admetus Go away from here and allow me to bury this body.

Pheres I depart. You will bury, you being the very killer of her. You will pay the penalty still to your in-laws. For indeed Acastus is not a man if he does not take vengeance on you for his sister’s blood.

Admetus You yourself are going to hell, and the living parent with you! You are childless despite having a child living. You will no longer come into the same house as me. If it is necessary for me to publicly renounce your ancestral hearth I would because I renounce you. The evil obstacle must be born so let us go, so that we put the corpse in the pyre.

Chorus Person 1) Oh! Oh! Enduring of courage, oh noble and very best.

Goodbye. May Hermes and Hades of the Inferno eagerly accept her. If there is more for good people, having a share of this. May she sit next to Hades’s bride.

[The Chorus exits.]

Servant Already I know many strangers coming away from every sort of lands into Admetus’s house, to whom I layed out meals, but not yet have I accepted a stranger worse than this, into this hearth, who first seeing the master in mourning went in and dared to pass through the gate; then, not at all virtuously, he accepted on the one hand gifts of hospitality, learning misfortune, but, if ever we didn’t bring him something he urged us to carry it to him.

The translation of lines 756-1055 skipped. This is a summary, written by the author of this thesis, of the events in those lines.

The servant continues on to explain how awful of a guest Heracles has been. Then Heracles comes on stage, wasted, and the servant eventually reveals to him that it is in fact Alcestis who has died.

Heracles then makes a plan to go rescue Alcestis from Death, and heads off to do so. The chorus and Admetus come back on stage– they have just finished Alcestis’s funeral– and they have a long conversation about how sad Admetus is now. Soon, Heracles reenters, leading a veiled, silent, woman with him. After lying to admetus about where he got the woman, he offers her to Admetus, and Admetus responds: Admetus How could I let this woman into Alcestis’s bed? I fear double blame: partly from the townsmen lest someone accuse me of going into the bed of another young woman, thus betraying my wife. I must honor her who is worth revering in my eyes. But you, woman, whoever you are, you resemble Alcestis in form. Oh Gods! Carry this woman out of my sight. I have already been destroyed so torture me no further. For looking upon her, I think I see my wife. … She makes my heart muddy, and from my eyes burst forth springs of tears. O suffering me, now I taste this bitter grief.

Chorus Person 2) I can not speak well of fortune but it was necessary to endure this gift of the gods, whoever she is.

Heracles For if only I had such great power, so as to carry your wife into light from her house in the Netherland and to provide this joy to you.

Admetus Clearly I know that you wish this. But why better? It is not possible for the dead to come into the light.

Heracles I do not now exceed emotion but I properly bear it.

Admetus It is easier to give advice than to endure suffering.

Heracles How can you make progress, if you forever mourn?

Admetus I myself also know this, but some love leads me on.

Heracles For loving the dead brings a tear.

Admetus It destroyed me and still more than I say.

Heracles You lost a good woman. Who will deny this?

Admetus So that this man no longer rejoices in life.

Heracles Time will soften the bad things, but now it is still young.

Admetus Then you could speak to time, if time were dying.

Heracles This woman, and a new marriage, will stop you from longing.

Admetus Be silent! What do you say? I would not think that.

Heracles But why? For you will not marry, but you will be a widower regarding your bed?

Admetus There is not anyone who will be sharing a bed with this guy.

Heracles Do you think that will help the dead one?

Admetus That one, wherever she is, it is necessary to honor.

Heracles I praise you, praise you, but you deserve the reputation of a fool.

Admetus No one can ever call me bridegroom again.

Heracles I applaud because you are so loyal to your wife.

Admetus May I die, betraying that woman, despite her not being.

Heracles Now receive this woman into your noble house.

Admetus By your father Zeus, I beg you, don’t ask me this.

Heracles You would err not doing as I say.

Admetus But doing that, I would be bitten by pain in my heart.

Heracles Obey me! For perhaps joy will befall you instead of pain.

Admetus Oh! If only you hadn’t brought her here.

Heracles You will be rewarded through my actions.

Admetus You speak well, yet let the woman leave.

Heracles If necessary, she will go. But first, look at her.

Admetus You are beginning to anger me.

Heracles Knowing something you do not about this woman, I ask you to do this. Trust me.

Admetus I don’t want to.

Heracles Just obey. You will be grateful you listened to my voice.

Admetus Fine, bring her and she will be received into my house.

Heracles I will not hand her over to the servants; only into your hands will I give her.

Admetus Then lead her in yourself.

Heracles Only into your care will I place her.

Admetus I would not touch her. It is possible for her to go into the house.

Heracles I trust only your right hand.

Admetus Lord, you compel me, not wanting to do this thing.

Heracles Dare to stretch out your hand and to touch this strange woman.

Admetus There, I stretch, as if beheading a Gorgon.

Heracles You have?

Admetus I have, yes.

Heracles Now you save her, and you will say that the child of Zeus is a noble guest. Look at this woman to see if something of her seems to befit your wife. If you are lucky, you will cease from grief.

Admetus Oh gods, what will I say? This marvel is unexpected. Truly I see this wife of mine, or does a deceptive joy from the gods drive me mad?

Heracles It does not, but you see this wife of yours.

Admetus But see! Lest she be some phantom of the Netherworld.

Heracles You made this non-conjurer your guest.

Admetus But do I look upon my wife, whom I buried?

Heracles Clearly know. I don’t wonder that you mistrust fortune.

Admetus Am I to touch, am I to speak to, the living one because she is my wife?

Heracles Speak! For you have all as much as you wanted.

Admetus O face and body of my dearest wife, I have you unexpectedly, never thinking to see you.

Heracles You have. May some envy not be born from the gods.

Admetus O noble child of the greatest Zeus, may you be happy, and may your productive father save you. For only you restored her to me.

How did you send this one from below into light?

Heracles By engaging in a battle with her representative from among the gods.

Admetus Where do you say that you engaged in this contest with death?

Heracles Near her very tomb, out of my hiding spot, grabbing his hand.

Admetus Why is my wife now speechless?

Heracles It is not allowed for you to hear her speech, until she has been undedicated to these Netherworld gods and until the third light comes. But lead her inside, and being just Admetus, continually be reverent toward strangers. And now goodbye. I, going, will perform impending labors for Sthenelos’s tyrant child.

Admetus Stay with us and be a hearthmate.

Heracles This will be after, but now it is necessary for me to hurry.

Admetus But may you have fortune and travel the road of return. I will tell the citizens and all the tetrarchy to organize dances in honor of these noble events and cause the altars to be fragrant with oxsacrificing supplications. For now we have adopted a better life than the one before. For I will not deny that I am lucky.

Chorus, in unison Many are the forms of the divine beings, and the gods accomplish many things unexpectedly. And though the expected things were not brought to an end, the god found a way for unexpected things.

Thus this matter ends.

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