Translation Comparison
Translation by Philip Vellacott
MEDEA: Greet your father as I do, and put your arms round him.
Forget our quarrel, and love him as your mother does.
We have made friends; we are not angry any more.
There, children; take his hand.
[She turns away in a sudden flood of weeping]
What pain the future hides from us.
[After embracing Jason the CHILDREN go back to Medea.]
Oh children! Will you
All your lives long, stretch out your hands to me like this?
Oh, my tormented heart is full of tears and terrors.
After so long, I have ended my quarrel with your father;
And now, see! I have drenched this young face with my tears.
CHORUS: I too feel fresh tears fill my eyes. May the course of evil
Be checked now, go no further!
JASON: I am pleased, Medea,
That you have changed your mind; though indeed I do not blame
Your first resentment. Only naturally a woman
Is angry when her husband marries a second wife.
You have had wiser thoughts; and though it has taken time,
You have recognized the right decision. This is the act
Of a sensible woman. As for you, my boys, your father
Has taken careful thought, and, with the help of the gods,
Ensured a good life for you. Why, in time, I’m sure,
You with your brothers will be leading men in Corinth.
Only grow big and strong. Your father, and those gods
Who are his friends, have all the rest under control.
I want to see you, when you’re strong, full-grown young men,
Tread down my enemies.
[Again MEDEA breaks down and weeps.]
What’s this? Why these floods of tears?
Why are you pale? Did you not like what I was saying?
Why do you turn away?
MEDEA: It is nothing. I was thinking
About these children.
Translation by Ben Power
MEDEA: Stand now next to your father.
Come, Jason, take their hands.
They look so like you.
It pains me to think
Of the hidden future ahead of us three.
Hidden but surely hard.
Yet when I see your eyes, Jason,
In their eyes
I know they will grow up safe and strong.
CHORUS: How can we see this and stay quiet
Knowing what is to come?
This is the greatest of terrors.
The very ground beneath us
Is diseased.
It boils.
JASON: Oh my wife.
For this gift …
Thank you.
I don’t blame you for what has past.
Your anger was understandable.
But your wisdom and your goodness
In allowing me here
In letting me help you
In letting me see my beloved boys.
This was grace.
My sons.
You are my proudest doings
And I see you, tall,
Stand over your enemies.
I see you returned to your father
When I am king of this place
To sit in glory.
And you, Medea, you with us.
Why are you crying?
MEDEA: I was thinking of them.
Analysis
General Characteristics
The first translation, by Vellacott has marked differences when compared to the second, by Power. Vellacott emphasises the connections to the gods more, making more mythological allusions throughout the text and referring directly to divine power in key moments, whereas Power keeps this aspect more subtle. The characters and plot are more emotional in Power’s version, with Medea’s pain at Jason’s wrongdoing presented more forcefully. Vellacott’s version, contrastingly, has Medea seen as more calm, calculating as she schemes her revenge. It is a more determined Medea that is observed here. Power’s version, as well as the play directed by Cracknell, are also more kind to Jason’s predicament, making his struggle noticeable and shining a more understanding light on the character, whereas Vellacott’s translation is less forgiving (in line with the cold premeditation by Medea). Throughout Cracknell’s play, Jason is a character with which the audience can sympathise as his powerlessness and grief paint him as a victim.
Specific Extract
The increased emotion in Power’s text can be seen in this extract; the extremes used in language help to illustrate this. For example, Jason’s speech culminates in “This was grace”, a strong compliment given the earlier state of their relationship. The chorus is more dramatic as well, describing the ground as “diseased” and stating that “it boils”.
Additionally, the difference in Jason’s representation is clear. Though he mentions that he would like to see his sons in Vellacott’s version, he makes more concrete commitments in Power’s, stating that he would ensure that they would “sit in glory” when he rose to the throne. He even welcomes Medea back in the hypothetical future, which does not happen in the first translation.
The reference to the gods is also indicative of the aforementioned general trend. Vellacott’s translation has Jason relying on the gods to maintain control over the situation, whereas Power’s Jason takes full responsibility in his promises. As such, fate and destiny are more prominent in the first than the second.
There is also a discrepancy in the stage directions in the extract; Power’s is less prescriptive, leaving more to the will of the performers and director, whilst Vellacott’s has specific moments chosen at which Medea would have a “sudden flood of weeping”. This allows less latitude for interpretation, siding more solidly with Medea.