These and other like remarks of one of the best-known critics of the Parisian stage show that the dramatic art of Sophocles is still a living power.
I am well aware how feeble and inadequate the present attempted reproduction must appear to any reader who knows the Greek original. There is much to be said for the view of an eminent scholar who once declared that he would never think of translating a Greek poet. But the end of translating is not to satisfy fastidious scholars, but to make the classics partially accessible to those whose acquaintance with them would otherwise be still more defective. Part of this version of Sophocles was printed several years ago in an imperfect form. The present volume contains the seven extant plays entire. As the object has been to give the effect of each drama as a whole, rather than to dwell on particular ‘beauties’ (which only a poet can render), the fragments have not been included. But the reader should [page xxvii] bear in mind that the seven plays are less than a tithe of the work produced by the poet in his lifetime.
It may very possibly be asked why verse has been employed at all. Why not have listened to Carlyle’s rough demand, ‘Tell us what they thought; none of your silly poetry’? The present translator can only reply that he began with prose, but soon found that, for tragic dialogue in English, blank verse appeared a more natural and effective vehicle than any prose style which he could hope to frame. And with the dialogue in verse, it was impossible to have the lyric parts in any sort of prose, simply because the reader would then have felt an intolerable incongruity. These parts have therefore been turned into such familiar lyric measures as seemed at once possible and not unsuitable. And where this method was found impracticable, as sometimes in the Commoi, blank metres have again been used,—with such liberties as seemed appropriate to the special purpose. The writer’s hope throughout has been, not indeed fully to transfuse the poetry of Sophocles into another tongue, but to make the poet’s dramatic intention to be understood and felt by English readers. One more such endeavour may possibly find acceptance at a time when many causes have combined to awaken a fresh interest at once in dramatic literature and in Hellenic studies.
The reader who is hitherto unacquainted with the Greek drama, should be warned that the parts assigned to the ‘Chorus’ were often distributed among its several members, who spoke or chanted, singly or in groups, alternately or in succession. In some cases, but not in all, Ch. 1, Ch. 2, &c., have been prefixed, to indicate such an arrangement.
Footnotes
- [Sir John Seeley’s] Natural Religion, p. 79.
- Milton, Samson Agonistes, 164-169.
- ‘Thou drawest awry
Just minds to wrong and ruin ...
... With resistless charm
Great Aphrodite mocks the might of men.’
Antigone. - Cf. Sophocles in Green’s ‘Classical Writers.’ Macmillan & Co.
- Oed. Tyr., 1881.
- Antigone, 1882.
- Ajax, Nov. 1882.
- Antigone, 1845.
- The performance of Greek plays (as of the Agamemnon at Oxford in 1880) is not altogether a new thing in England. The author of Ion, Mr. Serjeant Talfourd, in his Notice prefixed to that drama in 1836, mentions, amongst other reasons for having intended to dedicate it to Dr. Valpy, ‘the exquisite representations of Greek Tragedy, which he superintended,’ and which ‘made his images vital.’ At a still earlier time, ‘the great Dr. Parr’ had encouraged his pupils at Stanmore to recite the dialogue of Greek tragedies before an audience and in costume. It would be ungrateful to omit all reference here to some performances of the Trachiniae in English in Edinburgh and St. Andrews in 1877, which, though not of a public nature, are still remembered with delight by those who were present at them, and were really the first of a series.
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