Specimens of Greek Tragedy | Page 5

translate as far as possible line for line, is requisite in the case of the Greek dramatists, if we would not lose the form and balance which are of the essence of Greek art. It is necessary also to preserve as much as possible the simplicity of diction, and to avoid words and phrases suggestive of very modern ideas. After all, it is difficult, with a material so motley and irregular as the English language, to produce anything like the pure marble of the Greek. There are translations of Greek tragedies or parts of them by writers of high poetic reputation, which are no doubt poetry, but are not Greek art.
The lyric portions of the Greek Drama are admired and even enthusiastically praised by literary judges whose verdict we shall not presume to dispute. To translation, however, the choric odes hardly lend themselves. Their dithyrambic character, their high-flown language, strained metaphors, tortuous constructions, and frequent, perhaps studied, obscurity, render it almost impossible to reproduce them in the forms of our poetry. Nor perhaps when they are strictly analysed will much be found, in many of them at least, of the material whereof modern poetry is made. They are, in fact, the libretto of a chant accompanied by dancing, and must have owed much to the melody and movement. In attempting to render the grand choric odes of the "Agamemnon," moreover, the translator is perplexed by corruptions of the text and by the various interpretations of commentators, who, though they all agree as to the moral pregnancy and sublimity of the passage, frequently differ as to its precise meaning. A metrical translation of these odes in English is apt to remind us of the metrical versions of the Hebrew Psalms. A part of one chorus in Aeschylus, which forms a distinct picture, has been given in rhythmical prose; three choruses of Sophocles and two of Euripides have, not without misgiving, been rendered in verse.
The spelling of proper names is in a state of somewhat chaotic transition which makes it difficult to take a definite course. The precisians themselves are not consistent: they still speak of Troy, Athens, Plato, and Aristotle. In the versions themselves the Greek forms have been preferred, though a pedantic extreme has been avoided. In the Preface and Introduction the forms familiar to the English reader have been used.
For Aeschylus and Euripides, the editions of Paley in the Bibliotheca Classica have been used; for Sophocles, that of Mr. Lewis Campbell.

CONTENTS
PREFACE
AESCHYLUS.
PROMETHEUS BOUND.
Introduction
Prometheus is brought in by the Spirits of Might and Force, Hephaestus accompanying them. Lines 1-113
The Sin of Prometheus. Lines 444-533
Prometheus defies Zeus. Lines 928-1114
THE PERSIANS.
Introduction
Atossa's Dream. Lines 1478-216
The Battle of Salamis and the Destruction of the Persian Fleet. Lines 251-473
THE SEVEN AGAINST THEBES.
Introduction
The Champions. Lines 370-673
AGAMEMNON.
Introduction
The Fall of Troy announced at Mycenae. Lines 1-39
The Chorus recounts the Sacrifice of Iphigenia. Lines 177-240
The Meeting of Agamemnon and Clytaemnestra. Lines 828-947
Cassandra's Prophecy. Lines 1149-1391
Cassandra's Prophecy fulfilled. Lines 1343-1554
THE CHO?PHOROE.
Introduction
Orestes discovers himself to Electra. Lines 158-274
Clytaemnestra pleads to her Son Orestes for her Life in Vain. Lines 860-916
THE EUMENIDES (FURIES).
Introduction
Orestes is tried as a Matricide before the Court of the Areopagus at Athens. Lines 536-747
SOPHOCLES.
OEDIPUS THE KING.
Introduction
The Plague-stricken Thebans supplicate Oedipus for Relief. Lines 1-77
Oedipus calls upon Tiresias to reveal the Murderer of Laius. Lines 300-462
The Death of Polybus announced. The Secret of Oedipus's Incest and Murder revealed. Lines 924-1085
Jocasta hangs herself and Oedipus puts out his Eyes. The Scene described. Lines 1223-1296
Oedipus bewails his Calamities. His Colloquy with Creon. Lines 1369-1514
OEDIPUS AT COLONUS.
Introduction
Oedipus and Antigone arrive at Colonus and enter the Consecrated Ground. Lines 1-110
The Chorus chants the Praises of Colonus. Lines 668-719
Length of Days: Choric Hymn. Lines 1211-1238
The End of Oedipus. Lines 1579-1667
ANTIGONE.
Introduction
Antigone proposes to Ismene to take a Part in paying the Last Rites to their Brother Polynices. Lines 1-99
Antigone is caught by the Guard paying Funeral Rites to the Corpse of Polynices, and is brought before Creon. Lines 384-581
A Colloquy between Creon and his Son Haemon, to whom Antigone is betrothed. Lines 631-780
The Power of Love: Choric Hymn. Lines 781-800
Antigone is sent to her Death by Creon. Lines 882-928
Creon, having been brought to Repentance by the Denunciations of the Prophet Tiresias, sets out to bury the Corpse of Polynices and release Antigone from the Cave of Death. The Issue is recounted by a Messenger to the Queen, Eurydice. Lines 1155-1243
AJAX.
Introduction
Tecmessa, a Captive with whom Ajax lives as his Wife, tells the Chorus of Salaminian Mariners what has befallen their Chieftain. Lines 284-330
Ajax bewails his own Fall. Tecmessa tries to comfort him and turn him from Violent Courses. Lines 430-595
Ajax pretends to be softened, and to be going forth only for the Harmless Purpose of Purification in a Running Stream, though he is really going to his Death. Lines 646-692
The Last Speech of Ajax. Lines 815-865
ELECTRA.
Introduction
The Tutor