Specimens of Greek Tragedy | Page 5

a translation. As prose can never be an equivalent for poetry, and as the
thoughts and diction of poetry are alien to prose, it is necessary to run
the risks of a translation in verse. To 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 CHOËPHOROE.
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