Sophocles worked by blurring his structural outlines just as he blurs the ends of his verses. In him the traditional divisions are all made less distinct, all worked over in the direction of greater naturalness, at any rate in externals. This was a very great gain, but of course some price had to be paid for it. Part of the price was that Sophocles could never attempt the tremendous choric effects which Euripides achieves in such plays as the Bacchae and the Trojan Women. His lyrics, great as they [Pg xi]sometimes are, move their wings less boldly. They seem somehow tied to their particular place in the tragedy, and they have not quite the strength to lift the whole drama bodily aloft with them.... At least that is my feeling. But I realise that this may be only the complaint of an unskilful translator, blaming his material for his own defects of vision.

[Pg xi]

In general, both in lyrics and in dialogue, I believe I have allowed myself rather less freedom than in translating Euripides. This is partly because the writing of Euripides, being less business-like and more penetrated by philosophic reflections and by subtleties of technique, actually needs more thorough re-casting to express it at all adequately; partly because there is in Sophocles, amid all his passion and all his naturalness, a certain severe and classic reticence, which, though impossible really to reproduce by any method, is less misrepresented by occasional insufficiency than by habitual redundance.

I have asked pardon for an ill deed done twelve years ago. I should like to end by speaking of a benefit older still, and express something of the gratitude I feel to my old master, Francis Storr, whose teaching is still vivid in my mind and who first opened my eyes to the grandeur of the Oedipus.

G. M.

[Pg 1]

[Pg 1]

CHARACTERS IN THE PLAY

Oedipus, supposed son of Polybus, King of Corinth; now elected King of Thebes.

Oedipus

Jocasta, Queen of Thebes; widow of Laïus, the late King, and now wife to Oedipus.

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